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Scanned  from  the  collections  of 
The  Library  of  Congress 


Packard  Campus 
for  Audio  Visual  Conservation 
www.  loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 

www.loc.gov/rr/mopic 

Recorded  Sound  Reference  Center 
www .  I  oc .  g  ov/rr/  reco  rd 


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(iOTION  PICTURE 

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k  CONSOLIDATION  OF  EXHIBITORS  HERALD-WORLD  AND  MOTION  PICTURE  NEWS 


COVERING  THE  WORLD 


SOUTH  AMERICA—  First  large  the- 
atre  circuit  alarms  Buenos  Aires  exhibitors  » 

FRANCE—  Industry  acts  to  resume 
progress   interrupted    for    year      »      »  » 


GERMANY   Fees  for  studio,  record- 
ing, and  negative  take  one-third  of  produc- 
tion   budget       »       »       »       »       »  » 


CZECHOSLOVAKIA—  Subterranean 
theatres  is  Prague's  solution  of  space  costs  » 


OP 


CHINA—  Sniping  by  eight  different  cen- 
sorship boards  troubles  distributors       »  » 

ENGLAND   British  industry  faces  mul- 
tiple problem  of  governmental  control      »  » 


DOMING:    "THERE  ARE  NO  SMALL  TOWNS" 


GET  USED  TO 


SEEING  IT  IN  THE 

HEADLIN 

You^ll  see  it  often  from  now  on! 


OFFICE  HOURS' 

BIG  %nM 

Washington,  Feb.  19- 


.    film   tare  "^1^000 
Phi-ase    film  to 
something    '^^^^^town  l^ouse  v^ij^^ 
patrons  of  ^ow'     milkman  to  en 
'^"^.'^Xee  donu*.  toast  and  GaW^_ 

fZr"^^^^  *-!^.rctpitat's  first 
,  ,.,r  rain 


"^"^^Tovefnment  hours  arent 


EXTRA! 
AS  WE  GO 
TO  PRESS! 

"A/ter  Office 
Hours*'  heats 

^'Copperfield" 
in  16  out  of  20 
opening  en- 
gagements! 


governmeii- 
|i  yven  ^fjQ  gal- 

11  long.        fpoture  went  oi?'  5_oOO 

^^'^^^  had  disappeared.  ^gek, 
-•^toV^^^omg  o.e  th 

with  three  I^o^^a  j,ver  A?^-  •  at 
the  sl^efef ^.Aft^-  ^ict  that 

'.sr^^FoX    despite    the  tac^t^^^ 


,-c^ofdroV}?--^^^^^^^^^ 

■  FOX  turned  *et^^   '^^'ee  d""^^' 

■  Hours,  ^"^tnast  at  T-*"J:  ballyed 
'  '■  ^^'^  .=i?ore  opening.  Stunt-^^  ^^.^ 

l^f  .hefofe%%VT-en.  an  out  as 

Customers  a>.o^^\",,e  pic 
V.ralWng  ads  on       ^^^.^  y/^ek 

Estimates  fo>  2B-35-60)-  ,, 

i     Fox    (Loew)    (^'t,**.'    (MG)     ^nd  I 
I     L       nfflce    Houis     V  venlaced 
I'Atter    0™4°ett  Marshall  ^fP'^ita 
r-^"^®;t   minute  on  fage.^^  Sock 
VhapUn,  which  hurt. 
Grey   S'"'^^  '  iic,  though  l?  000.1 
oampaign  on  pi"-'  v,eautifui 
1  v^-oss   toward   a   oea  5.35.(50)— 
"'palace  <Loew>  (2,3%^ .  Busting 
,j3avid  Copperfield    U  ^  prob- 

able  (too 
I  won  a  P'l^  '^^^^i ^^^^ 


AND  WATCH  THE 
WORLD  PREMIERE 
OF "NAUGHTY 
MARIETTA" 


EVERYWHERE! 


ACTUALLY  TOPPING  DEVIL  DOGS , 


Sensational  N*  Y.  Premiere  Matched  by  Bo 


LOOK  AT  THESE  AMAZING  COMPARISONS  WITH 


EN 


FAMOUS  HOUSES  FROM  COAST  TO  COAST  DUPLICATED  THESE  FR 


MORNING,  NOON 


AND  NIGHT,  BLOCK- LONG  LINES 


HELD  OVER 

of  course 

ON  B'WAY 


No  wonder  Ann's  turnin 

Look  what  New  York  papers  say  about 

"'Sweet  Music'  a  hit,  Rudy  Vallee  a  star!  Three  rousing 
cheers  for  Warner  Bros." — N.  Y.  American 

"Rollicking,  tuneful,  hilarious.  A  Rudy  which  should 
send  the  Vallee  Fan  Clubs  into  ecstasies." — Mirror 

"Rudy's  most  ambitious  and  most  promising  picture." 

-^Daily  News 


Tl 


g 

k 

"A 
V 


Congratulations  from  9,000 
Happy  First-Nighters  to  Rudy  and 

ANN  DVORAK 

Ned  Sparks  .  Helen  Morgan 
Robert  Armstrong  .  Allen 
Jenkins  .  Alice  White  .  Joe 
Cawtborn  .  Al  Shean  .  The 
Connecticut  Yankees  .  Frank 
&  Milt  Britton  Band  .  The 
Six  Famous  Composers 
Bobby  Connolly  and 
DIRECTOR   AL  GREEN 


and  "Sw 


/fURTATION  WALK  AND  DAMES ! 

9toii,Washingtoii,  Portland,  and  Other  Keys 
THE  BIGGEST  HITS  OF  THE  PAST  SIX  MONTHS! 


ENZIED  N.  Y.  STRAND  PREMIERE  SCENES  OVER  THE  WEEK-END 


TELL  THE  STORY  OF  RUDY'S  NEW  BOX-OFFICE  PERSONALITY 


1 

leet  Musk"  has  made  Rudy  Vallee! 


YOU'RE  BEATING  "BRIGHT  EYES"  ALL  ALONG  THE  LINE! 


CENTURY,  ROCHESTER:  Outgrossing 'Bright  Eyes' 
Xmas  week  engagement  by  25  per  cent.  First 
five  days  beat  entire  'Bright  Eyes'  week! 

RKO  PALACE,  ALBANY:  By  far  biggest  opening 
of  any  Fox  picture  this  season. 


KEITH'S  DAYTON:  50  per  cent  bigger  opening 
than  'Bright  Eyes.' 


FOX,  PHILADELPHIA:  Opening  2  days  big- 
gest of  season. .. practically  equal  4  days  of 
'Bright  Eyes'  (including  Xmas!) 

PARAMOUNT,  PORTLAND:  Running  neck- 
and-neck  with  sensational  'Bright  Eyes' 
engagement. 


FOX,  ST.  LOUIS:  Opening  day  beats  'Bright  Eyes' 
record-holding  Xmas  Day. 

STATE,  RICHMOND:  Far  ahead  of  'Bright  Eyes' 
which  played  larger- capacity  house.  Manage- 
ment looks  to  at  least  3 -week  run. 


SHIMLEY  TEMPLE 
LIONEL  BAMBYMOEE 


m 


7^  LITTLE  COLONEL 

A  B.  G-  DcSylva  Production  with 

EVELYN  VENABLE    •    JOHN  LODGE 
and  BILL  ROBINSON 

Directed  by  David  Butler 
Screen  play  ahd  adaptation  by  William  Conselman 
Based  on  the  story  by  Annie  Fellows  Johnston 


-AND  THEY'RE  PLANNING  HOLD-OVERS  t 


MOTION  PICTURE  HERALD 


Vol.  1 18.  No.  9 


QP 


March  2,  1935 


HASH  AND  REHASH 

PILED  high  under  our  left  elbow  is  an  array  of  press  clippings 
about  the  motion  picture.  Across  the  land  are  some  two 
thousand-and-odd  persons  with  access  to  printers'  ink  who 
are  willing  to  commit  themselves  to  print  with  opinions  about 
our  art  and  Industry.  In  a  fashion,  the  repute  of  this  industry 
is  made  by  what  they  say.  Examination  of  their  printed  com- 
ment reveals  that  few  of  them  see  pictures,  but  that  many, 
many  of  them,  being  typical  editorial  writers,  re-write  and 
comment  upon  what  someone  else  has  written,  or  more  likely, 
rewritten. 

Now  the  painful  fact  Is  that  the  problems  of  the  motion  pic- 
ture arise  not  so  much  from  the  persons  who  see  them  as  from 
the  persons  who  read  about  them.  Continually  we  are  con- 
fronted by  opinions  on  pictures,  on  block  booking,  on  censor- 
ship, on  this  and  that  by  persons  who  get  their  entire  informa- 
tion from  what  somebody  said  in  somebody's  paper  about  what 
somebody  wrote  about  what  he  heard  from  somebody.  Mean- 
while there  is  a  theatre  In  his  town. 

Part  of  a  very  considerable  part  of  the  motion  picture's 
problem  arises  from  the  fact  that  a  large  number  of  writing 
persons,  across  these  United  States,  have  to  do  a  piece  every 
day  for  their  paper  or  their  syndicate  of  papers  and  that  the 
ubiquitous  motion  picture  is  always  leading  with  its  chin.  It 
will  be  a  great  day  for  the  screen  when  its  publicity  becomes 
somewhat  less  automatic. 

AAA 

THE  much  regretted  passing  of  Leo — the  Lion — of  Metro- 
Goldwyn-Mayer  leads  us  to  wonder  what  may  have  been 
the  fate  of  that  game  and  gorgeous  golden  winged 
rooster  Mr.  Pathe,  which  we  introduced  to  the  world  as  the 
first  sound  trade  mark  at  the  dawn  of  the  new  art.  Mr.  Pathe 
was  a  stubborn  cuss.  The  recording  of  his  trade  mark  crow 
tied  up  a  studio  for  half  a  day  and  cost  more  than  a  thousand 
dollars.  He  went  to  a  number  of  conventions  after  that  but  he 
never  worked  again.   He  may  be  a  feather  duster  by  now. 

AAA 
CRIES  BACKSTAGE 

MR.  WALTER  PRICHARD  EATON,  that  estimable 
Yankee  critic  who  has  just  become  head  of  the  Yale 
drama  department,  all  of  a  sudden  begins  to  view 
the  motion  picture  with  alarm  and  with  wide  attentions  for  his 
alarm  In  the  daily  press. 

The  motion  picture  "feeds  on  the  brains"  of  the  stage 
according  to  Mr.  Eaton  and  he  is  all  of  a  twitter  over  the 
expectation  that  presently  there  will  be  no  stage  and  that 
In  consequence  there  will  be  no  pictures  either. 

We  hasten  to  offer  Mr.  Eaton  reassurances.  The  stage  he 


is  contending  for  is  merely  a  relic  art  form  in  which  drama  was 
presented  by  repeated  reenactment  merely  because  of  the 
lack  of  a  medium  of  record  and  reproduction.  That  old  stage 
will  linger  quite  a  while  yet  under  the  patronage  of  old  con- 
servatives and  their  Imitators.  It  may  be  observed  also  that 
a  few  wealthy  old  ladles  In  New  York  still  ride  on  the  avenue 
in  horsedrawn  carriages. 

It  is  rather  common  now  to  observe  the  exponents  of  old  arts 
and  technologies  screaming  that  they  are  abused  when  the 
fact  Is  that  they  are  merely  outmoded. 

The  fact  that  the  motion  picture  through  the  early  years  of 
sound  has  been  borrowing  heavily  from  the  plays  and  personnel 
of  the  stage  is  no  warrant  for  the  alarmed  assumption  that  the 
screen  will  continue  unweaned  and  presently  find  Itself  helpless. 
It  will  evolve  what  It  requires,  as  always. 

AAA 
THEY'RE  LOOKING 

THE  Herald's  flow  of  exhibitor  mail  these  days  reflects 
a  considerably  Intensified  attention  to  the  content  of 
screen  wares  and  their  import  as  social  documents. 
"I  know  that  a  great  many  small  town  exhibitors,  like  my- 
self, are  of  the  opinion  that  the  Decency  campaign  and  its 
effect  on  production  has  attracted  new  faces  to  our  theatres," 
writes  Mr.  Joe  Crivello  of  the  Lyric  theatre  In  Gillespie,  Illinois, 
enclosing  a  carbon  of  an  acute  letter  to  the  producer  of  a 
release  to  which  he  was  taking  exception. 

These  new  people  In  the  theatre,  Mr.  Crivello  points  out, 
are  sharply  critical,  sure  to  be  moved  to  adverse  comment  by 
"little  suggestive  scenes  slipped  through." 

AAA 
LOST  IN  THE  LEXICON 

A REPORTER  for  the  New  York  Times,  writing  of  the 
return  of  "Green  Pastures"  and  Mr.  Richard  B.  Harri- 
son to  Broadway's  stage,  remarked  In  closing:  "...  the 
Lawd's  understudy  has  never  had  a  chance  to  play  the  role. 
When  Gabriel  shouts  the  dramatic  cue,  'Gangway,  gangway 
for  de  Lawd  God  Jehovah,'  it  is  always  Harrison  who  responds, 
a  living  embodiment  of  the  monotheistic  idea."  What  the  re- 
porter really  meant  was  "afro-anthropomorphic  Idea." 

AAA 

THAT  dextrous  philosopher  who  advised  women  past  forty- 
five  to  run  the  movies,  Dr  Walter  B.  Pitkin,  has  spawned 
another  book  entitled  "The  Art  of  Relaxation,"  announced 
for  May  by  Simon  &  Schuster.  Relaxation  properly  begins  In 
June.  Meanwhile  the  announcement  does  not  make  It  certain 
whether  this  Is  a  sequel  to  Dr.  Pitkin's  big  "Outline  of  the  His- 
tory of  Human  Stupidity,"  or  his  "More  Power  to  You."  We 
were  born  relaxed,  it's  a  gift. 


MOTION  PICTURE  HERALD  MARTIN  QUIGLEY,  Editor-in-Chief  and  Publisher 

Incorporating  Exhibitor's  Herald,  founded  1915;  Motion  Picture  News,  founded  1913;  Moving  Picture  World  founded  l™7;M°tography  founded  1909;  Th^^  Film  Index, 
founded  1906.  Published  every  Thursday  by  Quigley  Publishing  Corripany,  1790  Broadway,  New  York  City.  Telephone  Circle  7-3100.  Cable  ?f ^uippubco,  New 
Martin  Quigley,  Editor-in-Chief  and  Publisher!  Colvin  Brown,  Vice-President  and  General  Manager;  Terry  Ramsaye  Editor;  Ernest  A.  Rovel  tad  ^p"'^'"^  R^l^  "Vj^us^  ^^I0 
Bureau.  407 Vuth  Dearborn  Street,  Edwin  S.  Clifford,  manager;  Hollywood  Bureau  Postal  Union  Life  Buildmg  Victor  M.  Shapiro  manager;  London  Bureau  Remo  H^^^^^^ 
Regent  Street,  London  W  I,  Bruce  Allan,  cable  Quigpubco  London;  Berlin  Bureau,  Berlin-Templeho  ,  Kaiserin-Augustastrasse  28,  Joachim  K.  Rutenberg,  representahve  Par  s 
Bureau,  19,  Rue  de  la  Cou  -des-Noues,  Paris  20e  France,  Pierre  Autre,  representative,  cable  Autre-Lac.fra  -20  Pans;  Rome  Bureau,  Viale  Gorma,  Rome,  Italy,  Vittorio  Malpassuti. 
representative.  Italcable,  Malpassuti,   Rome;  Sydney  Bureau,  600  George  Street,  Sydney    Australia,  Cliff  Ho  t,  ^«P^«%"t?.t'^^;  ^  'Rnr^^'lO        C™'^^  V^lla  G^en 

Mexico  James  Lockhart  representat  ve;  Prague  Bureau,  Na  Slupl  8,  Prague  II,  Czechoslovakia,  Harry  Knopf,  representative;  Cape  Town  Bureau,  10  St  George  s  Villas,  Green 
PoTn  CaprTown,' South  Africa!  H.  Hanson.^epresentatlve;  Budapest  Bureau,  3,  Kaplar  -u,  Budapest  """g^^V,  .  Endre  Hevesi  representative;  Buenos  A^  Bureau  Cuenca  52, 
Buenis  Aires,  Argentina,  N.  Bruski,  representative.  Member  Audit  Bureau  of  Circulations.  All  contents,  copyright  1935  by  Quigley  Publishing  Company  Address  all  corre- 
spondence to  the  New  York  Office.  Better  Theatres,  devoted  to  the  construction,  equipment  and  operation  of  theatres,  is  published  every  fourth  week  as  section  2  of  Motion 
Picture  Herald.      Other  Quigley  Publlcationi:  Motion  Picture  Daily,  the  Motion  Picture  Almanac,  published  annually,  and  the  Chicagoan. 


8 


MOTION    PICTURE  HERALD 


March    2  .    19  3? 


THIS  WEEK--- 


MEXICAN  TAXES 

American  distributors  temporarily  have 
withheld  their  Intended  withdrawal  from 
Mexican  activity,  at  the  request  of  the 
Mexican  government.  Distributors  had  de- 
clared they  would  leave  the  country  if 
taxes  were  not  reduced.  No  action  was 
taken  by  a  new  government  and  when  dis- 
tributors indicated  they  would  withdraw, 
the  government  asked  for  more  time, 
promised  reduction  for  1935.  The  distribu- 
tors ask  retroactivity,  reductions  to  affect 
1934,  as  well.  .  .  . 

BRITISH  ACTION 

From  the  Associated  Press  comes  a 
London  dispatch  noting  that  British  pro- 
ducers have  declared  war  on  Hollywood 
competition,  plan  activity  to  force  equal 
distribution  with  American  product.  Brit- 
ish International  and  Saumont  are  re- 
ported to  have  spent  $17,000,000  lately 
buying  theatres  in  England,  Gaumont  $12,- 
000,000  of  the  total.  Both  already  own 
several  hundred  British  theatres.  .  .  . 

A  NEW  RIALTO 

Arthur  L.  Mayer,  independent  of  Para- 
mount, has  signed  a  20-year  lease  on  a  new 
Broadway  Rialto,  an  800-seat  house  to  be 
built  on  the  site  of  the  present  Rialto, 
which  he  operates.  Total  rental  will  reach 
$1,000,000.  Demolition  of  the  present 
house  is  expected  to  begin  in  April.  Base- 
ment rotunda  entrances  to  three  subway 
lines,  a  box  office  there,  rotunda  stores, 
balcony  and  roof  garden  to  be  operated 
by  a  "nationally  known  restaurant,"  will 
feature  the  theatre.  For  the  first  time  In 
17  years  Paramount  will  have  no  hand  in 
Rialto  operation.  ... 

"OUR  GANG"  TIEUP 

The  New  York  offices  of  Hal  Roach, 
MSM  comedy  producer,  backed  by  the 
Collegevllle  Flag  and  Manufacturing  Com- 
pany, plans  formation  of  1 ,000  exhibitor- 
sponsored  "Our  Gang"  baseball  teams 
this  year.  The  tieup  will  begin  when  the 
major  leaguers  start  southern  training.  .  .  . 

CONFERENCES 

MGM  Is  reviving  its  former  practice  of 
executive  production  conferences  on  major 
Issues  like  Important  talent,  story  purchase, 
production  policy.  The  conferees:  Louis  B. 
Mayer,  Irving  Thalberg,  David  O.  Selznick, 
Eddie  Mannix,  Ben  Thau,  Sam  Katz.  .  .  . 

LONDON  TRANS-LUX 

Trans-Lux  may  build  an  experimental 
short  subject  theatre  in  London  In  an  ar- 
rangement with  Norman  Hulbert,  operator 
of  British  newsreel  theatres.  .  .  . 


DIVIDEND  UPPED 

Loew's,  inc.,  has  doubled  the  annual 
dividend  rate  on  common  stock.  The  board 
declared  a  50-cent  quarterly  payment, 
comparing  with  25  cents  previously,  pay- 
able March  30  to  stockholders  of  record 
March  15.  Since  March,  1933,  the  25-cent 
dividend  has  been  paid.  Prior  to  I933's 
first  quarter  the  annual  rate  was  $3.  .  .  . 

RADIO  SCHEDULE 

RKO  Radio  will  deliver  a  minimum  of  46 
features  this  season,  and  plans  between 
45  and  50  productions  for  1935-36,  last 
week  declared  Ned  E.  Depinet,  president 
of  Radio  Pictures  Distributing  Corpora- 
tion, on  his  return  from  the  studio.  For 
this  season  21  had  been  delivered  to  Feb- 
ruary. The  annual  convention  will  be  held 
in  late  June  or  early  July.  .  .  . 

ONTARIO  CENSOR 

Only  36  of  2,161  films  examined  by  the 
Ontario,  Canada,  censor  during  1934  were 
rejected  entirely.  Of  the  total,  1,309  were 
approved  as  submitted,  816  were  revised 
before  acceptance.  For  the  first  time  of 
record,  one  of  the  150  British  films  was 
rejected  completely,  while  39  required  de- 
letions. In  sum,  108  British  films  were 
passed  In  1933,  comparing  with  149  In 
1934,  an  Increase  of  41.  .  .  . 


In  This  Issue 


The  MPTOA  Convention  Page  9 
Pictures  of  Delegates  Page  12 
Registered  at  New  Orleans  Page  37 
Antitrust  activity  on  three  fronts  Page  15 
Sound-on-film  adopted  for  radio  broad- 
casts Page  16 
State  legislatures  hammer  away  at  film 

industry  Page  49 

FEATURES 

Editorial  Page  7 

The  Camera  Reports  Page  33 

The  Cutting  Room  Page  50 

The  Hollywood  Scene  Page  25 

J.  C.  Jenkins — His  Colyum  Page  70 

Productions  in  Work  Page  60 

Asides  and  Interludes  Page  31 

DEPARTMENTS 

What  the  Picture  Did  for  Me  Page  71 

Showmen's  Reviews  Page  54 

Managers'  Round  Table  Page  77 

Technological  Page  62 

Short  Features  on  Broadway  Page  76 

Letters  from  Readers  Page  75 

Chicago  News  Notes  Page  76 

The  Release  Chart  Page  85 

Box  Office  Receipts  Page  66 

Classified  Advertising  Page  90 


RKO— HUFFMAN 

Differences  in  Denver  settled,  RKO  will 
take  over  on  March  15  the  Orpheum  from 
Harry  Huffman,  who  had  refused  to  vacate, 
threatening  to  force  RKO  to  court  action. 
RKO  had  lost  the  house  when  bondholders 
had  foreclosed,  but  later  making  payment, 
met  Mr.  Huffman's  refusal  to  vacate,  he 
contending  payment  was  made  too  late, 
and  holding  a  contract  to  buy  the  house 
from  the  bondholders,  subject  to  redemp- 
tion action  by  RKO.  .  .  . 

NEW  CENSOR 

Republican  Dr.  Ben  Paul  Sandy,  dentist, 
has  been  appointed  by  Republican  Gov- 
ernor Harry  Nice,  to  succeed  Democrat 
Bernard  Gough  as  chairman  of  the  Mary- 
land state  censor  board.  He  has  seen  a 
few  pictures  each  year,  promises  a  fair 
deal,  but  remembering  his  first  duty  is  to 
the  public,  not  the  exhibitor,  he  says.  .  .  . 

COLLEGE  THEATRE 

Important  motion  pictures,  as  well  as 
college  dramatic  efforts  will  be  shown  at 
the  planned  new  theatre  to  be  erected  on 
the  campus  of  Stanford  University,  Palo 
Alto,  Calif.  Building  plans  have  been  ap- 
proved, the  theatre  to  cost  more  than 
half  a  million.  .  .  . 

LANGUAGE  DEVICE 

George  P.  Regan  and  Albert  R.  Day, 
San  Francisco  engineers,  have  perfected  a 
process  by  which  they  claim  English  speak- 
ing players  may  be  presented  on  the  screen 
speaking  any  foreign  language  perfectly. 
The  method  is  based  on  a  system  of  Eng- 
glish  code  words  producing  lip  movements 
conforming  to  the  desired  foreign  lan- 
guage dialogue.  International  Cinema, 
Inc.,  has  been  formed  to  commercialize  the 
process.  .  .  . 

MRS.  HARTLEY 

Mrs.  Emily  Wakeman  Hartley,  of  Green- 
wich, Conn.,  died  last  week  In  New  York, 
age  62.  A  former  actress,  she  owned  and 
operated  the  Stamford  theatre,  Stam- 
ford, Conn.,  from  1914  to  1927,  one 
of  the  country's  few  women  theatre 
operators.  Retiring  from  the  stage  In 
1913,  Mrs.  Hartley  realized  an  ambition 
when  she  built  the  Stamford.  .  .  . 

PUTNAM  RESIGNS 

Effective  March  I,  George  Palmer  Put- 
nam, eastern  editorial  chief,  will  leave 
Paramount  after  three  years.  It  is  reported 
he  will  be  associated  with  the  production 
of  several  expedition  films.  Former  pub- 
lisher, Mr.  Putnam  headed  an  expedition 
several  years  ago  for  which  Pathe  held  ex- 
clusive film  rights.  .  .  . 


March    2.  1935 


MOTION    PICTURE  HERALD 


9 


MPTOA  MERGES  PLAINTS  IN 
CONVENTION  CODE  FIGHT 


Drop  Code  or  Simplify  it,  Speak- 
ers Urge;  Cancellation  and 
Clearance  Concessions  Seen 
as  Aim;  Rosenblatt  Defends  It 

BY  GEORGE  SHUTZ 

The  grievances  that  once  made  many  is- 
sues at  conventions  of  the  Motion  Picture 
Theatre  Owners  of  America  were  bitterly 
grouped  under  a  single  name — the  code — at 
the  1935  meeting  at  the  Roosevelt  hotel  in 
New  Orleans  this  week.  Convention  pic- 
tures appear  on  pages  12  and  13.  A  part 
list  of  the  500  attending  is  on  pages  37  and 
38. 

The  demands  ranged  fronn  its  reduction 
to  a  few  words,  to  its  complete  abolition. 
The  only  realistic  hope,  however,  was  that 
the  clamor  would  reach  Washington  and 
prepare  the  way  for  the  rewriting  of  some 
portions.  Cancellation  and  clearance  issues 
were  particularly  emphasized. 

Practically  alone  in  defense  of  the  six- 
months'  old  document  was  NRA  Compli- 
ance Director  Sol  A.  Rosenblatt,  who,  after 
fearing  he  would  not  be  able  to  leave 
Washington,  finally  arrived  in  New  Orleans 
on  Thursday,  the  closing  day,  to  brave  the 
attack. 

Preceding  the  first  business  session,  on 
Tuesday,  the  directors  reelected  Ed.  L.  Kuy- 
kendall  president,  and  returned  all  the  other 
officers  except  that  Morris  Lowenstein  of 
Oklahoma  City  was  chosen  to  replace  E.  G. 
Levy  as  secretary.  Mr.  Levy  continues  as 
general  counsel. 

Although  this  convention  could  not  very 
well  lay  claim  to  complete  national  represen- 
tation— the  very  section  in  which  it  was  held 
being  but  sparsely  represented — the  attack 
on  the  code  and  its  administration  came 
from  every  principal  geographical  division 
of  the  country. 

Jack  Miller  Starts  It 

Jack  Miller,  of  Chicago,  characteristically 
began  it,  and  was  so  quickly  followed  by 
other  exhibitor  leaders  that  something  of  a 
demonstration  developed  and  thereby  fore- 
stalled efforts  to  postpone  discussion  until 
the  later  appearance  of  Sol  A.  Rosenblatt, 
NRA  compliance  director.  Mr.  Miller's 
opposition  was  comprehensive.  He  demanded 
that  the  code  be  reduced  to  a  few  words, 
these  to  deal  principally  with  wage  scales 
of  theatre  labor.  His  attack  sounded  the 
keynote  of  code  opposition,  the  others  add- 
ing the  contention  that  this  industry  was 
unfitted  for  blanket  regulation  because  of  the 
local  and  specific  nature  of  its  problems. 
The  criticism  of  the  Code  Authority  itself 
and  its  administrative  organization  really 
\\'as  based  on  this  fundamnetal  condition  of 
localization. 

"Unless  the  Code  Authority  surrenders  in 
favor  of  local  autonomy,"  declared  Morgan 
A.  Walsh,  of  San  Francisco,  "we  ought  to 
throw  out  the  code  in  its  entirety." 

Chief  among  the  local  problems  which 


BACK  TO  INDIANS, 
SAYS  JACK  MILLER 

Jack  Miller,  president  of  the  Chi- 
cago Exhibitors'  Association,  has  come 
to  the  conclusion  that  the  motion  pic- 
ture code  should  be  relegated  to  the 
ash-heap,  or,  as  he  put  it  Tuesday 
at  the  MFTOA  convention  in  New 
Orleans,  "give  it  back  to  those  Indians 
we  worked  with  in  Washington." 

"What  has  the  code  done  for  us 
nationally?"  he  asked  the  assembled 
exhibitors  and  executives.  "I  thought 
when  you  wrote  it  we  were  going 
places,  and  now  I've  discovered  if  you 
go  those  places  you'll  do  it  so  long 
you  won't  have  time  to  run  your  thea- 
tres. We  wrote  the  code  with  the 
most  intelligent  men  in  the  business — 
if  that  means  anything,  and  I  don't 
know  that  it  does.  We  were  promised 
that  if  we  took  care  of  labor,  ti/e'd  be 
allowed  to  run  our  own  business.  It 
hasn't  happened.  Let's  call  the  code 
off.  Let's  not  change  it,  but  give  it 
back  to  those  Indians  we  worked  with 
in  Washington." 

Mr.  Miller  has  somewhat  of  a  repu- 
tation as  a  "fire-eating"  orator. 


the  Code  Authority  was  called  incapable  of 
meeting  were  those  of  clearance  and  can- 
cellation. Mr.  Walsh  said  that  36  anti-block 
booking  bills  in  state  legislatures  were  the 
direct  result  of  the  10  per  cent  cancellation 
clause. 

"In  Los  Angeles  there  were  banners  call- 
ing for  clean  pictures,  and  we  conferred 
with  the  producers  on  this,  but  nothing  came 
of  it." 

Mr.  Walsh  pointed  to  the  Legion  of  De- 
cency campaign  as  the  result  of  this  failure 
of  the  producers  to  heed  the  warning. 

Continuing  the  attack  on  the  cancellation 
clause  and  clearance,  Jules  Michael  of  Buf- 
falo proposed  passage  of  a  resolution  asking 
President  Roosevelt  to  let  the  industry  re- 
turn to  its  own  methods  when  the  code  ex- 
pires June  30th. 

"For  seven  years  we  have  been  working 
for  reasonable  cancellation  and  clearance, 
and  we  got  behind  the  code  and  paid  our 
share  in  the  hope  that  it  would  give  us 
relief.    It  has  not  given  us  relief,"  he  said. 

Robert  Wilby,  of  the  Valatenga  circuit, 
charged  that  the  10  per  cent  cancellation 
clause  was  to  come  as  a  reward  for  ex- 
hibitors if  they  came  to  the  support  of 
the  code,  and  charged  further  that  the 
distributors  actually  had  instructed  their 
exchange  managers  to  see  that  their 
theatres  did  not  get  the  right  to  cancel 
as  provided  for. 

Harry  S.  McLeod,  president  of  the  Gulf 
States  Theatres  Association,  and  general 
chairman   of   arrangements — although  his 


Kuykendall,  Reelected,  Pleads 
for  Policy  of  Tolerance,  At- 
tacks Bank  Nights;  Double 
Featuring  Issue  Also  Raised 

Association  is  not  a  member  of  the  MPTOA 
— said  that  all  the  code  meant  to  him  was 
higher  wages. 

Ben  Berinstein,  Los  Angeles,  likewise 
charged  that  relief  had  not  been  forthcom- 
ing and  advocated  dropping  the  code. 

With  a  lengthy  recital  of  malevolent 
trade  practices,  Mr.  Kuykendall,  making  his 
annual  report  Tuesday,  practically  did  the 
very  thing  he  wishes  to  avoid :  brought  the 
code  on  the  floor  of  the  convention  before 
Thursday.  The  code  being  so  certainly  re- 
garded by  those  assembled  as  the  current 
fountain  from  which  all  industry  evils  flow, 
his  presidential  report  released  energy  long 
pent  up. 

Oil  on  the  Fire 

Mr.  Kuykendall's  tendency  to  be  lenient  with 
the  Code  Authority  and  temperate  concerning 
the  code  itself,  had  the  effect  of  pouring  oil  on 
the  fire. 

Answering  reports  that  a  "gag"  rule  would 
prevail,  Mr.  Kuykendall  declared  an  hourly 
open  forum  would  prevail,  confined  to  national 
issues,  but  even  this  limitation  was  objected  to 
and  the  president  was  forced  to  extend  the 
original  order  to  embrace  all  exhibitor  prob- 
lems. 

During  the  discussion  following  Mr.  Miller's 
heated  attack  on  the  code,  Mr.  Kuykendall 
denied  he  ever  had  said  he  was  for  the  code. 
In  his  report,  however,  he  declared  that  the 
code  gives  the  industry  "a  place  to  go." 

"Those  very  persons  who  condemn  the  code 
in  its  entirety,"  he  charged,  "are  those  who 
ran  out  in  Washington  long  before  any  code 
was  written." 

Asks  for  Tolerance 

He  called  for  a  policy  of  tolerance,  of  give 
and  take,  and  correction  as  the  code's  defects 
asserted  themselves,  and  paid  tribute  to  Mr. 
Rosenblatt  as  one  knowing  the  film  industry 
thoroughly. 

"If  the  code  is  wrong,  let  us  change  it,"  he 
recommended,  "but  let  us  not  by  subterfuge  and 
evasion  try  to  confuse  the  issues  as  some  are 
now  doing." 

In  connection  with  the  presentation  of  his 
report,  but  not  as  a  part  of  it,  Mr.  Kuykendall 
extemporaneously  paid  his  respects  to  Will  H. 
Hays,  president  of  the  Motion  Picture  Pro- 
ducers and  Distributors  of  America. 

"I  have  not  always  agreed  with  him,"  said 
Mr.  Kuykendall,  "but  I  know  he  is  trying  his 
best  for  exhibitors  as  well  as  producers."  He 
added  it  was  his  belief  that  there  should  be  a 
closer  understanding  between  the  MPPDA  and 
independent  exhibitors. 

Among  the  smaller  of  these  exhibitors 
the  code  premium  clause  and  the  ban  on 
prizes  are  principal  sore  spots,  yet  Mr. 
Kuykendall  recommended  in  his  report 
continuance  of  MPTOA  opposition  to  such 
methods,  including  that  on  so-called  "bank 
nights." 

He  followed  this  with  a  frank  expression  of 
his  opinion  in  favor  of  block-booking  as  the 

(Continued  on  followinq  paac^ 


10 


MOTION    PICTURE  HERALD 


March    2,  1935 


PHYSICAL  OPERATION  IS  EMPHASIZED 


(Continued  from  firecedinp  fiape) 

only  economical  means  of  permitting  exhibitors 
to  buy  pictures.  This,  he  said,  was  especially 
true  of  those  not  within  easy  reach  of  screen- 
ing facilities. 

To  double  featuring,  however,  he  recom- 
mended unalterable  opposition,  and  charged  that 
some  producers  were  actually  making  certain 
pictures  at  especially  low  cost  for  booking  on 
the  same  program  with  other  productions.  The 
percentage  system  came  in  for  criticism  chiefly 
on  the  grounds  that  the  distributors  were  get- 
ting unreasonable  in  their  demands. 

Cites  Legislation  Menace 

Referring  to  the  Government  suit  against  the 
American  Society  of  Composers,  Authors  and 
Publishers,  Mr.  Kuykendall  said  the  MPTOA 
was  not  interested  in  having  ASCAP  dissolved, 
but  that  theatre  owners  should  seek  an  amend- 
ment to  the  copyright  laws  protecting  exhibitors 
innocently  guilty  of  infringement.  Reviewing 
exhibitors'  recent  agitation  to  ward  off  in- 
creased fees  demanded,  and  obtained  in  part  by 
ASCAP.,  Mr.  Kuykendall  asked  whether  there 
is  anything  to  prevent  the  Society  from  de- 
manding a  percentage  of  a  theatre's  daily  re- 
ceipts. 

"Taxes,  legislation,  unfair  and  discriminatory 
regulation  are  perhaps  the  biggest  menace  we 
have  as  an  industry,"  Mr.  Kuykendall  declared. 

Asks  20%  Cancellation 

As  to  cancellation,  Mr.  Kuykendall  said  that 
after  close  contact  with  thousands  of  exhibitors, 
he  felt  the  real  answer  is  a  more  reasonable 
cancellation  privilege  in  contracts,  "about  20 
per  cent." 

"It  would  relieve  many  exhibitors  and  give 
them  a  chance  to  operate  at  a  profit,  where  as 
it  now  stands  they  are  bound  to  take  a  loss 
on  many  objectionable  pictures,"  he  said.  "And 
I  warn  you  to  remember  what  is  objectionable 
in  one  community  may  be  acceptable  in  another. 
The  present  10  per  cent  cancellation  clause  has 
proven  a  dud.  It  would  have  been  helpful  had 
the  distributor  played  fair,  but  he  used  every 
subterfuge  to  evade  it." 

The  MPTOA  president  outlined  the 
"proper"  principles  on  clearance  and  zon- 
ing demanded  by  the  organization,  to  be 
based  on  geographical  zones,  film  rentals, 
and  admissions.  The  MPTOA,  he  ex- 
plained, does  not  believe  fair  and  equi- 
table clearance  and  zoning  can  be  ob- 
tained unless  admission  price  charges  are 
taken  into  consideration. 

Mr.  Kuykendall  criticized  exhibitor  organ- 
izers, who,  he  said,  are  working  to  the  detriment 
of  the  industry  in  general.  He  also  sharply 
criticized  non-theatrical  competition,  calling  it 
"partly  the  fault  of  theatre  managers,  because 
the  theatre  on  the  average  is  not  properly  en- 
couraging friendly  relations  between  the  various 
organizations,  particularly  the  aggressive  ones 
like  the  American  Legion."  He  advised  the 
delegates  to  use  discretion. 

Family  night  programs,  Mr.  Kuykendall  said, 
should  not  have  a  "beautiful  short  with  a  sexy 
feature,"  and  exhibitors  should  be  careful  in 
combining  their  features  so  that  condemnation 
will  not  be  brought  down  upon  the  industry 
by  presenting  the  wrong  attraction  at  a  family 
show. 

Walter  Vincent,  in  a  letter  to  the  convention, 
opposed  double  featuring,  approved  of  block 
booking,  protested  against  score  charges  and 
demanded  25%  cancellation  privilege. 

M.  A.  Lightman,  former  president  of  the 


THESE  COMMITTEES 
PRESENTED  ISSUES 

Eight  standing  committees  named 
at  the  MPTOA  convention  to  route 
exhibitor  problems  for  the  sessions 
were: 

CODE  LABOR.  PROVISIONS^ 
Jack  Miller,  chairman;  J.  K.  Dennis- 
ton,  Charles  Segall,  R.  B.  Wilby, 
George  Nasser. 

CODE  TRADE  PRJ^CTICES^ 
Morgan  A.  Walsh,  chairman;  Morris 
Lowenstein,  J.  H.  Michael,  Mack 
Jackson,  W.  F.  Ruffin. 

CREDENTIALS  AND  RC/LES— 
George  A.  Mann,  chairman;  William 
Benton,  L.  E.  Thompson,  Fred  J. 
Dolle,  Louis  Ansell. 

LEGISLATION  AND  TAXES— 
M.  A.  Lightman,  chairman;  Ed.  M. 
Fay,  O.  C.  Lam  and  H.  C.  Buchanan. 

MUSIC  TAX — Lew  en  Pizor,  chair- 
man; A.  Julian  Brylawski,  Charles  E. 
Williams,  Joseph  H.  Brennan,  Sol  E. 
Gordon. 

NONTHEATRICAL  COMPETI- 
TION— George  A.  Giles,  chairman; 
George  P.  Aarons,  Barney  Dubinsky, 
H.  V.  Harvey,  Fred  Pickrell. 

PUBLIC  RELATIONS  AND 
COMMUNITY  AFFAIRS  —  Fred 
Wehrenberg,  chairman;  Sidney  Lust, 
William  Landers,  Roy  L.  Smart,  Will- 
iam Benton. 

RESOLUTIONS  —  Ed.  G.  Levy, 
chairman;  B.  N.  Berinstein,  R.  X. 
Williams,  Jr.,  Jay  Emanuel,  L.  S. 
Hamm. 


MPTOA,  urged  audience  classifying  of  pic- 
tures in  newspaper  advertising. 

Election  of  officers  was  the  first  official 
piece  of  business,  directors  meeting  Mon- 
day evening  and  returning  to  office:  Vice 
presidents  M.  E.  Comerford,  Scranton;  M. 
A.  Lightman,  Memphis;  A.  Julian  Brylaw- 
ski, Washington;  B.  N.  Berinstein,  Los 
Angeles;  W.  S.  Butterfield,  Detroit;  and, 
Treasurer  Walter  Vincent,  New  York;  Gen- 
eral Counsel  Edward  G.  Levy,  New  Haven, 
and  Chairman  of  the  Board  Fred  Wehren- 
berg, St.  Louis. 

Morris  Lowenstein,  president  of  the 
Motion  Picture  Theatre  Owners  of  Okla- 
homa, was  named  secretary  to  succeed 
Fred  S.  Meyer,  who  had  resigned  to  be- 
come an  assistant  to  Carl  Laemmie  at 
Universal  City. 

The  executive  committee  which  made  the 
nominations  included :  Mr.  Kuykendall,  O.  C. 
Lam,  Sidney  Lust,  J.  H.  Michael,  Jack  Miller 
and  L.  E.  Thompson. 

Directors  also  were  reelected,  these  including : 
Mr.  Kuykendall,  William  Benson,  Mr.  Berin- 
stein, Joseph  Bernhard,  ExJ  Fay,  Frank  Free- 


man, George  Giles,  Mr.  Lam,  Charles  Picquet, 
Mr.  Lowenstein,  Benjamin  Pitt,  Mr.  Lust, 
William  Quigley,  Mr.  Michael,  Ed  Schiller, 
Mr.  Miller,  Lewen  Pizor,  Mr.  Thompson,  Judge 
Roy  Walker,  Charles  Williams,  Morgan  Walsh 
and  R.  X.  Williams,  Jr. 

Opening  the  business  sessions  in  the  Roose- 
velt Gold  Room  at  2  p.m.  Tuesday,  H.  S. 
McLeod,  general  convention  chairman,  intro- 
duced the  Reverend  D.  H.  Whattley,  rector 
of  Grace  Episcopal  Church,  New  Orleans,  who 
delivered  the  invocation,  and  Theodore  Mi.  Sim- 
mons, vice-president  of  the  Association  of  Com- 
merce, who  made  the  welcoming  address.  A.  J. 
Brylawski  responded,  turning  the  gavel  over 
to  President  Kuykendall,  for  the  keynote  speech. 
Edward  G.  Levy  followed. 

Regional  Cooperation  Urged 

Cooperation  among  regional  associations  is 
vital,  said  Mr.  Levy,  general  counsel,  reading 
the  secretary's  report. 

Mr.  Levy  assured  the  delegates  that  no  or- 
ganization can  take  the  place  of  energetic  and 
aggressive  individual  effort  in  theatre  manage- 
ment, in  buying,  booking  and  merchandising 
motion  pictures  and  that  the  MPTOA  "does 
not  attempt  to  do  these  things  for  you." 

"But  MPTOA  has  succeeded — where  others 
have  failed  —  making  substantial  progress 
toward  bringing  about  fair  trade  practices, 
fairer  exhibition  contracts,  home  rule  for  the 
determination  of  controversies  by  local  boards 
and  sensible  self-control  within  the  industry." 

Mr.  Levy  said  the  MPTOA  is  not  dominated 
by  self-seeking  professional  exhibitor  or- 
ganizers, "nor  controlled  by  the  chronically 
unsuccessful,  irresponsible  and  unscrupulous 
exhibitors." 

Fred  Wehrenberg,  chairman  of  the  board, 
reporting  Tuesday  for  the  committee  on  public 
relations,  said  films  have  been  found  by  com- 
munity leaders  to  be  "not  in  general  filthy  and 
vile  and  an  offense  to  the  community." 

"These  cooperating  community  leaders,"  he 
said,  "knew  that  even  at  the  so-called  worst 
period  in  pictures  at  least  75  per  cent  of  all 
product  was  entirely  unobjectionable  from  any- 
body's standpoint,  and  that  much  of  the  criti- 
cism of  the  remaining  25  per  cent  was  a 
matter  of  opinion." 

Physical  Theatre  Emphasized 

Attention  given  the  physical  phases  of  the- 
atre operation  constituted  one  of  the  most  in- 
teresting parts  of  the  business  sessions  Wednes- 
day. The  morning  session  was  given  over 
entirely  to  theatre  building  and  its  mechanical 
facilities.  No  previous  MPTOA  convention 
has  gone  so  far,  according  to  observers,  in 
acknowledging  the  essential  participation  of 
the  engineer  in  the  business  of  selling  motion 
picture  entertainment. 

The  session  brought  the  Society  of  Motion 
Picture  Engineers  into  the  deliberations  of  an 
owners'  convention  for  the  first  time  through 
a  paper  by  Homer  G.  Tasker,  president  of 
the  S.M.P.E.,  and  read  by  Herbert  Griffin, 
sales  manager  for  the  International  Projector 
Corp. 

"I  stress  theatre  engineering  because 
it  is  so  completely  forgotten,"  Mr.  Tasker 
wrote.  "It  is  to  the  advantage  of  the  ex- 
hibitor and  engineer  alike  to  keep  the  the- 
atre running  smoothly  and  turning  out  a 
product  for  which  the  public  is  eager  to 
exchange  its  dollars." 

Robert  O.  Boiler,  architect,  of  Kansas  City, 
demonstrated  the  application  of  new  methods 
in  design  of  layout  and  decorations  to  improve 

(Continued  on  follominf)  pane) 


March    2  ,  1935 


MOTION    PICTURE  HERALD 


EXPLOITATION  COOPERATION  URGED 


(Continued  from  precedinp  paqe) 

sight  lines,  overcome  poor  traffic  conditions 
and  bring  theatres  up  to  date. 

J.  T.  Knight,  of  Paramount  Theatres  Service 
Corporation,  said  that  "for  economical  operation 
it  is  particularly  important  that  each  theatre 
be  well  organized  to  look  after  its  own  main- 
tenance as  much  as  possible." 

W.  C.  Brown  of  the  General  Research  De- 
partment at  Nela  Park  dwelt  chiefly  on  asso- 
ciation of  illumination  with  architectural  and 
decorative  treatment. 

Mrs.  F.  J.  Block,  vice-president  of  the  Amer- 
ican Federation  of  Organizations  for  the  Hard 
of  Hearing,  Inc.,  said  exhibitors  made  a  mistake 
in  installing  hearing  devices  in  the  rear  and 
side  seats. 

Selling  Pictures  Discussed 

Wednesday  afternoon  brought  to  exhib- 
itors a  firsthand  description  of  the  methods 
and  procedure  for  advertising  and  selling  mo- 
tion pictures,  as  suggested  by  advertising  and 
exploitation  experts  of  large  distributors.  On 
hand  for  the  forum,  from  New  York,  were 
the  advertising  directors  of  Metro-Goldwyn- 
Mayer,  Howard  Dietz ;  Paramount,  Robert 
Gillham;  United  Artists,  Hal  Horne;  Fox 
Film,  Charles  E.  McCarthy;  S.  Charles  Einfeld, 
Warner  Bros. 

Mr.  McCarthy  urged  advertising  protection 
for  current  stars  since  the  industry  has  so 
few  growing  stars.  Mr.  Einfeld  scored  exhib- 
itors for  failing  to  take  advantage  of  adver- 
tising counsel  available  in  New  York  and  to 
cooperate  more  closely  with  local  newspapers. 
Mr.  Gillham  proposed  that  exhibitors  forward 
suggestions  on  advertising  and  tieups. 

Exhibitors  have  long  protested  the  type  of 
press  books  and  exploitation  campaigns  sent 
out  of  home  offices. 

The  remainder  of  the  business  program  up 
to  adjournment  late  Thursday  afternoon  em- 
braced the  following  subjects: 

"How  to  Market  the  Literary  Type  of  Pic- 
ture" :  E.  C.  Rhoden,  general  manager.  Mid- 
west Theatres,  Kansas  City. 

"The  Theatre's  End  of  the  Better  Film  Bar- 
gain": Roy  L.  Smart,  North  Carolina  Theatres, 
Inc.,  Charlotte. 

"My  Experiences  with  Family  Night  Pro- 
grams" :  M.  A.  Lightman,  Malco  Theatres, 
Inc.,  Memphis. 

"How  to  Sell  the  Finer  Pictures" :  Lupton  A. 
Wilkinson,  Advertising  Advisory  Council,  New 
York. 

"Film  Delivery  Problems  and  Service" : 
James  P.  Clark,  Philadelphia,  president.  Na- 
tional Association  of  Film  Carriers. 

"Our  Problems  in  Local  Legislation" :  Hon. 
Roy  L.  Walker,  Lampasas,  Texas,  president, 
Theatre  Owners  Protective  Association  of 
Texas. 

"Theatre  Admission  Taxes  and  Other  Taxes 
Pertaining  to  Theatre  Operation" :  L.  W.  Rob- 
ert, Jr.,  Washington,  assistant  secretary  of 
the  U.  S.  Treasury. 

John  C.  Flinn,  Code  Authority  secretary, 
and  Sidney  R.  Kent,  Fox  Films,  had  had  to  can- 
cel addresses  because  of  business  pressure. 

Distribution  Executives  on  Hand 

New  York  distribution  executives  took  ad- 
vantage of  the  concentration  of  buying  power 
and  converged  early  on  convention  headquar- 
ters, the  Broadway  sales  contingent  including 
James  R.  Grainger,  Universal ;  John  D.  Clark, 
Fox ;  Felix  Feist,  MGM,  and  Jules  Levy,  of 
Radio.  Thirty  or  more  salesmen  were  also 
on  hand. 

Mr.  Grainger  and  his  divisional  sales  chiefs 
held  a  convention  of  their  own.  He  let  it  be 
known  that  Universal  will  sell  36  features  and 


six  westerns  in  1935-36,  and  will  have  its  an- 
nual sales  meeting  in  New  York  in  May. 

Delegates  learned  that  Warner,  RKO  and 
Fox  already  were  quietly  selling  1935-36  prod- 
uct. 

National  Film  Carriers,  Inc.,  also  held  an 
independent  convention.  President  James  Clarke 
presided.  Clint  Weyer,  secretary,  said  there 
were  pending  in  44  states  a  total  of  850  bills 
inimical  to  film  trucking  services. 

Equipment  dealers,  too,  participated.  Equip- 
ment exhibits  showed  the  product  of  Le  Roy 
Sound,  Rochester ;  Webster  Electric,  Racine, 
Wis. ;  Operadio  Manufacturing,  St.  Charles, 
111.;  Projection  Optics,  New  York;  American 
Seating,  General  Register,  National  Theatre 
Supply,  Electrical  Research,  International  Pro- 
jection, National  Carbon,  National  Screen, 
Railway  Express  Agency,  RCA  Photophone, 
Motion  Picture  Screen  Resurfacing,  Motion 
Picture  Advertising  Service  and  American  Dis- 
play. 

The  Photophone  booth  contained  a  new  type 
speaker  arrangement  which  provides  for  a 
special  horn  and  baffle.  National  Screen  es- 
tablished a  studio  in  the  Roosevelt  and  made 
talking  pictures  of  the  conventioneers.  W.  L. 
Conrow,  representing  Erpi,  explained  Western 
Electric's  new  theatre  equipment  consulting 
service. 

New  Orleans'  Mardi  Gras  holiday  spirit  pre- 
vailed but  it  did  not  submerge  convention  pro- 
cedure as  did  the  studio  influence  at  the  meet- 
ing in  Hollywood  last  year.  However,  Holly- 
wood paid  virtually  no  attention  to  the  con- 
clave this  time.  W.  S.  Van  Dyke,  Metro 
director,  attended  in  connection  with  tjie  show- 
ing of  his  "Naughty  Marietta,"  and  Nelson 
Eddy  was  also  on  hand.  Committeemen  openly 
expressed  the  belief  that  Hollywood^  especially 
Paramount  and  MGM,  had  ordered  their  play- 
ers not  to  participate.  Bing  Crosby,  Wallace 
Beery  and  W.  C.  Fields  had  been  expected. 

Thursday  brought  honors  to  MPTOA  lead- 
ers from  the  New  Orleans  Association  of 
Commerce,  which  gave  a  luncheon  to  President 
Kuykendall,  Vice-president  Brylawski,  General 
Counsel  Levy  and  Board  Chairman  Wehren- 
berg. 

The  New  Orleans  Item,  local  evening  news- 
paper, devoted  a  "Special  MPTOA  Edition" 
to  the  opening  on  Monday. 

Virtually  all  delegates  on  hand  for  first 
registration  on  Monday  participated  either  in 
the  golf  tournament  at  the  Metairie  Country 
Club,  or  in  the  sightseeing  tour  arranged  by 
the  New  Orleans  committee.  The  same  evening 
in  the  "Tip  Top"  room  atop  the  Roosevelt 
hotel  was  given  the  President's  reception.  There 
was  an  "01'  Man  River"  party  and  cruise 
aboard  the  Mississippi  River  steamer  Capitol, 
Wednesday  evening.  The  social  highlight,  of 
course,  was  the  annual  MPTOA  banquet  at 
the  Roosevelt  Thursday  night. 

Kansas  City  Moves  to  Break 
Insurance  Claim  "Racket" 

With  the  expressed  aim  of  smashing  the 
"fake"  damage  claim  "racket"  which  has 
been  thriving  in  Kansas  City  and  has  forced 
up  liability  insurance  rates  almost  prohibi- 
tively, the  local  Chamber  of  Commerce  is 
preparing  to  set  up  an  independent  bureau 
to  correct  the  evil.  Theatres  figure  promi- 
nently as  victims  of  the  racket. 

The  bureau,  to  be  financed  by  business 
men  most  affected,  will  work  towards  carry- 
ing out  17  major  recommendations  pre- 
sented in  a  voluminous  report  of  a  special 
insurance  committee  of  the  Chamber  of 
Commerce. 


Code  Authority  Is 
Scored  by  Yamins 

While  the  national  Motion  Picture  The- 
atre Owners  of  America  was  meeting  in  fif- 
teenth annual  convention  at  New  Orleans 
this  week,  various  state  and  local  exhibitor 
organizations  at  home  were  ironing  out  their 
own  problems. 

In  Columbus,  the  Independent  Theatre 
Owners  of  Ohio,  meeting  for  its  second  an- 
nual convention,  heard  the  motion  picture 
Code  Authority  attacked  by  Nathan  Yamins, 
described  as  the  "only  independent  exhibitor 
member"  of  that  body,  who  declared  that 
independent  exhibitors  stand  no  chance 
against  affiliated  theatre  men  because  seven 
Code  Authority  members  are  MPPDA  mem- 
bers and  an  eighth,  whom  he  did  not  name, 
is  "in  the  pay  of  the  Hays  office." 

Mr.  Yamins,  who  is  an  Allied  vice-presi- 
dent, apologized  to  the  Ohio  ITO  for  having 
been  a  member  of  the  board  and  of  the 
MPTOA  executive  committee  when  it  was 
organized  in  Columbus  in  1927  and  for  again 
serving  in  1928. 

"The  code  is  good  in  theory,  but  not  in 
practice,"  said  Mr.  Yamins.  "Yet,  despite 
the  fact  that  it  contains  many  things  which 
are  not  justified  and  omits  others  which  are, 
nothing  finer  than  the  code  has  come  out  of 
Washington  in  the  past  12  years." 

In  New  York  this  week,  the  Theatre 
Owners'  Chamber  of  Commerce  and  the  In- 
dependent Theatre  Owners'  Association 
dropped  their  policy  of  friendly  cooperation 
with  Loew's  and  RKO,  severing  a  working 
arrangement  of  long  standing  on  both  legis- 
lative and  union  problems.  Lack  of  support 
from  these  circuits  was  given  as  the  reason. 
It  was  revealed  a  faction  of  Brooklyn  and 
Manhattan  exhibitor  members  of  the  ITOA 
will  oppose  the  reelection  of  Harry  Brandt 
to  the  presidency.  Nomination  of  officers 
was  scheduled  this  week. 

In  New  Orleans,  reports  that  the  Gulf 
States  Theatre  Owners'  Association  would 
decide  to  affiliate  with  the  MPTOA  circu- 
lated anew  this  week  with  announcement  of 
the  resignation  of  Harry  S.  McLeod  as 
president.  Mr.  McLeod's  resignation  may 
take  effect  this  week,  at  the  organization's 
convention. 


Rolan  Joins  Staff 
Of  'Time'  Newsreel 

Ralph  Rolan,  for  the  past  seven  years  ac- 
count representative  with  Batten,  Barton, 
Durstine  &  Osborn,  has  joined  the  staff  of 
The  March  of  Time  as  vice-president  in 
charge  of  advertising  and  promotion  for  the 
new  screen  feature,  "The  March  of  Time." 
This  announcement  was  made  Wednesday 
by  Roy  E.  Larsen,  president  of  The  March 
of  Time,  Inc. 

For  the  past  three  years  Mr.  Rolan  has 
handled  the  Time  magazine  account  and  since 
last  December,  when  The  March  of  Time 
was  launched,  he  has  been  in  charge  of  pro- 
motion for  the  screen  feature. 


12 


MOTION    PICTURE  HERALD 


March    2,  1935 


HERALD  CAMERA 

OF  THE 


Vhotos  by  Harry  £.  Nicholsy 


MIDDLEWESTERNERS.  Standing:  J.  B.  Luskin,  L.  C.  Hehl,  L  K. 
Anseli,  Si.  Louis;  Sam  Komm,  Collinsvilie,   HL;  A.  C.  Mercier, 
Perryville,  Mo.;  A.  C.  Matreci,  St.  Louis. 
Seated:    Mrs.    Mary    Rudolph,  Chicago; 
Mrs.  Komnn,  Fred  Wehrenberg,  St.  Louis; 
Mrs.  John  Kiefner,  daughter  of  Mr.  Mercier. 


CHARLES  SEGALL,  of  Philadelphia,  a 
LOUIS  NIZER  (above),  counsel  of  the  Film  veteran  of  exhibitor  organization  activities. 
Boards  of  Trade,  with  his  booK  on  the  code.     was  a  busy  participant  in  deliberations. 


OPERATING  PARTNER  OF  PAR- 
AMOUNT. Robert  B.  Wilby  of  Atlanta 
and  his  other  partner,  Mrs.  Wilby,  took 
an  active  part  in  proceedings.  Mr.  Wilby's 
circuit  is  in  the  Southeast,  principally  in 
Georgia. 


SAM  DEMBOW,  L.  H.  KEENE  of  Loew's  and  HAL  YOUNG. 


H.  J.  and  JULIAN  HARVEY,  exhibitors,  San  Francisco. 


March    2  ,     I  ?  5  5 


MOTION    PICTURE  HERALD 


13 


T  CONVENTION 
PTOA 


iLD    Field  Representative 


LONGHORNS.  From  Jefferson  Amusement  Company  in  Texas 
came  Julius  and  Sol  Gordon  and  Joe  Clemmons. 


BUSINESS.  (Below)  Ed  Kuykendall  of 
Columbus,  Miss.,  reelected  president  of 
the  MPTOA,  talks  it  over  with  Ed  Levy, 
general  counsel  of  the  MPTOA,  with 
offices  in  New  Haven,  Conn. 


FELIX  F.  FEIST,  general  sales  manager  of 
Metro-Goldwyn-Mayer,  was  on  hand  early 
and  followed  with  close  interest  the  dis- 
cussions on  the  floor  of  the  convention  as 
well  as  outside  the  meeting  rooms. 


BROTHERS.  Harry  Thomas,  president  of 
First  Division,  and  Dave  Thomas,  producer. 


H.  R.  BERRY,  Hartsvllle,  S.  C;  M.  F.  SCHNIBBEN,  Florence.      HAROLD  ROBB  and  ED  ROWLEY,  Texas  circuit  operators. 


14 


MOTION    PICTURE  HERALD 


March    2.  1935 


FIRST  LARGE  EXHIBITOR  CIRCUIT 
ALARMS  SOUTH  AMERICAN  TRADE 


Association  of  3 1  Buenos  Aires 
Theatres  Will  Book  Pictures 
and  Vaudeville;  Friction  and 
Suspicion  Follow  Move 

By  N.  BRUSKI 

Btienos  Aires  Correspondent 

South  America's  first  important  circuit  of 
exhibitors,  an  organization  essentially  a 
booking  association,  has  just  been  launched 
with  31  theatres  in  Buenos  Aires  enrolled 
and  Argentina's  theatre  men  are  wondering 
what  will  happen  next.  Consorcio  Argen- 
tino  de  Espectaculos  (Argentina  Theatrical 
Consortium)  is  the  name  of  the  circuit, 
whose  activities  will  be  directed  by  an  ex- 
ecutive council  presided  over  by  Augusto  Al- 
varez, with  Clemente  Lococo  as  treasurer 
and  Antonio  J.  Sturla  as  secretary. 

The  Consortium  has  defined  its  objec- 
tives as  follows : 

1.  To  organize  and  prepare  motion  pic- 
ture and  vaudeville  shows  for  exhibition  in 
the  theatres  under  its  control; 

2.  To  contract  for,  acquire  or  rent 
through  regular  channels  all  necessary 
pictures  and  talent; 

3.  To  develop  its  activities  through 
methods  which  it  believes  most  efficient, 
making  the  shows  as  popular  as  possible, 
conforming  to  a  high  standard  of  moral 
content  and  following  artistic  and  cultural 
principles  to  be  of  credit  to  the  associa- 
tion; 

4.  To  assure  the  producers  or  distribu- 
tors of  films  and  agencies  for  films,  artists, 
directors  and  authors,  the  fulfilment  of  all 
deals  contracted  with  the  association. 

The  Consortium  will  have  full  control 
over  all  showings  in  the  member  theatres, 
with  ownership  of  one-half  the  exploitation 
rights  of  each  house.  The  31  theatres  are 
owned  by  16  exhibitors. 

Tieup  with  Iberica  Films 

The  Consortium  theatres  will  show  all 
the  motion  pictures  produced  by  Iberica 
Films  in  Spain  of  which  John  J.  Letsch 
is  president.  Indeed,  Mr.  Letsch,  for- 
mer manager  for  Metro-Goldwyn-Mayer 
in  South  America,  was  the  originator  of 
the  plan,  and  he  has  been  appointed  repre- 
sentative of  the  Consortium  in  Europe.  Mr. 
Letsch  had  placed  the  idea  in  operation  in 
Barcelona  but  the  organization  in  that  coun- 
try no  longer  exists.  With  the  same  gen- 
eral plan  he  placed  the  proposal  before  Mr. 
Alvarez,  who  approved  the  agenda  and  im- 
mediately started  the  wheels  turning.  As 
European  representative  Mr.  Letsch  will 
have  as  his  responsibility  the  selection  of  all 
vaudeville  numbers  that  in  his  judgment  will 
prove  drawing  attractions  in  South  America. 

The  agreement  will  be  made  effective  on 
May  1,  1935,  and  will  last  for  one  year,  fin- 
ishing on  the  very  day  that  all  the  associates 
will  have  shown  the  last  of  the  contracted 
pictures. 

Immediately  after,  and  in  accordance  with 


"GULLWEK" 
A  LA  SOVIET 

As  its  contribution  to  the  inter- 
national cinema  festival  now  being 
held  in  Moscow,  the  Soviet  industry 
has  presented  its  talking  screen  ver- 
sion of  Jonathan  Swift's  famed  satire 
of  eighteenth  century  England,  "Gul- 
liver's Travels",  with  the  hero  a 
crusading  Pioneer,  or  child  Com- 
munist, and  Lilliput  a  "bourgeoise 
capitalist"  community. 

With  puppets  as  the  players,  u/ith 
the  exception  of  one  child  actor  who 
plays  Gulliver,  the  film  recounts  the 
manner  in  which,  eventually,  the 
proletariat  of  Lilliput  rises  in  its 
might  to  establish  a  proletarian  dic- 
tatorship and  overthrow  the  capital- 
ist regime.  American  animated  car- 
toons suggested  the  technique  em- 
ployed, with  the  puppets  used  instead 
of  drawings. 


the  results,  any  one  of  the  associates  will 
have  the  right  to  withdraw  from  the  com- 
bination or  remain  therein,  in  which  case 
the  agreement  will  be  renewed  for  a  longer 
period. 

In  due  time,  and  after  the  withdrawal  of 
one  or  more  members,  the  remaining  ones 
will  decide  whether  the  entity  shall  continue. 

The  agreement  stipulates  severe  penal- 
ties to  which  will  be  subject  all  the  asso- 
ciates who  should  not  faithfully  fulfill  the 
terms. 

Membership  Restricted 

Another  clause  specifies  that  no  additional 
associates  will  be  admitted,  except  that  only 
in  the  case  of  emergency,  brought  about  by 
competition,  would  the  arrangement  be 
altered  with  admittance  of  one  more  show- 
house  under  the  exclusive  control  of  the 
Consortium. 

Every  associate  has  transferred  to  the 
chain  50  per  cent  of  the  exploitation  rights. 
At  the  end  of  the  first  year,  the  profit  that 
remains  will  be  divided  among  the  associates 
in  proportion  to  the  capital  of  each  one. 

Each  of  the  showhouses  will  be  run  di- 
rectly by  its  owner,  with  the  exception  that 
the  ticket  offices  will  be  responsible  to  the 
executive  committee  of  this  entity.  This 
committee  will  also  be  in  charge  of  the  rent- 
ing of  the  films  and  all  other  requirements 
of  the  showhouses. 

Formation  of  the  circuit  produced  the 
wildest  rumors,  and  some  exhibitors  fell  into 
a  state  of  panic  fearing  impairment  of  re- 
lations with  the  distributors. 

As  consequence  of  these  rumors,  it  was 
said,  further  chains  would  be  formed,  but 
when  the  natural  confusion  had  been  dis- 
sipated the  owners  of  the  remaining  mo- 
tion picture  houses  made  a  public  statement 
to  the  effect  that  they  would  maintain  their 
absolute  independence,  and  had  no  inten- 


Entire  Executive  Committee  of 
Exhibitors'  Association  Re- 
signs; Charge  Distortion  of 
Facts  by  Consortium  Paper 

tion  whatever  of  linking  themselves  into  a 
new  circuit. 

Nevertheless,  and  irrespective  of  all  that 
is  publicly  known  of  the  Consortium,  the 
amalgamation  of  so  many  individual  inter- 
ests into  one  unique  body  of  motion  pic- 
ture exhibitors  has  created  friction  and  sus- 
picion among  Argentine  showmen. 

Executive  Committee  Resigns 

Two  days  after  the  announcement  that 
the  Consortium  was  a  fact,  the  Exhibitors 
Society  had  its  weekly  meeting  and  all  the 
members  who  belong  to  the  Consortium 
were  openly  advised  that  the  executive  com- 
mittee no  longer  could  continue,  not  only 
because  the  statutes  of  the  Society  allow 
one  representative  for  each  enterprise,  but 
because  formation  of  the  chain  had  broken 
the  equilibrium  necessary  to  all  trade  rep- 
resentations. 

This  interpretation  of  the  statutes  pro- 
duced the  resignation  of  the  entire  execu- 
tive committee  of  the  Exhibitors  Society. 
New  elections  were  called,  and  the  members 
of  the  circuit  neither  voted  nor  accepted  of- 
fices of  executive  capacity.  Both  sides  have 
explained  their  position.  A  trade  magazine, 
property  of  one  of  the  members  of  the  Con- 
sortium, naturally  favors  this  entity  in  en- 
thusiastic manner.  A  comment  of  the  maga- 
zine was  followed  by  resignation  of  three 
members  of  the  newly  formed  committee, 
which  has  asked  for  a  boycott  against  Film, 
the  magazine  in  question,  on  the  basis  that 
it  has  deliberately  distorted  the  facts  and  cre- 
ated confusion. 

Although  the  circuit  will  not  begin  func- 
tioning until  1935,  it  has  been  the  cause  of 
many  misunderstandings  and  the  breach  is 
expected  to  widen. 


Examine  Extra  Lists 

A  Code  Authority  committee,  composed 
of  W.  Ray  Johnston,  Harold  S.  Bareford 
and  J.  Robert  Rubin,  met  in  New  York 
Wednesday  to  examine  the  registration  list 
recommended  by  the  standing  committee  on 
extras  in  Hollywood  before  the  Code  Au- 
thority acts  on  it  Thursday.  The  list  con- 
tains 1,004  names. 


Hauptmann  Case  Discussed 

The  Motion  Picture  Club  of  New  York's 
regular  weekly  Forum  on  Tuesday  listened 
to  a  discussion  of  the  legal  and  newspaper 
aspects  of  the  Hauptman  trial  by  Samuel 
Liebowitz,  criminal  lawyer ;  Alexander  Ka- 
minsky,  assistant  district  attorney,  and  Jack 
Lait,  writer  and  editor  of  King  Features. 


Seymour  Leaves  Warner 

James  Seymour,  ajsociate  producer  for 
Warner  for  the  past  two  years,  resigned  this 
week. 


March    2,  1935 


MOTION    PICTURE  HERALD 


15 


MISSOURI  AND  WISCONSIN  OWNERS 
WILL  FURTHER  ANTITRUST  PROBES 


Kansas  City  Independents  Name 
Committee  to  Prepare  Case; 
St.  Louis  Exhibitor  Charges 
Film  Stoppage  Conspiracy 

Independent  exhibitor  dissatisfaction  over 
alleged  unfair  treatment  received  in  trade 
practices  and  procedure  from  large  dis- 
tributors and  affiliated  circuit  interests  was 
further  expressed  this  week  in  Columbus, 
Kansas  City,  Milwaukee  and  St.  Louis,  add- 
ing to  the  discontent  already  voiced,  in  legal 
form  and  otherwise,  in  Chicago,  Los  An- 
geles, Philadelphia  and  elsewhere. 

The  Independent  Theatre  Owners  Asso- 
ciation in  Kansas  City  was  preparing  an 
antitrust  suit  on  its  own,  and  at  the  same 
time  considering  petitioning  the  Govern- 
ment for  a  federal  investigation  of  local 
trade  practices  of  circuits  and  distributors. 

Directors  of  the  Independent  Theatres 
Protective  Association  of  Wisconsin  and 
Upper  Michigan,  in  special  session  at  Mil- 
waukee, voted  to  ask  the  Government  to 
investigate  distribution-circuit  trade  prac- 
tices in  that  territory. 

In  St.  Louis,  the  Abraham  Lincoln  Amuse- 
ment Company  sued  Paramount,  charging 
restraint  of  trade  by  denying  first-run 
product  to  the  Odeon  theatre. 

Governor  Davey  of  Ohio  assured  the 
ITO  of  Ohio  convention  at  Columbus  of 
an  investigation  of  distributor  practices  in 
the  state. 

Independent  owners  in  Los  Angeles  and 
in  Philadelphia  continued  to  talk  freely 
about  federal  trade  practice  investigations 
expected  by  them  in  those  sectors. 

In  Chicago  hearings  began  in  the  anti- 
trust action  filed  early  in  the  month  by 
Jack  Rubin  of  the  Public  theatre  and  James 
Roden,  owner  of  the  Astor,  against  distribu- 
tors and  circuits.  Defense  counsel  asked  dis- 
missal, contending  complainant  had  not  ex- 
hausted remedial  sources  in  the  code. 

The  Department  of  Justice  antitrust  ac- 
tion against  distributors  in  St.  Louis  re- 
mained in  statu  quo. 

Kansas  Names  Committee  to  Act 

Ed.  Rolsky  was  appointed  committee 
chairman  and  Leland  Hazard  was  retained 
as  counsel  by  the  Kansas  City  Independent 
Theatre  Owners  to  proceed  with  a  com- 
plaint against  distributors.  Mr.  Rolsky  de- 
clared the  membership  favored  a  Depart- 
ment of  Justice  investigation  of  a  conspiracy 
charged  between  the  Fox  Midwest  circuit 
and  distributors. 

Mr.  Rolsky  said  the  fact  the  Code 
Authority  is  reported  ready  to  adopt  a  clear- 
ance schedule  for  Kansas  City  will  not  de- 
ter the  ITO  antitrust  legal  actions  because, 
he  said,  the  schedule  in  its  present  form 
would  not  be  acceptable  to  the  independents. 

The  contention  is  that  Fox  Midwest  is 
given  prior  right  to  product  and  that  the 
circuit  has  set  clearances  for  Kansas  City 
which  are  detrimental  to  independent  subur- 
bans, but  which  the  suburbans  are  forced 


to  accept.  They  are  also  wrought  up  over 
a  statement  attributed  to  a  Fox  Midwest 
official  that  his  circuit  could  effect  even 
lower  admissions  and  still  gain  protection 
over  independents  charging  higher  prices. 

In  voting  to  ask  the  Government  to  in- 
vestigate trade  practices  in  Milwaukee,  the 
directors  of  the  Wisconsin-Michigan  Inde- 
pendent Theatre  Owners  Protective  Associa- 
tion will  seek  a  continuance  of  the  inquiry 
conducted  in  the  summer  of  1931  by  the 
Wisconsin  Department  of  Agriculture  and 
Markets,  acting  in  behalf  of  independent 
owners  who  had  asked  for  relief  from  com- 
petition of  affiliated  circuits. 

The  1931  action  was  enjoined  in  federal 
district  court.  The  association  will  ask  the 
federal  government  to  order  the  Department 
of  Justice  to  take  up  the  investigation  where 
the  state  was  compelled  to  stop. 

The  declaration  of  Governor  Martin  L. 
Davey  of  Ohio  before  the  Ohio  ITO  was  un- 
expected. He  said :  "If  the  present  New 
York  and  Hollywood  practices  continue  and 
the  ITO  brings  them  to  my  attention,  I  will 
personally  appoint  a  Senatorial  or  special 
legislative  committee  to  make  a  thorough  in- 
vestigation of  the  situation  in  Ohio." 

Damages  Asked  in  St.  Louis  Suit 

Abraham  Lincoln  Amusement  Company 
set  forth  in  its  restraint-of-trade  petition 
filed  in  St.  Louis  against  Paramount  Pic- 
tures Distributing  Company  that  on  Oct.  1, 
1934,  it  entered  into  a  contract  with  the  de- 
fendant corporation  for  a  year's  supply  of 
motion  picture  product  to  be  shown  first-run 
at  the  Odeon  theatre  (negro  patronage), 
and  that  it  deposited  $3,000  in  accordance 
with  the  contract.  Later,  it  was  charged, 
Paramount  caused  cancellation  of  the  un- 
expired portion  of  the  contract  and  con- 
spired with  other  distributors  to  stop  sup- 
plying films  to  the  theatre. 

Attorneys  for  the  large  distributors  were 
preparing  the  defense  in  the  Department  of 
Justice  action  which  grew  out  of  federal 
indictments  returned  by  a  grand  jury  for 
alleged  restraint  of  trade. 

United  States  District  Judge  Charles  B. 
Davis  has  set  Monday  as  arraignment  date 
for  the  restraint  of  trade  case,  which  names 
as  defendants  Warner  Brothers  Pictures, 
Vitaphone  Corporation,  First  National  Pic- 
tures, Warner  Brothers  Circuit  Manage- 
ment, General  Theatrical  Enterprises,  Para- 
mount Pictures  Distributing,  RKO  Dis- 
tributing Corporation,  Harry  M.  Warner, 
Herman  Starr,  Abel  Gary  Thomas,  Grad- 
well  Sears,  George  J.  Schaefer  and  Ned  E. 
Depinet.  The  cases  probably  will  be  set  for 
trial  during  the  March  term  of  the  federal 
court,  but  delay  is  possible  due  to  recent 
advancement  of  District  Judge  C.  B.  Faris 
to  the  United  States  circuit  court  of  appeals. 

The  indictment  is  based  on  complaints 
made  by  the  owners,  lessees,  managers  of 
the  Ambassador,  Missouri  and  Grand  Cen- 
tral theatres,  concerning  their  inability  to 
obtain  first-run  pictures. 


Heads  Nebraska  lATSE 

F.  P.  Lewis  has  been  elected  president  of 
the  Nebraska  chapter  of  the  lATSE.  Roy 
M.  Brewer  has  been  elected  secretary. 


$200,000  Loss 
By  Roxy  Denied 

Abandonment  last  Saturday  by  Warners 
of  the  Samuel  L.  Rothafel  theatrical  venture 
at  their  Roxy-Mastbaum  theatre  in  Phila- 
delphia was  followed  by  a  denial  from  War- 
ners of  a  "rumor"  that  ten  weeks'  operation 
lost  between  $200,000  and  $250,000. 

"It  is  unfortunately  true  that  the  opera- 
tion of  the  theatre  under  Mr.  Rothafel's 
direction  has  not  proved  profitable,"  said 
Joseph  Bernhard,  general  manager  of  War- 
ner Brothers  Theatres  at  the  home  office  in 
New  York.  "But,  there  has  been  no  loss  of 
anything  like  the  amount  named." 

"As  Mr.  Rothafel  stated  in  Philadelphia," 
continued  Mr.  Bernhard,  "certain  develop- 
ments in  connection  with  prior  obligations 
made  it  impossible  for  him  to  be  constantly 
in  that  city.  Had  we  been  able  to  avail 
ourselves  of  his  exclusive  services  at  the 
Roxy-Mastbaum  we  would  have  been  glad 
to  continue  the  arrangement  with  him  with 
every  prospect  of  highly  successful  re- 
sults." 

Newspaper  reports  had  mentioned  that 
Roxy's  contract  was  for  a  salary  of  $1,000 
per  week.  The  Roxy-Mastbaum,  originall}' 
named  for  the  late  Jules  Mastbaum,  had 
been  dark  some  time  when  Roxy  took  it 
over. 

Roxy  told  the  press  when  he  returned  to 
New  York  over  the  weekend  that  the  maxi- 
mum loss  was  $30,000,  that  he  had  kept 
within  a  $24,000  budget,  and  that  he  is  to 
return  to  the  theatre  in  the  fall.  He  said 
that  he  now  is  negotiating  to  return  to 
Broadway  in  charge  of  a  first-run  motion 
picture  theatre. 

Final  Action  Due  Soon 
On  Philadelphia  Duals 

Exhibitors  this  week  were  awaiting  fur- 
ther moves  following  the  recent  decision  in 
the  double  feature  case  handed  down  in 
Philadelphia  by  District  Judge  George  A. 
Welsh  in  favor  of  Harry  Perelman,  and 
while  no  spreading  of  dual  bills  was  noted, 
reports  from  other  situations  in  the  country 
indicated  the  practice  is  increasing.  With 
the  return  to  Philadelphia  from  Florida  last 
week  of  Ben  Golder,  counsel  for  Mr.  Perel- 
man in  his  action  against  major  distributors, 
it  was  expected  that  action  would  be  started 
soon  to  conclude  the  matter.  It  was  said 
Thursday  Mr.  Golder  would  prepare  his 
decree  early  this  week. 

In  California  repeated  efforts  to  eliminate 
duals  have  proved  fruitless  according  to 
latest  figures.  Of  383  theatres  in  the  Los 
Angeles  territory,  it  is  reported,  more  than 
350  regularly  are  showing  double  features. 


Golden's  Father  Dies 

Abraham  Golden,  father  of  Edward 
Golden,  general  sales  manager  for  Mono- 
gram, died  this  week  in  Boston  at  73. 


16 


MOTION    PICTURE  HERALD 


March    2 .    19  3  5 


SOUND-ON-FILM  RADIO  BROADCAST 
LAUNCHED  DIRECT  FROM  THE  STUDIO 


Warner's  KFWB  Using  New 
Type  Equipment  at  Hollywood 
Station;  Programs  Recorded 
to  Avoid  Extraneous  Noises 

Radio  broadcasters  are  making  elaborate 
preparations  to  enter  the  sound-on-film 
broadcasting  field  on  a  nationwide  scale. 

After  years  of  experimentation  by  radio 
and  sound  engineers  with  various  types  of 
equipment,  to  develop  practicable  "sound- 
on-film-on-air"  apparatus  which  can  be  op- 
erated from  a  standard  broadcasting  studio, 
executives  of  United  Research  Laboratories 
last  week  announced  it  had  completed  its 
tests  and  is  ready  to  put  the  equipment  on 
the  market.  Last  week  on  the  Warner 
Brothers  Hollywood  station,  KFWB,  lis- 
teners were  given  an  opportunity  to  hear 
for  the  first  time  a  film-on-air  program 
broadcast  direct  from  a  radio  studio.  United 
Research  conceived  and  built  the  new  type 
equipment  for  Warner  Brothers. 

Never  Before  Direct  from  Studio 

Although  radio  audiences  have  heard 
film-on-air  broadcasts  once  or  twice  the 
past  year,  the  actual  broadcasting  in  these 
instances  was  not  direct  from  the  studio,  the 
stations  involved  accepting  the  broadcast 
from  a  remote  control  point.  On  one  of 
these  occasions  the  program  emanated  from 
the  backstage  of  a  theatre,  and  on  the  other, 
from  a  motion  picture  sound  stage.  Each 
of  these  broadcasts,  it  was  reported,  was 
accomplished  with  the  assistance  of  tele- 
phone wires. 

The  new  KFWB  equipment  will  permit  of 
broadcasting  sound-on-film-on-air  directly 
from  the  studio.  The  first  program  of  this 
nature  to  which  audiences  listened  last 
week  Included  a  portion  of  the  motion  pic- 
ture, "Sweet  Adeline",  with  two  songs  by 
the  star,  Irene  Dunne,  one  by  Phil  Regan, 
and  a  chorus  of  40  voices  featuring  Dor- 
othy Dare.  The  film  also  Included  selections 
by  the  Leo  Forbsteln  orchestra. 

Gerald  King,  manager  of  KFWB,  said 
that  by  using  the  film  method  of  broadcast- 
ing the  listener  is  treated  to  a  program  per- 
fected in  every  respect  for  each  broadcast 
as  the  result  of  many  rehearsals,  and  if  a 
blunder  is  recorded,  the  take  can  be  made 
over  again.  Other  advantages  of  the  sound- 
on-film-on-air  broadcast  include  the  elim- 
ination of  nervousness  of  artists  in  front  of 
the  microphone,  disturbsome  noises  when 
the  script  pages  are  turned  and  general 
studio  sounds. 

Mr.  King  said  that  the  equipment  far  sur- 
passes the  electrical  transcription  method  of 
broadcast  for  the  reason  that  no  surface 
noise  is  heard  and  discs  and  needles  are  un- 
necessary. Likewise,  he  said,  the  high  and 
low  frequencies  are  more  clearly  reproduced. 

"I  believe  that  in  the  near  future  many 
radio  programs  of  a  national  nature  will  be 
presented  by  sound-on-film-on-air,"  Mr. 
King  said. 

KFWB,  however,  is  said  to  be  vitally  in- 
terested in  electrical  transcription  and  is 


considering  a  transcription  syndicating  plan 
on  a  national  basis.  Present  plans  call  for 
an  hour-daily  program  service  to  local 
stations  consisting  of  electrical  transcrip- 
tions and  continuities,  so  that  stations  sign- 
ing for  the  service  would  have  six  hours  of 
programs  each  week. 

It  was  reported  this  week  that  several  ad- 
vertisers and  agencies  are  preparing  to  enter 
the  electrical  transcription  field  on  a  basis 
comparable  to  that  of  the  World  Broadcast- 
ing System,  which  has  signed  up  more  than 
100  stations  for  this  broadcast  method,  indi- 
cating to  various  interested  parties  the  pos- 
sibilities attendant  upon  the  syndicated 
transcription  business. 

Some  idea  of  the  progress  made  in  the 
transcription  field  is  indicated  by  the  fact 
that  in  1934  the  total  volume  of  business 
done  in  payments  for  time  exceeded  $5,000,- 
000,  an  increase  of  12.2  per  cent  compared 
with  the  second  half  of  1933,  this  figure 
representing  national  electrical  transcrip- 
tion volume.  At  the  same  time  it  is  demon- 
strated that  local  advertisers  prefer  live- 
talent  shows  on  local  stations  to  electrical 
transcriptions,  this  being  indicated  in  a  drop 
of  24.4  per  cent  over  the  year  of  1933  in 
this  phase  of  the  disc  business. 

CBS  Acquires  Little  Theatre 

Columbia  Broadcasting  this  week  made 
further  inroads  into  the  theatrical  field 
when  it  acquired  the  Little  Theatre  in  the 
heart  of  New  York's  Times  Square  district. 
Columbia  appears  to  be  planning  a  chain  of 
radio  playhouses,  acquisition  of  the  Little 
making  the  third  of  its  New  York  circuit. 
The  other  two  are  the  Hudson  and  the 
Avon,  both  former  legitimate  houses. 

Total  volume  of  broadcast  advertising  in 
1934  hit  a  new  high  of  $72,887,169,  an  in- 
crease of  27  per  cent  above  the  estimated 
revenue  from  time  sales  the  preceding  year. 
The  previous  peak  year  was  1931,  which, 
according  to  estimates  of  the  Federal  Radio 
Commission,  recorded  a  gross  revenue  be- 
tween $70,000,000  and  $73,000,000. 

Equity  Charges  Tyranny 

Actors'  Equity  Association  is  "going  to 
bat"  for  its  members  whose  main  source  of 
livelihood  is  radio  broadcasting.  Equity 
complains,  in  a  survey  which  ran  in  serial 
form  in  the  organization's  house  organ. 
Equity,  and  recently  was  published  sepa- 
rately, that  radio  artists  are  subjected  to 
every  sort  of  tyranny  imaginable  by  the 
radio  magnates  and  agencies,  the  chief  com- 
plaint being  that  there  is  no  standardiza- 
tion of  salaries.  Following  publication  of 
the  survey,  the  following  figures  on  one- 
performance  salaries  of  some  radio  person- 
alities were  brought  to  light : 

Lawrence  Tibbett,  $4,000 ;  Lily  Pons, 
$4,000;  Rosa  Ponselle,  $3,500;  Chaliapin, 
$3,500;  Grace  Moore,  $3,500;  Geraldine 
Farrar,  $3,000;  Lucrezia  Bori,  $3,000;  Lotte 
Lehman,  $2,500;  Richard  Crooks,  $2,000; 
Gladys  Swarthout,  $1,500;  Nino  Martini, 
$1,500;  Richard  Bonnelli,  $1,500;  John  Mc- 
Cormack,  $1,500;  Schumann-Heink,  $1,000; 
Queen  Mario,  $1,000;  Helen  Jepson,  $1,000; 
Rose  Bampton,  $750,  and  Carmela  Ponselle, 
$750. 


Schenck  Purchase 
In  Fox  Met  Plan 

The  latest  plan  of  reorganization  for  Fox 
Metropolitan  Playhouses,  due  to  have  been 
filed  in  New  York  some  time  this  week,  will 
provide  for  an  equal  division  of  the  circuit's 
stock  between  Joseph  M.  Schenck,  presi- 
dent of  United  Artists,  who  last  week  re- 
vealed that  he  had  submitted  a  bid  of  $4,500,- 
000  for  purchase  of  the  company's  bonds 
and  Fox  Theatres  Corporation,  with  Mr. 
Schenck  becoming  president  of  Fox  Met. 
The  plan  was  to  have  been  outlined  to  Fed- 
eral Judge  Julian  W.  Mack  on  Tuesday, 
but  the  hearing  was  postponed. 

Milton  C.  Weisman,  Fox  Theatres  re- 
ceiver, will  submit  the  plan.  Fox  Theatres 
owns  all  of  the  common  stock  of  Fox  Met 
and  has  a  claim  of  $5,000,000,  based  on 
stock  ownership,  pending  against  it.  The 
86  theatres  in  the  Fox  Met  circuit  are, 
however,  pledged  as  security  for  the  $12,- 
460,700  of  the  company's  bonds  outstanding. 

Under  the  terms  of  the  new  reorganiza- 
tion plan.  Fox  Met  as  reorganized  would 
issue  approximately  $6,000,000  of  secured 
debentures  to  the  present  bondholders  for 
50  per  cent  of  their  equity  and  approxi- 
mately 250,000  shares  of  new  stock  for  the 
remaining  50  per  cent.  The  plan  further 
proposes  that  half  of  the  new  stock  be  sold 
by  the  bondholders  to  Mr.  Schenck  for  about 
$600,000  in  cash,  the  other  half  to  Fox  The- 
atres for  $300,000  cash  and  the  release  of 
Fox  Met  from  the  $5,000,000  Fox  Theatres' 
claim,  which  for  purposes  of  the  plan  is 
allowed  in  the  amount  of  $300,000. 

If  the  present  plan  receives  approval  of 
the  court.  Fox  Met  bondholders  would  re- 
ceive immediately  cash  amounting  to  ap- 
proximately 20  cents  on  the  dollar  and  would 
retain  an  aggregate  $6,000,000  equity  in  the 
new  company.  In  addition,  the  bondholders 
will  receive  warrants  for  a  pro  rata  share 
in  approximately  $2,000,000  cash  in  the  pos- 
session of  the  Fox  Met  trustee,  after  de- 
duction of  administration  and  reorganiza- 
tion expenses. 

The  plan  also  provides  for  the  continuance 
of  Skouras  and  Randforce  as  operators  of 
the  circuit  under  their  present  arrangements 
at  least  until  May  1,  1936.  It  is  anticipated 
that  Mr.  Weisman,  as  receiver  for  Fox  The- 
atres, will  become  an  officer  of  Fox  Metro- 
politan. He  denied  that  either  A.  C.  Blu- 
menthal  or  Loew's,  Inc.,  has  any  interest 
in  the  plan  or  in  the  projected  interest  of 
Mr.  Schenck  in  the  circuit. 

Department  of  Justice  investigators  this 
week  started  an  inquiry  into  the  Schenck 
offer,  the  procedure  being  similar  to  the 
check  made  last  year  when  Loew's  and  War- 
ner made  a  joint  bid  for  the  circuit. 


Tax  Revenue  Drops 

Admission  taxes  collected  by  the  govern- 
ment during  January  totaled  $1,328,884, 
compared  with  $1,399,815  during  January, 
1934. 


March    2.  1935 


MOTION    PICTURE  HERALD 


17 


FRENCH  INDUSTRY  HOPES  TO  RENEW 
PROGRESS  INTERRUPTED  FOR  YEAR 


Americans  Less  Affected  Than 
Home  Concerns  by  1934  Re- 
trogression; Theatre  Receipts 
Down,  Production  Curtailed 

By  PIERRE  AUTRE 

Paris  Correspondent 

The  French  cinema  industry  is  fervently 
hoping  for  a  resumption  of  the  improvement 
interrupted  last  year,  when  the  unstable 
political  situation  and  the  depression 
brought  a  reverse  from  the  gains  of  1933. 
Last  year  the  receipts  of  theatres  decreased 
at  a  large  rate  and  the  French  producers 
made  50  fewer  pictures  than  in  the  previous 
year. 

On  the  other  hand,  foreign  companies  es- 
tablished in  France,  and  especially  the 
American  ones,  were  comparatively  little 
affected,  and  this  despite  the  fact  that 
American  pictures  presented  in  1934  were 
generally  less  suitable  for  the  French  taste 
than  those  of  previous  years ;  there  were 
too  many  dialogue  pictures  without  action ; 
pictures  difficult  to  show  in  their  original 
version  with  subtitles,  and  really  impossible 
to  dub.  The  dislike  of  the  average  French 
patrons  for  the  ordinary  dubbed  foreign 
pictures  increased  the  difficult  situation  of 
the  importers  of  films  into  the  French  ter- 
ritory. Only  the  big  foreign  pictures  now 
may  be  shown  as  features  in  the  French 
cinema  houses;  others  are  taken  only  as 
supporting  pictures. 

The  decree  of  November  27  exfending 
for  SIX  months  the  quota  which  was  to 
have  expired  December  21  had  been  re- 
ceived very  quietly.  Everybody  thinks  that 
the  only  trouble  is  the  short  period,  leav- 
ing foreign  companies  the  uncertainty  as 
to  a  new  quota  In  July.  On  the  other 
hand,  the  number  of  94  for  dubbed  pic- 
tures is  really  enough  for  the  present. 
Dubbings,  except  for  some  outstanding 
pictures,  are  not  so  cordially  welcomed 
by  French  audiences. 

For  the  eight  first  months  of  1934  (January 
1  to  August  31)  receipts  of  Paris  cinema 
houses  decreased  by  8.1  per  cent.  Receipts, 
which  had  been  $14,300,000  in  1933,  then  went 
down  to  $13,200,000  in  1934,  a  decline  of 
$1,100,000.  The-  riots  of  last  February  reduced 
intake  12.5  per  cent  from  the  same  month  in 
the  previous  year,  and  with  the  excessive  taxa- 
tion, which  may  take  up  to  30  per  cent  of  re- 
ceipts, French  exhibitors  are  in  an  unfortunate 
position,  which  affects  also  distributors  and 
producers. 

Furthermore,  French  patrons,  who  are  going 
less  often  to  see  pictures,  have  also  become 
more  particular  and  protest  vigorously  against 
any  picture  they  do  not  like. 

While  in  the  United  Kingdom  the  more  than 
4,000  wired  theatres  are  reported  to  be  making 
big  money,  the  3,100  in  France  really  cannot 
live  if  things  stay  as  they  are. 

The  eternal  fight  of  the  French  Exhibitors 
Association  for  lower  taxation  has  been 
stronger  than  ever,  and  may  succeed  at  last, 
but  for  a  very  small  reduction. 

On  December  11  a  plan  was  proposed  by 
the  Government  before  the  Parliament  for  a 


reduction  of  taxes  on  the  stage  and  cinema 
theatres.  The  state  taxes  would  be  reduced 
by  20  per  cent  and  the  pauper  tax  (now  10 
per  cent)  could  be  reduced  in  every  town  by 
an  agreement  with  the  town  council.  This 
pauper  tax  would  be  charged  on  the  radio 
listeners.  Coming  strangely  with  the  taxation 
development  is  a  Government  move  to  bar 
block  booking  and  blind  booking.  This  would 
save  the  exhibitor  from  booking  a  number  of 
unknown  films  in  order  to  get  one  which  he 
knows  to  be  worthwhile.  On  the  other  hand, 
no  contract  between  exhibitor  and  distributor 
would  be  available  before  the  second  day  after 
the  trade  showing  or  first  public  performance 
of  a  picture.  It  is  expected  that  the  Parlia- 
ment will  pass  this  plan. 

The  bill  would  not  reduce  taxes  more  than 
4  or  5  per  cent  of  extra  receipts.  Reduction  of 
the  pauper  tax  could  be  of  great  help,  but  as 
the  decision  will  lay  on  the  town  councils,  and 
as  they  will  have  to  charge  the  tax  on  the  radio 
listeners,  who  are,  of  course,  larger  in  number 
than  theatre  and  cinema  exhibitors,  there  is 
no  chance  at  all  here. 

This  proposed  law  is  only  a  prelude  to  the 
French  statute  of  the  cinema  industry  on  which 
delegates  of  all  branches  of  the  industry  have 
been  working  for  several  months.  This  statute 
would  have  to  be  passed  by  the  Parliament,  and 
that  is  why  the  Government,  waiting  for  the 
new  statute,  has  extended  the  present  quota. 

Admission  Prices  Reduced 

The  decline  of  patronage  has  obliged  many 
exhibitors  to  reduce  admission  prices.  The 
6,000  seats  in  Gaumont  Palace  are  now  40  to 
80  cents,  instead  of  75  to  $1.  As  a  result  this 
house  is  filled  every  night  and  all  Sunday.  All 
the  other  cinemas  around  it  have  been  obliged 
to  reduce  prices.  The  average  admission  tickets 
in  the  Paris  districts  are  20  to  40  or  50  cents. 

The  Paramount  theatre,  on  I'Opera  Square, 
with  pictures  and  a  stage  attraction  featuring 
a  permanent  troupe  of  16  English  girls,  has  the 
following  rates : 

Morning  (9.30  to  1  p.  m.)  and  night  (11.15 
p.  m.  till  2  a.  m.) :  40  cents  everywhere  except 
the  80  cent  mezzanine.  There  is  no  stage  show 
at  these  performances. 

Week  days  afternoon :  80  cents  everywhere 
except  $1  in  mezzanine.  Evenings  (7.30  till  11.15) 
and  Saturdays,  Sundays  and  holiday  after- 
noons :  $1  except  $1.30  mezzanine. 

The  most  expensive  seats  are  those  of  the 
theatres  specializing  in  foreign  talkers,  mainly 
American  talkers.  In  nearly  all  these  cinemas 
(Champs  Elysees  and  I'Opera  districts)  seats 
are  normally  from  50  cents  to  $1.70.  As  a 
matter  of  fact  there  are  too  many  of  these 
specializing  theatres  (28  of  them).  So  they 
have  been  obliged  to  lower  their  rates,  now  40 
cents  to  $1.30. 

Competition  has  been  injected  further  with 
the  expansion  of  short  feature  theatres.  There 
now  are  10  in  the  central  districts,  showing  for 
20  cents  a  two-hour  program  of  news,  come- 
dies, color  cartoons,  and  sometimes  feature  pic- 
tures. 

Theatres'  Policies  Changed 

American  pictures  are  generally  shown  first 
in  the  Paris  specializing  theatres  in  their  orig- 
inal version,  spoken  in  English,  with  super- 
imposed French  titles.  After  one,  two  or  three 
runs  in  these  theatres,  the  American  pictures 
are  released  in  the  other  theatres  of  Paris  and 
provinces  as  dubbings. 

Paramount  and  MGM  recently  changed  their 
policy  of  first-run  exhibition  in  their  own  the- 
atres. 

The  MGM  Madeleine  Cinema  of  Paris,  which 
for  a  year  had  been  showing  the  leading  MGM 
productions  in  original  version,  as  an  experi- 


Quota  Extended  as  Government 
Awaits  Parliament  Action  on 
Plans  to  Reduce  Theatre 
Tax  and  Halt  Block  Booking 

ment  returned  to  dubbed  versions  for  "Men  in 
White"  and  "Tarzan  and  His  Mate."  One  gen- 
erally would  expect  that  patrons  who  pay  $1 
to  $1.30  would  prefer  the  original  versions. 

On  the  other  hand.  Paramount,  which  had 
shown  its  pictures  in  original  version  in  some 
high  class  theatres  of  the  Champs  Elysees  and 
later  in  dubbing  at  its  big  Paramount  the- 
atre, has  adopted  another  policy.  All  leading 
Paramount  features  are  shown  first  at  the 
Paramount  theatre  as  dubbing,  and  two  or 
three  weeks  later  in  some  second  run  cinema 
showing  American  talkers.  "The  Scarlet  Em- 
press," "Murder  at  the  Vanities"  and  "Cleo- 
patra" were  shown  first-run  at  the  Paramount 
in  dubbed  versions. 

By  the  way,  Henri  Klarsfeld,  general  man- 
ager of  the  French  branch  of  Paramount  Pic- 
tures, has  returned  from  the  States  bringing 
some  good  news  about  the  new  program  of 
French  production  in  France  by  Paramount. 

Warners  Double-Featuring 

Warner-First  National  have  retained  their 
policy  of  double  featuring  original  versions  at 
the  first-run  Apollo  theatre  of  Paris  about 
each  five  weeks.  Thus,  "The  St.  Louis  Kid" 
and  "Happiness  Ahead"  appeared  on  the  same 
program.  If  the  pictures  shown  at  the  Apollo 
are  successful  at  the  box-office  they  are  dubbed 
afterwards  and  released  in  the  other  French 
theatres. 

Universal  has  been  rather  quiet  since  the  be- 
ginning of  the  new  season.  This  company  has 
issued  the  original  version  of  "Councillor  at 
Law"  and  a  number  of  dubbed  pictures,  among 
them  "The  Invisible  Man,"  in  the  district 
cinemas. 

Fox  Film  has  shown  both  American  and 
French  pictures.  The  French  version  of  "Cara- 
van" has  not  been  so  well  received  here.  Fred 
Bacos  is  producing  regularly  in  the  Joinville 
Pathe  Natan  Studios  pictures  to  be  released 
through  Fox.  They  are  popular  pictures  with 
great  appeal  to  the  Paris  district  and  provin- 
cial audiences. 

United  Artists  is  continuing  its  policy  of 
showing  in  original  version  its  main  pictures. 
They  have  a  contract  with  four  first-run  the- 
atres on  the  Champs  Elysees  and  in  the  Boule- 
vards district. 

While  American  pictures  In  the  original 
have  very  often  a  big  success  In  Paris  spe- 
cializing theatres,  the  general  release  as 
dubbings  In  the  ordinary  theatres,  as  sup- 
port to  French  product,  Is  a  great  handi- 
cap. Dubbings  are  now  nearly  perfect, 
such  as  those  of  "Scarlet  Empress"  and 
"Cleopatra",  but  the  French  audiences  are 
very  particular.  That  is  why  distribution  In 
France  for  American  companies,  especially 
such  as  in  the  cases  of  MGM  and  Warner, 
which  do  not  have  French  pictures  to  re- 
lease at  the  same  time,  has  become  terribly 
difficult. 

With  theatre  receipts  down,  French  produc- 
ers have  been  obliged  to  reduce  their  produc- 
tion costs  as  well  as  number  of  pictures  made. 
While  in  1933  about  150  features  were  pro- 
duced in  the  French  studios,  the  1934  total  does 
not  exceed  100  or  110.  Since  September  1  only 

(Continued  on  follozvinr/  page,  column  3) 


18 


MOTION    PICTURE  HERALD 


March    2  ,  1935 


INNOCENT'  COPYRIGHT  VIOLATION 
PENALTY  CUT  TO  $100  IN  NEW  BILL 


Copyright  Would  Extend  to 
Works  of  a  Foreigner  Only 
If  Country  Is  Party  to  the 
International  Convention 

Modernization  of  the  United  States  copy- 
right laws  and  provisions  for  entry  of  the 
United  States  into  the  international  copy- 
right convention  are  included  in  a  bill  made 
ready  by  the  State  Department  for  early 
submission  to  the  Senate  foreign  relations 
committee.  The  measure  includes  provisions 
for  reducing  from  $250  to  $100  the  penalty 
on  motion  picture  exhibitors  for  "innocent" 
copyright  infringement. 

The  State  Department  for  several  years 
has  been  working  for  modernization  of  this 
country's  copyright  laws  and  entry  of  the 
United  States  into  the  international  con- 
vention. With  respect  to  the  second  phase, 
Herbert  Hoover  sought  approval  of  such  a 
measure  in  1931  and  last  year  President 
Roosevelt  attempted  a  similar  move,  but  in 
both  instances  the  Senate  failed  to  ratify  the 
treaty. 

The  present  copyright  law  was  enacted 
in  March,  1909,  and  amended  to  protect  mo- 
tion pictures  in  1912,  with  additional  amend- 
ments in  1913,  1914,  1919,  1926  and  1928. 

Several  Provisions  Opposed 

The  new  bill  attempts  to  cover  the  motion 
picture  situation,  but  there  are  several  pro- 
visions said  to  be  unsatisfactory  to  both  pro- 
ducers and  exhibitors. 

In  Section  1,  giving  the  copyright  owner  the 
exclusive  right  to  make  a  motion  picture,  either 
with  or  without  sound,  from  a  literary  work, 
and  to  perform  it,  an  amendment  also  provides 
for  radio  broadcasting.  Section  4  provides  that 
"copyright  may  be  secured  for  all  the  works  of 
an  author,  whatever  the  mode  or  form  of  their 
expression." 

Section  5  would  add  to  the  classes  for  which 
copyright  may  be  claimed  on  works  prepared 
expressly  for  radio  broadcasting. 

Section  8  would  provide  that  copyright 
extend  without  formality  to  the  works  of 
a  foreigner  only  in  the  case  of  countries 
which  are  parties  to  the  international  con- 
vention, and  that  in  the  case  of  citizens  of 
other  countries  the  present  reciprocal  re- 
quirements shall  be  met. 

Section  11,  which  relates  to  the  copyrighting 
of  unpublished  works,  would  be  broadened  to 
cover  works  prepared  exclusively  for  radio 
broadcasting. 

Section  23  would  provide  for  a  copyright 
term  of  56  years,  without  extension,  in  lieu 
of  the  present  term  of  28  years,  with  renewal 
for  a  like  period.  The  new  period  automatically 
would  apply  to  works  registered  prior  to  the 
date  the  new  act  becomes  effective. 

In  Section  25,  the  penalty  provisions  for  copy- 
right infringements  are  amended  to  give  the 
owner  of  the  copyright  the  right  to  obtain  an 
injunction  to  restrain  infringement ;  to  collect 
such  damages  as  he  may  have  suffered  through 
infringement,  as  well  as  all  such  part  of  the 
profits  which  the  infringer  shall  have  made  as 
the  court  may  decree,  or  to  collect,  in  lieu  of 
actual  damages  and  profits,  such  statutory 
damages  as  the  court  may  hold  just. 

When  proving  profits  in  infringement  cases 
the  plaintiff  would  be  required  to  prove  only 


sales,  rentals,  license  fees,  or  other  revenue 
derived  from  any  disposition  of  an  infringed 
work,  and  the  defendant  would  be  required  to 
prove  every  element  of  cost  which  he  claims. 

In  the  setting  of  statutory  damages  it  further 
is  provided  that  the  limits  for  unauthorized  ex- 
hibitions of  motion  pictures  shall  not  be  less 
than  $100  nor  more  than  $10,000  for  all  in- 
fringements of  a  copyright  by  any  one  in- 
fringer up  to  date  of  suit. 

In  these  circumstances  the  plaintiff  either  is 
required  to  show  that  at  the  time  of  alleged 
infringement  the  work  either  had  been  registered 
or  notice  of  copyright  had  been  affixed  thereto, 
before  he  is  entitled  to  any  remedy  other  than 
an  injunction  of  the  fair  and  reasonable  value 
of  a  license,  in  a  sum  of  not  more  than  $2,500 
as  determined  by  the  court. 

Transfers  Differentiated 

If  the  defendant  is  able  to  prove  he  has  been 
subjected  to  fraud  or  substantial  imposition  by 
any  third  person  and  had  acted  in  good  faith, 
the  plaintiff  may  recover  only  for  infringe- 
ments to  the  date  of  institution  of  suit,  an 
amount  equivalent  to  the  fair  and  reasonable 
value  of  a  license,  but  not  less  than  $50  and  not 
more  than  $2,500. 

Section  41,  which  differentiates  between  the 
transfer  of  copyright  and  the  transfer  of  ma- 
terial object  copyrighted,  is  expanded  to  pro- 
vide that  independently  of  the  copyright,  and 
even  after  its  assignment,  the  author  retains 
the  right  to  claim  authorship  as  well  as  the 
right  to  object  to  every  deformation,  mutilation 
or  other  modification  of  his  work  which  may 
be  prejudicial  to  his  honor  or  reputation,  but 
this  is  not  to  limit  full  freedom  of  contract 
between  the  author  or  owner  of  a  work  and 
an  assignee  or  licensee  thereof. 

The  bill  includes  a  new  section  which 
authorizes  the  President  to  take  steps  necessary 
to  make  the  United  States  a  member  of  the 
Union  for  the  Protection  of  Literary  and  Artis- 
tic Works. 

The  department's  measure,  with  the  excep- 
tion of  this  last-named  new  section,  which  auto- 
matically would  become  effective  upon  passage 
of  the  bill,  would  go  into  effect  July  1,  1935. 

Kaufman  Leaves 
Paramount  Post 

Albert  A.  Kaufman,  for  many  years  a 
Paramount  executive,  resigned  last  week  to 
join  the  Coast  agency  operated  by  Myron 
Selznick  and  Frank  Joyce  as  vice-president 
and  general  manager.  Mr.  Kaufman  had 
been  the  founder  and  head  of  the  Paramount 
foreign  studios,  and  prior  to  his  resigna- 
tion, had  acted  as  assistant  to  Emanuel 
Cohen,  formerly  production  head. 

Adolph  Zukor,  Paramount  president : 
Henry  Herzbrun  and  Ernst  Lubitsch,  joint- 
ly heading  the  Paramount  studio,  expressed 
regret  at  Mr.  Kaufman's  resignation.  Mr. 
Zukor  said:  "Al  Kaufman  has  been  with 
Paramount,  with  me,  since  the  founding  of 
the  company.  .  .  .  While  I  sincerely  regret 
his  decision,  I  readily  can  understand  that 
his  new  affiliation  will  prove  more  lucrative 
for  him." 

A.  M.  Botsford  has  been  named  execu- 
tive assistant  to  Mr.  Herzbrun.  Bogart 
Rogers  has  been  placed  in  charge  of  the 
story  department. 


U.S.  Films  Retain 
Lead  in  France 

(Continued,  from  preceding  page) 

30  pictures  have  been  produced  in  the  French 
studios  and  20  of  those  before  November  15. 

Nevertheless,  quality  has  become  better.  In 
1934  France  produced  a  few  pictures  which 
have  been  really  great  successes.  The  main 
pictures  of  1934  French  production  are: 

Lac  Aux  Dames:  ("For  the  Ladies")  from 
Vicky  Baum's  novel. 

Jeunesse  ("Youth"),  a  picture  showing 
the  real  life  of  four  Parisian  girls  and  boys. 

Le  Grand  Jeu,  Jacques  Feyder's  picture  on 
the  Foreign  Legion. 

La  Maison  Dans  La  Dune  ("The  House 
in  the  Dune"),  a  dramatic  action  picture  show- 
ing smuggling  on  the  French-Belgian  border. 

NuiTS  MoscoviTES  ("Moscow  Nights"), 
two  months  at  the  Champs  Elysees'  Marignan 
theatre.   Directed  by  Alex  Granowsky. 

The  Slump  is  Over,  a  new  kind  of  French 
picture  with  Albert  Prejean  and  the  17-year- 
old  star,  Danielle  Darrieux. 

If  I  Were  the  Boss,  funniest  picture  of  the 
year,  starring  Fernand  Gravey  (on  "Queen's 
Affair"  and  "Bitter  Sweet"). 

Angele,  a  very  original  picture  shot  in  the 
South  of  France  and  showing  life  of  the  coun- 
trymen. Directed  and  produced  by  the  stage 
writer.  Marcel  Pagnol  (author  of  "Topaze"). 

The  Battle,  the  English  version  of  which 
has  just  been  shown  in  New  York. 

La  Dame  Aux  Camelias,  Alexander 
Dumas,  Jr.'s  novel,  played  by  the  stage  play- 
ers Yvonne  Printemps  and  Pierre  Fresnay. 

Maria  Chapdelaine,  a  story  of  the  French 
countrymen  in  Canada,  where  all  outdoor  shots 
were  taken. 

British  Well  Received 

American  and  French  pictures  are  the  main 
elements  of  the  French  market,  but  there  are 
also  some  from  Germany,  England  and  Russia. 
British  pictures  have  been  very  well  received. 

The  Soviets  have  booked  a  Pathe  Natan 
theatre  on  the  Boulevards  for  exclusive  exhibi- 
tion of  Russian  Pictures.  This  is  the  Max 
Linder  Cmema,  where,  after  an  eight  weeks' 
first-run  of  "The  Storm"  they  began  showing 
a  musical  picture  called  "The  Gay  Fellows." 
These  pictures  have  not  been  so  well  accepted 
except  by  socalled  society  audiences. 

It  is  rather  strange  to  see  French  and 
foreign  films  sharply  criticized  by  the  French 
daily  newspapers,  particularly  in  Paris,  where 
cinemas  provide  20  per  cent  of  the  total  adver- 
tising. Caustic  comment  by  the  critic  of  a 
leading  evening  newspaper  in  Paris  stopped 
at  once  the  success  of  "Cleopatra"  at  the  Para- 
mount. 

The  industry  needs  real  championing  in 
France.  Only  8  per  cent  of  the  population  goes 
to  the  cinema  theatres. 

Independents  Release 
100  Features  in  New  York 

New  York  independents  are  releasing  ap- 
proximately 100  features  this  season,  it  was 
estimated  this  week  by  the  New  York  griev- 
ance board  during  a  hearing. 

It  also  was  indicated  that  the  totals  an- 
nounced by  the  various  exchanges  average 
about  ISO,  but  every  company  does  not  de- 
liver the  quota  promised. 


PARAMOUNT 

PRESENTS  A 

PREVUE  OF 

MISSISSIPPI 

Starring 

BING  CROSBY 
W.  C.  FIELDS 
JOAN  BENNETT 

with 

Queenie  Smith,  John  Miljon,  Gail  Patrick 
Fred  Kohler,  Claude  Gillingwater 

A  Paramount  Picture  •  From  the  play  by  Booth 
Tarkington  •  Directed  by  Edward  Sutherland 


THE  CAMERA  CEDCCT/  A 


NOT  SO  BAD! — Lovely  Joan  Bennett  gets  quite  a  shock  when  she  learns  that 
the  notorious  river  desperado,  the  Singing  Killer,  is  none  other  than  her 
romantic  Yankee  troubador,  Bing  Crosby. 


ANYWAY,  IT'S  LOUD!— W.  C.  Fields,  the  Champion  Calliope  Player  of  the  Seven  Seas 
hits  a  close  one  with  the  Notorious  Colonel  Steele,  Bing  Crosby,  the  Singing  Killer. 


HERE  THEY  ARE . . .  The  gattenng  Galaxy  of  Stars  from  the 
Jackson  HIMSELF...  Alabam,  Dancing  Dynamite  of  the  Bayous  I 
Novelty  Melodies  ...  A  Ship  of  Song,  Laughter,  Rhythm  and 


// 


1 

) 


THE  BATTLE  OF  THE  CENTURY!— The  Singing  KiUer  m  a  struggle  to  the  death  with  Dead  Shot  Cap'n 

Blackie,  Fred  Kohler,  Unchained  Alligator  of  the  Dismal  Swamp! 


jreatest  Show  Afloat . . .  Commodore 
.  Five  Cabin  Kids,  Dusky  Singers  of 
Romance! 


A  SONG  OF  LOVE !  — With  the  fragrance  of  magnolias  scenting  the  moon-lit  night,    Bing  Crosby  sings  his  wa) 

mto  the  heart  of  Joan  Bennett,  the  loveliest  lass  in  the  Mint  Julep  Belt 





ACTION. ..MLXIC...LAtJeHTCC...  DA 


THE  GLAMOUR  OF  THE  OLD  SOUTH!  — Ring  Crosby  plays  the  courtly  suitor  to  his  lovely 

Dixie  bride,  Gail  Patrick,  amidst  the  romantic  glamour  of  the  Old  South. 


THE  OLD  ARMY  GAME!  — What 
with  bedlam  rampant  on  the  Show  Boat, 
the  Skipper  can't  be  bothered  playing 
around  in  a  woman's  arms! 


STYMIED  HAM! — ^The  steely  glitter  in  Dead  Shot  Cap'n  Blackie's  eyes  interrupts  the  trajectory 
of  some  "ham-and"  from  the  plate  to  the  commodious  mouth  of  the  four-flushing  river  showman! 


HERE  SHE  COMES! ...  a  floating  palace 
of  entertaiiunent,  loaded  to  the  gunwales 
with  melodious  music,  side-shaking  laughter, 
dancing,  excitement,  action  and  romance !  ^ 


NCING...CXCITEMENT...CCMANCE! 


THE  SINGING  KILLER! 
—  Bing  Crosby  sings  love 
s<Migs  to  lovely  ladies,  fights 
for  honor  and  wins  the  pretti- 
est gal  in  Dixie! 


KILLERS  ON  THE  LOOSE! — A  tense  moment  when  a  friendly  card  game  that  started 

peacefully  with  chips  and  glasses  ends  with  pistols  and  knives 


HAPPY  ENDING! — With  a  happy  song  on  their  lips  and  love  in  their  hearts,  Bing  Crosby  and 
Joan  Bennett  steam  away  with  the  Show  Boat  troupe  down  the  broad  highway  of  the  Mississippi! 


NATION-WIDE  MERCHANDISING  CAMPAIGNS 
rO   PLUG    PARAMOUNT'S  "MISSISSIPPI" 


March    2  , 


19  3  5 


MOTION    PICTURE  HERALD 


25 


THE  HOLLYWOOD  SCENE 


Contemporary  Biographies  New 
Trend  in  Production;  Only  One 
Film  Starts,  Eight  Are  Finished 

By  VICTOR  M.  SHAPIRO 

Hollywood  Correspondent 


PERSONAL  screen  biographies  of  great 
or  colorful  figures  having  proved  suc- 
cessful as  entertainment,  definite  indi- 
cations are  that  there  will  be  a  new  trend 
in  the  type  of  personalities  treated,  a  turn 
to  utilizing  the  drama  and  romance  sur- 
rounding more  contemporary  and  probably 
equally  glamorous  figures  with  whom  the 
public  is  more  directly  familiar.  Universal 
started  it  with  announcement  of  a  produc- 
tion built  around  the  late  Florenz  Ziegfeld, 
glorifier  of  American  girls.  MGM  pur- 
chased it  and  will  produce  on  a  lavish  scale, 
with  William  Powell  portraying  Ziegfeld. 

Universal  will  proceed  with  a  picturiza- 
tion  of  the  equally  glamorous  Diamond  Jim 
Brady.  Broadway  playboy  of  the  gay  nine- 
ties and  early  years  of  this  century,  Brady's 
diamonds  and  voracious  appetite  are  both 
fact  and  legendary  features  of  the  American 
scene.  Friend  of  millionaires  and  down-and- 
outers,  Diamond  Jim  was  an  astute  busi- 
ness man,  a  colossus  of  a  gaudy  world.  His 
bid  for  Lillian  Russell's  hand  and  the  lavish 
manner  in  which  he  sought  to  influence  her 
decision  is  still  talked  about.  Spending  thou- 
sands buying  champagne  for  others,  he  never 
drank  himself. 

Other  American  characters  affording 
potential  screen  entertainment  include 
such  personalities  as  "Bet  a  Million"  Sates, 
the  great  gambler  Canfield,  the  original 
Nick  the  Greek,  Hetty  Green,  Alan  Dale 
(critic),  the  bosses  Croker,  Tweed,  Hanna. 

Should  the  production  of  "Diamond  Jim" 
prove  popular,  old  newspaper  files,  the 
Police  Gazette  of  halcyon  memory  and  even 
the  Congressional  Record  will  be  in  for  a 
thumbing  over. 

V 

Young  Warner  Players  Shine 

The  first  annual  dinner  dance  of  the  War- 
ner Club,  held  at  the  Biltmore  Bowl  last 
Thursday,  set  a  standard  for  future  entertain- 
ment committees  of  the  organization  to  shoot 
at.  Bill  Koenig  is  president  of  the  studio  club, 
and  Sol  Dolgin  was  chairman  of  the  entertain- 
ment, provided  chiefly  by  the  younger  players, 
with  Benny  Rubin  master  of  ceremonies.  Wini- 
fred Shaw,  The  Three  Kings,  the  Di  Marcos 
and  others  performed  with  specialties  between 
sketches  in  which  the  entire  industry  was 
kidded  good  naturedly  in  the  Hollywood  man- 
ner. 

Topping  the  evening  was  a  preview  of  a  reel 
of  "blow  ups,"  with  the  high  priced  players  for- 
getting their  lines.  Nearly  everyone  on  War- 
ner's list  got  into  the  reel,  with  no  favoritism. 
Funniest  "breaks"  were  contributed  by  Rudy 
Vallee,  Jimmy  Cagney,  Warren  William,  Kay 
Francis,  Pat  O'Brien  and  Dick  Powell. 
V 

Rachel  Crothers  on  Percentage 

Behind  the  news  this  week  is  the  interesting 
story  which  on  the  surface  reads,  "Rachel 
Crothers  has  signed  a  percentage  contract  with 
Samuel  Goldwyn."  Until  this  deal,  the  play- 
wright, with  at  least  one  stage  hit  in  New 
York  every  season  for  the  past  twenty  years, 
had  shown  little  or  no  interest  in  pictures.  It 


was  pointed  out  to  her,  however,  that,  in  a 
new  approach  to  films,  if  she  could  write  for 
the  screen,  and  be  paid  a  percentage  of  the 
gross,  the  way  would  be  paved  for  other  writers 
who  believe  in  the  royalty  system. 

Miss  Crothers  held  out  for  only  one  point. 
She  insisted  on  the  right  to  supervise  her  own 
productions,  which  was  granted  under  her  pres- 
ent contract.  Furthermore,  she  is  responsible 
only  to  Samuel  Goldwyn  and  no  one  else. 
V 

Sam  Goldwyn,  Showman 

They  tag  any  foolish  gags  they  can  think 
of  on  him,  but  Hollywood  acknowledges  Sam 
Goldwyn  as  one  of  the  shrewdest  showmen. 
Following  the  theatre  preview  of  "The  Wed- 
ding Night,"  one  was  held  next  day  in  the 
studio  for  the  press,  and  his  keen  showmanship 
sense  again  was  demonstrated.  Upon  its  con- 
clusion, which  shows  Gary  Cooper  standing 
by  a  window  soliloquizing  witli  the  shade  of 
his  departed  love,  Mr.  Goldwyn  asked  the 
audience  to  wait  a  moment  while  he  showed 
the  last  reel  with  another  ending,  which  reveals 
the  action  as  a  novel  which  Cooper  had  written. 

Asking  the  critics  to  vote  as  to  which  ending 
they  liked  better,  he  got  a  ballot  from  prac- 
tically everyone.  By  a  great  majority  the  press 
favored  the  first,  or  realistic  finale. 

V 

One  Film  Starts,  Eight  Finished 

Hollywood's  heavy  active  production  schedule 
eased  up  noticeably  in  the  past  week.  Only 
one  picture  was  started,  while  eight  were  com- 
pleted. MGM  is  credited  with  the  sole  new 
feature  to  be  put  into  work.  Paramount  fin- 
ished three,  Colombia,  MGM,  Fox,  Universal 
and  Mascot  one  each. 

Titled  "Order  Please,"  the  picture  started  by 
Metro,  will  present  Conrad  Nagel,  Steffi  Duna. 

Comedy  is  the  outstanding  element  in  the 
Paramount  pictures  just  completed.  The  first, 
"McFadden's  Flats,"  adapted  from  a  play  by 
Gus  Hill,  will  feature  Walter  C.  Kelly  (the 
Virginia  Judge),  Andy  Clyde,  Richard  Crom- 
well, Jane  Darwell,  Betty  Furness,  George 
Barbier  and  Phyllis  Brooks.  In  "Stolen  Har- 
mony" George  Raft  plays  a  dual  role.  With 
him  are  Ben  Bernie,  Grace  Br'adley,  Lloyd 
Nolan,  William  Cagney,  Goodee  Montgomery, 
William  Pawley,  Ralf  Harolde,  Charlie  Arnt, 
Paul  Gorrits,  Iris  Adrian,  Cully  Richards,  Jack 
Norton,  Christian  Rub  and  Snowflake.  "Hold 
'Em  Yale,"  from  a  Damon  Runyon  original 
story,  has  Patricia  Ellis,  Larry  (Buster) 
Crabbe,  Caesar  Romero  and  William  Frawley. 

Columbia  finished  the  western  "Fighting 
Shadows,"  formerly  titled  "Guns  of  the  Law." 
Tim  McCoy  is  starred,  with  Geneva  Mitchell, 
Robert  Allen,  Ward  Bond,  Cy  Jenks,  Otto 
Hofifman  and  Ed  LeSainte. 

At  MGM  "Reckless"  was  finished.  Jean 
Harlow,  William  Powell  and  Franchot  Tone 
are  its  big  names. 

With  only  a  few  specialty  atmospheric  shots 
to  be  made.  Fox  transferred  "Dante's  Inferno" 
to  the  cutting  rooms.  The  cast  comprises 
Spencer  Tracy,  Claire  Trevor,  Henry  B.  Wal- 
thall, Alan  Dinehardt,  Scotty  Beckett,  Robert 
Gleckler,  Rita  Cansino,  Gary  Owen,  Willard 
Robertson  and  Morgan  Wallace. 

Shooting  was  completed  on  "Princess 
O'Hara"  at  Universal.  Chester  Morris  and 
Jean  Parker  have  the  leads. 

Mascot  finished  "Behind  Green  Lights,"  fea- 
turing Norman  Foster,  Judith  Allen,  Purnell 
Pratt,  Mark  Lobell  and  Theodore  Von  Eltz. 


LOOKING 
GROUND 

in  Hollywood 


THAT  mountain  of  artistic  pretense  and 
affectation  which  is  Mr.  Joseph  Von 
Sternberg  has  labored  and  brought 
forth  a  mouse  to  which  ,  is  attached  the 
rather  absurd  title,  "The  Devil  Is  a  Wo- 
man." We  state  regretfully  and  simply  for 
the  purposes  of  accuracy  that  It  Is  a  Para- 
mount picture  which  was  previewed  In 
Hollywood  on  last  Friday  night.  Ernst  Lu- 
bltsch,  optimist  that  he  is,  indicated  fol- 
lowing the  preview  his  hope  that  now  be- 
ing in  charge  of  Paramount  production  he 
would  be  able  to  do  something  about  this 
picture  before  it  Is  finally  delivered  to  the 
theatres.  Our  best  wishes  go  to  Mr.  Lu- 
bltsch  in  this  worthy  ambition.  He  need 
approach  his  task  with  no  conscientious 
scruples;  he  cannot  possibly  do  It  any  harm. 

The  production  Is  an  example — Incredible 
though  It  may  seem — of  what  such  a  person 
as  Mr.  Von  Sternberg  can  and  will  do  when 
permitted  to  run  wild  with  the  facilities  of 
a  great  studio,  Including  its  bankroll.  It 
Is  notable  for  fine  photography,  Mr.  Von 
Sternberg  being  among  other  things  the 
accredited  cameraman  on  the  production. 
The  camera  work  frames  a  picture  which  is 
almost  utterly  without  merit  and  fulfills 
about  the  same  function  as  an  Interesting 
frame  for  an  amateurish  daub  of  oils  on  a 
sheet  of  canvas.  Marlene  Dietrich  sings 
two  song  numbers.  One  of  them  is  quite 
well-done  and  might  amount  about  to  the 
single  bright  spot  in  the  picture  were  it 
not  due  to  the  fact  that  It  Is  distinctly  sug- 
gestive in  character  and  ought  to  come 
out.  With  this  scene  out,  the  picture  would 
be,  uniformly  from  start  to  finish,  one  of 
the  worst  pictures  we  have  ever  had  the 
misfortune  to  observe.  What  it  pleases  to 
rely  upon  as  story  is  something  that  only  a 
person  who  knows  utterly  nothing  about 
stories  could  consider  to  be  a  story.  The 
technic  used  In  telling  the  story  is  shock- 
ingly abortive.  Miss  Dietrich  Is  a  conven- 
tional vampire.  The  other  characters  are 
relieved  of  anything  definitive  in  the  way 
of  characterization  and  are  left  as  unknown, 
uninteresting  manikins. 

Mr.  Von  Sternberg's  posturing  and  pos- 
ings  apparently  lulled  the  studio  authorities 
Into  a  notion  that  this  graduate  cameraman 
knew  precisely  what  he  was  about  with  re- 
spect to  all  details  of  the  production,  in- 
cluding the  story.  It  appears  that  he  was 
in  complete  and  autocratic  charge  of  the 
production.  Aside  from  the  rather  Interest- 
ing question  as  to  just  how  responsible  ex- 
ecutives of  a  corporation  see  their  way 
clear  to  allow  subordinates  to  have  this 
kind  of  a  holiday  with  the  corporation's 
resources,  the  responsibility  for  this  pro- 
duction lies  at  Mr.  Von  Sternberg's  door; 

(Continued  on  following  page,  column  1) 


26 


MOTION    PICTURE  HERALD 


March    2,  1935 


LOOKING 
GROUND 

in  Hollywood 

(Continued  from   t^rcceding  paije^ 

he  was  in  complete  charge.  This  circum- 
stance gave  rise  to  a  full  and  complete  op- 
portunity for  Mr.  Von  Sternberg  to  demon- 
strate what  appears  to  be  his  contempt  for 
both  his  studio  and  for  the  public.  This 
production  seems  to  suggest  that  Mr.  Von 
Sternberg  thinks  that  the  conventional  ways 
of  the  industry  are  the  ways  of  stupid  peo- 
ple. Ne  would  show  the  industry  the  Von 
Sternberg  way.  The  public,  too,  in  his 
reasoning,  seems  to  be  of  a  stupid  charac- 
ter; he  will  not  give  them  what  they  have 
demonstrated  they  want;  instead,  he  will 
give  them  what  Von  Sternberg  thinks  they 
should  have. 

The  production,  involving  a  fortune  in 
cost,  plagues  the  Industry  as  an  example  of 
what  can  happen  when  an  unstable  artist, 
If  Indeed  he  Is  an  artist,  is  allowed  to  run 
riot.  It  will  deepen  the  furrows  in  the  brows 
of  theatremen  and  It  will  serve  the  public 
as  a  sure-cure  for  the  theatre-going  habit. 

As  the  preview  audience  passed  out  of 
the  theatre  a  wit  standing  in  the  lobby 
called  out,  "Here,  here,  get  your  copy  of 
Freud." 

F  one  undertakes  to  write  a  piece  about 
"Naughty  Marietta"  there  is  need  that 
he  steel  himself  against  a  very  possible 
delirium  lest  the  resultant  item  turn  out  to 
be  a  giddy  raving  that  will  read  more  like 
a  blatant  advertisement  than  an  honest  ex- 
pression of  opinion.  In  other  words,  there- 
fore, MGM  has  done  exceedingly  well  by 
the  Victor  Herbert  operetta.  The  exquisite 
song  numbers  of  this  famous  musical  show 
have  been  given  noteworthy  production 
and  rendering;  two  of  them — "Mystery  of 
Life"  and  "I'm  Falling  In  Love  with  Some- 
one"— have  never,  undoubtedly,  In  any  pre- 
vious rendering  been  given  such  charm  and 
beauty  of  setting,  nor  voiced  with  such  skill 
and  artistry.  Within  our  observation  it  Is 
Jeanette  MacDonald's  best  performance 
upon  the  screen.  And  strangely  enough,  in 
view  of  this  exceptionally  fine  performance, 
there  Is  a  dark  horse  named  Nelson  Eddy 
who  probably  should  be  declared  the  win- 
ner of  the  acting  and  singing  stakes. 
Among  the  performers  there  are  also  Frank 
Morgan,  who  bears  watching  in  any  pic- 
ture, and  Elsa  Lancaster,  who  will  be  re- 
membered for  a  sharply  etched  portrayal 
In  "Henry  the  Eighth",  in  addition  to  a 
number  of  other  excellent  players. 

"Naughty  Marietta"  is  a  thing  of  beauty, 
skillfully  and  humanly  directed  by  V\/illIam 
S.  Van  Dyke.  There  is  comedy  enough  and 
enough  also  of  story  adapted  by  John  Lee 
Mahin  from  the  book  by  RIda  Johnson 
Young.  But  it  Is  the  Victor  Herbert  music 


and  what  has  been  done  with  It  that  makes 
this  an  attraction  that  should  mean  millions 
of  happy  hours  for  customers  of  the  picture 
theatres.  In  many  respects  nothing  more 
satisfactory  in  the  way  of  a  musical  picture 
of  real  music  has  been  done.  Particularly 
adroit  has  been  the  treatment  given  to  the 
introduction  of  the  several  musical  num- 
bers. These  are  glided  Into  so  reasonably 
and  so  sensibly  that  there  has  been  avoided 
completely  that  unpleasant  shock  which  is 
so  frequently  encountered.  This  Is  a  Hunt 
Stromberg  production  and  it  is  one  which 
any  producer  might  well  be  proud  of.  To 
the  Stromberg  list  may  be  added  another 
production  of  outstanding  merit.  To  us 
"Naughty  Marietta"  was  one  of  the  most 
enjoyable  of  the  motion  pictures. 

—MARTIN  QUIGLEY 

British  Protest 
Booking  Combine 

Every  British  distributor  with  the  excep- 
tion of  Gaumont  on  Tuesday  in  London, 
through  the  Kinematograph  Renters'  So- 
ciety, has  agreed  to  invoke  the  existing  reso- 
lution against  booking  combines.  John  Max- 
well of  British  International  is  chairman  of 
the  society,  which  this  week  asked  Gaumont 
for  details  of  its  arrangements  with  theatres, 
and  ordered  members  to  make  no  deals  with 
those  houses. 

Last  week  it  was  reported  that  a  wave  of 
circuit  buying  was  imminent  when  it  was 
revealed  that  Gaumont  British  had  acquired 
a  large  holding  in  Union  Cinema  Co.,  Ltd., 
and  that  Arthur  Jarratt,  Gaumont  booking 
head,  had  joined  the  board  to  do  the  book- 
ing. It  also  was  reported  that  Gaumont 
planned  30  new  houses. 

It  appeared  this  week,  however,  that  Gau- 
mont's  acquisitions  are  booking  deals. 


Clayton  Sheehan  Sails 

Clayton  Sheehan,  foreign  manager  for 
Fox,  sailed  for  Europe  this  week  on  his  reg- 
ular semi-annual  trip  to  foreign  capitals. 


REINHARDT  NAMES 
FILM'S  GREATEST 

Max  Reinhardf,  famed  European 
producer,  now  making  "A  Midsum- 
mer Night's  Dream"  for  Warner,  this 
week  in  Hollywood  named  those 
players  who,  in  his  opinion,  are  the 
greatest  of  the  talking  screen.  Charles 
Chaplin,  who  was  not  inchided  be- 
cause he  has  not  appeared  in  talking 
pictures,  Mr.  Reinhardt  called  "the 
greatest  artist  of  them  all." 

The  "greatest,"  with  James  Cagney 
placed  first,  are:  Charles  Laughton, 
Katharine  Hepburn,  Leslie  Howard, 
Greta  Gar  bo,  Marlene  Dietrich,  Paul 
Muni,  Marion  Davies,  Robert  Donat, 
Kay  Francis,  Edward  G.  Robinson 
and  Bette  Davis. 

George  M.  Cohan  this  week  named 
Walter  Huston  and  Helen  Hayes 
America's  greatest  players. 


Cutting  0 f  Prices 
Continues  Actively 

Pittsburgh  and  Kansas  City  this  week 
remained  the  focal  points  of  the  nation's 
price  wars  with  theatres  in  each  situation 
slashing  top  prices  to  unprecedented  low 
scales. 

Although  the  price  war  in  Kansas  City 
has  been  on  for  several  months,  with  first 
runs  and  neighborhoods  teetering  back  and 
forth,  exhibitors  in  that  territory  this  week 
were  of  the  opinion  that  low  admissions 
would  continue  at  least  for  the  balance  of 
the  1934-35  season.  Increases  may  be  at- 
tempted with  the  start  of  the  1935-36  sea- 
son. 

The  Kansas  City  first  run  situation  is 
having  repercussions  in  the  neighborhoods 
and  suburbans.  One  of  the  latest  to  cut  its 
scale  is  the  Plaza,  Fox  Midwest's  ace 
suburban  house,  which  has  first  call  on 
product  after  first  run.  There  the  top  has 
been  cut  to  25  cents  after  staying  at  30 
cents  since  the  middle  of  last  year. 

Prices  were  raised  at  Fox  suburbans  and 
some  of  the  independents  when  first  runs 
established  higher  scales  early  last  autumn. 
Three  of  the  five  first  runs,  however,  soon 
returned  to  lower  scales  after  a  trial,  the 
only  two  withstanding  the  price-cutting 
wave  being  the  Publix  Newman  and  the 
Fox  Uptown. 

In  Pittsburgh,  with  the  reduction  of  its 
scale  from  40  to  25  cents,  Mort  Shea's  Ful- 
ton this  week  ran  into  trouble  with  ex- 
changes, some  of  which  refused  to  honor 
contracts  under  existing  prices.  The  same 
difficulty  was  encountered  by  the  Alvin, 
where  an  "early-bird"  matinee  price  of  15 
cents  had  been  announced  last  week  from 
opening  until  12:30.  When  the  distributors 
protested,  the  Alvin  immediately  returned 
to  its  25  and  40-cent  scale. 


M.  E.  Comerford  III 
In  Washington  Hospital 

The  condition  of  M.  E.  Comerford,  head 
of  the  Comerford  Theatre  Co.  of  Pennsyl- 
vania, who  collapsed  in  a  Washington  hotel 
on  Friday,  was  considerably  improved  Wed- 
nesday. 

The  veteran  theatre  man  had  planned  to 
attend  the  convention  of  the  Motion  Picture 
Theatre  Owners  of  America  at  New  Orleans 
t^is  week. 

Stage  Blames  Public 
For  Salacious  Plays 

The  current  wave  of  criticism  of  the  legiti- 
mate theatre  for  salacious  presentations 
should  be  directed  at  the  public  rather  than 
at  the  actor  and  at  the  producer,  it  was  said 
in  New  York  Tuesday  at  a  meeting  of  the 
Episcopal  Actors'  Guild. 

Dr.  Louis  K.  Anspacher,  playwright,  actor 
and  lecturer,  voicing  the  sentiments  of  the 
Guild,  said  that  "if  the  theatre  is  being  de- 
bauched, the  public  is  doing  it." 


Thomas  Brady  Dies  in  Toronto 

Thomas  Brady,  former  Fox  and  MGM 
representative  in  Buffalo,  died  in  Toronto 
this  week  of  a  heart  attack.  He  was  50 
years  old.  Mr.  Brady  was  associated  with 
Regal  Films,  Canadian  distributors  for  Gau- 
mont British  and  London  Films. 


BY  DIRECT  WIRE  FROM 


Class  of  Service 


This  is  a  full-rate 
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ferred  character  is  in- 
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sign  above  or  preced- 
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TERN 
UNION 


NEWCOMB  CARLTON,  PRESIDENT 


J.  C.  WILLEVER.  FIRST  VICE-PRESIDENT 


1225 

J 

SIGNS 

DL 

~  Day  Letter 

NM 

NL 

~  Night  Letter 

LCO 

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NLT 

=  Cable  Night  Letter 

WLT 

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=  Wcek-End  Letter 

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The  filing  time  as  shown  in  the  date  line  on  full-rate  telegrams  and  day  letters,  and  the  time  of  receipt  at  destination  as  shown  on  all  messages,  is  STANDARD  TIME. 


10NY  K  TIDL 


CHICAGO  ILLS  FEB  21  1935 


GRAB  SEARS 

WARNER  BROS  PICTURES  INC  NY 
WAS  GREATLY  D I SA PPOl NTED  T 0  LEARN  FROM  YOUR 
LOCAL  EXCHANGE  THAT  YOUR  COMPANY  PLANS  TO 
SET  BACK  RELEASE  DATE  OF  GOLD  DIGGERS  OF  1935 
WHICH  IS  NOW  SCHEDULED  FOR  MARCH  SIXTEENTH 
STOP  GOLD  DIGGERS  PRODUCTIONS  EACH  YEAR  HAVE 
ALWAYS  BEEN  OUTSTANDING  BOX  OFFICE  ATTRACTIONS 
WHICH  INDUSTRY  GREATLY  NEEDS  AT  THIS  TIME  AND 
I  URGE  YOU  TO  USE  YOUR  INFLUENCE  TO  DO  EVERY- 
THING POSSIBLE  TO  RELEASE  GOLD  DIGGERS  MARCH 
SIXTEENTH  AS  PLANNED  OR  EARLIER  PLEASE  ADVISE 

JOHN  BALABAN 


PATRONS  ARE  REQUESTED  TO  FAVOR  THE  COMPANY  BY  CRITICISM  AND  SUGGESTION  CONCERNING  ITS  SERVICE 


e».Atf  O'  stmvtct  ocsinco 


DOMESTIC 

CABLE 

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ocnuro 

mato  tttaaton 

irnm  1 

worn  icrrt« 

r«tf<jru  thcHiM  check  cIms  of  lerk  rct  rioirfd.  othf h 
'  will  be  tnmraitttd  m  a  (aO-fstt  omnmfiiatba 


ALL  AMERICA 
CABLES 


TiMI  FiLCO 


Send  the  following  Message,  sulked  to  the  terms  on  back  hereof,  which  are  hereby  agreed  to 
322CH  KFV  137DL 

NEWYORK  NY  FEB  2^  1933 


Form  2 


JOHN  BALABAN 

BALABAN  d  KATZ  CHICAGO 
AGREE  WITH  YOU  THAT  INDUSTRY  NEEDS  GOLD  DIGGERS  OF  1935 
AT   PRESENT  TIME  BUT  FOR  PROTECTION  OF  THEATRES  PLANNING 
TREMENDOUS  ADVANCE  CAMPAIGNS  WE  MUST  HOLD  TO  PREVIOUS 
ANNOUNCEMENT  OF   INDEFINITE  RELEASE  DATE  STOP  WARNER  BROS 
MUST  AND  WILL  KEEP  FAITH  WITH  THE  HUNDREDS  OF  EXHIBITORS 
DEPENDING  ON  THIS  PICTURE  FOR  THEIR  CASH  CLEANUP  OF  THE 
SEASON  AND  WE  KNOW  YOU  WILL  BE  FIRST  TO  COMMEND  SUCH  A 
STAND  STOP  PLEASE  ADVISE  WHAT  DATES  YOU  PREFER  AND  FURNISH 
OUTLINE  OF  CAMPAIGN  PLANS  AS  THE   SURVEY  DETERMINING  WHAT 
THEATRES  CAN  BEST  SET  UP  GOLD  DIGGERS  NATIONALLY  IN  PRE- 
RELEASE RUNS  WILL  BE  COMPLETED  BY  SMITH  AND  MYSELF   IN  A 
FEW  DAYS  AND  FINAL  ANNOUNCEMENT  OF   SELECTIONS  WILL  BE  MADE 
THEN  STOP  THANKS  FOR  YOUR   IMPATIENCE  WE  KNOW  WHAT  KIND  OF  AN 
ATTRACTION  WEVE  GOT  WHEN  A   SHOWMAN  LIKE  JOHN  BALABAN  CANT  WAIT 

GRAD  SEARS 


March    2.  1935 


MOTION    PICTURE  HERALD 


31 


ASIDES  SL  INTEI^LLDES 


By  JAMES  CUNNINGHAM 


Jack  Ross,  hustling  secretary  and  traveling 
companion  to  Carl  Lammle,  Senior,  some  day 
will  write  a  book  of  reminiscences  and  will  in- 
clude incidents  which  occurred  on  his  globe- 
trotting with  Lammle  pere.  One  of  the  most 
dramatic,  and  one  which  neither  Laemmle  nor 
Ross  will  ever  forget,  was  their  meeting  in 
Vienna  last  summer  with  Engleburt  Dolfuss, 
chancellor  of  Austria. 

Upon  being  formally  introduced  in  the  chan- 
cellor's chambers,  Dolfuss'  greeting  was,  "I 
am  glad  to  see  another  man  as  short  as  I  am." 
Laemmle,  in  fact,  towered  at  least  an  inch 
above  the  "vest  pocket"  dictator.  Despite  that 
appellation,  however,  there  was  nothing  of  the 
dictator's  demeanor  about  Dolfuss ;  he  •  was 
friendly,  human,  sympathetic. 

The  big  kick  to  "Uncle  Carl"  came  at  the 
state  reception  and  dinner  given  by  Dolfuss  in 
his  honor.  Laemmle  was  impressed  that  the 
Franz  Josef  service  in  silver  was  used.  The 
blue  room  of  the  Imperial  Hotel  in  Vienna, 
scene  of  the  dinner,  still  retained  the  regal 
trappings  of  monarchy.  During  the  evening 
Ross  tried  hard  to  appear  properly  nonchalant 
and  as  matter-of-fact  as  the  22  leaders  of  the 
industrial,  financial  and  civic  life  of  Austria 
assembled  to  do  honor  to  the  man  who  left 
Laupheim,  Germany,  68  years  ago  last  month, 
to  become  a  motion  picture  pioneer  and  a  lead- 
ing American  producer.  The  dinner  was  de- 
layed an  hour  because  of  a  conference  of  state 
which  required  the  chancellor's  presence.  Those 
were  tense,  troublous  days  for  the  little  repub- 
lic. 

The  dinner  was  on  the  evening  of  July  3rd. 
A  few  days  later,  at  Carlsbad,  Laemmle  was 
shocked  upon  receiving  word  that  the  Little 
Napoleon  had  been  murdered  in  the  abortive 
and  now  historic  Nazi  "putsch.'' 

V 

There  is  a  sea  food  restaurant  in  Chicago, 
relates  Mark  Hellinger,  that  boasts  in  its  ad- 
vertising that  they  serve  anything  that  sivims. 

A  siueet  young  thing  walked  in  there  the 
other  night,  and  zvhen  the  waiter  asked  her  for 
her  order,  she  told  him  to  bring  her  Johnny 
W  eissmidler ! 

V 

Eddie  Dowling,  who  rose  from  cabin  boy 
on  the  ill-fated  Lusitania,  to  star,  writer  and 
producer  of  musical  comedies,  motion  pic- 
tures and  radio  shows,  was  one  of  17  chil- 
dren. Broadway  Eddie  and  White  House 
Franklin  are  pals. 

V 

The  Brothers  Warner  announce  as  their  next 
feature  motion  picture :  "The  Irish  In  Us." 


Sophie  Tucker,  self-styled  "Last  of  the 
Red  Hot  Mammas,"  last  week  very  non- 
chalantly tossed  five  years  into  the  ashcan. 
Notifjdng  the  press  of  the  arrival  of  her 
birthday,  Sophie  admitted  that  she  was  just 
turning  46,  whereas  there  are  records  which 
say  she  is  51.  Our  life  won't  be  worth  a 
nickel  when  Sophie  see  this. 

V 

Little  acorns  from  big  oaks : 

"People  shouldn't  expect  actors  to  look  like 
human  beings." — Phillips  Holmes. 

"I  want  to  be  a  millionaire  and  Jmve  about 
16  children." — Ginger  Rogers. 

"If  I  were  a  woman  I'd  hold  myself  slightly 
in  reserve  zvith  men.  As  for  petting,  that's  all 
right  if  one  is  sincere  about  it,  but  the  danger 
lies  in  being  sincere  too  often." — Clark  {Screen 
Lover)  Gable. 

"I'm  always  so  disappointed  when  I  see  my- 
self on  the  screen  that  I'm  sick  afterward." — 
Tom  Brown. 


Lead  Gus  McCarthy, 
Kindly  Light 


A BEACON  LIGHT  shines  day  and  night 
atop  the  El  Capitan  theatre  in  Hollywood. 
It  shines  whether  the  theatre  is  operating  or 
dark,  and  it  has  been  shining  for  seven  years. 
C.  A.  Toberman,  local  realty  man  with  a  soul, 
figures  it  is  good  civic  advertising.  And  therein 
lies  a  story. 

Some  years  ago  Gus  McCarthy,  now  on  the 
editorial  staff  of  Quigley  Publications  in 
Hollywood,  was  writing  publicity  and  otherwise 
press-agenting  for  the  Ocean  Park  Pier  on  the 
California  seacoast.  One  day  into  his  office 
came  a  representative  of  the  Paul  D.  Howse 
Neon  Electric  Company.  He  told  Gus  a  grand 
tale  of  a  beacon  his  company  had  developed 
which  would  penetrate  the  night  for  75  miles. 

Ocean  Park  Pier  has  a  unique  location — 
the  entire  United  States  of  America  standing 
behind  it  on  the  east  and  the  whole  Pacific 
Ocean  from  the  South  Pole  to  China  facing  on 
the  south  and  west.  But,  unfortunately  for  the 
75-mile  visibility  possibility,  there  is  a  range 
of  hills  completely  shutting  off  the  pier  from 
the  hinterlands,  and  Gus  couldn't  see  that  this 
beacon  would  do  the  enterprise  any  good  on 
the  sea  side,  where,  he  figured,  the  flying  fish, 
the  whales  and  other  denizens  of  the  briny 
deep  would  be  the  only  ones  to  ever  see  it.  So 
he  turned  the  proposition  down  flatly. 

The  pier,  then,  as  now,  was  owned  by  Adolph 
Ramish,  Abe  and  Mike  Gore,  Sol  Lesser  and 
George  Cleveland,  gentlemen  of  whom  we  have 
heard  a  lot  in  motion  picture  circles.  Unknown 
to  McCarthy  the  fast-talking  beacon  salesman 
had  gone  over  his  head  right  to  the  front. 
And  did  the  owners  enthuse.  Paul  Howse  him- 
self visited  them  and  laid  it  on  thicker,  telling 
the  gentry  that  the  Navy  was  installing  a  sim- 
ilar beacon  either  at  New  London  or  Baltimore 
or  some  place  on  the  east  coast.  Anyway,  Mr. 
Howse  agreed  to  pay  the  expenses  of  Mr. 
Cleveland  and  Gus  McCarthy  for  a  trip  east- 
ward to  see  the  light  in  operation.  They  went, 
but  never  saw  the  beacon,  or  even  knew  where 
it  was  located.  They  had  other  and  more  inter- 
esting things  to  do  in  Monreal. 

One  month  later  Mr.  Cleveland  and  Mr. 
McCarthy  returned  to  Ocean  Pier  and  related 
to  the  owners  a  glowing  report  of  that  which 
they  hadn't  seen;  also  the  further  news  that 
the  thing  would  cost  many  thousands  of  dol- 
lars. That  cooled  the  ardor  of  the  prospective 
purchasers  and  they  prevailed  upon  Mr.  Howse 
to  make  a  miniature  model.  He  did.  One  about 
ten  feet  tall  in  full  working  order. 

Meanwhile,  Mr.  Cleveland  died,  the  depres- 
sion came  along,  cash  became  scarce  and  Ocean 
Pier  retrenched.  The  model  stood  in  Gus's 
office  until  he  got  tired  looking  at  it.  Then 
everybody  took  to  DX  radio  reception,  Mc- 
Carthy included.  Ray  Melling,  projectionist^  in 
the  Dome  theatre,  made  him  a  set.  Looking 
around  the  Pier  grounds  for  an  aerial,  Melling 
decided  that  the  beacon  model  would  be  just 
the  thing.    And  it  was. 

Time  passed  and  lo  and  behold  who  should 
walk  into  McCarthy's  office  again  but  the  origi- 
nal neon  beacon  salesman  looking  for  his  model. 
"Naturally  I  didn't  know  a  damn  thing  about 
it,"  Gus  told  us,  not  expecting  that  we  would 
believe  him.  There  was  much  hue  and  cry 
about  that  model.  They  had  a  customer  lined 
up  for  the  beacon  and  had  intended  to  demon- 
strate. Anyway  the  sale  was  made  without  it 
and  the  purchaser  was  Mr.  C.  A.  Toberman, 
Hollywood  realty  man  with  a  soul,  who  placed 
it  atop  his  El  Capitan  theatre.  That  was  seven 
years  ago  and  there  the  light  has  been  shining 
nightly,  shining  brightly  ever  since. 


The  first  change  to  be  made  by  Ernst 
Lubitsch  in  his  new  position  as  production  head 
over  all  of  Paramount's  picture  making  activi- 
ties was  to  change  the  title  of  Mae  West's  "How 
Am  I  Doing?"  to  "How  Am  I  Doin?" 

V 

Emile  Boreo,  newest  Broadivay  importation 
from  Paris,  once  faced  a  firing  squad  of  the 
C::ar's  army.  A  Cossack  officer,  unaware  of 
the  purpose  of  the  assemblage,  happened  along 
and,  noticing  Boreo  giggling,  "punished"  him 
by  ordering  him  from  the  line  and  sending  him 
back  to  his  quarters.  That's  his  story. 
V 

Eagle-eyed  Cornelius  'Vanderbilt,  Jr.,  says 
"The  President  Vanishes"  is  so  full  of  inac- 
curacies that  it  will  grive  Washingtonians 
lots  to  laugh  about.  For  instance:  The  ser- 
vants at  the  'White  House,  except  for  the 
Chief  Usher,  are  all  colored;  no  one  can 
enter  or  leave  the  'White  House,  including 
the  President  and  his  family,  without  passing 
the  'White  House  police,  a  uniformed  body; 
no  member  of  the  Presidential  party,  includ- 
ing the  President,  is  ever  alone.  The  Secret 
Service  has  operatives  with  them  constantly. 
The  Vice-President  becomes  President  pro- 
tem  automatically  when  the  President  is 
out  of  the  country.  The  President's  aides 
stand  rigidly  at  attention  at  all  times  in 
public.  They  never  applaud  the  President. 
The  President's  secretary  seldom  accom- 
panies him  to  functions,  and  if  he  does  he 
never  leaves  the  President.  His  secretary 
answers  the  phone — the  President's  secre- 
tary's secretary.  There  are  no  skyscraper 
garages  in  Washington.  The  Secretary  of 
War  never  conducts  a  civilian  investigation; 
that  is  done  by  the  Bureau  of  Investigation. 
V 

Motion  Picture  Fan  Vincent  Yardum,  Jr., 
New  York,  wrote  to  Photoplay  Magazine's 
Kathryn  Dougherty  complaining  that  when 
Carole  Lombard  was  doing  her  fan  dance  in 
"Lady  By  Choice,"  she  put  both  of  the  fans  in 
front  of  herself.  And  in  back  of  her  was  the 
whole  orchestra.  "Please  watch  these  things," 
advised  Mr.  Yardum.  They  probably  did. 
V 

Buster  La  Mont  in  California  bemoans 
the  loss  of  his  servant,  Eli  Balongag,  whom 
Victor  Varconi  swiped  from  him.  Eli  handed 
Victor  the  following  note  and  then  scram- 
bled back  into  the  butler's  pantry  with  great 
haste: 

DEAR  MR.  AND  MRS.  LA  MONT: 

Before  I  should  dwell  on  the  subiect  that 
I  wish  to  communicate  to  you,  please  pardon 
me  if  I  had  done  something  wrong  and  did 
things  to  displease  you. 

I  have  been  in  Los  Angeles  about  six  years 
and  never  was  I  out  of  a  iob  for  a  week. 
I  have  worked  for  several  peoples  and  never 
was  I  happy  and  treated  kindly  and  nicely 
the  way  you  do  to  me  Dear  Mr.  and  Mrs. 
La  Mont.  This  is  the  main  reason  why  I 
cannot  tell  you  in  person  the  following: 

I  have  the  honor  to  resign  as  your  house- 
boy  Friday,  currant  series. 

But  before  I  will  go  away  I  cordially  en- 
vite  you  to  a  little  suffer  party  in  your  lovely 
home  on  Thursday  evening  at  eight  o'clock. 
Please  have  Junior  come  and  eat  with  you 
too. 

Always  at  your  service. 

ELI  M.  BALONGAG 

V 

City  hospital  nurses  of  Martins  Ferry,  Ohio, 
have  asked  Clark  Gable  to  furnish  a  room  in 
the  maternity  ward.  His  name  would  "add 
romance  to  the  life  of  student  nurses,"  they 
said. 


32 


MOTION    PICTURE  HERALD 


March    2  ,  1935 


RENTAL  COSTS  HURT 
GERMAN  PRODUCERS 


Tobis-Klangfilm  Fees  for  Studio, 
Recording,  Negative  Licenses 
Take  One-Third  of  Budget 

By  J.  K.  RUTENBERG 

Berlin  Correspondent 

Cost  of  rental  of  studio  facilities  and  re- 
cording equipment  plays  an  important  part 
in  production  budgeting  in  Germany.  While 
in  several  European  countries  high  import 
duties  and  taxes  are  bidding  fair  to  prohibit 
importation  of  American  product,  and  in 
other  nations  imports  are  closely  linked  with 
home  production  in  the  form  of  socalled 
quota  films,  Germany's  case  is  different. 
For  example,  MGM  and  Paramount  are 
confining  their  activities  to  importation  and 
distribution,  Fox  has  undertaken  local  pro- 
duction and  as  a  consequence  is  enjoying 
considerable  advantage  in  bringing  in  pic- 
tures from  America. 

The  average  cost  of  production  of  a  fea- 
ture in  Germany  ranges  from  reichsmarks 
200,000  to  300,000.  Large  companies  like 
Ufa  and  Bavaria  have  their  own  studios, 
and  Terra  Film  company  also  has  a  small 
studio,  but  most  producers  must  rent  studio 
facilities  from  Tobis  Film  A.  G.  or  other 
large  producers.  The  average  rental  charge 
for  a  studio  for  a  day  is  reichsmarks  2,500; 
with  the  shooting  of  interiors  requiring  10 
to  15  days  on  the  program  picture,  the  studio 
rent  piles  up  to  reichsmarks  25,000  to  37,500. 

One-Third  of  Budget  for  Fees 

The  monopoly  of  the  Tobis-Klangfilm 
group  on  film  recording  makes  it  necessary 
for  the  producer  to  rent  a  recording  set  from 
this  group  at  a  charge  of  reichsmarks  1,350 
a  day.  The  service  of  a  trained  engineer  is 
included  in  this  charge.  Ten  days  in  the 
studio  and  10  days  use  of  the  recording  set 
combine  to  make  a  rental  cost  of  reichs- 
marks 38,500.  This  figure  is  enlarged  by 
the  Tobis  licenses  on  the  negative — reichs- 
marks 4.37  a  meter.  In  the  case  of  the  me- 
dium length  of  2,500  meters,  the  Tobis  li- 
cense on  the  negative  amounts  to  reichs- 
marks 10,925.  Almost  15,000  meters  of  posi- 
tive and  negative  film  stock  will  be  con- 
sumed, absorbing  an  additional  cost  of  21,- 
500,  including  the  printing  and  copying. 

These  costs,  totaling  reichsmarks  70,925 
($17,000  at  par),  are  nnore  than  one-third 
of  the  total  outlay  for  the  making  of  a 
motion  picture  at  a  budget  of  200,000 
reichsmarks  ($48,000). 

Furthermore,  these  outlays  are  pre- 
charged  against  the  still  unfinished  produc- 
tion and  in  no  way  guarantee  the  quality  or 
the  box-office  value. 

Changing  Studio  Recording 

The  producer  must  leave  the  stage  at  the 
termination  of  the  contract  because  in  most 
instances  another  producer  has  hired  the 
studio.  Should  the  first  producer's  picture 
not  be  ready  it  is  necessary  to  rent  a  second 
studio  and  to  use  a  recording  set  which, 
technically  speaking,  may  not  fully  and  ex- 
actly correspond  to  the  first  used,  thus  caus- 


ing deviations  in  the  recording  and  result- 
ing in  inadequacy  of  the  sound  record. 

Too  often  do  these  complications  and  bur- 
dens upon  production,  caused  by  the  Tobis 
monopoly,  impair  the  quality  of  the  picture, 
which,  in  observance  of  contract,  is  made 
without  the  constant  care  and  caution  so 
necessary.  While  in  France  most  of  the 
more  successful  pictures  come  from  minor 
producers,  only  the  large  German  companies 
can  afford  to  meet  the  conditions  and  stipu- 
lations in  the  planning  of  production. 

The  German  exhibitors,  who  become  im- 
mediately responsible  to  the  public  for  the 
worth  of  a  picture,  are  vitally  interested  in 
the  quality  of  films  they  book.  The  patent 
companies  are  showing  no  inclination  to 
reduce  royalties— they  will  get  their  license 
fees  anyway.  The  producers,  and  ultimately 
the  exhibitors,  are  paying  for  the  damage 
done  to  pictures  by  producing  conditions. 


Germany  Defines 
Educational  Films 

The  German  federal  film  chamber  has  de- 
fined educational  subjects  in  terms  of  length 
and  content,  according  to  a  report  to  the  de- 
partment of  commerce  from  Douglas  Miller, 
acting  commercial  attache  in  Berlin.  Edu- 
cational films  must  not  be  longer  than  600 
meters  (about  2,000  feet),  or,  if  no  other 
picture  is  to  be  run  with  it,  more  than  1,200 
meters.  Educational  films  are  defined  as 
films  that  do  not  contain  any  consecutive 
action,  and  for  the  sake  of  which  alone  the 
picture  was  made.  They  may  not  contain 
news  features  exclusively  for  the  purpose  of 
reporting. 


Germany  Prohibits  New 
Construction  of  Theatres 

The  president  of  the  Film  Chamber  in 
Germany  has  prohibited  the  construction  of 
new  film  theatres,  according  to  Douglas 
Miller,  acting  commercial  attache  in  Berlin, 
reporting  to  the  Department  of  Commerce. 
Reopenings  have  also  been  banned.  The 
prohibition  will  hold  until  March  31,  1935, 
with  exceptions  allowed  only  in  cases  where 
the  opening  of  a  theatre  appears  necessary. 


7,000  Engaged  in  Film 
Production  in  Germany 

There  is  a  total  of  7,000  people  concerned 
with  film  production  in  Germany,  accord- 
ing to  advices  from  commercial  attache 
Douglas  Miller,  Berlin.  Of  the  total,  6,000 
are  located  in  Berlin  and  1,000  in  Munich. 
All  are  organized  in  the  Film  Estate  and  are 
divided  into  17  sections.  Five  thousand  are 
actors,  of  whom  1,500  are  extras,  whose 
ranks  have  been  cut  50  per  cent  in  the  last 
year. 


DuWorld  Gets  New  Film 

DuWorld  has  acquired  North  and  South 
American  distribution  rights  to  a  musical 
now  being  produced  in  Vienna,  and  tenta- 
tively titled  "Viennese  Love  Song,"  in 
which  Maria  Jeritza  is  starred. 


"March  of  Time'' 
Propaganda^  Says 
Omaha  Paper 

The  Omaha  World-Herald,  in  an  editorial 
touching  upon  the  first  appearance  of  the 
"March  of  Time"  newsreel  that  played  the 
old  World  here  two  weeks  ago,  "doubts 
whether  the  editors  of  flippant  Time  (maga- 
zine) are  the  best  equipped  to  present  to 
movie  audiences  doctored  interpretations  of 
events  of  the  day." 

"The  reel  was  interesting,"  the  editor 
went  on,  "but  the  thoughtful  spectator  must 
have  become  aware  of  the  fact  that  he  was 
seeing,  not  just  a  picture  of  a  news  event, 
but  an  interpretation  of  the  meaning  and 
significance  of  the  event.  Unless  he  was 
alert,  the  moviegoer  was  unconsciously  sub- 
mitting himself  to  propaganda. 

"A  newspaper  worthy  of  the  name  re- 
ports events  in  an  accurate,  fair  and  impar- 
tial manner.  The  reader  is  trained  to  turn 
to  the  editorial  page  for  the  expression  of 
opinion  as  to  the  meaning  of  the  event. 
There  is  no  such  clear  division  of  news  and 
editorial  in  'March  of  Time,'  although  it  is 
presented  as  a  news  photograph  only,  and 
nowhere  is  it  captioned  as  news  with  edi- 
torial interpretation. 

"Much  more  dangerous  .  .  .  than  telling 
the  public  of  possible  danger  in  movie 
scenarios  which  present  .  .  .  crime  and  im- 
morality in  attractive  garb  .  .  .  (are)  the 
newsreels  that  give  more  than  an  accurate 
picture  of  striking  events.  A  skillfully  edi- 
torialized presentation  of  the  news  could  be 
very  powerful  in  influencing  and  inflaming 
public  opinion." 

The  Omaha.  World-Herald  in  its  quoted 
expression  takes  no  cognizance  of  the  fact 
that  there  is  inevitably  an  editorial  or 
"propaganda"  point  of  view  in  all  news 
narration,  whether  by  printed  page  or 
screened  fncttire.  The  very  selection  of  the 
material  to  be  presented,  the  choice  of  the 
news,  or  the  decision  of  what  is  news,  is 
affected  by  opinion,  an  editorial  attitude. 
The  reporter  writing  his  story,  even  for 
the  Omaha  World-Herald,  "sells"  a  point 
of  view  which  begins  with  the  opinion  that 
it  is  worth  telling  and  that  the  facts  worth 
telling  are  in  the  words  he  sets  down.  So 
far  as  may  be  judged  concerning  the 
policies  of  "The  March  of  Time"  on  the 
screen,  paralleling  rather  the  policies  of 
Time  of  the  printed  page,  one  may  ex- 
pect to  find  their  editors  and  their  utter- 
ances engaged  in  hectic  pursuit  of  audience 
and  very  little  else. 

Concerning  the  fabrication  technique  of 
"The  March  of  Time"  the  World-Herald 
becomes  slightly  amusing  when  it  observes: 
"A  skillfully  editorialized  presentation  of 
the  news  could  be  very  powerful  in  in- 
fluencing and  inflaming  public  opinion." 

It  would  be  educational  for  the  author 
of  that  editorial  to  examine  into  certain 
journalistic  aspects  of  the  Spanish-Amer- 
ican war  and  sundry  operations  of  the 
press  in  the  period  of  the  World  war.  The 
answer  is  of  course,  "Yes,"  but  does  it 
matter  whether  the  editorializer  has  a  lino- 
type or  a  camera?  — TR 


March    2  ,  1935 


MOTION    PICTURE  HERALD 


33 


THE  CAMERA  CEDCCTS 


A  NEW  SET.  (Above)  For  Frank 
Shields,  whose  new  MSM 
player  contract  permits  no  ex- 
ploitation of  his  top-notch  ten- 
nis ranking. 

DIAMOND  JIM.  (Left)  As  the 
famed  character,  impersonated 
by  Edward  Arnold  in  Universal's 
film,  meets  Author  Parker  Morell, 
raconteur  of  the  Brady  story. 

FROM  VIENNA.  (Right)  Luise 
Rainer,  well  known  in  Europe, 
en  route  to  hlollywood  and 
MSM's  studio. 


>  -  t 


"GREAT  ARTIST."  Thus  did  his  co-workers  In 
Fox's  "The  Little  Colonel"  describe  Bill  Robin- 
son, famous  tap  dancer.  Note  the  be-badged 
lapels,  each  token  indicative  of  yet  another  bit 
of  homage  from  some  community  or  other. 


DISTINGUISHED  VISITORS.  From  V\/ashington,  at  the  Vv'arner  Coast  studio 
recently,  were  Federal  Housing  Administrator  James  A.  Moffett  and  his  family. 
Showing  them  another  kind  of  housing  were  two  studio  executives.  From  left  to 
right:  Miss  Adelaide  Moffett;  V/illlam  Koenig,  general  studio  manager;  Mr.  Mof- 
fett; Hal  B.  Wallis,  associate  executive  in  charge  of  production,  and  Mrs.  Moffett. 


34 


MOTION    PICTURE  HERALD 


March    2.  1935 


READING  HIS  LINES. 
(Above)  Is  Skippy,  quite  a 
screen  player  and  here 
studying  his  role  with  Wendy 
Barrie  of  England,  both  im- 
portantly a  part  of  the  cast 
of  Fox  Film's  "It's  a  Small 
World." 


FEATURED.  (At  left)  Miss 
Louise  Henry,  cast  by  MSM 
in  one  of  the  leading  roles 
of  "Order,  Please!"  shortly 
to  go  into  work.  She  has 
just  completed  work  in  "The 
Casino  Murder  Case." 


ALMOST  A  COMMUTER.  Between  Hollywood  and  London  is 
Charles  Laughton,  English  player,  here  in  New  York  en  route  to 
London  and  conferences  with  Alexander  Korda,  having  just  com- 
pleted "Les  Miserables,"  for  Darryl  Zanuck's  20th  Century,  which 
United  Artists  will  release.    Mrs.  Laughton  is  with  him. 


WRAPPED  UP  IN  HER  TEA.  Is  Miss  Elsa  Lanchester,  English 
actress,  in  an  off-the-set  moment  at  the  Universal  studio,  where 
she  has  the  unenviable,  and  warm,  role  of  the  mate  of  the 
Frankenstelnian  monster,  which  Is  Boris  Karloff,  In  "The  Bride 
of  Frankenstein." 


A  SHOOTING  STAR  OF  THE  AIR.  Wiley  Post,  at  the  moment 
planning  another  attempt  at  almost  stratosphere  streaking  across 
the  country,  visits  Margaret  Lindsay  and  Warren  William  on 
location  on  the  Coast,  where  the  Warner  film,  "The  Case  of 
the  Curious  Bride,"  Is  in  work. 


March    2,  1935 


MOTION    PICTURE  HERALD 


35 


Films  in  Relief  by 
Stereoscopic  Plan 

Shown  byLumiere 

Motion  pictures  in  relief,  obtained  by  ap- 
plying a  stereoscopic  system  to  the  principle 
of  anaglyphs,  were  demonstrated  in  Paris 
Monday  to  the  noted  Academy  of  Sciences 
by  Louis  Lumiere,  who  with  his  brother 
Auguste  presented  some  40  years  ago  the 
first  motion  pictures  seen  in  the  French 
capital. 

Mr.  Lumiere,  making  no  great  claim  to 
originality,  explained  that  all  the  principles 
involved  have  been  known  for  many  years. 
What  he  has  succeeded  in  doing,  he  said, 
is  the  obtaining  of  a  perfect  synthesis. 

A  wireless  dispatch  to  the  New  York 
Times  from  Paris  told  how  all  the  spec- 
tators at  the  demonstration  were  provided 
with  special  spectacles,  each  glass  of  which 
was  tinted  in  different  colors  permitting  the 
passage  of  various  color  rays.  "Experi- 
ments were  made  with  no  fewer  than  1,500 
coloring  materials  before  success  was  ob- 
tained in  making  these  glasses,  without 
which  the  picture  on  the  screen  appears  as 
usual  and  not  in  relief,"  explained  the  Times 
correspondent,  who  added:  "What  is  impor- 
tant is  that  the  glasses  do  not  fatigue  the 
eyes." 

A  stereoscopic  apparatus  was  used  for 
taking  the  motion  pictures  and  a  specially 
pigmented  screen  employed. 

Further  cabled  reports  said  that  the  gray- 
bearded,  dignified  savants  of  the  Academy  of 
Sciences  started  from  their  seats  while  wit- 
nessing the  demonstration  when  they  thought 
they  saw  a  real  elephant  charging  at  them. 
They  first  saw  racing  motorboats,  cruising 
off  a  coast — then  the  elephant,  waving  his 
trunk  so  menacingly  he  looked  as  though  he 
was  going  to  trample  the  academicians  under- 
foot. 

Mr.  Lumiere,  now  turning  73  years,  was 
said  to  have  told  the  Academy  that  the  ad- 
vance he  has  made  provides  the  basis  for 
practical  application  of  the  long-sought  se- 
cret of  depth  as  well  as  height  and  width 
for  motion  pictures,  thereby  making  them 
more  realistic. 


Edwin  F.  Tarbell  of 
Allied,  Dies  in  Albany 

Edwin  F.  Tarbell,  for  the  past  two  years 
executive  secretary  of  Allied  Theatre  Own- 
ers of  New  York,  died  late  last  week  at  the 
Albany  Hospital,  Albany,  N.  Y.,  after  a 
brief  illness.  Mr.  Tarbell  had  been  asso- 
ciated with  the  film  industry  for  25  years, 
having  been  branch  manager  for  Vitagraph, 
Fox  and  Universal. 


Edith  Mera,  French 
Actress,  Dies  in  Paris 

Edith  Mera,  French  stage  and  screen  ac- 
tress who  attempted  suicide  last  Spring  be- 
cause of  a  morbid  fear  her  customary 
"vampire"  roles  were  exerting  an  evil  in- 
fluence over  her,  died  last  week  in  Paris, 
following  an  operation.  Only  27,  she  was 
recognized  as  a  player  of  ability,  and  had 
performed  before  the  Hollywood  cameras. 


"Q                             ?2  ^ 

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FEB.! 
FEB.  9 
FEB-/6 

im 

110% 
100% 
90% 

OU/o 

70% 

PC 

1 

 4-4 

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f\ 

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// 
/  / 
/  / 

/  / 

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 y... 

* 

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\ 

-//  

f 

■jscol 

^  \ 

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1   . 

PCN'JEP. 
SAN 

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V-t — 

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» 

\ 

The  chart,  based  on  Motion  Picture  Herald's  compilation  of  box  office  grosses, 
indicates  the  business  done^n  each  of  three  Western  key  cities  during  the  eleven 
weeks  period  from  December  8,  1934,  to  February  16,  1935.  The  gross  in  the 
first  week  of  this  period  In  each  city  Is  taken  as  100  per  cent  for  that  city. 


Reports  Persist^ 
Laemmle  Denies 

Reports  persist  as  to  possible  deals  for 
the  purchase  of  a  controlling  interest  in 
Universal  Pictures  Corporation,  but  there 
is  an  emphatic  denial  of  any  sale  issued 
this  week  in  Hollywood  by  Carl  Laemmle. 

"Twenty  years  ago  on  March  15  we 
opened  the  largest  studios  in  the  world  at 
Universal  City,"  said  Mr.  Laemmle.  "We 
have  been  far  too  successful  and  have 
learned  far  too  much  by  experience  there 
to  dispose  of  this  property  on  our  anni- 
versary or  any  other  time.'' 

At  the  present  time,  it  is  learned,  three 
propositions  haA'e  been  made,  the  first  hav- 
ing been  an  offer  extended  by  a  group 
headed  by  John  Hay  "Jock"  Whitney.  It 
is  understood  that  this  represents  the  larg- 
est cash  offer  thus  far  advanced.  David 
Selznick  is  said  to  be  associated  with  Mr. 
Whitney  in  the  matter. 

The  second  offer  is  one  presently  headed 
by  Albert  M.  Greenfield  of  Philadelphia, 
with  whom  B.  P.  Schulberg  is  associated. 
The  appearance  of  Mr.  Greenfield  in  this 
negotiation  tends  to  lend  credence  to  the 
reports  that  William  Fox  is  interested  in  a 
possible  Universal  deal  because  on  many 
occasions  and  for  many  years  Mr.  Fox  and 
Mr.  Greenfield  have  been  on  intimate  terms 
and  have  participated  jointly  in  many  deals. 

The  identity  of  the  third  group  said  to  be 
interested  in  a  purchase  is  not  revealed  at 
this  time,  however. 

The  president  of  Universal  said  that 
"Universal,  like  Old  Man  River,  it  just 
keeps  rolling  along." 

English  Circuit 
Plans  Expansion 

Union  Cinemas,  English  circuit  headed 
by  Fred  Bernhard,  plans  to  build  seven  large 
theatres,  several  of  them  to  seat  3,000,  the 
locations  including  Bath,  Belfast  and  Hud- 
dersfield. 


Leo^  Metro 's  Lion^ 
Is  Dead  at  Twenty 

Leo,  the  lion,  is  dead.  The  famous  and 
widely  publicized  animal  succumbed  to  heart 
disease  on  Monday  in  the  Philadelphia  Zoo 
at  the  age  of  20.  Metro-Goldwyn-Mayer, 
for  whose  pictures  Leo  served  as  emblem 
and  who  kept  him  traveling  for  more  than 
15  years  over  the  country  and  through 
Canada  and  Mexico,  have  not  yet  completed 
plans  for  the  funeral. 

Leo  was  captured  at  the  age  of  one  on  the 
Nubian  deserts  of  Africa  and  brought  to 
America  for  exhibition  in  zoos.  Hollywood 
took  him  and  he  appeared  in  bits  in  jungle 
pictures.  His  career  reached  its  climax 
when  he  was  chosen  as  the  Metro-Goldwyn- 
Mayer  trademark.  In  the  silent  days  he  did 
no  more  than  turn  his  head  at  the  opening 
of  each  picture.  With  the  coming  of  the 
talkies,  his  roar  became  a  familiar  sound 
to  millions. 

For  more  than  15  years  Leo  was  kept 
touring  in  a  trio  of  specially  designed  and 
constructed  cars.  His  own  car,  a  speed 
truck,  measured  24  feet  over  all,  with  a  pri- 
vate cage  of  13  feet,  silver  bars  to  the  cage, 
unbreakable  glass  three  feet  high  on  all 
sides  and  canvas  drops  that  could  be  low- 
ered in  bad  weather.  The  decorations  were 
in  red  and  gold.  The  second  of  the  three 
cars  was  a  completely  equipped  office  for 
Leo's  business  manager;  and  the  third  con- 
tained a  57-note  calliope. 

He  was  an  honorary  member  of  more  than 
200  Lions'  Clubs  and  of  numerous  Adven- 
turers' and  Explorers'  Clubs.  Leo,  in  spite 
of  his  extraordinary  weight  of  734  pounds — 
the  average  male  lion  tipping  the  scales  at 
500 — traveled  in  every  known  conveyance 
in  addition  to  his  private  car.  He  was  the 
first  lion  to  be  transported  in  an  airplane. 
He  was  also  a  passenger  on  steamships, 
trains  and  oxcarts  and  once  was  slung  across 
a  camel's  back  to  take  him  across  the  desert. 

Officials  of  Metro-Goldwyn-Mayer  are  en- 
gaged in  the  search  for  a  successor  to  the 
late  Leo. 


36 


MOTION    PICTURE  HERALD 


March    2,  1935 


BRITISH  INDUSTRY  FACES  PROBLEM 
OF  CONTROL  WITHIN  AND  WITHOUT 


The  President  of  the  Republic  of  Peru  has  had  sound  reproduction  equipment 
installed  in  the  Palace  and  American  motion  picture  showings  are  contributing  to 
the  social  season.  At  a  recent  screening  of  Warner's  "Fashions  of  1934"  were 
(left  to  right)  M.  Prado  of  Western  Electric;  General  Oscar  R.  Benavides,  Presi- 
dent of  Peru;  and  J.  J.  Fisher,  Warner  -  First  National's  manager  for  Peru. 


Safety  Regulations,  Films  Act 
Revision,  Censorship,  Labor 
and  Tax  Issues  All  Attract- 
ing   Serious  Attention 

By  BRUCE  ALLAN 

London  Correspondent 

At  no  time  in  the  history  of  the  British 
industry  have  problems  of  government  en- 
gaged more  of  its  attention  than  at  the  pres- 
ent moment.  Control  of  the  trade  from 
without  and  regulation  from  within  have  be- 
come matters  of  controversy  almost  simul- 
taneously. There  is  little  connection  be- 
tween them,  but  their  common  result  will  be 
that  association  leaders  and  other  public 
spirited  persons  will  spend  a  terrific  amount 
of  their  spare  time  in  1935  in  conference. 

Externally,  the  trade  faces  a  very  obvious 
determination  on  the  part  of  the  govern- 
ment to  extend  its  paternal  interest  in  film 
matters.  Here  are  a  few  matters  which  may 
bring  Wardour  Street  closer  to  Whitehall 
in  the  near  future : 

1.  New  Safety  Regulations 

2.  Films  Act  Revision 

3.  Censorship 

4.  Labor  Conditions 

5.  Entertainment  Tax 

As  regards  some  of  these  matters  there 
is  definite  official  intention  to  legislate.  It 
is  certain  that  the  Home  office  intends  to 
bring  non-inflammable  film  under  control 
by  making  it  subject  to  safety  rules. 

Receives  Union  Delegation 

More  ominous  from  the  point  of  view  of  the 
exhibitor  is  that  Sir  John  Gilmour,  Home  Sec- 
retary, has  now  actually  received  a  deputation 
from  Trade  Unions  which  urge  that  any  re- 
vision of  regulations  shall  include  official  con- 
trol of  terms  of  employment.  As  their  contribu- 
tion to  the  policy  of  complete  regulation  of  the 
trade,  these  bodies  ask :  minimum  wages ; 
maximum  hours ;  attendants  in  proportion  to 
patronage ;  minimum  age  for  operators. 

Whether  or  not  they  ultimately  succeed,  the 
unions  have  scored  an  initial  hit ;  Sir  John 
has  promised  to  send  them  a  draft  of  his  new 
regulations  in  order  that  they  may  suggest 
amendments  for  consideration. 

On  the  other  hand,  the  unions,  in  their  com- 
ment, did  not  emphasize  the  fact  that  he  had 
declared  control  of  wage  scales  is  a  matter 
outside  his  functions. 

Another  matter  which  will  lead  to  extended 
discussion  is  revision  of  the  Films  Act,  on  lines 
of  more  rigid  control  of  block  booking  and  a 
more  stringent  quota  qualification.  Shortage  of 
Parliamentary  time  may  well  postpone  it  until 
after  the  General  Election,  which  may  give 
us  a  government  of  quite  a  different  com- 
plexion. 

The  Institute  and  Censorship 

On  censorship  the  government  maintains  its 
attitude  of  letting  well  alone,  the  "well"  indi- 
cating the  official  view  of  the  way  in  which  the 
British  Board  of  Film  Censors  performs  its 
duties,  but  there  is  no  saying  when  its  hand  may 
not  be  forced.  The  semi-official  British  Film 
Institute  last  week  announced  it  is  prepared 
to  issue  "vouchers  of  approval  for  non-fictional 
films,  recording  their  accuracy  and  value  for 
educational  and  cultural  purposes."  Use  of  this 
service,  of  course,  would  be  voluntary,  but  the 
step  suggests  an  interesting  future  extension  of 


censorship,  despite  the  Institute's  emphatic  dis- 
claimer of  any  intention  to  censor  at  all. 

What  the  industry  wants  is  word  that  the 
Institute  will  stay  out  of  the  censorship  field. 

There  is  only  one  date  with  the  government 
from  which  only  the  happiest  results  are  ex- 
pected. That  is  the  get-together  with  the  Chan- 
cellor of  the  Exchequer  to  find  out  whether  he 
intends  to  make  good  his  last  year's  half 
promise  of  a  remission  of  taxes. 

The  deputation  has  been  put  back  at  the 
Chancellor's  own  request  in  order  that  he  may 
be  advised  of  the  state  of  the  national  balance 
sheet  when  he  meets  the  trade,  and  this  is  re- 
garded as  a  good  omen  in  Wardour  Street, 
where  the  view  is  that  there  will  be  a  surplus 
and  that  the  trade  will  get  its  "free  sixpennies." 

Within  the  trade  itself  there  are  outstanding 
problems  in  plenty.  This  week  was  held  a  joint 
meeting  of  the  Kinematograph  Renters'  So- 
ciety and  the  Cinematograph  Exhibitors'  Asso- 
ciation. The  exhibitors  put  forward  specific 
proposals  covering : 

Extension  of  "small  exhibitor"  preferen- 
tial renting  terms  to  theatres  in  which  the 
average  receipts  do  not  exceed  £175  a 
week; 

Inquiry  into  the  "restricted  credit"  plan, 
by  which  certain  exhibitors  are  required  to 
pay  bills  within  limited  periods.  (The 
penalty  of  default  is  withdrawal  of  supplies 
by  ail  renters); 

Agreement  on  a  Standard  Contract; 

Means  to  control  overbuilding. 

It  has  been  announced  that  the  CEA,  if  neces- 
sary, will  take  its  grievance  to  Whitehall  and 
ask  for  legislation  on  the  grounds  that  foreign 
(meaning  American)  companies  are  employing 
harsh  trading  methods. 

A  month  hence  the  Capitol,  in  the  Hay- 
market,  London,  will  be  in  the  hands  of  house- 
breakers. In  December,  when  the  new  Capitol 
opens,  it  seems  likely  to  be  the  most  up-to-date 
super  in  the  West  End.    Provision  for  tele- 


vision film  projection  will  be  one  of  its  out- 
standing features.  There  will  also  be  a  base- 
ment swimming  pool  which  will  become  a 
skating  rink  in  winter  and  which  will  be  con- 
vertible into  a  general  sporting  arena  at  any 
time. 

The  Capitol,  one  of  the  General  Theatres 
properties,  controlled  by  Gaumount-British,  has 
not  ranked  among  its  best  London  theatres. 

The  new  Capitol  almost  inevitably  will  be- 
come a  long  run  house  in  direct  competition 
with  Paramount's  Carlton  and  Plaza,  MGM's 
Empire  and  United's  London  Pavilion. 

Beverly  Baxter,  director  of  public  relations 
to  Gaumont  British,  gave  vent  in  Glasgow  to 
a  dictum  which  seems  to  foreshadow  a  revolu- 
tionary change  of  mind  of  British  producers, 
unless  he  bespoke  only  his  personal  views.  The 
home  market,  he  said,  was  being  killed  by  the 
"quickie,"  and  the  responsibility  rested  on— 
no,  not  on  the  American  distributor,  but  on 
the  Films  Act! 

"Britain  does  not  need  protection  from  Hol- 
lywood" was  one  of  his  remarks,  but  the  official 
policy  of  British  producers  always  has  been 
that  more  protection  was  wanted.  Legislation 
to  provide  it  is  believed  to  be  in  existence. 
Undoubtedly  GB,  London,  British  &  Domin- 
ions, and  any  other  producing  organization 
which  has  the  pluck  to  go  for  world  markets, 
gains  very  little  from  the  British  quota.  Their 
films  book  in  England,  on  their  merits,  very 
much  in  excess  of  quota  requirements. 
V 

New  Producer  Gets  Going 

British  National  Films,  Ltd.,  which  was  in 
the  news  lately  by  reason  of  its  plans  for  the 
super-production  of  "Cecil  Rhodes"  and  "Mary, 
Queen  of  Scots,"  is  to  become  active  soon  with 
an  adaptation  of  Leo  Walmsley's  novel,  "Three 
Fevers,"  Norman  Walker  directing,  and  with  a 
subject  written  around  the  history  of  "Madame 
Tussaud's,"  the  London  wax-work  exhibition. 
British  National,  with  the  backing  of  the  Rank 
milling  millions  and  with  Lady  Yule,  also  a 
millionairess,  associated,  was  announced  as  hav- 
ing a  world  release  through  Gaumont  British. 


March    2  ,  1935 


MOTION    PICTURE  HERALD 


37 


AMONG  THOSE  AT  MPTOA  MEETING 


Following  are  the  nai7ies  of  302  ex- 
Jjibitors  and  representatives  of  prodticers, 
distributors,  equipment  manufacturers,  the 
motion  picture  trade  press  and  other 
branches  of  the  industry  who  were  among 
those  in  attendance  this  week  at  the  15  th 
annual  convention  of  the  Motion  Picture 
Theatre  Owners  of  America,  at  New 
Orleans: 

—A— 

J.  Don  Alexander,  Alexander  Films,  Colo- 
rado Springs. 

Alicoate,  Charles,  Film  Daily,  New  York. 

Alicoate,  Jack,  Film  Daily,  New  York. 

Alexander,  H.  H.,  exhibitor,  Belzoni,  Miss. 

Ansell,  Louis,  Ritz  and  Midtown  theatres, 
St.  Louis. 

Auger,  Edward,  RCA  Photophone,  Camden, 
N.  J. 

— B— 

Baker,  P.  M.,  New  Orleans. 
Ballance,  Harry,  Atlanta. 
Balwin,  C.  F.,  exhibitor,  Des  Moines. 
Balhorn,  George,  Milwaukee. 
Barr,    Maurice,     Saenger    Theatres,  New 
Orleans. 

Barrett,  Martin  H.,  New  York. 
Bell,  F.  Homer,  Atlanta. 

Belshe,  E.  B.,  exhibitor,  Forest  City,  Ark. 
Benedic,  Jules  A.,  exhibitor,  Atlanta. 
Benton,    William,    circuit    owner,  Saratoga, 
N.  Y. 

Berinstein,  Benjamin,  exhibitor,  and  vice- 
president,  MPTOA,  Los  Angeles. 

Bernheimer,  Louis,  Washington,  D.  C. 

Berry,  H.  R.,  exhibitor,  Hartsville,  S.  C. 

Beveuson,  A.,  New  Orleans. 

Bissinger,  L.  G.,  exhibitor,  Dallas. 

Blackman,  G.  M.,  Smith  Film  Service, 
Syracuse. 

Blair,  Robert,  New  Orleans. 

Blanco,  A.,  exhibitor,  Sunnyvale,  Cal. 

Bloch,  M.,  State  theatre.  New  Orleans. 

Blount,  N.  B.,  New  Orleans. 

Boiler,  Robert,  Kansas  City. 

Brannon,  Thomais,  Atlanta. 

Briant,  C.  J.,  New  Orleans. 

Bromberg,  A.  C,  distributor,  Atlanta. 

Brown,  Colvin,  vice-president,  Quigley  Pub- 
lications, New  York. 

Brown,  E.  T.,  New  Orleans. 

Brown,  W.  Cleveland. 

Brylawski,  A.  Julian,  circuit  owner,  and  vice- 
president,  MPTOA,  Washington,  D.  C. 
Buckwalter,  H.  C,  New  Orleans. 

— C— 

Callahan,  George  F.,  Exhibitors  Delivery 
Service,  Pittsburgh. 

Carter,  N.  L.,  New  Orleans. 

Casanaive,  Charles,  exhibitor,  New  York. 

Cauger,  A.  V.,  Cauger  Service,  Inc.,  Inde- 
pendence, Mo. 

Chadwick,  A.  E.  Motion  Picture  Advertising 
Service,  New  Orleans. 

Chartier,  Roy,  Variety,  New  York. 

Clark,  John  D.,  general  sales  manager,  Fox 
Film,  New  York. 

Clarke,  James,  president.  National  Film  Car- 
riers, Philadelphia. 

Clemmons,  Joseph,  Jefferson  Amusement 
Company,  Beaumont,  Tex. 

Coleman,  E.  B.,  MGM  sales  representative. 
New  York. 

Conner,  Luke,  New  Orleans. 

Conrow,  L.  W.,  Electrical  Research  Products, 
New  York. 

Crim,  L.  N.,  exhibitor.  Lake  Charles,  La. 

Cummings,  Samuel,  independent  distributor, 
New  York. 


THIRD  DIMENSION 
TESTING  IN  ENGLAND 

Experiments  being  carried  on  by 
Gaumont  British  and  Imperial  Chemi- 
cal Industries  indicate  that  stereo- 
scopic films  will  be  available  for  pub- 
lic exhibition  in  two  years.  One  sys- 
tem which  is  said  to  have  proved  suc- 
cessful involves  embedding  in  the  film 
itself  two  separate  lenses  and  also  re- 
quires a  special  screen.  A  second 
process  concerns  printing  of  two 
views  of  the  same  scene  on  the  same 
positive  film.  — B.A. 


— D— 

Day,  Harvey  B.,  sales  representative,  Terry- 
Toons,  New  York. 

Delacroix,  Lionel,  exhibitor,  Plaquemine,  La. 

Dembow,  Sam,  National  Screen  Service,  New 
York. 

Demharter,  Anton,  New  Orleans. 
Denniston,   Mrs.  J.  D.,   exhibitor,  Monroe, 
Mich. 

Denniston,  R.,  Jr.,  exhibitor,  Monroe,  Mich. 

De  Stefano,  Arthur,  Memphis. 

Dietz,  Howard,  advertising  director,  MGM, 

New  York. 
DoUe,  Fred  J.,  exhibitor,  Louisville. 
Dossett,  Mrs.  Stanton,  exhibitor,  Cameron, 

Tex. 

Duke,  H.  O.,  Atlanta. 

Duncan,  L.  J.,  exhibitor,  West  Point,  Ga. 
Duncan,  N.  £.,  sales   representative,  RCA 

Photophone,  New  York. 
Duport,  Raymond,  New  York. 
DuvEill,  Duke,  New  Orleans. 

— E— 

Eair,  AI,  sales  representative,  Alexander 
Films,  Colorado  Springs. 

Eddy,  Arthur,  Film  Daily,  New  York. 

Eddy,  Nelson,  actor,  MGM,  Culver  City. 

Edwards,  Jack,  New  Orleans. 

Einfeld,  S.  Charles,  director  of  advertising, 
Warner  Brothers,  New  York. 

Elkin,  W.  E.,  exhibitor,  Aberdeen,  Miss. 

Emanuel,  Jay,  Philadelphia  Exhibitor,  Phila- 
delphia. 

Estes,  Joseph,  New  Orleans. 

Ezell,  Claude  C,  Independent  Film  Distribu- 
tors, Dallas. 

Ezell,  John,  southern  district  sales  manager. 
Universal  Pictures,  Atlanta. 

— F— 

Fair,  Al.,  New  York. 

Fay,  Edward  M.,  exhibitor.  Providence. 

Feinberg,  J.  George,  New  York. 

Feist,  Felix,  general  sales  manager,  MGM, 

New  York. 
Fischer,  Al.,  Philadelphia. 
Fisher,  Al,  Philadelphia. 
Flam,  George,  exhibitor,  Winnsboro,  La. 
Fordyce,  Ed.  M.,  Selma,  La. 
Francis,  James   E.,  general  manager,  RCA 

Photophone,  New  York. 

— G— 

Gerson,  Philip,  Philadelphia. 

Gilboy,  Thomas  W.,  San  Francisco. 

Giles,  George,  exhibitor,  Boston. 

Gillham,  Robert  M.,  director  of  advertising. 

Paramount  Publix,  New  York. 
Goldberg,  Aaron,  exhibitor,  San  Francisco. 
Goodman,  R.  J.,  exhibitor,  Starkville,  Miss. 


Goodrow,  Fred'  F.,  New  Orleans. 

Gordon,  Julius,  Jefferson  Amusement  Com- 
pany, Beaumont,  Tex. 

Gordon,  Sol,  Jefferson  Amusement  Company, 
Beaumont,  Tex. 

Graham,  Harry,  midwestern  district  sales 
manager.  Universal  Pictures,  Kansas  City. 

Grainger,  James  R.,  general  sales  manager, 
Universal  Pictures,  New  York. 

Gregg,  J.  J.,  Charlotte,  N.  C. 

Gregg,  William  Walter,  Charlotte,  N.  C. 

Griffith,  L.  C,  circuit  owner,  Oklahoma  City. 

Griffith,  Walter,  Charlotte,  N.  C. 

Grimsley,  V.  M.,  Railway  Express  Agency. 

— H— 

Hamilton,  A.  T.,  exhibitor,  Alexandria,  La. 

Hamm,  L.  S.,  exhibitor,  California,  and  rep- 
resenting Independent  Theatre  Owners. 

Hammons,  E.  W.,  president.  Educational  Pic- 
tures, New  York. 

Hansell,  B.,  sales  representative,  Fox  Film, 
New  York. 

Hardin,  Ruth,  Picquet  Theatres,  Pinehurst, 
N.  C. 

Hardy,  Gerald,  exhibitor,  Fresno,  Cal. 
Harris,    Buddy,   Alexander   Film,  Colorado 
Springs. 

Harvey,  H.  V.,  Harvey  Amusement  Co.,  San 
Francisco. 

Harvey,  Julian,  Harvey  Amusement  Co.,  San 
Francisco. 

Haven,  L.  F.,  exhibitor,  Forrest  City,  Ark. 
Haynes,  T.  B.,  Memphis. 

Hehl,  Louis  C,  treasurer,  MPTO  of  Eastern 

Missouri,  St.  Louis. 
Heidrich,     Frank,     Lyceum     theatre,  New 

Orleans. 

Heineman,  H.  G.,  Fox  Films,  New  York. 

Heineman,  W.  J.,  western  district  sales  man- 
ager. Universal  Pictures,  Los  Angeles. 

Henderson,  W.  H.,  United  Film  Advertising 
Service,  Kansas  City. 

Herbel,  Henry,  midwestern  district  sales 
manager.  Universal  Pictures,  Chicago. 

Herbst,  William  P.,  Washington,  D.  C. 

Hickson,  D.  C,  Washington,  D.  C. 

Higginbothcim,  Arthur,  New  Orleans. 

Hill,  Leon,  St.  Louis  Amusement  Co.,  St. 
Louis. 

Hodges,  W.  A.,  National  Theatre  Supply. 
Holbrook,  John,  National  Broadcasting  an- 
nouncer. 

Horne,  Elmer,  Screen  Broadcasts,  Dallas. 
Huffman,  Harry,  circuit  owner,  Denver. 

Immerman,  Walter,  Chicago. 
Ingram,  R.  J. 

Jack,  Fred  M.,  Dallas. 
Jackson,  Mack,  Alexander  City,  Ala. 
Jennison,   Florence  Tye,  Chicago. 
Johnson,  O.  C,  exhibitor.  Falls  City,  Neb. 
Johnson,  S.  B.,  exhibitor,  Cleveland,  Miss. 
Johnson,  William,  Screen  Broadcasts,  New 
York. 

Jones,  Homer  C,  exhibitor,  Alva,  Okla. 
Jorman,  Joseph,  La  Grange,  Ga. 

— K— 

Kalbfeld,  Arthur,  Pauline  theatre,  St.  Louis. 
Kann,  Maurice,  editor,  Motion  Picture  Daily, 

New  York. 
Keegan,  William,  Trenton,  N.  J. 
Keene,  Lionel  H.,  southern  district  manager, 

Loew's  Circuit,  Atlanta. 
Kennedy,  Edward  L.,  New  Orleans. 
Kennedy,  H.  F.,  exhibitor,  Broken  Bow,  Nebr. 
Kennedy,  R.  M.,  Birmingham. 
Kiefner,  Mrs.  John,  exhibitor,  Perryville,  Mo. 
King,  Burt,  Dallas. 

(Continued  on  folloiuing  page) 


38 


MOTION    PICTURE  HERALD 


March    2,  1935 


ON  THE  REGISTRY  AT  NEW  ORLEANS 


(Continued  from  preceding  pane) 

King,  P.  A.,  National  Carbon  Company. 
Knight,  J.  T.,  theatre  specialist,  New  York. 
Komm,  Sam,  exhibitor,  CoUinsville,  111. 
Kuykendall,  Ed,  president,  MPTOA,  Colum- 
bus, Miss. 
Kuykendall,  Jerry,  Columbus,  Miss. 

— L— 

Lam,  J.  H.,  exhibitor,  Rome,  Ga. 

Lam,  Oscar  C,  exhibitor,  Rome,  Ga. 

Lesserman,  Carl,  western  sales  manager, 
Warners,  Los  Angeles. 

Leuthstrom,  H.  H.,  American  Seating  Com- 
pany. 

Levin,  Samuel,  exhibitor,  San  Francisco. 
Levy,  Edward  G.,  general  counsel,  MPTOA, 

and  counsel,  MPTO  of  Connecticut,  New 

Haven. 

Levy,  Jules,  sales  manager,  Radio  Pictures, 

New  York. 
Lewis,  Charles,  New  York. 
Lightman,  M.  A.,  president,  Malco  Theatres, 

and  vice-president,   MPTOA,  Memphis. 
Livingston,  E.  M.,  exhibitor,  Louisville,  Miss. 
Lowenstein,  Morris,  president  of  the  MPTO 

of   Oklahoma  and  new  secretary  of  the 

MPTOA,  Oklahoma  City. 
Levy,  Ed,  general  counsel,   MPTOA,  New 

Haven. 

Ludwig,  L.  J.,  Minneapolis. 

Lusken,  Al,  St.  Louis. 

Luskin,  J.  B.,  exhibitor,  St.  Louis. 

Luskin,  S.,  Macklind  theatre,  St.  Louis. 

Lust,  Sidney,  exhibitor,  Washington,  D.  C. 

— Mc— 

McCarthy,  Charles  E.,  advertising  director, 

Fox  Film,  New  York. 
McCinaney,  M.  J.,  Colorado  Springs,  Col. 
McCormick,    B.    P.,    McCormick  theatre. 

Canon  City,  Col. 
McCoy,  C.  L.,  New  Orleans. 
McCoy,  H.  W.,  New  Orleans. 
McCroskey,  C.         exhibitor,  Dermott,  Ark. 
McCutcheon,  O.  W.,  exhibitor,  Blytheville, 

Ark. 

McDougald,  B.  v.,  exhibitor,  Monticello, 
Ark. 

Mclnemy,  Michael,  Alexander  Films,  Colo- 
rado Springs. 

Mclntyre,  J.  H.,  Dallas. 

McKinney,  Harold,  Des  Moines. 

McLeod,  Harry  S.,  exhibitor,  and  president. 
Gulf  States  Theatre  Owners  Association, 
New  Orleans. 

McNeils,  R.  A.,  general  manager,  Golden 
State  circuit,  San  Francisco. 

— M— 

Mann,  George,  Redwood  Theatres,  San  Fran- 
cisco. 

Marshall,  Mrs.  Fred,  exhibitor,  Tupelo,  Miss. 
Matreci,  A.  C,  exhibitor,  St.  Louis. 
Mayer,  Joseph,  Chicago. 
Maylie,  W.  H.,  New  Orleans. 
Mercier,  A.  C,  exhibitor,  Perryville,  Mo. 
Merritt,  Charles  H.,  Birmingham. 
Merritt,  Frank,  Birmingham. 
Meyer,     Victor,     Orpheum     theatre.  New 
Orleans. 

Michael,  J.  H.,  president,  MPTO  of  New 
York,  Buffalo. 

Miller,  Christopher,  exhibitor,  St.  Louis. 

Miller,  E.  D.,  Jr.,  Plaisance  theatre,  Chicago. 

Miller,  Jack,  exhibitor  and  president,  Chi- 
cago Exhibitors'  Association,  Chicago. 

Miller,  L.  M.,  New  Orleans. 

Moog,  H.  B.,  Atlanta. 

Moore,  Mrs.  Robert,  exhibitor.  New  Orleans. 
Morgan,  Oscar,  New  Orleans. 
Morris,  H.  S.,  New  York. 
Moscow,  A.  M.,  Columbia  Pictures. 


Moscow,  M.  S.,  New  Orleans. 
Moulder,  A.  A.,  Sapula,  Okla. 
Muhlman,  Charles,  exhibitor,  California. 
Mullins,  D.  D.,  exhibitor,  Anguilla,  Miss. 

— N— 

Naiffy,  Michael,  exhibitor,  San  Francisco. 
Nasser,  Albert,  circuit  owner,  San  Francisco. 
Nasser,  Henry,  circuit  owner,  San  Francisco. 
Nathan,  Marion,  New  York. 
Nichols,  Harry  E.,  Motion  Picture  Herald. 
Niece,  C.  W.,  exhibitor,  Hubbard,  Tex. 
Nizer,  Louis,  counsel.  New  York  Film  Board 

of  Trade,  New  York. 
Nolan,  B.  J.,  General  Register,  New  York. 

— o— 

Olmsted,  L.  N.,  New  York. 
O'Rourke,  Mona,  New  Orleans. 
O'TooIe,  Helen,  assistant  secretary,  MPTOA, 
New  York. 

— P— 

Palfreymiin,      David,      exhibitor  contact, 

MPPDA,  New  York. 
Parr,  George  W.,  exhibitor,  Lancaster,  S.  C. 
Patton,  L.  S.,  New  Orleans. 
Paul,  H.  E. 

Pearson,  Robert,  New  Orleans. 
Pickrel,  F.  B.,   circuit   owner,   Ponca  City, 
Okla. 

Pizor,  Lewen,  circuit  owner,  and  represent- 
ing MPTO  of  Eastern  Pennsylvania,  Phila- 
delphia. 

Powers,  Edward  A.,  New  York. 
Prince,  Dave,  Railway  Express  Agency,  New 
York. 

Proctor,  Mrs.  Laurance,  exhibitor,  Rome,  Ga. 

— R— 

Raines,  Halsey,  publicity  department,  MGM, 
New  York. 

Reade,  Walter,  circuit  owner,  New  York. 

Reld,  Edwin  S.,  exhibitor,  Richmond,  Va. 

Robb,  Harold,  circuit  owner,  Dallas. 

Robbins,  Herman,  president,  National  Screen 
Service,  New  York. 

Robinson,  H.  C,  Film  Truck  Service,  Detroit. 

Rogers,  J.  J.,  New  Orleans. 

Rosenbaum,  Louis,  exhibitor,  Florence,  Ala. 

Rosenberg,  Benjamin,  National  Screen  ser- 
vice, New  York. 

Rosenblatt,  Sol  A.,  Compliance  Director, 
NRA,  Washington. 

Rowley,  Ed.,  circuit  owner,  Dallas. 

Rudolph,  Mrs.  Mary,  Chicago. 

Rudolpher,  Morris,  exhibitor,  Norristown,  Pa. 

RufBn,  W.  F.,  exhibitor,  Covington,  La. 

— s— 

Sablowsky,  Nathan,  exhibitor,  Morristown, 
Pa. 

St.  Cyr,  Ruth,  Alexander  Film,  Colorado 
Springs. 

Sallas,  Warren  J.,  New  Orleans. 
Samwick,  Harry  A.,  New  York. 
Sanowsky,  M.  A.,  exhibitor,  St.  Louis. 
Samwick,  H.  A.,  American  Display  Corpora- 
tion. 

Schnibben,  M.  F.,  exhibitor,  Florence,  S.  C. 
Schuersler,  H.  B.,  exhibitor,  Fairfax,  Ala. 
Shutz,  George,  Motion  Picture  Herald  and 

Better  Theatres,  New  York. 
Segal,  Nathan,  exhibitor,  Washington,  D.C. 
Segall,  Charles,  exhibitor,  Philadelphia. 
Shiell,  William  Jr.,  New  Orleans. 
Shlyen,  Ben,  Associated  Publications,  Kansas 

City. 

Simms,  W.  A.,  Missoula,  Monta. 
Skirball,  Jack  H.,  Educational  Pictures,  New 
York. 

Sliman,  Phillip,  New  Orleans. 


Smith,  Al  M.,  Smith  Service,  Inc.,  Minne- 
apolis. 

Smith,  F.  E.,  exhibitor,  Syracuse,  N.  Y. 
Smith,  Morris,  Des  Moines. 
Sobelson,  Ralph,  Bangor,  Pa. 
Specht,  William,  New  Orleans. 
Stambaugh,  Arthur,  Art  Film  Studios,  Cleve- 
land. 

Stoefel,  Nathan  A.,  Washington,  D.C. 
Stuckert,  W.  A.,  Brenham  theatre,  Brenham, 
Tex. 

Swarsky,  Rose,  exhibitor,  Starkville,  Miss. 
Swift,  Stanley  H.,  Cameron  theatre,  Cameron, 
Tex. 


Tabackman,  Max,  exhibitor,  New  Haven. 
Tegtmiers,  Homer,  exhibitor,  San  Francisco. 
Thomas,    Dave,    producer,    First  Division, 
Hollywood. 

Thomas,  Harry,  president,  First  Division  Pic- 
tures, New  York. 

Thompson,  Leslie  E.,  theatre  operator  of 
RKO  Circuit,  New  York. 

Tobias,  Lester,  premium  distributor.  New 
York. 

Toups,  Rodney,  manager,  Loew's  State  thea- 
tre. New  Orleans. 
Twyman,  F.  W.,  exhibitor,  Charlottesville,  Va. 

— u— 

Underwood,  J.  B.,  Inca  Theatres,  Dallas. 
Unger  Arthur,   Hollywood   Variety,  Holly- 
wood. 

— V— 

Van  Dyke,  W.  S.,  director,  MGM,  Culver 
City. 

Vickers,  John,  Carolina  Delivery  Service, 
Charlotte. 

— w— 

Walsh,  Morgan  A.,  circuit  owner,  and  rep- 
resenting Independent  Theatre  Owners  of 
Northern  California,  San  Francisco. 

Walthall,  Wallace,  Dallas. 

Washburn,  Mel,  New  Orleans. 

Waters,  N.  H.,  exhibitor,  Birmingham,  Ala. 

Weber,  Miss  J.  M.,  exhibitor,  Rome,  Ga. 

Weeks,  C.  H.,  exhibitor.  Dexter,  Mo. 

Weeks,  George  W.,  sales  manager,  Gaumont 
British,   New  York. 

Wehrenberg,  Fred,  president,  MPTO  of 
Eastern  Missouri,  St.  Louis. 

Weiner,  Charles  M.,  Winnipeg,  Canada. 

West,  J.  A.,  Louisville,  Miss. 

Weyer,  Clinton,  secretary.  National  Film  Car- 
riers, Philadelphia. 

Wharton,  H.  D.,  exhibitor.  Warren,  Ark. 

Wilby,  Robert  W.,  circuit  owner,  Atlanta. 

Wilkes,  Harold,  Atlanta. 

Wilkinson,    Lupton,    Advertising  Advisory 

Council,  Los  Angeles. 
Williams,  C.  E.,  exhibitor,  Omaha. 
Williams,  R.  X.,  exhibitor,  Oxford,  Miss. 
Wilson,    Reginald,    Gaumont    British,  New 

York. 

Wood,  Mrs.  Willingham,  exhibitor,  Washing- 
ton, Ga. 
Woodward,  W.  E.,  New  York. 

— Y— 

Yahr,  M.  J.,  Camden,  N.  J. 
Young,  Hal,  National  Screen  Service,  New 
York. 

— z— 

Zappalia,  James,  Columbia  theatre,  St.  Louis. 
Zions,  Louis,  Washington,  D.  C. 
Zucker,  Frank,  cameraman. 


^  for  this  <sJtfJ5^^£^**i^show!  ^ 

  ——  iMMBS-^  —         -      ■-»»«»«»^-^..<rt     ^ 


ELEANOR  POWELL  — 

Wor/d's  greatest  femfnme 
tap-dancer ! 





LYDA  ROBERTI  — Broad- 
way's pet ! 


j^'/w^as  t'li^- genius  w^tll|iilig*^'*"*^'' 


ALICE  FAYE 
JAMES  DUNN 
NED  SPARKS 

LY  D  A  ROBERT! 
CLIFF  EDWARDS 
ARLINE  JUDGE 
ELEANOR  POWELL 
BENNY  RUBIN 
EMMA  DUNN 

GEORGE  WHITE 

Entire  production  conceived,  produced 

and  directed  by  George  White 
Screen  play  by  Jack  Yellen  and  Patterson 
McNutt  •  Based  on  a-story  by  Sam  Hellman 
and  Gladys  Lehman 

0f 


ifc  1440  Rf  ^SOm  v^wt 


1 


ITS  TUNES  ARE  RINGING 
ROUND  THE  WORLD 

Even  before  the  pkture  .op^ns  .  .  .  the  carch  and  swing,  melody  and 
rhythm  have  made  the  song-and-dance  hits  of  '^George  White's  1935 
Scandals'' the  most  sought-after  by  radio's  greatest  orchestra  leaders. 
Already  Rudy  Vallee,  Fred  Waring,  Paul  Whiteman,  Ted  Fiorito,  Abe 
Lyman  and  many  others  have  ^^l  ^^ui-ed  them  in  their  broadcasts, 
set  the  nation  swaying  and  hu^piing  to  these  tunes.  A  billion-dollar 
song-plug  that's  plugging  the  w^^ure  for  you! 


LISTEN  IN  TO  : 

''According  to  the  Moonlighf'' 

"It's  an  Old  Southern  Custom'* 

"Hunkadola" 

"Oh,  I  Didn't  Know  You'd  Get 
That  Way" 

"I  Was  Born  Too  Late" 
'I  Got  Shoes — You  Got  Shoesies' 

Songs  by  :  Jack  Yeilen,  Cliff  Friend, 
Joseph  Meyer,  Herb  Magidson 


It's  365  TIMES  BETTER  than  the  sensational 
GEORGE  WHITE'S  SCANDALS" of  a  year  ago! 


March    2  ,  1935 


MOTION    PICTURE  HERALD 


43 


SNIPING  BY  CHINESE 
CENSORS  PROTESTED 


MORRIS  KOHN 

Morris  Kohn  Dies; 
IV 2S  Film  Pioneer 

Morris  Kohn,  motion  picture  pioneer  and 
former  president  of  Realart  Pictures,  died 
suddenly  at  his  home  in  Nanuet,  N.  Y.,  last 
week.    He  would  have  been  72  in  June. 

Mr.  Kohn's  experience  in  the  motion  pic- 
ture business  dates  back  to  the  early  days 
of  the  industry  when,  with  Adolph  Zukor, 
he  gave  up  his  fur  business  in  Chicago  to 
enter  the  infant  nickelodeon  field.  With 
them  in  the  venture,  which  developed  as  the 
forerunner  of  the  Loew  and  Paramount 
theatre  circuits,  was  the  late  Marcus  Loew. 

Morris  Kohn  was  the  father  of  Ralph  A. 
Kohn,  until  recently  a  Paramount  Publix 
executive,  and  of  Norman  E.  Kohn,  an  ex- 
ecutive of  Paramount's  foreign  department, 
and  Beulah  Goetz,  wife  of  Jack  Goetz,  of 
Duo-Art  Laboratories,  Inc.  Mrs.  Adolph 
Zukor  is  a  niece  of  Mr.  Kohn. 

Mr.  Kohn,  who  had  retired  12  years  ago, 
came  to  this  country  52  years  ago  from 
Hungary  and  settled  in  Chicago.  Later  he 
was  a  farmer  in  the  Dakotas,  and  subse- 
quently, with  his  family,  he  returned  to 
Chicago  and  established  his  fur  business. 

When  Mr.  Zukor  organized,  with  Jesse 
L.  Lasky,  the  Famous  Players  Lasky  Cor- 
poration, predecessor  of  Paramount  Publix. 
he  made  Morris  Kohn  the  head  of  Realart 
Pictures,  a  subsidiary.  He  also  was  presi- 
dent of  Select  when  that  company  was  un- 
der Mr.  Zukor's  control  and  at  one  time  was 
head  of  Warner  Pictures.  Mr.  Kohn  was 
among  the  signatories  to  the  "Roundrobin," 
dated  December  2,  1921,  inviting  Will  H. 
Hays,  then  postmaster  general,  to  the  lead- 
ership of  the  industry. 

Mr.  Kohn's  death  came  suddenly.  His 
health  always  had  been  excellent.  His  death 
came  within  two  days  of  the  fourth  anni- 
versary of  his  wife's  passing  on  February 
22,  1931.  Funeral  services  were  held  Friday 
at  the  Universal  Funeral  Chapel,  with  burial 
in  Mt.  Hope  Cemetery  in  Westchester. 

Ralph  A.  Kohn,  who  for  some  time  has 
been  ill  in  Hollywood,  returned  to  New 
York  for  the  funeral. 


Eight  BoardsTake  a  Hand;  Mem- 
bers Show  So  Many  Friends 
There's  No  Audience  Left 

Issuance  of  an  order  by  the  Nanking 
board  of  film  censors  placing  severe  restric- 
tions upon  pictures  of  an  anti-war  character 
''which  can  benumb  the  public  and  result  in 
a  loss  of  public  morale" — "British  Agent" 
was  barred  and  "Cavalcade"  denounced — has 
evoked  a  spirited  protest  from  American 
offices  in  Shanghai.  Mandatory  regulations 
have  been  set  up  by  the  Chinese  in  eight 
different  localities  served  out  of  Shanghai, 
and  by  the  time  all  have  snipped  and  snipped, 
there  is  little  motion  picture  or  film  left. 

The  exchanges  in  Shanghai  pay  one  of 
the  highest  customs  duties  in  the  world. 
But  first  of  all,  after  the  Nanking  board 
has  finished  carving,  the  filnn  goes  before 
the  Settlement  board,  composed  of  censors 
of  many  nationalities.  The  French  usually 
predominate  in  numbers,  and  theirs  is  a 
philosophy  of  deleting  much  that  refers  to 
the  French  people.  Thus  in  a  recent  instance 
there  appeared  this  dialogue:  "How  is 
Paris?"  "Dirty."  Whereupon  a  French 
censor  said:  "New  York  more  dirty  than 
Paris.  Take  that  out." 

The  British  censors  usually  are  very  lib- 
eral, and  often  clash  with  the  French.  On 
the  other  hand,  if  a  production  has  been 
passed  by  the  others,  but  a  German  objects 
to  it,  extraordinary  attention  is  given  by  the 
board  at  once.  Should  the  Japanese  protest — 
but  they  rarely  do — the  picture  would  be 
immediately  barred.  The  Japanese  censor- 
ship board  in  Tokyo  is  considered  the  sanest. 

Nanking's  Chinese  board  has  presented  a 
problem  of  another  nature  as  well.  The 
members  hold  pictures  for  weeks,  screening 
them  time  and  again  for  all  their  friends. 
Theatres  have  refused  to  book  a  picture  be- 
cause it  already  has  been  shown  so  widely. 

From  the  Shanghai  and  Nanking  boards 
the  picture — and  posters — go  to  the  Hong- 
kong censor.  He  is  generally  considered 
fair,  but  at  Canton  out  come  the  shears 
again,  because  the  board  there  does  not  un- 
derstand the  Nanking  group's  deletions. 
Thence  the  film  is  subjected  to  review  in 
other  ports,  such  as  Tientsin,  Tsingtoa  and 
Hankow.  At  Dairen  the  Japanese  board  sees 
the  print,  but  except  for  kissing  scenes  the 
members  for  the  most  part  accept  the  de- 
cisions of  the  Tokyo  board.  At  Harbin  still 
another  censor  acts. 

By  the  time  the  film  gets  back  to 
Shanghai  it  is  of  no  further  use  for  the 
smaller  cities  in  China  and  often  it  is  so 
mutilated  that  the  exchange  cannot  use  it. 
Should  it  be  returned  without  the  customs 
card,  it  is  confiscated  by  the  local  customs 
office.  Again,  the  customs  house  places 
perforation  marks  of  inspection  on  the  ends 
of  the  film.  If  these  are  lost,  the  exchange 
has  a  real  obstacle  in  getting  customs 
clearance. 

Besides  the  customs  card  and  perforation 
identification,  each  film  is  accompanied  by 


a  Nanking  censorship  certificate,  to  which 
is  attached  a  synopsis  of  the  story  in  Chi- 
nese. If  the  synopsis  is  missing,  the  local 
censor  in,  say,  Tsingtao,  will  refuse  a  per- 
mit to  the  theatre.  Application  to  the  Nan- 
king board  for  a  stamped  synopsis  entails  a 
wait  of  several  months.  Censorship  and  cus- 
toms delays  have  held  up  productions  as 
much  as  eight  and  ten  months.  Every  three 
years  a  picture  must  be  re-censored  and  new 
fees  must  be  paid. 

Chinese  Titles  Inviolate 

When  a  picture  is  sent  to  Nanking  it  is 
given  a  Chinese  title.  If  a  theatre  changes 
the  Chinese  title,  the  exchange  is  fined  by 
the  Nanking  board,  on  the  theory  that  it  is 
easier  to  collect  from  the  exchange ;  they 
can  refuse  to  censor  more  pictures  from  the 
exchange,  but  they  do  not  care  for  the  re- 
sponsibility of  closing  a  theatre.  In  one 
instance  an  exchange  rented  a  film  to  a 
theatre  for  $30.  The  theatre  changed  the 
Chinese  title;  the  exchange  was  fined  $30, 
to  say  nothing  of  the  shipping  charge  and 
wear  on  the  film  itself. 

Motion  picture  men  in  Shanghai  are  look- 
ing about  wildly  for  relief  from  the  censor- 
ship handicap.  They  are  afraid  to  challenge 
the  rulings  of  any  of  the  censor  boards,  lest 
they  be  singled  out  and  their  films  given 
extra  mutilation. 

One  suggestion  made  in  Shanghai  is  that 
the  consul  of  each  country  arrange  to  have 
a  policeman  at  the  theatre  door  to  bar  his 
nationals  if  his  censor  has  objected  to  the 
production.  The  exchanges  raise  the  point 
that  a  French  censor's  objections  should  not 
bar  a  Briton  from  witnessing  a  picture,  and 
the  French  nationals  should  have  similar 
protection  against  any  prohibition  by  a  Brit- 
ish censor. 

IV arren 's  Unit 
Sues  Chrysler 

Control  Corporation  of  America,  F.  B. 
Warren,  president,  has  started  suit  for 
$125,000  against  Chrysler  Corporation,  al- 
leging failure  to  supply  Chrysler  air  con- 
ditioning equipment  for  theatres,  as  con- 
tracted for.  The  Chrysler  interests  were 
served  in  the  action  Wednesday,  through 
Arthur  S.  Friend,  New  York  attorney. 

Control  Corporation  alleged  that  Chrysler 
retained  it  as  the  "sole  and  exclusive  sales 
and  distributing  agent  of  Chrysler  air  con- 
ditioning equipment,  and  the  intent  of  this 
agency  was  to  have  Control  Corporation  in- 
stall this  equipment  in  motion  picture  thea- 
tres throughout  the  country."  After  having 
expended  some  $62,000  in  promotion  of  the 
equipment,  Control  Corporation  said,  it 
"was  faced  with  the  inability,  refusal  or 
neglect  on  the  part  of  Chrysler  to  make  the 
equipment  and  the  necessary  data  for  the 
installation  available." 

Mr.  Warren  explained  that  as  a  result  he 
had  been  compelled  to  withdraw  his  com- 
pany from  active  participation  in  the  air 
conditioning  of  theatres. 


44  MOTIONPICTUREHERALD 


March    2,  1935 


UNDERGROUND  HOUSES 

Patrons  Walk  Down  a  Flight  or 
Two  in  Prague;  Recesses  at  Bars 
Cut  Feature  Pictures  in  Half 

By  H.  RYK 

Prague  Correspondent 


Subterranean  theatres  are  the  rule  in 
downtown  Prague,  theatres  handsomely  con- 
structed, in  cellars.  However,  the  Prague 
theatres  have  not  yet  adapted  to  their  cir- 
cumstances the  slogan  oft  seen  in  American 
businesses,  particularly  clothiers,  into  "Walk 
down  a  flight  and  save  10  cents." 

Nowhere  in  Europe  are  so  many  theatres 
concentrated  as  on  Prager  Wenzelsplatz. 
There  are  no  fewer  than  18  of  them  in  the 
Prague  centrum.  As  space  in  this  part  of 
the  city  is  very  expensive,  the  theatres 
have  taken  to  the  underground.  Often 
one  must  go  down  two  flights  of  stairs  to 
reach  the  parquet. 

Exceptions  are  the  Passage  theatre  and 
the  Lucerna,  both  main  floor  structures  and 
built  in  the  most  modern  style.  Admission 
tickets  to  first  run  theatres  in  Prague  are 
3  to  15  kronen;  in  the  provinces  they  range 
from  one  to  two  kronen. 

One  would  make  a  mistake,  however,  if 
he  were  to  assume  that  the  largest  Czecho- 
slovakian  theatre  is  in  Prague.  The  larg- 
est— seating  3,000 — is  in  Zlin,  the  city  of  the 
shoe  manufacturer,  Bata.  The  theatre  was 
built  for  the  employees  of  his  factory.  The 
largest  legitimate  showplace  is  the  Elektra 
in  Pilsen,  home  of  the  world-famous  beer. 

Proportionate  to  its  population,  Czecho- 
slovakia is  one  of  the  richest  countries  in 
Europe  in  theatre  development. 

High  Taxes,  Low  Income 

The  exhibitor,  however,  does  not  have 
an  easy  time  of  it,  with  such  competition. 
He  must  always  keep  in  mind  the  high  taxes 
and  low  income.  He  must  keep  the  public 
interest  alive  by  skillful  selection  of  product, 
despite  the  fact  that  the  motion  picture  the- 
atre is  the  nation's  most  popular  center  of 
entertainment. 

Pictures  are  sold  to  exhibitors  almost  ex- 
clusively on  a  percentage  basis,  varying 
from  35  to  45  per  cent,  according  to  quality. 
To  set  up  a  program  under  the  present 
troublesome  conditions  is  a  real  task,  though 
the  return  of  American  producer-distribu- 
tors to  the  Czecho  field  should  alleviate  this 
problem.  With  a  small  quantity  of  importa- 
tions the  theatres  suffer  from  attendance  by 
a  very  small  percentage  of  German-speaking 
patrons,  whereas  the  other  part  of  the  audi- 
ence, and  the  exhibitor,  are  confronted  with 
an  inferior  type  of  domestic  or  imported  pic- 
ture. 

Shortage  of  Stories 

Czecho  production  is  set  back  by  a  short- 
age of  good  story  material.  The  musical 
comedy  type  has  fallen  out  of  public  favor ; 
patrons  demand  something  more  now,  some- 
thing with  an  earnest  theme,  down-to-earth 
product,  whether  domestic  or  imported. 

The  curious  system  of  regulation  of  the- 
atre licenses  is  another  problem.  In  most 
instances  the  license  owner  has  very  little 
to  say  in  the  matter — in  fact,  has  no  influ- 
ence at  all  as  to  the  carrying  on  of  the  the- 


atre's business.  Ten  years  ago  the  govern- 
ment stopped  the  granting  of  licenses  to  the 
exhibitors  and  concentrated  that  authority 
in  communal  authorities  and  philanthropic 
societies.  Thus,  on  one  side  were  the  license 
societies  without  theatres ;  on  the  other,  the 
theatres  without  licensing  power.  Exhibitors 
had  to  make  large  payments  for  licenses. 
License  owners  of  most  of  the  theatres  today 
are  the  Sokols,  children's  welfare  societies, 
Turner  unions  and  municipal  corporations. 

Intermissions  in  Features 

Another  unusual  custom  that  militates 
against  good  showmanship  is  the  intermis- 
sion interruption,  somewhat  similar  to  the 
situation  in  South  Africa.  Buffets  or  drink- 
ing rooms  are  operated  in  connection  with 
the  theatres.  Features  are  interrupted  at 
the  halfway  mark  so  that  patrons  may  visit 
the  buffets  and  keep  the  cash  register 
tinkling. 

Not  so  long  ago  the  theatre  went  a  long- 
step  farther  in  this  inconsistency  of  exhibi- 
tion. Instead  of  the  pause  on  the  screen  at 
intermission  time,  a  trailer  of  a  forthcoming 
comedy  would  be  cut  in.  Thus  a  patron 
viewing  a  drama  would  face  the  prospect  of 
having  the  sequence  rent  asunder  by  inter- 
position of  a  bit  of  next  week's  comedy. 

Douglas  Z.  Doty^ 
Film  IV nter^  Dies 

Douglas  Z.  Doty,  screen  writer  and  for- 
mer editor  of  Century  and  Cosmopolitan 
Magazines,  died  at  his  Hollywood  home  lasc 
week  after  a  heart  attack.  He  was  60  vears 
old. 

He,  with  Donald  Ogden  Stewart  and  H. 
D'Abbadie  D'Arrast,  wrote  the  scenario  for 
the  film  "Laughter,"  which  received  the 
award  of  the  Academy  of  Motion  Picture 
Arts  and  Sciences  as  the  best  picture  of 
1931. 

A  native  of  New  York  City,  Mr.  Doty 
attended  Columbia  University,  then  spent  a 
year  on  the  staff  of  the  Boston  Journal  and 
two  years  with  the  Neiv  York  Sunday 
Herald.  He  was  a  reader  and  literary  ad- 
visor for  the  Century  Company,  edited  the 
Century  Magazine  and  was  secretary  of  the 
Century  Company.  In  1917-18  he  edited 
Cosmopolitan.  After  a  time  with  Harper  and 
Brothers,  Mr.  Doty  went  to  Los  Angeles  in 
1921  as  a  screen  writer  with  Famous  Play- 
ers Lasky  Corporation,  becoming  head  of 
the  scenario  department  within  a  year. 

Air.  Doty  was  divorced  from  his  "first  wife 
in  1922.  A  daughter  of  that  marriage, 
Dorothy  Whiting  Doty,  survives.  Others 
are  his  widow,  Katherine  C.  Doty;  a  son, 
a  sister  and  a  brother.  Mr.  Doty  had  been 
a  member  of  The  Players. 


Eaton  Says  Films 
'  'Feed  on  Brains 
Of  Stage  Talent 

Declaring  that  the  motion  picture  indus- 
try "feeds  on  the  brains"  of  story  writers 
and  dramatists  and  must  rely  exclusively  for 
its  acting  talent  upon  Broadway-trained 
actors  and  actresses,  Walter  Prichard  Ea- 
ton, who  has  succeeded  the  late  Dr.  George 
Pierce  Baker  as  head  of  the  Yale  drama 
department,  told  the  fourth  National  Theatre 
Conference  at  New  Haven  last  week  that 
unless  the  theatre  looks  to  the  "little  thea- 
tres" of  the  country  there  may  well  be  a 
drying  up  of  all  sources  of  material. 

"You  cannot  learn  to  write  plays  and 
dramatic  dialogue  save  by  long  practice  be- 
fore audiences,"  Mr.  Eaton  said.  "You  can- 
not learn  to  act  by  two-minute  appearances 
before  a  microphone  and  camera,  but  only 
by  long  practice  before  audiences.  Yet  the 
movies  grab  off  young  players  and  young 
dramatists  as  soon  as  they  have  had  just 
enough  practice  to  indicate  the  possession 
of  some  talent.  This  is  the  end  of  their 
artistic  growth  in  nearly  all  cases.  Only  the 
few  who  resist  the  lure  of  gold  in  'them 
thar  Hollywood  hills'  develop  to  important 
stature. 

"Where  are  the  dramatists  of  tomorrow 
to  come  from?"  Mr.  Eaton  asked.  "With 
the  professional  theatre  cut  down  to  Broad- 
way, where  only  plays  which  can  run  a 
hundred  nights  are  wanted,  obviously,  if  we 
are  to  have  a  dramatic  art  at  all,  even  on 
the  screen,  there  must  be  a  place  for  drama- 
tists to  develop.  That  place  is  in  the  local 
theatres,  the  little  theatres.  These  theatres 
must  get  over  their  excessive  timidity. 

"Too  many  of  them  are  too  much  like  the 
movies  .  .  .  they  are  parasitic ;  they  produce 
only  what  somebody  else  has  developed. 
They  are  little  echoes  of  Broadway." 

Coombs^  Basso  of 
'  'Roxy  Gang '  'Dies 

James  Parker  Coombs,  grand  opera  and 
radio  singer,  whose  basso  was  familiar  to 
millions  over  the  air,  known  as  "Daddy 
Jim."  when  he  was  a  member  of  the  original 
"Roxy  Gang,"  died  at  his  home  in  Great 
Kills,  Staten  Island,  N.  Y.,  late  last  week 
after  a  sudden  heart  attack.  He  was  65 
years  old. 

Mr.  Coombs  sang  for  two  years  at  the 
Radio  City  Music  Hall  and  broadcast  over 
the  NBC  network.  He  continued  with  the 
"Roxy  Gang"  for  11  years,  retiring  from 
the  organization  last  Spring. 

Mr.  Coombs  was  born  in  Bath,  Me.,  and 
attended  Brown  University.  From  1900  to 
1906  he  toured  with  the  Savage  English 
Speaking  Opera  Company,  going  then  to 
the  Hippodrome,  where  he  sang  for  many 
years  under  the  direction  of  R.  H.  Burn- 
side.  In  1919  he  joined  Samuel  Lionel 
Rothafel  at  the  Capitol  theatre. 

He  is  survived  by  his  widow,  Bessie 
Coombs ;  two  daughters,  and  two  sons.  His 
body  was  cremated. 


^^ST  STOP  ^^^^^^        .^r^  SPECT^CVJLft*^  TALK\NG  STOV 

-  Si. ..  - ..... 


3^^SS  Of  SERVICE 


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tngt^e  address.        ^  ^    ^  ^^^''^^CH    ^\<Q!^    •    '  ^ 

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to  SM^LL  SEL^^  CORGR^TV)U^Tt  ^^^^^  SIN 


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melodies,  "'^^^     .„ibox-otti»«  "''  .  .  knockout,  a 

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.^"TTand  to  Climax  the 
M.  P.  T.  O.  A.  Convention 
in  New  Orleans  This  Week 


WVliliV  irlililfllCilUi 

OF  THE  SCREEN'S  GREATEST  MUSICAL 

NATION-WIDE  PRESENtP^ON  THIS  WEEK 
AND  NEXT  IN  KEY  CITIES  THROUGHOUT  AMERICA! 


March    2.  1935 


MOTION    PICTURE  HERALD 


49 


STATE  LEGISLATORS  HAMMER  AWAY 
AT  FILMS;  SIX  SUNDAY  BILLS  UP 


Celler  at  Washington  Denies 
Sidney  Lust's  Statement  He 
Intends  to  Modify  Bill  to  Bar 
Block  Booking  by  Exchanges 

State  legislatures  of  the  country  resumed 
their  hammering  against  the  motion  picture 
industry  this  week,  with  new  legislation  pro- 
posed or  enacted,  calling  for  assessments 
against  exhibitors  and  distributors,  for  cen- 
sorship levies,  higher  admission  taxes,  for 
new  levies  on  gross  business. 

On  the  other  hand  there  are  at  least  six 
such  bills  for  repeal  of  Sunday  closing  laws. 

In  Washington,  Congressnnan  Emanuel 
Celler  contradicted  the  statement  of  Sid- 
ney Lust  of  the  Motion  Picture  Theatre 
Owners  of  the  District  of  Columbia  that 
he  intended  to  modify  the  anti-blocic  book- 
ing provisions  of  his  bill,  following  a  meet- 
ing with  exhibitors.  Congressman  Culkin 
is  planning  early  submission  of  his  anti- 
block  booking  bill. 

Exhibitors  and  distributors  in  Arizona  will 
be  hit  by  heavy  additional  taxes  if  two  bills 
now  before  the  legislature  are  enacted.  A 
Senate  measure  provides  for  a  tax  of  Yi  per 
cent  on  gross  sales.  The  second  bill  proposes 
a  levy  of  2  per  cent  on  gross  earnings  as  well 
as  a  2  per  cent  tax  against  earnings  of  all  em- 
ployees, without  deductions. 

California  Exhibitors  Get  Cheer 

California  exhibitors  learned  that  a  block 
of  50  votes  in  the  House  is  opposed  to  a  num- 
ber of  phases  of  Governor  Merriam's  tax 
program  and  that  defeat  of  the  proposed  10 
per  cent  admission  tax  is  practically  inevitable. 
W.  B.  Hornblower,  chairman  of  the  San  Fran- 
cisco delegation,  said  he  and  his  associates 
will  fight  for  a  tax  program  "based  on  ability 
to  pay." 

Provision  for  a  referendum  on  Sunday  shows 
in  Delaware  was  included  in  a  bill  reported 
favorably  to  the  House  at  Dover. 

In  Kansas,  Senator  Miller  of  Leavenworth 
asked  repeal  of  the  70-year-old  prohibition  on 
Sunday  showings.  Exhibitors  consider  satis- 
factory the  present  local  option  system.  An- 
other bill  would  allow  pictures  to  be  sold  be- 
fore being  censored  by  the  state  board.  This 
would  make  it  possible  for  distributors  to 
write  contracts  as  they  do  in  other  states. 

Louisiana  Tax  Measure 

Mayor  T.  Semmes  Walmsley  of  New  Or- 
leans introduced  an  amendment  for  a  2  per 
cent  tax  on  every  ticket  purchased  instead  of 
2  per  cent  on  the  gross  dollar. 

With  a  petition  in  Massachusetts  to 
strengthen  the  programs  of  film  and  vaudeville 
houses  by  legalizing  stage  dancing  on  Sunday, 
interest  has  been  aroused  by  the  favorable  ac- 
tion of  the  House  on  a  bill  to  permit  dancing 
at  Sunday  weddings.  It  is  felt  that  passage 
would  be  a  step  toward  remedying  the  Sunday 
law  which  gives  the  state  censorship  board 
power  over  pictures  shown  on  Sunday,  result- 
ing in  prints  being  cut  to  requirements  that 
need  to  be  filled  only  one  day  out  of  seven. 
Theatres  in  Massachusetts  have  been  saved 
from  a  state  admission  tax. 

The  Maine  legislature  was  considering  a  bill 
to  legalize  Sunday  shows  after  3  P.  M. 

State  censorship  is  sought  in  a  bill  introduced 
in  the  Missouri  legislature  by  Senator  John  P. 


Shea,  St.  Louis  theatre  manager.  Senator 
Shea  declared  exhibitors  are  forced  to  play 
objectionable  pictures  because  of  block  booking. 
His  bill  calls  for  a  censor  board  of  three  and 
an  inspection  charge  of  $5  a  reel  on  films  and 
50  cents  on  advertising.  Rural  members  of  the 
House  killed  a  resolution  to  submit  a  consti- 
tutional amendment  to  legalize  a  state  lottery. 

In  a  statement  resulting  from  the  Ohio 
censor  board's  asserted  right  to  pass  on 
"The  March  of  Time"  reel,  Lieut.  Lester 
E.  Potter,  police  commissioner  of  Detroit, 
Mich.,  said  any  newsreel  may  be  subjected 
to  censorship  under  an  existing  law.  He 
declared  the  principal  matter  subject  to 
censorship  would  be  communistic  propa- 
ganda. * 

In  North  Carolina  fear  was  expressed  that 
unless  the  contemplated  state  franchise  tax  of 
$1,250  is  reduced  the  state  and  Charlotte  may 
lose  its  film  exchanges.  License  taxes  paid  by 
(ither  concerns  do  not  exceed  $200. 

In  New  Jersey,  despite  a  ruling  by  the  court 
of  chancery  that  all  gambling  is  unconstitu- 
tional, a  new  bill  has  been  introduced  to  permit 
locating  dog  tracks  on  municipal  property. 

At  a  hearing  at  Albany  on  the  Berg  bill  to 
permit  Sunday  theatrical  performances,  Frank 
Gillmore,  Actors'  Equity  president,  and  Paul 
N.  Turner,  Equity  counsel,  declared  passage 
of  the  bill  would  deprive  New  York  City 
hospitals  of  $250,000  receipts  from  Sunday 
night  benefits.  Senator  Berg  said  that  if  the 
bill  would  hurt  the  hospitals  he  would  drop  it. 
Strong  opposition  and  no  support  featured  a 
joint  hearing  Tuesday  on  the  McCall-Canney 
bill  for  stricter  censorship. 

The  Ohio  legislature  passed  the  Waldvogel 
bill,  which  makes  it  unlawful  for  distributors 
to  attempt  to  fi.x  playdates  in  contracts. 

In  South  Carolina,  long  a  stronghold  of  blue 
laws,  a  bill  provides  for  a  censor  board  of 
three,  to  be  appointed  by  the  Governor. 

In  Tennessee,  another  blue  law  state,  a  bill 
for  Sunday  showings  was  introduced  by  Rep- 
resentative Charles  Brown  of  Memphis  and 
Robert  Brown  of  Hickman  County.  Approval 
of  four-fifths  of  a  city  commission  would  be 
required.  A  controversy  over  pending  sales 
tax  legislation  threatened  to  pigeonhole  the 
Sunday  show  measure. 

Federal  Trade  Commission 
Complains  of  Wilson  Film 

The  Federal  Trade  Commission  at  Wash- 
ington last  week  issued  a  formal  complaint 
against  Economic  Films,  Inc.,  and  Frank 
R.  Wilson,  president.  New  York,  for  the 
protection  of  the  President  against  com- 
mercial exploitation.  Misleading  and  de- 
ceptive use  of  the  likeness  of  the  President 
in  a  film,  "Forward,  America,"  as  well  as 
the  accompanying  dialogue  were  cited. 

Mr.  Wilson,  in  reply,  said,  "The  Presi- 
dent's likeness  appears  only  for  a  brief  flash 
at  the  end  of  the  picture.  The  chain  store 
lobby  in  Washington  caused  the  Federal 
Trade  Commission  to  issue  the  complaint 
order." 


Miss  Lawrence  Bankrupt 

Gertrude  Lawrence,  English  actress  and 
fiancee  of  Douglas  Fairbanks,  Jr.,  this. week 
declared  to  her  creditors  in  London  that  she 
has  debts  totaling  $68,110  and  assets  of 
$9,140. 


Balcon  Here  for 
American  Talent 

Michael  Balcon,  executive  director  of  GB 
production  at  the  company's  London  studios, 
arrived  in  New  York  last  week  and  planned 
to  leave  almost  immediately  for  Hollywood 
to  arrange  for  the  appearance  of  several 
American  stars  in  the  company's  forthcom- 
ing productions. 

An  interchange  of  stars  between  England 
and  America  is  as  important  as  the  inter- 
change of  directors  and  technical  experts, 
Mr.  Balcon  said.  Through  both  of  these 
media  new  methods  and  ideas  are  most  easily 
introduced  into  studios,  he  said,  bringing 
to  the  public  of  both  nations  variety  of  film 
names,  characters  and  types. 

In  line  with  GB's  plan  to  cast  American 
players  in  the  company's  pictures  made  in 
England,  Mr.  Balcon  announced  he  has  al- 
ready signed  such  names  as  Claude  Rains, 
Robert  Donat,  Fay  Wray,  Clive  Brook, 
George  Arliss,  Madeleine  Carroll  and  Jane 
Baxter.  Mr.  Balcon  said  he  expects  to  sign 
about  20  additional  players  during  his  six 
weeks  in  Hollywood. 

"Gaumont  British  knows  it  has  a  big  mar- 
ket in  England  and  we  are  striving  to  in- 
crease our  market  in  this  country,"  he  said 
on  his  arrival.  "It  has  been  our  plan  right 
along  to  cast  American  players,  but  now 
we  are  going  after  them  in  a  big  way." 

While  in  New  York,  Mr.  Balcon  discussed 
1935-36  production  plans  with  Arthur  A. 
Lee  and  other  GB  executives.  The  company 
plans  a  maximum  of  24  features  in  the  new 
season,  16  of  which  will  be  distributed  here. 
In  addition  to  GB  films,  the  American  com- 
pany, under  Mr.  Lee's  direction,  will  handle 
pictures  made  by  outside  producers. 

Titles  to  10  of  the  GB  1935-36  lineup  have 
been  set.  They  include  "39  Steps,"  by  John 
Buchan,  starring  Robert  Donat  and  Made- 
leine Carroll;  "Soldiers  Three,"  a  screen 
adaptation  of  Kipling's  story ;  "The  Clair- 
voyant," with  Claude  Rains  and  Fay  Wray; 
"Barcarolle"  and  "Sam  and  Nellie,"  starring 
Jessie  Matthews;  "The  Tunnel"  and  "King 
of  the  Damned,"  starring  Conrad  Veidt; 
"Redemption"  and  "The  Passing  of  the 
Third  Floor  Back,"  to  be  directed  by 
Berthold  Viertel ;  "Pepys,"  from  the  bi- 
ography of  Samuel  Pepys. 


Columbian  Dinner-Dance 
At  Waldorf  Saturday 

The  Hotel  Waldorf-Astoria  in  New  York 
will  be  the  scene  Saturday  evening  of  the 
fifth  annual  dinner-dance  of  the  Columbian 
Club  of  Columbia  Pictures,  social  and  benev- 
olent organization  for  the  employees  of  the 
Columbia  home  office  and  New  York  ex- 
change. Hal  Hode  is  president. 

Harry  Cohn,  president  of  Columbia,  and 
Jack  Cohn,  vice  president,  will  attend.  Stars 
of  screen,  stage  and  radio  will  provide  en- 
•tertainment. 


50 


MOTION    PICTURE  HERALD 


March    2,  1935 


THE  CUTTING  ROOM 


Advance  outlines  of  producfions  nearing 
complelion  as  seen  by  Gus  McCarthy  of 
Motion  Picture  Herald's  Hollywood  Bureau 


THE  WEREWOLF  OF  LONDON 

(Universal) 

Fantastic  and  eerie,  packed  with  that  qual- 
ity of  story  content  that,  experience  demon- 
strates, makes  for  screeches  and  screams,  the 
weirdness  of  which  often  times  makes  for 
laughter,  the  material  used  in  this  production 
is  promising  of  a  suspense-packed  shudder  pic- 
ture. 

The  original  story  is  by  Robert  Harris,  who 
is  also  acting  as  the  picture's  associate  pro- 
ducer as  well  as  having  cooperated  on  the 
screen  play  with  Harvey  Gates,  recently  cred- 
ited with  aiding  in  the  adaptation  of  "The 
Band  Plays  On"  and  "Lives  of  a  Bengal 
Lancer."  Direction  is  by  Stuart  Walker,  whose 
work  with  the  recent  "Mystery  of  Edwin 
Drood"  and  "Great  Expectations"  is  demon- 
strative of  his  ability  to  handle  this  character 
of  subject  matter. 

For  the  unusual  lead  character.  Universal  has 
chosen  Henry  Hull,  who  made  an  impressive 
screen  debut  in  "Great  Expectations."  Presently 
he  is  appearing  in  "Transient  Lady."  The  sec- 
ond most  important  role,  equally  as  weird  and 
menacing  as  the  lead,  is  in  the  hands  of  Warner 
Oland,  long  identified  with  the  Charlie  Chan 
pictures.  In  the  supporting  cast  are  Valerie 
Hobson,  featured  in  several  current  Universal 
pictures,  Clark  Williams,  Lester  Matthews,  the 
veteran  character  actress  Charlotte  Granville, 
Spring  Byington,  one  of  the  famed  "Little 
Women"  players,  Lawrence  Grant,  J.  M.  Ker- 
rigan and  Louis  Vincenot. 

The  major  locale  is  London,  with  a  side  trip 
into  the  hidden  mountains  of  Thibet.  It  con- 
cerns a  man  who  discovers  a  cure  from  an 
affliction  that  turns  man  into  wolf.  Himself 
infected,  he  wreaks  havoc  when  the  moon  grows 
full,  but  is  finally  killed  by  those  whose  ro- 
mantic life  he  most  menaces. 

Novelly  premised,  with  a  wealth  of  sustain- 
ing production  features  in  dialogue,  action  and 
settings,  the  kind  of  exploitation  necessary  to 
sell  it  is  evident. 


carries  mortals  from  life  to  death ;  the  rain 
of  fire,  the  lake  of  flames,  sea  of  boiling  pitch, 
cliff  of  frozen  mortals,  crater  of  doom  and  many 
other  sensations  with  which  people  who  have 
read  Alighiere  or  know  the  Dore  illustrations 
are  familiar.  In  the  modern  sequences  sensa- 
tions featured  are  the  collapse  of  a  pleasure  pier 
with  thousands  in  panic,  the  dance  of  the  bac- 
chanale  and  the  parade  of  sirens  on  the  boat 
and  the  holocaust  of  the  burning  ship ;  followed 
by  the  trial  by  fire  in  the  burning  engine  room, 
out  of  which  the  nether  world  situations  evolve. 

Spencer  Tracy  plays  the  leading  role.  He  is 
supported  by  Claire  Trevor  as  the  girl  he  mar- 
ries ;  Henry  B.  Walthall,  her  father ;  Alan 
Dinehart,  Scotty  Beckett  as  Tracy's  child ; 
Robert  Gleckler,  Willard  Robertson,  Morgan 
Wallace,  and  Garfield  Leon  and  Rita  Cansino, 
a  dancing  team. 


DANTE'S  INFERNO 

Fox 

Don't  let  this  title  cause  any  one  to  jump  at 
conclusions  and  assume  that  the  production  is 
entirely  a  picturization  of  Alighiere's  classic, 
"The  Divine  Comedy."  Preceded  by  a  modern 
dramatic  screen  play  written  by  Phillip  Klein 
and  Robert  Yost,  it  does  lead  to  a  presentation 
of  the  spectacle  of  Hades  which  is  a  feature 
of  Alighiere's  great  work.  Directed  by  Harry 
Lachman,  who  made  "Paddy,  the  Next  Best 
Thing"  and  "Baby,  Take  a  Bow,"  it  is  the 
dramatic  romantic  story  of  a  modern  man  who, 
rising  to  great  wealth  and  power  as  the  owner 
of  an  amusement  park,  marries  the  daughter 
of  the  man  who  owned  the  "Inferno"  show  con- 
cession. Dishonest,  ruthless,  living  for  himself 
alone,  he  culminates  his  career  by  building  a 
floating  pleasure  palace.  With  thousands 
aboard,  it  catches  fire.  Now  comes  the  sym- 
bolism of  Dante's  Hell  to  illustrate  the  horror 
that  grips  his  soul  as  he  attempts  atonement 
for  his  transgressions  against  the  laws  of  God 
and  man. 

Naturally  the  spectacle  of  Hell,  in  which 
thousands  of  extras  participate,  is  one  of  the 
production's  important  showmanship  qualities. 
Among  the  things  presented  from  the  classic  are 
the  river  Styx  and  its  ferryman  Charon,  who  • 


SYLVESTRE  BONNARD 

(Tentative  Title) 
Radio 

This  production  is  based  upon  a  novel  by 
Anatole  France,  French  author,  which  was  pub- 
lished under  the  title  "The  Crime  of  Sylvestre 
Bonnard."  In  essence,  the  story  is  dramatic 
with  a  deep  human  interest  twist.  It  tells  of  a 
man,  an  author,  and  his  love  for  the  orphan 
child  of  an  old  sweetheart,  the  personal  sacri- 
fices he  made  to  insure  her  welfare,  the  strange 
manner  in  which  love  is  brought  to  him,  the 
manner  in  which  vengeance  is  wrought  upon 
those  who  would  harm  both  him  and  the  girl, 
and  the  happiness  that  is  his  when  the  girl  is 
awarded  to  his  guardianship  and  the  romantic 
future  of  the  girl  insured. 

The  locale  is  France  and  the  entire  atmos- 
phere French.  The  screen  play  is  by  Francis 
Faragoh. 

Anne  Shirley,  star  of  "Ann  of  Green  Ga- 
bles," is  the  girl  in  the  picture.  As  an  exploita- 
tion asset  it  is  distinctly  noticeable  that  sev- 
eral who  participated  in  that  picture  are  also 
included  in  this.  It  is  being  directed  by  George 
Nichols,  Jr.,  who  made  Miss  Shirley's  first 
starring  picture.  O.  P.  Heggie,  Helen  Westley 
and  Hilda  Vaughn,  who  appeared  in  "Green  Ga- 
bles," also  will  be  seen  here.  As  a  matter  of 
further  exploitation  interest,  Miss  Westley  is 
one  of  the  outstanding  figures  in  the  forthcom- 
ing "Roberta."  Others  in  the  cast  are  Elizabeth 
Patterson,  Trent  Durkin,  John  Qualen  and  Eti- 
enne  Girardot. 

While  totally  different  in  theme  and  action  as 
well  as  production  background,  there  is  com- 
parative heart  interest  in  this  coming  release. 


LE5  MISERABLES 

20 fh  Century 

As  the  production  cycle  more  and  more  stim- 
ulates an  interest  in  the  classics,  this  produc- 
tion, portrayed  by  an  outstanding  cast,  deals 
with  one  of  the  greatest  human  interest  dramas 
of  all  time.  In  this  adaptation  of  Victor  Hugo's 
monumental  work,  by  W.  P.  Lipscomb,  who 
did  the  screen  play  for  "Clive  of  India,"  the 
pages  of  the  book  as  they  trace  the  life  of  Jean 
Valjean  are  graphically  re-created  with  all  the 
drama,  romance,  tragedy,  historical  significance, 
humanness  and  thrill. 

Directed  by  Richard  Boleslawski,  maker  of 
"Clive  of  India"  and  numerous  other  popular 
successes,  the  picture  stars  Fredric  March  in 
the  role  of  Jean  Valjean  and  Charles  Laughton 


as  Inspector  Javert,  the  hero's  lifelong  nemesis. 
The  supporting  cast,  composed  mainly  of  known 
names,  presents  two  noted  new  personalities, 
Sir  Cedric  Hardwicke,  British  stage  actor,  and 
Keith  Kenneth.  Names  familiar  to  domestic 
audiences  are  Rochelle  Hudson,  Eily  Malyon, 
Frances  Drake,  currently  in  "Transient  Lady" ; 
Ferdinand  Gottschalk,  Jessie  Ralph,  Florence 
Eldridge,  Desmond  Roberts,  Vernon  Dowling, 
David  Clark,  Florence  Roberts  and  Marilyn 
Knowlden,  seen  in  "Copperfield." 

Star  and  personnel  value  being  acknowledged 
from  a  commercial  point  of  view,  the  entertain- 
ment quality  of  story  content  is  of  equal  worth. 
It  shows  Valjean,  the  thief,  hounded  by  Javert, 
in  the  galleys,  then  the  life-saving  hero  freed 
but  treated  like  an  animal  and  cheated  by  one 
and  all.  It  takes  him  to  his  association  with  the 
kindly  Bishop  and  the  incident  of  the  stolen 
candlesticks,  with  Javert  still  hovering  revenge- 
fully close,  and  later  as  M.  Madeline,  the  mi- 
raculously wealthy  and  philanthropic  industrial- 
ist befriending  Fantine  and  subsequently  her 
fatherless  child.  As  he  sacrifices  all  to  save 
a  wrongly  identified  prisoner,  the  drama  builds 
to  Jean  now  as  Duval,  gardener  in  a  convent, 
and  his  great  love  for  the  now  motherless  Co- 
sette.  Years  pass  to  bring  revolution,  partially 
financed  by  Duval.  Cosette  is  in  love  with  one 
of  its  leaders,  Marius,  and  jealously  fills  her 
guardian's  heart.  The  story  now  builds  to  a 
great  final  scene  with  the  indefatigable  Javert 
committing  suicide  that  he  might  be  true  to  his 
duty  yet  spare  Valjean  for  a  life  in  peace. 


TRAVELING  SALESLADY 

Warner 

When  some  one  tells  a  woman  that  she 
"knows  nothing  about  nothing"  there's  apt  to 
be  quite  a  bit  of  excitement.  In  this  case  it 
results  in  hilarious  farce  comedy,  similarly  ap- 
plied romance,  moving  to  the  same  tune  of 
dialogue,  action  and  situations.  A  glance  at  the 
predominating  cast  names  amplifies  the  pro- 
duction's comedy  character. 

The  original  story  is  by  Frank  Howard  Clark, 
the  screen  play  by  F.  Hugh  Herbert,  recently 
a  collaborator  on  "The  Secret  Bride,"  and 
Manuel  Seff,  who  similarly  was  occupied  on 
adaptation  of  "Kansas  City  Princess."  Num- 
bered among  the  recent  credits  of  Ray  En- 
right,  director,  are  "Dames,"  "St.  Louis  Kid," 
"20,000,000  Sweethearts"  and  "The  Circus 
Clown." 

The  cast  is  headed  by  Joan  Blondell,  her  first 
picture  in  some  time,  as  the  traveling  sales- 
woman. Players  who  have  scored  their  most 
popular  successes  in  comedy  characters  consti- 
tute the  support.  Listed  are  William  Gargan, 
Hugh  Herbert,  Ruth  Donnelly,  Grant  Mitchell, 
Glenda  Farrell,  Johnny  Arthur,  Joseph  Cre- 
han,  Bert  Roach,  Al  Shean,  Gordon  Elliott. 

With  a  sort  of  all  is  fair  in  love  and  war 
motivating  idea,  the  production  has  a  good  com- 
edy premise.  Miss  Blondel's  father,  Mitchell, 
is  a  tooth  paste  tycoon.  She  wants  to  go  to 
work.  He  won't  permit  it.  Hugh  Herbert  is 
trying  to  sell  him  an  amazing  idea — cocktail 
flavored  toothpaste.  Making  no  headway,  the 
pair  get  together  and  take  the  idea  to  a  rival 
manufacturer.  With  Miss  Blondell  the  sales- 
lady and  Herbert  mixer  and  taster,  the  new 
stuff  wrecks  her  father's  business.  It  brings 
her  into  a  situation  with  her  father's  star  sales- 
man, who  doesn't  know  her  identity,  whereby 
they're  rivals  by  day,  but  sweethearts  after  sun- 


March    2.  1935 


MOTION    PICTURE  HERALD 


51 


down.  Crammed  with  fun  in  all  phases,  it  builds 
to  a  situation  whereby  the  alcoholic  paste  ruins 
Mitchell's  business  and  forces  him  into  a  merger 
with  Shean.  Gargan  and  Miss  Blondell  also 
merge  romantically. 

The  production  looks  like  an  exploitation 
natural,  with  plenty  of  entertainment  to  back 
up  any  claims. 


GIMPY 

Columbia 

A  racetrack  yarn,  this  production  approaches 
its  subject  in  a  decidedly  different  way.  While 
retaining  the  familiar  essentials  that  have  made 
this  type  of  entertainment  popular,  the  story 
by  William  Jacobs,  with  screen  play  by  Crane 
Wilbur,  introduces  much  that  is  new  to  add  to 
the  amusement  and  exploitation  value. 

Directed  by  Phil  Rosen,  the  comparatively 
small  cast  being  headed  by  Jack  Holt,  last  seen 
in  "The  Best  Man  Wins,"  gives  all  its  members 
featured  opportunities.  The  story  deals  with 
a  racehorse  owner,  whose  pet  superstition  is 
orphans.  Unknown  to  him,  two  orphans — one  a 
boy,  the  other  a  horse — are  brought  within  his 
care.  An  extended  run  of  tough  luck  results  in 
his  discovery  of  the  situation,  and  when  his 
favorite  runner  sprains  a  leg  in  training,  he 
orders  the  boy  out  of  the  house.  However,  the 
youngster  has  made  friends  with  the  trainer 
to  overhear  a  crooked  jockey  and  double-cross- 
ing betting  commissioner  conspire  to  hand  the 
owner  a  trimming.  This  information  is  relayed 
to  the  owner.  He  is  horror  stricken  to  think 
that  an  orphan  horse  and  an  unknown  rider 
must  carry  his  colors.  But  when  the  orphan 
boy  rides  the  orphan  horse  to  a  thrilling  long- 
shot  victory,  it's  the  eradication  of  the  super- 
stition and  happiness  all  around. 

Jackie  Searl,  remembered  for  many  fine  per- 
formances, particularly  in  "Wicked  Women," 
is  the  orphan.  Mona  Barrie,  seen  with  Holt  in 
"I'll  Fix  It,"  is  his  wife.  The  supporting  cast 
features  Ralph  Morgan  as  the  trainer  who  be- 
friended the  orphan ;  Bradley  Page  as  the 
crooked  gambler;  Frankie  Darro,  the  crooked 
jockey,  and  Sam  McDaniel  and  Frank  Orth. 

As  the  feature  combines  human  interest  with 
drama,  action,  plenty  of  comedy  and  a  thrilling 
race  sequence  given  a  surprising  twist,  it  calls 
for  a  type  of  showmanship  labeling  it  new  and 
different. 


PRIVATE  WORLDS 

Varamonnt-W  anger 

As  is  indicated  by  the  title,  this  is  an  unusual 
story.  Fantastic  in  many  ways,  it  is  a  dar- 
ingly premised  drama  romance.  The  locale  is 
a  psychopathic  hospital.  The  principal  players 
are  famous  doctors,  specializing  in  mental  cases, 
their  lovers,  a  wife  and  relatives.  As  their  tan- 
gled lives  and  loves,  influenced  by  jealousy, 
fear,  distrust  and  complicity,  become  more  and 
more  complicated,  the  picture  builds  situations 
and  climaxes  that  plumb  the  depths  of  human 
love,  friendship,  freedom  and  security. 

The  production  is  adapted  from  a  currently 
best-selling  novel  authored  by  Phyllis  Bottome. 
The  screen  play  is  by  Lynn  Starling,  previously 
associated  with  the  leading  character,  Claudette 
Colbert,  in  his  adaptation  of  "Torch  Singer." 
Among  his  many  accomplishments,  the  director, 
Gregory  La  Cava,  is  credited  recently  with 
"Affairs  of  Cellini"  and  "What  Every  Woman 
Knows." 

Although  the  cast  is  extensive,  major  inter- 
pretive roles  are  carried  by  five  persons.  Next 
to  Claudette  Colbert,  now  in  "Imitation  of  Life" 
and  "The  Gilded  Lily,"  is  Charles  Boyer,  last 
seen  in  "Caravan."  The  other  principals  are 
Joel  McCrea,  Joan  Bennett  and  Helen  Vinson. 
The  supporting  cast  numbers  about  20,  the 
more  familiar  being  Esther  Dale,  Samuel  Hinds, 
Jean  Rouverol,  seen  in  "It's  a  Gift" ;  Theodore 
Von  Eltz,  Big  Boy  Williams,  Maurice  Murphy, 
Julian  Madison  and  Harry  Bradley.  Others  are 
Sam  Godfrey,  Dora  Clement,  Stanley  Andrews, 
Irving  Bacon,  Arnold  Grey  and  Eleanore  King. 

Realistic  drama  is  stressed,  and  contrasting 
comedy  fulfills  only  a  minor  function.  Conse- 
quently publicity  should  point  to  the  emotion- 
stirring  character  of  the  production. 


VILLAGE  TALE 

Radio 

Appropriately  titled,  this  is  a  village  tale. 
Concerning  itself  with  events,  situations  and 
relationships  within  a  little  country  village,  of 
which  the  outside  world  hears  little  and  cares 
less  but  which  nevertheless  are  delectable  over- 
the-fence  gossip,  it  is  potentially  rich  in  drama, 
romance,  action,  comedy,  excitement  and  that 
friendly  savor  peculiar  to  many  isolated  towns. 

It  is  based  on  a  story  by  Phil  Stong,  a  fact 
that  assumes  additional  importance  as  Stong 
also  is  the  author  of  "Farmer  in  the  Dell,"  cur- 
rently running  in  a  popular  weekly  periodical 
and  to  be  produced  in  picture  form  shortly  by 
another  major  studio.  The  screen  play  is  by 
Alan  Scot.  It  is  being  directed  by  John  Crom- 
well, maker  of  "The  Fountain"  and  "Of  Hu- 
man Bondage." 

While  the  cast  includes  no  outstanding  names, 
it  does  list  many  well  known  and  favorably 
known  players.  It  presents  Randolph  Scott, 
seen  in  several  Paramount  westerns  and  cur- 
rently in  Radio's  "Roberta" ;  Kay  John- 
son, Arthur  Hohl,  now  being  featured  by 
Columbia  ;  Robert  Barrat,  in  several  recent  War- 
ner productions,  Janet  Beecher,  now  in  "The 
President  Vanishes" ;  Edward  Ellis,  Dorothy 
Burgess,  Donald  Meek,  Quinn  Williams  and 
Ray  Mayer. 

The  various  elements  of  the  story  are 
blended  to  a  point  where  those  attending  a 
church  party  are  promised  something  unusual. 
A  "surprise"  develops,  culminating  in  a  setting 
in  order  of  all  jealousies;  the  triumph  of  virtue, 
and  elimination  of  the  town's  bully,  which  in- 
sures peace  and  happiness. 


CALL  OF  THE  WILD 

2Qth  Centtiry 

Written  by  Jack  London,  whose  adventure 
stories  are  still  popular,  the  screen  play  by 
Gene  Fowler  who  did  "The  Mighty  Barnum" 
and  Leonard  Praskins,  and  directed  by  William 
Wellman  and  featuring  a  cast  of  wellknown 
players,  "Call  of  the  Wild"  holds  much  enter- 
tainment. 

Localed  in  Alaska  during  the  '97  gold  rush 
days,  the  story  is  a  yarn  of  dramatic  romance, 
adventure,  greed,  courage,  tragedy  and  the 
eventual  triumph  of  honesty  and  virtue. 

Man's  greed  for  gold,  particularly  desire  for 
possession  of  a  fabulously  wealthy  lost  claim, 
motivates  the  story.  A  thriller  from  start  to 
finish  as  the  various  parties  seeking  the  claim 
become  involved  in  any  number  of  hair-raising 
episodes,  it  mixes  love  with  hate,  villainy  with 
heroism,  making  its  tenderfoot  heroine  a  pawn 
in  the  hands  of  desperate  men.  The  whole  is  cli- 
maxed by  an  almost  supernatural  exhibition  of 
the  workings  of  justice,  but  leaves  the  romantic 
denouement  a  subject  of  speculation. 

With  Clark  Gable  in  the  role  of  London's 
most  famous  hero,  Jack  Thornton,  the  princi- 
pals all  have  definite  exploitation  value.  Jack 
Oakie  will  be  seen  as  Hoolihan,  the  hero's  ex- 
jockey  pal.  Loretta  Young,  recently  in  "Clive 
of  India,"  is  the  beautiful  heroine.  Reginald 
Owen  is  the  villain.  Others  listed  are  Frank 
Conroy,  Sidney  Toler,  Katherine  DeMille,  Lalo 
Encinas,  Charles  Stevens,  Pat  Flaherty  and  the 
famous  Hollywood  showman,  Sid  Grauman. 


PUBLIC  ENEMY  NO.  2 

MGM 

This  production  is  adapted  from  a  stage  play 
by  Edgar  Selwyn  and  William  LeBaron.  It 
was  adapted  to  the  screen  by  Edwin  H.  Knopf 
and  Lewis  Waller.  The  screen  play  is  by  Harry 
Seigel  and  Barry  Trivers.  It  being  directed  by 
Raoul  Walsh,  maker  of  some  of  the  industry's 
biggest  features  and  last  credited  with  "Under 
Pressure." 

As  the  identity  of  its  two  leading  characters 
as  well  as  several  in  the  supporting  cast  quickly 
indicates,  the  production  is  a  comedy.  It's  the 
story  of  a  henpecked  man,  afraid  of  his  own 
shadow,  who  sets  out  to  prove  to  himself  and, 
naturally,  his  wife  that  he  is  of  the  stuff  of 
which  heroes  are  made.  The  kind  of  person- 
ality the  world  laughs  at,  but  at  the  same  time 


sympathizes  with,  he  gets  himself  mixed  up 
with  a  bunch  of  gangsters  who,  confusing  him 
with  some  one  else,  are  about  to  put  him  on 
the  spot  when  it  is  revealed  that  he  and  the 
mob's  big  shot  were  both  one-time  members  of 
the  same  Boy  Scout  troop. 

Charles  Butterworth,  last  in  "Forsaking  All 
Others,"  plays  the  lead  role  with  Una  Merkel 
as  his  wife.  One  of  the  menaces  with  whom  the 
hero  has  to  deal  is  Harvey  Stephens,  in  the 
role  of  a  man  trying  to  steal  his  wife  away 
from  iiim.  The  supporting  cast  includes  many 
favorable  names.  Listed  are  Eugene  Pallette, 
currently  in  "All  the  King's  Horses" ;  Nat  Pen- 
dleton, now  in  "Times  Square  Lady" ;  Eddie 
Nugent,  Robert  Livingstone,  Donald  Meek, 
Stanley  Fields,  Claude  Gillingwater,  Wade 
Boteler,  Bradley  Page  and  Richard  Carle. 
Others  are  Ruth  Selwyn,  Dorothy  Libaire,  Ray 
Brown  and  G.  Pat  Collins. 

Fun  and  human  interest,  the  prime  motivat- 
ing qualities,  are  also  the  natural  selling  fea- 
tures, but  the  name  values  should  not  be  over- 
looked. 

WANDERLUST 

Warner 

This  production,  made  up  of  homey  stuff, 
mixes  comedy  of  the  belly  laugh  and  smile 
variety  and  drama  that  sometimes  brings  a  tear. 
Again  teamed  are  Guy  Kibbee  and  Aline  Mac- 
Mahon,  stars  of  "Big  Hearted  Herbert"  and 
"Babbitt."  The  yarn  is  adapted  from  a  stage 
play  authored  by  Edith  Ellis,  with  the  screen 
play  by  Tom  Reed,  currently  associated  with 
"The  Florentine  Dagger,"  and  Peter  Milne, 
with  "The  Woman  in  Red."  Direction  is  by 
William  Keighly,  who  made  the  two  previous 
Kibbee-MacMahon  pictures. 

Here  is  the  story  of  the  legendary  tramp 
printer.  The  toot  of  a  locomotive  whistle  being 
all  that  is  necessary  to  stir  the  wanderlust,  he 
leaves  his  forms  on  the  press  and  disappears 
to  roam  the  world  for  a  decade.  His  wife, 
caring  for  two  small  children,  moves  to  an- 
other town,  and  carries  on  the  business  of  get- 
ting out  a  paper.  Supporting  a  legislative  can- 
didate, she  is  in  much  political  excitement  when 
her  younger  daughter,  attending  a  circus,  meets 
up  with  none  other  but  the  errant  knight  of 
ink,  now  acting  as  a  barker.  The  family  re- 
united, but  the  spouse  on  probation,  he  is  just 
in  time  to  get  his  misguided  wife  out  of  a  jam, 
show  up  the  candidate  she  is  supporting  as  a 
minion  of  the  interests,  and  after  his  gangsters 
have  wrecked  the  plant,  get  out  a  paper  on  his 
old  Mary  Jane  handpress  that  blasts  the  gen- 
tleman off  the  map. 

The  cast  supporting  the  leads  features 
Tom  Brown  and  Nan  Gray,  who  carry  the 
story's  romance;  Robert  McWade,  fond  but 
much  rebuffed  suitor  to  Miss  MacMahon's 
hand;  Minor  Watson  as  the  candidate  and 
Johnny  Arledge,  Carl  Stockdale,  Betty  Jean 
Hainey  (a  child),  Dewitt  Jennings,  Oscar  Ap- 
fel,  Robert  Light,  Louis  Mason,  Milt  Kibbee 
and  Jack  Kennedy. 


Joins  Defense  Program 

Fox  West  Coast  Theatres;  in  Los  An- 
geles, has  joined  the  National  Defense  Week 
campaign  by  showing  trailers  of  a  patriotic 
nature,  in  conjunction  v^^ith  talks  by  re- 
serve officers.  Lieutenant  W.  H.  Lollier, 
company  executive,  arranged  the  programs. 


Baldwin  Warner  Supervisor 

Earl  Baldwin,  Warner  studio  writer,  has 
been  promoted  to  the  rank  of  supervisor. 
His  first  assignment  will  be  "The  Irish  Is 
in  Us,"  with  James  Cagney,  Pat  O'Brien  and 
Frank  McHugh. 


Tarzan  Firm  Opens  Office 

Ben  S.  Cohen,  vice-president  of  Bur- 
roughs-Tarzan  Enterprises,  has  opened  com- 
pany offices  in  the  RKO  Building,  New 
York.  George  W.  Stout  is  president,  Harry 
Rathner  eastern  representative. 


Watch  For  Universars  Shivery  Sens 


UNIVERSAL  ..  .WITH  A  HAND 
OF    BIG    MONEY  PICTURES!!! 


Iff 


9  Op 


®Ooo 


tion,  ^^BRIDE  OF  FRANKENSTEIN" 


54 


MOTION    PICTURE  HERALD 


March    2.  1935 


SHOWMEN*^  REVIEWS 


This  departmenf  deals  with  new  product 
from  the  point  of  view  of  the  exhibitor 
who  is  to  purvey  it  to  his  own  public 


Naughty  Marietta 

(MGM) 


Musical  Comedy 

As  entertainment  and  exploitation  material, 
with  plenty  of  novel  values  in  each  phase,  this 
show  merits  more  than  usual  consideration.  Many 
moderns  as  well  as  most  of  the  elders  deem 
its  legitimate  stage  production  predecessor  the 
standard  of  musical  comedy  operetta  perfec- 
tion. The  principal  reason  for  this  legendary 
reputation  is  the  Victor  Herbert  music — par- 
ticularly the  more  modernly  familiar  "Sweet 
Mystery  of  Life"  and  "I'm  Falling  in  Love  with 
Some  One" — and  the  romantic  story  content. 

The  current  musical  vogue  naturally  makes 
selling  of  succeeding  tune-tinged  features  a 
more  difficult  proposition  in  so  far  as  it  per- 
tains to  finding  new  ways  to  talk  about  per- 
sonalities, voices  and  songs.  While  "Naughty 
Marietta"  is  a  musical,  fear  of  that  handicap 
may  easily  be  minimized.  Substantially  the 
show  is  a  charming  love  story,  embellished  by 
drama,  comedy,  melodramatic  action  and  ex- 
citement and  music — the  whole  of  which  is 
presented  against  unique  and  attractive  locales. 

The  expected,  either  artificially  constructed 
or  geometrically  designed  si)ectacle  features  are 
completely  ignored.  The  show  bases  its  bid  for 
entertainment  and  commercial  success  upon 
proved  popular  ingredients — romance,  drama, 
comedy,  menace  and  music.  Tersely,  it  has  a 
likeable  rich  girl-poor  boy  premise.  In  this 
case.  Princess  Marie  (Marietta  eventually),  an 
ornament  of  King  Louis  XV's  court,  is  being 
forced  into  a  state  marriage  with  repugnant  Don 
Carlos  of  Spain  by  her  domineering  uncle.  To 
escape  such  a  fate,  she  changes  places  with  her 
maid,  embarks  with  a  boatload  of  girls  destined 
to  the  wives  of  French  colonists,  in  I-^ouisiana. 
Saved  from  pirates  by  the  Yankee  scouts,  a 
glorified  anticipation  of  the  Liberty  Boys,  Ma- 
rietta falls  in  love  with  her  chief  rescuer.  Cap- 
tain Warrington. 

Informing  the  governor,  who  already  has 
much  trouble  on  his  hands,  that  she's  a  bad 
girl,  not  fit  to  marry  an  honorable  colonist,  she 
gets  a  job  in  a  marionette  show.  Another  shock 
is  handed  the  jittery  Governor  when  her  prince 
Uncle  and  Don  Carlos  come  to  New  Orleans 
to  take  the  errant  princess  home.  Marietta  also 
is  frightened  when  she  is  informed  that  unless 
she  returns  quietly,  something  not  at  all  funny 
will  happen  to  Warrington,  who  has  grown  to 
return  her  affection.  But  not  for  nothing  is 
Warrington  an  American  hero.  Invading  the 
Governor's  farewell  ball,  he  persuades  her  to 
elope  with  him  into  the  inland  wilderness  where 
the  strong  arms  of  his  faithful  soldiers  are  ade- 
quate insurance  that  all  the  power  of  France 
will  not  interfere  with  their  happiness. 

As  the  story  is  told  with  a  catchy  blend  of 
theatrical  hokum  and  straight  realism,  the  Vic- 
tor Herbert  music  is  sung.  Besides  the  first  two 
mentioned,  "Sweet  Mystery  of  Life"  by  Miss 
MacDonald,  and  the  second  by  Eddy,  the  hero- 
ine also  sings  "Antoinette  and  Anatol"  and 
"Chansonette,"  the  Marionette  song  with 
chorus;  the  Italian  Street  song  with  Eddy.  He 
solos  "Southern  Moon"  and  with  chorus 
"Tramp,  Tramp,  Tramp"  and  "The  Owl  and 
the  Polecat."  All  voices  blend  in  the  finale 
medley  of  "Sweet  Mystery  of  Life"  and 
"Tramp,  Tramp,  Tramp." 

A  radical  departure  from  the  prosaic  being 


successfully  made,  while  the  most  commonly  ap- 
preciated entertainment — showmanship  elements 
are  accentuated.  "Naughty  Marietta"  may  be 
given  the  benefit  of  the  enthusiastic  selling  that 
pertains  to  the  popularizing  of  a  gayly  melodi- 
ous, hearty,  romantic  love  story  with  music. — 
McCarthy,  Hollywood. 

Produced  and  distributed  by  Metro-Goldwyn-Mayer. 
Producer,  Hunt  Stromberg.  Directed  by  W.  S.  Van- 
Dyke.  Book  and  lyrics  by  Rita  Johnson  Young. 
Screen  play  by  John  Lee  Mahin.  Frances  Goodrich 
and  Albert  Hacket.  Music  by  Victor  Herbert.  Added 
lyrics  by  Gus  Kahn.  Photographed  by  William 
Daniels.  Running  time,  when  seen  in  Hollywood,  80 
minutes.  Release  date,  March  29,  1935.  General  audi- 
ence classification. 

CAST 

Marietta    Jeanette  MacDonald 

WarnuRton    Nelson  Eddy 

Governor  d'Annard    Frank  Morgan 

Madame  d'Annard    Elsa  Lancaster 

Uncle    Douglas  Dumbrille 

Herr  Schuman    Joseph  Cawthorne 

Julie    Cecilia  Parker 

Don  Carlos   Walter  Kingsford 

Frau  Schuman    Greta  Meyer 

Rudolpho    Akim  TamirofE 

Abe    Harold  Huber 

Zeke    Edward  Brophy 


A  Dog  of  Flanders 

(Radio) 


Urama 

Adapted  from  a  novel  long  considered  a  juve- 
nile literary  classic,  "Boy  of  Flanders"  retains 
all  the  dramatic  and  powerful  human  interest 
characteristic  of  the  book.  It  is  distinctly  in 
the  better  picture  classification  for  which  there 
has  been  such  demand. 

Essentially  the  picture  in  its  character  por- 
trayals as  well  as  other  entertainment  ingredi- 
ents is  more  than  ordinarily  serious,  yet  it  is 
not  without  worthy  comedy  content.  Also  it 
departs  from  practiced  formula  in  that  it  cen- 
ters its  romantic  love  interest  on  pre-adolescent 
children  and  constructs  a  dramatic  triangle 
thereby. 

In  concise  fashion,  with  sincere  human  in- 
terest aimed  straight  at  the  heart  and  more 
sympathetic  emotions,  the  picture  reflects  an 
atmosphere  of  thought  and  action  that  is  a 
familiar  attribute  in  both  rural  and  metropoli- 
tan sectors.  Actually  it  is  the  story  of  the  boy, 
Nello,  whose  character  is  influenced  by  his 
kindly  guardian,  Jehan,  and  the  other  persons 
with  whom  he  came  in  contact,  the  Cogez 
family,  the  Vanderkloots,  Herr  Herden,  the 
Sacristan,  and  Leo,  the  dog. 

With  Rubens  as  his  idol,  the  talented  boy 
aspires  to  be  an  artist.  Helping  Jehan  with  his 
hand-drawn  milk  cart,  every  visit  to  town  is 
just  another  opportunity  to  drink  in  the  great 
beauty  of  artistic  paintings.  Faithfully  pre- 
sented are  the  sequences  in  the  story  relating  to 
Nello's  saving  the  dog  Leo  from  his  cruel  mas- 
ter, his  nursing  the  dog  back  to  health  and  its 
subsequent  part  in  his  life.  Then  follows  his 
poor  boy  love  for  the  rich  child  Maria,  the 
making  of  the  drawing  which  he  plans  for  the 
price  exhibition ;  his  selling  of  it  to  Pieter  that 
he  may  gain  money  with  which  to  provide  care 
for  Jehan.  The  climax  is  Nello's  drawing,  en- 
tered by  rival  Pieter,  being  adjudged  the  win- 
ning composition,  and  the  revelation  of  how  it 
all  happened  and  the  action  of  Herr  Coge>. 
guaranteeing  the  boy's  future  studies,  a  great 
happiness  for  him  and  little  Maria. 

For  practical  purposes,  the  title,  except  to 
those  who  recognize  the  Quida  works,  is  of 


problematic  value.  Similarly,  the  cast,  starring 
the  boy  whose  work  was  favorably  commented 
upon  in  "Wednesday's  Child"  and  a  girl  child, 
Helen  Parrish,  who  is  practically  unknown,  and 
a  number  of  actors  usually  referred  to  as  char- 
acter people,  affords  little  with  which  to  work. 
Therefore  selling  the  show  resolves  itself  into 
convincing  prospective  audiences  that  the  at- 
traction is  worthy  of  their  attention,  stimulat- 
ing the  interest  of  the  younger  element.  Follow 
up  word-of-mouth  advertising  should  prove  a 
valuable  adjunct. — McCarthy,  Hollywood. 

Produced  and  distributed  by  RKO  Radio.  Directed 
by  Edward  Sloman.  Associate  producer,  William  Sis- 
trom.  Screen  play  by  Ainsworth  Morgan.  Adaptation 
by  Dorothy  Yost.  From  the  novel  by  "Ouida."  Pho- 
tographed by  J.  Roy  Hunt.  Art  director,  Van  Nest 
Polglase.  Associate,  Charles  Kirk.  Musical  director, 
Albert  Colombo.  Recorded  by  Paul  F.  Wiser.  Edited 
by  George  Crone.  Running  time,  when  seen  in  Holly- 
wood, 72  minutes.  March  22,  1935.  General  audience 
classification. 

CAST 

Nello    Frankie  Thomas 

Jehan  Daas   O.  P.  Heggie 

Marie  Cogez    Helen  Parrish 

Herr  Cogez    DeWitt  Jennings 

Frau  Cogez    Ann  Shoemaker 

Hans    Christian  Rub 

Pieter  Vanderkloot   Richard  Quine 

Herr  Vanderkloot   Frank  Reicher 

Frau  Vanderkloot   Nella  Walker 

Herr  Herden    Addison  Richards 

Mons.  de  Latour    Joseph  Swickard 

Frau  Keller    Sarah  Padden 

Sacristan    Harry  Beresford 

Leo    "Lightning" 


Mississippi 

(Paramount) 
Melodramatic  Romance 

For  entertainment  and  showmanship  purposes 
this  attraction  offers  W.  C.  Fields  and  his  com- 
edy ;  Bing  Crosby  and  his  crooning,  a  combina- 
tion of  singing  and  comedy  by  the  Cabin  Kids, 
and  for  story  content  a  muchly  altered  and 
sometimes  satiric  picturization  of  Booth  Tark- 
ington's  novel  originally  titled  "The  Fighting 
Coward."  The  result  is  a  melodramatic  and 
sometimes  tense  romance.  Principal  locales  are 
a  Mississippi  River  showboat  and  an  Old  South 
plantation. 

Production  values  are  good.  The  story  opens 
aboard  the  boat  and  Commodore  proceeds  to 
amuse  in  his  typical  manner.  Shifting  to  the 
plantation,  Tom  Grayson  is  on  the  spot  at  his 
engagement  party  to  Elvira  when  he  refuses 
to  fight  a  duel  with  fire-eating  Major  Patter- 
son, fanatic  exponent  of  the  "code  duello,"  as 
a  means  of  satisfying  imaginary  outrages  to 
his  honor.  Branded  a  coward  by  General  Rum- 
ford  and  Elvira,  but  looked  upon  as  a  hero  by 
Sister  Lucy,  Tom  accepts  the  Commodore's 
offer  to  join  the  troupe. 

To  make  his  new  feature  a  drawing  card, 
the  Commodore  exploits  him  as  "the  singing 
killer,"  a  phoney  reputation  which  takes  on  a 
literal  significance,  when,  engaged  in  a  wild 
brawl  with  Rowdy  Captain  Blackie,  that  worthy 
accidentally  kills  himself.  With  Lucy  pining  for 
her  absent  lover  in  a  select  seminary,  the 
showboat  sequences  move  to  spirit  of  comedy 
and  music,  until  the  girls,  taking  a  vacation, 
come  to  a  spot  where  the  boat  is  docked.  There 
Commodore  has  billed  Tom  as  the  killer  of 
a  southern  gentleman  who  happens  to  be  Lucy's 
cousin.  Of  course,  when  Lucy  discovers  that 
Tom  is  the  "killing  singer,"  love  turns  to  ab- 
horrence and  the  stage  is  set  for  the  big  coup. 

Suddenly  becoming  the  real  character  of  his 


M 


arc 


h    2 ,     19  3  5 


MOTION    PICTURE  HERALU 


55 


phoney  build-up,  he  invades  the  Rumtord  man- 
sion, and  after  giving  Major  Patterson  and  his 
equally  tough  brother,  Joe,  a  thorough  going 
over,  leaves  them  cringing  in  fear  and  terror. 
Then,  still  the  complete  he-man,  he  busts  down 
the  door  of  Lucy's  room,  carries  her  off,  and 
with  the  aid  of  the  Commodore  succeeds  in 
convincing  her  that  his  fearsome  reputation  is 
only  mythical. 

Elements  mentioned  in  the  opening  paragraph 
constitute  the  dominating  selling  assets.  Field's 
comedy,  in  both  dialogue  and  action,  is  good 
for  its  full  quota  of  laughs.  Songs  which  Crosby 
sings  are  "Down  by  the  River,"  "Soon"  and 
"It's  Easy  to  Remember,"  plus  his  own  version 
of  "Suwanee  River"  with  Negro  choral  accom- 
paniment.— McCarthy,  Hollywood. 

Produced  and  distributed  by  Paramount.  Produced 
by  Arthur  Hornblovv,  Jr.  Directed  by  Edward  A. 
Sutherland.  Original  by  Booth  Tarkington.  Adapta- 
tion, Herbert  Fields  and  Claude  Binyon.  Screen  play 
by  Francis  Martin  and  Jack  Cunningham.  Music  by 
Richard  Rodgers.  Lyrics  by  Lorenz  Hart.  Sound. 
Eugene  Merritt.  Film  editor,  Chandler  House.  Art 
directors,  Hans  Dheier  and  Bernard  Herzbrun.  Pho- 
tographed by  Qiarles  Lang.  P.  C.  A.  Certificate  No. 
540.  Running  time,  when  seen  in  Hollywood,  80  min- 
utes. Release  date,  March  8.  1935.  General  audience 
classification. 

CAST 

Tom  Grayson    Bing  Crosby 

Commodore  Jackson    W.  C.  Fields 

Lucy  Rumford    Joan  Bennett 

Alabam    Queenie  Smith 

Elvira  Rumford    Gail  Patrick 

General  Rumford    Claude  Gillingwater 

Major  Patterson    John  Miljan 

Joe  Patterson    Ed  Pawley 

Captain  Blackie    Fred  Kohler,  Sr. 

Rumbo    John  Larkin 

Lavinia    Libby  Taylor 

Stage  manager    Harry  Meyers 

Hefty    Paul  Hurst 

Miss  Markham   Theresa  Maxwell  Conover 

The  Cabin  Kids  and  Molasses  and  January. 


The  Devil  is  a  Woman 

(Paramount) 
Drama 

When  it  comes  to  selling  this  show  success- 
fully— all  its  commercial  advantages  as  well 
as  handicaps  being  understood — showmen  have 
their  work  cut  out  for  them.  From  experience, 
exhibitors  and  public  are  thoroughly  familiar 
with  the  character  of  entertainment  the  Joseph 
Von  Sternberg-Marlene  Dietrich  combination 
makes  and  the  manner  in  which  they  make  it. 

Arty,  abstruse  symbolism  qualifying  its  ac- 
tion, dialogue,  musical  accompaniment,  produc- 
tion features  in  backgrounds  and  crowd  group- 
ings and  even  the  manner  in  which  the  camera 
is  used,  the  story  is  interpreted  in  a  way  that 
is  probably  understandable,  and  thus  appealing, 
to  more  intellectually  inclined  drama  students. 
The  masses — preview  audience  being  the  meas- 
uring gauge — just  as  probably  will  find  it  diffi- 
cult to  comprehend. 

"The  Devil  Is  a  Woman"  is  a  drama  of  a 
woman  who  could  dish  out  trouble,  a  man 
who  could  take  it  when  the  return  he  got  for 
his  love  would  have  justified  him  half  a  dozen 
times  in  killing  her,  and  another  man,  who, 
despite  all  he  had  been  told  about  the  woman, 
was  more  than  willing  to  try  to  win  her. 

The  locale  is  Spain.  Many  minutes  in  the 
early  part  are  given  to  a  panorama  of  a  noisy, 
serpentine  Mardi  Gras  carnival.  Masked  An- 
tonio gets  a  running  glimpse  of  masked  Concha 
and  is  immediately  afire  with  desire.  She  eludes 
him,  but  does  make  a  date.  Later  Antonio 
meets  Don  Pasqual  and  tells  him  about  the 
angelic  vision  he  just  has  encountered.  Then 
as  Don  Pasqual  reminisces  and  flashbacks  por- 
tray the  story,  the  audience  gets  a  vivid  picture 
of  what  a  devil  rather  than  an  angel  this  capti- 
vating creature  is,  as  one  experience,  each  more 
amazing  than  its  predecessor,  is  related. 

Hearing  all  this,  Antonio  still  keeps  his  date. 
The  rendezvous  is  interrupted  by  jealous  Don 
Pasqual  and  a  duel  is  precipitated.  Refusing  to 
fire,  Don  Pasqual  is  supposedly  mortally 
wounded,  and  with  Concha,  Antonio  prepares 
to  leave  Spain.  At  the  frontier  Concha,  true 
to  character,  runs  out  on  him,  presumably  re- 
turning to  Don  Pasqual. 

Essentially,  the  picture  and  its  characters 
being  extremely  artificial  to  such  an  extent  that 


there  is  no  possibility  of  audience  sympathy 
accruing  to  any,  selling  it  to  a  popular  extent 
resolves  itself  into  capitalizing  name  and  pro- 
duction values.  Always  a  difficult  proposition 
to  solve,  the  necessity  for  personal  ingenuity 
and  ability  to  draw  patronage  assumes  an  un- 
usual importance. — ^McCarthy,  Hollywood. 

Produced  and  distributed  by  Paramount.  Directed 
and  photographed  by  Joseph  Von  Sternberg.  Original, 
Pierre  Louys'  "The  Woman  and  the  Puppet."  Adap- 
tation by  John  Dos  Passos.  Continuity,  S.  K.  Win- 
ston. Music  by  Ralph  Rainger.  Lyrics  by  Leo  Robin. 
Costumes  by  Travis  Banton.  Sound,  Harry  D.  Mills. 
Film  editor,  Sam  Winston.  Art  director,  Hans  Dreier. 
P.  C.  A.  Certificate  No.  538.  Running  time,  when 
seen  in  Hollywood,  90  minutes.  Release  date,  March 
15,  1935.    Adult  audience  classification. 

CAST 

"Concha"  Perez   Marlene  Dietrich 

Don   Pasqual   Lionel  Atwill 

Antonio  Galvan  Cesar  Romero 

Don  Paquito  Edward  Everett  Horton 

Senora  Perez   Alison  Skipworth 

Morenito   Don  Alvarado 

Dr.    Mendez  Morgan  Wallace 

Tuerta   Temple  Pigott 

Secretary   Paco  Moreno 

Maria   Jill  Dennett 

Conductor   Lawrence  Grant 

Gypsy  Dancer   Luisa  Espina! 

Foreman  Snowbound  Train  Hank  Mann 

Miguelito   Donald  Reed 

Drunk  in  Carnival  Cafe  Eddie  Borden 


Times  Square  Lady 

(MGM) 

Dramatic  Romance 

This  is  an  average  attraction,  modernly  timed, 
localed  in  New  York.  It  is  a  topical  drama  ro- 
mance with  singing  and  comedy  interpolations 
by  Pinky  Tomlin.  The  basic  story  is  embel- 
lished by  a  continual  atmosphere  of  gangster 
menace. 

An  air  of  popularly  fashioned  melodrama  pre- 
vailing, it  is  actually  a  story  of  a  girl  (Virginia 
Bruce)  and  her  dealings  with  her  deceased 
father's  minions.  Fielding,  the  legal  brains,  Gor- 
don, manager  of  the  night  club,  Culver  of  the 
hockey  team,  Kramar  of  the  racing  sheet,  Ken- 
nedy of  the  dog  track  and  Brennan,  general 
handy  man,  conspire  to  gain  control  of  her 
properties  by  making  them  appear  to  be  losing 
liabilities.  But  Toni,  even  though  she  is  an 
Iowa  cornfed,  quickly  and  under  the  expert 
guidance  of  Babe  metamorphoses  into  a  lady  of 
the  .world  who  not  only  knows  all  the  questions 
but  anticipates  their  answers. 

As  the  yarn  unfolds,  it  reveals  Pinky  Tom- 
lin, writer  and  singer  of  "You're  the  Object  of 
My  Affections,"  as  a  personality  whose  work 
here  is  almost  sure  to  merit  future  reckoning. 
As  the  racketeers  prepare  their  coupe,  Gordon 
finds  himself  falling  in  love  with  Toni.  Shunt- 
ing his  paramour  Margo  into  the  discard,  senti- 
ment causes  him  to  doublecross  his  pals,  so  that 
Toni,  instead  of  winding  up  victimized  and 
broke,  receives  a  good  sized  fortune  for  her 
strange  legacy.  The  romantic  climax  is  pre- 
ceded by  a  running  battle  in  which  Mack,  Gor- 
don's man  Friday,  first  turns  traitor  to  his  pro- 
tectors and  then  heroizes  himself. 

While  there  is  much  that  is  formula  with 
which  to  sell  the  picture  in  the  way  of  names 
and  story  content,  the  featuring  of  Tomlin, 
already  highly  publicized,  looks  like  one  of  the 
means  for  novelty  of  appeal. — McCarthy, 
Hollywood. 

Produced  and  distributed  by  Metro-Goldwyn-Mayer. 
Produced  by  Lucien  Hubbard.  Directed  by  George  B. 
Seitz.  Screen  play  by  Albert  Cohen  and  Robert  Shan- 
non. Synchronized  score  by  Edward  Ward.  Record- 
ing director,  Douglas  Shearer.  Art  director,  Cedric 
Gibbons.  Associates,  William  A.  Horning  and  Edwin 
B.  Willis.  Wardrobe  by  Dolly  Tree.  Photographed 
by  Lester  White.  Film  editor,  Hugh  Wynn.  Running 
time,  when  seen  in  Hollywood,  68  minutes.  Release 
date,  April  12,  1935.    General  audience  classification. 

CAST 

Steve  Gordon    Robert  Taylor 

Toni  Bradley    Virginia  Bruce 

Pinky  Tomlin  Pinky  Tomlin  of  Durant,  Okla. 

Margo  Heath    Helen  Twelvetrees 

Babe    Isabel  Jewell 

Mack    Nat  Pendleton 

Jack  Kramer    Jack  LaRue 

Mr.  Fielding    Henry  Kolker 

Slim  Kennedy    Raymond  Hatton 

Ed  Brennan   Russell  Hopton 

Dutch  Meyers    Fred  Kohler 

Brick  Culver    Robert  Elliott 


When  a  Man's  a  Man 

(Fox) 
Western 

A  western  with  a  slightly  off-pattern  story 
twist,  this  Sol  Lesser  production  has  all  the 
action  the  western  fans  will  want,  in  addition 
to  the  strong  western  starring  name  of  George 
O'Brien,  one  of  the  most  popular  of  the  action 
stars.  There  should  be  further  sales  value  in 
the  origin  of  the  film,  a  novel  by  the  widely 
read  and  perennially  popular  Harold  Bell 
Wright. 

Paul  Kelly,  seen  in  numerous  roles  but  rarely 
in  westerns,  is  an  asset  to  the  film.  Dorothy 
Wilson,  in  the  feminine  lead,  is  sufficiently 
attractive  and  virile.  As  action  material  it  may 
best  be  sold  in  the  weekend  position. 

Against  a  background  of  rugged  western 
scenery,  it  combines  villainy,  a  touch  of  comedy, 
swiftness  of  pace  and  romance,  which  is  not 
quite  as  incidental  as  in  most  western  films. 

O'Brien,  wealthy  young  easterner,  goes 
broke,  boards  a  train  westward-bound,  gets  off 
for  a  stretch  in  an  Arizona  town,  attempts  to 
ride  an  "un-ridable"  horse  at  a  rodeo  for  the 
prize  money  that  is  in  it,  is  tossed  off  the  horse, 
and  misses  his  train.  Stranded,  he  walks  to  the 
ranch  from  which  the  horse  has  come,  after 
saving  Miss  Wilson  from  an  annoyance.  He 
finds  that  the  girl  is  the  daughter  of  the  ranch's 
owner,  and  that  Kelly,  the  man  who  had  helped 
him  on  the  horse,  is  the  foreman. 

The  ranch  cattle  are  dying  for  want  of  water 
because  of  the  trickery  of  Harry  Woods,  who 
seeks  to  buy  the  ranch  at  a  ridiculously  low 
figure.  Kelly  gives  O'Brien  a  job,  and  he  turns 
his  attention  three  ways :  to  Miss  Wilson,  whom 
he  finds  extremely  attractive ;  to  the  horse, 
which  he  is  determined  to  ride  ;  to  his  job  and 
the  difficulties  in  which  the  ranch  finds  itself. 
He  devises  a  plan  to  dynamite  under  Wood's 
neighboring  lake,  thus  bringing  water  to  the 
dying  cattle  on  the  other  side  of  the  fence. 

Then  he  realizes  that  Kelly  is  in  love  with 
Miss  Wilson.  Kelly  determines  to  leave  the 
ranch,  but  drunk,  he  tells  Woods  of  the  dyna- 
mite plan.  Woods  goes  armed  to  head  off  the 
explosive  ruin  of  his  plot.  Miss  Wilson  mean- 
while, finding  O'Brien  missing,  has  gone  to  turn 
the  trick  herself.  O'Brien's  horse  is  shot  from 
under  him,  he  captures  and  rides  the  bronco  of 
his  downfall,  and  in  a  lively  sequence  saves  the 
day  for  cattle,  Kelly  and  ranch.  Then  Kelly 
rides  away,  understanding  where  Miss  Wilson's 
interest  lies. — Aaronson,  New  York. 

Distributed  by  Fox.  Produced  by  Sol  Lesser,  Pre- 
sented by  Sol  Lesser  and  John  Zanft.  Directed  by 
Edward  F.  Cline.  Adapted  from  novel  by  Harold 
Bell  Wright.  Adaptation  and  screen  play,  Agnes 
Christian  Johnston  and  Frank  M.  Dazey.  Story  su- 
pervision, Harry  Chandlee.  Production  manager,  Frank 
Melford.  Photography,  Frank  B.  Good.  Art  direction, 
Robert  Ellis.  Film  editor.  Don  Hayes.  Sound  re- 
corder. Hal  Bumbaugh,  Running  time.  fj8  minutes. 
Release  date,  Feb.  15,  1935.  General  audience  classifi- 
cation. 

CAST 

Larry    Knight   George  O'Brien 

Kitty  Baldwin    Dorothy  Wilson 

Phil  Acton    Paul  Kelly 

Nick  Cambert    Harry  Woods 

Newsboy   Jimmy  Butler 

Dean  Baldwin    Richard  Carlisle 

Garby    Clarence  Wilson 

Gibbs    Edgar  Norton 


Sweet  Music 

(Warner) 

Comedy  Drama  with  Music 

The  alert  showman  has  plenty  with  which  to 
work  in  selling  this  first  starring  picture  of 
Rudy  Vallee.  Of  course,  the  key  spot,  in  film 
and  the  selling  thereof,  is  Vallee,  he  who 
crooned  his  way  into  the  popularity  of  a  gog- 
gle-eyed wave  of  femininity,  and  who,  most 
significantly,  has  very  largely  maintained  that 
popularity  through  the  several  ensuing  years. 
In  a  field  where  the  lights  flash  up  to  startling 
brightness,  but  dim  equally  quickly,  Vallee  has 
held  the  brightness. 

The  feminine  contingent  should  be  largely 
sold  merely  by  ballyhooing  the  star's  name. 
— They  may  also  be  told — and  this  may  be  used 


SAMUEL  GOLDWYN 


WWm  NIGHT 


(A  a 


n 


SAYS    MOTION    PICTURE  DAILY 

/ 


I  / 

GARY  COOPER'S^a: 

SINGE  'FUREWELL  TO  URMS,'"  SHOUTS  THE 
HOLLYWOOD  REPORTER  .  .  .  WHICH  ABOS! 


ANNA  STEN'S^ 

SINCE  HER  ADVENT  ON  THE 
AMERICAN   SCREEN  1':  .....  . 


i  tk 


NITED  ARTISTS 


58 


MOTION    PICTURE  HERALD 


March    2.  1935 


to  attract  the  men  as  well — that  the  film  has  a 
predominating  element  of  real  comedy,  and  that 
the  cast  is  studded  with  names  that  have  long 
meant  hearty  laugh  dialogue  and  situations.  Ro- 
mance moves  through  the  story,  but  it  is  dis- 
tinctly comedy-motivated. 

To  those  who  lack  the  Vallee-complex,  it 
might  be  well  to  mention  that  Mr.  Vallee 
emerges  as  an  actor  handling  himself  and  his 
role  with  an  assurance  which  puts  his  appear- 
ance largely  on  the  credit  side  of  the  ledger. 
Ann  Dvorak,  opposite,  as  a  small-time  song- 
and-dance  girl  with  large  hopes  for  a  bright 
future  and  the  big  time,  is  appealing.  For  com- 
edy there  are  these  excellent  names :  Ned 
Sparks,  Robert  Armstrong  (who  proves  he  can 
do  comedy  roles  well),  Allen  Jenkins,  Alice 
White,  Joseph  Cawthorn  and  Al  Shean.  Helen 
Morgan,  in  a  brief  moment,  sings  one  of  her 
better  known  numbers. 

The  story  has  Vallee,  a  popular  band  leader, 
engaged  for  a  Chicago  club  show,  and  pursuing 
what  appears  to  be  a  long-standing  feud  with 
Miss  Dvorak.  She  resorts  to  personalities,  and 
he  aggravates  it  by  teasing  her.  Her  agent  is 
the  rapid-tongued  Sparks,  in  love  with  Miss 
Dvorak — and  his  10  per  cent  commission.  The 
show  closes,  Vallee  moves  to  New  York,  and 
Miss  Dvorak  receives  a  good  offer  to  join,  not 
knowing  that  Vallee  engineered  an  engagement. 

From  that  point  the  story  moves  rapidly,  in- 
terspersed with  such  comic  moments  as  the 
insane  concoctions  of  Press  Agent  Jenkins  ;  the 
attempts  of  Armstrong,  racketeer  brother  of 
Miss  White,  chorus  girl,  to  become  a  crooner 
because  it  seems  a  good  business,  using  a  gun 
to  sell  his  idea ;  the  dialect  comedy  of  Caw- 
thorn and  Shean  as  the  two  cigar  manufacturing 
brothers  who  sponsor  the  radio  appearance  of 
Vallee,  when  the  story  moves  to  the  air-waves ; 
the  insanely  destructive  Milt  Britton  band.  And 
through  it  Miss  Dvorak  moves  from  hope  to 
despair,  as  she  gets  engagement  after  engage- 
ment, fails  in  each,  and  the  while  is  haunted 
by  the  smiling  face  of  Vallee,  with  her  repeated 
expression  of  annoyance  a  certain  indication 
that  she  loves  him.  Then  it  is  Vallee's  task  to  tell 
her  she  is  a  failure  on  his  radio  program,  but 
an  accidentally  developed  air  comedy  sketch 
gives  her  hope  again.  Finally,  as  Vallee  de- 
clares his  love,  her  worries  axe  over. 

The  song  numbers  are  good,  and  plentiful. 
The  production  in  general  is  light,  lively  and 
amusing,  for  any  kind  of  audience. — Aaronson, 
New  York. 

Produced  and  distributed  by  Warner  Bros.  Director. 
Alfred  E.  Green.  Original  story  by  Jerry  Wald.  Carl 
Erickson  and  Warren  DufF.  Photography  by  James 
Van  Trees.  Film  editor,  Bert  Levy.  Art  director. 
Robert  Haas.  Music  and  lyrics  by  Warren  and  Dubin, 
Fain  and  Kahal,  and  Dixon  and  Wrubel.  Musical 
arrangements  by  Ray  Heindorf.  Dances  and  ensem- 
bles directed  by  Bobby  Connolly.  P.  C.  A.  Certificate 
No.  536.  Running  time,  95  minutes.  Released  Feb.  23, 
1935.    General  audience  classification. 

CAST 

Skip  Houston   ■   Rudy  Vallee 

Bonnie  Haydon    Ann  Dvorak 

Ten  Percent  Hudson    Ned  Sparks 

Helen  Morgan   By  herself 

Dopey  Malone    Robert  Armstrong 

Barnev  Gowan    Allen  Jenkins 

Lulu  Betts    Alice  White 

Sidney  Selzer    Joseph  Cawthorn 

Sigmund  Selzer    Al  Shean 

Grant   Phillip  Reed 

Billy  Madison    William  B.  Davidson 

Louis  Trimble    Henry  O'Neill 

Mr.  Thomas    Addison  Richards 

The  mayor    Russell  Hicks 

Mr.  Johnson    Clay  Clement 

Rudy  Vallee's  Connecticut  Yankees. 

The  Frank  and  Milton  Britton  Comedy  Band. 


Home  on  the  Range 

(Paramount) 
Western 

This  western  gains  measurably  by  reason  of 
superior  name  and  performance  values,  and 
through  the  injection  of  novelty  story  angles, 
not  generally  found  in  regular  run  westerns. 

Randolph  Scott  has  gained  for  himself  a  defi- 
nite popularity  among  devotees  of  the  western 
action  yarn,  and  a  full  concentration  on  his 
name  should  be  of  value.  In  addition  there  is 
Jackie  Coogan,  now  grown  into  his  later  teens, 
and  consistently  a  rather  capable  young  player. 


Supporting  these  two  are  Evelyn  Brent,  Dean 
Jagger,  Addison  Richards  and  Fuzzy  Knight  in 
particular,  and  they  all  contribute  effectively. 

The  introduction  of  a  racing  angle  into  the 
story  takes  it  a  bit  out  of  the  ordinary,  and 
serves  at  the  same  time  to  introduce  a  fast 
action  sequence.  The  mortgage-on-the-ranch 
angle  is  there,  but  in  this  instance  it  is  in  the 
hands  of  a  group  of  fast-moving  crooks,  rather 
than  the  unscrupulous  bandit  gang. 

Here  we  have  Scott  and  his  younger  brother, 
Coogan,  owners  of  a  ranch  which  is  in  financial 
straits,  and  the  object  of  the  too  solicitous  at- 
tentions of  Richards  and  Miss  Brent,  who  had 
come  down  after  a  cleanup  in  Alaska,  leaving 
the  third  member  of  the  gang,  Jagger,  in  an 
Alaskan  jail.  Miss  Brent  develops  an  interest 
in  Scott,  which  is  definitely  reciprocated.  She 
is  unaware  that  Richards  is  set  to  take  Scott 
for  everything  he  has.  Jagger,  out  of  jail,  joins 
them,  much  to  Miss  Brent's  annoyance.  When 
Scott  gets  cash  for  some  of  his  cattle,  Richards 
sees  to  it  that  he  "loses"  it,  via  a  few  thugs, 
and  Scott's  only  hope  is  that  the  pride  of  his 
small  racing  stable  come  through  in  the  big 
race.  He  estranges  his  brother,  who  trained 
the  horse,  by  bringing  in  a  professional  jockey, 
who  is  in  the  pay  of  Richards  and  there  to  see 
that  Scott's  horse  does  not  win. 

Just  before  the  race  Richard's  men  set  fire 
to  the  forest  near  the  Scott  ranch,  and  there  is 
action  and  thrill  when  Scott  and  Miss  Brent 
are  caught  in  the  flames.  They  escape,  Scott 
discovers  the  truth,  and  at  the  last  minute  Coo- 
gan goes  in  to  ride  the  horse.  He  wins,  and 
Scott  "forcibly"  regains  his  money  and  the 
mortgage  from  Richards,  who,  in  turn,  is 
charged  with  the  murder  of  Jagger.  Scott  and 
Miss  Brent  complete  the  romantic  note. 

From  a  story  by  the  perennially  popular  Zane 
Grey,  this  appears  highly  satisfactory  material 
for  the  weekend  action  spot  on  the  bill. — Aaron- 
son,  New  York. 

Produced  and  distributed  by  Paramount.  Directed 
by  Arthur  Jacobson.  Original  by  Zane  Grey.  Screen 
play  by  Ethel  Doherty  and  Grant  Garrett.  Adapta- 
tion by  Charles  Logue.  Photographed  by  William 
Mellor.  P.  C.  A.  Certificate  No.  310.  Running  time, 
55  minutes.  Release  date,  Dec.  21,  1934.  Previous 
title,  "Code  of  the  West."  General  audience  classifi- 
cation. 

CAST 

Jack    Jackie  Coogan 

Tom  Hatfield    Randolph  Scott 

Georgia    Evelyn  Brent 

Thurraan    Dean  Jagger 

Beady   Addison  Richards 

"Cracker"    Fuzzy  Knight 

Girl  entertainer    Ann  Sheridan 

Bill  Morris    Howard  Wilson 

Benson    Phillip  Morris 

Undertaker    Albert  Hart 

"Flash"    Allen  Wood 

Butts    Richard  Carle 

Brovra    Ralph  Remley 

Shorty    C.  L.  Sherwood 

Hotel  clerk    Francis  Sayles 

Lem   Alfred  Delcambre 


Lightning  Strikes  Twice 

(RKO  Radio) 
Comedy  Mystery 

This  melange  has  little  substantial  entertain- 
ment property  in  its  makeup,  being,  in  a  sense, 
"neither  fowl,  fish,  nor  good  red  herring."  It 
never  quite  achieves  real  fun,  and  its  mystery 
falls  into  a  hodge-podge  of  hand-reachings,  gun 
shots,  slinking  figures  and  the  like,  which  are 
not  mysterious  and  contain  little  or  no  dramatic 
effect. 

The  comedy  element,  however,  must  be  con- 
sidered the  outstanding  selling  element.  The 
cast  names  in  themselves  are  of  insufficient 
strength  to  attract  patronage.  The  mystery 
angle  cannot  be  emphasized  since  the  audience 
will  not  find  the  mystery  it  will  be  led  to  ex- 
pect. Ben  Lyon,  personable  and  capable  per- 
former, is  in  the  leading  role,  supported  bv  Pert 
Kelton,  Skeets  Gallagher,  Walter  Catlett, 
Laura  Hope  Crews  and  Thelma  Todd,  romantic 
mainstay.  Miss  Todd  is  physically  attractive 
and  effective  in  short  subject  comedy,  but  falls 
short  in  her  feature  appearance  here. 

The  weak  story  revolves  about  the  expected 
arrival  of  Lyon's  aunt  and  his  fiancee  and  the 
complication  which  results  when  he  tries  to 
rid  the  house  of  a  lowbrow  and  annoying  vaude- 


ville team  before  the  arrival.  Intermingled  are 
a  supposed  murder,  a  disappeared  butler,  blood- 
stained garments,  and  the  stupid  detective,  who 
has  become  an  apparently  inevitable  and  some- 
what wearying  impediment  hanging  on  the 
figurative  coat  tails  of  every  mystery  film  pro- 
duced. 

Rather  ineffective  material  at  best,  it  per- 
haps would  be  better  played  somewhere  in  an 
inconspicuous  midweek  position. — Aakonson, 
New  York. 

Produced  and  distributed  by  RKO  Radio.  Associate 
producer,  Lee  Marcus.  Director,  Ben  Holmes.  Screen 
play  by  Joseph  A.  Fields  and  John  Grey.  Original 
story  by  Marion  Dix  and  Ben  Holmes.  Photographed 
by  Edward  Cronjager.  Art  direction  by  Van  Nest 
Polglase  and  Carroll  Clark.  Recorded  by  John  L. 
Cass.  Edited  by  Arthur  Roberts.  P.  C.  A.  Certifi- 
cate No.  352.  Running  time,  66  minutes.  Release  date, 
Dec.  7,  1934.    General  audience  classification. 

CAST 

Stephen  Brewster    Ben  Lyon 

Judy  Nelson    Thelma  Todd 

Fay    Pert  Kelton 

Aunt  Jane    Laura  Hope  Crews 

Wally  Richards    "Skeets"  Gallagher 

Marty  Hicks    Chick  Chandler 

Gus    Walter  Catlett 

Captain  Nelson    John  Hale 

Delia    Margaret  Armstrong 

Phillips    John  David.son 

Dugan   Fred  Kelsey 

Lieut.  Foster    Ed.  Deering 

Casey    Roger  Grey 

Policeman    Walter  Long 

The  Country  Boy 

(Vitaphone) 
Entertaining 

There  is  light  and  colorful  entertainment  for 
youngsters  and  oldsters  in  this  number  of  the 
Merrie  Melodies  cartoon  series  in  good  color. 
Little  Peter  of  the  rabbit  family  who  plays 
hookey  from  school,  gets  in  the  cabbage  patch 
and  is  disastrously  pursued  by  the  farmer  is 
set  to  a  lively,  lilting  tune  as  he  is  warned  of 
the  seriousness  of  his  misconduct  by  his 
brothers  and  sister. — Running  time,  7  minutes. 


Crossroads  of  the  World 

(Fox) 
Interesting 

Of  varied  travel  interest  is  this  subject  of  the 
excellent  Magic  Carpet  of  Movietone  series,  in 
which  the  camera  moves  about  Singapore,  one 
of  the  strangest  of  cities,  with  its  curious  mix- 
ture of  the  ancient  and  the  modern,  its  cosmo- 
politan population  of  many  nationalities  and  at 
least  three  colors.  The  audience  is  then  taken 
into  the  jungle  interior,  on  a  visit  to  a  native 
tribe  which  in  itself  is  of  interest.  Rates  as 
an  entertaining  subject. — Running  time,  9 
minutes. 


Stranger  Than  Fiction 

(Universal) 

Of  Interest 

There  is  the  standard  proportion  of  general 
audience  interest  in  this  subject,  Number  7  of 
the  series,  in  which  the  well  known  voice  of 
James  Wallington  renders  the  accompanying 
explanatory  material.  The  camera  ranges  the 
world,  picking  up  oddities  here  and  there,  some 
amusing,  some  more  serious,  but  all  interesting. 
If  anything,  the  series'  one  fault  lies  in  at- 
tempting to  cram  too  many  items  into  its  short 
length,  but  it  is  none  the  less  interesting  ma- 
terial.— Running  time,  8  minutes. 


Secrets  of  Life 

(  Gaumont-British  ) 
Clever  Nature  Studies 

This  one-reel  series  is  excellently  done  and 
offers  plenty  of  amusing  incident  for  the  general 
audience,  as  well  as  some  real  instruction  in 
the  life  and  manners  of  wild  creatures.  It  shows 
bird  life  from  the  inside  in  a  subject  picturing 
the  history  of  nestlings  from  the  hatching  stage 
until  self-support.  Frog  life  and  courtship  make 
another  good  reel,  and  in  "Thistledown"  and 
"Butterflies  and  Nettles"  there  is  great  picto- 
rial beauty  as  well  as  instruction.  These  films 
should  improve  any  bill. — Allan,  London. 


GREAT 
HOTEL 
MURDER 


Now-They're  Adventuring  in  Mystery 


EDMUND  LOWE 
VICTOR  McLAGLEN 

ROSEMARY  AMES 

MARY  CARLISLE 
HENRY  O'NEILL 
C.  HENRY  GORDON 

Produced  by  John  Stone 

Directed  by  Eugene  Forde.    Screen  play  by 
Arthur  Kober.    Story  by  Vincent  Starrett. 


60 


MOTION    PICTURE  HERALD 


March    2,  1935 


PCCDUCTICNS  IN  W€Cr 


ill 


TITLE 

AMBASSADOR 

"Wilderness  Mail" 

CHARLES  CHAPUN 

Chaplin  Prod.  No.  5 

COLUMBIA 

"Hot  News" 

"Party  Wire" 
FOX 

"Man  Eating  Tiger" 


"It's  A  Small  World" 

"$10  Raise"  ' 

"Doubting  Thomas" 
"Heaven's  Gate" 
"Safe  in  Jail" 

"Secret  Lives" 

INVINCIBLE 

"Public  Opinion" 

LIBERTY 

"The  Old  Homestead" 

METRO-GOLDWYN-MAYER 

"Mask  of  the  Vampire'' 

"Typee" 
"Order  Please" 

"China  Seas" 


PARAMOUNT 

"The  Crusades" 


"People  Will  Talk" 


RKO  RADIO 

"Becky  Sharp" 


"Sylvestre  Bonnard" 
"The  Informer" 
"Village  Tale" 
"Break  of  Hearts" 


UNITED  ARTISTS 

"Les  Miserables" 


"Cardinal  Richelieu" 


UNIVERSAL 

"Werewolf  of  London" 

"Mister  Dynamite" 


"Stone  of  Silver  Creek" 

WARNER  BROS.- 
FIRST  NATIONAL 

"A  Midsummer  Night's 
Dream" 


"Oil  for  the  Lamps  of  China" 
"Dinky" 


"The  Case  of  the 
Curious  Bride" 


WRITER    AND  DIRECTOR 


Story,  James  Oliver  Curwood.    Director:  Forrest 
Sheldon. 

Original  screen  play,  Charles  Chaplin.  Director: 
Charles  Chaplin. 


Original  screen  play,  Anthony  Coldewey.  Di- 
rector:   Lambert  Hillyer. 

Novel,  Bruce  Manning.  Screen  play,  John  How- 
ard Lawson,  Ethel  Hill.    Director  Erie  Kenton. 

Based  on  play,  Ben  Hecht,  Rose  Caylor.  Screer 
play,  Patterson  McNutt,  H.  W.  Haneman. 
Director:  Clyde  Bruckman. 

Based  on  a  short  story,  Albert  Treynor.  Screen 
play,  Gladys  Lehman,  Sam  Hellman.  Di- 
rector:   Irving  Cummings. 

Story,  Peter  B.  Kyne.  Screen  play,  Henry 
Johnson,  Lew  Breslow.  Director:  George  Mar- 
shall. 

Based  on  stage  play,  Geo.  Kelly.  Adaptation, 
Bartlett  Cormack.    Director:    David  Butler. 

From  a  story,  Florence  Leighton  Pfalzgraf. 
Director:   John  Robertson. 

Based  on  story,  Sidney  Skolsky,  Claude  Binyon. 
Screen  play,  Herbert  Asbury.  Director:  Wm. 
Seiter. 

From  a  story,  Ilya  Zorn.  Director:  Bruce 
Humberstone. 

Original  screen  play,  Karen  de  Wolf.  Director: 
Frank  Strayer. 


Screen  play,  W.  Scott  Darling. 
Nigh. 


Director:  Wm. 


Story,  Guy  Endore,  Bernard  Schubert.  Dialogue, 
Samual  Ornitz  Kraft,  John  Balderston.  Di- 
rector:   Tod  Browning. 

Story,  Herman  Melville.  Scenarized,  John  Far- 
row.    Director:    Richard  Thorpe. 

Stage  play,  Edward  Childs  Carpenter.  Adapted, 
Frank  Davis.    Director:    Jack  Conway. 

Novel,  Crosbie  Garstin,  Adaptation,  Jules  Furth- 
man.    Director:    Tay  Gamett. 


Screen  play,  Harold  Lamb,  Dudley  Nichols, 
Waldemar  Young.    Director:  Cecil  B.  DeMille. 

From  original,  Sophie  Kerr  and  an  original  by 
F.  Hugh  Herbert.  Screen  play,  Herbert  Fields. 
Director:    Alfred  Santell. 

Play,  Langdon  Mitchell.  From  novel,  "Vanity 
Fair,"  Wm.  Makepeace  Thackery.  Screen 
play,  Francis  Edw.  Faragoh.  Director:  Rou- 
ben  Mamoulian. 

Novel,  "Crime  of  Sylvestre  Bonnard":  Anatole 
France.  Screen  play,  Francis  Faragoh.  Di- 
rector:   Geo.  NichoUs,  Jr. 

Original,  Llam  O'Flaherty.  Screen  play,  Dudley 
Nichols.    Director:  John  Ford. 

Novel,  Phil  Stong.  Screen  play,  Allan  Scott. 
Director:    John  Cromwell. 

Story,  Lester  Cohen.  Screen  play,  Sarah  Y. 
Mason,  Victor  Heerman.  Director:  Phillip 
Moeller. 

Original,  Victor  Hugo.  Screen  play,  W.  P. 
Lipscomb.     Director:    Richard  Boleslaws'ici. 

Screen  play,  Nunnally  Johnson,  Cameron  Rogers. 
Director:    Rowland  Lee. 


Story,  Robert  Harris.    Director:  Stuart  Walker. 

Story,  Dashiell  Hammett.    Screen  play,  Harry 
Clork,  Doris  Malloy.    Director:   Alan  Crosland. 

Story,   H.   H.   Harris.     Screen   play,  dialogue, 
Earle  Snell.    Director:   Nick  Grinde. 


Wm.  Shakespeare's  play.  Original  music  by 
Mendelssohn,  arranged  by  Erich  Wolfgang 
Korngold.  Screen  play,  Chas.  Kenyon,  Mary 
McCall,  Jr.  Directors:  Max  Reinhardt,  Wm. 
Dieterle. 

From  novel,  Alice  Tisdale  Hobart.  Screen  play. 
Laird  Doyle.    Director:  Mervyn  LeRoy. 

Original  story,  John  Fante,  Frank  Fenton,  Sam- 
uel Gilson  Brown.  Adaptation,  screen  play, 
Harry  Sauber.    Director:    D.  Ross  Lederman. 

Based  on  Liberty  Magazine  story,  Erie  Stanley 
Gardner.    Director:    Michael  Curtiz. 


CAST 


Kermit  Maynard,  Sid  Saylor,  Fred  Kohler. 

Charles   Chaplin,   Paulette   Goddard,   Carter  DeHaven, 
Henry  Bergman. 


Richard  Cromwell,  Billie  Seward,  Wallace  Ford,  Jack 
LaRue. 

Jean  Arthur,  Victory  Jory,  Clara  Blandick,  Charlie 
Grapewin,  Geneva  Mitchell. 

Lew  Ayres,  Claire  Trevor,  Zasu  Pitts,  Walter  King, 
Jack  Haley,  Mitchell  and  Durant,  Tala  Birell. 

Spencer  Tracy,  Wendy  Barrie,  Chas.  Sellon,  Virginia 
Sale,  Raymond  Walburn,  Irving  Bacon. 

Edward  Everett  Horton,  Karen  Morley,  Glen  Boles, 
Rosina  Lawrence,  Richard  Tucker,  Berton  Churchill, 
Ray  Walker,  Alan  Dinehart,  Frank  Melton,  William 
Benedict. 

Will  Rogers,  Billie  Burke,  Alison  Skipworth,  Sterling 
Holloway,  Andrew  Tombes,  Frances  Grant,  Gail  Pat- 
rick, Frank  Albertson. 

Shirley  Temple,  Joel  McCrea,  Lyle  Talbot,  Rosemary 
Ames,  Doris  Nolan. 


Mona  Barrie,  Gilbert  Roland,  Hardie  Albright,  Herbert 
Mundin,  Nick  Foran. 

Lois  Wilson,  Crane  Wilbur,  Shirley  Grey,  Luis  Alberni, 
Andres  de  Segurola,  Florence  Roberts,  Gertrude 
Sutton,  Ronnie  Cosbey. 

Lawrence  Gray,  Mary  Carlisle,  Dorothy  Lee,  Eddie 
Nugent,  Lilhan  Miles,  Lorraine  Bridges. 


Lionel  Barrymore,  Jean  Hersholt,  Elizabeth  Allan, 
Henry  Stephenson,  Donald  Meek,  Jesse  Ralph,  Bela 
Lugosi,  Lionel  Atwill. 

Mala,  Lotus  Long. 

Conrad  Nagel,  Steffi  Duna,  Nat  Pendleton,  Harvey 
Stephens,  Louise  Henry,  Leila  Bennett,  Franchot 
Tone,  Una  Merkel. 

Wallace  Beery,  Clark  Gable,  Jean  Harlow,  Dudley 
Digges,  Lewis  Stone,  Charles  Butterworth. 


Henry  Wilcoxon,  Loretta  Young,  Ian  Keith,  Alan  Hale, 
Pedro  de  Cordoba,  Katherine  DeMille,  Ramsey  Hill, 
C.  Henry  Gordon,  George  Barbier,  C.  Aubrey  Smith, 
Lumsden  Hare,  Hobart  Bosworth. 

Charlie  Ruggles,  Mary  Boland,  Leila  Hyams,  Dean 
Jagger,  Ruthelma  Stevens,  Stanley  Andrews,  Sarah 
Edwards. 

Miriam  Hopkins,  Alan  Mowbray,  Mrs.  Leslie  Carter, 
Wm.  Stack,  Frances  Dee,  Nigel  Bruce,  Cedric  Hard- 
wicke,   Billie  Burke. 

Anne  Shirley,  Helen  Westley,  O.  P.  Heggie,  Trent 
Durkin,  Elizabeth  Patterson. 

Victor  McLaglen,  Heather  Angel,  Preston  Foster, 
Margot  Grahame,  Wallace  Ford,  J.  M.  Kerrigan,  Joe 
Sauers. 

Randolph  Scott,  Kay  Johnson,  Janet  Beecher,  Robert 
Barrat,  Dorothy  Burgess,  Edward  Ellis,  Ray  Mayer, 
Guinn  Williams,  Donald  Meek,  Chas.  Bennett. 

Katharine  Hepburn,  Charles  Boyer,  John  Beal,  Inez 
Palange. 


Fredric  March,  Charles  Laughton,  Rochelle  Hudson, 
Sir  Cedric  Hardwicke,  Florence  Eldridge,  Frances 
Drake. 

George  Arliss,  Edward  Arnold,  Maureen  O'Sullivan, 
Frances  Lister,  Cesar  Romero,  Halliwell  Hobbs. 


Henry   Hull,   Valerie   Hobson,    Warner  Oland,  Lester 

Matthews,  Clark  Williams. 
Edmund    Lowe,   Jean    Dixon,    Esther   Ralston,  Victor 

Varconi,  Verna  Hillie,  Jameson  Thomas,  Matt  Mc- 

Hugh,  Joyce  Compton. 
Buck   Jones,    Noel    Francis,    Peggy    Campbell,  Marion 

Shilling. 


James  Cagney,  Dick  Powell,  Joe  E.  Brown,  Jean  Muir, 
Frank  McHugh,  Ian  Hunter,  Hugh  Herbert,  Anita 
Louise,  Victor  Jory,  Mickey  Rooney,  Olivia  de  Havi- 
land,  Dewey  Robinson,  Ross  Alexander,  Hobart  Cava- 
naugh.  Grant  Mitchell,  Nina  Theilade,  Arthur 
Treacher. 

Pat    O'Brien,    Josephine    Hutchinson,    John  Eldredge, 

Jean  Muir,  Lyle  Talbot. 
Jackie  Cooper,  Mary  Astor,  Sidney  Miller,  Roger  Pryor, 

Jimmy  Butler,  George  Ernest. 

Warren  William,  Margaret  Lindsay,  Claire  Dodd, 
Donald  Woods,  Allen  Jenkins,  Thomas  Jackson,  Olin 
Rowland,  Barton  McLane. 


STAGE  OF 
PRODUCTION 

Shooting 

Shooting 

Shooting 
Shooting 

Editing 

Shooting 

Editing 

Shooting 
Shooting 

Shooting 
Shooting 

Shooting 
Shooting 

Shooting 

Shooting 

Shooting 
Shooting 


Shooting 

Editing 

Shooting 

Shooting 
Shooting 
Shooting 
Shooting 

Shooting 
Shooting 

Editing 
Shooting 

Shooting 
Shooting 


Shooting 
Shooting 

Shooting 


EXHIBITORS  WRITE  LONG  LETTERS 
(VBOUT  COLUMBIA'S  SHORT  SUBJECTS! 


Central  Oity  Amusement  Company 


■  t6JK'  .  has  tjaer- 


,.,..ao3-.  personal  racaxis. 


STgjSt       (orpoKiflon    /  ^  \ 


"Tremendous  aud 
ience  appeal!  Un^ 
usually  good!" 


r.  Siterr 


,  .  K>f'K(\  TJrEATIi 


ami  Bnmdujay, 


'nc 


"Your  single  reels 
are  without  a  peer!'' 


^  MX-  \\ 
^  1964 


"Stand  with  the  best 
in  the  field!  Won- 
derful product!" 

Jack  Y.  Bermaii 


—  F.  H.  Diirkee 


f 


-ir.  altar:- 


P^BLDC  GREAT  STATES  Ty^AII^,^ 


CHICAGO 


January  XB, 


16  no  Ljacsc 
J  Colii.Tiui:.  pi  :t:^ 
:  year  >yith  -he 
'  VLiiyed  arid  on  ti.t 

'  short  £U-.'j!.ct3  released 

tViia  year-     "four  one  reel  gi:v.jDCt3 
'5:iQnclou3  audience  appeal,  eapecliiLly\ 

■  plJiyed  'in-i  they 
Yoxir  t^vi 


a 


ire. 


„,tt  atop  f 


'=tu«3  Corp. 

■^"^  =«ae  ha^ 

feature. 


"  "«arde,  I^uT  M 


Kansas  Gl'^J' 
pear  ».  Wl"''. 

i-ie  nave  all  of  ^^^^ttllave  — j, 

-re«rr".ualuy  t'^-  °"  ' 
or  better  h" 

^.  „r>iir  Bubje 


"As  good  or  bettei 
than  any  on  the 
market!" 

S.  Bernard  Jaffee 


under  ^"""„, ..ntj  than  ""'J  —  ^■^■■^^ 
or  better  quality 

.u^ence  .actlen^S^r^£^g5^t.=e^ 
our  patrona. 


very  truly  youra, 
B.it  taKhTRS,  


FixWiif  LoAST  tJERVicE  Cdrpdhation 


UOS  ANOeuCS,  CA1.IFORNIA 

Salt.  Lai;t  city,  Utall 
Jaauaiy  2},  1935 


Majestic  Theatre 

MoDwiard  &  Burt 

Barron,  Wisconsin 

Cclmnbla  Picture,  =orpt,„,4„„ 

'29  aarenth  Arenae  ! 
Bam  fork  city 

Sentleoan: 

r  '  -n..t.e„to..  a.„«t.a 

"eat  line  3,,,^^  autjaots  that  ,e  axe 


"The  best  lineu 
we  are  playini 
Round  out  any  fe( 
ture!" 

J.  R.  McDonald 


SCRAPPY 

Produced  by  Charles  B.  Mintz 

COLOR  RHAPSODIES 

Produced  by  Charles  B.  Mintz 

LAUGHING  with  MEDBURY 

Produced  by  Walter  Putter— Written 
and  spoken  by  John  P.  Medbury 


WORLD  OF  SPORTS 
KRAZY  KAT 

Produced  by  Charles  B.  Mintz 

THE  SPICE  OF  LIFE 

Produced  by  Mentone  Productions,  Inc. 
in  cooperation  with  Literary  Digest 


TWO-REEL  COMEDIES 
LIFE'S  LAST  LAUGHS 

Produced  by  C.  S.  Clancy 

SCREEN  SNAPSHOTS 


Screen  Snapshot  reporter 
Harriet  Parsons 


COLUMBIA     PICTURE  S ! 


62 


MOTION    PICTURE  HERALD 


March    2  ,  1935 


.  I    I . 


TECHN€L€GICAL 


'I 


TALKS  WITH  MANAGERS  ON  PROJECTION 

By  F.  H.  RICHARDSON 


I  have  spoken  of  the  necessity  that  man- 
agers be  able  to  examine  applicants  for  the 
positfon  of  projectionists  and  to  form  some 
conclusion  as  to  their  capability. 

One  theatre  manager  told  me :  "What 
good  would  that  do?  The  union  won't  stand 
for  an  examination."  Arrant  nonsense  !  No 
self-respecting  union  and  no  self-respecting 
union  officer  either  could  or  would  make 
any  such  objection,  provided  the  union  officer 
(business  representative,  presumably)  is  in- 
vited to  be  present  at  the  examination,  and 
provided  the  examination  contains  no  trick 
questions.  Moreover,  it  requires  no  com- 
plicated examination  to  ascertain  whether 
a  pi'ojectionist  is  well  versed  in  his  profes- 
sion. I  could  ask  not  to  exceed  half  a  dozen 
rather  simple  questions  that  would  give  me 
a  pretty  good  idea  as  to  his  fitness.  The 
question  is:  Are  yoii,,  Mr.  Manager,  compe- 
tent to  examine  into  the  capabilities  of  ap- 
plicants for  a  projectionist  position?  If  yon 
are  not,  then  how  in  the  name  of  Heaven 
can  yon,  expect  to  obtain  efficient  help  in  the 
one  most  important  spot  in  a  motion  picture 
theatre? 

Aid  in  the  Bluebook 

As  to  how  to  become  competent  to  judge 
projection  help,  I  believe  the  Bluebook  of- 
fers the  one  best  solution.  The  new  Blue- 
book,  soon  to  be  issued,  is  so  made  up  that 
you  should  be  able  to  ask  intelligent  ques- 
tions and  know  positively  whether  a  man 
answers  intelligently.  I  offer  projectionists 
no  apology  for  making  this  suggestion  to 
managers.  You  should  know  your  business. 
If  you  do  you  certainly  can  answer  any  le- 
gitimate question  asked  concerning  projec- 
tion work,  and  there  are  no  questions  in  the 
Bluebook  that  are  not  perfectly  legitimate. 

It  is  quite  true  I  have  had  some  instances 
brought  to  my  attention  where  unions  have 
refused  to  displace  a  man  a  theatre  man- 
ager declared  to  be  lacking  in  knowledge. 
Except  in  a  very  few  instances,  however, 
when  such  cases  were  investigated,  it  devel- 
oped that  the  refusal  was  based  upon  the 
claim  that  the  manager  was  himself  not 
qualified  to  judge,  and  I  must  concede  that 
the  claim  is  too  often  quite  true. 

If  the  manager  lacks  that  knowledge  he 
cannot  possibly  know  whether  there  is  waste 
in  electrical  power  and  equipment. 

Would  Invite  Business  Agent 

It  is  of  course  not  expected  that  as  a  man- 
ager you  yourself  will  have  detailed  per- 
sonal knowledge  of  projection  work.  It  is 
merely  your  duty  to  be  able  to  determine 
whether  the  applicant  knows  or  does  not 
know  his  business.  Were  I  in  your  place 
and  a  man  was  sent  by  a  union,  I  would  re- 
quest the  business  agent  to  accompany  him. 
If  no  union  is  involved,  then  of  course  you 
may  examine  at  your  own  convenience. 


I  would  explain  to  the  business  agent  that 
I  am  in  charge  of  a  theatre  in  which  a  man 
is  wanted  to  take  charge  of  and  handle 

equipment  that  costs    (state  the  cost)  ; 

that  the  income  of  the  theatre  would  be  to  a 
considerable  extent  dependent  upon  whether 
this  equipment  be  handled  expertly  or  other- 
wise ;  that  to  a  considerable  extent  the  over- 
head expense  incident  to  projection  depends 
upon  whether  expert  knowledge  is  applied 
to  the  work ;  therefore  in  the  business 
agent's  presence,  I  must  ask  the  man  he  is 
supplying  me  certain  questions  to  ascertain 
the  extent  of  his  knowledge  of  visual  and 
sound  projection. 

I  would  ask  the  applicant  the  following 
questions : 

^  Age,  residence,  whether  married  or  sin- 
'  gle.  All  of  these  factors  have  some  bear- 
ing. Stability  and  judgment  cannot  be  ex- 
pected in  any  considerable  degree  in  one  too 
young.  Residence  too  far  from  the  theatre, 
while  not  a  bar  if  transportation  is  good, 
may  be  a  serious  problem  otherwise.  While 
it  is  not  always  true,  it  is  reasonable  to  pre- 
sume a  married  man  supporting  a  family  is 
more  likely  to  value  his  job  and  "stay  put" 
than  is  one  who  is  footloose  and  free. 

2 Did  you  serve  an  apprenticeship  in  pro- 
jection? If  so,  how  long  and  where? 
If  not,  just  how  did  you  become  a  projec- 
tionist? We  may  reasonably  assume  that 
the  man  who  has  served  a  real  apprentice- 
ship, presumably  under  a  competent  projec- 
tionist, is  much  more  likely  to  be  well 
grounded  than  one  who  merely  "busted  in." 

3 In  what  theatres  have  you  been  em- 
ployed as  projectionist  and  for  how 
long  in  each  one  ?  This  I  would  ask  for 
the  reason  that,  while  it  is  not  necessarily 
true,  too  frequent  changes  would  seem  to 
indicate  more  or  less  lack  of  stability  and 
dependability. 

4 What  projection  textbooks  do  you  own 
and  just  what  projection  departments 
or  publications  do  you  read  regularly? 
What  ones,  if  any,  do  you  subscribe  to? 
While  it  is  probably  true  that  many  projec- 
tionists reading  this  will  emit  a  vociferous 
"phooey,"  it  is  a  very  highly  important 
question.  The  projectionist  of  today  is 
placed  in  charge  of  complicated,  costly,  very 
closely  constructed  mechanisms  that  use  con- 
siderable amounts  of  costly  electric  power. 
These  equipments  will  render  to  theatre 
audiences  all  possible  available  values  both 
visual  and  sound,  or  will  fail  to  do  so,  ac- 
cording to  whether  they  are  properly  han- 
dled, adjusted  and  kept  in  condition.  They 
will  be  expensive  or  relatively  inexpensive 
in  upkeep,  according  to  how  they  are  ad- 
justed, lubricated  and  in  general  cared  for. 

It  cannot  possibly  be  expected  that  the 
equipment  will  be  well  handled  properly  by 
a  man  lacking  in  knowledge,  by  a  man  who 


does  no  studying  and  therefore  does  not 
keep  abreast  of  advancements.  What  chance 
is  there  for  such  study  unless  the  projection- 
ist owns  textbooks  and  regularly  reads  pro- 
jection departments  or  publications? 

Were  I  an  exhibitor  or  theatre  manager 
I  promptly  would  rejeci  any  applicant  for 
position  as  projectionist  who  did  not  own 
at  least  one  standard  projection  textbook 
and  subscribe  to  at  least  one  publication 
either  having  a  projection  department  or 
wholly  devoting  its  space  to  that  subject. 

5 If  an  applicant  for  position  as  pro- 
jectionist gives  thoroughly  satisfactory 
answers  to  all  the  foregoing  questions,  and 
appears  to  have  had  considerable  experience, 
I  would  regard  it  as  logical  to  assume  that 
he  is  at  least  fairly  competent.  He  might 
therefore  be  accepted,  at  least  for  trial, 
without  further  examination.  If,  on  the 
other  hand,  his  answers  are  more  or  less 
unsatisfactory,  he  should  be  questioned 
further  along  certain  lines,  and  that  is  a 
pretty  tough  proposition  for  a  not-too-well 
informed  manager  to  tackle. 


Texas  Centennial 
Group  Is  Appointed 

The  motion  picture  committee  for  Texas' 
statewide  centennial  celebration  to  be  held 
in  1936  has  been  appointed.  The  com- 
mittee includes :  John  Rosenfeld,  theatre 
critic  of  the  Dallas  News,  chairman ;  P.  B. 
Garrett,  Karl  Hoblitzelle,  president  of  the 
Interstate  Circuit;  T.  E.  Jackson  and  Her- 
bert Marcus.  The  celebration  will  commemo- 
rate 100  years  of  Texas  freedom  from  Mexi- 
can rule.  Several  historical  films  are 
planned. 


Rudolph  Speth,  Eastman 
Treasurer,  Dies  at  64 

Rudolph  Speth,  treasurer  and  a  director 
of  Eastman  Kodak  Company,  died  in  Strong 
Memorial  Hospital,  Rochester,  last  week. 
He  was  64  years  old. 


Skouras  Office  to  Move 

The  New  York  headquarters  of  the  Skou- 
ras Theatres  Corporation  will  move  from  the 
Paramount  Building  to  the  Academy  of 
Music  about  June  1,  when  the  present  lease 
expires. 

Form  Theatre  Company 

Mrs.  Rosa  Levine,  of  Norfolk,  Va.,  is 
listed  as  president  of  a  new  company,  Elton 
Theatre,  Inc.,  formed  to  operate  motion  pic- 
ture theatres.  Other  officers  are  Nathan 
Levine,  vice-president  and  Robert  Levine, 
secretary-treasurer. 


IN  a  new  field,  in  the  space  of  only  a  few  weeks, 
THE  MARCH  OF  TIME  has  made  a  new  impres- 
sion— fresh — deep — clear  cut.  More  than  a  thousand 
motion  picture  theatres  are  now  showing  THE 
MARCH  OF  TIME  on  the  screen.  Millions  of  people 


have  thrilled  to  this  new  kind  of  pictorial  journal 
ism . . .  The  public  and  critics  alike  have  been  quick 
to  recognize  in  this  "newsmagazine  of  the  screen" 
a  mark  of  distinction  for  theatres  from  coast  to 
coast.  Second  release — March  8th. 


Released  by  FIRST  DIVISION— Harry  H.  Thomas,  Pres.,  Radio  City,  N.  Y. 

THE  MARCH  OF  Tl 


64 

RCA  4  Million 
'34  Net  Compares 
JVith  1 933  Loss 

The  annual  report  of  the  Radio  Corpora- 
tion of  America,  made  public  on  Wednesday, 
shows  net  profit  for  the  year  1934  of  $4,249,- 
263,  compared  with  a  net  loss  for  1933  of 
$582,094.  The  report,  for  the  first  time  in 
the  history  of  the  company,  makes  a  de- 
tailed analysis  of  the  television  situation  in 
this  country,  noting  progress  made  and  the 
obstacles  in  the  way  of  practical  application 
of  the  new  science  to  every-day  use. 

Gross  Income,  $78,756,993. 

Gross  income  of  the  corporation  from  all 
sources  in  1934  amounted  to  $78,756,993  com- 
pared with  $62,333,496  for  1933,  an  increase  of 
26.3  per  cent.  Cost  of  operations,  including  the 
cost  of  goods  manufactured  and  sold,  the  cost 
of  operating  radiotelegraph  and  broadcasting 
services,  advertising  and  selling  expense,  re- 
search and  development,  and  administration  to- 
taled $69,266,538.  Interest,  depreciation,  amor- 
tization of  patents  and  good  will,  and  federal 
income  taxes  amounted  to  |5, 241, 192. 

The  net  current  assets  of  the  corporation  in- 
creased $5,633,155  during  the  year,  their  ratio 
to  current  liabilities  being  5.9  to  1  on  Decem- 
ber 31,  1934,  compared  with  a  ratio  of  5.2  to 
1  at  the  end  of  1933. 

The  requirements  of  increased  current  busi- 
ness are  reflected  in  an  increase  of  $2,096,631  in 
inventories.  The  total  inventories  of  $8,699,967 
represent  current  merchandise  valued  at  the 
lower  of  cost  or  market.  The  Radio  Corpora- 
tion has  no  bank  indebtedness.  It  has  financed 
all  its  activities  in  the  year  under  review  in 
the  report  without  borrowing. 

"In  the  opinion  of  your  board  of  directors," 
states  the  report,  signed  by  General  James  G. 
Harbord,  chairman  of  the  board,  and  by  David 
Sarnoff,  president  of  RCA,  "the  substantial  in- 
crease in  your  corporation's  earnings  for  1934 
permitted  payment  of  dividend  arrears  on  the 
senior  security,  the  'A'  preferred  stock  of  the 
corporation.  At  the  regular  meeting  on  Janu- 
ary 18,  1935,  your  directors  voted  to  pay  all 
dividend  arrears  on  this  class  of  stock." 

The  total  dividend  paid  on  February  19,  1935, 
in  clearing  up  arrears  on  the  "A"  preferred 
stock  was  $4,519,610. 

RKO,  the  report  states,  has  made  marked 
progress  during  the  year,  establishing  new  high 
levels  in  entertainment  and  artistic  interest  by 
the  production  of  such  films  as  "The  Little  Min- 
ister," "Anne  of  Green  Gables"  and  "Flying 
Down  to  Rio." 

Television  No  Threat  to  Films 

Standing  out  in  the  RCA  report  are  the  fol- 
lowing points  on  television  and  its  progress : 

Results  obtained  by  RCA  in  laboratory  ex- 
periments are  equal  or  better  than  those  abroad. 

Problems  here  are  vastly  greater  because  of 
our  country's  size.  The  report  implies  the 
problems  will  ultimately  be  solved. 

When  television  comes  it  will  not  supersede 
sound  broadcasting. 

Television  service  on  a  nation-wide  basis, 
especially  in  the  United  States,  is  impractical 
in  the  present  state  of  the  art. 

The  next  step  should  be  a  field  demonstra- 
tion of  the  practical  service  range  of  television, 
and  RCA  is  "diligently  exploring  the  possibili- 
ties" of  such  a  demonstration. 

"Granting  that  the  day  mz.y  come  when  we 
can  develop  millions  of  'home  theatres'  through 
television,"  Mr.  Sarnoff  said,  "public  theatres 
will  continue  to  operate  because  people  will  go 
to  them  in  response  to  the  instinct  for  group 
emotions  and  to  see  artists  in  the  flesh.  These 
are  the  human  demands  which  television  in  the 
home  cannot  satisfy." 


MOTION    PICTURE  HERALD 

Lupton  Wilkinson 
Succeeds  Lewis 

Jack  Lewis,  assistant  to  Joseph  L  Breen, 
in  the  Hollywood  office  of  the  Motion  Pic- 
ture Producers  and  Distributors  of  America, 
in  charge  of  the  bureau  of  information,  re- 
signed last  weekend.  With  the  office  for 
three  years,  Mr.  Lewis  plans  a  vacation  be- 
fore returning  to  Hollywood. 

Lupton  Wilkmson  has  been  named  as  suc- 
cessor to  Mr.  Lewis. 


U.S.  Sues  RCA 
On  Foreign  Deals 

An  amended  petition  to  the  United  States 
government's  anti-trust  action  against  the 
Radio  Corporation  of  America  wherein  the 
government  will  seek  to  prove  that  RCA  has 
maintained  "a  virtual  monopoly"  in  trans- 
mission of  radio  messages  in  foreign  coun- 
tries, has  been  filed  in  the  United  States 
district  court  at  Wilmington,  Del.,  where 
the  trial  will  be  held  before  Judge  John  P. 
Nields  probably  in  June. 

The  attorney  general's  office  in  Wash- 
ington filed  the  petition  askhig  that  the  court 
either  cancel  RCA  foreign  radio  transmis- 
sion contracts  or  declare  that  the  foreign 
contracting  parties  can  ignore  the  terms  of 
the  contracts.  Among  the  foreign  countries 
to  be  brought  into  the  picture  are  France, 
China,  Switzerland,  Czechoslovakia  and  the 
the  Netherlands. 

The  government  several  years  ago  insti- 
tuted the  noted  anti-trust  suit  against  RCA 
and  other  large  radio  and  communication 
firms.  It  was  to  have  been  one  of  the  great- 
est anti-trust  cases  in  the  business  history 
of  the  country,  but  in  the  eleventh  hour,  in 
November  of  1932,  matters  were  settled  out 
of  court  and  a  decree  entered  and  signed  by 
Judge  Nields,  consented  to  by  the  parties 
involved.  There  was  left  open  for  future  set- 
tlement the  question  of  contracts  RCA  had 
with  foreign  countries  and  foreign  commu- 
nication companies.  RCA  has  not  been  dili- 
gent, the  government  now  charges,  in  seek- 
ing to  secure  modification  of  those  traffic 
contracts. 

The  government  also  alleges  that  soon 
after  such  a  contract  was  made  between 
RCA  and  the  government  of  China,  the 
Mackay  Radio  and  Telegraph  Company,  a 
competitor  of  RCA,  negotiated  with  China 
for  the  establishment  of  a  Mackay  radio  cir- 
cuit in  China.  On  April  8,  1933,  China  noti- 
fied RCA  that  the  Mackay  contract  had  been 
made,  the  government's  bill  states.  Arbi- 
tration is  now  in  progress  between  RCA 
and  the  Chinese  government,  RCA  contend- 
ing that  China  can  not  allow  messages  to  be 
sent  over  the  Mackay  circuit.  In  France 
a  similar  situation  arose. 

AMPA  Dinner  to 
Have  "No  Speeches" 

The  New  York  Associated  Motion  Pic- 
ture Advertisers'  Naked  Truth  dinner,  an- 
nual affair  scheduled  for  the  Hotel  Astor 
April  27,  will  be  free  of  speeches.  Stage, 
radio  and  screen  talent  is  on  the  program. 


Marcus  in  Washington 

Eugene  Marcus,  counsel  for  Hollywood 
actors,  is  in  Washington  this  week  con- 
ferring with  Sol  A.  Rosenblatt,  NRA  com- 
pliance director,  on  behalf  of  extras. 


March    2,  1935 

Nye  Is  Obtaining 
Exhibitor  Opinion 
For  Fight  on  Code 

Exhibitor  reaction  to  operation  of  the  mo- 
tion picture  code,  to  be  used  as  ammunition 
in  the  ever-widening  debate  in  the  Senate 
over  NRA  continuance,  is  being  gathered  by 
Senator  Nye  of  North  Dakota,  one  of  the 
foremost  critics  of  recovery  legislation. 
Revelation  of  Senator  Nye's  intent  came 
this  week  following  President  Roosevelt's 
message  to  Congress  asking  extension  of  the 
NRA  for  two  years. 

The  President  asked  that  powers  be  guar- 
anteed to  impose  minimum  standards  of 
competition,  labor  relations,  wages  and  hours 
on  recalcitrant  industries ;  that  government 
supervision  of  natural  resource  industries 
be  assured  to  eliminate  waste,  control  output 
and  prevent  ruinous  price-cutting;  elimina- 
tion of  jail  sentences  for  code  violations ; 
that  small  businesses  be  given  added  pro- 
tection and  anti-trust  laws  be  more  ade- 
quately enforced. 

The  day  after  Mr.  Roosevelt's  message 
had  been  read  to  Congress  W.  D.  Fulton, 
Kansas  City  exhibitor,  received  a  wire  from 
Senator  Nye  requesting  information  con- 
cerning alleged  abuses  existing  under  the 
motion  picture  code.  In  reply,  Mr.  Fulton 
said  that  unless  the  code  is  drastically  re- 
vised it  will  "eventually  strangle  the  small 
theatre  man." 

The  purpose  of  Senator  Nye's  inquiry  was 
indicated  by  the  introduction  of  the  Nye- 
McCarran  resolution  in  the  Senate  last  week 
calling  for  a  thorough  investigation  of  the 
NRA  and  the  operation  of  industry  under 
codes.  Because  his  telegram  to  Mr.  Fulton 
makes  no  mention  of  the  film  code  speci- 
fically, it  is  believed  Senator  Nye  may  be 
assembling  similar  data  from  other  indus- 
tries. 

W.  D.  Fulton  is  a  leading  independent 
exhibitor  in  Kansas  City,  operating  five 
suburban  theatres.  He  had  previously  been 
in  communication  with  Senator  Nye  concern- 
ing the  operations  of  the  film  code.  In  his 
reply  to  Senator  Nye,  Mr.  Fulton  cited 
specific  instances  in  his  own  theatre  opera- 
tion, and  concluded  by  saying  that  Kansas 
City  has  no  clearance  and  zoning  schedule, 
but  that  Fox  Midwest  "wrote  just  what  it 
pleased  in  film  contracts  and  we  take  it  or 
close  up." 

Impartial  representatives  of  local  boards 
will  be  made  chairmen,  if  a  recommendation 
of  the  Code  Authority  is  approved  by  its 
legal  committee  and  Compliance  Director 
Sol  A.  Rosenblatt.  The  suggestion  has  been 
before  the  legal  committee,  and  a  decision 
was  expected  this  week. 


Einfeld  Stunt  Boosts 
Vallee  Film  at  Strand 

For  the  exploitation  of  "Sweet  Music," 
Warner  film  starring  Rudy  Vallee,  S. 
Charles  Einfeld,  director  of  advertising  and 
publicity,  issued,  through  Station  WNEW 
an  invitation  to  300  "radio  critics"  to  at- 
tend an  early  showing  of  the  film  at  the 
Broadway  Strand,  and  broadcast  their 
opinions  of  the  picture  over  lobby  micro- 
phones. 


March    2  ,  1935 


MOTION    PICTURE  HERALD 


65 


Supreme  Court  Recesses 
Without  Tri-Ergon  Verdict 

The  United  States  Supreme  Court  re- 
cessed last  week  without  having  rendered 
a  decision  on  the  two  Paramount  appeals 
from  the  patents  decisions  favoring  the 
American  Tri-Ergon  Company,  controlled 
by  William  Fox.  No  decision  is  possible 
until  March  4,  when  the  court  resumes  ses- 
sions. 

RCA  is  understood  negotiating  with  Del- 
mar  Whitson  in  connection  with  a  new 
photo-electric  cell,  said  to  be  suitable  for 
sound  reproduction,  while  Warner  is  re- 
ported interested  in  a  similar  device  of  Al- 
bert Radtke.  American  Tri-Ergon  is  also 
interested,  since  such  a  device  entered  into 
hearings  on  the  flywheel  patent  infringe- 
ment action  now  under  Supreme  Court  re- 
view. A  Patent  Office  hearing  will  be  held 
shortly  to  determine  the  award  of  the 
photo-electric  cell  patent. 

Screen  Producing  Great 
Directors,  Says  Lawrance 

The  screen,  because  of  its  technical  re- 
quirements, has  not  developed  any  great 
actors  and  probably  will  not ;  but  it  is  pro- 
ducing great  directors,  and  these  rather 
than  the  players  must  be  listed  as  the  great 
artists  of  the  screen,  the  Women's  City 
Club  in  Kansas  City  was  told  last  week 
by  Lowell  Lawrance,  motion  picture  and 
drama  editor  of  the  Kansas  City  Journal- 
Post. 

"Look  for  the  name  of  the  director  when 
selecting  films,"  said  Mr.  Lawrance.  He 
spoke  on  "How  To  Have  More  Fun  at 
the  Movies."  To  appreciate  the  motion  pic- 
ture, Mr.  Lawrance  said,  one  must  know 
something  of  the  technical  phases.  He  said  a 
reviewer  cannot  be  absolutely  fair  unless  he 
rates  films  according  to  entertainment  value 
and  classifies  them  as  to  audience  suita- 
bility. 


Briggs  Joins  MGM 

William  H.  Briggs,  for  many  years  con- 
nected with  Harper  and  Brothers,  publish- 
ers, has  joined  MGM's  scenario  department 
in  the  East  as'  literary  advisor.  He  will 
continue  his  association  with  Harper. 


Liberty  Closes  Deal 

Budd  Rogers,  general  sales  manager  of 
Liberty  Pictures,  has  closed  with  Elliott 
Film  Company,  Minneapolis,  for  distribu- 
tion of  the  Liberty  product  in  Minneapolis, 
North  and  South  Dakota.  Twelve  features 
are  included. 


Majestic  Names  Young 

Leo  Young,  formerly  of  Boston,  has  been 
assigned  to  handle  publicity  and  advertis- 
ing on  Mascot's  "Little  Men,"  under  the 
supervision  of  Herman  Gluckman,  president 
of  Majestic  Distributing  Corporation. 

Columbia  Promotes  Evidon 

Melvin  Evidon,  Minneapolis  Columbia 
salesman,  has  been  named  Des  Moines 
branch  manager,  succeeding  Joe  Levy,  re- 
signed. 


Kollar  Detroit  Censor 

Joseph  M.  Kollar  has  been  promoted  by 
the  Detroit  police  commissioner  to  succeed 
Royal  A.  Baker,  local  film  censor.  Mr. 
Kollar  has  been  the  assistant  of  Mr.  Baker. 


Griffith  Takes  Two; 
Circuit  Totals  103 

The  Griffith  circuit,  opera.ting  in  New 
Mexico,  Texas  and  Oklahoma,  has  acquired 
the  Dunkin  and  American  theatres  in  Gush- 
ing, Okla.,  bringing  the  total  holdings  to 
103.  The  two  houses  were  obtained  from 
Hiram  Dunkin.  R.  E.  Griffith,  secretary 
and  treasurer  of  the  circuit,  was  in  New 
York  this  week  with  H.  R.  Falls,  buyer 
and  booker,  on  an  RKO  deal. 


King  to  Direct  Three 

Fox  has  signed  Henry  King  to  a  new  con- 
tract, under  which  he  will  direct  three  pic- 
tures during  the  year. 


Gaterri  Will  Handle 
Amity  Films  in  Florida 

Frank  Gaterri,  Tampa  independent  ex- 
change operator,  has  been  named  Florida 
representative  of  Amity  Pictures  by  W.  L. 
Parker,  manager  of  the  Amity  exchange  at 
Charlotte  and  Atlanta. 

Big  Feature  Rights  Corporation,  headed 
by  Lee  Goldberg,  will  distribute  Spectrum 
Pictures'  "Frontier  Days,"  in  the  Indianapo- 
lis' and  Louisville  territories.  Other  book- 
ings have  been  arranged  on  the  same  picture. 


First  Division  in  Deal 

First  Division  has  closed  a  deal  to  dis- 
tribute several  of  the  productions  of  Asso- 
ciated Talking  Pictures  of  London  in  this 
country. 


door-to-door  pick-up  and  delivery  service  in  all  principal  cities 
and  towns.  There  is  no  extra  charge  for  this  extra  service. 
•  A  telephone  call  brings  Rail'way  Express  to  the  shipper's 
door  for  pick-up  and  Rail'way  Express  delivers  to  the  door  of 
the  consignee.  •  Take  all  the  guesswork  out  of  your  shipping 
problems  by  specifying  Railway  Express.  •  Phone  the  nearest 
Railway  Express  agent  for  service  and  information  on  rates. 

TTie  best  there  is  in  transportation 

RAILWAY  EXPRESS 

AGENCY,  Inc. 

SERVING  THE  NATION  FOR  96  YEARS     •     NATION-WIDE  SERVICE 


66 


MOTION    PICTURE  HERALD 


March    2,  1935 


THEATRE  I^ECEIPTS 


The  total  of  theatre  receipts  for  the  calendar  week  ended  February  23,  1.935, 
from  108  theatres  in  18  major  cities  of  the  country,  reached  $1,059,980,  a  decrease 
of  $70,930  from  the  total  for  the  preceding  calendar  week,  ended  February  16,  when 
108  theatres  in  18  major  cities  aggregated  $1,130,910. 

(.Copyright,  1935 :    Reproduction  of  material  from  this  department  zvithoiit  credit  to  Motion  Picture  Herald  expressly  forbidden) 


Theatres 

Boston 

Boston   2,900 

Fenway    1,800 


Cleveland 

Allen   3,300 

Circle    1,875 

Hippodrome   3,800 

RKO  Palace   ....  3,100 

State   3,400 

Stillman    1,900 

Denver 

Aladdin    1,500 

Denham    1,500 

Denver   2,500 

Orpheum   2,600 

Paramount   2,000 


25c-50c 
30c -50c 


3,500 

2Sc-65c 

Loew's  State... 

.  3,700 

25c-55c 

Metropolitan   . . . 

.  4,350 

35c-6Sc 

.  1,800 

2Sc-50c 

Buffalo 

Buffalo   

3,500 

30c-55c 

3,000 

25c 

Great  Lakes   . . . 

.  3,000 

25c-40c 

2,100 

25c -40c 

3,300 

25c 

Chicago 

1,400 

25c- 50c 

4,000 

25c-68c 

900 

25c-40c 

1,940 

25c-40c 

2,509 

25c-50c 

1,591 

25c-50c 

2,776 

20c-35c 

United  Artists.. 

.  1,700 

30c-60c 

20c-40c 
20c -30c 
30c-42c 
30c -60c 
30c -42c 
30c-42c 

25c-50c 
25c-50c 
25c-50c 
25c-50c 
25c-40c 


Hollywood 

Chinese    2,500  30c-65c 

Pantages    3,000  25c-40c 

W.  B.  Hollywood  3,000  25c-65c 


Current  Week 

Picture  Gross 


"Strange  Wives"  (Univ.)   11,000 

"Woman  in  Red"  (F.N.)  and....  5,000 
"Charlie  Chan  in  Paris"  (Fox) 


"Murder  on  a  Honeymoon"    25,000 

(Radio) 

"Biography  of  a  Bachelor  Girl"..  12,000 

(MGM)  and  "Mills  of  the  Gods"  (Col.) 

"DevU  Dogs  of  the  Air"  (W.B.)..  28,000 

"Woman  in  Red"  (F.  N.)  and....  6,500 
"Charlie   Chan   in  Paris"  (Fox) 


"One  More   Spring"   (Fox)   14,800 

"Charlie  Chan  in  Paris"  (Fox)  and  6,000 
"Red  Hot  Tires"  (W.  B.) 


"The  Night  Is  Young"  (MGM)  and  6,900 
"Society  Doctor"  (MGM)  (6  days) 

"Devil  Dogs  of  the  Air"  (W.B.)..  8,000 

"The  Good  Fairy"   (Univ.)   7,300 


"The   County    Chariman"  (Fox).. 

"Wings  in  the  Dark"  (Para.)  

"Baboona"  (Fox)   

"Charlie  Chan   in   Paris"  (Fox).. 


11,000 
47,000 
8,500 
17,000 
15,000 


'The  Mystery  of  Edwin  Drood".. 
(Univ.) 

"Devil  Dogs  of  the  Air"  (W.  B.)  12,000 

(8  days-2nd  week) 
"Strange  Wives"  (Univ.)   13,000 


'David  Copperfield"   (MGM)   20,000 

(2nd  week) 


"Under  Pressure"  (Fox)   3,400 

"Gambling"    (Fox)    5,6(X) 

"Sweet  Music"  (W.  B.);   7,500 

. .  8,200 

..  10,500 


'One   More   Spring"  (Fox). 

(30c-42c)    (8  days) 
"The  Gilded  Lily"  (Para.). 


"The  President  Vanishes"  (Para.)  3,800 
(20c -40c) 


"Under  Pressure"  (Fox)   2,000 

"Wings  in  the  Dark"  (Para.)....  5,500 
"One  More   Spring"   (Fox)   5,&00 


'Sequoia"  (MGM) 


"David  Copperfield"  (MGM).. 

(3  days) 
"Red  Hot  Tires"  (F.N.)  and. 
"Maybe  It's  Love"  (F.  N.) 

(4  days) 


4,000 
900 
850 


"David  Copperfield"   (MGM)   11,500 

(2nd  week) 


"The  Good  Fairv'' 


'Devil   Dogs  of  the  Air"  (W.B.) 
(2nd  week) 


(Univ.)   7,800 

6,800 


Previous  Week 

Picture  Gross 

"Pve  Been  Around"  (Univ.)   11.000 

"The  Right  to  Live"  (W.B.)  and  3,600 
"Red  Hot  Tires"  (W.  B.) 


"White  Lies"  (Col.)    28,000 

(35c-75c) 

"Clive  of  India"  (U.  A.)   9,000 


"Rumba"  (Para.) 


29,000 


"The  Right  to  Live"  (W.B.)  and  4,400 
"Red  Hot  Tires"  (W.  B.) 


"Rumba"   (Para.)    15,100 


High  and  Low  Gross 

(Tabulation  coivers  period  frora  January,  1934.) 
(Dates  are  1934  unless  otherwise  specified.) 

High  12-29  "West  of  Pecos"   23,000 

Low  2-2-35  "One  Exciting  Adventure"..  8,500 
High  1-6  "Lady  Killer"  ( 

and  "Girl  Without  a  Room"  J  12,000 
Low  2-2-35  "Maybe  It's  Love"  ) 

and  "Murder  in  the  Clouds"  f  3,300 

High  2-16-35  "White  Lies"   28,000 

Low   1-19-35   "Evergreen"   7,000 

High  4-7  "Riptide"    22,000 

Low  2-16-35  "Clive  of  India"   9,000 

High  1-27  "All  of  Me"   39,000 

Low  1-19-35  "The  County  Chairman"   21,000 

High  1-6  "Lady  Killer"  ) 

and  "Girl  Without  a  Room"  ]  12,000 
Low  2-2-35  "Maybe  It's  Love"  and  1 

"Murder  in  the  Clouds"    J  4,200 


"Under  Pressure"   (Fox)   and   5,200 

"Home  on  the  Range"  (Para.) 


"Sequoia"   (MGM)    7,100 


"David  Copperfield"  (MGM)  

(2nd  week) 
"The  Man  Who  Reclaimed  His. 

Head"  (Univ.)  and 
"I've  Been  Around"  (Univ.) 


"Bordertown"  (W.  B.)  

(2nd  week) 
"The  Gilded  Lily"  (Para.)  

(2nd  week) 
"The  Iron  Duke"  (GB  Pictures). 

"Hell  in  the  Heavens"  (Fox)... 

"The  Good  Fairy"  (Univ.)  


'Devil  Dogs  of  the  Air"  (W.  B.). 

(1st  week) 
'Cheating  Cheaters"  (Univ.)  


"David  Copperfield"  (MGM) 
(1st  week) 


7,800 
7,000 


6,000 
37,000 

5,000 
15,000 
19,000 
22,000 
14,000 

25,000 
2,300 


High  1-6 
Low  12-29 
High  4-21 

Low  12-29 

High  9-29 
Low  12-22 

High  5-19 
Low  7-28 
High  3-10 

Low  11-17 


"Design  for  Living"  

"Music  in  the  Air"  

"The  Lost  Patrol"  and 
"Three  on  a  Honeymoon" 
"I  Am  a  Thief"  and 
"Side  Streets" 

"Belle  of  the  Nineties"  

"Gentlemen  Are  Born"  and 

"Marie  Galante" 

"The  House  of  Rothschild" 

"Here  Comes  the  Navy  

"It  Happened  One  Night" 
and  "Before  Midnight" 
"Jane  Eyre"  and 
"Young  and  Beautiful" 


26,000 
5,000 

8,100 

4,000 
18,800 

3,800 
18,000 
4,800 

16,700 

4,200 


High  9-8  "The  Cat's  Paw"   16,000 

Low  11-24  "The  Captain  Hates  the  Sea"  5,000 

High  8-11  "She  Loves  Me  Not"   66,000 

Low  5-26  "Thirty  Day  Princess"   19,000 

High  2-2i-iS  "Baboona"   8,500 

Low  10-27  "Kansas  City  Princess"   4,000 

High  1-5-35  "Big  Hearted  Herbert"....  25,000 

Low  6-16  "Registered  Nurse   12,000 

High  6-23  "Cockeyed  Cavaliers"   30,000 

Low  12-1  "Kentucky  Kernels"   8,000 

High  1-5-35  "Forsaking  All  Others"....  27,000 

Low  8-18  "Paris  Interlude"   6,000 

High  9-8  "The  Most  Precious  Thing  in 

Life"    19,000 

Low  7-7  "Sing  and  Like  It"   11,000 

High  5-5  "House  of  Rothschild"   30,000 

Low  4-28  "Looking  for  Trouble"   10,000 


High  10-27  "Six-Day  Bike  Rider"   7,000 

Low  12-15  "Silver  Streak"    1,400 


"Carnival"  (CoL)   

(6  days) 

"Mills  of  the  Gods"  (Col.)   5,400 

"Devil  Dogs  of  the  Air"  (W.  B.)    17,000      High  4-7  "Wonder  Bar"    20,000 

'  "  ""         '    '      "  ■     "    2,900 


"Romance  in  Manhattan"  (Radio)  18,500 
(6  days) 

"Clive  of  India"  (U.  A.)   12,000 

"David  Copperfield"  (MGM)   6,500 

(2nd  week) 


"The  White  Cockatoo"  (W.  B.)..  2,000 

"The  Gilded  Lily"  (Para.)   6,000 

"Clive  of  India"  (U.  A.)   7,500 

"Devil  Dogs  of  the  Air"  (W.  B.)  7,000 

"The  First  World  War"   (Fox)..  750 
(3  days) 

"David  Copperfield"   (MGM)   2,000 

(4  days) 


"David  Copperfield"  (MGM)   12,000 

(6  days-lst  week) 

"Mystery  of  Edwin  Drood"  (Univ.)  2,900 
(5  days) 

"Devil  Dogs  of  the  Air"  (W.B.)..  9,800 

(5  days-lst  week) 


Low  3-17  "Journal  of  a  Crime'' 

High  11-10  "Desirable"    28,000 

Low  5-19  "Where  Sinners  Meet"   4,000 

High  1-12-35  '-'Forsaking  All  Others"..  28,000 

Low  12-29  "Private  Life  of  Don  Juan"..  3,500 

High  9-15  "Cniained"   10,000 

Low  1-12-35  "Our  Daily  Bread"   2,000 


High  5-5  "House  of  Rothschild"   9,000 

Low  8-11  "I  Give  My  Love''   1,200 

High  9-29  "Belle  of  the  Nineties"   16,500 

Low  4-7  "She  Made  Her  Bed"   800 

High  1-13  "Roman  Scandals"    17,500 

Low  9-29  "British   Agent"   4,000 

High  2-17  "Hi  Nellie"' 


19,500 


Low  12-29  "Hat,  Coat  and  Glove"   1,000 


High  1-13  "Dinner  at  Eight" 
Low  6-9  "Uncertain  Lady". 


5,500 
400 


High  4-14  "House  of  Rothschild"   25,171 

Low  12-29  "Music  in  the  Air"  


High  12-8  "Imitation  of  Life"... 
Low  3-3  "Fugitive  Lovers"  and 

"The  Poor  Rich"  

High  9-8  "Dames"   

Low  12-29  "Sweet  Adeline"  


4,292 
12,200 

1,500 

25,000 
6,300 


Scotchman 

Buys 

Almanac 


THE  EVENING  TIMES 

SCOXU^ND'S  GREATEST  EVENING  NEWSPAPER 

65  Buchanan  Street 

Glasgow,  c.l.  January  3,  1935 

Motion  Picture  Herald 
1790  Broadway,  New  York. 

Gentlemen: 

I  would  be  very  much  obliged  if  you 
would  ask  your  shipping  department  to  send 
me  and  debit  to  my  account  the  latest  edition 
of  Motion  Picture  Almanac,  with  instructions 
to  send  it  yearly  until  further  notice. 

I  should  like  to  congratulate  you  on 
your  interesting,  authoritative  and  really 
excellent  journal  of  the  world's  movie  events. 
Always  I  find  it  very  useful  and  informative, 
and  often  turn  the  news  in  it  to  account,  as 
you  may  see  even  in  my  article  of  today's  date. 

Yours  sincerely 


MOTION  PICTURE  ALMANAC 

1935-36     Edition     Now     in  Preparation 


68 


MOTION    PICTURE  HERALD 


March    2,  1935 


tTHCATCE  12ECCII3TS--C©NT'D1 


Theatres 


Current  Week 


Previous  Week 


Picture 


Gross  Picture 


Indianapolis 

Apollo    1,100  25c-40c 

Circle    2,800  25c-40c 

Indiana    3,133  25c-40c 

Lyric    2,000  25c-40c 

Palace   3,000  25c-40c 

Kansas  City 

Mainstreet    3,049  15c-40c 

Midland    4,000  lSc-40c 

Newman    1,800  2Sc-40c 

Tower    2,200  25c 

Uptown    2,000  25c-40c 

Los  Angeles 

Filmarte    800  40c-55c 

Four  Star    900  30c-55c 

Loew's  State          2,416  30c-55c 

Paramount    3,596  30c-55c 

RKO    2,700  25c -65c 

United   Artists...  2,100  2Sc-55c 

W.  B.  Downtown  3,400  25c-40c 

Minneapolis 

Century    1,650  25c-40c 

Lyric    1,238  20c-25c 

Palace    900  15c-25c 

RKO  Orpheum...  2.900  25c-40c 

State    2,300  25c-40c 

Time    300  20c-25c 

World    400  25c  ■75c 

Montreal 

Capitol    2,547  25c-60c 

His  Majesty's....  3,115  30c-60c 

Loew's    3,115  30c-75c 

Princess    2,272  30c-65c 

New  York 

Astor    1,012  25c-75c 

Capitol    4,700  35c-$1.65 

Mayfair    2,300  35c-65c 

Palace    2,500  25c-75c 

Paramount    3,700  35c-99c 

Rialto    2,200  25c-65c 

Rivoli    2,200      40c -99c 

RKO  Music  Hall  5,945  35c-$1.65 

Roxy    6,200      25c -55c 

Strand    3,000      25c- 55c 


"One   More  Spring"   (Fox)   7,500 

"The  Best  Man  Wins"  (Col.)  and  2,500 
"The  Gilded  Lily"  (Para.) 

"The  Good  Fairy"  (Univ.)   6,000 

"Devil  Dogs  of  the  Air"  (W.B.)..  10,080 

"Sequoia"  (MGM)    3,500 

"The  Scarlet  Pimpernel''  (U.A.)..  5.000 

"Sequoia"   (MGM)    6,900 

"Sweet  Music"   (W.  B.)   6,500 

"The  Good  Fairy"   (Univ.)   10,500 

"Evergreen"    (GB    Pictures)   5,600 

"The  Blue  Light"  (Dtj World)   1,900 

(6  days) 

"Tlie  Iron  Duke"  (GB  Pictures)..  5,000 
(6  days) 

"David  Copperfield"  (MGM)   12,500 

(2nd  week) 

"Wings  in  the  Dark"  (Para.)   17,000 

"Devil  Dogs  of  the  Air"  (W.  B.)  8,400 

(2nd  week) 

"The  Winning  Ticket"  (MGM)  and  4,200 
"Lottery  Lover''  (Fox)   (6  days) 

"Woman  in  Red"  (F.  N.)  and....  6,000 
"Lightning  Strikes  Twice"  (Radio) 


■Wings  in  the  Dark"   (Para.)....  5,000 

'The  White  Cockatoo"  (W.  B.) . .  1,300 

'I've  Been  Around''   (Univ.)   2,000 

'The  Good  Fairy"   (Univ.)   6,000 

'Kid   Millions"    (U.   A.)   6,000 

'The   First   World   War"   (Fox)..  1,500 

'Evergreen"  (GB  Pictures)   3,000 

(2nd  week) 


'Biography  of  A  Bachelor  Girl"..  10,000 
(MGM)  and  "Maybe  It's  Love"  (F.N.) 

'The  Shepherd  of  the  Seven  Hills"  5,000 
(Ind.) 

'Wings  in  the  Dark"  (Para.)  and  8,500 
'One  Hour  Late"  (Para.)  (30c-6Oc) 

'Broadway    Bill"    (Col.)    and   6,500 

"Among  the  Missing"  (Col.) 
(2nd  week) 

"Little   Men"    (Mascot)   6,000 

"David   Copperfield"    (MGM)   35,000 

(5th  week) 

"A  Notorious  Gentleman"  (Univ.)  8,000 

"Wings  in  the  Dark"   (Para.)   10,000 

"The  Gilded  Lily"   (Para.)   28,000 

(2nd  week) 

"Carnival"  (Col.)   12,000 

"The  Right  to  Live"  (W.  B.)....  15,000 

"The  Scarlet  Pimpernel"  (U.  A.)..  72,680 

(2nd  week) 

"Behold    My    Wife"    (Para.)   32,000 

"Devil  Dogs  of  the  Air"  (W.B.)..  22,000 
(2nd  week) 


"Charlie  Chan  in  Paris"  (Fox). 


Gross 


2,500 


"Mystery  of  Edwin  Drood"  (Univ.)  3,000 

"Rumba"  (Para.)    6,500 

"When  A  Man's  A  Man"  (Fox)..  8,000 

"Oive  of  India"  (U.  A.)   4,500 

"Society  Doctor"   (MGM)   4,800 

"Clive  of  India"  (U.  A.)   9,000 

"Rumba"  (Para.)    7,500 

"A  Notorious  Gentleman"  (Univ.)  7,900 

"The  County  Chairman"  (Fox)....  3,400 
(3rd  week) 


'Man  of  Aran"  (GB  Pictures)....  2,500 
(3rd  week) 

"Baboona"  (Fox)    2,200 

(2nd  week) 

"David  Copperfield"   (MGM)   13,000 

(6  days-lst  week) 

"The  Gilded  Lily"  (Para.)   19,000 

"Devil  Dogs  of  the  Air"  (W.  B.)  12,300 

(5  days-lst  week) 

"Under    Pressure"    (Fox)    and   4,500 

"The  Night  Is  Young"  (MGM) 

(6  days) 

"The  Right  to  Live"  (W.  B.)  and  6,800 
"Behind  the  Evidence"  (Col.) 


"David  Copperfield"   (MGM)   5,000 

(3rd  week) 

"The  Secret  Bride"  (W.  B.)   1,800 

"Strange  Wives"  (Univ.)   2,900 

"Babbitt"   (F.   N.)   6,500 

"The  County  Chairman"  (Fox)....  6,000 

"The  Best  Man  Wins"  (Col.)....  1,500 

"Evergreen"  (GB  Pictures)    3,500 

(1st  week) 


"Lives  of  A  Bengal  Lancer"    14,000 

(Para.)   (2nd  week) 

"Band  Plays  On"   (MGM)   13,000 

"Broadway   Bill"   (Col.)   and   8,500 

"Among  the  Missing"  (Col.) 

(1st  week) 


"The  Winning  Ticket"  (MGM)....  5,900 

"David  Copperfield"   (MGM)   44,500 

(4th  week) 

"Maybe  It's  Love"  (W.  B.)   5,100 

"Bordertown"    (W.   B.)   9,000 

"The  Gilded  Lily"   (Para.)   32,000 

(1st  week) 

"Lives  of  a  Bengal  Lancer"   17,000 

(Para.)  (2nd  week) 

"dive  of  India"  (U.  A.)   15,200 

(4th  week-8  days) 

"The    Scarlet    Pimpernel"    (U.A.)  95,000 

"Jack  Ahoy"  (GB  Pictures)   24,000 

"Devil  Dogs  of  the  Air"  (W.  B.)  19,360 
(1st  week) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  unless  otherwise  specified.) 

High  2-23-35  "One  More  Spring"   7,500 

Low  2-9-35  "Baboona"   2,000 

High  12-15  "Lady  By  Choice"   8,500 

Low  1-19-35  "The  President  Vanishes"  ) 

and  "Enter  Madame"       ]  2,000 

High  10-13  "One  Night  of  Love"   10,000 

Low  1-12-35  "Little  Women"   1,500 

High  12-22  "Murder  in  the  Clouds"....  11,000 
Low  7-28  "Half  a  Sinner"  and  ) 

"Embarrassing  Moments"    j  2,000 

High  2-3  "Sons  of  the  Desert"   12,500 

Low  12-12  "The  Gay  Bride"   2,750 

High  6-23  "Glamour"   23,000 

Low  1-12-35  "I  Sell  Anything"   2,000 

High  4-7  "Riptide"    21,400 

Low  12-22  "Private  Life  of  Don  Juan"  4,000 

High  9-29  "Belle  of  the  Nineties"   14,000 

Low  8-25  "Ladies  Should  Listen"  and  ) 

"Call  It  Luck"                      1  3,600 

High  1-12-35  "Broadway  Bill"   14,000 

Low  5-5  "Let's  Fall  in  Love"   4,000 

High  10-27  "Judge  Priest"   9,200 

Low  1-27  "Good  Bye  Again"   1,700 

High  4-14  "Moon  Over  Morocco"   7,600 

Low  6-30  "Island  of  Doom"   160 

High  3-3  "Devil  Tiger"   7,800 

Low  12-15  "Have  a  Heart"   2,500 

High  4-7  "Riptide"    28,500 

Low  12-29  "Music  in  the  Air"   4,206 

High  9-1  "Now  and  Forever"   29,998 

Low  12-22  "One  Hour  Late"   12,500 

High   3-31   "Little   Women"   15,500 

Low  1-27  "Let's  Fall  in  Love"   1,800 

High  1-20  "I'm  No  Angel"   13,000 

Low  5-12  "Sorrell  and  Son"   2,500 

High  9-8  "Dames"    20,000 

Low  12-29  "White  Lies"  and  ] 

"The  Last  Wilderness"       j  4,900 

High   10-20  "Barretts  of  Wimpole 

Street"    6,500 

Low  9-29  "The  Cat's  Paw"   2,500 

High  11-3  "Our  Daily  Bread"   2,000 

Low  1-27  "Jimmy  and  Sally"   50O 

High  1-5-35  "Romance  in  the  Rain"....  3,000 

Low  2-23-35  "I've  Been  Around"   2,000 

High  12-1  "One  Night  of  Love"   6,800 

Low  8-25  "The  Lady  is  Willing"   2,700 

High  8-18  "She  Loves  Me  Not"   7,000 

Low  7-28  "Here  Comes  the  Navy"   5,000 

High  10-20  "Girl  of  the  Limberlost". . . .  3,500 

Low  12-8  "Cimarron"    1,000 

High  4-14  "Private  Life  of  Henry  VIH"  4,0C0 

Low  7-7  "Sweden.  Land  of  the  Vikings"  2,000 

High  2-24  "Queen   Christina"   13,500 

Low  12-22  "Great  Expectations"  and  ) 

"Wake  Up  and  Dream"       j  3,500 
High  2-23-35  "Shepherd  of  the  Seven  Hills"  5,000 

Low  6-2  "All  Quiet  on  the  Western 

Front"    3,000 

High  12-8  "Six  Day  Bike  Rider"   14,500 

Low  7-21  "Fog  Over  Frisco"  and  1 

"Affairs  of  a  Gentleman"      (  4,500 
High  1-5-35  "Kid  Millions"  and  1 

"Fugitive  Lady"               f  10,500 
Low  8-4  "House  of  Rothschild"  and  ) 

"Most  Precious  Thing  in  Life"  f  4,500 


High  3-31  "House  of  Rothschild"   23,600 

Low  2-23-35  "Little  Men"   6,000 

High  10-6  "Barretts  of  Wimpole  Street"  65,860 

Low  12-29  "The  Band  Plays  On"   4,500 

High  1-27  "Sixteen  Fathoms  Deep"   15,300 

Low  6-2  "Unknown  Soldier  Speaks"   1,250 

High  7-21  "Of  Human  Bondage"   16,200 

Low  12-22  "Babbitt"    6,500 

High  8-25  "Cleopatra"    72,000 

Low  8-11  "Elmer  and  Elsie"   10,500 

High  4-7  "The  Lost  Patrol"   32,800 

Low  5-12  "Success  at  Any  Price"   7,700 

High  11-17   "Kid  Millions"   51,000 

Low  2-23-35  "The  Right  to  Live'   IS.m 

High  1-5-35  "The  Little  Minister"   110,000 

Low  1-19-35   "Evergreen"   52.000 

High  12-1  "Imitation  of  Life"   44,000 

Low  6-30  "Affairs  of  a  Gentleman"   13,700 

High  3-10  "Wonder  Bar"   43,863 

Low  1-20  "Easy  to  Love"   9.271 


March    2,  1935 


MOTION    PICTURE  HERALD 


69 


tTHCATCE  RECEIPTS— CCNT'Dl 


Theatres 


Current  Week 


Previous  Week 


Picture 


Gross  Picture 


Gross 


Oklahoma  City 

Capitol    1,200  10c-41c 

Liberty    1,500  10c-36c 

Midwest    1,500  10c-S6c 

Warner    1,900  lCc-56c 

Omaha 

Brandeis    1,200  25c-40c 

Orpheura    3,000  25c-40c 

Paramount    2,500  25c-55c 

Philadelphia 

Aldine    1,200  3Sc-55c 

Arcadia    600  25c-40c 

Boyd    2,400  35c -55c 

Earle    2,000  25c-S5c 

Fox    3,000  40c-65c 

Karlton    1,000  25c-40c 

Keith's    2,000  30c-50c 

Roxy   Mastbaum.  4,800  40c-65c 

Stanley    3,700  35c -55c 

Stanton    1,700  30c-50c 

Portland,  Ore. 

Broadway    1,912  25c-40c 

Mayfair    1,700  25c-40c 

Oriental    2,040  lSc-25c 

Orpheum    1,700  25c-40c 

Paramount    3,008  25c-40c 


"Woman  in  Red"   (F.  N.)   2,800 

"Red  Hot  Tires''   (W.   B.)   2,500 

(4  days) 

'Secret  of  the  Chateau"  (Univ.)..  800 
(3  days) 

"aive  of  India"   (U.   A.)   4,001 

"The  Little  Minister"  (Radio)....  3,000 

•Carnival"   (Col.)  and   4,500 

"Gentlemen  Are  Born"  (F.N.)  (8  days) 

"Bordertown"    (W.    B.)    and  '.  7,400 

"Evergreen"    (GB  Pictures) 

'The  Band  Plays  On"  (MGM)..  7,600 
(3  days) 

"The  Iron  Duke"  (GB  Pictures)..  2,200 
and  "I've  Been  Around"  (Univ.) 
(4  days)  2Sc-35c 


■The  Scarlet  Pimpernel"  (U.A.)..  9,500 

(6  days-2nd  week) 

•The   Gilded  Lily"   (Para.)   2,900 

(25c-50c-8  days) 

■The  Night  Is  Young"   (MGM)..  6,500 

(5  days) 

■The  Winning  Ticket"   (MGM)..  14,500 

(6  days) 

■One  More  Spring"  (Fox)   18,500 

•Enchanted  April"   (Radio)   3,000 

(6  days) 

•David  Copperfield"   (MGM)   4,300 

(6  days) 

•The  Good  Fairy"  (Univ.)   27,000 

'•Devil  Dogs  of  the  Air"  (W.  B.)  14,000 
(8  days) 

■Mills  of  the  Gods"  (Col.)   2.800 

(4  days) 

"David   Copperfield"   (MGM)   5,000 

(2nd  week  ) 

■•Broadway   Bill"    (Col.)   3,900 

•■Little  Minister"  (Radio)   2,500 

■•Sweet  Music"   (W.  B.)   6,000 

"The  Whole  Town's  Talking"  (Col.)  9,700 


United  Artists...     945      25c-40c      "After   Office   Hours"  (MGM)... 


4,800 


San  Francisco 

Fox    4,600  15c -40c 

Golden    Gate          2,800  25c-40c 

Orpheum    3,000  15c-40c 

Paramount    2,670  25c-40c 

St.   Francis    1,400  15c-55c 

United   Artists...  1,200  15c-55c 

Warfield    2,700  25c-65c 

Seattle 

Blue  Mouse    950  10c-25c 

Fifth  Avenue  ...  2,500  25c-55c 

Liberty    1,800  15c-SQc 

Music  Box    950  25c -55c 

Music  Hall    2,275  25c-55c 

Orpheum   2,50Q  25c-50c 

Paramount    3,050  25c-35c 


■The  Winning  Ticket"  (MGM)  and  7,500 
"School    for    Girls"  (Liberty) 

"Captain  Hurricane"  (Radio)   12, SCO 

"The  Good  Fairy"  (Univ.)  and..  10,500 
"Mystery  Man"  (Mono.) 

"Wings  in  the  Dark"  (Para.)  and  10,500 
"The  Band  Plays  On"  (MGM) 

"Devil  Dogs  of  the  Air''   (W.B.)  8,500 

"Clive  of  India"  (U.  A.)   7,500 

(2nd  week) 

"One  More  Spring"  (Fox)   21,500 

"Devil  Dogs  of  the  Air"  (W.B.)..  3,650 
25c-55c 

"David  Copperfield"   (MGM)   8,600 

"Broadway    Bill"    (Col.)   6,800 

(3rd  week) 

"Qive  of  India"  (U.  A.)   3,300 

(2nd  week) 

"The  Good  Fairy"   (Univ.)   5,900 

"Mystery  of  Edwin  Drood"  (Univ.)  5,30C 

"Charlie  Chan  in  Paris"  (Fox)  and  5,900 
"Baboona"  (Fox) 


"Kentucky  Kernels"   (Radio)   1,900 

"His  Greatest  Gamble"  (Radio)..  2,300 
(4  days) 

"I've  Been  Around"  (Univ.)   700 

(3  days) 

"David  Copperfield"  (MGM)   8,000 

"Devil  Dogs  of  the  Air"  (  W.  B.)  4,000 

"Babbitt"  (F.  N.)   and   3,000 

"Murder  in  the  Clouds"  (F.  N.) 

"The  Mighty  Barnum"  (U.A.)  and  9,000 
"The  Firebird"  (W.  B.) 

"The  Secret  Bride"  (W.  B.)   13,200 


"The  Scarlet  Pimpernel"   (U.  A.)  13,000 

(6  days-lst  week) 

"Enter  Madame"  (Para.)   1,500 

(5  days) 

"David  Copperfield"  (MGM)   11,000 

(6  days-3rd  week) 

"Carnival"   (Col.)    15,500 

"My  Heart  Is  Calling"    10,000 

(GB  Pictures)   (5  days) 

"Little  Men"  (Mascot)   2,900 

(6  days) 

"Clive  of  India"  (U.  A.)   3,400 

(6  days) 

"Woman  In  Red"  (F.  N.)   40,000 

"Rumba"  (Para.)    8,500 

(6  days) 

"Society  Doctor"  (MGM)    5,000 

(6  days) 

"David  Copperfield"  (MGM)   6,500 

(1st  week) 

"Evergreen"  (GB  Pictures)  and..  3,000 
"Ejiter  Madame"  (Para.) 

"Imitation  of  Life"  (Univ.)  and..  1.80O 
"Babbitt"  (F.  N.) 

"West  of  the  Pecos"   (Radio)....  6,000 

"The   Little  Colonel"    (Fox)   9,600 

"Sequoia"   (MGM)    4,000 

(2nd  week) 

"The  Right  to  Live"  (W.B.)   8.000 

"Once  to  Every  Bachelor"  (Liberty) 

"Murder  On  A  Honeymoon"   12,000 

(Radio) 

"Mystery  of  Edwin  Drood"  (Univ.)  5,000 
and  "Million  Dollar  Baby"  (Mono.) 

"Rumba"  (Para.)  and   11,000 

"Under  Pressure"  (Fox) 

"The  Gilded  Lily"   (Para.)   6,5C0 

"CUve  of  India"  (U.  A.)   10,000 

(1st  week) 

"Devil  Dogs  of  the  Air"  (W.  B.)..  25,000 


"Million  Dollar  Baby"  (Mono.)  and  2,900 

"Notorious  Gentleman"  (Univ.) 

"The  County  Chairman"  (Fox)   6,800 

"Broadway  Bill"  (Col.)    7,100 

(2nd  week) 

"Clive  of  India"  (U.  A.)   3,800 

(1st  week) 

"Devil  Dogs  of  the  Air"  (W.  B.)  6,200 

"The  Woman  in  Red"  (W.  B.)..  5,200 

"Rumba"   (Para.)    5,100 


High  and  Low  Gross 

(Tabulation  coivers  period  from  January,  1934.) 
(Dates  are  1934  unless  otherwise  speciFied.) 

High  1-6  "Going  Hollywood"   4,100 

Low  9-8  "You  Belong  to  Me"   800 

High  8-11  "Great  Flirtation"  and  I 

"I  Give  My  Love"              )  3,700 

Low  10-27  "Crime  Without  Passion"....  400 

High  12-29   "Bright   Eyes"   9,540 

Low  5-26  "Merry  Wives  of  Reno"   2,000 

High  1-5-35  "Forsaking  All  Others"....  13,009 

Low  12-22  "Limehouse  Blues"   2,900 

High  1-12-35  "The  Little  Minister"   9,100 

Low  2-16-35  "Babbitt"  and  1 

"Murder  in  the  Clouds"    J  3,000 

High  3-10  "Easy  to  Love"   17,250 

Low  12-29  "Babes  in  Toyland"  and  ) 

"Home  on  the  Range          j  5,000 

High  2-16-35   "The   Secret   Bride"   13,200 

Low  2-24  "Six  of  a  Kind"  and  i 

"Good  Dame"                     )  5,250 

High  5-5  "House  of  Rothschild"   23,000 

Low  6-9  "Sorrell  and  Son"   4,000 

High  1-6  "Duck  Soup"   6,500 

Low  1-27  "Women  in  His  Life"   400 

High  1-6  "Uttle  Women"   30,000 

Low  2-23-35  "The  Night  Is  Young"....  6,500 
(5  days) 

High  4-7  "Harold  Teen"   40,000 

Low  7-21  "Cockeyed  Cavaliers"   11,000 

High  12-29  •'Bright  Eyes"   28,500 

Low  7-28  •'She  Was  a  Lady"   7,000 

High  11-3  "One  Night  of  Love"   8,500 

Low  11-24  "Wednesday's  Child"   2,200 

High  3-3  "Carolina"    8,000 

Low  1-5-35  "Sweet  Adeline"   1,500 

High  1-5-35  "Broadway  Bill"   22,000 

Low  12-29  "Behold  My  Wife"   7,500 

High  3-31  "The  Lost  Patrol"   9,000 

Low  1-5-35  "Man  Who  Reclaimed  His 

Head"    2,000 

High  4-7  "Wonder  Bar"    13,000 

Low  7-14  "The  Circus  Clown"  and  ( 

"I  Give  My  Love"               j  3,900 

High  11-17  "Lady  By  Choice"   4,000 

Low  1-19-35  "Behold  My  Wife"  and  1 

"Defense  Rests"                I  1,600 

High  5-26  "Merry  Wives  of  Reno"   4,800 

Low  10-6  "The  Human  Side"  and  I 

"Hat,  Coat  and  Glove"         (  1,500 

High  12-1  "Kentucky  Kernels"   8,000 

Low  11-10  "Wednesday's  Child"   3,500 

High  3-24  "David  Harum"  and  1 

"Once  to  Every  Woman    )  12,000 
Low  6-30  "Now  I'll  Tell"  and  ( 

"Springtime  for  Henry"          J  4,000 

High  4-28  "House  of  Rothschild"   9,800 

Low  8-4  "Paris  Interlude"   3,700 

High  3-3  "Son  of  Kong"   14,000 

Low  8-18  "Sin  of  Nora  Moran"  and  1 

"Along  Came  Sally"  4,500 

High  3-3  "It  Happened  One  Night"....  20,500 

Low  7-7  "Cockeyed  Cavaliers"   10,200 

High  6-9  "Sing  and  Like  It"   19,500 

Low  6-30  "Affairs  of  a  (gentleman"  1 

and  "Orders  is  Orders"        I  5,000 

High  9-29  "Belle  of  the  Nineties"   19,000 

Low  1-20  "Four  Girls  in  a  Boat"  and  I 

"Fugitive  Lovers"                 (  8,000 

High  1-19-35  "The  County  Chairman"..  11,000 
Low  4-14  "Registered  Nurse"  and  ) 

"Murder  in  Trinidad"           (  3,500 

High  1-6  "Roman  Scandals"   15,000 

Low  5-26  "No  Greater  Glory"   4,000 

High  12-29  "Bright  Eyes"   29,000 

Low  3-31  "Gambling  Lady"   15,500 

High  2-17  "Roman  Scandals"   7,500 

Low  7-7  "Tomorrow's  Children"   2,550 

High  4-14  "Riptide"   12,750 

Low  3-24  "Fashions  of  1934"   3,500 

High  2-16-35  "Broadway  Bill"  (2d  week)  7,100 
Low  10-6  "Jane  Eyre"  and  I 

"King  Kelly  of  U.  S.  A."    f  3,100 

High  4-14  "Spitfire"    6,500 

Low  1-26-35  "Man  Who  Reclaimed  His 

Head"    2.850 

High  5-26  "Wild  Cargo"    11,500 

Low  2-2-35  "Enchanted  April"  (6  days)  3,900 

High  12-1  "Kentucky  Kernels"   8,400 

Low  4-21  "Two  Alone"  and  ) 

"I  Believed  in  You"            (  3,750 

High  1-27  "Fugitive  Lovers"   8,500 

Low  12-8  "Peck's  Bad  Boy"  and  ) 

"Menace"                             I  3.300 


70 


MOTION    PICTURE  HERALD 


March    2  ,  1935 


gg  J.  C.  JCNNNS-tilS  COLTUM  El 


Harlingen,  Texas 

Dear  Herald: 

Gee-me-nently-kraut.  Doggone  the  dog- 
gone luck  anyhow.  Day  before  yesterday 
we  drove  clear  down  to  San  Benito  to  see 
E.  F.  Brady,  who  operates  the  Rivoli  and 
Palace  theatres,  and  when  we  got  there  his 
cashier  at  the  box  office  told  us  that  E.  F. 
had  gone  up  to  Harlingen  to  play  golf. 
When  a  man  picks  out  the  best  looking  lady 
in  town  to  sell  tickets  for  him  and  then  goes 
away  to  play  golf  and  leaves  her  all  alone 
and  unguarded  there  is  something  wrong 
with  his  gourd. 

Not  So  With  These 

Elmer  Gailey  at  Wayne,  Nebraska,  used 
to  do  that  except  that  he  always  went  fishing 
rather  than  play  golf.  Bonnie  Benfield,  at 
Morris,  Minnesota,  and  Andy  and  Herb  An- 
derson, at  Detroit  Lakes,  Minnesota,  would 
rather  play  golf  than  sit  in  the  box  office 
with  the  best  looking  lady  in  town,  and 
while  F.  W.  Zimmerman  of  San  Marcus, 
Texas,  is  a  golf  hound  he  won't  leave  his 
box  office  even  if  he  knew  he  could  get  a 
shrimp  cocktail.  That's  just  the  way  he  is 
built. 

We  have  been  through  San  Benito  several 
times  but  have  never  found  E.  F.;  he  has 
ahvays  been  out  billing  his  show,  or  some- 
thing. But  we  are  going  dotim  there  some 
day  and  slip  up  on  him  when  he  isn't  look- 
ing, and  if  he  isn't  there  we  are  going  right 
into  the  box  office  and  say  "We  gates, 
Gerte,"  and  if  she  don't  understand  what 
we  say  we  will  say  "Wanesdeas,  Maud,"  and 
if  she  shakes  her  head  we  are  going  to  say 
"How  do  you  do,  Mable." 

When  we  got  up  here  to  Harlingen  we 
called  on  J.  C.  King,  who  operates  the  Ar- 
cadia and  Rialto  theatres,  and  when  we 
walked  into  his  office  he  looked  up  and  said, 
"Well,  gee  whiz,  are  you  still  running  loose? 
The  last  time  I  saw  you  was  in  Richmond, 
Indiana,  about  seven  years  ago."  Can  you 
beat  that  for  a  memory? 

J.  C.  has  been  pretty  much  around  the 
globe  since  we  saw  him  in  Richmond.  He 
has  worked  in  Ypsilanti,  Michigan,  Ko- 
komo,  Indiana,  Omaha,  Nebraska,  Salt  Lake 
City,  Utah  and  Dallas,  Texas,  and  he  says 
he  took  a  bath  in  every  town  (this  last  one 
ought  to  go  to  Ripley). 

Not  to  be  Wondered  At 

Harlingen,  you  remember,  is  where  they 
had  that  terrible  wind  a  while  back  that 
nearly  wrecked  the  town.  It  blew  in  the 
whole  end  of  their  beautiful  city  Audi- 
torium and  made  a  complete  wreck  of  the 
whole  building,  and  we  are  told  that  the  city 
administration  is  trying  to  get  the  govern- 
ment to  let  them  have  enough  dough  to  re- 
build it,  and  if  they  get  it  we  are  going  to 
write  Uncle  Sam  and  ask  him  to  send  us 
enough  money  to  buy  some  new  seats  for 
Riverside  park  up  home.  Uncle  Sam,  you 
know,  is  one  of  the  most  accommodating 
guys  we  know  of. 

Harlingen  has  a  beautiful  golf  course  and 
the  weather  was  most  delightful,  but  J.  C. 
stayed  right  on  the  job,  and  when  one  sees 
the  lady  he  had  in  the  box  office  one  don't 


wonder  much  about  it;  we'd  stay  on  the  job 
too. 

Harlingen  is  where  the  Missouri  Pacific 
railroad  stops  and  catches  its  breath  and 
turns  north  toward  the  snowbanks.  We  al- 
ways thought  the  Missouri  Pacific  only  ran 
from  Omaha,  Nebraska,  to  Kansas  City, 
Missouri,  but  they  came  on  down  here 
where  they  could  get  colored  fellows  for 
brakemen. 

Whenever  we  think  of  railroads  we  think 
of  what  a  chap  told  us  who  was  going  to 
college  up  home  when  he  said  he  would  hate 
to  own  a  railroad,  and  when  we  asked  him 
why,  he  said,  "Because  the  conductors  steal 
so  damn  much  money."  But  then  that's  got 
nothing  to  do  with  J.  C.  King,  while  J.  C. 
King  has  nothing  to  do  with  the  King  ranch 
(which,  by-the-way,  is  said  to  be  the  largest 
one  in  the  world),  but  he  does  have  some- 
thing to  do  with  the  Harlingen  theatres, 
and  the  Harlingen  theatres  are  what  make 
the  town  of  such  importance  in  the  Rio 
Grande  valley.  We  hope  to  go  back  before 
we  leave  the  valley  and  see  Mr.  King  and 
Mr.  Brady  both,  and  we  are  going  to  take 
the  chief  of  police  with  us  too. 

V 

A  Slip  in  Tinne 

A  friend  of  ours  who  lives  in  Alamo  and 
who  owns  a  prize  milk  cow,  told  us  the 
other  day  that  when  he  was  bringing  his 
cow  across  a  wet  pavement  she  slipped  down 
and  strained  her  milk.  We  said  "Huh, 
that's  nothing,  we  slipped  down  on  a 
banana  peel  yesterday  and  broke  the 
seventh  commandment  and  two  good  reso- 
lutions, and  when  we  got  up  there  were  two 
Mexican  women  and  a  hardware  dealer 
laughing  at  us." 

V 

H.  C.  Hollowman  operates  the  Capitol 
theatre  at  Mercedes.  Mercedes  might  be 
quite  a  town  if  she  only  had  room  to 
spread  herself,  but  she  is  hemmed  in  by 
Laferia  on  one  side  and  Weslico  on  the 
other,  and  Weslico  prevents  her  from  lap- 
ping over  on  Donna,  but  that  isn't  H.  C.'s 
fault,  he  is  doing  his  best  to  make  Mer- 
cedes the  principal  town  of  the  valley,  and 
if  Harlingen  and  Brownsville  don't  look  out 
he  will  do  it,  too.  He  is  making  his  theatre 
a  universal  rallying  place  for  southeast 
Texas,  and  his  wife  is  helping  him. 

V 

The  other  day  we  were  invited  down  to 
McAllen  to  see  Katharine  Hepburn  in  "The 
Little  Minister."  Shine  Mason,  the  man- 
ager of  the  Palace  theatre,  is  always  doing 
something  just  like  that.  Katharine  played 
the  part  of  a  gipsy  girl  and  she  was  in  love 
with  the  Little  Minister  but  she  was  so  darn 
coquettish  that  if  we  had  been  the  Little 
Minister  we  would  have  told  her  to  go  and 
lit  down  with  the  kittens.  There's  no  darn 
sense  in  a  girl  acting  that  way  when  she 
knows  a  fellow  is  in  love  with  her,  but  then 
anyhow,  "The  Little  Minister"  was  a  good 
show  and  Shine  has  our  thanks  for  inviting 
us  to  see  it,  but  if  we  ever  fall  in  love  with 
a  gipsy  girl  we  are  going  to  have  her 
mother  tell  our  fortune  or  trade  horses  with 
her  old  man. 


We  met  an  overland  panhandler  on  the 
street  the  other  day  and  he  stopped  us  and 
said,  "Say,  brother,  could  you  stake  me  to 
a  dime  to  get  some  breakfast"?  We  looked 
him  over  and  replied,  "Well,  Willie,  we  are 
delighted  to  find  a  'brother'  down  here 
among  the  Longhorns  and  we  are  wondering 
if  you  have  made  application  to  the  gov- 
ernment for  a  position  as  water  boy  in  that 
'shelterbelt'  proposition.  Uncle  Sam  is 
looking  for  some  talent  along  that  line." 
Willie  replied,  "Nope,  never  heard  of  it." 
V 

There  is  one  thing  we  have  noticed  in 
particular  since  coming  to  Texas,  and  espe- 
cially the  Rio  Grande  valley,  and  that  is 
the  absence  of  pool  halls.  We  can't  recall 
seeing  a  single  pool  hall  since  coming  to 
the  state,  although  we  are  not  overly  ob- 
serving. That  may,  in  some  degree,  ac- 
count for  the  business  that  is  being  done 
at  the  theatres.  Outside  of  a  tent  show  or 
a  basket  ball  game,  we  know  of  nothing 
that  will  detract  from  the  theatre  like  a 
pool  hall.  Our  judgment  is  that  they  have 
not  been  rightfully  named;  they  should  be 
named  Crime  Incubators,  for  it  is  in  the 
average  small  town  pool  hall  where  the 
most  of  our  criminals  got  their  early  edu- 
cation. Texas  leads  the  world  in  churches 
but  not  in  pool  halls. 

V 

We  tuned  in  on  the  radio  last  night  and 
heard  a  crooner  sing  "Sweet  Love,  I'm 
Longing  for  You,"  then  we  went  and  ate 
two  dill  pickles  and  went  to  bed. 

Maybe  we  will  have  a  shark  story  for  you 
next  time. 

COLONEL  J.  C.  JENKINS 
The  herald's  Vagabond  Colyumnist 


Conklin  Leaves  for  Coast 
After  Luncheon  by  Hearst 

The  Hearst  newspaper,  motion  picture 
and  realty  interests  in  New  York  late  last 
week  gave  a  luncheon  at  the  Warwick  Hotel 
to  the  film  and  news  press  to  mark  the  de- 
parture for  Hollywood  of  Frank  Conklin, 
former  motion  picture  man  and  now  Hearst 
hotel  executive.  Mr.  Conklin  will  return 
to  New  York  in  three  weeks. 

The  Hearst  motion  picture  interests 
were  represented  by  E.  B.  Hatrick  and  M. 
D.  Clofine.  Jack  Cohn,  Columbia  vice  presi- 
dent ;  Morton  Downey ;  Walter  F.  Eber- 
hardt.  Western  Electric;  Henry  L.  Sals- 
bury,  Paramount  Productions,  and  some 
three  dozen  representatives  of  Broadway 
home  offices  and  of  the  press  were  on 
hand. 


Film  Finance  Company  Formed 

A  new  film  financing  company  has  been 
formed  at  Wilmington,  Del.,  known  as  the 
Standard  Capital  Company.  The  company 
was  given  permission  by  the  Securities  Com- 
mission at  Washington  to  float  an  issue  of 
15,000  shares  of  six  per  cent  preferred 
stock,  par  value  $100,  and  33,333  shares  of 
$1  par  common. 


March    2  ,  1935 


MOTION    PICTURE  HERALD 


71 


WHAT  THE  PICTURE 
DIE)  E€P  ME 


Columbia 


AMONG  THE  MISSING:  Richard  Cromwell,  Billiie 
Seward — Drew  average  crowd  but  nothing  extra.  We 
would  rate  it  just  fair.  Played  February  13-14.— 
Harold  C.  Allison,  Baldwin  Theatre,  Baldwin,  Mich. 
Small  town  patronage. 

AMONG  THE  MISSING:  Richard  Cromwell,  Bil- 
lie  Seward — A  mighty  fine  program  picture.  A  splen- 
did cast  and  interesting  story.  Gave  good  satisfaction. 
Played  on  a  double  feature  bill. — Bert  Silver,  Silver 
Family  Theatre,  Greenville,  Mich.  Town  and  coun- 
try patronage. 

BEST  MAN  WINS,  THE:  Edmund  Lowe,  Jack 
Holt — Ordinary  program  picture  in  which  the  patrons 
didn't  break  down  the  doors  trying  to  get  in.  No 
kicks  or  praise  on  the  picture  so  it  must  be  OK. — 
E.  C.  Arehart,  Princess  Theatre,  Odebolt,  Iowa. 
General  patronage. 

BEST  MAN  WINS,  THE:  Jack  Holt,  Edmund  Lowe 
— A  very  good  deep-sea  diving  story  with  plenty  of 
good  story  and  action.  Best  Bargain  Show  business 
in  months.  Patrons  liked  it  fine.  Running  time, 
seven  reels.  Played  February  23-24. — Earl  J.  Mc- 
Clurg,  Grand  Theatre,  Preston,  Idaho.  Small  town 
and  rural  patronage. 

BEYOND  THE  LAW:  Tim  McCoy— A  good  pro- 
gram picture  that  will  please  your  action  fans.  Have 
not  had  a  bad  McCoy  picture  yet.  Sound  and  pho- 
tography good.  Played  January  29-30. — W.  J.  Carter, 
Maxine  Theatre,  Croswell,  Mich.  Small  town  patron- 
age. 

BLACK  MOON:  Jack  Holt,  Fay  Wray— Went  back 
and  picked  this  up  on  short  notice,  and  wished  very 
much  that  I  just  hadn't  had  a  show  that  day.  The 
cast  was  good,  and  the  title  okay,  but  too  much 
voodoo  drums  and  dark  film,  the  kind  that  forces  you 
to  turn  your  volume  control  up  to  the  last  notch  to 
get  enough  out  of  it,  then  when  you  do  it's  bad. 
Btmning  time,  68  minutes.  Flayed  December  30-3L — 
Lamar  Guthrie,  Rogue  Theatre  No.  3,  Tipton,  Okla. 
Small  town  patronage. 

BROADWAY  BILL:  Warner  Baxter,  Myrna  Loy— 
Very  good  picture,  but  disappointing  at  the  box  of- 
fice. Had  hard  competition  and  failed  to  do  extra 
business.  If  the  name  were  changed,  I  dare  say  it 
would  increase  at  the  box  office,  as  Broadway  is  sure 
poison  to  my  patrons.  They  all  think  that  "Broadway 
Bill"  is  another  shyster  and  pass  it  up.  Running 
time,  11  reels.  Played  January  27-29.— Earl  J.  Mc- 
Clurg,  Grand  Theatre,  Preston,  Idaho.  Small  town 
and  rural  patronage. 

CAPTAIN  HATES  THE  SEA,  THE:  Fred  Keating, 
Wynne  Gibson,  Victor  McLaglen,  John  Gilbert — We 
have  read  several  adverse  reports  on  this  one  but  I 
have  seen  no  report  that  does  the  subject  justice.  You 
simply  have  to  go  to  the  Bible  for  words  to  describe 
it.  The  show  is  simply  "past  all  understanding." 
There  may  be  people  who  can  tell  what  this  show 
is  about  but  we  seem  to  have  none  of  them  in  Man- 
assa.  We  ran  a  picture  once  which  was  never  re- 
leased but  it  was  a  better  picture  than  this  one.  Run- 
ning time,  103  minutes.  Played  February  22-23. — G. 
A.  Van  Fradenburg,  The  Valley  Theatre,  Manassa, 
Col.    Farming  community  patronage. 

CAPTAIN  HATES  THE  SEA,  THE:  Victor  Mc- 
Laglen, John  Gilbert,  Walter  Connolly — Nothing  much 
to  it.  Wish  I  had  not  played  it.  Did  not  please. 
Running  time,  9  reels. — Sammie  Jackson,  Jackson 
Theatre,  Flomaton,  Ala.    Small  town  patronage. 

FUGITIVE  LADY:  Neil  Hamilton,  Florence  Rice- 
Folks,  here  is  a  picture  that  is  100  per  cent  entertain- 
ment and  our  customers  told  us  so  when  they  went 
out.  Good  story,  good  acting.  Columbia  pictures 
arc  consistently  good.  Played  January  15-16. — W.  J. 
Carter,  Maxine  Theatre,  Croswell,  Mich.  Small  town 
patronage. 

MILLS  OF  THE  GODS:  May  Robson— A  very  good 
program  picture.  Excellent  work  by  all  in  cast.  Did 
extra  fine  business.  Everyone  pleased.  Running 
time,  70  minutes.  Played  January  30-31. — Earl  J.  Mc- 
Clurg,  Grand  Theatre,  Preston,  Idaho.  Small  town 
and  rural  patronage. 

MOST  PRECIOUS  THING  IN  LIFE:  Jean  Arthur, 
Donald  Cook — Here  is  another  good  one  from  Colum- 
bia. Good  story  and  the  acting  of  Jean  Arthur  is 
worth  the  price  of  admission  alone.  You  can't  go 
wrong  showing  pictures  like  this.  They  keep  you  out 
of  the  red.  Played  February  S-6. — W.  J.  Carter, 
Maxine  Theatre,  Croswell,  Mich.  Small  town  patron- 
age. 

ONE  NIGHT  OF  LOVE:  Grace  Moore,  Tullio  Car- 
minati — Our  town  is  very  small  with  a  population  of 
500  people.  Our  patrons  just  raved  over  the  singing 
of  Grace  Moore  and  the  sparkling  comedy  in  this  pro- 


N  this,  the  exhibitors'  own  de- 
partment, the  theatremen  of  the 
nation  serve  one  another  with 
information  on  the  box  office  per- 
formance of  product  for  their  mu- 
tual benefit.  It  is  a  service  of  the 
exhibitor  for  the  exhibitor.  Address 
all  communications  to — 

^hat  the  Picture  Did  for  Me 

MOTION  PICTURE  HERALD 
1790  Broadway,  New  York 


duction.  We  had  people  during  this  showing  whom 
we  had  not  seen  in  our  theatre  and  they  came  from 
distant  miles.  We  really  created  some  new  theatre- 
goers in  the  showing  of  "One  Night  of  Love."  Pic- 
ture in  its  entirety  is  swell  and  business  was  very 
good  in  spite  of  the  most  extremely  cold  night  we 
have  had  out  here.  I  can  recommend  this  picture 
highly. — Ben  H.  Crocker,  Tribune  Theatre,  Tribune, 
Kan.    Small  town  patronage. 

ONE  NIGHT  OF  LOVE:  Grace  Moore— This  would 
perhaps  give  a  Boston  theatre  a  high  gross  for  the 
year  but  it  came  very  close  to  giving  us  the  low 
gross  for  five  years,  and  the  few  that  saw  it  were 
mostly  dissatisfied.  Running  time,  nine  reels.  Played 
February  8-9.— G.  A.  Van  Fradenburg,  The  Valley 
Theatre,  Manassa,  Col.  Farming  community  patron- 
age. 


First  National 


BABBITT:  Aline  McMahon,  Guy  Kibbee— Very 
good.  This  pair  is  getting  popular,  but  it  is  the  old 
reliable  Babbitt  story  and  it  will  have  a  certain  ap- 
peal in  the  small  towns.  But  I  still  am  on  the  fence 
as  to  the  advisability  of  bringing  back  many  of  these 
pictures  that  were  made  in  silent  days.  The  picture 
did  not  do  as  well  at  the  box  office  as  I  expected. — 
A.  E.  Hancock,  Columbia  Theatre,  Columbia  City, 
Ind.    General  patronage. 

BABBITT:  Aline  MacMahon,  Guy  Kibbee— Another 
wow  from  this  team.  Kept  them  laughing  from  the 
first  reel  to  the  last.  Just  a  small  town  natural. 
Running  time.  75  minutes.  Played  February  9-10. — 
Gladys  E.  McArdle,  Owl  Theatre,  Lebanon,  Kan. 
Small  town  patronage. 

BABBITT:  Guy  Kibbee.  Aline  MacMahon— This 
was  supposed  to  be  a  follow-up  picture  to  "Big- 
Hearted  Herbert"  and  it  drew  good  because  the 
patrons  remembered  what  good  comedy  amusement 
"Big  Hearted  Herbert"  was,  but  they  were  a  little 
fooled  on  "Babbitt."  Although  it  is  very  good  en- 
tertainment, it  will  not  please  as  well  as  some  of 
Kibbee's  other  pictures.  A  good  Family  Night  pic- 
ture. Played  February  10-12.— Bob  Ouellette,  Dixie 
Theatre,  Brooksville,  Fla.    Small  town  patronage. 

BRITISH  AGENT:  Leslie  Howard,  Kay  Francis— 
A  mighty  good  entertaining  picture.  Wonderful  work 
by  the  stars  and  an  interesting  story.  Gave  good 
satisfaction.  Played  February  4-5. — Bert  Silver,  Sil- 
ver Family  Theatre,  Greeneville,  Mich.  Town  and 
country  patronage. 

RED  HOT  TIRES:  Lyle  Talbot,  Mary  Astor— This 
is  a  very  good  auto  race  picture.  Good  action,  good 
directing.  A  swell  Saturday  picture.  Did  excellent 
at  box  office  and  pleased  the  patrons.  Running  time, 
72  minutes.  Played  February  1-2.— Earl  J.  McClurg, 
Grand  Theatre,  Preston,  Idaho.  Small  town  and 
rural  patronage. 


Fox 


BRIGHT  EYES:  Shirley  Temple.  James  Dunn- 
Thanks,  Shirley,  you  little  honey.  You  will  eventually 
help  us  lift  the  mortgage.  May  you  never  grow  up. — 
E.  C.  Arehart,  Princess  Theatre,  Odebolt,  Iowa.  Gen- 
eral patronage. 

BRIGHT  EYES:  Shirley  Temple— Here  is  the  cut- 
est of  all  the  Shirley  Temple  pictures.  Would  like 
to  see  Shirley  once  a  week,  and  I  think  most  everyone 
else  would.  Have  never  seen  anyone  that  had  the 
drawing  power  she  has.  _  Play  this  as  soon  as  you 
can.    Running  time,  83  minutes.    Played  February  14- 


15. — Miss  Alice  Simmons,  Lyric  Theatre,  Jefferson, 
Texas.    General  patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn — 
Ran  this  three  days  midweek  and  broke  all  box  office 
records  for  past  two  years.  This  little  girl  is  actually 
a  better  box-office  star  than  Rogers,  but  I  am  afraid 
that  she  was  at  her  peak  in  "Bright  Eyes."  An  ex- 
cellent production  all  the  way  through.  Played  Feb- 
ruary 13-15. — Warren  L.  Weber,  Deluxe  Theatre,  St. 
John,  Kan.    General  patronage. 

GEORGE  WHITE'S  SCANDALS:  Rudy  Vallee, 
George  White,  Alice  Faye — Good  sound,  but  picture 
was  not  so  very  well  accepted  by  our  audience.  It 
was  well  taken  and  the  acting  was  good  but  the  song 
hits  were  rather  suggestive  and  too  much  sex  in  it  for 
the  Owl  to  play.  But  we  did  a  very  good  business 
and  I  guess  it  did  not  hurt  anybody.  Nine  reels  and 
good  print.  Running  time,  72  minutes.  Played  Feb- 
ruary 15-16.— Albert  Hefferan,  Owl  Theatre,  Grand 
Rapids,  Mich.    Special  patronage. 

HELL  IN  THE  HEAVENS:  Warner  Baxter— OK, 
though  my  patrons  did  remember  that  they  had  seen 
the  air  scenes  before.  Acceptable  program  picture, 
however.  Played  January  15. — Chas.  S.  Edwards, 
Queen  Theatre,  Pilot  Point,  Texas.  General  patron- 
age. 

JUDGE  PRIEST:  Will  Rogers— One  of  the  best 
Rogers  to  date.  Good  box  office,  and  everybody  hap- 
py. What  more  do  you  want?  Played  February 
9-10.- W.  J.  Carter,  Maxine  Theatre,  Croswell,  Mich. 
Small  town  patronage. 

LOTTERY  LOVER:  "Pat"  Paterson,  Lew  Ayres 
— A  natural!  A  good  comedy  throughout.  About  a 
bunch  of  cadets  (Americans)  in  gay  Paree!  A  garter 
falls  from  the  sky,  which  starts  the  cadets  out  to 
find  and  court  the  wearer.  The  situations  that  follow 
are  very  amusing.  Some  good  songs,  especially  the 
one  sung  by  Peggy  Fears.  Very  good  plot  and  story 
in  general.  Played  February  8-9. — Charles  Summers 
&  Son,  Elite  Theatre,  Selling,  Okla.  Small  town  and 
rural  patronage. 

MARIE  GAL  ANTE:  Spencer  Tracy,  Ketti  Gallian 
Only  fair.  Only  a  vehicle  for  the  new  star,  Ketti  Gil- 
lian, to  ride  in.  Concerns  the  spy-infested  Canal  Zone 
of  Central  America,  and  a  plot  to  blow  up  the  Canal. 
Don't  go  too  big  on  it.  However,  the  patrons  in 
your  neck  o'  the  woods  may  like  this  stuff.  They 
don't  care  much  for  it  here.  Played  February  10-11. 
— Charles  Summers  &  Son,  Elite  Theatre,  Selling, 
Okla.    Small  town  and  rural  patronage. 

MUSIC  IN  THE  AIR:  Gloria  Swanson,  John  Boles 
— Swanson  was  through  years  ago,  she  is  through 
now  and  will  be  from  now  on.  Why  they  try  to  palm 
some  of  these  old  stars  off  on  us  is  more  than  I  can 
figure  out.  There  is  not  one  damn  excuse  for  this  one. 
About  the  silliest  that  the  mind  could  imagine.  I 
guess  this  one  was  made  under  the  guise  of  "ART," 
which  seems  the  rage  now.  I  would  advise  that  you 
attend  your  neighbor's  theatre  on  this  one  before  you 
play  it.  Needless  to  say  I  took  a  nice  loss  at  the 
box-office.  Played  February  15-16.— Charles  S.  Ed- 
wards. Queen  Theatre,  Pilot  Point,  'Texas.  Ge»eral 
patronage. 

SERVANTS'  ENTRANCE:  Janet  Gaynor,  Lew 
Ayres — Good  picture  but  not  up  to  the  Gaynor  stand- 
ard. With  an  American  locale  it  woould  have  gone 
over  big,  but  these  foreign  pictures  do  not  click  here. 
Good  cast  and  well  produced,  and  pleased  those  who 
came.  Running  time,  88  minutes.  Played  February 
6-7.— Gladys  E.  McArdle,  O-wl  Theatre,  Lebanon,  Kan. 
Small  town  patronage. 

365  NIGHTS  IN  HOLLYWOOD:  Alice  Faye,  James 
Dunn — We  did  a  good  business  on  this  one.  Well  liked 
by  every  one.  Advertise  it  and  do  business.  Faye 
and  Dunn  make  a  very  good  team.  Also  the  antics 
of  Mitchell  and  Durante  kept  the  audience  laughing. 
There  isn't  a  dull  moment  in  it.  Has  a  good  song  or 
two  and  some  very  good  acting.  Don't  believe  you 
can  £0  wrong  on  it.  We  didn't.  Played  January 
27-28. — Charles  Summers  &  Son,  Elite  Theatre,  Selling, 
Okla.     Small   town,   rural  patronage. 

WHITE  PARADE,  THE:  Loretta  Young,  John 
Boles — I  never  will  know  just  why  this  wasn't  sold 
as  a  special.  If  Fox  has  ever  turned  out  a  special, 
this  one  is.  Loretta  Young  is  one  of  the  finest  ac- 
tresses on  our  screen  and  my  patrons  didn't  hesitate 
long  in  finding  out  Jane  Darwell's  name  and  they  re- 
member it.  "They  all  say  that  she  is  here  to  take 
Marie  Dressler's  place  and  I  for  one  am  going  to  do 
all  I  can  to  put  her  over  in  my  house  because  my 
audiences  have  never  raved  about  an  unknown  before 
like  they  have  Sailor  Darwell.  This  picture  much 
better  than  "Men  in  White"  and  should  be  played 
on  your  best  days  and  highly  advertised.  I  don't 
believe  the  town's  grouch  can  help  praising  it.  I  had 
100  per  cent  reaction  from  my  audiences  and  a  huge 
gross.  Played  February  1-2. — Chas.  S.  Edwards, 
Queen  Theatre,  Pilot  Point,  Tex.  General  patron- 
age. 


72 


MOTION    PICTURE  HERALD 


March    2,  1935 


Mascot 


CRIMSON  ROMANCE:  Ben  Lyon,  Sari  Maritza— 
Fairly  good  story  of  the  World  War,  sold  as  a  special. 
Will  make  you  some  money  if  you  can  buy  it  right. 
Played  January  19-20.— W.  J.  Carter,  Maxine  Theatre, 
Croswell,  Mich.    Small  town  patronage. 

CRIMSON  ROMANCE:  Ben  Lyon,  Sari  Maritza— 
This  was  considerably  above  average  of  what  we  ex- 
pect from  independent  producers,  with  good  recording, 
good  direction  arid  a  general  all  around  smoothness 
that  we  get  from  the  majors.  This  is  a  "Dawn  Pa- 
trol" type  of  story,  and  as  such  it  held  the  interest  all 
the  way.  We  double-billed  it  with  a  Buck  Jones  pic- 
ture and  did  above  average  business.  Where  double 
billing  is  not  customary,  "Crimson  Romance"  aione 
should  please  those  who  like  action  and  thrills. — J.  E. 
Stocker,  Myrtle  Theatre,  Detroit,  Mich.  General 
patronage. 


MGM 


BABES  IN  TOYLAND:  Laurel  and  Hardy— Very 
topical  in  Christmas  season,  but  it  was  a  washout 
playing  it  later.  It  is  neither  a  kid's  picture  and 
neither  was  it  an  adult  one.  It  is  elaborately  mounted, 
good  music,  and  strictly  a  holiday  picture  that  should 
have  been  run  either  close  to  Christmas  or  soon 
thereafter.  Laurel  and  Hardy  are  not  popular  with 
the  adults,  either.  They  were  all  right  in  two-reel 
comedies,  but  they  are  too  much  of  a  type  to  make 
stars  to  head  a  feature  with. — A.  E.  Hancock,  Co- 
lumbia Theatre,  Columbia  City,  Ind.  General  pat- 
ronage. 

BABES  IN  TOYLAND:  Laurel  and  Hardy— Great. 
The  old  fairy  tales  come  to  life  and  how !  The  par- 
ents could  not  drag  the  kiddies  out  after  the  first 
show,  so  they  all  stayed  for  the  second  show  and 
some  came  back  the  second  night.  You  cannot  ad- 
vertise this  too  highly  for  kiddies,  and  adults  seemed 
to  like  it,  too.  Very  clever  impersonations.  Excep- 
tionally good.  Running  time,  85  minutes.  Played  Feb- 
ruary 13-14.— Gladys  E.  McArdle,  Owl  Theatre,  Leba- 
non, Kan.    Small  town  patronage. 

BABES  IN  TOYLAND:  Laurel  and  Hardy— Not 
liked  here.  Why  waste  such  a  picture  on  Laurel 
and  Hardy  and  why  waste  Laurel  and  Hardy  on  such 
a  picture.  It  would  seem  to  me  that  producers  will 
learn  some  day  that  this  type  of  picture  will  not  go 
over  at  the  box  office.  Most  of  them  have  tried  it 
at  one  time  or  another.  Played  January  22-23. — War- 
ren L.  Weber,  Deluxe  Theatre,  St.  John,  Kan.  General 
patronage. 

BAND  PLAYS  ON,  THE:  Robert  Young,  Stuart 
Erwin — Oiie  of  the  best  shows  of  the  year.  Worth 
a  dozen  "specials."  Good  cast,  good  acting,  good 
music,  interesting  story,  clean,  and  just  an  all-around 
good  show  that  pleased  every  one.  Shows  like  this 
are  a  credit  to  the  producer  and  the  exhibitor.  Stuart 
Erwin  steals  the  show.  Some  good  football  games. 
Leo  has  something  to  roar  about  in  this  one.  Run- 
ning time,  85  minutes.  Played  February  15-17. — 
Gladys  E.  McArdle,  Owl  Theatre,  Lebanon,  Kan. 
Small  town  patronage. 

BIOGRAPHY  OF  A  BACHELOR  GIRL:  Robert 
Montgomery,  Ann  Harding — A  good  picture  which 
was  spoiled  by  damaged  print  we  received.  Pulled 
it  as  soon  as  I  could  get  next  scheduled  picture  in 
town.  Kids  won't  like  it  and  will  not  draw  extra 
business — too  much  talk  and  sameness.  Played  Feb- 
ruary 10-11. — John  H.  Forrester,  Pines  Theatre,  Wal- 
dron.  Ark.    General  patronage. 

BIOGRAPHY  OF  A  BACHELOR  GIRL:  Ann  Hard- 
ing, Robert  Montgomery — Have  seen  Ann  Harding 
in  better  pictures,  but  this  one  will  please.  Did  not 
think  Robert  Montgomery  suited  the  role  he  played. 
He  is  one  of  my  favorites,  and  I  was  disappointed 
in  him.  Running  time,  84  minutes.  Played  January 
20-21. — Miss  Alice  Simmons,  Lyric  Theatre,  Jefifer- 
son,  Texas.    General  patronage. 

EVELYN  PRENTICE:  William  Powell,  Myrna  Loy 
— A  great  entertaining  picture,  fine  story,  a  great 
pair  of  stars  and  a  splendid  cast.  Gave  good  satis- 
faction to  all  we  got  to  see  it,  though  it  did  not  do 
the  business  it  deserved,  but  none  of  them  do  now- 
adays. Played  February  10-11. — Bert  Silver,  Silver 
Family  Theatre,  Greenville,  Mich.  Town  and  coun- 
try patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford,  Clark 
Gable,  Robert  Montgomery — Three  of  the  most  popular 
stars  in  a  picture  that  will  please  just  about  100  per 
cent.  Personally  I  enjoyed  it  immensely.  We  did  a 
nice  business,  although  very  bad  weather  first  night. 
They  always  come  out  to  see  these  stars.  Metro 
certainly  makes  some  fine  pictures.  Running  time, 
74  minutes.  Played  February  12-13. — Miss  Alice  Sim- 
mons, Lyric  Theatre,  Jeflterson,  Texas.  General  pat- 
ronage. 

MERRY  WIDOW:  Jeanette  MacDonald,  Maurice 
Chevalier,  Edward  Everett  Horton — A  beautiful  pic- 
ture in  production  and  story.  The  picture  has  been 
modernized  over  the  old  version.  Elaborately  mounted 
with  the  Rasch  Ballet  girls.  This  great  ensemble  of 
dancers  are  nothing  short  of  marvelous  in  every  pic- 
ture that  we  have  had  them  in.  Spectacular  dance 
scenes  in  the  shots  of  Maxim's.  The  picture  was  not 
a  success  at  the  box  office,  just  average  business. 
Chevalier  is  not  easy  to  understand  and  there  are 
many  that  do  not  go  for  him  in  this  town. — A.  E. 
Hancock,  Columbia  Theatre,  Columbia  City,  Ind. 
General  patronage. 


KANSAS,  NEW  MEXICO 
ADD  CONTRIBUTORS 

Adding  their  comment  on  product 
to  "What  the  Picture  Did  for  Me" 
in  this  issue  are  the  following: 

Ben  H.  Crocker,  Tribune  The- 
atre, Tribune,  Kansas. 

W.  M.  Allison,  Mission  Theatre, 
Clayton,  New  Mexico. 


WHAT  EVERY  WOMAN  KNOWS:  Helen  Hayes, 
Brian  Aherne — This  is  an  extra  good  entertaining 
picture.  Great  story  and  great  work  by  the  stars 
and  all  the  cast.  Did  not  draw  any  business,  but  no 
fault  of  the  picture.  Played  February  13-14. — Bert 
Silver,  Silver  Family  Theatre,  Greenville,  Mich.  Town 
and  country  patronage. 


Monogram 


GIRL  OF  THE  LIMBERLOST:  Marian  Marsh, 
Louise  Dresser,  Ralph  Morgan — Well,  you  can  knock 
me  down  with  a  truck  if  dozens  of  people  didn't  come 
up  to  me  and  tell  me  this  was  one  of  the  best  pictures 
they  had  seen  in  years.  I  was  afraid  at  first  to  use 
it,  but  now  I  am  fully  convinced  that  it  is  as  good 
as  any  put  out  by  major  companies,  and  it  drew  to  a 
nice  average  business  for  us.  Personally  I  could  see, 
and  you  will  also  see,  that  the  direction  is  a  wee  bit 
weak  in  spots,  but  your  patrons  will  never  notice  this, 
and  altogether  it  will  stand  a  lot  of  advertising  and 
your  very  best  days.  A  natural  for  your  Family 
Nights.  Played  February  17-19.— Bob  Ouellette,  Dixie 
Theatre,  Brooksville,  Fla.    Small  town  patronage. 

JANE.  EYRE:  Colin  CHve,  Virginia  Brucc^Had  the 
Ladies'  Aid  sell  tickets  on  this  one.  All  the  old 
ladies  in  town  came  to  see  it,  but  the  men  and  young 
people  were  notable  by  their  absence.  Therefore,  we 
didn't  do  over  average  business.  However,  it's  a  pic- 
ture that  suited  the  Ladies'  Aid. — Harold  C.  Allison, 
Baldwin  Theatre,  Baldwin,  Mich.  Small  town  pat- 
ronage. 

MANHATTAN  LOVE  SONG:  Robert  Armstrong, 
Dixie  Lee — This  went  over  pretty  good,  but  the  pro- 
ducer missed  a  chance  to  make  a  really  interesting 
and  amusing  program  out  of  this.  However,  it  is  not 
so  bad,  even  if  it  does  move  at  a  rather  slow  tempo. 
Played  February  3-4. — Charles  Summers  &  Son,  Elite 
Theatre,  Seiling,  Okla.  Small  town  and  rural  pat- 
ronage. 

RANDY  RIDES  ALONE:  John  Wayne— Just  about 
the  weakest  western  we  ever  used.  Absolutely  noth- 
ing to  it;  very  little  action,  weak  story.  It  is  very 
rare  that  any  of  the  country  people  walk  out  on  a 
western,  but  a  few  walked  out  on  this  one.  John 
Wayne  is  a  good  draw,  but  such  weak  ones  as  this 
will  surely  hurt  his  following.  Played  February  8-9.— 
Bob  Ouellette,  Dixie  Theatre,  Brooksville,  Fla.  Small 
town  patronage. 


Paramount 


BEHOLD  MY  WIFE:  Sylvia  Sidney,  Gene  Ray- 
mond— A  nice  little  program  picture.  Every  one 
enjoyed  it,  and  more  business  than  I  expected,  al- 
though Sylvia  Sidney  liked  very  much  here.  Run- 
ning time,  79  minutes.  Played  January  17-18. — Miss 
Alice  Simmons,  Lyric  Theatre,  Jefferson,  Texas. 
General  patronage. 

CLEOPATRA:  Claudette  Colbert,  Warren  William 
— Only  Cecil  B.  DeMille  could  produce  so  masterful  a 
spectacle,   but   the   love   story   between   Antony  and 


OUR  ADVICE  ■ .  ■  ■  get  set  for  the  rush 

A  NATIONAL  ADVERTISER 

Qffer<;  You  a  Box-Office  Sensation 


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FOR  DETAILS  AND  RESERVATION 

write — wire — phone 

FRANKIE  DARRO  MOVIE  STAMP  CLUB 

630  NINTH  AVE.,  N.  Y.  C. 


Cleopatra  is  not  lost  sight  of  amidst  all  the  grandeur. 
It  is  easy  to  class  this  as  the  most  ambitious  under- 
taking since  talkies  came  in.  A  worthwhile  picture 
in  every  respect,  but  in  this  working-class  locality 
the  best  business  as  we  could  do  with  it  was  a  bare 
average.  Those  who  came  seemed  to  enjoy  it. — J.  E. 
Stofcker,  Myrtle  Theatre,  Detroit,  Mich.  General  pat- 
ronage. 

COLLEGE  RHYTHM:  Jack  Oakie,  Joe  Penner, 
Lanny  Ross — This  is  topnotch  entertainment.  You'll 
wonder  how  any  one  can  be  as  dumb  as  Joe  Penner; 
Oakie  is  good,  Lanny  Ross  is  good,  and  the  music 
is  good.  Here's  a  picture  you  don't  have  to  be 
afraid  to  boost  and  advertise  to  the  skies;  it  will 
stand  it,  if  you  buy  it  right.  Played  February  3-5.— 
Bob  Ouellette,  Dixie  Theatre,  Brooksville,  Fla.  Small 
town  patronage. 

COLLEGE  RHYTHM:  Jack  Oakie,  Joe  Penner  - 
One  of  the  best  college  pictures  we  have  ever  playe  . 
Joe  Penner  kept  the  audience  in  an  uproar.  I  hopj 
to  see  him  in  another  soon,  as  good.  Very  good 
music  and  dance  numbers  in  this.  Nice  business. 
Every  one  satisfied.  Running  time,  83  minutes. 
Played  January  13-14. — Miss  Alice  Simmons,  Lyric 
Theatre,  Jefferson,  Texas.    General  patronage. 

DEATH  TAKES  A  HOLIDAY:  Fredric  Marsh— A 
wonderful  picture.  Nothing  but  praise. — Sammie  Jack- 
son, Jackson  Theatre,  Flomaton,  Ala.  Small  town 
patronage. 

FATHER  BROWN,  DETECTIVE:  Walter  Con- 
nolly, Paul  Lukas,  Gertrude  Michael — Do  your  cus- 
tomers, a  favor  and  don't  play  this  one.  Played  on 
Saturday  night  and  hit  on  all-time  low  for  our  the- 
atre. Played  February  16.— Harold  C.  Allison,  Bald- 
win Theatre,  Baldwin,  Mich.    Small  town  patronage. 

GILDED  LILY,  THE:  Claudette  Colbert,  Fred 
MacMurray — An  extra  good  picture  that  every  one 
appreciated.  If  dialogue  had  been  a  little  snappier 
would  have  equalled  Colbert's  performance  in  "It 
Happened  One  Night."  Had  many  patrons  favorably 
compare  it  with  this  picture.  Played  February  6-7. — 
John  H.  Forrester,  Pines  Theatre,  Waldron,  Ark. 
General  patronage. 

HERE  IS  MY  HEART:  Bing  Crosby— Not  as  good 
as  some  of  the  other  Crosby  pictures.  The  songs  were 
the  best  thing  about  it;  beautiful  music.  Cannot 
say  much  for  anything  else.  No  complaints  and  nice 
business  for  two  days.  Pleased  most  all.  Running 
time,  76  minutes.  Played  January  31 -February  1. — 
Miss  Alice  Simmons,  Lyric  Theatre,  JefTerson,  Texas. 
General  patronage. 

HERE  IS  MY  HEART:  Bing  Crosby— Not  up  to 
Bing's  standard  and  Kitty  Carlisle  is  not  liked  here. 
A  couple  of  good  tunes  and  a  little  above  average 
business.  Much  too  draggy  in  spots.  Played  Febru- 
ary 17-19.— Warren  L.  Weber,  Deluxe  Theatre,  St. 
John.  Kan.    General  patronage. 

HOME  ON  THE  RANGE:  Randolph  Scott,  Jackie 
Coogan — Had  to  go  out  to  borrow  extra  chairs  for 
this  one  as  pulled  the  town  patrons  as  well  as  rural, 
which  is  unusual  for  this  situation.  Running  time, 
seven  reels.  Played  January  12. — W.  M.  Allison, 
Miss  Theatre,  Clayton,  N.  M.  Small  town  and  rural 
patronage. 

HOME  ON  THE,  RANGE:  Randolph  Scott— Try 
placing  one  of  these  Zane  Grey  westerns  in  mid- 
week for  a  change  and  see  the  results.  Actually  out- 
grossed  "Flirtation  Walk"  and  "Forsaking  All 
Others."  Give  us  more  of  these.  Played  January  30- 
31.— Warren  L.  Weber,  Deluxe  Theatre,  St.  John, 
Kan.    General  patronage. 

MRS.  WIGGS  OF  THE  CABBAGE  PATCH:  Paul- 
ine Lord,  W.  C.  Fields,  Kent  Taylor,  Evelyn  Venable 
— I  can  only  add  to  the  chorus  of  praise.  The  work 
of  two  of  the  Wiggs  children,  George  Breakston  as 
Jimmy  Wiggs  and  Virginia  Wiedler  as  European 
Wiggs,  was  outstanding.  Of  course,  the  work  of 
Pauline  Lord  and  the  rest  of  the  cast  was  all  that 
could  be  asked  for,  but  I  find  it  mighty  hard  to  for- 
give them  for  taking  Mrs.  Wiggs  and  Family  away 
from  the  theatre  right  in  the  middle  of  the  show 
which  to  them  was  a  treat  of  a  lifetime.  I  am  sure 
they  could  be  permitted  to  see  the  whole  show  with- 
out weakening  the  story.  Business  a  little  better  than 
average. — J.  E.  Stocker,  Myrtle  Theatre.  Detroit, 
Mich.    General  patronage. 

NOW  AND  FOREVER:  Gary  Cooper,  Carole  Lom- 
bard, Shirley  Temple — One  of  the  best.  If  you  haven't 
run  this  one  be  sure  to  pick  it  up.  Pleased  every 
one.  Running  time,  82  minutes.  Played  January  20- 
21-22.— W.  M.  Allison,  Mission  Tbeatre,  Clayton,  N. 
M.    Small  town  and  rural  patronage. 

PRESIDENT  VANISHES:  Arthur  Bryon— Old  peo- 
ple like  it  pretty  well;  young  people  despise  it.  Did 
poor  business  at  box-office.  If  I  had  it  to  do  over 
again  I  wouldn't  run  it.  Running  time,  70  minutes. 
Played  January  13-15.— Earl  J.  McQurg,  Grand  The- 
atre, Preston,  Idaho.  Small  town  and  rural  pat- 
ronage. 

RUMBA:  George  Raft,  Carole  Lombard— Okay  if 
they  like  this  dance  team  stuff.  Played  on  Cash  Night 
to  generally  disappointed  patrons.  I  still  think  Raft 
is  better  in  action  and  gangster  type  pictures.  Maybe 
I'm  wrong,  but  neither  this  or  "Bolero"  would  have 
paid  their  rental  had  they  not  been  played  on  Cash 
Nights.  Played  February  15. — John  H.  Forrester, 
Pines  Theatre,  Waldron,  Ark.    General  patronage. 

SHOOT  THE  WORKS:  Ben  Bernie,  Jack  Oakie— 
Good  programmer. — Sammie  Jackson,  Jackson  The- 
atre, Flomaton,  Ala.    Small  town  patronage. 


March    2  ,     19  3  5 


MOTION    PICTURE  HERALD 


VANISHING  AMERICAN:  Richard  Dix— This  is  a 
line  picture  and  drew  a  good  crowd  in  spite  of  its 
being  silent.  People  Iil<e  tlie  cliange  from  the  talk- 
ing every  once  in  a  while.  We  are  going  to  play  more 
of  these  pictures  soon  every  other  month  or  so.  Per- 
fect print.  Running  time,  10  reels.  Played  February 
13-14.— Albert  Hefferan.  Owl  Theatre,  Grand  Rapids, 
Mich.    Special  patronage. 

WAGON  WHEELS:  Randolph  Scott,  Gail  Patrick— 
Another  natural  western  from  Paramount,  who 
really  spend  a  little  time  and  money  on  Zane  Grey's. 
You  can  dust  off  the  Friday-Saturday  SRO  sign  with 
this.  Running  time,  57  minutes.  Played  January  26. — 
W.  H.  Allison,  Mission  Theatre,  Clayton,  N.  M.  Small 
town  and  rural  patronage. 

WILD  HORSE  MESA:  Randolph  Scott— Good  west- 
ern.— Sammie  Jackson.  Jackson  Theatre,  Flomaton, 
Ala.    Small  town  patronage. 

WINGS  IN  THE  DARK:  Gary  Grant,  Myma  Ix)y— 
Here  is  a  real  picture.  Step  on  it  plenty.  Good  act- 
ing, story  and  photography.  Intensely  interesting,  no 
draggy  spots  and  it  will  please  generally.  Extra 
business  for  midweek  here.  Played  February  12-13-14. 
— John  H.  Forrester,  Pines  Theatre,  Waldron,  Ark. 
General  patronage. 


RKO 


ANNE  OF  GREEN  GABLES:  Anne  Shirley,  Tom 
Brown — A  very  sweet  picture  that  pleased  every  one. 
No  extra  business,  but  did  not  lose  anything.  Anne 
Shirley  very  good.  Running  time,  79  minutes.  Played 
February  3-4. — Miss  Alice  Simmons,  Lyric  Theatre, 
Jefferson,  Texas.    General  patronage. 

DANGEROUS  CORNER:  Melvyn  Douglas,  Vir- 
ginia Bruce — A  very  good  program  picture.  Did  not 
draw  any  business,  but  satisfied  all  we  got.  Good 
story  well  acted.  Played  on  a  double  feature  bill. — 
Bert  Silver,  Silver  Family  Theatre,  Greenville,  Mich. 
Town  and  country  patronage. 

ENCHANTED  APRIL:  Ann  Harding— I  rather  hate 
to  report  this  one  against  RKO  because  they  have 
been  sending  us  some  nice  product  this  season.  How- 
ever, this  one  is  100  per  cent  failure.  More  to  do 
about  nothing  than  anything  I  have  ever  seen.  I  was 
away  from  the  theatre  during  the  first  showing  and 
got  back  just  as  my  patrons  were  coming  out;  I 
thought  they  going  to  attack  me.  So  I  went  in  and 
saw  the  next  show  from  start  to  finish.  I  couldn't 
have  figured  what  it  was  all  about  if  I  had  not  had  a 
press  book  synopsis.  It  would  suit  my  patrons  fine 
if  they  would  take  Ann  Harding  out  of  pictures  en- 
tirely. Don't  take  my  word  for  this  one:  slip  over  to 
your  neighbor's  theatre  and  see  it  and  watch  the 
patrons  as  they  come  out.  Played  February  12. — 
Charles  S.  Edwards,  Queen  Theatre,  Pilot  Point, 
Texas.    General  patronage. 

FOUNTAIN,  THE:  Ann  Harding,  Brian  Aherne, 
Paul  Lukas — 'This  one  poor.  Had  to  pull  it  after  the 
first  day.  Running  time,  84  minutes.  Played  February 
13.— W.  M.  Allison,  Mission  Theatre,  Clayton,  N.  M. 
Small  town  and  rural  patronage. 

GRAND  OLD  GIRL:  May  Robson— RKO  called 
this  a  class  A  or  program  picture,  but  I  am  going 
on  record  that  it  is  decidedly  above  the  program  class. 
I  have  played  many  specials  that  were  not  in  any 
way  up  to  the  standard  of  this  one.  My  audiences 
went  for  it  about  99  per  cent,  and  took  a  nice  little 
profit.  Played  January  29. — Charles  S.  Edwards, 
Queen  Theatre,  Pilot  Point,  Texas.  General  patronage. 

KENTUCKY  KERNELS:  Wheeler  and  Woolsey— 
Wheeler  and  Woolsey  have  lost  most  of  the  punch 
that  they  started  out  with  several  years  ago,  but,  if 
RKO  will  continue  to  put  a  few  Spanky  McFarlanes, 
etc.,  into  these  Wheeler- Woolsey  vehicles,  the  boys 
will  come  back  to  the  place  they  formerly  held.  Good 
picture,  clean  and  really  funny,  but  only  fair  busi- 
ness. Running  time,  75  minutes.  Played  February 
10-11. — Lamar  Guthrie,  Rogue  Theatre  No,  3,  Tipton, 
Okla,    Small  town  patronage. 

UTTLE  MINISTER,  THE:  Katharine  Hepburn, 
John  Beal — All  our  patrons  were  pleased  with  this 
picture  and  we  did  a  good  business  both  nights.  We 
also  followed  a  policy  adopted  a  year  ago  with  school 
matinees  on  Monday,  timed  to  suit  the  convenience 
of  the  classes  and  school  buses.  Four  telephone  calls 
and  four  letters  to  principals  of  four  high  schools 
within  a  radius  of  15  miles  of  us,  together  with  dis- 
tribution through  them  of  pamphlets  issued  by  RKO 
to  facilitate  study  and  appreciation  of  this  story  and 
picture  by  the  students,  brougnt  us  enough  children 
at  reduced  prices  to  almost  equal  the  night  receipts. 
This  cannot  be  done  too  frequently  and  only  with 
pictures  which  are  in  the  English  courses  but  under 
conditions  it  is  a  new  source  of  revenue  as  most 
of  these  youngsters  could  not  attend  at  night.  Run- 
ning time,  110  minutes.  Played  February  10-11, — H. 
H,  Ramsdell,  Lyric  Theatre.  Gaithersburg,  Md.  Small 
town  and  farming  patronage, 

LITTLE  MINISTER:  Katharine  Hepburn,  John 
Beal — This  is  a  great  picture.  You  will  have  to  see 
it  to  appreciate  the  entertainment  in  it,  A  wonderful 
cast  of  characters.  Fine  direction;  great  story, ^  Play 
it  and  your  patrons  will  be  well  satisfied.  I  call  it  one 
of  the  best.  Played  February  17-18-19.— Bert  Silver, 
Silver  Family  Theatre,  Greenville,  Mich.  Town  and 
country  patronage. 

THE  MEANEST  GAL  IN  TOWN:  Set  this  picture 
out,  put  it  back  in  again,  was  tempted  to  set  it  out 
again,    all   on   account   of   adverse   criticisms.  Why 


don't  you  write  for  this  column  (What  the  Picture 
Did  for  Me),  forget  the  box  office  receipts  and  review 
the  picture  _  on  its  merits.  Here  is  what  we  call  a 
real  entertaining  picture,  good  for  any  theatre  in  any 
town.  We  have  to  be  careful  the  kind  of  picture  we 
show  as  we  have  seven  churches  in  this  little  town. 
But  we  were  glad  we  played  this  one.  Played  Janu- 
ary 22-23,  W.  J.  Carter,  Maxine  Theatre,  Croswell, 
Mich,    Small  town  patronage. 

MURDER  ON  THE  BLACKBOARD:  Edna  May 
Oliver,  James  Gleason — Another  good  program  pic- 
ture, but  not  as  good  as  "The  Penguin  Pool  Mur- 
der" mystery.  Will  please  on  your  Bargain  Nights. 
Played  February  2-3.— W.  J.  Carter,  Maxine  Theatre, 
Croswell,  Mich.    Small  town  patronage. 

RED  MORNING:  Steffi  Duna,  Regis  Toomey— Not 
a  bad  Saturday  picture  if  you  can  get  them  in.  I 
couldn't  and  took  a  small  loss.  Main  trouble  with  the 
picture  is  lack  of  names  in  the  cast.  Played  January 
25-26.— Chas.  S.  Edwards,  Queen  Theatre,  Pilot  Point, 
Texas.    General  patronage. 

ROMANCE  IN  MANHATTAN:  Ginger  Rogers, 
Francis  Lederer — Plenty  good  for  any  day.  Worth 
preferred  playing  time  in  any  one's  theatre.  Lederer 
isn't  very  well  liked,  but  the  picture  pleased  100  per 
cent.  Played  January  11-12. — Chas.  S.  Edwards,  Queen 
Theatre,   Pilot   Point,   Texas.    General  patronage. 

WEDNESDAY'S  CHILD:  Karen  Morley,  Edward 
Arnold — One  of  the  best  pictures  we  ever  played; 
100  per  cent  satisfaction  to  all  we  got  to  see  it.  Bet- 
ter than  most  of  the  socalled  "Specials,"  and  our 
patrons  told  us  so. — Bert  Silver,  Silver  Family  The- 
atre, Greenville,  Mich.    Town  and  country  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix— I  went  off 
a  western  policy  last  year  and  because  I  was  in  need 
of  a  picture  I  played  this  one  to  poor  business.  It 
was  absolutely  no  fault  of  the  picture;  this  is  just 
not  a  western  town.  Okay  where  there  is  a  western 
following.  Played  January  18-19. — Chas.  S.  Edwards, 
Queen  Theatre,  Pilot  Point,  Texas.   General  patronage. 


Raspin 


ARE  WE  CIVILIZED?:  William  Farnum— An  edu- 
cational picture  good  for  any  kind  of  patronage. 
Sold  as  a  special.  We  call  it  just  a  good  program 
picture.  Played  January  12-13. — W.  J.  Carter,  Maxine 
Theatre,  Croswell,  Mich.    Small  town  patronage. 


United  Artists 


MIGHTY  BARNUM,  THE:  Wallace  Beery.  Adolphe 
Menjou — Played  this  midweek  and  it  did  business.  We 
think  it  is  a  real  picture.  If  you  play  this  in  a 
Swedish  community  you  should  use  a  catch  line: 
"Hear  Beery  talk  Swede,"  and  what  a  kick  the 
audience  got  out  of  that  talk.  Running  time,  10  reels, 
— E,  C.  Arehart,  Princess  Theatre,  Odebolt,  Iowa, 
General  patronage, 

SORRELL  AND  SON:  H,  B,  Warner— A  fine  pic- 
ture that  was  not  appreciated  by  Cash  Night  audi- 
ence, who  were  restless  to  draw  for  extra  big  pot. 
Picture  slow  and  extra  long  and  no  draw  by  itself. 
Played  February  8. — John  H.  Forrester,  Pines  The- 
atre, Waldron,  Ark.    General  patronage. 

WE  LIVE  AGAIN:  Anna  Sten,  Fredric  March— 
The  ladies  liked  this.  Pulled  a  little  above  the  aver- 
age. March  stole  the  show.  Running  time,  nine  reels, 
— E,  C,  Arehart,  Princess  Theatre,  Odebolt,  Iowa, 
General  patronage. 


Universal 


IMITATION  OF  LIFE:  Claudette  Colbert,  Warren 
William — This  is  one  picture  that  should  do  business 
in  any  situation,  not  like  some  that  do  box  office 
records  in  New  York  and  then  "flop"  in  the  various 
territories.  Running  time.  111  minutes.  Played  Janu- 
ary 6-7-8,— W.  M,  Allison,  Mission  Theatre,  Qayton, 
N.  M,    Small  town  patronage, 

IMITATION  OF  LIFE:  Oaudette  Colbert,  Warren 
William — One  of  the  best  pictures  we  have  played  in 
quite  a  while.  Many  favorable  comments.  Most 
every  one  got  a  good  cry  out  of  it.  One  that  will 
bring  tears  to  the  entire  audience.  Wonderful  act- 
ing. Running  time,  109  minutes.  Played  February 
5-6. — Miss  Alice  Simmons,  Lyric  Theatre,  Jefferson, 
Texas.    General  patronage. 

I'VE  BEEN  AROUND:  Chester  Morris— Will  please 
all  as  good  comedy.  Good  picture  for  Money  Night. 
Running  time,  75  minutes.  Played  January  16. — W. 
M.  Allison,  Mission  Theatre,  Clayton,  N.  M.  Small 
town  patronage. 


MYSTERY  OF  EDWIN  DROOD:  Claude  Rains. 
Heather  Angel — Plenty  of  mystery,  and  chills  for  the 
fans  of  this  type  picture.  Good  picture  for  Saturday 
crowds  here.  Played  February  16. — John  H.  For- 
rester, Pines  Theatre,  Waldron,  Aak.  General  pat- 
ronage. 

SECRET  OF  THE  CHATEAU:  Claire  Dodd,  Clerk 
Williams — No   box-office   names,    title   or  production. 
Steer  clear.    Running  time,  69  minutes.    Played  Feb- 
(Contiiined  on  following  page,  column  2) 


INSTALL 

RQI  VICTOR 

PHOTOPHONE  FOR 

•  A  Sound  Box-OfFice  Attraction 

•  Complete  Ownership 

•  A  Self-Liquidating  Investment 


PHOTOPHONE  DIVISION 

RCA  MANUFACTURING  CO.,  Inc. 

Camden,  N,  J, 
A  Radio  Corporation  of  America  Subsidiary 


74 


MOTION    PICTURE  HERALD 


March    2.  1935 


•  profitable 

•  practical 
•  time-saving 

•  accurate 

•  simple 

THEATRE 
ACCOUNTING 

a  method  book  that  is  also  an 
account  ledger 

It  performs  two  services:  (1)  It 
is  a  complete  text  on  the  proper 
way  to  keep  your  theatre  ac- 
counts of  expenses  and  receipts 
and  (2)  it  contains  enough  pages 
for  a  full  year's  bookkeeping.  Be- 
cause it  is  so  practical,  time-sav- 
ing and  accurately  simple,  thou- 
sands of  exhibitors  have  already 
exchanged  their  old,  cumbersome 
and  expensive  methods  for  this 
easy,  self-operating  system.  Its 
use  is  becoming  more  widespread 
each  day. 

Exhibitors  who  are  already  using 
this  system  are  reminded  to  or- 
der their  1935  book  at  the  earliest 
moment  so  as  to  permit  no  break 
in  the  daily  continuity  of  your 
accounts-keeping. 

Those  exhibitors  who  have  not 
yet  changed  over  to  this  new 
method  should  do  so  at  once — 
to  guard  against  losses,  avoid  in- 
come tax  troubles,  guarantee  your 
profits — and  to  do  it  effortlessly, 
a  few  minutes  a  day. 

Order  Now 

THEATRE 
ACCOUNTING 

hy  William  F.  Morris,  C.P.A, 


Sufficient  to  care  for  12 
montlts'  records. 
$3.00  -  Postage  Prepaid 


QUIGLEY 

Bookshop> 

1790  Broadway  New  Yort< 


J 


ruary  9. — W.  M.  Allison,  Mission  Theatre,  Clayton, 
N.  M.    Small  town  and  rural  patronage. 


Warner 

BIG-HEARTED  HERBERT:  Guy  Kibbee,  Aline 
MacMahon — The  most  laughable  picture  I've  ever 
shown.  Praised  by  every  patron  as  extra  good.  They 
came  out  laughing  and  some  stayed  to  see  it  twice. 
Extra  pleasing  to  capacity  Saturday  crowds.  Played 
February  9. — John  H.  Forrester,  Pines  Theatre,  Wal- 
dren.  Ark.    General  patronage. 

BORDERTOWN:  Paul  Muni,  Bette  Davis— An  ex- 
cellent Muni  picture.  Did  extra  at  box  office.  Some 
fine  acting  in  this  one.  Every  one  likes  it  and  asks 
for  more  like  it.  Running  time,  90  minutes.  Played 
January  4-5. — Earl  J.  McClurg,  Grand  Theatre,  Pres- 
ton, Idaho.    Small  town  and  rural  patronage. 

BORDERTOWN:  Paul  Muni,  Bette  Davis— Not  a 
"Big  Shot"  by  a  long  shot.  Just  an  average  good 
show  for  weekend  trade.  Will  do  about  average 
western  business.  Bette  Davis  is  okay  and  so  is 
Muni.  Played  January  11-12. — Warren  L.  Weber, 
Deluxe  Theatre,   St.   John,   Kan.    General  patronage. 

CHURCH  MOUSE:  Laura  La  Plante— Fair  comedy, 
but  La  Plante  has  been  away  too  long  to  do  the  B.  O. 
any  good.  Running  time,  seven  reels.  Played  Janu- 
ary 17-18.— W.  M.  Allison,  Mission  Theatre,  Clayton, 
N.  M.    Small  town  and  rural  patronage. 

DEVIL  DOGS  OF  THE  AIR:  James  Cagney,  Pat 
O'Brien,  Margaret  Lindsay — It's  even  better  than 
"Here  Comes  the  Navy"  and  will  do  about  the  same 
business.  Pat  O'Brien  has  a  swell  part  and  everyone 
hated  to  see  Cagney  get  the  girl,  as  usual.  Pro- 
ducers would  do  well  to  give  Pat  the  girl  once  in  a 
while.  Played  February  10-12. — Warren  L.  Weber, 
Deluxe  Theatre,  St.  John,  Kan.    General  patronage. 

FIREBIRD:  Ricardo  Cortez,  Verree  Teasdale— One 
of  the  reasons  why  exhibitors'  organizations  all  over 
the  country  fought  so  hard  to  get  a  10  per  cent  can- 
cellation clause  put  in  the  Code,  and  why  they  are 
still  fighting  to  get  another  10  per  cent  cancellation 
clause  added.  It's  frightful  to  charge  your  good 
friends  and  neighbors  their  hard  earned  money  to 
sit  through  a  thing  like  this.  It's  a  relief  to  know 
I  used  it  on  a  double  bill,  and  not  by  itself.  No  en- 
tertainment values,  no  interest,  no  reason  why  it 
should  have  ever  been  produced.  This  broke  a  low 
gross  record  for  me.  Played  February  7-8. — Bob 
Ouellette,  Dixie  Theatre,  Brooksville,  Pa.  Small  town 
patronage. 

HAPPINESS  AHEAD:  Dick  Powell,  Josephine 
Hutchinson — A  mighty  fine  entertainment.  Both  stars 
good.  Singing,  music,  story  very  entertaining.  All 
called  it  a  fine  entertaining  picture. — Bert  Silver,  Sil- 
ver Family  Theatre,  Greenville,  Mich.  Town  and 
country  patronage. 

MURDER  IN  THE  CLOUDS:  Lyie  Talbot.  Ann 
Dvorak — An  unusually  good  program  picture  that  drew 
well  and  pleased  all  who  saw  it.  However,  nothing 
will  get  them  in  on  Friday  and  Saturday  like  a  good 
western.  I  make  a  motion  that  all  major  companies 
go  to  building  us  a  few  westerns  again.  Running 
time,  60  minutes.  Played  February  15-16. — Lamar 
Guthrie,  Rogue  Theatre  No.  3,  Tipton,  Okla.  Small 
town  patronage. 

ST.  LOUIS  KID,  THE:  James  Cagney,  Patricia 
Ellis — Was  more  than  agreeably  surprised  in  this  lit- 
tle picture.  Did  not  have  any  special  power  at  the 
box-office,  but  certainly  had  the  power  when  it  came 
to  pleasing  the  cash  customers.  Running  time,  67 
minutes.  Played  February  8-9. — Lamar  Guthrie,  Rogue 
Theatre  No.  3,  Tipton,  Okla.    Small  town  patronage. 

ST.  LOUIS  KID:  James  Cagney,  Patricia  Ellis— 
Cagney's  rough  and  ready  type  of  characters  seem 
to  amuse  the  majority  of  our  patrons  and  this  picture 
is  no  exception;  fast,  snappy  action  that  moves  along 
at  the  right  pace,  lots  of  laughs,  which  makes  it 
extra  program  entertainment,  good  for  the  whole 
family.  Play  it,  by  all  means,  and  use  extra  adver- 
tising, for  it  will  stand  it.  Played  February  6-7. — Bob 
Ouellette,  Dixie  Theatre,  Brooksville,  Fla.  Small  town 
patronage. 

SWEET  ADELINE:  Irene  Dunne— Old-fashioned 
picture  and  certainly  people  do  not  like  the  gay  90's. 
Just  another  high  price  flop  that  should  be  played 
on  a  Bargain  Show.  Poorest  gross  in  months  for 
Sunday  opening.  I  guess  people  would  rather  do  their 
own  singing  of  "Sweet  Adeline."  Running  time,  80 
minutes.  Played  February  3-5. — Earl  J.  McClurg. 
Grand  Theatre,  Preston,  Idaho.  Small  town  and  rural 
patronage. 

SWEET  ADELINE:  Irene  Dunne— Positively  poor. 
I  do  not  average  one  walkout  a  month,  but  had  14 
(about  half  the  crowd)  walk  out  the  first  night. 
Business  terrible  and  I'm  glad.  Played  February  7-8. 
— Warren  L.  Weber,  Deluxe  Theatre,  St.  John,  Kan. 
General  patronage. 

Short  Features 
Celebrity 

VALIANT  TAILOR,  THE:  Comicolor  Cartoons— A 
fair  cartoon  in  color. — Harold  C.  Allison,  Baldwin 
Theatre,  Baldwin,  Mich.    Small  town  patronage. 


Columbia 

BABES  AT  SEA:  Color  Rhapsody— A  very  fine 
color  cartoon.  Running  time,  one  reel.— Sammie  Jack- 
son, Jackson  Theatre,  Flomaton,  Ala.  Small  town 
patronage. 

BILL  POSTER,  THE:  Krazy  Kat  Cartoons— Krazy 
Kat  cartoon  with  some  vulgarities. — Harold  C.  Alli- 
son, Baldwin  Theatre,  Baldwin,  Mich.  Small  town 
patronage. 

GOOFY  GONDOLAS:  Krazy  Kat— No  good.— Sam- 
mie Jackson,  Jackson  Theatre,  Flomaton,  Ala.  Small 
town  patronage. 

HARNESSED  LIGHTNING:  World  of  Sport— Very 
good  reel  on  the  life  of  a  trotting  horse.  An  excellent 
single  for  any  program. — Harold  C.  Allison,  Baldwin 
Theatre,   Baldwin,   Mich.    Small  town  patronage. 

SPICE  OF  LIFE:  No.  2-Good  filler.  Running 
time,  one  reel. — Sammie  Jackson,  Jackson  Theatre, 
Flomaton,  Ala.    Small  town  patronage. 


Educational 

DOGGONE  BABIES:  Star  Comedy— A  poor  com- 
edy. Running  time,  two  reels. — Miss  Alice  Simmons, 
Lyric  Theatre,  Jefferson,  Texas.    General  patronage. 

HELLO,  SAILORS:  Tom  Patricola— Good  comedy. 
Plenty  of  laughs  and  good  tap  dancing.  Play  it.  Run- 
ning time,  two  reels. — Miss  Alice  Simmons,  Lyric 
Theatre,    Jefferson,    Texas.     General  patronage. 

RURAL  ROMEOS:  Coronet  Comedy — A  very  poor 
comedy.  I  find  this  in  most  all  Educational  comedies. 
Have  not  played  a  half  dozen  good  ones.  Running 
time,  two  reels. — Miss  Alice  Simmons,  Lyric  The- 
atre, Jefferson,  Texas.    General  patronage. 

THREE  BEARS,  THE:  Terry-Toons— Fair  cartoon. 
Running  time,  one  reel. — Sammie  Jackson,  Jackson 
Theatre,  Flomaton,  Ala.    Small  town  patronage. 


MGM 

DISCONTENTED  CANARY:  Happy  Harmonies— 
A  very  good  short  done  in  color.  Very  pretty,  and 
music  pleased.  Running  time,  one  reel. — ^Miss  Alice 
Simmons,  Lyric  Theatre,  Jefferson,  Texas.  General 
patronage. 

DONE  IN  OIL:  Todd -Kelly —Nothing  funny  about 
this. — John  H.  Forrester,  Pines  Theatre,  'Waldron, 
Ark.    General  patronage. 

DONE  IN  OIL:  Thelma  Todd,  Patsy  Kelly— A 
fairly  good  comedy.  Few  laughs.  Have  seen  better 
with  this  team.  Running  time,  two  reels. — Miss  Alice 
Simmons,  Lyric  Theatre,  Jefferson,  Texas.  General 
patronage. 

HOLLAND  IN  TULIP  TIME:  FitzPatrick  Travel 
Talk — A  very  interesting  short  subject  with  the  most 
beautiful  flowers  in  color.  One  of  the  prettiest  short 
subjects  we  have  ever  played.  Running  time,  one 
reel. — Miss  Alice  Simmons,  Lyric  Theatre,  Jefferson, 
Texas.    General  patronage. 

NOSED  OUT:  Irvin  S.  Cobb— Most  everyone  en- 
joyed this  comedy.  A  good  many  laughs.  Running 
time,  two  reels. — Miss  Alice  Simmons,  Lyric  Theatre, 
Jefferson,  Texas.    General  patronage. 

SOMETHING  SIMPLE:  Charley  Chase— Not  many 
laughs  in  this.  The  Charley  Chase  comedies  do  not 
appeal  to  our  patrons.  Have  grown  tired  of  them. 
Running  time,  one  reel. — Miss  Alice  Simmons,  Lyric 
Theatre,  Jefferson,  Texas.    General  patronage. 

SWITZERLAND,  THE  BEAUTIFUL:  FitzPatrick 
Travel  Talk — A  beautiful  short  in  color.  Educational. 
Running  time,  two  reels. — Miss  Alice  Simmons,  Lyric 
Theatre,  Jefferson,  Texas.    General  patronage. 

TOYLAND  BROADCAST,  THE:  Happy  Harmonies 
— This  is  one  of  the  cleverest  cartoons  we  ever  had 
and  well  warrants  a  little  extra  advertising.  Run- 
ning time,  7  minutes. — H.  H.  Ramsdell,  Lyric  The- 
atre, Gaithersburg,  Md.  Small  town  and  farming  pat- 
ronage. 

WASHEE  IRONEE:  Our  Gang— A  good  comedy. 
"Our  Gang"  very  popular  here.  Have  not  had  a  bad 
one  of  this  series,  I  think.  Running  time,  two  reels. 
— Miss  Alice  Simmons,  Lyric  Theatre,  Jefferson, 
Texas.    General  patronage. 

YOU  BRING  THE  DUCKS:  Irvin  S.  Cobb— A  good 
many  laughs.  Fairly  good  comedy.  Running  time, 
two  reels. — Miss  Alice  Simmons,  Lyric  Theatre,  Jef- 
ferson, Texas.    General  patronage. 


Paramount 

AN  ELEPHANT  NEVER  FORGETS:  Color  aassics 
— We  have  seen  most  of  the  colored  cartoons  put  out 
by  different  companies  and  are  playing  four  distribu- 
tors' product  in  color,  but  we  rate  Paramount  as  first 
in  music  and  drawings. — Harold  C.  Allison,  Baldwin 
Theatre,  Baldwin,  Mich.    Small  town  patronage. 

BEWARE  OF  BARNACLE  BILL:  Popeye,  the 
Sailor — Best  Popeye  cartoon  we've  had  yet. — John  H. 


March    2.  1935 


MOTION    PICTURE  HERALD 


75 


Forrester,  Pines  Theatre,  Waldron,  Ark.  General 
patronage. 

DREAM  WALKING,  A:  Popeye,  the  Sailor  Car- 
toon—The usual  good  Popeye.  Can't  go  wrong  on 
these.  Running  time,  eight  minutes. — W.  M.  Allison, 
Miss  Theatre,  Oayton,  N.  M.  Small  town  and  rural 
patronage. 

FEMININE  RHYTHM:  Ina  Ray  Button  and  Her 
Melodears — An  extra  fine  band  short,  of  girl  or- 
chestra.—John  H.  Forrester,  Pines  Theatre,  Waldron, 
Ark.   General  patronage. 

HOIXYWOOD  RHYTHM:  Headliners  Series— One 
of  the  most  entertaining  shorts  from  Paramount  to 
date.  Running  time,  10  minutes.— W.  M.  Allison,  Mis- 
sion Theatre,  Clayton,  N.  M.  Small  town  and  rural 
patronage. 

JUNGLE  ANTICS:  Paramount  Varieties— If  your 
patrons  like  jungle  animals  they  may  like  this.  Run- 
ning time,  one  reel.— E.  C.  Arehart,  Princess  Theatre, 
Odebolt,  Iowa.   General  patronage. 

MAN  ON  THE  FLYING  TRAPEZE,  THE:  Pop- 
eye,  the  Sailor— A  very  good  cartoon.  Running  time, 
one  reel. — Sammie  Jackson,  Jackson  Theatre,  Floma- 
ton,  Ala.    Small  town  patronage. 

MILLION  DOLLAR  NOTES:  Red  Nichols  and  his 
World  Famous  Pennies— Another  good  one  from  Par- 
amount.—John  H.  Forrester,  Pines  Theatre,  Waldron, 
Ark.    General  patronage. 

SADDLE  CHAMPS:  Grantland  Rice  Sportlight— 
Good.  People  here  like  these  sport  reels.— John  H. 
Forrester,  Pines  Theatre,  Waldron,  Ark.  General 
patronage. 

TAKING  THE  BLAME:  Betty  Boop  Cartoon— An- 
other good  Boop  Cartoon.— John  H.  Forrester,  Pines 
Theatre,  Waldron,  Ark.    General  patronage. 

TUNE  UP  AND  SING:  Lanny  Ross— Excellent 
Screen  Song.  Running  time,  one  reel.— Sammie  Jack- 
son, Jackson  Theatre,  Flomaton,  Ala.  Small  town 
patronage. 

RKO 

LA  CUCARACHA:  Steffi  Duna,  Don  Alvarado— A 
very  beautiful  short  in  new  color  process,  with  very 
pretty  music  and  dancing.  Running  time,  two  reels. 
— Miss  Alice  Simmons,  Lyric  Theatre,  Jefferson, 
Texas.    General  patronage. 

MADEIRA,  LAND  OF  WINE:  Vagabond  Adven- 
ture Series— Interesting  scenes  of  the  island  near  Por- 
tugal.—Harold  C.  Allison,  Baldwin  Theatre,  Baldwin, 
Mich.    Small  town  patronage. 

SONGS  OF  COLLEGES:  Headliner  Series— One  of 
the  most  enjoyable  short  subjects  I  have  seen.  Good 
band  music,  playing  songs  of  various  colleges.  Edu- 
cational. Running  time,  two  reels. — Miss  Alice  Sim- 
mons, Lyric  Theatre,  JefTerson,  Texas.  General  pat- 
ronage. 

SOUTHERN  STYLE:  Ruth  Etting— Good  songs 
and  old  southern  music,  sung  by  Ruth  Etting.  En- 
joyed very  much.  Running  time,  two  reels. — Miss 
Alice  Simmons,  Lyric  Theatre,  Jefferson,  Texas.  Gen- 
eral patronage. 

THIS  BAND  AGE:  Ted  Fio  Rito  and  Orchestra  in 
an  ,  excellent  two-reel  short.  Lovers  of  good  dance 
music  are  in  for  a  real  treat  and  boy  howdy! 
Ted  really  aggravates  a  mean  keyboard.  Don't  be 
afraid  to  boost  this;  it's  good  entertainment  from 
start  to  finish.  Motion  Picture  Herald  is  a  welcome 
visitor  each  week. — Oarke  Gurley,  Ritz  Theatre, 
Bainbridge,  Ga.    General  patronage. 

United  Ar+is-|-s 

GRASSHOPPER   AND    THE    ANT,   THE:  Silly 

Symphonies— Another  fine  color  reel  from  Disney. — 
John  H.  Forrester,  Pines  Theatre,  Waldron,  Ark. 
General  patronage. 


Universal 

CHRIS  COLOMBO,  JR.:  Oswald  Cartoon  Series- 
Have  never  had  a  complaint  on  any  Oswald.  Run- 
ning time,  eight  minutes.— W.  M.  Allison,  Mission 
"Theatre,  Clayton,  N.  M.  Small  town  and  rural  pat- 
ronage. 

GUS  VAN  AND  HIS  NEIGHBORS:  Mentone  No. 
2-A — Very  entertaining  short.  Will  please  everyone. 
Running  time,  20  minutes.— W.  M.  Allison,  Mission 
Theatre,  Clayton,  N.  M.  Small  town  and  rural  pat- 
ronage. 

TOYLAND  PREMIERE:  Cartune  Qassic- Extra 
fine  color  cartoon.  Laurel  &  Hardy  characters  a 
scream.  Run  it  sure. — John  H.  Forrester,  Pines  The- 
atre, Waldron,  Ark.   General  patronage. 


Vitaphone 

DIXIE  LAND:  See  America  First— A  very  inter- 
esting travel  short  of  the  "Sunny  South."  Good 
views  and  music.  This  series  is  all  good. — Gladys  E. 
McArdle,  Owl  Theatre,  Lebanon,  Kan.  Small  town 
patronage. 


GOOD  MORNING,  EVE:  Broadway  Brevities 
Series — Not  the  type  that  Vitaphone  usually  turns 
out.  Color  good,  but  comedy  slapstick.  Running  time, 
20  minutes.— W.  M.  Allison,  Mission  Tlicatre,  Clay- 
ton, N.  M.   Small  town  and  rural  patronage. 

MIRRORS:  Freddy  Rich  and  Orchestra— Another 
good  Melody  Master.  Running  time,  one  reel. — Gladys 
E.  McArdle,  Owl  Theatre,  Lebanon,  Kan.  Small  town 
patronage. 

MOVIE  MEMORIES:  Pepper  Pot  Series— Good. 
Fits  any  program. — John  H.  Forrester,  Pines  Theatre, 
Waldron,  Ark.    General  patronage. 

PAREE,  PAREE:  Dorothy  Stone,  Bob  Hope— An- 
other musical.  People  tired  of  these. — John  H.  For- 
rester, Pines  Theatre,  Waldron,  Ark.  General  pat- 
ronage. 

PRIVATE  LESSONS:  Hal  LeRoy— Good  two-reel 
musical  with  some  good  dancing.  The  last  sequence 
is  especially  good. — Gladys  E.  McArdle,  Owl  Theatre, 
Lebanon,  Kan.   Small  town  patronage. 

STORY  CONFERENCE:  Lillian  Roth— A  very  good 
two-reel  short.  Running  time,  two  reels. — Gladys  E. 
McArdle,  Owl  Theatre,  Lebanon,  Kan.  Small  town 
patronage. 

SYNCOPATED  CITY:  Hal  LeRoy,  Dorothy  Dare 
— Good  musical,  but  people  rather  see  a  good  comedy 
than  musicals. — John  H.  Forrester,  Pines  Theatre, 
Waldron,  Ark.    General  patronage. 

THOSE  BEAUTIFUL  DAMES:  Merrie  Melodies- 
Colored  cartoon  that  is  fine.  These  colored  shorts  are 
all  good. — Gladys  E.  McArdle,  Owl  Theatre,  Lebanon, 
Kan.    Small  town  patronage. 


Miscellaneous 

GETTING  TOGETHER:  Michigan  Bell  Telephone 
(Cartoon) — Very  fine  and  did  not  cost  a  cent.  They 
pay  postage  both  ways.  Recording  good.  Western 
Electric.  Running  time,  10  minutes. — Albert  Hefferan, 
Owl  Theatre,  Grand  Rapids,  Mich.   Special  patronage. 

Serials 
Mascot 

WOLF  DOG,  THE:  Chapter  7:  Rin  Rin  Tin,  Jr., 
Frankie  Darro,  Boots  Mallory— This  chapter  of  "The 
Wolf  Dog"  is  about  like  the  rest.  One  reel  devoted 
to  previous  chapter.  Running  time,  two  reels. — Sam- 
mie Jackson,  Jackson  Theatre,  Flomaton,  Ala,  Small 
town  patronage. 


Universal 

RUSTLERS  OF  RED  DOG:  John  Mack  Brown— 
Beheve  it  will  pull  better  than  "Red  Rider"  did  here. 
First  three  chapters  fine.— John  H.  Forrester,  Pines 
Theatre,  Waldron,  Ark.    General  patronage. 

TAILSPIN  TOMMY:  Noah  Berry,  Jr.,  Maurice 
Murphy— All  patrons  from  6  to  60  should  like  this 
even  though  transients.  The  episodes  are  as  enter- 
taining as  any  two-reel  short.  Running  time,  20 
minutes  each. — W.  M.  Allen,  Mission  Theatre,  Qay- 
ton,  N.  M.    Small  town  patronage. 


FROM  READERS 


JAYSEE,  Y'D  BETTER 
SQUARE  YOURSELF 

To  THE  Editor  of  the  Herald: 

I  was  very  much  interested  in  the  letter  of 
Colonel  Jenkins  on  his  recent  trip  to  the  Valley. 
He  was  evidently  not  pleased  with  his  trip  to 
Matamoros,  Mexico,  as  both  times  he  has  been 
here  he  has  side-swiped  this  city  with  not  only 
sarcasm  but  a  general  hint  for  everyone  to 
stay  away  from  there. 

Matamoros  is  just  across  the  silver  Rio 
Grande  from  Brownsville  and  I  regret  very 
much  that  Colonel  Jenkins  happened  to  hit  the 
low  spots  of  that  city  which  sixty  years  ago 
boasted  of  some  80,000  population.  I  frfl 
certain  that  if  the  Colonel  had  visited  the  city 
property,  he  would  have  discovered  there  a 
theatre  about  eighty  years  old,  designed  and 
built  by  Carlotta,  the  Mad  Empress.  This  the- 
atre was  built  at  the  cost  of  over  $100,000  and 
it  was  the  finest  theatre  building  in  North 
America  at  that  time,  built  especially  for  a 
concert  from  Madam  Sarah  Bernhardt.  Also 
many  of  our  notable  actors  and  actresses  of 
the  past  have  appeared  at  this  theatre,  which 
is  still  operating  at  this  time.  This  theatre  is 


the  only  theatre  I  know  of  that  is  equipped 
with  a  hydraulic  floor  so  the  incline  may  be 
leveled  for  dancing.  If  he  had  stopped  long 
enough  in  Brownsville  to  meet  yours  truly,  I 
would  have  been  glad  to  show  him  the  only 
fireproof  theatre  in  the  Valley,  and  one  of  the 
most  modern  equipped  theatres  in  the  state  of 
Texas.  I  would  have  also  been  glad  to  en- 
lighten him  of  the  fact  that  yours  truly  has 
been  in  the  business  about  eighteen  years  and 
could  have  swapped  many  good  old  true  stories 
with  him  concerning  the  movie  picture  business 
of  the  early  days  in  Texas.  So  I  trust  the  next 
time  the  Colonel  visits  this  section  it  will  be 
my  extreme  pleasure  to  have  a  talk  with  him. 

In  a  few  days  I  will  gather  together  some 
exploitation  material  that  we  have  used  suc- 
cessfully of  late  and  forward  them.  One  of 
the  latest,  however,  is  on  the  "March  of  Time." 
Realizing  the  exceptional  quality  of  this,  we 
printed  a  card  showing  the  dates  we  were  to 
show  the  "March  of  Time,"  and  went  to  every 
newsstand  in  town  where  the  Time  magazine  is 
sold.  They  allowed  us  to  attach  this  card  to 
the  second  page  of  the  magazine.  We  also 
selected  about  three  hundred  names  of  our  dis- 
tinguished citizens  from  the  telephone  book 
and  had  a  sweet-voiced  young  lady  call,  telling 
them  of  the  appearance  of  this  splendid  feature 
in  our  theatre.  We  also  placed  about  fifty-one 
sheets  on  stands  in  vacant  lots  in  our  residen- 
tial districts. 

On  our  Bank  Night,  Wednesday  prior  to 
the  date  of  showing,  we  made  a  personal  an- 
nouncement from  the  stage  concerning  the 
"March  of  Time" ;  we  also  had  a  trailer  one 
week  in  advance.  The  result  was  our  business 
was  almost  double  on  the  same  night  over  the 
past  five  weeks. 

I  take  great  pleasure  in  reading  the  Round 
Table  each  week. — Jno.  C.  Fanning,  Capitol 
Theatre,  Brownsville,  Texas. 

BRITISH  DANCING 
AND  AMERICAN 

To  THE  Editor  of  the  Herald  : 

If  Miss  Jessie  Matthews  is  a  sample  of 
Britain's  best  dancing  talent  then  the  U.  S. 
A.  need  not  worry  about  losing  its  claim  of 
having  the  world's  best  dancer. 

To  put  Miss  Matthews  in  Fred  Astaire's 
class  is  absolutely  ridiculous.  "Evergreen" 
was  widely  advertised  and  it  certainly  needed 
to  be.  Possibly  Miss  Matthews  does  possess 
that  all-important  "it"  if  by  "it"  one  means 
egotism  and  sophistication.  She  has  plenty 
of  both. 

Give  me  the  mannerisms  of  sweet  and 
charming  Miss  Rogers  any  day.  She  is 
modest,  natural  and  just  full  of  grace  and 
real  talent.  She  stands  a  far  better  chance 
of  reaching  the  "good  as  Astaire"  goal  than 
Miss  Matthews  ever  will. 

There  is  only  one  person  who  can  justly 
be  classed  with  Mr.  Astaire,  and  she  is  sis- 
ter, Adele.  They  are  in  a  class  all  by  them- 
selves. But  give  young  Ginger  Rogers  a 
little  time  and  she  will  reach  the  goal. 

Miss  Matthews  has  a  very  nice  voice.  I'll 
say  that  much  for  her — but  her  dancing — 
well,  she  would  do  well  to  take  a  few  lessons 
from  Ginger. — Josephine  Sargeant,  Glens 
Falls,  N.  Y. 


To  Make  Scrappy  Dolls 

Columbia  Pictures  has  arranged  with  the 
Alexander  Doll  Company,  New  York, 
licensing  the  manufacturer  to  make  a  series 
of  dolls  reproducing  the  cartoon  characters 
of  the  "Scrappy"  cartoon  series. 


Ray-Bell  Moves  Office 

Ray-Bell  Films,  Milwaukee,  producer  of 
business  motion  pictures,  has  removed  its 
office  to  2269  Ford  Road.  Larger  quarters 
were  necessary. 


76 


MOTION    PICTURE  HERALD 


March    2.  1935 


WABASH  AVENUE 


CHICAGO 

Reports  that  Loew  would  invade  Chicago 
by  building  twenty  new  theatres  here  were  re- 
vived this  week  when  it  was  learned  that  rep- 
resentatives of  Loew's  theatre  department  had 
been  in  town  to  check  over  plans  and  sites. 
The  reports  failed  of  actual  confirmation  as 
this  is  written,  although  the  move  was  pretty 
generally  talked  about. 

At  the  office  of  some  local  architects  it  was 
said  that  the  Loew  movement  was  known,  but 
none  of  the  architects  would  say  his  company 
was  actually  figuring  on  any  of  the  work.  An- 
other angle  propounded  was  that  in  the  event 
of  Loew  building  here,  Jones,  Linick  &  Schaef  er 
would  have  a  hand  in  running  the  Loew  houses 
because  of  the  gentlemen's  agreement  between 
the  late  Marcus  Loew  and  J  L  &  S  that  Loew 
would  not  compete  with  the  Chicago  exhibitors. 

The  Loew  move  is  conceded  to  be  a  retalia- 
tory measure  against  Essaness,  Warner, 
Schoenstadt  and  some  Allied  members  over 
Metro's  inability  to  get  the  percentage  deals  it 
wanted.  Balaban  &  Katz,  it  is  understood, 
would  not  be  affected,  since  B  &  K  has  an 
agreement  with  Metro  running  several  years 
which  precludes  competition  from  Loew  houses. 
V 

Jack  Miller,  while  attending  the  MPTOA 
convention  in  New  Orleans  received  news  that 
Mrs.  Helen  Miller  had  started  separate  main- 
tenance action  against  him  in  a  bill  filed  by 
her  attorney,  McCarthy  &  Toomin.  The  Mil- 
lers were  married  in  1908. 

V 

Spotted  along  film  row :  Mrs.  G.  W.  Ed- 
wards of  the  Opera  House,  Aledo,  111. ;  Steve 
Bennis  of  Lincoln  and  his  son,  Leo. 

V 

Art  Gould,  booker  for  Joe  Stern,  has  joined 
the  rank  of  newlyweds. 

V 

Morrie  Salkin  is  handling  the  Norge  line  of 
refrigerating  equipment  for  theatres  in  this  ter- 
ritory. 

V 

The  complaint  of  Andrew  Cuser  against 
Lubliner  &  Trinz,  which  was  referred  to  the 
Code  Authority  after  the  local  board  had  dis- 
missed it,  was  upheld  as  rendered  by  the  local 
group. 

V 

Joe  Duffy  of  National  Theatre  Supply  Com- 
pany, ill  for  some  time,  was  seen  along  the 
row. 

V 

The  new  hello  girl  in  the  United  Artists 
office  is  Margaret  Brown,  who  formerly  worked 
for  Educational. 

V 

Phil  Tague  of  the  Bryn  Mawr  was  rushed 
to  the  hospital  with  a  sudden  attack  of  appen- 
dicitis. 

V 

Elmer  Miller,  Jack's  son,  who  recently  took 
unto  himself  a  wife,  made  the  New  Orleans 
convention  a  honeymoon  trip. 

V 

Ben  Judell  and  Simon  Simansky  are  planning 
a  few  days  of  rest  and  recreation  at  Hot 
Springs  soon. 

V 

Murray  Bradshaw  of  the  La  Grange  theatre. 
La  Grange,  passed  away  last  week. 

V 

Roy   Barger   will   open  the  Rialto  theatre 
with  a  combination  of  pictures  and  burlesque. 
V 

Ed  Safier  has  joined  the  sales  staff  of  the 
Ben  Judell  organization  handling  the  country 
territory. 

V 

Henri  Ellman  has  learned  to  manipulate  his 
new  electric  razor  and  is  shaving  himself  a 
half  dozen  times  a  day  sitting  behind  his  desk. 

HOLQUIST 


Decision  Due  Soon  in 
Franklin-Colunnbia  Suit 

The  suit  for  damages  of  Sidney  Franklin, 
Brooklyn-born  Spanish  bull-fighter,  against 
Columbia  Pictures  Corporation  will  come 
up  before  the  New  York  supreme  court  in 
the  near  future  for  decision,  Columbia  offi- 
cials said  this  week. 

Mr.  Franklin's  suit  was  based  upon  al- 
legedly damaging  material  used  in  the  Col- 
umbia short  subject,  "Throwing  the  Bull." 
The  case  was  heard  last  summer  and  de- 
cision reserved.  Mr.  Franklin  sued  for 
$300,000. 


Harris  Wins  U.  A.  Contest 

Milt  Harris,  of  Loew's  State,  Cleveland, 
was  awarded  first  prize  of  $100  in  the 
United  Artists-Reliance  exploitation  con- 
test on  "Transatlantic  Mery-Go-Round." 
Lew  Brown,  Fox,  Washington,  won  second 
prize,  and  Lester  Pollock,  Loew's  Roches- 
ter, Rochester,  N.  Y.,  third. 


Huish  Takes  Theatre 

The  Huish  Theatre  Enterprises,  operating 
several  Utah  theatres,  has  taken  over  the 
Hunter  theatre,  Elko,  Nev.,  from  John  J. 
Hunter.  The  Huish  company  is  headed  by 
C.  E.  Huish,  who  is  president  of  Inter- 
mountain  Theatres  Association. 


East  Side  House  Reopened 

The  National  theatre  on  New  York's  East 
Side  was  reopened  March  1  as  a  combina- 
tion film  and  vaudeville  house,  to  be  known 
as  the  New  Roosevelt.  The  house  has  been 
redecorated. 


Releases  German  Film 

Danubia  Pictures,  Inc.,  New  York  im- 
porter of  European  films,  is  releasing  in 
this  country  a  German  film,  "Rakoczy 
Marsch." 


SHORT  PRODUCT 
PLAYING  BROADWAY 


Week  of  February  23 
MAYFAIR 

Hunger  Pains   RKO  Radio 

Flying  Down  to  Zero  RKO  Radio 

MUSIC  HALL 

Jamaica   ...RKO  Radio 

Casting  for  Luck  Educational 

PARAMOUNT 

Be  Kind  to  Animals  Paramount 

Song   Writers   of  the  Gay 

Nineties   Paramount 

RIALTO 

Horse  Collars   Columbia 

Pardon  My  Grip  Columbia 

RIVOLI 

Mickey's  Band  Concert.  .  .  .  United  Artists 
Chums   Educational 

ROXY 

Dance  Contest   Paramount 

In  the  Dog  House  Columbia 

STRAND 

A  Trip  Through  a  Hollywood 

Studio   Vltaphone 

Country  Boy   Vltaphone 


TRAVELERS 


Jack  Buchanan,  British  stage  and  screen  star, 
arrives  in  New  York  from  England  next 
week. 

Samuel  Goldwyn  arrived  in  New  York  from 
Hollywood. 

Harry  M.  Warner  is  on  a  two-week  tour  of 
inspection  of  the  Warner  studios  in  Bur- 
bank,  Cal.  Jack  Warner  is  en  route  to  the 
Coast  from  New  York  by  boat. 

Irene  Dunne  and  her  husband.  Dr.  Francis 
Griffin,  left  Hollywood  on  a  cruise  to  New 
York  via  South  America  and  the  Panama 
Canal. 

Joseph  M.  ScheI^ck,  president  of  United  Art- 
ists, accompanied  by  Nathan  Burkan  and 
Dennis  O'Brien,  flew  from  Hollywood  to 
New  York. 

George  Arliss  is  due  in  New  York  from  Hol- 
lywood en  route  to  London  to  star  in  a  second 
picture  for  Gaumont  British. 

William  Kupper  was  on  a  sales  trip  to  the 
Coast. 

Charles  Laughton  sailed  for  London  to  star 
in  a  picture  for  London  Films. 

Harold  B.  Franklin  arrived  on  the  Coast 
from  New  York. 

Merlin  Hall  Aylesworth,  RKO  president, 
returned  to  New  York  from  Hollywood  con- 
ferences. 

George  Schaefer,  Paramount  general  man- 
ager, returned  to  Broadway  from  the  Coast. 

Charles  D.  Hilles,  Paramount  trustee  in 
bankruptcy,  returned  to  New  York  from 
Miami. 

J.  J.  McCarthy,  head  of  the  Advertising  Ad- 
visory Council,  was  in  Hollywood  from 
New  York. 

Howard  Dietz,  advertising  director  of  MGM, 
and  William  R.  Ferguson,  head  of  ex- 
ploitation, returned  to  New  York  from  Hol- 
lywood and  Miami,  respectively. 

Arthur  Loew  arrived  at  Culver  City  from 
New  York. 

Nelson  Eddy  arrived  in  New  York  from 
Metro's  Coast  studio  and  left  for  New  Or- 
leans for  the  "Naughty  Marietta"  premiere 
March  2. 

Lenore  Coffee,  Metro  scenarist,  arrived  in 
New  York  from  the  Coast. 

James  Barton  returned  to  Broadway  from  his 
motion  picture  debut  at  the  Radio  studio  in 
"Captain  Hurricane." 

Ida  Wilder  of  Terry-Toons  returned  to  New 
York  from  a  southern  cruise. 

Michael  E.  Balcon,  GB  production  head,  ar- 
rived in  New  York  from  London. 

Mrs.  Bertha  Farkas,  Danubia  Pictures  rep- 
resentative, left  New  York  for  a  midwestern 
sales  tour  in  the  interests  of  Hungarian  pic- 
tures. 

Victor  Killian,  stage  player,  was  signed  by 
Columbia  and  left  Broadway  for  Hollywood. 

Sam  E.  Morris,  Warner  vice-president,  arrived 
in  Florida  from  New  York. 

Benjamin  P.  Schulberg  left  New  York  by 
plane  for  Hollywood  to  start  plans  for  a 
possible  feature  series  for  Paramount. 

John  Hay  Whitney,  producer,  flew  from 
California  to  New  York. 

Edward  McKay,  Universal  executive,  returned 
to  New  York  from  Florida  by  plane. 

Henri  D'Abbadie  D'Arrast,  director,  arrived 
in  New  York  from  France  and  left  for  Hol- 
lywood. 

Nat  Cohn  and  Abe  Schneider  returned  from 
Miami  to  Broadway. 

Sol  Edwards,  Educational  sales  executive,  was 
touring  Fox  exchanges. 

Emanuel  Cohen  left  New  York  for  Holly- 
wood. 

E.  L.  Alperson  returned  to  New  York  from 
California. 

Marita  Gervay,  Hungarian  actress,  arrived  in 
New  York  en  route  to  Metro's  Coast  studio. 

Henry  Fonda,  stage  player,  arrived  at  the 
Fox  Movietone  studio  from  Broadway. 


March    2,  1935 


MOTION    PICTURE  HERALD 


77 


MOTION 
PICTURE  xSv, 
U'     HERALD  Im 


MANAGERS* 
ROUND  TARLE  CLUR 

z/fn  international  association  of  showmen  meeting  weekly 
in  MOTION  PICTURE  HERALD  for  mutual  aid  and  progress 


SUCCESS  STORY 

One  year  ago,  Ken  Finlay  was  an  unsung  theatreman  at- 
tached to  the  staff  at  the  Palace,  in  Montreal.  Then  came  the 
Quigiey  Awards  for  May  and  almost  immediately  Ken  went 
one  rung  up  the  ladder.  Few  months  later  he  took  another 
step  upward  and  some  weeks  back,  yet  another.  Confirmation 
of  the  latter  is  wired  in  answer  to  our  query  by  General  Man- 
ager J.  J.  Fitzgibbons,  of  Famous  Players  Canadian,  as  follows; 

"FInlay's  assignment  to  sales  promotion  Middle  Western 
division  is  definitely  a  promotion  influenced  greatly  by  pub- 
licity he  received  through  the  Quigiey  Awards." 

Recently,  Mr.  Fitzgibbons  also  said:  "When  a  manager  fails 
to  take  advantage  of  the  opportunity  given  him  in  the  Quigiey 
Awards  contest,  he  definitely  dissipates  an  asset  of  inestimable 
value  to  himself." 

V    V  V 

JUST  HIBERNATING 

"What  have  become  of  the  exploitation  barrages 
of  former  years?  Where  are  the  dynamite-exploiteers 
who  spread  the  word  in  giant  letters  across  the 
motion  picture  face  of  the  country?  Has  the  race 
died  out?" 

These  are  the  queries  contained  in  a  letter  from  an  old 
and  dear  friend  of  what  we  ancients  fondly  allude  to  as  the 
golden  days  when  veritable  hordes  of  high-powered  exploiteers 
descended  upon  a  thousand  cities  and  hamlets,  trumpeting 
their  box  office  call  to  the  amazement  and  perhaps  amuse- 
ment of  the  startled  citizenry. 

Has  the  race  died  out?  Not  entirely.  Though  their  num- 
bers are  fewer,  sufficient  evidence  to  the  contrary  is  reported 
by  the  stalwarts  from  time  to  time  to  prove  that,  were  the 
gods  willing,  quite  a  few  of  the  surviving  giants  would  spring 
to  arms  overnight.  And  in  the  ranks  would  also  appear,  from 
among  the  crop  of  younger  showmen,  new  faces  gifted  with 
the  same  touch  of  delightful  madness  that  is  both  the  armor 
and  ammunition  of  those  zealots  destined  to  roam  the  country- 
side hunting  "that"  tieup. 

No,  old  pal,  the  race  is  not  dying — it  is  merely  subdued  by 
the  forces  of  regimentation  now  in  control  of  the  purse  strings. 
And  even  their  guardian  angels  know  that  giant  exploiteers 
cannot  function  in  an  atmosphere  of  officialdom.  Dying?  No, 
hibernating  until  "der  tag"  when  old  bruised  and  battered 
showbusiness  is  given  back  to  showmen. 


"FUNNY,  FUNNY,  FUNNY" 

As  a  class,  screen  reviewers  are  not  too  well  endowed  with 
a  sense  of  comedy  values.  Among  the  few,  however,  who 
must  be  counted  with  those  displaying  the  light  and  gladsome 
touch  is  M.  Pare  Lorentz  of  Judge.  The  sly  dog  causes  us 
much  merriment  by  his  statement  in  the  February  number  on 
what  he  labels  theatremen's  weaknesses  and  stupidities. 

For  instance,  gents,  grab  yourselves  a  howl  with  this  priceless 
paragraph  of  pure  Lorentzian  mirth: 

"Without  giving  you  my  complete  course  of  Theatre  Man- 
agement, I  want,  nevertheless,  to  call  attention  to  the  fact 
that  the  lunkheads  who  operate  theatres  are  in  a  large  measure 
responsible  for  the  glittering  junk  that  showers  out  of  the  West, 
because  the  producers  try  to  meet  their  demands." 

Commentators  on  the  sins  of  the  cinema  have  handed  us 
many  a  giggle  but  from  now  on  M.  Lorentz  is  hereby  voted  our 
favorite  screen  comic. 

V  V  V 
AS  REGARDS  PRESTIGE 

Much  has  been  said  and  written  regarding  ways  and  means 
of  establishing  the  theatre  as  an  important  center  of  civic 
activities.  And  though  successful  houses  as  a  rule  stand  high 
in  community  prestige,  managers  in  these  spots  wisely  are  not 
content  to  rest  upon  their  hard  won  laurels  but  seek  other 
contacts  to  strengthen  good  will. 

Among  the  most  successful  of  these  In  making  new  friends 
for  the  theatre  must  be  listed  the  local  Industrial  exhibit. 
Manager  C.  G.  Hayward,  of  the  Fox-California  in  San  Jose, 
is  the  latest  to  report  this  venture,  an  account  of  which  appears 
on  a  following  page. 

"It  has  always  been  a  paramount  tenet  of  Fox  West  Coast 
Theatre,"  says  Hayward,  "that  the  local  showhouse  must  be- 
come a  part  of  the  community  In  which  it  is  located  and  It  Is 
for  this  reason  that  the  stunt  was  consummated. 

V  V  V 

And  ending  the  page  upon  an  excellent  note  of  cheer,  we 
give  you,  gentlemen  of  the  Round  Table,  Jack  Sanson,  who 
goes  from  the  Roger  Sherman,  in  New  Haven,  to  the  post 
of  assistant  to  Harry  Needles,  Warner  Theatres  Hartford  zone 
manager.    Jack  well  deserves  his  break.  Congrats! 


78 


MOTION    PICTURE  HERALD 


March    2  ,    I  9  3  S 


SHOWMEN'S    LOBBY  LAFFS 


Cartoon  created  by 
Ray  Baker,  Grand 
Theatre,  Littleton, 
Colo. 


Harman's  Stylist  Describes 
Costumes  Worn  by  Lombard 

A  short  time  ago  we  ran  a  story  on  the 
excellent  five-column  art  layout  and  story 
secured  by  Homer  Harman,  Shubert  Rialto, 
St.  Louis,  Mo.,  on  Colbert  in  the  "Gilded 
Lily,"  which  Paramount  is  adapting  for  the 
next  Colbert  pressbook. 

Harman  goes  to  town  again  with  another 
four-column  smash  on  Carole  Lombard  in 
"Rhumba."  Shot  of  star  attired  in  modish 
suit  and  hat  was  planted  in  center  of  story 
written  by  St.  Louis  stylist,  who  describes 
in  detail  costumes  worn  by  Lombard. 
Make  193  5  Your  Award  Year 


UNUSUAL  WINDOW.  Promoted  by  Bert 
McKeniie,  MGM,  for  "Copperfield"  at 
New  York  Capitol.  Star  figures  dressed  in 
same  material  as  costumes  worn  in  picture. 


Black  Stages  Burlesque 
On  Political  Parade 

One  of  the  last  campaigns  put  on  by 
Harry  Black  at  the  Rialto,  Glens  Falls,  be- 
fore joining  up  with  the  Loew-Poli  forces, 
was  a  barrage  on  "County  Chairman,"  one 
of  the  features  being  a  bannered  voting  ma- 
chine in  the  lobby,  patrons  requested  to  vote 
their  approval  of  the  Will  Rogers  comedies, 
copy  stating  that  the  testimonial  would  be 
sent  to  the  star.  Rollers  were  used  and 
turned  by  hand  as  needed,  with  thousands 
reported  signing  up. 

In  advance,  Harry  put  on  a  newspaper 
display  teaser  campaign  directed  to  a  mythi- 
cal political  club  under  the  direction  of  the 
local  Winchell.  The  copy  was  signed  by 
"County  Chairman"  branding  as  lies  he  had 
won  votes  by  kissing  babies,  etc.  Letters 
were  carried  from  Black  to  the  club  mem- 
bers and  vice  versa,  all  working  up  a  lot 
of  commotion. 

Another  highlight  was  a  street  parade  led 
by  local  band,  boys  carrying  comedy  ban- 
ners and  red  flares  promoted  from  state 
troopers.  Police  department  furnished  es- 
cort and  Buick  dealers  cooperated  by  fur- 
nishing newest  models  and  also  a  1908  one- 
lung  model,  all  appropriately  bannered. 
Harry  calls  it  the  perfect  burlesque  on  the 
political  parade. 

Front  was  decorated  in  red,  white  and 
blue  banners,  with  flags  and  "vote  for" 
cards.  Political  box-banner  atop  marquee 
alongside  Rogers'  life-size  cutout  also  at- 
tracted considerable  attention  from  onlookers. 


Quaker  Oats  Offers 
$2500 on  'Devil  Dogs' 

Quaker  Oats  now  embarks  on  their  third 
tiein  with  managers  on  Warners'  "Devil 
Dogs  of  the  Air,"  offering  $2,500  in  58 
cash  prizes  for  the  best  exploitation  cam- 
paigns on  the  picture,  in  which  Quaker  or 
Mothers'  Oats  are  reasonably  mentioned. 

Terry  Turner,  in  charge  of  theatrical 
publicity  for  the  Quaker  company  through 
Lord  and  Thomas,  has  just  completed  an 
airplane  tour  of  the  country  and  reports 
tieins  with  chain  grocers  competing  for  the 
best  store  windows  and  floor  displays  on  the 
picture.  Turner  states  a  nationwide  news- 
paper campaign  is  being  sponsored  by  his 
principals.  Window  posters  and  counter 
cards  are  being  made  available  for  stores 
throughout  the  United  States  and  Canada. 
Additional  national  advertising  wiU  take 
the  form  of  model  airplanes,  goggles,  hel- 
mets and  "Devil  Dog"  rings. 

The  judges  include  George  A.  Macdonald, 
vice  president  of  sales  of  The  Quaker  Oats 
Company;  S.  Charles  Einfeld,  Advertisings 
Director  of  Warner  Brothers  Pictures; 
Donald  Douglas,  vice  president  in  charge  of 
advertising  The  Quaker  Oats  Company; 
Mort  Blumenstock,  Advertising  Director 
Warner  Brothers  Theatres ;  L.  R.  Hawley, 
the  newly  elected  advertising  manager  of 
The  Quaker  Oats  Company ;  David  M. 
Noyes,  vice  president.  Lord  and  Thomas, 
Chicago;  Jack  Pegler,  motion  picture  ad- 
vertising and  publicity.  Lord  and  Thomas, 
New  York,  and  Terry  Turner,  in  charge  of 
theatrical  publicity  for  Quaker  Oats. 

Contest  for  theatre  managers  closes  mid- 
night of  May  15  and  all  marked  tear  sheets, 
photos,  samples  of  heralds,  etc.,  should  be 
mailed  to  Terry  Turner,  care  of  Quaker 
Oats  Company,  Chicago. 

Prizes  are  split  as  follows :  first,  $500 ; 
second,  $250;  third,  $150;  fourth,  $100; 
fifth,  $90;  sixth,  $75;  seventh,  $50;  eighth, 
$35,  and  50  prizes  of  $25  each. 

As  usual,  managers  who  wish  their  cam- 
paigns to  be  entered  in  the  monthly  Quig- 
ley  Awards  competitions  should  so  specify 
this  in  writing  in  front  of  their  campaigns. 
Entries  for  the  Awards  may  be  forwarded 
first  to  Quigley  Committee  headquarters 
for  consideration  in  the  monthly  judging 
and  then  sent  to  Chicago. 

Round  Tablers  took  down  all  the  cash 
prizes  in  the  last  Quaker  Oats- Warner  con- 
test and  reports  from  the  field  indicate  wide 
participation  in  the  above  competition. 


TWO  ADDITIONAL  WEEKS 
FOR  ''RUGGLES"  CONTEST 

The  closing  date  of  the  "Ruggles  of 
Red  Gap"  exploitation  contest  is  now 
set  for  midnight  of  April  26,  instead 
of  April  12,  as  previously  announced. 
The  change  has  been  made  to  con- 
form with  the  revised  release  schedule 
as  the  picture  has  been  set  back. 

In  addition  to  the  manuals  available 
to  interested  theatremen,  Alec  Moss 
of  Paramount  states  supplementary 
exploitation  ideas  on  "Ruggles"  are 
now  being  forwarded. 


March    2.  1935 


MANAGERS'    ROUND  TABLE 


"AMERICA  TRIUMPHANT".  Is  the  title  of  the  mural  Illustrated  above  in  the 
lobby  of  the  Enright  Theatre,  Pittsburgh,  Pa.  The  painting  is  the  work  of  S.  Tilden 
Stern,  art  director,  Pittsburgh  Warner  Theatres,  measL';es  30  feet  wide  by  12  fee! 
high,  and  is  In  commemoration  of  Thomas  F.  Enright,  first  American  soldier 
killed  in  the  World  War. 


Hayward  Promotes 
Lobby  County  Fair 

Institutional  tieups  with  local  organiza- 
tions that  have  a  tendency  to  further  the 
prestige  of  a  theatre  are  of  course  not  un- 
usual. However,  in  the  case  of  Manager 
C.  G.  Hayward,  Fox-California,  San  Jose, 
Cal.,  a  different  twist  was  worked  by  his 
direct  promotion  of  a  Santa  Clara  County 
Industries  Fair  to  plug  his  date  on  "County 
Chairman,"  with  the  exhibition  taking  place 
in  the  theare  lobby  and  mezzanine. 

The  title  of  the  picture  furnishing  the  in- 
spiration, Hayward  secured  the  support  of 
the  local  Chamber  of  Commerce  and  his 
newspapers,  which  by  all  means  went  to 
town  on  space  to  stimulate  interest  in  the 
event.  In  fact,  pages  of  stories  and  photos 
were  planted,  including  shots  of  division 
manager  A.  M.  Bowles,  district  manager 
N.  O.  Turner  and,  of  course,  Hayward. 

With  the  pledge  of  cooperation  from  the 
Chamber  of  Commerce,  "C.  G."  went  to  his 
merchants,  manufacturers  and  distributors, 
inviting  them  to  exhibit  free  of  charge,  the 
only  cost  to  them  being  newspaper  advertis- 
ing. Generous  responses  were  immediately 
forthcoming,  the  theatre  benefiting  by  the 
resultant  additional  publicity  in  these  dis- 
play ads.  The  newspapers  were  reported 
especially  appreciative  as  many  of  the  ex- 
hibitors were  not  regular  advertisers,  the 
extra  revenues  obtained  being  so  much  velvet. 

Hayward  states  the  exhibition  not  only 
brought  a  lot  of  extra  business  on  the  date, 
but  secured  over  1,000  inches  of  free  pub- 
licity. Aside  from  this,  an  incalculable 
amount  of  good  will  was  obtained. 

"It  has  always  been  a  paramount  tenet  of 
Fox  West  Coast  Theatres,"  says  Hayward, 
"that  the  local  showhouse  must  become  a 
part  of  the  community  in  which  it  is  located 
and  it  is  for  this  reason  that  the  stunt  was 
consummated." 

Make  193  5  Your  Award  Year 

Grocers  Help  Cocks 
Sell  "Imitation  of  Life" 

Dick  Wright,  Warner  district  manager, 
and  Manager  Harvey  Cocks  at  the  Strand, 
Akron,  Ohio,  tied  up  nearly  every  grocer  in 
town  with  window  posters  on  "Imitation  of 
Life."  Beauty  parlor  ads  contained  head 
cut  of  Colbert  and  plugged  her  hairdress 
with  tiein  copy.  Synopsis  of  picture  was 
given  at  the  Women's  Federation  Club. 

Make  193  5  Yotn  Award  Year 


STILL  FIVE  BIG  DAYS 
TO  FEBRUARY  DEADLINE 

Counting  today,  sufficient  time  re- 
mains for  managers  who  wish  to  for- 
ward an  entry  for  the  Quigley  Feb- 
ruary competition.  There  are  five 
days  to  deadline,  midnight  of  Wed- 
nesday, March  6,  by  which  time  all 
campaigns  must  be  at  Headquarters, 
as  already  stated. 

Announcement  of  judges'  decisions 
will  be  published  in  issue  of  March  16. 
All  rulings  and  information  on  the 
Quigley  Awards  were  run  on  page  69, 
Jan.  5  issue. 


Store  Ties  In  with  Gates 
On  Movie  Memory  Contest 

Largest  department  store  in  Cleveland 
tied  in  with  Arnold  Gates  at  the  Park,  for 
four  weeks,  to  put  over  a  movie  memory 
contest  starting  with  his  "Forsaking  All 
Others"  date.  Each  week  photos  of  stars 
were  placed  on  display  in  various  depart- 
ments of  the  store.  Each  Friday  six  new 
photos  were  added  bearing  no  information 
other  than  a  number.  Contestants  were  sup- 
posed to  name  the  stars  and  the  last  two 
pictures  in  which  they  appeared. 

Store  contributed  prizes  of  electric  re- 
frigerator, radio,  washing  machine  and 
ironer.  There  were  also  25  lesser  consola- 
tion prizes  also  given  by  store.  All  displays, 
cards  carried  theatre  copy. 

Boys  distributed  imprinted  date  books  on 
street  cars  to  passengers,  inside  page  an- 
nouncing the  month's  shows.  Four  days 
ahead  candles  were  planted  in  windows  on 
the  "how  long  will  this  candle  burn"  gag, 
with  tickets  to  best  guessers. 

Make  193  5  Your  Award  Year 

Weller  Pitches  "Barnum" 
Tent  at  Courthouse 

Bob  Weller's  unique  street  bally  for 
"Barnum"  at  the  Weller  in  Zanesville,  Ohio, 
consisted  of  pitching  a  tent  on  the  court- 
house sidewalk  with  circus  spieler  ballyhoo- 
ing  Barnum's  Invisible  Fish.  Inside  tent 
was  a  washtub  filled  with  water,  painted 
around  it  was  "see  Wallace  Beery"  copy. 

Candy  manufacturer  tied  in  by  distribut- 
ing lollypops  in  imprinted  cellophane  bags 
reading  "There's  a  sucker  born  every  min- 
ute, but  not  one  like  Blank's,  for  we're  the 
best  on  the  market." 


McManus  Talks  Before 
Kansas  City  Ladies'  Club 

Johnny  McManus,  Midland  Theatre,  Kan- 
sas City,  Mo.,  is  one  of  our  members  who 
makes  appearances  before  various  clubs 
talking  on  the  motion  picture.  More  recently 
Johnny  addressed  the  Ladies'  Round  Table 
Club  and  slyly  injected  his  "Copperfield" 
plug  in  his  speech. 

Two  ushers  were  sent  to  schools  explain- 
ing to  principals  the  distribution  of  invita- 
tions to  English  teachers  and  librarians  to 
view  the  picture.  Teacher  and  pupil  guides 
were  made  available  for  all  schools  and 
book  reviewer  talked  before  various  clubs 
outlining  highlights.  Papers  played  up 
story  of  Freddie  Bartholomew  having  been 
chosen  from  thousands  to  play  part  of  Davey, 
and  rotogravure  sections  carried  photos. 

Make  193  5  Your  Award  Year 


VALENTINE  WINDOW.  Les  Pollock.  Roch- 
ester, Rochester,  N.  Y.,  arranged  with  local 
Western  Union  branches  for  this  Valentine 
window  display  on  "Clive  of  India". 


80^ 


MOTION    PICTURE  HERALD 


March    2.    I  935 


Lawson  Opens  "Millions" 
With  Ice  Cream  Tieup 

For  the  premiere  of  "Kid  Millions"  at 
the  Pavilion,  London,  Robb  Lawson,  UA 
publicity  director,  effected  a  tieup  with  five 
and  ten  tying  in  the  ice  cream  sequence  in 
tiie  picture  with  their  soda  fountain  (see 
photo).  Cantor  cards  with  stills  were  hung 
at  candy  and  ice  cream  counters  in  all 
Store's  branches. 

Special  cutouts  of  Cantor  and  other  stars 
used  in  windows  of  leading  music  stores  and 
cosmetic  dealers  plugged  the  picture  in  their 
displays. 

Make  193  5  Your  Award  Year 

Crites  Plants  Live  Duck 
In  Window  for  "Rhythm" 

Arlie  Crites,  Rig  Theatre,  Borger,  Texas, 
constructed  a  red  duck  house  with  white 
picket  fence  for  his  "Rhythm"  date  and 
secured  permission  from  local  druggist  to 
plant  the  display  with  "Goo  Goo"  in  front 
window. 

In  classified  ad  section,  Arlie  ran  teaser 
offering  duck  for  sale  by  calling  theatre 
number.  Duck  displays  were  used  in  cafes 
and  cutout  ducks  were  planted  in  downtown 
locations  week  prior. 

Make  193  5  Your  Award  Year 

Denson's  "Caravan"  Window 

A  neat  window  display  was  effected  by 
assistant  V.  S.  Denson,  Albany  Theatre, 
Albany,  Ga.,  on  "Caravan"  showing  with 
five  and  ten  plugging  sale  of  towels  with 
copy  reading  "We  march  on  with  our  'Cara- 
van' of  bargains."  Theatre  card  was  con- 
spicuously displayed. 

Make  193  5  Your  Award  Year 

Saunders  Sells  "Copperfield" 
To  School  Authorities 

Matt  Saunders,  Poli  Theatre,  Bridgeport, 
Conn.,  secured  a  letter  from  local  principals 
granting  permission  for  the  distribution  of 
"David  Copperfield"  roto  sheets  on  bulletin 
boards,  study  guides  for  English  classes  and 
book  marks  in  class  libraries  of  all  schools. 

For  his  "Bright  Eyes"  date,  Matt  con- 
tacted local  papers  to  sponsor  a  club  for 
collection  of  toys  for  the  poor.  Theatre  piled 
toys  in  lobby  and  distributed  colored  Tem- 
ple photos  with  theatre  imprint  to  children 
who  donated. 

Make  193  5  Your  Award  Year 

Hartman's  Showmanship 

The  accompanying  photo  shows  what  J. 
P.  Hartman,  Aster  Theatre,  Aberdeen,  S. 
D.,  does  without  the  aid  of  an  artist.  "J. 
P."  has  to  depend  on  posters  and  accessories 
to  sell  his  show  and  he  finds  the  use  of  sixes, 
threes,  ones,  etc.,  etc.,  of  inestimable  value 
to  get  across  his  message. 

Make  193  5  Your  Award  Year 

Rotsky  Holds  Tea 
Party  on  Mezzanine 

George  Rotsky,  Palace,  Montreal,  Canada, 
in  addition  to  holding  tea  parties  on  his 
mezzanine  almost  daily,  at  which  promoted 
tea,  biscuit  and  cigarettes  are  available  went 
a  little  further  with  the  idea  on  "Bright 
Eyes"  when  Shirley  Temple  cards  were  dis- 
tributed and  person  holding  the  lucky  num- 
ber was  entitled  to  promoted  Rogers  Silver 
Tea  service. 

Ciggie  manufacturer  paid  for  the  printing 


Fishkin's  "Limehouse"  Lobby  Shanty 


Lawsoii's  "Millions"  Ice  Cream  Tieup 


Roy-Sniakowifz  Advance  Flash 


One  of  Hartman's   Typical  Fronts 

and  distribution  of  numbered  cards  with 
his  ad  on  one  side  and  theatre  plug  on 
reverse  with  caution  to  hold  card  and  bring 
it  to  theatre.  Persons  holding  numbers 
corresponding  to  those  read  from  theatre 
stage  were  entitled  to  tins  of  smokes. 


Roy  and  Smakowitz 
Sell  "Imitation" 

On  "Imitation  of  Life"  Andy  Roy,  man- 
ager, and  Charlie  Smakowitz,  advertising 
manager  at  the  Strand,  Albany,  N.  Y.,  con- 
tacted local  Ford  dealer,  who  came  through 
with  a  parade  of  new  bannered  cars  and  dis- 
tributed heralds  with  tieup  car  and  picture 
copy. 

Accompanying  illustration  shows  the  ad- 
vance 30-foot  lobby  display,  reported  to 
have  attracted  considerable  attention,  as 
did  the  cutout  of  Colbert  atop  marquee. 
Press  book  shorthand  notes  for  office  girls 
were  also  used. 

Make  193  5  Your  Award  Year 

Builds  "Limehouse"  Lobby 

When  Louie  Fishkin,  Alba  Theatre, 
Brooklyn,  N.  Y.,  played  "Limehouse  Blues" 
for  his  lobby  display  he  constructed  an 
exact  replica  of  a  Limehouse  shanty  with 
shingled  roof,  sidewalk  and  all  the  trim- 
mings (see  photo).  Cutout  heads  of  Raft, 
Wong  and  Parker  were  spotted  strategically. 
Miniature  lamppost  carried  out  atmospheric 
effect. 

Make  193  5  Your  Award  Year 

Lessons  in  Parachute  Use 
Given  for  "Devil  Dogs" 

Arthur  Esberg  at  the  Aztec  in  San  An- 
tonio, Tex.,  secured  the  cooperation  of 
Kelly  Field  officials  for  loan  of  aviation 
equipment  on  his  "Devil  Dog"  date.  One 
of  the  highlights  of  his  campaign  was  dem- 
onstrations of  the  packing  and  unpacking  of 
a  parachute. 

Make  193  5  Your  Award  Year 

Davis'  "Farewell  Nites" 

Walter  Davis  at  the  Orpheum  in  Fort 
William,  Canada,  has  inaugurated  what  he 
pleases  to  call  "Farewell  Nights,"  in  which 
former  hit  pictures  are  shown  at  the  finish 
of  the  regular  program.  Walter  says  he 
rents  these  revivals  for  very  little  and  re- 
ports these  nights  profitable. 

On  "County  Chairman"  Walt  distributed 
rebus  heralds  offering  tickets  to  first  hun- 
dred youngsters  deciphering  the  puzzle. 
Herald  showed  a  last  will  and  testament 
with  a  capital  "R"  next  to  it  and  five  dashes. 
Below  was  drawn  a  county,  a  chair  and  a 
man.  Solution  was  "Will  Rogers,  'County 
Chairman.'  " 

Make  193  5  Your  Award  Year 

Drissel  Puts  On  "Barnum" 
Masquerade  for  Kiddies 

Tying  in  with  toy  department  of  local 
store,  Roscoe  Drissel,  Loew's,  Wilmington, 
Del.,  put  over  a  "Barnum"  kid  matinee  at 
which  store  offered  prizes  for  best  dressed 
Tom  Thumb,  his  wife,  a  clown  or  Mickey 
and  Minnie  Mouse.  Store  devoted  window 
display  to  toys  and  theatre  copy. 

Roscoe  also  distributed  "Barnum  Was 
Right"  cards,  the  gag  being  to  ask  a  friend 
for  a  coin  on  receipt  of  which  the  "Barnum" 
card  was  presented  to  the  sucker.  Drissel 
reports  the  cashier  was  kept  busy  supplying 
patrons  with  additional  cards. 

•Colored  "Barnum"  blotters  were  dis- 
tributed on  which  were  photos  of  the  Cardiff 
Giant  and  Mr.  and  Mrs.  Tom  Thumb  with 
copy  "you'll  never  be  able  to  blot  out  the 
memory  of  Barnum,  etc.,  etc." 


March    2 ,    19  3  5 


MANAGERS'    ROUND  TABLE 


81 


Windisch  Broadcasts 
"Devil  Dog"  Manoeuvers 

As  a  follow  up  soon  after  the  opening  of 
"Devil  Dogs"  at  the  New  York  Strand,  Irv- 
ing Windisch,  exploitation  director,  under 
the  supervision  of  Harry  Charnas,  manag- 
ing director  metropolitan  theatres,  had  ample 
opportunity  to  display  his  versatility,  when 
announcer  scheduled  to  broadcast  maneuvers 
of  marine  squadron  flying  over  theatre  to 
exploit  picture  failed  to  arrive. 

Irv  stepped  into  the  breach  atop  the 
Strand  marquee  and  described  to  the  gath- 
ered crowds  the  various  formations,  inter- 
spersing his  talk  with  picture  plugs. 

Make  193  J  Your  Award  Year 

Weiss'  Livestock  Sells 
"College  Rhythm"  Bally 

An  "animated"  lobby  bally  was  con- 
structed for  "College  Rhythm"  by  Bill 
Weiss,  Capitol,  Passaic,  N.  J.,  with  six 
live  ducks  providing  the  motion.  In  fact, 
Weiss  says  that  the  quackers  provided  so 
much  animation  that  they  had  to  be  re- 
strained to  be  kept  in  the  pen  with  the  cut- 
out Penner. 

Accompanying  photo  shows  the  birds  do- 
ing their  stuff  and  judging  by  the  attitude 
of  the  one  taking  a  peck  at  Penner,  we  think 
Bill  got  his  fowls  a  little  confused  and  put 
in  a  goose. 

Make  193  J  Your  Award  Year 

Scott  Endorses  "Clive" 

To  his  entire  mailing  list,  Sid  Scott, 
Capitol,  Windsor,  Ont.,  Canada,  sent  a 
letter  of  personal  endorsement  on  "Clive  of 
India,"  assuring  recipients  that  if  they  had 
enjoyed  "Lives  of  a  Lancer,"  he  was  sure 
they  would  find  "Clive"  equally  as  entertain- 
ing.  Brief  resume  of  picture  followed. 

Make  193  J  Your  Award  Year 

Wright's  Benefit  Plan 
Clicking  in  Akron 

The  possibilities  of  the  benefit  ticket  plan 
are  being  realized  by  Dick  Wright,  Warner 
Theatres  Cleveland  district  manager,  the 
details  of  which  he  forwards  in  a  four-page 
pamphlet  made  up  for  Harvey  Cocks' 
Theatre,  in  Akron,  Ohio. 

"Raise  Money  the  Strand  Theatre  Way" 
is  the  heading  on  front  page,  inside  pages 
given  over  to  the  plan.  Benefit  tickets  are 
good  for  any  four  days  designated,  and  co- 
operating organizations  are  not  required  to 
put  up  any  cash  guarantee.  A  consignment 
contract  is  the  only  protection  necessary, 
unsold  tickets  being  returnable. 

Dick  states  that  the  benefit  literature  is 
going  to  450  lodges,  clubs  and  organizations. 
No  doubt  interested  members  can  secure 
further  information  from  Harvey  Cocks,  at 
the  Strand,  in  Akron. 

Make  193  5  Your  Award  Year 

McWilliams  Publicizes 
Rubinoff's  Recital 

Round  Tabler  Harry  McWilliams,  now 
handling  publicity  for  Rubinoff,  was  in  Cin- 
cinnati recently  to  publicize  the  maestro's 
appearance  there  to  conduct  the  Cincinnati 
Symphony  Orchestra,  and  reports  a  rip- 
roaring  welcome  with  a  bevy  of  gals  from 
the  University  at  the  station  to  greet  the 
star.  A  fifty-piece  band,  new  cars  from 
dealers  and  local  celebrities  made  up  a 
parade  to  City  Hall,  where  Dave  received 
keys  to  the  city. 


Weiss'  Animated  "Rhythm"  Display 


Goldman's   Shanghai   "Moore"  Premiere 


Robbins  Plants  Plane  in  Lobby 


Botwick's  Quaint  "Quints"  Window 

Rubinoff's  latest  short  was  re-booked  by 
all  theatres  and  one  of  the  highlights  of 
the  campaign  was  the  promotion  of  an  aero- 
plane that  flew  most  popular  University  deb 
to  surrounding  cities,  where  she  presented 
invitations  to  the  mayors  to  attend  the  re- 
cital. Motorcycle  escorts  for  the  debby  were 
provided  from  airports  to  mayors'  ofiices 
with  attendant  publicity. 


Novel  Radio  Campaign 
Put  Over  by  La  Falce 

Frank  La  Falce,  Warner  exploitation 
chief  in  the  Washington  zone  secured  the 
cooperation  of  radio  station  to  help  plug 
liis  "Bordertown"  date.  A  few  hundred 
local  housewives  were  invited  to  attend  the 
initial  matinee  and  give  their  reactions  to 
the  picture.  Questionnaire  cards  were  dis- 
tributed asking  if  the  picture  had  been  cor- 
rectly titled  and  if  not  what  title  patrons 
would  prefer  instead. 

Make  193  5  Your  Award  Year 

Giant  Moore  Cutouts 
Highlight  Shanghai  Front 

Ed  Goldman,  assistant  manager  of  Co- 
lumbia Films  in  Shanghai,  China,  forwards 
us  the  accompanying  photo  of  the  front  of 
the  Grand  Theatre  there  for  the  gala  open- 
ing of  "One  Night  of  Love."  Giant  cut- 
outs of  Grace  Moore  atop  marquee,  illu- 
minated at  night,  were  visible  blocks  away. 

Ed  also  arranged  a  tieup  with  radio  store 
which  devoted  attractive  window  display  to 
large  poster  of  Miss  Moore  surrounded  by 
stills  from  picture. 

Make  193  5  Your  Award  Year 

Robbins  Plugs  "Devil  Dogs" 
With  Real  Plane  in  Lobby 

For  his  lobby  display  at  the  Warner  The- 
atre in  Youngstown,  Ohio,  Dave  Robbins 
arranged  for  the  transportation  of  a  plane 
from  nearby  airport  to  his  theatre  (see 
photo),  where  it  was  assembled  in  the  foyer 
as  an  advance  plug  on  "Devil  Dogs  of  the 
Air."  Easel  left  of  plane  carried  stills 
from  picture  with  selling  copy  and  play- 
dates. 

Make  193  5  Your  Award  Year 

Botwick  Sells  the  "Quints" 

Another  example  of  an  excellent  window 
on  the  Dionne  Quintuplets  comes  from 
Harry  Botwick  at  the  State  in  Portland, 
Maine  (see  photo),  with  layette,  crib  and 
trimmings.  Harry  also  circularized  all  phy- 
sicians in  town  acquainting  them  of  the  date 
and  took  advantage  of  a  snow  storm  to  plant 
"quint"  snow  birds  around  town. 

Make  19 i  5  Your  Award  Year 

Frolicking  Femmes  Fall 
For  Freeman's  Flip  Fotos 

G.  E.  Freeman,  Poli's  Theatre,  Spring- 
field, Mass.,  says  he  was  literally  swamped 
for  "extries"  recently  when  he  distributed 
flip  books  of  Eddie  Cantor  in  "Kid  Mill- 
ions." Front  of  booklets  showed  the  star's 
eyes  with  copy  "the  eyes  have  it"  and  back 
page  carried  theatre  plug. 

Make  193  5  Your  Award  Year 

Jeweler  Co-operates  with 
Solomon  on  "Wiggs"  Contest 

,  Local  jeweler  came  through  with  watches 
for  a  "Mrs.  Wiggs"  contest  put  over  by 
Mark  Solomon  at  the  Embassy  in  Mt.  Ver- 
non, N.  Y.  Boys  and  girls  under  fourteen 
were  eligible  and  contestants  had  to  come 
to  the  theatre,  see  the  picture  and  then 
write  a  SO-word  review.  Watches  were  on 
display  in  the  lobby  with  jeweler  credit 
card. 

Recently  Mark  read  an  article  giving 
some  vital  statistics  on  bundling,  and  en- 
larged these  on  heralds,  back  of  which  car- 
ried theatre  "Pursuit  of  Happiness"  copy. 


82 


MOTION    PICTURE  HERALD 


March  2.1935 


FURTHER  RADIO  SUGGESTIONS 

Other  Salient  Points  Are  Treated 
in  the  Second  of  Three  Articles 
on  Radio  in  Theatre  Advertising 

by  GENE  CURTIS 

Sales  Promotion  Director 
Famous  Players  -  Canadian  Corp. 


Generally  speaking,  radio  is  best  adapted 
to  first-run  theatres,  although  there  are  some 
cases  where  subsequent-run  theatres  are 
using  radio  to  good  advantage. 

If  the  theatre  depends  on  patronage  from 
rural  or  outlying  districts,  radio  can  be  very 
advantageous,  particularly  if  these  people 
generally  read  the  new^spapers  from  some 
other  large  city  rather  than  the  local  paper. 

There  are  cases  of  theatres  using  stations 
many  miles  away,  but  which  cover  the  the- 
atre's town  as  well  as  the  surrounding  dis- 
trict, and  in  such  case,  regular  daily  an- 
nouncements can  bring  business  to  a  theatre. 

In  other  cities  which  have  local  stations, 
but  are  better  served  by  more  popular  sta- 
tions in  other  cities,  it  would  not  be  good 
business  to  spend  much  money  with  the  local 
stations,  although  in  such  cases,  managers 
have  often  been  quite  successful  in  getting 
gratis  time  on  the  local  stations.  Even  if 
these  stations  are  not  particularly  popular, 
they  do  have  a  certain  following  and  in  this 
case,  a  series  of  broadcasts,  if  properly  pub- 
licized, should  build  a  following  with  benefit 
to  the  theatre. 

In  cities  where  there  may  be  only  one 
local  station,  and  out-of-town  stations  do  not 
come  in  strong  during  the  day,  a  day-time 
broadcast  would  probably  be  heard  by  a 
good  percentage  of  potential  radio  listeners. 

In  the  larger  cities  there  are  usually  sev- 
eral good  local  stations  and  an  ingenious 
manager  can  find  several  ways  of  getting  on 
the  air  in  addition  to  any  programs  he  may 
present  of  his  own. 

How  Much  to  Spend 

The  amount  that  might  be  spent  on  radio 
is  governed  by  the  two  factors  of  how  much 
money  is  available  for  this  medium  and 
secondly,  what  will  it  cost  to  do  a  proper 
job  ?  It  is  not  wise  to  jeopardize  the  the- 
atre's position  with  the  newspapers  by  ob- 
viously diverting  money  from  newspapers  to 
radio.  If  the  local  stations  are  not  as  popu- 
lar as  those  in  nearby  larger  cities,  time  on 
the  local  station  can  often  be  secured  for 
a  few  passes  or  little  money. 

Usually  theatre  managers  have  been  able 
to  get  considerable  free  time  or  reductions 
from  regular  card  rates.  In  other  cases 
radio  stations  have  clamped  down  on  free 
time  and  also  on  programs  sponsored  by 
some  commercial  advertiser  and  which  also 
include  advertising  of  a  theatre.  Co-opera- 
tion has  often  been  later  obtained  by  paying 
for  a  certain  amount  of  time,  and  then  the 
stations  have  reciprocated  by  allowing  extra 
free  time  and  dual  sponsorship. 

Unless  there  is  some  particular  reason  for 
using  lesser  station,  such  as  a  free  time  or 
to  follow  a  very  popular  local  program,  it 
is  common  sense  to  use  the  best  station. 
This  does  not  necessarily  mean  the  strong- 
est station,  for  a  theatre  is  not  interested 
in  radio  coverage  beyond  the  zone  from 
which  it  draws  its  patrons. 

The  running  time  of  the  program  obviously 
depends  upon  the  type  of  broadcasts  used. 


Spot  announcements  are  best  when  made 
as  brief  as  possible.  Straight  Hollywood 
Gossip  programs  should  not  run  for  more 
than  10  minutes  at  the  most,  unless  broken 
up  with  music.  Musical  programs  should 
run  from  15  to-  30  minutes  and  here  again, 
as  in  all  cases,  it  is  advisable  not  to  spoil 
the  programs  by  laying  on  the  advertising 
with  a  trowel.  Keep  announcements  brief 
and  newsy.  Dramatizations  usually  run  for 
15  minutes  and  it  is  best  not  to  exceed  this. 
Most  of  the  transcription  recordings  are 
made  to  run  13  minutes,  allowing  1  minute 
on  either  end  for  theatre  announcements. 
Don't  try  to  pad  out  a  program  to  cover  any 
more  time  than  can  be  filled  with  interesting 
material. 

What  Time  Is  Best? 

The  best  hour  for  broadcasting  depends 
on  the  type  of  program  used.  Spot  an- 
nouncements are  best  when  sandwiched  be- 
tween popular  programs  or  just  before  or 
after  the  meal  hours.  The  middle  of  the 
morning  or  the  middle  of  the  afternoon  are 
the  best  times  to  reach  women,  and  from 
7:00  to  9:00  at  night  are  the  best  times  to 
reach  the  family.  Obviously  if  putting  on  a 
15  or  30  minute  program,  no  one  would  try 
to  compete  with  popular  outstanding  pro- 
grams. 

Equally  obvious  is  the  fact  that  it  is  not 
advisable  to  create  your  own  opposition  by 
spotting  programs  that  might  keep  people 
away  from  the  theatre,  particularly  in  the 
evenings,  although  spot  announcements  and 
programs  designed  to  reach  people  who  are 
staying  home  anyway,  are  okay  at  such  a 
time. 

For  15  to  30  minute  musical  programs 
the  time  of  day  is  not  as  important  as  it  is 
with  dramatizations.  With  these  talking 
skits  the  nature  of  the  program  again  means 
that  they  should  be  put  on  at  a  time  of  day 
or  night  when  people  are  able  to  sit  down 
and  concentrate  on  listening  without  dis- 
turbing influences.  Probably  the  best  hours 
would  be  from  9.30  to  11 :00  in  the  morning, 
from  2 :00  to  4 :30  in  the  afternoon,  and  from 
7:00  to  10:00  at  night,  preferably  between 
7:00  and  8:00,  so  as  not  to  conflict  too 
much  with  theatre  hours. 

For  any  series  of  programs,  whether  spots 
or  full  hour  periods,  it  is  necessary  to  come 
on  the  air  regularly  at  the  same  time  for 
each  broadcast  to  get  the  fullest  advantage. 

One  unfortunate  phase  of  all  theatre  ad- 
vertising is  the  fact  that  it  is  hard  to  check 
results  and  this  is  equally  true  of  radio 
advertising.  One  way  to  find  out  if  you 
have  listeners  is  to  announce  that  the  first 
ten  people  calling  a  certain  telephone  num- 
ber will  receive  guest  tickets.  Another  way 
is  to  offer  the  duotone  "tinseled"  auto- 
graphed pictures  of  stars  to  people  who  write 
or  telephone,  or  call  at  the  theatre  for  them. 

In  the  concluding  article  of  this  series  will 
he  details  of  some  of  the  best  radio  exploi- 
tation tie-ups  open  to  theatre  managers. 


AD  DIRECTORS  ACCEPT 
CREASEY'S  SUGGESTION 

Recently,  Manager  Harry  Creasey, 
Capitol-Kamloops,  Canada,  wrote  to 
Gene  Curtis,  asking  why  press  sheets 
did  not  carry  radio  announcements. 
Gene  promptly  passed  the  suggestion 
along  to  the  various  advertising  heads, 
who  immediately  went  for  the  idea. 

As  a  result,  Charley  Einfeld  states 
that  future  Warner  press  books  will 
include  radio  previews  which  can  be 
used  currently  or  in  advance.  Rodney 
Bush,  of  Paramount ;  A.  P.  Waxman, 
of  Gaumont  British;  Charley  McCar- 
thy, of  Fox,  and  Paid  Gulick,  of  Uni- 
versal, also  welcomed  this  slant,  all 
extending  their  thanks  to  Creasey  and 
stating  that  other  constructive  ideas 
from  the  field  are  invited  and  appre- 
ciated. 

Harry,  take  a  bow! 


How  They  Exploited 
"We  Live  Again" 

Les  Pollock,  Loew's  Rochester,  Rochester, 
N.  Y.,  tied  in  with  leading  department  store 
for  debutantes  to  model  Anna  Sten  styles 
in  cinema  shop  fashion  parade. 

Book  store  used  window  display,  silk  im- 
printed book  marks  were  distributed,  and 
department  store  ad  tied  in  with  Anna  Sten 
neckwear  plug.  Banners  were  hung  on 
buildings  around  town  (see  photo). 

In  Bridgeport,  Conn. 

Russian  priests  were  invited  by  Morris 
Rosenthal  at  the  Majestic  to  attend  a  pre- 
view. Russian  tack  cards  were  posted  in 
Polish  districts.  Morris  inserted  classified 
ad  asking  for  loan  of  rouble,  several  were 
received  from  which  cut  was  made  for  her- 
ald distribution  in  foreign  neighborhoods, 
a  stunt  that  clicked  well  for  him. 

And  in  Boston,  Mass. 

Joe  Di  Pesa,  publicity  director  of  the 
State,  arranged  with  department  stores  for 
display  of  Russian  styles,  theatre  mention, 
and  easel  of  stills.  Five  and  ten  plugged 
Sten  sundaes  with  all  employees  wearing 
imprinted  silk  badges.  Imprinted  paper  nap- 
kins used  in  chain  store  restaurants;  Lib- 
erty boys  delivered  copies  with  circulars 
enclosed.  Radio  dramatization  given  and 
fashion  stills  planted  in  newspapers  by  edi- 
tors of  women's  page. 


bollock's  Banner  on  Building 


March    2  .    19  3  5 


MANAGERS*    ROUND  TABLE 


83 


DOORS  OPEN  1:15 
CONTINUOUS  PERFORMANCE 
1:30  lo  11:30  p.  m. 


COAIPLETE  snow  STARTS 


FEATURE  STARTS 

^^AClenil  the  Movies  rpfiularly.   In  oo  olber  way  can 
vou  f:e<  NO  cliiNe  lo  life  for  so  llllle/' 


Starting  Time  Cards  for  Hotels 

Hotel  Lobby  Easels 
Carry  Starting  Time 

Dick  Wright,  district  manager  Warner 
Theatres  in  Cleveland,  Ohio,  forwards  the 
accompanying  card  showing  how  managers 
Frank  Harpster  and  Bill  Dworski  in  Mans- 
field, plug  their  shows'  starting  time  on 
theatre  stands  in  hotel  lobby  displays. 

Frank  Harpster  is  also  using  small  stick- 
ers with  the  "attend  the  movies  regularly, 
etc.,  copy,"  which  are  placed  on  all  mail  to 
encourage  the  movie  habit. 

Showmen 's 
Calendar 


All  Fools  Day 
Wallace  Beery's  Birthday 
U.  S.  Mint  Established— 1792 
Washington  Irving  Born — 1783 
Leslie  Howard's  Birthday 
Elihu  Yale  Born— 1649 
Betty  Davis"  Birthday 
Spencer  Tracy's  Birthday 
War  Declared  with  Germany — 
1917 

Peary  Discovered  North  Pole — 
1909 

Battle  of  Appomattox — 1865 
Louisiana  Admitted  to  Union 
Mary  Pickford's  Birthday 
Ponce    de    Leon    Landed  in 

Florida— 1513 
Walter  Connelly's  Birthday 
Surrender  of  General  Lee 
George  Arliss'  Birthday 
William  Booth  (Founder  of  Sal- 
vation Army)  Born — 1829 
Charles  Evans  Hughes  Born 
Henry  Clay  Born— 1777 
Thomas  Jefferson's  Birthday — 

1743 
Palm  Sunday 
Lee  Tracy's  Birthday 
Fifi  Dorsay's  Birthday 
Charlie  Chaplin's  Birthday 
Paul  Revere's  Famous  Ride 
Good  Friday 
May  Robeson's  Birthday 
Easter  Sunday 
Rome  Founded — 753  B.C. 
Queen  Isabella  Born — 1451 
Shakespeare  Born — 1564 
War  Declared  with  Spain 
Slavery  Abolished  in  U.  S. 
Morse  (Telegrapher)  Born 
Gen.  U.  S.  Grant  Born— 1822 
Lionel  Barrymore's  Birthday 
Daylight  Saving  Starts 
Washington  Inaugurated — 1789 
Boston  Settled— 1630 


APRIL 

I  St 

2nd 
3rd 

5th 
6th 

8th 


9th 
1 0th 


nth 
12th 
13th 

14th 

15th 

16th 
18th 
19th 

21st 

22nd 
23rd 
25th 
26th 
27th 

28th 

30th 


ROUND  TABLE  BIRTHDAY  GREETINGS 


Sam  Abrams 

S.  H.  Horowitz 

Sidney  Seckler 

Elmer  Amidon 

Russell  V.  Hupp 

Edward  1.  Selette 

Harry  Black 

Charles  Hyde 

J.  Warren  Sever 

Harold  Biumenthal 

Johnny  J.  Jones 

Samuel  L.  Shafer 

George  Bronson 

Milton  L.  Kaiser 

C.  H.  Simpson 

Bernard  Buchanan 

Wm.  E.  Keating 

Frank  B.  Sitton 

Ralph  Cokain 

Sumy  Lando 

Warren  A.  Slee 

Archie  Connolly 

Perry  L.  Lessy 

Lynn  Smith 

V.  M.  Cummings 

W.  C.  Lewellen 

Samuel  Sposato 

Cecil  W.  Curtis 

Jack  Litto 

Harold  C.  Stanzier 

Samuel  Daskalakis 

Otis  V.  Lloyd 

L.  A.  Stein 

R.  W.  Eberhard 

A.  L.  Lowenstein 

Don  R.  Stevenson 

John  Elliott 

Richard  J.  Ludwig 

Bernie  J.  Stone 

Lee  J.  Euering 

Lloyd  Murphy 

Earle  Tate 

J.  M.  Ensor 

Bert  Nix 

E.  R.  Toerpe 

Sidney  Feder 

Roy  L.  Patterson 

Al  Unger 

Stanley  Foreman 

Leo  Raelson 

Mrs.  A.  T.  Waldron 

Eddie  Forester 

W.  Horace  Reese 

Thomas  Wall 

George  Foster 

William  Reiser 

Emory  T.  Warner 

H.  B.  Fox 

Norman  C.  Rolfe 

Abe  P.  Werbner 

Ralph  C.  Fretz 

Victor  J.  Rosen 

Alfred  G.  Wertin 

Saul  L.  Goldstein 

Joseph  Rosenfield 

F.  H.  Whittemore 

Edgar  B.  Hands 

John  A.  Ryan,  Jr. 

T.  A.  Williams 

Harold  B.  Harris 

Ray  E.  Salisbury 

Dick  Wri:;ht 

Lou  Hart 

Dave  Schiller 

1.  W.  Wyte 

Sim  E.  Heller 

J.  P.  Schnitzer 

A!  Zimbalist 

Fox  Theatremen  Effect 
Good-Will  Buildups 

Cooperation  extended  to  local  police  de- 
partments and  schools  is  returning  added 
prestige  and  publicity  dividends  for  the  Fox 
Florence  Theatre  of  Los  Angeles,  accord- 
ing to  Ed  Hanley,  of  that  house,  who  re- 
ports the  recent  activities  of  Manager  J.  D. 
L'Esperance. 

An  inspection  of  deputy  sheriffs  attached 
to  that  section  of  the  city  was  held  on  the 
stage  and  photos  of  the  event  taken  in  the 
lobby  were  front  paged,  together  with  story 
which  carried  prominent  mention  of  the 
theatre.  Further  good  will  was  engendered 
by  permitting  graduating  exercises  of  local 
junior  high  school  to  be  held  at  the  Fox 
Florence.  Letters  of  appreciation  were  re- 
ceived by  L'Esperance  from  the  school  prin- 
cipal expressing  thanks  of  the  board  of 
education. 

To  start  off  initial  chapter  of  "Law  of 
the  Wild"  serial,  these  showmen  sponsored 
an  old  tire  and  junk  battery  matinee,  pack- 
ing the  house  with  interested  youngsters  and 
securing  sufficient  revenue  from  the  "ad- 
missions" to  make  the  gag  more  than  pay 
its  way  as  well  as  helping  to  clean  up  the 
neighborhood. 

Make  193  5  Your  Award  Year 

Henderson  Promotes  Ads 

A  snappy  ad  and  the  distribution  of  no- 
cash  heralds  were  promoted  from  local  Ford 
dealers  by  Leo  Henderson  at  the  Idaho  The- 
atre, Twin  Falls,  Idaho,  on  "Babbitt."  Copy 
read  "The  unanimous  choice  of  all  'Bab- 
bitts' is  the  new,  etc.,  etc."  Leo  reports  that 
the  stunt  worked  very  satisfactorily. 

Make  193  5  Your  Award  Year 

Loew  Managers  Win  Prizes 
In  "Transatlantic"  Contest 

Results  in  the  recent  United  Artists'  ex- 
ploitation contest  on  "Transatlantic,"  as  an- 
nounced by  Hal  Horne,  find  Milt  Harris, 
of  Loew's  State,  Cleveland,  the  winner  of 
the  first  prize  of  $100;  Lou  Brown,  of 
Loew's  Fox,  Washington,  D.  C,  winner  of 
second  prize  of  $75,  and  Les  Pollock,  of 
Loew's  Rochester,  taking  down  third  money, 
$50.  Judges  were  Al  Lichtman,  Hal  Horne, 
Harry  Goetz  and  Edward  Small. 


"Copperfield"  Screening 
Helpful  to  Bill  Decker 

Educators,  heads  of  literary  societies, 
teachers  of  English,  etc.,  were  guested  by 
Bill  Decker  at  the  Cambria,  Johnstown,  Pa., 
at  a  special  screening  of  "Copperfield," 
those  invited  doing  a  noble  job  of  spreading 
the  good  word  round  town. 

Bill  also  hooked  in  to  press  book  tieup 
with  pen  manufacturer  with  vacation  trips 
offered  for  best  "why  I  like"  letters.  Details 
via  herald  were  distributed  at  all  book  and 
drug  stores  carrying  that  brand  of  pen. 
Decker  further  secured  attention  with  the 
walking  book  bally. 

Make  193  5  Your  Award  Year 

Jack  Personally  Endorses 

Using  the  personal  endorsement  slant 
only  when  it  really  means  something.  Jack 
Johannsen  at  the  Imperial,  Augusta,  Ga., 
spread  himself  a  bit  on  what  he  thought  of 
"Broadway  Bill,"  as  can  be  seen  in  accom- 
panying photo.  Jack's  front  was  decorated 
with  standees  of  the  stars  and  giant  cut- 
outs of  Loy  and  Baxter  atop  marquee. 


Johannsen's  Personal  Endorsement  Display 


84 


MOTION    PICTURE  HERALD 


March    2.    193  5 


H.  L.  LAURENCE 

at  the  Capitol  in  Paris,  Tenn.,  after  a  brief 
illness,  is  back  in  harness  again.  We  are 
sure  all  his  friends  will  be  glad  to  hear  it. 

V 

LOUIS  SHIMON 

has  just  joined  the  Garden  Theatre,  Mil- 
waukee, Wis.,  staff  as  assistant  manager, 
in  charge  of  exploitation  and  publicity. 

V 

TOM  LONG 

is  publicity  man  for  the  Palace,  Youngstown, 
Ohio. 

V 

EDDIE  RIVERS 

is  handling  the  advertising  department  of  the 
Hamrick  theatres  in  Seattle,  Wash.,  follow- 
ing the  resignation  of  JOE  ROSENFIELD. 

V 

CHARLES  MENSING 

is  back  at  the  Orpheum  in  Memphis,  Tenn. 

V 

EARL  HARRIS 

has  been  named  manager  of  the  May  fair 
Theatre  in  Seattle,  Wash.  SAM  SAXE 
continues  as  general  manager. 

V 

LEE  EUERING 

has  been  promoted  to  manage  the  Hippo- 
drome in  Springfield,  Ohio. 

V 

KROGER  BABB 

former  newspaper  man  in  Lima  and  Wil- 
mington, Ohio,  has  joined  the  Chakeres- 
Warner  outfit  as  publicity  director. 

V 

LEON  M.  GIBSON 

formerly  assistant  manager  at  the  Broadway 
Theatre,  Fayetteville,  N.  C,  has  been  pro- 
moted to  manage  that  house.  Congrats  and 
good  luck,  Leon. 


Archie  Clark,  the  Liberty,  Horton,  Kan., 
sends  this.  Background  in  light  blue,  head 
in  shades  oi  yellow,  brown  and  red,  and  all 
the  lettering  in  metallics. 


To  Mr.  and  Mrs.  Al  Dean  a  datighter 
JULIE  MARGARET.  Weight  71/2 
pounds  and  released  at  Doctors'  Hos- 
pital, New  York  City,  February  27th. 
Dad  is  Director  of  Publicity  Para- 
mount International. 

MARCIA  LYNN  BAMBERGER, 
daughter  of  Mr.  and  Mrs.  Herman 
Bamberger,  "released"  February  6. 
Weight,  8  pounds;  color,  red;  hair, 
black;  eyes,  blue;  and  lungs,  swell. 
Which  is  the  way  Her  matt  at  the 
Paramount,  Springfield,  Mass.,  ex- 
ploits his  latest  attraction. 

V 

C.  ERVING  STONE 

is  managing  the  Imperian,  Greensboro,  N.  C. 

V 

TOM  McMAHON 

has  been  transferred  from  the  Mosholu, 
Bronx,  N.  Y.,  to  the  Tivoli,  New  York 
city  nabe  house.    Lots  of  luck,  Tom. 

V 

ROBERT  MOMM 

manager  Warners  Sherman,  Chillicothe, 
Ohio,  has  been  transferred  to  the  Ohio  at 
Sidney  exchanging  posts  with  RAY  AL- 
LISON, who  is  in  charge  of  the  Sherman. 

V 

HARRY  WEST 

has  reopened  the  Greenville,  Greenville,  Cal. 

V 

H. BERG 

has  reopened  the  Roosevelt,  Oakland,  Cal. 

V 

DAVE  FLAM 

stopped  in  at  Club  headquarters  to  say  hello 
and  he  was  a  mighty  welcome  visitor. 

V 

JACK  SANSON 

has  been  transferred  from  the  Roger  Sher- 
man in  New  Haven,  Conn,  to  the  Colonial, 
Hartford,  succeeding  GEORGE  BRON- 
SON,  who  has  gone  to  the  Warner  house 
in  East  Liberty,  Pa. 

V 

JOHNNY  SAUNDERS 

has   been   transferred    from   the  Pueblo, 

Pueblo,  Colo,  to  the  Kiva  in  Lincoln,  Neb. 

V 

GEORGE  OTTE 

will  be  in  charge  of  the  State  Theatre,  Kit- 
tanning,  Pa. 

V 

BILL  BROWN 

of  the  Marboro,  Brooklyn,  N.  Y.  stopped  in 
to  say  hello  on  his  return  from  a  vacation 
in  Miami. 


BILL  RAYNOR 

has  resigned  as  manager  of  the  Harris- 
Memorial  in  Pittsburgh,  Pa. 

V 

C.  C.  LAWING 

has  opened  a  new  house  in  Whiteville, 
Tenn.,  to  add  to  his  string. 

V 

W.  M.  YOUNGCLAUS 

has  leased  the  Empress,  Grand  Island,  Neb. 

V 

ADOLPH  BUEHRIG 

is  managing  the  State   in   Canton,  Ohio. 

V 

HAROLD  MALONEY 
of  the  State,  Providence,  R.  I.,  is  out  on  sick 
leave    with    HOWARD  BURKHARDT 
filling  his  place  temporarily. 

V 

CHARLES  GARFIELD 

now  at  the  Prospect  in  the  Bronx,  N.  Y. 

V 

ED  BENJII 

may  now  be  found  at  the  Capitol  in  Madi- 
son, Wis. 

V 

JAMES  O'TOOLE 

is  holding  down  the  fort  at  the  Plaza,  San 
Diego,  Cal.,  replacing  J.  O.  LAMONT, 
who  has  gone  to  the  Palace,  Long  Beach. 

V 

EDWARD  I.  SELLETTE 

is  in  Albany,  N.  Y.,  at  the  Regent  Theatre. 

V 

EDDIE  RIVERS 

has  been  promoted  to  advertising  manager 
of  the  Hamrick  Theatres,  Seattle,  Wash. 


Eddie  Burgess,  artist  for  the  Rex  Theatre, 
Rapid  City,  So.  Dak.,  is  responsible  for  this 
caricatured  poster  of  Will  Rogers  in 
"County  Chairman". 


March    2.  1935 


MOTION    PICTURE  HERALD 


85 


THE  RELEASE  CHART 


Productions  are  listed  according  to  the  names  of  distributors  in  order  that  the  exhibitor  may  have  a  short-cut  towards  such 
information  as  he  may  need,  as  well  as  information  on  pictures  that  are  coming.  Features  now  in  work  or  completed  for  release 
later  than  the  date  of  this  issue  are  listed  under  "Coming  Attractions."  Running  times  are  those  supplied  by  the  companies. 
Asterisk  indicates  running  time  as  made  known  by  West  Coast  studio  before  announcement  by  home  office  in  New  York.  Varia- 
tions also  may  be  due  to  local  censorship  deletions.  Dates  are  1934,  unless  otherwise  specified.  Letter  in  parentheses  after 
title  denotes  audience  classification  of  production:  (A)  Adult,  (G)  General.  Numerals  following  audience  classification  are  pro- 
duction numbers. 


AMBASSADOR  PICTURES 


Features  Runnino  Tim* 

Titl*  star  Rel.  0(te      Mlnutei  Ravlmd 

Fllhting  TrMPcr,  TIm  Kermit  Maynant   Nov.  15  

NMihern  Frontier   Kermit  Maynard   Jan.  I5,'35  

Coming  Attractions 

nil  Fiahting  Blood   Kermit  Maynard   July  26,'35  

fi«d  Blood  of  Courage   Kermit  Maynard    Apr.  I7,'35  

Sandy  of  the  Mounted   Kermit  Maynard   Aug.  26,'35  

Timber  War   Kermit  Maynard   May  2I.'35  

Trails  of  the  Wild  Kermit  Maynard   Juno  26,'35  

Wilderness    Mail   Kermit  Maynard   Mar.  I3,'35  


CHESTERFIELD 


Features 

Title 


Star 


Curtain  Fallt,  TIm  (A)  Henrietta  Crotman     .   Oot. 

Green  Eyes  (0)  Charles  Starrott-Shlrloy  Or«y...Junt 

Sans  of  Steel  S.  Starrett  •  Polly  Ann  Young. .Dec. 

World  Aecusses.  Tb«  Dickie  Moore  •  Russell  Hoptsn- 

Cora  Sue  Collins  Nav. 

Cominff  Attractions 

Clnumstanclal  Evidence   

Death   From  A  Distance  

Happiness  C.O.D  

Shot  In  the  Dark,  A  Charles  Starrett -Marl on  Shilling  


Running  Time 
Rel.  Dat*     Minutes  Ravlowed 


1.. 
IS.. 
IS.. 


....67.... Oct. 
....67....D00. 


12. 


COLUMBIA 


Carnival  (Q) 
Fugitive  Lady  (A). 


Features 

Title  Star  5. 

Against  th«  Law  (A)  John  Mack  Brown-Sally  Blans...Oct. 

Behind  th»  Evidenta  (B)  Norman  Foster-Sholla  MaBBors...Jan. 

Beyond  the  Law  (8)  Tim  McCoy-Shirley  Grey  July 

Best  Man  Wins,  The  (Q)  J.  Holt-Florence  Rlce-E.  Lews.. Jan. 

Braadway  Bill  (G>  Warner  Baxter-Myma  Lay  Doc. 

CapUIn  HatM  tha  8o«  (0) ...  Fred  Keating  -  Wynne  Gibson- 

Victor  McLaglon-John  Gilbert.  .Oct. 

 J.  Durante  -  Lee  Tracy  -  Sally 

Eilers  -  Floroncs  Rica  Feb. 

 Neil   Hamliton-Floreaca  Rise — Oct. 

(See  "In'  the  Cutting  Room,"  Oct.  20.)      .  .  _ 

Girl  In  Danger  (A)  Ralph    Bellamy-Shirley   Grey  Aug. 

I'll  Fix  It  Jack  Holt-Mona  Barria  Oct. 

Jealousy  <G)   Nancy  Carroll-Donald  Cook  Nov. 

Lady  by  Choice  (G)  Carole  Lombard  -  May  Robson  • 

Walter  Connolly-Roger  Pryor...Oet. 

Law  Beyond  tha  Range  Tim  McCoy-Blllle  Seward  Fob. 

Man's  Game,  A  (G)  Tim  McCoy-Evelyn  Knapp  June 

Men  of  the  Night  (0)  Bruce  Cabot-Judlth  Allen..  Nov. 

Mills  of  tbo  Gods  (Q)  May   Robson-Vletor  Jory-Fa» 

Wray   Deo. 

Prescott  Kid   Tim  McCoy-Sheila  Mannors  Nov. 

Square  Shooter  (G)  Tim  McCoy   Jao. 

(See  "Ouick  Sand"  "In  the  Cutting  Room,"  Nov.  17.) 

That's  Gratitude   (A)  Frank   Craven-Sheila   Manners-.  .Oct. 

Voice  In  the  Night  (Q)  Tim  MeCoy-Blllie  Seward  Apr. 

Westerner,  The  (G)  Tim  McCoy-Marian  Shilling  Dae. 

Whits  Lies  (A)  Victor  Jory-Fay  Wray  Nov. 


Running  Time 
Data     Minutes  Reviewed 


25. 
20,'S5.. 

20  

5,'39. 
27  


..61...  Dm. 
...57.. Feb.  2,'35 

...58  Dee.  2> 

...68.. Jan.  S,'35 
.•105  Nov.  10 


22  '103. ...Oct.  27 

10,'Sl  75. Feb.   23. '35 

25  68  

2t  61  Dec.  I 

15  69.... Nov.  17 

20  60  Dec.  15 

15  •«5....0ct.  6 

I5.'S8  58  

21  58  Oct.  20 

26  58  Dee.  8 

IS  67.  Jan.  ig,'S5 

8  56  

2I.'S5  57  


6... 

6... 
10... 
27... 


.Nov.  17 
...74..JaB.'"5."'j5 


.64. 
.50. 


Coming  Attractions 

Black    Room    Mystery  Boris  Karloff    

Call  to  Arms  (G)  Wliiard   Mack-Ben  Lyon-Shella 

Mannors-Wora  Engois   

(See  "U  tha  Cutting  Room,"  Nov.  3.) 

China  Roars  .■.■■••••-•Ui 

Devil's  Cargo   Marian  Marsh-Wallace  Ford  War.  8,35  

(See  "In  the  Cutting  Room."  Jan.  26.'35) 
Eight  Bells   Ann  Sothern-Ralpb  Bellaay  

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 

Feather  In  Her  Hat,  A  

Fighting   Shadows  Tim    McCoy-Geneva  Mitchell  

Frisco   Fury   Jack  Holt   

Georgiana   Ann  Sothern   

GImpy   Jack  Holt-Mona  Barrio  Mar.  20.'35  

Girl  Friend,  The  Lupe  Velez-Jaek  Haley  

Grand  Exit  

Hot  News    Richard  Cromweil-Bltlle  Seward  

If  You  Could  Only  Cook  Claudette  Colbert   

I'll  Love  You  Always  Nancv  Carroll-George   Murphy. .. Mar.  29,'35  

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 
In  Spite  of  Danger  Florence  Rice-Conrad  Nagel  Feb.  28,'35  

(See  "Mistaken  Identity"  "In  the  Cutting  Room,"  Jan.  I8.'35) 

Lady  Beware   

Let's  Live  Tonight  Lilian  Harvey-Tulllo  CarmlnatI . .  Mar.  I,'35  

(See  "Once  A  Gentleman"  "In  the  Cutting  Room,"  Dec.  29.) 

Maid  of  Honor    

On  Wings  of  Song  Grace  Moore   

Party  Wire   Jean  Arthur-Victor  Jory  

Revenge    Rider   Tim  MeCoy-Blllle  Seward  Mar.  I8.'35  

(Seo  "Alias  John  Law"  "In  the  Cutting  Room,"  Dec.  8.) 

Sure  Fire   Gene   Raymond-Ann  Sothern  

Whole  Town's  Talking,  The  (O).Edw.  G.  Robinson-Jean  Arthur. ..  Feb.   22,'35  '93. Jan.    28, '35 


DU  WORLD  PICTURES 


Features  Running  Tl 

Title  Star  Rel.  Date  Minutes 

Blue  Light  (A)  5029  LenI  RIefsnstahl   Oct.    15  90. 

CranaueblMe  503S   Doe.  15  

Girl  In  tha  Case  3005  Jimmy   Savo-Eddio  Lambart- 

Dorothy  Darling   80. 

Kseha,  LuM  Szannl*  5041  (Polish)   Hn.     1  72. 

L'Aganle  des  Algles  (A)  5032. Pierre  Renoir   Dae.     1  80. 

Man  Who  Changed  His  Name. 

Tha  (A)  5088  Lyn  Harding   65. 

Marie  S04S   Annabolla   Jan.     I.'SS  67. 

Old  Bill  5038  Anatole  France  stsry  Feb.    I0,'35  70. 

Viennese  Lave  Song  Maria   Jerltza   Fab.    IS.'SS  72. 


me 
Reviewed 


. . .  Do*. 
...Oct. 


8 

27 


Comintf  Attractions 


Lady  of  Camelias  Y.   Printemps-Pierre  Fresnay.. 

World  In  Revatt  Graham  McNamee  


Apr. 
..Mar. 


I5,'35.. 
I. '35. 


FIRST  DIVISION 


(Releases  Monogram,  Liberty,  Chesterfield  and  Invincible  pictures  In  certain  territories.) 
Title  Star  DIst'r  Running  Time 

Features  Minutes  Reviewed 

Conventlsn  Olrl   Rose  Hobart   Oct  31  

Flirtation   Jeannette  Lofl- 

Ben  Alexander  Nov.     9--i-  -.i-  „ 

Hoi  Tiki  (G)   (All  Native  Cast) ...  Principal   Feb.     I,'35..  .88.  .Feb.  8,'35 

Little   Damozel   Anna    Neagle    ..Dee.  I  

Return  of  Cbandu   Maria  Alba- 

Bela  LugosI  Principal   Oct.     4  «A'"": 

WMt*  Heal    Virginia  Cherrlll  Ort.  I 


FIRST  NATIONAL 


Features  Runing  Time 

Title  Star  Rel.  Date     Minutes  Reviewed 

Babbitt    (G)    869  Aline  MacMahon-Guy  KIbbee. . . .Dec.     8  *75  Nov.  17 

British  Agent  (A)  751  Leslie   Howard-Kay   Francis. ...  .Sept.  IS  81  Aug.  II 

FllrUtloB  Walk  (G)  752  Dick   Powell  ■  Ruby  Keeler-Pat 

O'Brien   Dee. 

Gentlemen  Are  Born  (G)  872.  Franchot  Tone-Jean   Mulr  Nav. 

Happiness  Ahead  (G)  867  Dick  Powell-J.  Hutchinson  ..Oet  27  

I  Sell  Anything  (G)  873  Pat  O'Brien  -  Ann   Dvorak  -  0. 

Dodd   Oct 

Living  On  Velvet  856  Kay    Francis  -  George  Brant- 

Warren  William   Mar. 

(See  "In  the  Cutting  Room,"  Dec.  8.) 
Lost  Lady,  A  (A)  BK2  Barbara  Stanwyck-Lyle  Talbot-. .Sept.  29. 


1.. 
17. 


...97....NtV.  II 
..•75....0st.  20 
...88.... Sept.  22 


20   70....0eL  20 


2,*S5. 


Maybe   It's  Love   (G)   876  Gloria  Stuart-Ross  Alexander  Jan. 

Murder  in  the  Clouds  (G)  877.Lylo  Talbot-Ann  Dvorak  Deo. 

Red  Hot  Tires  878  Lyio  Talbot-Mary  Astor  Feb. 

Six  Day  Bike  Rider  rG)  hk«  .  Joe  E.  Brown-Maxine  Deylt  Oct. 

Woman  in  Red,  The  (A)  863.. B.  Stanwyck-Gene  Raymond  Feb. 

(See  "Northshore"  "In  the  Cutting  Room,"  Dee.  8.) 


.80. 
.61. 


.Salt  8 

I2,'3S  62.... Nav.  24 

IS  61..  Jan.  8.'S5 

2,'SS...„61  

20    69. ...Nav.  10 

I8,'S5  


Coming  Attractions 


Alibi    Ike   Joe   E.  Brown  

Black  Fury  (A)  Paul  Muni-Karen  Marley  

(See  "In  the  Cutting  Room,"  Jan.  I9,'35) 

Captain  Blood   Robert  Donat-Jean  Mulr  

Cass  of  the  Curious  Bride  Warren  William   Apr.    13, '33  

Go  Into  Your  Dance  853  Al  Jolson-Ruby  Keeler  Apr.  20,'35  

(See  "In  the  Cutting  Room,"  Jan.  I9,'35) 

Gold  Diggers  of  1935  (G)  851.  Dick  Powell-Gloria  Stuart  Mar.   I6,'35  95 

In  Caliente  856   Dolores  Del  Rio-Pat  O'Brien  

(See  "In  the  Cutting  Room,"  Feb.  2,  '35) 

Oil  for  the  Lamps  of  China  867. .  J.   Hutchison-Pat  O'Brien  

Singer  of  Naples  Enrico  Caruso,  Jr  

Traveling  Salesiday  870  Joan  Blondell   Apr.     6, '35  

Wanderlust  875   Aline  MacMahon-Guy  KIbbee  Apr.   27, '35  

While  the  Patient  Slept  874. ..Aline  MacMahon-Guy  KIbbee  Mar.     9,'35  66. 

(See  "in  the  Cutting  Room,"  Dec.  29.) 


FOX  FILMS 


Features 

Title  Star  Rel. 

Baboona  (G)  530  Mr.  &  Mrs.  Martin  laliuaa  Feb. 

Bachelor  of  Arts  (G)  520  Tom  Brown-Anita  Louisa  Nov. 

(See  "In  the  Cutting  Room,"  Nov.  3.) 

Bright  Eyes  (G)  524  Shirley  Temple-James  Dunn  Dec. 

Caravan  (A)  508  Charles    Boyer-Loretta  Young- 
Jean  Parkor  Phillips  Holmes.. .Oct. 

Charlie  Chan  In  Paris  (G)  526. Warner  Oland   Feb. 

County  Chairman,  Tha  (G)  525.  Will    Rogers   Jan. 

Dude  Ranger,  The  (G)  507  George  O'Brien   Sept. 

Elinor  Norton  (A)  510  Claire  Trevor  •  Norman  Fester - 

Hugh  Wllllams-G.  Roland  Nov. 

First  World  War,  The  (A)  519  Nov. 

Gambling  (A)  512  George  M.  Cohan  Nov. 

Great  Hotel  Murder  (G)  522.. Edmund  Lowe-Victor  McLaglen. .Mar. 

Helldorado  (G)  522  Richard  Arlen-Madge  Evans  Dec, 

Hell  In  the  Heavens  (A)  SI7.. Warner  Baxter-C.  Montenegra  Nov. 

Judge  Priest  (G)  509  Will  Rogers   Sept. 

Little  Colonel  (G)  531  Shirley  Temple-L.  Barrymors  Feb. 

Lottery  Lover  (G)  523  "Paf   Paterson-Lew  Ayres  Jan. 

Love  Time  (G)  506  "Pat"  Paterson-NHs  Asther  8«pt. 

Marie  Galante  (A)  511  Spencer  Tracy-KettI  Galllan  Oct. 

Music  In  the  Air  (G)  513  Gloria  Swansea  -  John  Boles  • 

Douglass  Montgomery   Dee. 

Mystery  Woman  (G)  515  Mona  Barrle-Gllbert  Roland  Jan. 

One  More  Spring  (G)  529  Janet  Gaynor-Warner  Baxter  Feb. 

Peck's  Bad  Boy  (G)  516  Jackie  Cooper-Thomas  Melghan- 

Dorothy  Peterson-Jackie  SearL.Oct. 

Pursued  (A)  502  Rosemary  Ames-Victor  Jory  Aug. 

365   Nights  In   Hollywood  (G) 
514   Alice  Faye-James  Dunn  Oct. 

Under  Pressure  521   Edmund  Lowe-Victor  McLaglen.. .Ju. 

(Reviewed  under  the  title  "Man  Lock") 

When  a  Man's  a  Man  527  George   O'Brien   Feb. 

White  Parade,  The  (G)  518... John  Boles-Loretta  Young  Nov. 


Runing  Time 
Date     Minutes  Rovlewei? 

8,'39  72Jan.  2a,'35 

23    74  


28.... 

5... 

1,'SS. 
II,'S5. 
21.... 

2.... 
23.... 

S.  . 

I, '35. 
21  

0  

28.... 
22.'8S. 

4,'35. 
21.... 
26.... 

7.... 
IS.'SS. 
I5,'35. 

19.... 
24.... 

12.... 
2S,'35. 

I5,'35. 
18.... 


..83  Dec.  IS 

.101.... Sept.  8 
.•70..  Jan.  S.'SS 

..78  Dec.  29 

..65.... Sept.  22 

..72. ...Oct.  27 
..78. ...Nov.  17 
.  80.  ..Dae.  n 
.*70.Feb.  23,'35 

..74  Dec.  10 

..80. ...Nov.  3 
..79... Aug.  IJ 
.•80.  Feb.  16,'SS 
..82.. Feb.  9, '35 

..73  Nov.  « 

..88  Nov.  24 

..81. ...Dae.  22 
..69.  Jan.  28,'SS 
..90.. Feb.  9,'35 

..70.... Sept  8 
..68.... Nov.  24 

..74. ...Nov.  17 
.•65. Jan.  IL'SS 


.83. 


.OcL  27 


Coming  Attractions 

Dante's  Inferno   Claire  Trevor-Alice  Faya  

Doubting  Thomas   Will  Rogers   

George   White's   1935  Scandals 

534   Alice  Faye-James  Dunn  Mar.  8,'3S. 

(See  "In  the  Cutting  Room."  Feb.  23, '35.) 

Heaven's  Gate   Shirley  Temple   

It's  a  Small  World  Spencer  Tracy-Wendy  Barria  , 

Life  Begins  at  40  533  Will  Rogers   Mar.  22,'35. 

(See  "In  the  Cutting  Room."  Jan.  26,'35) 

Man  Eating  Tiger  (tent.)  Lew  Ayres-Claire  Trevor  Mar.  IS,'35. 

Redheads  an  Parade  536  J.  Boles-Claire  Trevor-Allee  Fay 

Safe  in  Jail  

Secret  Lives   Gilbert  Roland-Mona  Barrie  

$10  Raise   Edward  Everett  Norton  

Thunder  In  the  Night  52*  Warner  Baxter- KeHI  Galllan. .  .  .  June  7,'S5. 


86 


MOTION    PICTURE  HERALD 


March    2.    I  935 


fTHE  RELEASE  Ct1AI3T"C€NT'E) 


GB  PICTURES 


Features 

Title  Star 

Cliu  Chin  Chow  (0)  S40I  Anna  May  Wono-Geerge  Robay. 

Dictator,  Tha   (A)  Clivo  Brook   

Etensonu  (A)  34U6  Evelyn  Laye   

Ev«rgre«n  (A)  3405  Jessia  Matthew(-8oanla  Hala.. 

Iron  Duke,  The  (0  )  3407  George  Arli$>   

Jack  Ahoy  (0)  3404  Jack  Hulberl   

Little  Friend  (At  3403  Nova  Pilbeam-Matheson  Lang.. 

Lover  Divine   Marta  Eggerlh   

(Reviewe't  under  the  title  "UnflnUhed  Symphony") 
Man  Who  Knew  Too  Much,  The 

(G)   Leslie  Banks,  Edna  Best  

Man  of  Aran  (A)   Robert  Flaherty   

My  Heart  Is  Catling  (G)  Jan  Kiepura   

My  Song  lor  <  uu  Jan  Kiepura   

Power  (A)  3402  Conrad  Veidt-Benlta  Hume.... 

Prineeti  Charming  (G)  3408. ..  Evelyn   Laye-Henry  Wllcoxon.. 

INVINCIBLE  PICTURES 

[Distributed  through  Chesterfield] 
Features 

Title  Star 

Ohott  Walks,  Th*  John  Mll|an-June  Collyer  

One  In  a  Million  (G)..   Dorothy  Wilson  C.  Starrett  

Port  of  Lost  Oreama  (0)  V/m.  Boyd  Lola  Lane  

Symphony  fer  Liviog  Evelyn  Brent,  Al  Shean  

Cominq  Attractions 

Publle  Opinion   Lois  Wilson-Shirley  Grey  

Room  and  Board  


Running  Time 
Rel.  Date      Minutes  Reviewed 

Oct     IS  95       Sept  29 

 95.  Feb.  I6,"3S 

Dec.     15  82...  Nov.  i 

31  98...  June  23 

'35  90       Dec.  22 

8.'3$  70.  Feb.  IS.'35 

l«  «8  . .  .Oct.  a 

 Oct.  IS 


.  Dec, 
Jaa. 
.Feb. 
.Nov. 


.Dec. 


.Nov. 
.Jan. 


'33. 


..80. ...Dee.  29 
..77  OeL  27 
.  .90..F»b  2.'3.n 

 Nov.  10 

103. ...OcL  13 
..81  


Running  Time 
Rel.  Date      Minutes  Reviewed 

.  Dee.  I  

.Sent    IJ  66  Nov.  24 

.Oct.     15   68  Nov.  24 

.Jan.    20,U  75  


LIBERTY  PICTURES 


Features 

Title  Star  ReL  Date 

No  Ransom  (A)   1004  Leila  Hyama-Philllpc  Holmes  Oct.  S. 

Once  to  Every  Bacheler  (A) 

1005   Marian    Nlion-Nell    HaraMtea  Dm. 

Take  the  Stand  (A)   1003  Jack  LaRue  Ttielma  Todd  SepL 

Two  Heads  on  a  Pille:?  (A) 

1006   Neil  Hamilton-Miriam  Jordan  Oct. 

When  Strangers  Meet  1002. ...  Richard  Cromwell-Ariine  Judge.  ..July 

Coming  Attractions 

OI»y   Dames   M.  Rambeau-Florlne  McKlnaey  

I'll  Bet  Vou    

Old  Homestead,  The  Mary  Carlisle-Lawrence  Gray  

Srhnol   Fr>r   GirU    la)    |007  Sidney    fni  Paul    Kelly   Mar.  22,'35. 

Sweepstake  Annie  (G)  Marian  Ni«on-Tom  Brown  

Without  Chlldien  (A>  1008... .M.  Cburchill-Bruce  Cabot  


Running  Time 


14. 
7. 


2. 
20. 


Minutei 

70. 


.72. 
.78. 


Reviewed 
July  21 


Met 

.Seat. 


10 
IS 


.71. 
.74. 


.Oct.  13 


.8 1. Feb.  23/35 


MAJESTIC 

Features 

Title  Star 
Night  Alarm  (0  )  805  Bruce  Cabot-Judllh  Allen-H.  B. 

Warner  -  Fu/Jy  Knight  

Perfect  Clue,  The  (0)  812.... David  Manners  Dorothy  Libaire-. 
Scarlet  Letter,  The   (A)  SOI. .Colleen  Moore  Hardle  Albright- 

Henry  B.  Walthall  

She  Had  ta  Cheese  (Q)  504...  Larry    "Busirr"  Crabbe-lsabel 

Jewell  -  Sally  Blana  

Coming  Attractions 

Mutiny  Ahead   Nell  Hamllton-Katblaen  Burka.. 

(See  "In  the  Cutting  Roeni."  Jan.  26,'3S) 

MASCOT  PICTURES 

Features 

Title 

Crimson  Romance  (A).... 

In  Old  Santa  Fe  (0)  

Little  Men  (0)  

Last  Jungle,   The  (0)... 
Marines  Are  Coming,  Tha. 


Running  Time 

Rel.  Date       Minutes  Reviewed 

(New  York) 

.0*0.    II  65  SepL  22 

 *63....Da«.  I 

Sept   14  70  July  14 

.SepL  14  8S....Aug.  II 


Star 

...Ben  Lyon-Sarl  Marltza  

...Ken  MaynardEvalyn  Knapff.. 
...Erin  0°Brien-Mo«re-R.  Morgan 

...  Clyde  Beatty  

 William  Halnes-Armlda 

Conrad  Nagel  Esther  Ralstei.. 
Young  and  Beautiful  (A)  William   Halnes-Judlth  Allea... 

Coming  Aitrnctinns 

Behind  the  Green  LIghIa  Norman  Foster-Judith  Allen.... 

METRO-GOLD  WYN-MAYER 

Features 

Title  Star 

Babe*  In  Toyland  (0)  Laurel  and  Hardy-C.  Henry  

Barrattt  of  WIfflpela  Btraat  (A).  Norma  Shearer  Charlee  Laugb- 

ton-Fredrle  March   

Band  Plays  On,  Tha  (0)  Robt.  Young-Betty  Fumeas  

Biography  af  ■  Bachalar 
Girl   (A)   R.   Montgomery-Ann  Harding... 

Chained  (A)   Joan   Crawford-Clark  Gable  

David  Copperfleld  (Q)  Frank  Lawton  ■  Freddie  Bar- 
tholomew -  W    C.   Fields  -  L. 
Barrymore- Edna   M.  Oliver... 

Death  an  the  DIamand  (fl)....  Robert  Young  Madge  Evans  

evelyn  Prentice  (A)  William   Powell-Myrna  Ley  

forsaking  Ail  Others  (A)  Joan    Crawford    Clark  Gable-. 

Robert  Monlgomery   

Gay   Bride,   The    (A)  Carole  Lombard  Chester  Merrli.. 

Have  a  Heart  (0)  Jean  Parker  .  lames  Ounn  - 

Stuart   Erwin  -  Una  Merkel... 

Merry  Widow.  The  (At  Maurice  Chevalier- J.  MacDonald. 

Night  is  Young    The  (Q)  Ramon   Novarro  Evelyn  Laye  

Outcast  Lady  (A)  Constance   Brnnett    -  Herbert 

Marshall  -  Hugh  Williams  

Painted  Veil,  Tha  (A)  Crete  Garbo- Herbert  Marshall- 
George  Brent   

Seguala  (0)   Jean  Parker- Rusiell  Hardia  

Shadow  of   Doubt   (G)   Rlcardo  Conei  Virginia  Bruea.  . 

Society   Deetor   Chester  Morrls-V.  Bruee  

(Reviewed  under  the  title  "Only  B  Hours") 

Student  Tour   lO)   Charles   Butterworth- J.  Durante. 

Treasure  Island  (G)  Wallace  Beery-Jackle  Coeper- 

Lionel  Berrymore-Otte  Kruger. 

Vanessa,  Her  Love  Story  (A). Helen  Hayes- Robt.  Montgomery. 

Wn«i  t»er»  Mfsman  Knowa  (O ) .  H elen  Heyes-Brlen  Aherne 

Wicked  Weman  (A)  Mady  Christlans-Chas.  Biektord. 

WInnina  Ticket.  The  (G)  Leo   Carrilio-L.  Fa^enda  

Cnminrt  AttrnctinnS 

After  Office  Hours  (G)  C.  Bennett-Clark  Gable  

Canine  Murder  Case         ....    Paul  Lukas   

(See    "In   the   Cutting    Room."    Feb.  I6.'35.) 

China  Seas   Wallace  Peery-Clark  Gable  

Mark  of  the  Vampire  Lionel  Barrymore  

Naueh'«   Mari.ita  l    MaeDnxiiM  Melson  Eddy  

.  (See  "In  the  Cutting  Room,"  Feb.  23,'35.) 


Rel. 
.Oct. 

Nov. 
.  Dec. 
.June 

^Nov. ' 
.Sept. 


Running  Time 


Date 

I . . 
15.. 
14.. 
13.. 

m'.'. 

2.. 


Minutes 

67  . 
.63.. 
.72.... 
..68.... 

Via.'." 

..88.. 


Reviewed 

OcL  6 
Nov.  24 
Dee.  23 


.Dee. 
.SepL 


15 
8 


Running  Tiaa 
Rel.  Date      Minutes  Reviewed 
Nev     30  79  Nav.  24 


Sept. 

21  

.III. 

...Aug.  4 

Dec. 

21  

.  .85. 

. . .  Dee.  29 

.Jan. 

4,'S5... 

.84. 

. . .  Dae.  29 

.Aug. 

SI  

.•74. 

...Sept  1 

.Jan. 

I8.-S3... 

.  133 

Jan.  l9.-tS 

Sept. 

14  

.72 

.    SepL  29 

Nov. 

8  

.80. 

..Nov.  3 

.  74 

..July  21 

Dec. 

ir !!!!'. 

.84 

. . .  Dee.  8 

.Dec. 

14  

.82. 

...Nav.  17 

Sept. 

7  

.  82 

.-Oct.  27 

Nov. 

2  

.100. 

...SepL  8 

.Jan. 

II, '38.. 

..82. 

...Dae.  29 

.Sept. 

28  

.79. 

...Sept  8 

.Nov. 

23  

..88 

..  Nov.  10 

.Feb. 

I.'SJ  . 

.  72 

Nav.  17 

Feb. 

I5.'S3.. 

..75 

Feb.  9,'35 

Jan. 

2S,  Si... 

.68 

Jan.  12,'SS 

Oct. 

S  

..87 

...Nov.  10 

Aug. 

17 

.110 

iutv  '» 

Mar. 

l.'35... 

.  .77 

Feb.  23,'35 

Oft. 

19 

92 

Oct  li 

.  Dec. 

7..  .. 

.74 

..Dee.  1 

.Feb. 

8,'3S.. 

.  .70 

Jan.  I9,'35 

Feb. 

22.  35.. 

..73 

Feb.  I8,'35 

Mar. 

!  Mar'.' 

22.'35!;. 

.Mar. 

29.35.. 

Title  Star 

Order  Please   Francnot  Tone-Una  Merkel.. 

Huuiic  bnomi  Na.  2  Charles  Bultorwortb  Apr.  19.'3S.. 

HacKioM   iean  Haciuw-wra.  Pewell  Apr.  5,'3S.. 

ibec  "la  ina  Cutting  Ream,"  Oee.  2lt.j 
rimas  square  Lady  Robert  Taylor   Apr.  I2,'3S.. 

(See  "In  the  Cutting   Room."    Feb.  I6,'35.) 

Typee   Mala,  Lotus  Long  

Vauabond  Lady   Hubert  Young-txiiyn  Venable  

yyeoi  f«ini  ol  the  Air   Wallace  beory-HuDert  Tauog  Mar.  I5,'3S.. 

(See  "In  me  Cuning  Room,"  Feb.  2,  '35) 

MONOGRAM  PICTURES  CORPORATION 


Running  Time 
Rel.  Date      Minutes  Re«lg«g4 


Features 

Title 

Flirting  With  Danger  (G)  3023 
Girl  of  (he  Limberleel  (8) 

3001   

Girl  0    My  Dreams  IQ)  3015 

Happy   Landing   iG)  3029   

Lawless   Frontier   tOl  SUSS  

Lost  In  the  Stratosphere  (G) 

3020   

Man  from  Utah.  The  (0)  2044 
Million   Dollar   Baby  (G)  

Monte  Carlo  Nights  (A)  2024- . 
Mysterious    Mr.    Wong.  The 

( A »  3022   

'Nealh  An/ona  Skies  (G)  S032 

Redhead    (A)  3012   

Sing  Sing   Nighli  (A)  

Sl«r  Packer,  The  (G)  2041  . 
Successlul  Failure.  A  (G)  3024 


Tomorrow's   Youth  3021   


Trail  Beyond,  the  (Gl  3031. 
Women  Must  Dress  ((i)  .... 


Star 

Robert  Armstrong- Marlon  Burna, 


Running  Time 
Rel.  Data      Minutea  Revlnred 
.Dee.     1  70....  Nav.  17 


Marian   Marsh-Ralph   Morgan  Oct     IS  86  Sept.  I 

Mary  Carlisle-Creighton  Chaney..Nev.    17  65  Nav.  18 

Ray  Walker- lacQueline  Welle. ..  .Sept     I  63.      Aug.  4 

John   Wayne-Sheila   Terry  Nov.   22    54..Fak.  XH 

June  Collyer-William  Cagney  Nov.    IS  64  Get.  V 

John   Wayne   May    IS  SS  

Arilne   Judge  •   Ray  Walker  • 

Jimmy  Fay   Jan.    IS,'tl....*6S  Dag.  a 

Mary    Brian-John    Oarrow  May    20  82  

Beia  Lugosi -Wallace  Ford  Jan. 

John    Wayne-Shella    Terry  Dee. 

Bruce  Cabot  Grace  Bradley  Nov. 

Conway  Tearle-Mary  Doran  Dec. 

John   Wayne-Verna    Hlllle  July 

Wm    Collier,  Sr.  .  Lucilla 
Gleason   Oct 

John  Wayne   Feb. 

Dickie  Moore  -  Martha  Sleeper- 
John    Miltan-Gloria   Shea  Sept 

John  Wayne  Verna  Hitlie  Oct 

Minna   Gombeil-Gavin   Gordon. .. Feb. 


2S.'SS  68. Jan.  It.' 

5  52  Dae. 

I  76..  Sept 

IS  60  . Feb.  2.' 

30    54  


IS  

l.'U.. 


...62.. ..Oat 


15  63  

22    55.... Sept 

1,'SS  77. Jan.  28, 


Coining  Attractions 


Cheese  of  the  Crowd  

L>awii    Hidei.    1  he   John  Wayne   

Desert   Trail    John    Wayne-Mary   Korhman  Apr.  22,'3S. 

(See  -  in  the  Cutting  Room,"  Feb.  23, '35.) 
Great  God  Gold  Sidney   BlacKmer-GlorIa  Shea  Apr.  IS.'SB. 

iSee   "in  the  Cutting   Room,"   Dec.  15.) 

Healer,  The   

Honeymoon  Limited   

H*ni%t«i   '^cnooimaviar.  The  

Keeper  of  the  Bees,  The  

Mystery  Man  (Gl  Robert    Armstrong   Apr.  2S,'SS. 

Nut   Farm,    The   (G)  Wallace  Ford   Mar..  2S.'3S. 

Rainbow    Valley   John   Wayne-Lucille  Brown  Mar.  iS.'SS.. 

Reckless  Romeos  3019  Robt.  Armstrong-Wm.  Cagney  


..62.  Feb.  I6,'35 
.  BS  .Feb.  9,'33 
..52  


PARAMOUNT 

Features 

Title 

Behold    My   Wife    (A)  3419 
Belle  of  Ihe  Nineties  (A)  335S 
Claopeira   (A)  3410  

College    Rhythm    (G)  3417... 

Enter    Madame    (Al  3414  

Father    Brown,    Detactlva  (Q 
3420   


Star  Rgl. 
.Sylvia  SIdnay-Geng  Rayinani . . , . Dee. 

.  Mae  West   Segt 

Ciaudette    Colbert-Henry  Wll- 

coion-Warren  Wllllan   Oct 

Joe  Penner-Lanny  Ross  Nov. 

Ellssa  Landl-Cary  Grant  Jan. 


Running  Time 
Data      MInutec  Review*'' 

7  79.  Feb.  23,'35 

21  7S....Aun.  ... 


5  

2S  .. 
4.'8».. 


.101. ...Ah*.  SS 
.•83... .Na*.  I* 
..83....N<v.  S 


Gilded  Lily.  The  (G)  3428.. 
Here  Is  My  Heart  (0)  3423.. 
Home  on  the  Range  (Gl  3421 

(Sea  "Cede  of  the  West" 

It's   e   Gilt    IG)  3418   

Limehause  Blues  (A)  3415... 
Lives  ol  a  Bengal  Lancer  (Q) 

3427   

Menace  (A)  3413  

Mrs.  wiggs  of  tha  Cabbage 

Patch  (0  )  3407   


.Walter    Connoiiy-Paul  Luku- 

Gertrude  Michael   

.  C.   Colbert-Fred  MacMurray... 

.  BIng  Crosby-Kitty  Carlisle  

.Jackie  Coogan-Randolph  Scott., 
"la  the  Ctttlag  Room."  Oct  27. 
.  W.  C  Fields-Baby  LeRoy.... 
.George  Raft -Jean  Parker  

.Gary  Cooper-Franehat  Tana.... 
.  Paul  Cavanagh   

.Paulina  Lord  -  W.  C.  Fleldi  • 
Zasu  Pitts  -  Kent  Taylor  - 
Evelyn  Venable   

.Joe  Morrison- Helen  Twelvetreet. 

.Arthur  Byron-Janet  Beeeher... 


.Dea. 
.Jan. 
.Dee. 
.Dae. 

I 

.Nev. 
.Nav. 


..Jan. 
..Oat 


21  •6S....Dgg.  I 

2S.'SS....*80.Jan.  I/U 

2S  78....  Dae.  • 

21  SS  

30  68. ...Nat.  t4 

1  86....0ag.  12 

■•.'SS  89. Jan.  %,'U 

28  S8....agt  It 


IS  72....Sa9t  IB 

12  *6S....0at  • 

l.'SS  63  

8.'SS....*70..Fab.  t.'U 

l.'SS  75. Jan.  lt.'U 

8  66. ...Sept  22 


.Oct    I*  73....Aa|.  28 

One  Hour  Late  (G)  3422  Joe  Morrison- Helen  Twelvetrees. . .Dee.    14  7S....Dee.  8 

President  Vanishes  (G)  3418. .Arthur  Byron-Janet  Beeeher  Jan.    II.'SS  83  Na*.  M 

Pursuit   of    Happiness,  The 

(Al  3409   Francis  Lederer-Joan  Bennett. .. .Nov. 

Ready  for  Love  (G>  1412   Richard  Arlen-lda  Lupine  Oct 

Rocky  Mountain  Mystery  3428. .  R.  Seott-Ches.   "Chic"  Sale  Feb. 

ISee  "Vanishing  Pleoeer"  "In  the  Cutting  Room,"  Nov.  10.) 

Rumba  (A>  3429    ...George  Raft -Carole  Lombard  Feb. 

Wings  in  Ihe  Dark  (G)  3424.. Gary  Grant-Myrna  Ley  Feb. 

Vou  Belong  to  Me  (0)  S40S-..Lee  Tracy-Helen  Mack  Sept 

C itmina  Aitrnctinns 

All  the  King's  Horses  (G)  3430. Mary   Elll«-Carl   Rrletan   Feb.  22,'SS... .'SS.Feb.  23,'35 

Car  99  (G)  3432  Fred  MacMurray-Ann  Sheridan.. .Mar.    l.'35  •75. Fab.   16. "35 

Crusades.    The   Loretta  Young-Henry  Wllcoxon  

Devil  Is  a  Woman.  The  (A) . . .  Marlene  Dietrich-Cesar  Romero.  .  .Mar.  IS.'SS  

(See  "Caoriee  Esgagnole,"  "In  the  Cutting  Room,"  Nov,  17.) 
Four  Hours  To  Kill   Richard  Barthelmess  ,  ••••• 

(See  "In  the  Cutting  Room."  Feb.  23, '35.) 
Hold     Em    Yale  ..  Patricia  Ellis-Larry  Crabba  

(See   "It    Ihe   Cutting    Room."    Feb.  I6,'3S.) 
How  Am  I    Ooln'7  Mae  West   

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 
Love  in  Bloom  3434  loe    Morrison- DUIe  Lee  Mar.  IS.'SS  

(See   "Win   or   Lose"   "In  the  Cutting   Room,"   Jan.  I2.'35.1 
McFadden's  Flats  Betty  Furness-Rlchard  Cromwell. . Mar.  22,'3S...,.  

(See  "In  (ho  (Cutting  Room."  Jan.  2i>.'35) 

Wllkv  w«v.  Th.   Jack    Oakie-Adotphe  Men|ou  

Mississippi    3433  Bing  Crosby-Joan  Bennett  Mar.  S.'SS  

iSie   "lr>   the  Cuttino   Room."   ian  I2.'35.> 

Once  In  a  Biiie  Moon  3425..     J    Save  Michael  nalmatafT  Mar.  22, '35  

Paris    In   Spring  Tiitllo  Carfnlnati  -  Mary  Ellli  

(Sep  "In  th'!  Cutting  Room,"  Feh.  23. '35.) 

Pfoole   Will   Talk   Chas.   Ruggles-Mary  Boland  

Private  Worlds  3435   C    Colbert  1    Rennett-C    Bov«r...Mar.  29,'35  

Ruqgles  of  Red  Gap  (G)  3431  Chnries  Laiiohton-Mary  Boland- 

Chorle*  Ruggles-Za2u  Pitts  Mar.  22,'35...  .*9Q.Fab^  I6,'35 

Stolen  Harmony   ...George   Raft   Mar.  29,  dD  

(See  "In  the  Cutting  Room."  Feb.  2.) 

PRINCIPAL 

Features  Running  Time 

Title                                     Star                                   Rel.  Date      Minutes  Revlatggd 

Little  Oamorel  722  Anna  Neaqlo-James  Rennle  June    II  59  

Peek's  Bad  Boy  (G)  Jaritie  Conner. Thomas  Melghan- 

Dorothy  Peterson-Jackie  Searl..Oet    It  70  Salt  S 

Return  of  Chandu,  Tha  (Q).. 

300-312   Beta  Lugosl-Marla  Alba  Oct     1  68  


March    2  ,    19  3  5 


MOTION    PICTURE  HERALD 


87 


(THE  RELEASE  CHA.I3T"C€NT*t)) 


RKO  RADIO  PICTURES 


Features 

Till*  star 

Atfmalurg  Girl   (0)  4I4S  Joan  Lowell   

At>  1  InnKHK*.  Ida  (A>  i03.  Ircna   Uunnc-Joltn  Bola>  

Aaaa  •(  Qma  fiablai  (G)  SU/.Ann«   Shirlfy-Tom  Brawn  

By  Vaur  L<a«a  (A)  508  Ganevleva  Tobin- Frank  Morgan.. 

Daaiarwii  Cornar   (A)   tM...Melvyn  Oouglas-Virainla  Bruca- 

Cenrad  Nagal   

.Fred  Astaire-Glnger  Roger*.... 
.  Eddi*  Bulllan-Betty  Fumeit.... 


Running  Tlma 
Ral.  Data      MInutea  Ravlawed 

Aug.    17  7b  Aug.  if 

Seat.   14  82  S«»U  a 

Nov.    23    79  Oct.  27 

Nov.     a  *80....0(t.  6 


Snr  DIvartea.  Tha  (fi)  SOS 
flrldlran  Flaeb  (0)  511.. 

Kaatucky  Kernale  (G)  SOS. . . . Wheelar  &  Waoiiey  

Llgktalag   Strikai    Twlca  (0) 

ti7   Ben   Lyon-Pert  Kelten  

(Sea  "la  tha  Cutting  Raam,"  Oct.  6.) 

Linia  MInltter  (G)  512  Katharine   Hepburn-John  Baal.. 

■ad  Marning  (A)  SIS  Steffi   Ouna- Regit  Toomey  

18m  "Girl  el  (ka  lilandt."  "In  the  Cultlna  Reem,"  Sagl. 
RaiMnta  In  Manhattan  (Q)  516.  Francis  Ledarer -Ginger  Roger*.. 

•liver  Streak.  Tha  (G>  513  Sally   Blane-Charle*  Starrett.. 

Wadnaiday'*  Child  (G)  510. ..Karen  Morley-Edward  Arnold..  . 

Weil  ef  tha  Peco*  <G)  SIS... Richard  Oli-Martha  Sleeper  

Waman  In  tha  Dark  (G)  Fay  Wray-Ralph  Bellamy  


Coming  Attractions 


Oct.  s  

.Oct.  IB.... 

.Oct  26.... 

.Nov.  2.... 

Da*.  7.... 

Da*.  28. . . . 

Da*.  14.... 
2S.) 

Jan.  II.'SS. 

Dec.  21  

.Oct.  26  

Jan.  4.'3S. 

Nav.  a  


.110.. 
..66.. 


..78....  Dec.  I 
..72....  Dec.  8 
..69.... Sept  29 
..69.  Jan.  S,'3S 
..70. ...Da*.  8 


Baeky  Sharp   Miriam  Hopkln*   ~  

Braak  of  Heart*  K.  Hepburn-Charles  Boyer  

Captain  Hurricane  (G)  James   barton-Helen   Wettley  Mar.     I.'SS. .. .*7S. Feb.  I6,'3S 

Oep  of  Fiandera   Frankie  Thomas-Helen  Parrlsb. . . Mar.  22,'35  

(See  "In  lha  Cutting  Room,"  Feb.  2.  '35) 

Enthanted  April,  Tha  (A)  Ann  Harding- Frank  Morgan  Feb,     1,35.... *78  Dee,  IS 

Gigoletta   Adrienne  Ames-Ralph  Bellamy. ..  Feb.  IS.'SS  

Grand  Old  Girl  (G)  SIB  May  Robson-Hale  Hamilton  Jan.    I8.'35  72. Jan.  I2.'35 

Laddia   John    Beal-Gloria   Stuart  Mar.  29.'35  

(See  "In  tha  Cutting  Room."  Feb.  2.  '33) 

Informer,  The  ,  Victor  McLaglen-Margot  Graham  

Murder  on  a  Honeymoon  (G)   ...Edna  May  Uliver-l.  Gleasoa  Feb.   22,'35  *72..Feb.  2,'3S 

Roberta  (G)   Irene  Dunne  •  Fred  Aitalr*  - 

Ginger  Rogers   Mar.    8,'35  *85.Feb.  23,'35 

Star  of  Midnight  William  Pnwpli-Glnger  Roger*.....  

(See  "In  the  Cutting  Room."  Feb.  23,'33.) 
Strangers  All   May  Robson   

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 

Sylvestra  Bennard   Anne  Shirley   

Village  Tale   Randolph  Scott-Kay  Johnson  


STATE  RIGHTS 


Features 

TItl* 

Ar*  You  •  MaeanT  (A). 
Battla,  Tba   


.M. 


Dltt'r 
J.  Kandal. 


Calling  AH  Car*  (G)..,. 

Cawboy  Holiday  (G)  

Duertar,  Tha  (A)  

Dealer*  In  Death  (A)... 
Lit*  In  the  Conga  (G).. 
Lost  City,  The  

Uyaltle*   

Man  *f  Caurag*  (S).... 

Narah  O'Neal*   

Maryjka   

Tiakat  T*  A  Crlma  (8) 
War  I*  A  Racket  (A).. 
WaaiH  C*fld*mn*4  


Star 

.  .Sonnle  Hale  .. 

..Charles  Beyer- 
Merle  Oberon   

..Jack  LaRua   Empire  Film*.. 

..Gig  Boy  William*. .Syndicate   

..Bori*  LIvanov   Garrison  Film  . 

   Topical  Film*  . 

  KInematrade  .. 

,  ,Wm.  Boyd  •  Claudia 

Deil   Regai  Pictures. 

.Basil    Rathbone    ...Harold  Autea  . 

 Eureka   

.  Lester  Matthew*   

.Ina  Banlta   Principal  Film 

.Ralph  Grave*   Syndieala   

 Eureka  Pred... 

.Claudia  Dell   Marcy  Picture*. 


Running  Time 
Ret.  Date      Minute*  Reviewed 
.  ..OeL    28  85  Nov.  8 


...Nav.    12  75  Dee.  I 

...Jan.  2S.'3S.  ..67.Jan.  26,'3S 

...Jan,  l,'35.  ..57.Jan.  26,'3S 

..Oct.    12  IDS.... Oct.  27 

,  ..De*.    13  68.... Dee.  22 

..Nov,    29           60. ...Dec.  29 


.Feb.   i4,'35.  ..74  

..Oct.    24  74  Nav.  8 

..Nov.    12  95....N*V.  U 

..Oct.    24   66. ...Nav.  S 

..De*.     1  65  De*.  IS 

..Dte.    IS  67....  Da*.  9 

..Dae.     8  68....  Da*.  tB 

..Apr.     4  68  


UNITED  ARTISTS 


Features 

TItIa 

Affair*  of  Ceilinl.  Tha  (A).... 

(Reviewed  under  the  title 

Cllve  of  India  (6)  

(.aunt  of  Monte  Crista,  Tha  (G) 
Kid  Million*  (0)  

Last  Gentleman,  Tha  (fi)  

Mighty  Barnum.  Th*  (G)  

Our  Daily  Bread  (0)  

Private  Life  af  Don  Juan,  Tha. 

Runaway  Queen   

Scarlet  Pimpernel,  The  (G)... 
Trantatlantic  Merry-Ge-Round 
(A)   

W*  Liv*  Aiain  (A)  


Star 

Fredrlc   March-Centtanea  Ben- 
nett-Frank Morgan-Fay  Wray 

"The  Firebrand") 
Ronald  Colman-Loratta  Young. . 
Robert   Donat-Eilssa  Landi.... 
Eddie    Cantor  -  Ann    Sothern  - 

Ethel  Merman   

George  Arliss   

Wallace   Beery  ■  Adolpha  Man- 

Jou-Janet   Beecher-V.  Brue*. 

Karen   Morley-Tom  Keen*  

Douglas    Fairbanks,  Sr.-Meria 

Oberon   

Anna  Neagie-Fernand  Graavay. 
Leslie   Howard-Merle  Oberon.., 

Gene    Raymond-Nancy  Carroll- 
Sydney  Howard-Jack  Benny... 
Anna  Sten-Fredrit  March   


Running  Time 
Ral,  Data      Minute*  Reviewed 

Aug.  24   79.... Apr.  21 

Jan,  2S,'SS...  *90.Jan.  28,'35 
Sept    7  >li3....8ept.  8 

Dee.    28  *92....0et  » 

Sept.  21  72. ...May  12 

Dm.    25  >i05....Daa,  I 

Sept  28  74.... Aug.  18 

Nev.   SO  Sept  22 

Dee.  21  

Feb.   IS.'35  95. Jan.  2S,'3S 


Nav,     2  92.... Na*.  17 

Nov.    18  •83.... Sept.  It 


Coming  Attractions 


Brewster's  Million*   

Call  of  the  Wild,  Th*.. 

Cardinal  Richelieu  

Canga  Raid   

Foiies  Bergere  (G)   

Let  Miserable*  

Nell  Gwyn  (A)  

Wedding  Night,  The  (G) 


UNIVERSAL 


 Jack  Buchanan-Liii  Damita  

 C.  Gable-Loretta  Young  May  6,'35... 

 George   Arliss   Apr,  2I,'3S... 

 Leslie    Banks  -  Paul    Robeaon  - 

Nina  Mae  MacKlnney  

 Maurice  Chevaller-Merle  Oberon.. Mar.  8,*35... 

 Fredrlc    Mareh-C.    Laughton  Mar.  22,'S5... 

 Anna  Neagle-Cedric   Hardwieka. . Apr.  S,'35.., 

 Anna  Sten-Gary  Cooper  Mar.  8.'S5... 


*85.Feb.  23,'35 
*90.Feb.  23.'35 


Star 

.Cesar  Romero- Fay  Wray. 


Features 

Title 

Cheating  Cheater*  (G)  8022. 
Embarrassing  Moment*  (G) 

7023   Chester  Morris-Marian  NIxen. 

CrImaon  Trail.  The  8083  Buck  Jones   

Gift  af  Gab  (G)  8030  Edmund  Lowe  -  Gloria  Stuart  < 

Alice  White   

Good  Fairy.  The  (G)  8003.... 
Great  Expectation*  (G)  8029. 


Running  Time 
Rel.  Data     Minute*  Ravlawed 
.Nav.     S  67. ...De*.  tS 


..67. Jan.  IB.'tS 

•107.... OeL  18 
..64.  Jan.  2e,'3S 
..75.... Oct.  27 

..64  


.Dae.  22 


.July  a.... 
.Fab.  I8.'3S. 


.  ..67..,.0«t. 

...58  


Margaret  Sullavan-H.  Marshall... 
Henry  Hull-Jane  Wyatt-Phltlips 

Holmes   

Ciaudette  Colbart-W.  WIfllaB.,. 
Chester  MorrI*   


Imitation  of  Life  (Q)  7003... 

I've  Been  Around  (A)  8025  

Man  Who  Reclaimed  Hi*  Head 

(Q)  8028   Claude  Raln*-Jean  Bannatt  

■  Illlon    Dollar   Ranaam  (A) 

8014   Mary  Carlisle  -  Edward  Amalti- 

Phliiips  Holmes   

Myatary  af  Edwin  Dread  8024.. Claude  Ralna-Heatliar  Anaal,.. 
(Saa  "In  th*  Cuttlna  Room,"  Dae.  IS.) 


Sent  24  *7l....8ept.  II 

Fab.   18,'SS  98.. Fab.  e,'35 

.Oct,    22  102. ...Oct.  20 

,Nov,   26  ill  Dee.  I 

.De*.   SI  *7S....Dae.  2t 


Title  Star 
Notorious  Gentleman,  A  8082. . Charles  Bickford-Heien  Vinson. 
One  Eiclting  Adventure  (G) 

■027   Binnio   Barnes-Nell    Hamlltan- . 

Rendezvous  at  Midnight  (A) 

8031   Ralph  Bellamy   

(See  "In  the  Cutting  Room."  Nov.  17.1 
Secret  of  the  Chateau  (G)  8U33. Claire    Dodd-Clark  William*... 
Straight  from  the  Heart  (A) 

8036   Mary   Astor*  Roger  Pryor-Baby 

Jane   

Strange  Wive*  (G)  8020  June  Clayworth- Roger  Pryor  

Rocky  Rhodes  (G)  8001  Buck  Jones-Sheila  Terry  

There'*  Alwaya  Tomorrow  (A) 

8035   Frank  Morgan-Elizabeth  Youna- 

Lois  Wllson-Blnnie  Barnat... 
Wake  Up  and  Dream  (G)  8021. Russ  Columbo  -  June  Knight.... 
When  a  Man  Sees  Red  (G)  8082. Buck  Jones   


Running  Time 
Rel.  Date      Minutes  Reviewed 
.Jan.   2I,°85  "75. Jan.  la.'SB 


.Oet.    IS  '73. ...Oct. 

Fab.  II.'SS  

Dae.     S  69.... Sept. 


IS 


Jan.    14,'SS  •68.Feb.  i6,'3S 

Dee.    10  75  Da*.  8 

Sapt.  24  60.... Dee.  21 


Sept.  10. 
Oct.  I. 
Nov.  12. 


 87. ...Nov.  17 

 78.... Oet  28 

 60. Jan.  2e.'35 


Coming  Attractions 


Bride  of  Frankenstein  8009  Boris  Kariolf   Apr,  S,'35  

(See   "in   the  Cutting   Room,"    Feb.  i6,'3S.) 

Great  Ziegfeld,  The  8005  William   Powell-Fanny  Drica  

It  Happened  in  New  York  8023.Lyle  Taibot-Heather  Angel  Mar.  I8,'35  

(See  "In  the  Cutting  Room,"  Jan.  2G.'35) 

Life  Returns  'Ri   Onslow  Stevens-Lois  Wilson  •60.Jan.  I2.'3S 

Mister  Dynamite  8012  Edmund  Lowe-Esther  Ralston. ..  .Apr.  I5,'35  

Night  Life  of  the  God*  (G)... 

8008   Alan  Mowbray   Mar.  II.'SS...  .•75. Jan.  I2.'SS 

Princes*  O'Hara  8013  Jean  Parker -Chester  MorrI*  Mar.  25,'35  

(See  -  In  th«  Cutting  Room."  Jan.  26.'S5» 

Stone  of  Silver  Creek  Buck  Jones-Noei  Francis  

Sing  Me  A  Love  Sono  «026    

Transient  Lady  (G)  8019  Gene  Raymond-Henry  Hull  Mar.    4.'3S...  .*72.  Feb.  23,'35 

Werewolf  of  London,  The  8015.. Henry  Hull   Apr,  2U,'35  


WARNER  BROS. 


.Da*.  14, 


•80.. ..Oat.  t 


.Seat   17  67.... Sapt.  28 

Fab,    4.'8S  87  


22. 
IS. 


Features 

Title  Star  Rel. 

Big-Hcarted  Herbert  (0  )  830.  .Guy  Kibbee-Aiine  MacMahon  ....Oct 

Bordertown  (A)  e06  Paul  Munl-Bette  Oavi*   Jan. 

Case  of  tha  Howling  Dog,  The 

Church   Mouse  881  Warren  Wllilam-Mary  A«tor  Sept. 

Church  Mouse   Laura  La  Planta   Dee. 

Dames    (G)   Ruby  Keeler  -  Dick  Powell  - 

Joan  Blendell   Sept 

Desirable  (A)  821  Jean  Mulr-Gaorge  Brent   Sept 

Devil  Dogs  of  the  Air  (G)  816.  James  (^gney- Pat  O'Brien   Feb. 

Firebird,   The  (A)   825  Verree  Teasdale- Rlcardo  Cort(l..Nev. 

Housewife  (A)  478  George   Brenl-Bette   Davis  Aug. 

i  Am  a  Thief  (G)  826  Mary  Astor-Ricardo  Cortei  Nov. 

Kansas  City  Princess  (G)  818. Joan  Blondell-Glenda  Farreil   Oct 

Madame  Ou  Barry  'A)  452. ..  Dolores  Del  Rio-Vlctor  Jory  Oct 

Right  to  Live  (A)  828  George  6rent-J.  Hutchlnean  Jan. 

St.  Louis  Kid,  The  (G)  817.. James  Cagney   Nov. 

(Reviewed  under  the  title,  "A  Perfect  Week- End") 

Secret  Bride,  The  (G)  8li  B.  Stanwyck  -  Warren  William. -De*. 

Sweet  Adeline  iG)  802  Irene  Dunne- Donald  Wood*  D**. 

Sweet  Music  (G)  805  Rudy  Vailee-Ann  Dvorak  Feb. 

(gee  "In  the  Cutting  Room."  Nov.  24.) 
White  Cockatoo  (G)  827  Jean  Muir-Rlcarda  Cartaz  Jan. 

Coming  Attractions 

Dinky   Jackie  Cooper-Mary  Aator  

Florentine  Dagger,  The  829. .  .Donald  Woods-Margaret  LIndany  ..Mar.  80, 'SS. 
(See  "in  the  Cutting  Room."  Jai..  26,'35) 

Goose  and  the  Gander  Kay  Francis-Georg*  Brent  

Green   Cat   Bette  Davis   , 

Haircut   George  Brent-Jean  Mulr  , 

Irish  In  Us,  The  James  Cagney-Pat  O'Brien  , 

Midsummer   Night'*   Dream... Ail  Star  

Money  Man   Edw.  G.  Robinson-Batt*  Oavl*  

Night  at  the  Ritz.  A  823  William  Gargan-Palriela  Elll*.  ..Mar.  23, '35.. 

(bee   -King  ol  the  Ritz"  "In  the  Cutting  Room,"  Jan.  26,'35) 
Present  from  Margate,  A  Kay   Francis-Ian  Hunter  


Running  Tlma 
Date      Minutes  Reviewed 

6  *6a....Aug.  25 

5,'35  90.. Fab,  VU 


...75. 


.Sept  I 


I.. ......90.. ..Aug,  25 

8  68...  Aug.  2S 

a, '35  86.. Feb.  9.'33 

3  •75.... Oct  13 

II  69....July  28 

24  64. ...Nov.  17 

13  64. ...Aug.  18 

13  77.      Auo  l« 

26,'SS  68.  Feb.  23.'35 

10  67  Oct.  M 

22    64.. Feb.  9,'3S 

29  '82....  Dee.  It 

2S,'S5  95  

la.'SS  70. Jan.  26,'3S 


OTHER  PRODUCT  (FOREIGN) 


Features  Running  Time 

Title  Star  Oist'r  Rel.  Date      Minutes  Reviewed 

Bella  Donna   (A)  Mary  Ellis   Gaumont-British  85. Jan.  S.'SI 

Broken   Melody,  Tha  John  Garrlek- 

Merie  Oberon   Oet.   SO  68  De*.  I 

Chapavev  (A)   Amkino   Jan.    I2,'35. .  .95. Jan.  26,'SS 

Cornflower   Irene  Agal   Danubia  Plcturaa. .Jan.    II,'SS.  ..80  

(Hungarian  Dialogue) 

Czar  Wants  to  Slara  (A)..M,  Yanshin   Amkina   D**,     8  88. ...Dae.  21 

Death  at  Broadcaatlna 

Dirty  Work  (G)  Ralph  Lynn   Gaumont-British  80. Jan.  26,'3S 

Forbidden  Territory,  The. ..  Gregory  Ratoff   Gaumont-British  87  Nov.  24 

House   Ian   nuntet   AdI-u    Bniisn  90. Jan.  I2,'35 

Doctor's  Order*   Leslie  Fuller   British   Int'l   75. Jan.  S,'U 

Everything  for  the  Woman. Tiber  Von  Haimay.. Danubia  Picture*  ..Oct.    10  84  

(Hungarian  Dialogue) 

Fathers    Knows   Best  Szoka  Szakall   Danubia  Picture*.  .Jan.    I8,'9S.  ..80  

(Hungarian  Dialogue) 

Green   Pack   John  Stuart   British  Lion   No*.  S 

House   of   Greed  V.  Gardin   Amkino   Aug.    II  74  

Lady  in  Danger  (A)  Tom  Walls   Gaumont-British  63  Dec.  29 

Lorna  Doone  (G)   John  Loder   ABFD   British..   80. .Feb.  2,'35 

Madame  Bavary  (A)  Pierre  Renoir   lohn   Tapernoux. . .Nov,    17  100  D*«.  f 

Marionettea   L.  Leonldoff   Amkino   May     5  S3  

Miracles   V.  Gardin   Amkino   Oet.    19  68  

Mister  Cindar*   CiifTord  Moliison  ...British  Int'l   Nov.  It 

My  Wife  the  Ml**  Irene  Agal- 

(Hungarlan  Dialogue)         Paul  Javor   Danubia  Picture* . .Aug.   26  79  

My    Song    Goes    Round  the 

World  (G)   John  l,oder   Oet  20 

Old  Curiosity  Shop,  Elaine  Benson   Assoc.  British  85.. Feb.  2,'3S 

One  Night   Ingert  BJuggren  Scandinavian   80. .Feb.  9,'35 

Petersburg  Nl«ht»  (A>  B.    Dobrnn    Ravov. ..  Amkino   Sept.    8  97...  Sept  21 

Phantom  Light,  The  (G)... Gordon  Harker   Gaumont-British  75. .Feb.  9,'35 

Radio  Parade  of  1935  Will  Hay- 
Helen  Chandler. ...  Assoc.    British  85.  .Jan.  I2,'3S 

Rakoczl  March   Paul  Javor   Danubia  Pictures. .Nov.    12  89  

(Hungarian  nialogua) 

Roadhouse  (G)   Violet  Loraine   Gaumont-British...,.  75  Dee, 

Shepherdess'^  Sweetheart  ..(Greek  Feature)   ...Frank  Norton.,,. 


Stella  Bioiantl   (Greek  Feature) 

Such  Is  Lite   (Greek  Feature)  . 

Ta  Galazia  Keria  (Greek  Feature) 

Ten  Minute  Alibi  (A)  Phillips  Holme*.. 

Three  Sonos  About  Lenin   

They  Are  Looking  Up  (G). Cicely  Courtneldge. 

Thunderstorm   (A)   A.  K.  Tarasova  . . , 

Waltz  Time  In  Vienna  Renate  Mueller   

Victor  and  Victoria  (G)... Renate  Mueller  .., 
Wandering  Jew,  Tha  (A).. Conrad  Veidt   Olympic  Picture*. 


.Feb. 


.Frank  Norton  ....Oct, 

.Frank   Norton  Jan. 

.Frank  Norton  ....Oet 

.  British  Lion  

Amkino   Nov,  8 

.Gaumont-British  

.  Amkina   Sept  28 

.  Ufa 
.Ufa 


 75. 

I7,'35..il8. 

15  IIS. 

I9.'3S.  .119. 
IS  85. 


.80.. Feb.  9,'S5 
.  64..  Nov.  17 
too.  Feb.  a,'SS 

..80  Oct  a 

.Dee  I 


.Jan,  2«,'35.  .84  .  Feb.  2.'3S 
 83.  J  an.  I9,'35 


88 


MOTION    PICTURE  HERALD 


March    2  .    19  3  5 


(THE  CHAI3T"C€NT»i:)) 


Sli€l2T 
FILMS 

lAll  dates  are  1934  unless 
otherwise  stated} 

CELEBRITY  PROD'TIONS 

TitI*  R«l.  Date  MlB. 

COMICOLOR  CARTOONS 

lack  and  lh«  Bunttalk  Jan.    2  •  

Th«  LIttU  R*d  Hn  Fab.  16  7  

Tba  Bra««  TIa  Saldlar  Apr.   7  7.... 

Pin*  la  Baatt  May  17  1  rl.. 

Tba  Quaaai  af  Haarta  Juna  25  7.... 

Aladdin   Aui.  10  7.... 

Tba  Hradlati  Hana«aa....Oet    I  Irl.. 

Tba  Vallaat  Tallar  Oit.  2t  Iri.. 

Dan  Qulxola   Nav.  2S  S.... 

Ja*k  Fra(t   Da*.  24  

LIttIa  Black  Samba  Jan.  2I.'SS..I  rl.. 

Braaan  Tewa  Moil*laH*....F*b.  I7.'SS..I  ri.. 

Old   Methar   Hubbard  Mar.  I7,'3S..I  rl.. 

Mary'*  Linia  Lanb  A»r.  I4.'39..l  ri.. 


Ral.  Data 


MlB. 


COLUMBIA 


TItl*  R«l. 

BROADWAY  COMEDIES 
Cauaid  en  Da  Ftnca  Oct. 

Harry  Langdon 
HI*  Old  Flam*  Jan. 

Charll*  Murray 
Har>«  Collar*   Jan. 

(3  Stsoge*) 
I'm  A  Fathar   Feb. 

Andy  Clyd* 
In  tha  0*8  H*u**  Da*. 

Andy  Clyd* 
It'*  the  Cat'*  Oct. 

Andy  Clyde 
Men  In   Black  Sejit 

(3  Stooge*) 
One   Too   Many  Dee. 

Leon  Errol 
Perfectly  Mismated   Nov. 

Leon  Errol 
Restless   Knight*   Feb. 

(3  Stooges) 
Shiver*  Dee. 

Harry  Langdon 
Three  Little  Pigskin*  Dec. 

(Stooge  Comedy) 

COLOR  RHAPSODIES 

IS34-35 

A  Cat,  A  Bell  and  M*u>*  

Babes  at  Sea  Dee. 

Holiday  Land   Nov. 

Make  Believe  Revu*.  Th*...Mar. 
Shoemaker  and  the  Elves... Jan. 

KRAZY   KAT  KARTOONS 

1934-35 

1.  The  Tragez*  Artist  Sept. 

2.  Katnlps  of  IS40  Oct. 

S.  Krazy'*  Waterloo   Nov. 

4.  Birdman   Feb. 

L.Hotcha  Melody   Mar. 

t.  Go*ly  Gondolas   Dec. 

LAUGHING  WITH 

MEDBURY 
I — Among  th*  Latin*  Aug. 

I934'35 
Laughing  With  Madbury 

In  th*  Arttic*  Sept. 

In  Maylaala   Oct 

Among  th*  Caeean*  Nov. 

At  a  County  Fair  De*. 

Madbury  in  Hollywead  Jan. 

In  the  Old   Day*  Feb. 

LIFE'S   LAST  LAUfiHS 

I934-3S 

No.  I —  Sept. 

Ne.  2—  Oct. 

Mo.  3—  Nov. 

No.  4 —  Dec. 

Ns.  5—   .  Jan. 

No.  6—  Feb. 

MUSICALS 
N*.  7— Trlaplni  Thrangb 

th*  Trap!**   July 

SCRAPPY  CARTOONS 

Gloom  Chaser*.  Th*  Jan. 

Happy  Buttarfly   D**. 

Scrappy's  Eiperlmant   

S*rappy's  Gbett   

1934-33 

Concert  Kid   Nov. 

Gold  Gttter*   Mar. 

Graduation  Evertlse*   

SCREEN  SNAPSHOTS 

No.  I—  Sept. 

No.  2—  Oct. 

No.  3—  Nov. 

No.  4 —  Dec. 

No.  ^—  Jan. 

No.  6—  Feb. 

SPICE  OF  LIFE 

1934-35 

No.  I—  Sept. 

No.  2—  Sept. 

No.  3 —  Dee. 

No.  4—  Dee. 

No.  5 —  Jan. 

No.  6 —  Mar. 

WORLD  OF  SPORT 

Anything  tor  a  Thrill  

Decks  Awash   Aug. 

Helgh-Ho  the  Fox  June 

i9S4-Sf; 

Air  Thrills   Mar. 

Good  Golfers  Start  Young.. Sent. 

Pardon  My  Grip  ....Feb. 

Polo  Thrills   Oct. 

Thrill   Flashes   Dec. 

When  Men  Fight  Jan. 


Date  MIn. 

25. ...20.... 

25,'35.2lt.... 
I0.'3S.20.... 
7,'35.20.... 


.20. . . . 
.20.... 
.20.... 
.20.... 
.20.... 
20,'35.l6i/2.. 
24.... 20.... 
8....20.... 


I.. 
II.. 
28.. 
28.. 
20.. 


12.. 


..7... 

9  7... 

22,'35..7... 
20,'35..7... 


1  7... 

12  7... 

16  7... 

I.'35..7... 

I5,'35..7... 
21  7... 


.1  ri.. 


15. ...10... 
20. ...10... 

9  10... 

7. ...10... 
II.'35.I0... 
28,'35.i0... 


19... .10.. 
12. ...10.. 

9  10.. 

12. ...10.. 
4,>35.I0.. 

I. '35. 10. . 


27. 


.2  ri*. 


l8.'U..r... 

20  7... 

 8... 


2  7.... 

I,'35..7.... 


29....  10'/,. 
26....IO'/j. 
23....IO</i. 

21.  .101/,. 
I8,'35.I0... 

22,  '35.I0, . , 


10.. ..10... 
29....I0... 
13.. ..10... 
31.  .10... 
20,'35.I0. . . 
I,'35.I0... 


.Iri. 
.1  ri. 
.1  ri. 


1/35. 10. . . 
20  .10... 

I.'35.I0... 

I?  in... 

12. ...10... 
4,'35.I8... 


DU  WORLD  PICTURES 


Rel.  Date 


Title 

QUEST   OF  PERFECT 
WOMAN  SERIES 
(TOM  TERRI8) 

1.  Veiled  Dancer  et  Eleued.Juty  IS  10. 

2.  Vampire  ef  Marrakeeh. .  .Aug.    1  1. 


MIn. 


28.... 
15.... 


Title 

SEMI-FEATURES 
AND  SHORTS 

Bride  of  Samoa  Mar.  I 

Chump   Nov.  I  

Frankia  and  Johnny  Oct.    I  S.... 

Charle*  Laughton 

Mire  Unga   Aug.  15  •  

Pritener   Sept.  IS. . . .IS. . . . 

Retribution  of  Clyde  Bar- 
row and  Bonnie  Parker. ..July  10. ...20.... 

Star*  In  tha  Making  Oct.     I  17.... 

Frank  Albertson 

Sword  of  the  Arab,  Sept.  IS... .28.... 

Duncan  Renaldo 

Yokel  Dog  Make*  aeed....S*pt.  I  IS.... 

EDUCATIONAL 

[Distributed  through  Fox  Films] 

Title  Rel.  Data  Mia. 

BING  CROSBY 
SPECIALS 

1 —  I  Surrender  Dear  Aug. 

2 —  One  More  Chance  Aug. 

3—  Billboard  OIri   Oct. 

4 —  Dream  Heuea   Sapl. 

CORONET  COMEDIES 

An  Ear  For  Mu*l*  Mar. 

Easy  Money   Feb. 

Helle,  Sailor*   Aug. 

Rural  Romeo*   Nov. 

Second  Hand  Hucbaad  Oct. 

Supar-Stupid   Sept. 

Two  Lame  Duck*  Nov. 

FROLICS   OF  YOUTH 

Boosting    Dad   ...Dee. 

Campus  Hoofer,  The  Nov. 

Educating  Papa   Nov. 

Little  Big  Top,  The  Feb. 

MARRIAGE  WOWS 

SERIES 

Domestic   Bli**-Tert  Oct. 

Dumb  Luck   ....Jan. 

How  Am  I  Doing?  Jan. 

MUSICAL  COMEDIES 

Big  Business   Dec. 

Girl  from  Paradise,  The... Nov. 
Good  Luck — Best  WIshe*. .  .  Aug. 

Nifty  Nurses   Oct. 

She's  My  Lilly  Sept. 

SONG    HIT  STORIES 

Blue  and  the  Gray,  The  Mar. 

Bounding  Main,  Th*  Nov. 

Gay  Old  Days  Jan. 

House  Where  I  Was  Born, 

The   Oct. 

I  Smell  Smoke  Apr. 

Mountain  Melody   Aug. 

Song  Plugger   Jan. 

Time  on  Their   Hand*  Sept. 

Way  Down  Yonder  Dec. 

STAR  COMEDY 

SPECIALS 
Dog-Gone  Babies   July 

STAR  PERSONALITY 

COMEDIES 

Gentlemen  of  the  Bar  Dec. 

Hayseed   Romance   Mar. 

His  Lucky   Day  Sept. 

Mr.    Widget   Jan. 

Object  Not  Matrimony  Mar. 

One-Run  Elmer   Feb. 

Palooka  From  Padueah  Jan. 

TERRY-TOONS 

Black   Sheep,   The  Oct. 

Bull  Fight,  The  Feb. 

Rusted    Blossom*  Aug. 

Dog  Show,  The  Dec. 

Fireman  Save  My  Child  Feb. 

First  Snow.  The  Jan. 

Five  Puplets   May 

Flying  Oil   Apr. 

Hot   Sands   Nov. 

Jack's  Shack   Nov. 

Jail  Birds   Sept. 

Magic    Fish.  The  Oct. 

Mice  In  Council  Aug. 

Modern  Red  Riding  Hood, 

A   May 

Moth  and  the  Spider.  Tbe.  .Mar. 

My   Lady's  Garden   July 

Old  Dog  Tray  Mar. 

Peg  Leg  Pete,  the  Pirate. ..Apr. 

South  Pole  or  Bust  Dec. 

Tom  Tom  the  Piper**  Sen.. Nov. 

What   A   Night  Jan. 

Why  Mules  Leave  Heme  Sept. 

TOM  HOWARD 

COMEDIES 
Wrong  Bottle.  The  July 

TREASURE  CHEST 

Chums   Mar. 

Harlem  Harmony   Dee. 

Hollywood  Gad-About   Oct. 

Hollywood  Movie  Parade, 

The   Nov. 

Then  Came  the  Yawn  Aug. 

Your  Stars  for  1935  Oct. 

YOUNG  ROMANCE 

It  Never  Rains  Mar. 

Moon  Over  Manhattan  Feb. 

Three  Cheers  for  Leva  Dec. 


3.... 22.... 
SI. ...20.... 

5. ...21.... 
28.... IS.... 

8,'35..2  ris. 

8.'SS.IS.... 
17. ...20.... 
16. ...20.... 

26. ...II  

14. ...I*.... 
SO. ...IS.... 

2I....2I.... 
B....I9.... 
2. ...16.... 
I,'35.2I.... 


12.. ..II... 
I8.'35.I7... 
4,'35.20... 

7. ...19... 

23. ...21... 

24  21 ... 

19. ...20... 
7.... 22... 

I5,'35..l  ri. 

IB  10... 

4,'35.I0... 

26  .10... 
I2,'35. .  I  ri. 

31  10... 

I8.'35.  .9... 
14.. .11... 
7....II ... 


6. ...20.. 


28.  .18  

15, '35.  .2  rIs. 

21... 20  

25.'35.2I.... 
I, '35.  . 2  ris. 

22,'35.I9  

ll,'35.20  


5  8.... 

8,'35..l  ri.. 
10  6.... 

28> • • • aS* ••• 

22,'35..l  ri.. 
II.'3S..8.... 
I7,'35..l  ri.. 

S,'35..l  ri.. 

2  1.... 

90  8.... 

21  8.... 

19  8.... 

24  8.... 

3,'35..l  ri.. 

8, '35..  I  ri. 
IS  I. ... 

2r35..lri.. 
19/35.. I  ri.. 

14  6.... 

18  8.... 

25,'3S..8.... 

7  


IS. ...18... 

I.'35.  .1  ri. 
21. ...10... 
5  1... 


2  9.. 

10  1.. 

I9....II.. 


29.'35..l  ri. 
15, '35. 17... 
14. ...19... 


FIRST  DIVISION 


(Technicolor) 

1.  In  a  Monastery  Garden.. Oct.    2  7. 

2.  Mexlean  Idyl   Oct.  16  

3.  Flngal's  Cava   Nov.  13  

4.  Llebentraum   Nov.  3  

5.  Dance  of  the  Hour*  Dec.  15  

6.  Ava  Maria   Jan.  1/35  

Barcarolle   8. 

Irish  Melody   8. 

Italian    Caprice  8. 

Old  Faithful  Speaks  8. 

Mediterranean  Songs   


FOX  FILMS 


MIn. 


Title  Rel.  Date 

ADVENTURES    OF  THE 

NEWSREEL  CAMERAMAN 

Man's  Mania  for  Speed  10  

Marching  With  Science  9  

On  Foreign  Service  I.... 

Casting  for  Luck...  10.... 

MAGIC  CARPET 

SERIES 

The  Coast  of  Catalonia  a 


Title  Ral.  Date  Hla. 

PItturasqu*  P*rtu|al   I.... 

Cro**road*  of  the  World  I  

Geneva-By  The-Lake   10.... 

MOVIE   TINTYPE  SERIES 
Tbe  Heart  af  Valeeka  Mar.  I.... IS.... 


MASTER  ART  PRODUCTS 


Ral.  DaU 
(VariaMa) 


I  In. 


.11. 


.11.... 
..18.... 
•19.... 


Title 

HUMAN   SIDE  OF 
THE  NEWS 
(EDWIN    C.  HILL) 

1.  Reaievelt  Family  in 
Amerlea   

2.  A  Vl*lt  to  W**t  Paint  10 

3.  Carrie  Jatob*  Bond  I.... 

MELODY  MAKERS 

Fl*ld*  and  MeHugb  I.... 

ORGANLOGUES 
What'*  In  a  Name  S.... 

RAIN  SONGS 
Irvini  Kaufman-Lav  White  

SPECIAL 

Take  a  Latter  Pleaaa  

Eddie  SUnley- 
Evelyn  San 

METRO-GOLDWYN- 
MAYER 

Title  Rel.  Date  Mis. 

ALL-STAR  COMEDIES 

Caretaker'*  Daughter   Mar.  10  II.... 

Movie  Daze   II.... 

Mr*.  Barnacle  Bill  Apr.  21  20  

CRIME  DOESN'T  PAY 
No.  I— Buried    Loot  19  

CHARLEY  CHASE 

Chases  of  Pimple  Street. ...  Dee.  22.... 20  

Fate'*  Fathead   Nov.  17....  18.... 

I'll  Taka  Vanilla  May    5.... II.... 

It  Happened  One  Day  July    7....  10.... 

Something  Simple   Sept.  8  18  

You  Said  A  Hatful  Oct.   13.. ..19  

IRVIN   S.  COBB 

Ballad  of  Padueah  Jail  Oct.  20... 

Nosed  Out   Sept  15. 

Speaking  of  Relations  

You  Bring  the  Duck*  Nov.  24  16. 

FITZPATRICK 

TRAVEL  TALKS 

Africa,  Land  of  Contra*t  .....I  

Citadels  of  the 

Mediterranean   I  rl. . 

Colorful  Ports  of  Call  Jan.  13  0.... 

Cruising  in  (he  South  Sea*  I  rl.. 

Glimpses  of  Erin  I  rl.. 

Holland  in  Tulip  Time  Sept.  15  9.... 

Ireland,  The  Emerald  Isle.. Dec.    8  8  

Rainbow  Canyon   Feb.  2,'35..8  

Switzerland,  The  Beautiful.  .Oct.   13  9  

Temple  of  Love,  The  10.... 

Tibet,  Land  of  Isolation. ..Mar.  17  1  

Zealand.  The  Hidden 

Paradise   Jan.  5,'35..7.... 

Zion,  Canyon  of  Color  Nov.  10  8  

GOOFY  MOVIES 

Ne.  4   May    9  1.... 

No.  5   1.... 

Ne.  6   Iri.. 

No.  7   Sent  8. ...10.... 

No.  8   Oet    6  1.... 

Ne.  9   Nov.    S  10  

Ne.  10   10.... 

HAPPY  HARMONIES 
(Harman-lsing) 

1 —  The  Discontented  Canary. Sept. 

2 —  Old  Pioneer   Sept 

3—  A  Tale  ef  the  Vienna 
Wood*   Oct. 

4 —  Besco's  Parier  Prank*..  .Nov. 

5 —  Teyland  Broadcast  ..Dae. 

6 —  Hey.  Hey,  Fever  Jan. 

7—  When  the  Cat'*  Away. .  .  Feb. 
LAUREL  L  HARDY 

Fixer-Uppers   

Going  Byo-Bya   

Live  Ghost*   

Them  Thar  Hill*   

Tit  for  Tat   Jan. 

MUSICAL  COMEDIES 

Musle  In  Yaur  Hair  June 

Roamin'  Vandal*   Apr. 

MUSICAL  REVUES 

Gentlemen  of  Pelleb  

Grandfather'*  Clock   Oct. 

Spectacle  Maker,  The  Sept 

Star  Night  at  the  Coteannt 

Grove   Dec. 

What  Price  JazzT  

ODDITIES 

Attention,  Suekerat   June 

Darimouth  Days   Nov. 

Donkey  Baieball   

Motorcycle  Conaek*   Jan. 

Little   Feller   May 

Old  Shop   June 

PlehlannI  Troupe   Sept 

Pre  Football   

Rugby   Dee. 

Strikes  and  Spare*  Oct. 

Taking  Care  of  Baby  Aug. 

Trick  Golf   Mar. 

Vital  Victuals   Mar. 

(Color) 

Windy   

OUR  GANG 

Mama's  Little  Pirate  Nov. 

Shrimps  for  a  Day  

Mike  Fright   Aug. 

Wash-ee  Iron-**   Sept. 

TODD-KELLY 

Bum  Voyage   Dee. 

Done  In  Oil   Nov. 

I'll  Be  Suing  You  June 

Maid  In  Hollywood  May 

One  Horse  Farmer*  Sept. 

Opened  by  Mistake  Oct. 

Sing,  Sister  Sing!  

Three  Chumns  Ahead  

Tin  Man,  The  

Treasure  Blues   


I... 
29... 


27  1. 

24  •. 

22  8. 

9,'35..9. 
16/35.. 9. 


 21. 

 21. 

 I 

9/99.20. 

2.... 17. 
28. ...18. 


ri*. 


..2 

.17. 
.20. 

.21. 
.11. 


ris. 


•....10. 
17. ...II. 

 8. 

I2,'35..9. 

28  8. 

23  1. 

22  9. 

 1. 

15. ...10. 

20  1. 

25  9. 

24  8. 

8. ...10. 

 II. 


3. ...18. 

 21 . 

25. ...18. 
29. ...17. 

15. ...20. 
10. ...IS. 
23. ...19. 
If. ...20. 

I. ...18. 

6. ...19. 

 21 

 2 

 15 

 19 


TItl*  R*l.  Date  M 

WILLIE  WHOPPER 

Cava  Man   7.. 

Good  Stout   7.. 

Ineultin'  th*  Snltna  Air.  14  •.. 

Jungle  Jitter*   7.. 

Raselln'  Round   

Reducing  Crem*   May  II  •., 

Robin  Head.  Jr.   Mar.  10  S. 

(Color) 

Viva  WiUia   r. 


MONOGRAM 

PORT  0'  CALL  SERIES 

10.  Dravidian  Olamaur  ....Sept  I. 

11.  Adventure  l*la   Oet  I. 

12.  Qufen  at  tha  India*. ...Nov.  I. 

13.  A  Mediterranean  Maeea.Dae.  I. 


..I*. 
..10. 
..II. 
..II. 


Ral.  DaU 


1/35. 
28... 


ris. 


PARAMOUNT 

I  Itia 

b>:tty  boop 
Cartoons 

Baby  Be  Oood  Jan.  I8.'»l. 

Beity  Beep'*  LIf*  Guard.. .July  13.... 

Betty  Boap'a  Life  Pal  Sept  21.... 

Betty  Boop'*  Prize  Sb«v...0et  II.... 
Betty  Boop'*  Rli*  ta  Fame. May  IS.... 

Betty  Boop'*  Trial  Jun*  IS.... 

Stop  That  Nolta  Mar.  15/35. 

Taking  the  Blame  Feb.  15/39. 

Keep  in  Style  Nov.  II  

There's  Somethini  About  ■ 

Soldier   Au|.  17  

When  My  Ship  Come*  U...Dee.  21.... 

COLOR  CLASSICS 
An  Elephant  Never  Foriatt.De*.  21.... 

Little  Dutch  Mill  Oct  26.... 

Poor  Cinderella   Aug.  3  

Song  of  the  Bird*  Mar.  1/35. 

HEADLINER8 

Cab  Calloway'*  HI-D*-Ha..Ang.  24  

Feminine  Rhythm   Feb.  8/35. 

Ina  Ray  Hutton  and  Her 

Melodear*   

Club  Continental   Oet  9.... 

Leon  Belasco  Sl  Orehe*- 

tra  -  Geo.  Givot  -  Vivian 

Janis-Graee  Barry 
Hollywood  Rhythm   Nov.  18  

Gordon  and  Revel  -  Lyda 

Roberti   -  Jack  Oakle  - 

Norman  Taurog  -  LeRoy 

Prlnz  ■  Edith  and  Bill 

Wilshire 

Ladies  That  Play  Da*.  7... 

Phil  Spitalny  and  HI* 

Musical  Ladies 

Melody  Magic   Mar.  22.'39 

Million    Dollar   Note*  Feb.  8,'35 

Red  Nichols  and  hl>  World 

Famous  Pennie* 
Radio  Announcer'*  R*vi*w. .Sept  14. . . 
Rhythm  on  th*  Roof  Oct  28  

Anson  Week*  t. 

Orchestra 

Society  Note*   Au|.  S... 

Song  Writer*  of  tha  6ay 

Nineties   Mar. 

Yacht  Club  Boy*  Garden 

Party   Do*. 

PARAMOUNT  PICTORIAL 

(NEW  SERIES) 
No.  I  —  Song  Makan  ef.Aai.  17... 

the  Nation— Cha*.  Tebia* 

— Flowery    Kingdom  af 

America  —  Tha  Wind- 

lammer 

Na.  2— Tha  Bli  Hanratt— .Sept  14... 

Geared  Rhythm  —  Denri 

Wertman 
No.  3— Bear  Faat*  —  Tba.Oet 

Valley  ef  Silence— Iniai 

Mills 

Ne.  4— Tub  Beat  Ahay— Hct.Na*. 

Dog — Mahal  Wayne 
Na.  8 — Ra*e  af  Buliaria— .Dae. 

0.  Soglow — Canay  lelaad 
Na.  •—Twilight   Malady —.Jaa. 

Pet*    from    tha  Wild— 

H  award  Chandler  Chrlety 

PARAMOUNT  VARIETIES 

No.  7—   Feb. 

No.  8—   Mar.  . 

No.  9 —   Mar.  21/39. 

Baby  Blue*   Oet  9.... 

(Technicolor) 

Coo-Ceo  New*   Jan.  29,'99. 

Jungle  Antle*   Feb.  22.'S9. 

Laugh  These  Off  Mar.  22,'39 

Madhouse  Movie*  Na.  I....Ani.  24  

Manhattan  Rhythm   Mar.  B.'SS 

Monkey  Shine*   Nov.  18  

Movie  SIdeshaw   Jan.  II.'M. 

Nerve  of  Some  Wemea,  The.Nev.  2..., 

Old  Kentucky  Hound*  S*pt.  7.... 

Screen  Souvenir*  N*.  I  Sept  21.... 

Screen  Souvenir*  N*.  2  Nov.  30  

Screen  Souvenir*  No. -3  Feb.  I,'S9. 

Superstition  ef  tha  Black 

Cat   Aug.  10.... 

Superstition  ef  Three  an 

a  Match   Oct.  IS.... 

Superstition  ef  Walking 

Under  a  Ladder   Dee.  2S..., 

POPEYE  THE  SAILOR 

A  Dream  Walking  Sept.  28... 

Axe  Me  Another  Aug.  24  

Be  Kind  to  Animals  Feb.  22,'35. 

Beware  of  Barnacle  Bill.... Jan.  25,'3S. 

Dance  Contest   Nov.  23.... 

Shiver  Me  Timber*  July  27.... 

Shoein'    Hosses   June  I.... 

Strong  to  the  Finlch  June  29..., 

Two  Alarm  Fire  Oet  26.... 

We  Aim  to  Please  Dee.  28..., 

SCREEN  SONGS 
Love  Thy  Neighbor  July  29.... 

Mary  Small 

SCREEN  SOUVENIRS 

Ne.  1   

Na.  S   

No.  3   


.7... 

.r... 

.7... 
.7... 


II... 
.1  ri. 


10. 


10. 


II.. 


10... 
II... 


It... 


4.'8i, 


i.'SS. 
1/35. 


II... 

10... 
II... 

II... 

10... 

II... 
IS... 
It... 

10... 

id.*.'.' 
li'ii'. 


.1  rt. 
II... 
II... 

10... 
10... 
10... 


10... 

II... 
II... 

.7... 
.7... 
.1  ri. 
.7... 


7... 
7... 
.7... 
.7... 
,7... 


.1  ri. 
.1  ri. 
.1  rt. 


March    2  .    19  3  5 


MOTION    PICTURE  HERALD 


89 


(THE  RELEASE  CHACT—CCNT'D) 


Till*  ntL  oau 

PARAMOUNT  SOUND 

NEWS 
T>*  EdItiNt  WHklir 

SRANTLAND  RICE 

8P0RTLIGHTS 

(NEW  SERIES) 

Hi.  I— MIIm  Ptr  Htw  AU|.  S... 

Mik  2 — 8»rU|bo«rd  Cktn- 

»iMl   Au|.  SI... 

N*.  S— WiUr  RsdM   S«»t.28... 

Nib  4— Kntlni  Tim*   0<t.  Z«... 

N*.  •— Saddl*  CIWBIM  ....Nov.  30... 
N*.  (—A  Spartlllht  Cctk- 

tall   Dm.  is.... 

N*.  7— KIni  «f  th«  Evtr- 

tlHM   Jm.  25.'35 

Nt.  S— FillM  AtMttw  F«b.  32,'U 

TWO-REEL  COMEDIES 
Makint  tb«  Roundi  July 

Pmll«tt«-Catlftt 
No  Dnian,  Th«  A»r.  6..., 

Pall(tt*-Citl«tt 
Nnt(  Hwadt   Juni    I  — 

P«l!«ttt-C«tl*tt 
N«  Mor*  Brldi*  Mar.  IB.... 

Lmb  ElTtI 
eil'i  Wdl   May  4..., 

CkU  Salt 
Old  Buflar,  Tlw  Jan.  S.... 

ChU  Sal* 

Pfttint  Pr«rerr«d   Apr.  27  

Pleased  to  Meet  Cbal  Mar.  22,'35 

Sporting  Souad*  Mar.  22,'35 

Up  and  Down  Mar.  2  

Franklya  Panpbora 


MlB. 


10... 

10... 
10... 
II... 
II... 

IS... 

10... 

.1  rt. 


,21... 
.20... 
20... 
21... 
22... 
20... 
10... 

ii'.'! 


Data 

2S... 
I5,'3S 


'/!": 

14.... 
2t.'SS 


MIn. 
2iy't.. 
21V*.. 


14..., 
2S.'S5 
27.... 
1 1, '35. 


.7... 
.7... 
.S... 
.S... 


PRINCIPAL 

Title  Rel. 

Death  Day   Apr. 

Glory  of  tko  Kill  May 

Newilauih — No.  2  Doe. 

Wonder*  of  the  Tropic*  Dec. 

CONFLICTS  OF 

NATURE  SERIES 

Clnle  of  Life  of  th*  Ant 

Lion,  The   Feb. 

Faroier'*  Friend   Oct. 

From  Cocoftfl  to  Buttertly.  ..Jan. 
Her  Majesty  the  Queen  

Bee   Dec. 

Iniett  Clowns   Mar. 

Quoea  of  the  Underworld. ..  Dee. 


Date 

10... 
23... 
20.'33 
I3,'33 


14... 
II... 
10... 


MIn. 
.17.... 
28.... 
.9.... 
32.... 


I. '33. 
4.... 
6,'33. 


.6.... 
.7.... 
.7.... 


Title  Rol. 

If  ThI*  iM't  Ltn  S*pt 

Spirit  of   1076   Fob. 

MUSICOMEOIES  SERIES 

(Ruth  Ettlni) 
An   Old   Spanlth  OalH...Mar. 

Bandlta  and  Ballad*  Doe. 

Southora  Stylo   Sept. 

Ticket  Or  Leave  It  May 

PATHE  NEWS 
Released  twice  a  week 

PATHE  REVIEWS  (I033-34) 
Released  once  a  month 

PATHE  TOPICS 
Released  tevta  tin**  a  yoar 

RAINBOW 

PARADE  CARTOONS 

Parrotvlllo  Fir*  Dept.  Sept. 

Parrotvlll*  Old  Falkt  Jan. 

Pastrytown  Woddlai   July 

Sunshin*  Maktr*,  Th*  Jan. 

SOGLOW-S  "THE  KINO" 

CARTOONS 
Cactu*  KiDl   Jai* 

SPECIALS 

C*ntury  of  Pr*or***  Jun* 

Grand  Natltnal  lrl*h 

Sw*epstak**  Ra**,  1034.. .Apr. 
La  Cuearacha  Aup. 

Staffl  Duaa-D*a  Alvarad* 

(Technicolor) 

TODDLE  TALE 

(fATtTOONS 

A  Little  Bird  Told  M*  S*pt  7  S... 

Along  Came  A  Duek  Aug.  10  Oy*. 

Grandfather'*  Cl*ek   Jun*  29  VA. 

VAGABOND  ADVENTURE 

SERIES 

Damascus   June  8  1  rl. 

Eyes  on  Russia  Aug.   9. ...II... 

Fakeers  of  the  East  Dee.    7  18'/*. 

isle  of  Spice  Jan.  ll,'35.IO</i. 

Red  Republl*   S*pt.  21  10... 


STATE  RIGHTS 

CENTRAL 

Child  of  Mother  India  38. 

Hindu  Holiday   9. 

GENERAL  FILMS 
it's  a  Bird  14. 

MARY  WARNER 
Olympic  Winter  Sport* 

Capital   8. 

METROPOLITAN  LIFE 
Once  Upon  a  Tin*  10. 


S... 
31... 


..I  It. 

.22... 
10... 

lovi. 


RKO  RADIO  PICTURES      UNITED  ARTISTS 


Title  Rel.  Date  MIn. 

BLONDE   and  RED 
HEAD  SERIES 

Contented  Calve*   Aug.  0....20Vt.. 

Dancing  Mlillagaira   Dec.  14. ...19.... 

Hunger  Pain*   Feb.  22.'35. 17t^i. . 

Oiean  Swell*   Oct.  12  21.... 

R*uab  Necking   Apr.  27  20.... 

Uadle  World,  The  June  IS.... 21  

CHICK  CHANDLER 
COMEDIES 

Big  Mouthploe*   Nov.    9.... 20.... 

H*r**  H«lr   Feb.   I. '39. 1 9'/... 

Ualucky  Strik*   .Aug.  SI....20Vi.. 

CHARLIE  CHAPLIN 
SERIES  (R*-ls*u(«) 

B*klnd  th*  8er**a  May 

Th*  Advontur*   July 

CLARK  4  MeCULLOUGH 

SERIES 

Allhl  Bye  By*  Juna 

Badlan  *f  B*ardi  Apr. 

Evarything'*  Ducky   Oct. 

Flylpg  Down  t*  Z*r«  Apr. 

A  Pig'*  Eye  Dee. 

Ii  the  Dovll  Dog  H*u*«  Feb. 

Odor  la  th*  CMirt  Aug. 

CUBBY  THE  BEAR 

CARTOONS 
Cabby'*  Strat**ph«r*  Flight. Apr. 
PIddllR'  Fua   Jun* 

DUMBBELL  LETTERS 

R«b  8   Aug. 

N*.  4   „  Sept. 

Nab  5   OeL 

N*.  6   Nov. 

Na.  7   Dee. 

N*.  S   Jan. 

N*.  9   Jan. 

Na.  10   Feb. 


Rel.  Date 


MIn. 


Title 

MICKEY  MOUSE 

5.  Guiliver  Mickey   May  19  9  

6.  Mickey's  Steamroller  ....Juno  15  7  

7.  Orphans'   Benefit   Aug.  11  9.... 

8.  Mickey  Plays  Papa  Sept.  29  

9.  The  Dognapoers   Nov.  10  

10.  Two-Gun  Mickey   Dee.  25  8  

M.  Mickey's  Man  Friday. ..Jan.  i7.'35..7  

12.  Band  Concert   Feb.  23,'35  


25  2  rt*. 

5  2  rl*. 


I4,'3S.2IV<. 
13. ...18... 
10. ...21... 
I9.'35.I9... 
28....20V^. 

2. ...21... 

2....2li4. 


20  7... 

15  7... 


SILLY  SYMPHONIES 

6.  Th*  Wl**  LIMIo  Hon... .Juno  7  Irl.. 

7.  The  Flying  Mou**  July  12  7.... 

6.  Peculiar  Penguins   Sept.  6  8  

9.  Goddess  of  Spring  Nov,  I  

10.  The  Goldoa  Touch  


Rol.  Data 


Mil. 


.Oct.    1  9. 

.D«*.  10  9. 


17  4... 

28  4Vt. 

26  8... 

23  4V,. 

21  5... 

4,'35..5V4. 
I8,'S5..B... 

I,'S9..5... 


UNIVERSAL 

Title 

CARTUNE  CLASSICS 
No.  I— Jolly  Little  Elvo*. 
No.  2 — Toylaad  PrtaUr*. 

GOING  PLACES 

with  LOWELL  THOMAS 

No.  I   Sept.  10  9.... 

N*.  2   Oet    8  1  rt.. 

No.  S   Nov.   5  i  rt.. 

No.  4   Do*.    3  1  rt.. 

Na.  5   Da*.  31  1  rt.. 

Na.  8   Jan.  I4.'S9. ...... 

No.  7   9.... 

No.  8   Mar.  25,'35  


EASY  ACES 
Pharaohland   Fob.  22.'S9..t.... 

FOUR  STAR 

COMEDIES 

Fixing  the  Staw  Nov.   2. ...20.... 

Fallor  Gush  Man  Aug.  24  18  

How  To  Break  90 

at  Croquet   Jan.  4,'35.I5  

HEADLINER  SERIES 
No.  6— Weil  Cured  Han. ..June  22  19  

HEADLINER  SERIES 

(1934-35) 
No.  i — Song*  *f  the 

Colleges   Oet.    5  15  

No.  2 — Ferry  Go  Round  Nov.  23  20  

No.  3— This  Band  Age  Jan.  25/35. 2i</t . . 

N*.  4 — Simp  Phoney  Concert.  Mar.  15/35.21  

EDGAR  KENNEDY 

COMEDIES 

Blasted  Event   June  29....  19.... 

Brle-a-Brae   Jan.  18/35.19  

Love  on  a  Ladder  Sept.  7  20i/*.. 

Poisoned  Ivory   Nov.  16. ...21.... 

Wrong  Direction   Nov.  16.... 21  

MUSICALS 

Everybody  Like*  Mutle  IRar.  9....l9</i.. 

Hanry  the  Ape  Jan.    26.... 2  rl*. 

B*rt  Lahr 


GOOFYTONE  NEWS 
Mo.  7   Apr.  S«  9.... 

OSWALD  CARTOONS 

Happy  Pilgrim*   Sept.  3  7.... 

Hill  Billy*   Feb.  I,'35..9.... 

Robinson   Cniso*   tola  Jan,  7.'35..9.... 

Sky    Lark*   Oct,  22  8  

Spring  in  the  Park  Nov.  12  7  

Two  Little  Lamb*  Mar.  II,'S5..I  rt.. 

Wax   Works.  Th*  Juna  25  9.... 

William  Tell   July    9  6.... 

STRANGER  THAN 

FICTION  SERIES 

No.  I— Novelty   Aug.  27..  ..9.... 

No.  2— Novelty   Sept.  24  10  

No.  3— Novelty   Oct.  22  9.... 

No.  4— Novelty   Nov.  26  9.... 

No.  5— Novelty   Deo.    17  9  

No.  6 — Novelty   Jan.  28,'35..8  

No.  7— Novelty   Mar.  4.'S5..lrt.. 

No.  8 — Novelty   Apr.    I, '35. .irl.. 

UNIVERSAL  COMEDIES 
At  the   Mike  Oct.  10  20  

(Mentone  No.  S-A) 
Demi  Tasse   Oct.    3  2  rli. 

(Doane  Musical  N*.  I) 
Doin'  the  Town   Jan.  30/35.18.... 

(Mentone    No.  9-A) 
Fads  and  Fancia*  Aug.  22  20  

(Mentone   No.  IS) 
Father   Knows  Best  Feb.  20/35.  .2  rl*. 

Sterling  Holloway 
Gus  Van  and 

His  Neighbor*   Sept.  19. .. .18  

(Mentone  No.  2- A) 


Title  Rai.  Data  Hip. 

Henry'*  Social  Splaall  Oe*.  19. ...tl.... 

H*nry  Armatta 
Hit*  of  T*day   Aug.  IS  t  ria. 

(Mentone  No.  12) 

Hollywood  Trouble   Jan.  9/SS.20  

Ju*t  W*  Tw*  Aug.  S....lt.... 

Knlck*rbo*k*r  KnIghU   Da*.  12.... tS.... 

M*nton« 

Meet  the  Prafo***r  Feb.  I8.'3S.IS.... 

(Mentone  N*.  lO-A) 
Night  In  a  Night  Club.  A  .Sapt  1  IS.... 

(M*nt*no    No.  I-A) 
Oh  What  a  Budn***  Nov.  IS  t  rl*. 

(M*ntone  No.  S-A) 
Picnic  Porlle   July  IS  II  

Sterling  Holloway 
Revue  A  la  Carta  Jan.  IS.'SS.IT.... 

Tom  Patrlcala 

(Moatono  No.  8) 
Soup  for  Nut*  Juna  17  t  rt*. 

(Mentone  No.  II) 
Sterling'*  Rival  Remaa  Na*.  14  1  rt*. 

Sttrllng  Hdlaway 
Tld  BIto   0*t  M  t  rt*. 

(Oaan*  Mu*l*al  Na.  2) 
Well,  By  George  Oet  SI. ...IS.... 

(Mentone  No.  4-A) 

Qeorglo  Price 
Whole  Show.  The  Daa.  18  20.... 

(Mentone  No.  7-A) 

Jame*  Barton 
World's  Fair  and  Warmer.. Oct  17.... U  


Rol.  OaU 


VITAPHONE  SHORTS 


Rol.  Data 


MIn. 


Title 

BIG   V  COMEDIES 
No.  20— Daredevil  O' Dare.. Aug.  II  It  

Ben  Blue 
1934-35 

Ail  Sealed  Up  Sept.  IS  19  

Ben  Blue 

Get  Rich  Quick  Apr.  20,'35.  .2  ris. 

Allen  Jenkins 

His  First  Flame  Mar.  9/35  

Shemp  Howard- 
Daphne  Pollard 

Oh  Sailor  Behave  Sept.  29.  . . .  17  

Ei  Brendel 

Old  Gray  Mayor,  The  Apr.  6,'35..2ris. 

Bob  Hope 

Smoked  Hams   Oct.  20. 

Shemp  Howard- 
Daphne  Pollard 

So  You  Won't  T-T-T-Talk.N*v.  8. 
Roseoe  Ates 

Out  of  Order   Nev,  17. 

Ben  Blue 

Vacation  Daze   2  rl*. 

Jenkins  &  Donnelly 
Dizzy  and  Daffy   Dec.  IS....  19.... 

Dizzy  and  Daffy  Dean 
Once  Over  LiphUy  Jan.  12/3$. .2  ri*. 

Roseoe  Ate* 

Radio  Scout   Jan  28,'S5.I9  

El  Brendel 

High,  Wide  and  Haaeom. . .Feb.  9.'85..2ria. 
Herb  William* 


.18. 


..20.. 
..19.. 


II. ...20.... 


I. 
8. 

22. 

6... 

IS... 
27... 

19... 

3p,'35. 


.20.... 
.21.... 
.19.... 

.11.... 
.10.... 
.19.... 

.20.... 

.2  rls. 


BROADWAY  BREVITIES 
No.  32— The  Policy  Girt.... Aug. 

MItzl  Mayfalr-Roeco*  All* 

1934-1935 
Syncopated  City   Sept. 

Hal  LoRoy-Derathy  Dar* 
Faroe,  Faroe   Sept. 

Dorothy  Stone- Bob  Hope 
Good  Morning  Eva  Sept. 

Leon  Erroi 

(Technicoler) 
No  Coatoit   Ott. 

Ruth  EMIng 
Off  the  Beat   OcL 

Morton  Downey 
The  Flame  Soag  Oet. 

Bernico  Claire. 

J.  Harold  Murray 
Gem  of  the  Ocean  Nov. 

Jeanne  Aubort 
Gypsy  Sweetheart   Mar. 

Winifred  Shaw* 

Phil  Regan 
Hear  Yel  Hoar  Yet.. 

Vera  Van  and  th* 

Yacht  Club  Bay* 

See,  See,  Senorlta  Jan.  12,'SS. 

Tito  Gulzar-Armlda 

What.  No  Ment  Jan.  S.'SS. 

El  Brendol-Phll  Regan 

(Tehnlcoior) 
Soft  Drinks  &  Sweet  Music. Doe.  8.... 

George  Price-Sylvia  Freo* 
Show  Kid*   Jan.  S/S5. 

Megiln  Kiddlee 

Tad  Alexander 
Radio  Silly   Jan.  9,'3S. 

Cross  &  Dunn 
Cherehez  La  Femma  Fab.  2,'35. 

Jeanne  Aubort 
in   the   Spotlight  Feb.  22/35. 

Hal  LeRoy  &  Dorothy  Lee 
Mr.  &  Mrs.  Melody  Mar.  i6,'35. 

Ilomay  Bailey — Lee  Seems 
Shoestring  Follies   Feb.  16, '35, 

Eddie  Peabody 
Singing  Silhouette,  The  Mar.  i6,'35, 

Ogia  Baclanova 
Castle  of  Dreams,  The  Apr.   6, '35. 

Morton  Downey 
Cure  it  With  Music  Apr.  13, '35. 

Fifl  D'Orsay 
Minstrels   Apr.  27,'35. 

Pick  &.  Pat 

LOONEY  TUNES 

No.  II— Buddy's  Clrcu*   I  rt.. 

No.   12— Buddy  the  Detective   Iri.. 

No.  13— Viva    Buddy  I  rt.. 

1934-1935) 

No.  I — Buddy's  Adventures  I  rl.. 

No.  2— Buddy  the   Dentist  I  ri. 

No.  3 — Buddy   of  the 
Legion   7.... 


Doe.  22  2  ria. 

.2  ri*. 

21.... 

20.... 
20.... 

.2  ri*. 
.2  ri*. 
.2  rl*. 

.2  rls. 
.2  rls. 
.2  rls. 
.2  rls. 
.2  rls. 


TItl* 

No.  4— Buddy'*  Tbeatr* 

No.  5 — Buddy'*  P*ny  Ex- 
pro**   ,  

MELODY  MASTERS 
1934-1935 

Mirror*   S*pt  8... 

Fr*ddy  Rich  4  Onbostr* 
Phil  SplUlny  and  k!« 

Musical  Queana   Oct  8... 

Richard  HIrobw  4  HI* 

Oreh*t*ra   N*v.  3... 

Don  Redman  4  HI*  Band.. Da*.  29... 
Will  0*b*ni*  4  HI*  Or- 

*h**tra   Da*.    I . . . 

A  4  P  Gyp*!**   Jan.  28.'38 

Harry  Harliek 

Chartle  Davl*  4  Band  Fab.  18/35 

RImae'*  Rhumba  Orchastra.  Mar.  2.'3S. 
Barney  Rapp  and  His  Or- 
chestra  Mar. 

MERRIE  MELODIES 

1934-35  (In  C*l*r) 

No.  I— Tbose  Beautiful  Oama*   

No.  2— Pop  Goes  My  Heart  

No.  3— Mr.  4  Mr*.  I*  th* 

Name   

Na.  4 — Country  Bay   

No.  5—1  Haven't  Got  a  Hat  

SEE  AMERICA  FIRST 

E.   M.  NEWMAN 

He.  I— Pilgrim  Day*  Oct  27  

No.  2— Boston  T*a  Party. ..Nov.  17  

No.  3— Hall  Columbia  Dee.  8.... 

No.  4 — Remember  the 

Alamo    Doe.  20  

No.  5— Trail  of  the  4gor*...Jan.  i9,'35. 

No.  6— Dixieland   Feb.   9, '35. 

No.  7 — Blue  4  the  Gray. ..Mar.  2,'35. 
No.  8 — The  Mormon  Trail. .  Mar.  23. 'is. 
No.  9 — Westw.ard  Bound  . . .  Apr.  i3.'35. 
No.  10 — Remember  the 

Maine   May  4/35. 

PEPPER  POT 
No.  24— At  the  Race*  July  21.... 

Edgar  Bergen 

No.  25 — The  Stolen  Melody. July  28  

No.  26 — Camera  Speakc  Aug.  II  

1934-35 

Little  Jack  Little  Sept  I  

Radio   Reel    No.    I  Sept.  15  

Mr.  and  Mrs.  Jesse  Crawford. Sept.  29  

Vaudeville  Reel  No.  I  Oct  13  

Movie   Memories    Oct.  27.... 

Songs  That  Live  Nov.  10  

Gus  Edwards 
Two  Boobs  in  a  Balloea  

Edgar  Bergen 

Good  Badminton   Nov.  24.... 

Stuffy's  Errand  of  Mercy...  Do.  15  

Listening   in   Dec.  8.... 

Radio  Reel  No.  2 

Vaudeville   Reel    No.   2  Dec.  29  

Harry  Von  Tilzer  Jan.  5,'35. 

Chas.  Ahearn   Jan, 

A  Trip  Thru  A  Hollywood 

Studio   Feb. 

We  Do  Our  Part  Feb. 

Radio  Reel  No.  3 

Vaudeville  Reel  No.  8  Feb. 

Guess  Stars   Mar.  22,'35 

Radio  Ramblers 

Billy  Hill   Mar.  i6,'35. 

Eggs  Marks  the  Spot  Mar.  30,'35. 

Radio   Reel   No  4 
Some    Bridge   Work   Apr.  13,*35. 

Easy  Aces 
Vaudeville  Reel   Apr.  27,'35. 


Mia. 

.1  rt.. 

.1  ri.. 
II.... 

IS.... 

10.... 
It.... 

It.... 
10.... 

.1  ri.. 
.1  rt.. 

6,'35..l  rt.. 


.7.... 
.1  rt.. 
I  rt.. 


II... 
II... 
10... 

It... 

10... 
10... 
10... 

.iri; 

.1  rl. 

10... 

10... 
.9... 


.9... 
.9... 
.9... 

II... 
.8... 
.9... 


.1  rt.. 
.9.... 
10.... 


I9.'33 


2.'35. 
9,'35. 


i«.'S5. 


10... 
10... 
10... 

.8... 
.1  rt. 

.1  ri. 
10... 


.1  rl.. 
.1  rt.. 


SEI^IALS 

12  Episodes  Each  Unlaa*  Oth*r«l*a  Spa*lt*d 
TItl*  R*l.  Dal*  MiP. 


FIRST  DIVISION 


Young  Eagle* 
Boy  Scout* 


.Joly    1  2  ria. 

(a«k) 


MASCOT 


Bum  'Em  Up  Barnaa  Juna  It  I  ria. 

Jack  Mulhall-Lala  Lane-  (aaak) 

Frankle  Darro 
Lost  Jungle,  The  June  IS  2rt*. 

Clyde  Beattv,  (aaelO 
Law  of  the  WTIi  Satt  1  2  ria. 

Rex.  Rln  Tin  Tin,  Jr.  (*«k) 

Ben  Turpin,  Bob  CB*t*r 
Myitery  Mountain   Dec.    S  2  rt*. 

Ken  Maynard-Verna  HUH*  <awh) 
Phantom  Empire   Feb.  23,'8S..2  ria. 

Gene  Autry-Frankia  Darra  (aaeh) 


PRINCIPAL 


Chandu  on  the  Magle  Island  

Bela  LugosI,  Maria  Alba 

Return  of  Chandu,  The  Oet.  I  

Bela  Lugosl-Maria  Alba  (Seven  reel  feature 
followed  by  oigM 
two  reel  epieodaa) 


UNIVERSAL 


Red   Rider,  The  July  18  20.... 

Buck  Jones  (aaeb) 

(15  episodes) 
Rustler's  of  Red  Dog  Jan.  2l,'3S.2t  

John  Mack  Brown  (eaek) 

(12  episodes) 

Tailspin  Tommy   Oct.  29. ...20.... 

Maurice  MuFphy-  <aa(H 

Noah   Berry,  Jr. 
Vanishing  Shadow,  The  Apr.  23  20.... 

Onslow  Stevens-Ada  Ince  (eaah) 


90 


MOTION    PICTURE  HERALD 


March    2 ,  1935 


ADVERTISING 


the  great 
national  medium 
for  showmen 


Ten  cents  per  word,  money-order  or  check  with  copy.  Count  initials,  box  number  and  address.  Minimum  insertion, 
$1.    Four  insertions  for  the  price  of  three.    Contract  rates  on  application.    No  borders  or  cuts.    Forms  close 
Mondays  at  5  P.M.    Publisher  reserves  right  to  reject  any  copy.   Address  correspondence,  copy  and  checks  to 
MOTION  PICTURE  HERALD,  Classified  Dept.,  1790  Broadway,  New  York  City 


USEE)  ECUIPMENT 


UNUSUAL  BARGAINS  IN  USED  OPERA 
cfaairs,  sound  eiiuipment  moving  picture  machines, 
screens,  spi)lIiRlits,  stcreopticons,  etc.  I'rojection 
machines  repaired.  Catalog  H  free.  MOVIE  SUPPLY 
COMPANY,   Ltd.,   844   So.   Wabash   Ave..  Chicago. 


BARGAINS  RECONDITIONED  ARCTIC  NU-AIR, 
Supreme,  American  Blowers,  noiseless  drives,  hy- 
draulic variable  speed  pulleys.  New  air  washers. 
Catalog  mailed.  SOUTHERN  FAN  CO.,  11  Elliott, 
Atlanta,  Ga. 


WISE  EXHIBITORS  KNOW  WHERE  TO  BUY 
those  good  guaranteed  rebuilt  Simplex  and  Powers 
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SOUND  FILM  AMPLIFIERS,  $35,  MAZDA  LAMP- 
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plete. THEATRE  SOUND  SERVICE,  Rochester,  N.  Y. 


PCSITICNS  WANTED 


YOUNG  MAN  SEEKS  THEATRE  OWNER  RE- 
quiring  capable,  industrious  manager  with  appetite 
for  work.  Fully  qualified;  now  working  and  have  been 
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Prefers  small  town  setup.  Available  April  1st.  Salary 
and  percentage  only.  BOX  525,  MOTION  PICTURE 
HERALD. 


THEATREMANAGER— EXPERIENCED— TOWNS 
five  to  thirty  thousand.  References.  Prefer  central 
or  southern  states.  Age  forty.  BOX  526,  MOTION 
PICTURE  HERALD. 


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EXPERIENCED  PROJECTIONIST  WANTS  Posi- 
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Canby,  Ore. 


SOUND  PROJECTIONIST— EXPERIENCED,  UN- 
married,  young,  will  go  anywhere.  DAVID  EPSTEIN, 
Amenia,  N.  Y. 


CI^EJSIiES  ANO 
SDPDLIES 


SIGN  PAINTERS'  BRUSHES  AND  SUPPLIES. 
Write  for  FREE  catalog.  DICK  BLICK  COMPANY, 
Box  43,  Galesburg,  Illinois. 


GENEI^AL 
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Trades  taken.  S.  O.  S.  CORP.,  1600  Broadway,  New 
York. 


A  BIG  BUY  FOR  YOU  ALL— CARBON  SAVERS 
sizes  7  mm.  to  13  mm.,  65c  each,  $1.25  pair.  After 
this  lot  is  sold,  back  to  former  price,  $1.25  each. 
CROWN,  311  West  44th  St.,  New  York. 


NOW  AVAILABLE;  POWERS  SEMI-PORTABLE 
sound  projectors  at  bargain  prices.  Simplex,  Holmes, 
Acme,  DeVry — bought  and  sold.  Large  selection  of 
sound  Westerns,  comedies,  cartoons  in  perfect  condi- 
tion. Big  list.  ZENITH  THEATRE  SUPPLY  CO., 
Inc.,  308  W.  44th  St.,  New  York. 


SPECIAL !— ONLY  WHILE  THEY  LAST.  PAIR 
first  class  rebuilt  Peerless  low  intensity  lamps  with 
new  handy  30  ampere  rectifiers,  $375.  One  year  guar- 
antee. MONARCH  THEATRE  SUPPLY  CO., 
Memphis,  Tenn. 


NEW  REFLECTOR  ARC  LAMPS  OR  RECTI- 
fiers,  $49.50— replace  inefficient  Mazdas,  old  fashioned 
straight  arcs.  S.  O.  S.  CORP.-,  1600  Broadway, 
New  York. 


NEW  ECDIt>yHENT 


DON'T  BE  FOOLED  BY  MISLEADING  ADS- 
SOS  new  Cinemaphone  soundheads  make  old  models 
obsolete— a  few  of  our  1932  design  soundheads  half 
price  while  they  last.  S.  O.  S.  CORP.,  1600  Broadway, 
New  York. 

RAINBOW  MIST  SPRAY  NOZZLES  FOR 
washed  air  units,  66c  each.  Agents  wanted. 
PETERSON  FREEZEM  SALES  CO.,  2620  Charlotte, 
Kansas  City,  Mo. 

HOW  CAN  THEY  DO  IT?  BRAND  NEW— 
fourteen-inch  2,000  reels,  regularly  $1.50,  now  39c. 
Weston  ammeters.  50  ampere  scale,  for  generators, 
rectifiers,  arcs.  Regularly  $10,  now  $2.25.  S.  O.  S. 
CORP.,  1600  Broadway,  New  York. 

CAN  IT  BE  TRUE?— NEW  SOIWD  SCREENS, 
29c  square  foot.  Yes,  indeed.  Beaded,  Chromolite  or 
Ortho  Krome.  Wire  for  yours!  S.  O.  S.  CORP., 
1600  Broadway,  New  York. 


THEATRE  BCCrECS 


THEATRES  BOUGHT  AND  SOLD.  THE  EL- 
BAUGH  AGENCY,  1182  Broadway,  New  York. 


TI^AININe  SCIiCeLS 


LEARN  MODERN  THEATRE  MANAGEMENT. 
Catalog  free.  THEATRE  MANAGERS  INSTITUTE, 
315  Washington  St.,  Elmira,  New  York. 


SCUND  EQLII[)MENT 


NEW  SOS  CINEMAPHONE  MAKES  OLD 
models  obsolete — a  few  of  our  1932  design  soundheads 
half  price  while  they  last — don't  be  fooled  by  misleading 
ads.     S.  O.  S.  CORP.,  1600  Broadway,  New  York. 


"DISSATISFIED?  NEVER,  NO  SIRl"  SAYS 
Edward  Smith,  Minneapolis,  Kas.  "Excellent  service 
and  sound."  You'll  say  same  about  Cinemaphone. 
S.  O.  S.  CORP.,  1500  Broadway,  New  York. 


9,000  CYCLE  FILM,  COPYRIGHTED  INSTRUC- 
tions,  $1.50.  Buzz  and  chopper  track,  $2.50.  Combina- 
tion of  both,  $3.00.  Vitally  necessary  for  adjusting 
soundheads.  S.  O.  S.  CORP.,  1600  Broadway,  New 
York. 


THEATRES  WANTED 


WANT  LEASE  THEATRE  CENTRAL  STATES. 
Give  details  first  letter.  WILLIAM  C.  STILL, 
Lancaster,  O. 


WANTEO  T€  BUT 


PIPE  ORGANS  —  WILL  BUY  GOOD  USED 
chamber  instruments,  cash.  RAY  SEVERENS.  1101 
Bellefontaine,  Lima,  O. 


TWO  PROJECTORS,  LAMPS,  SOUND  EQUIP- 
ment,  for  250  seat  house.  Cash.  BOX  527,  MOTION 
PICTURE  HERALD. 


WANT  SIMPLEX,  POWERS  PROJECTORS,  ANY- 
thing,  for  cash.  S.  O.  S.  CORP.,  1600  Broadway, 
New  York. 


THEATRES  ECR 
SALE 


BEST  SMALL  TOWN  THEATRE  IN  MARYLAND. 
Terms  if  desired.  BOX  528,  MOTION  PICTURE 
HERALD. 


TECHNICAL 

cccrs 


"RICHARDSON'S  HAND  BOOKS  OF  PROJEC- 
tion"  in  three  volumes.  Universally  accredited  as  the 
best  and  most  practical.  Aaron  Nadell's  "Projection 
Sound  Pictures."  Complete  information  on  sound 
equipment.  Both  text  books  complete  for  $12.80. 
QUIGLEY  BOOKSHOP,  1790  Broadway,  New  York. 


Day-after-Day 

EXCELLENCE 


EASTMAN  Super-Sensitive  ^^Pan" 
Negative  has  played  a  part  in  pro- 
ductions that  marked  veritable  milestones 
in  cinematic  progress.  Yet  its  success 
in  these  outstanding  pictures  is  based 
upon  the  same  dependability  it  offers 
cameramen  and  producers  every  day  in  the 
year.  Unfailing,  day-after-day  excellence  is 
the  quality  that  makes  this  film  the  natural 
choice  for  the  screen's  greatest  ventures. 
Eastman  Kodak  Company,  Rochester, 
N.  Y.  (J.  E.  Brulatour,  Inc.,  Distributors, 
New  York,  Chicago,  Hollywood.) 


EASTMAN  Super-Sensitive 
Panchromatic  Negative 


orlds" 


Claudette 


COLBERT 


with 


CHARLES  BOYER 
JOAN  BENNETT^ 

HELEN  VINSON 
JOEL  McCREA 

Directed  by  Gregory  I  a  r 
'"■amount  Belease 


v^OTION  PICTURE 


CONSOLIDATION  OF  EXHIBITORS  HERALD- WORLD  AND  MOTION  PICTURE  NEWS 


TRI-ERCON  RULING  BUSTS 
FOX  DREAM  OF  ROYALTIES 

Decisions  by  U.  S.  Supreme  Court  In- 
validate William  Fox's  Claims  under 
Flywheel  and  Double  Printing  Patents; 
Full  Text  of  Rulings        »        »  » 


WEBB  PLAN  APPROVAL  ASSURES 
CONTINUED  PATHE  OPERATION 

Company  Program  Does  Not  Include 
Making  Pictures  but  Concentrates  on 
Development  of  Film  Printing  and 
Financing  of  Production         »  » 


Two  Sections  —  Sect 


OL  118,  NO.  10 


Entered  as  second-class  matter.  Junuarv  12,  1931.  at  the  Post  Ofice,  at  Nezc  York,  N.  V..  under  the  act  of  March  3,  1879.  Pub-  MAR  0  IQ'^R 
lishcd  Weekly  by  Quiglcy  Publishing  Co.,  Inc.,  at  1790  Broadway,  \'ew  York,  .'iiihscriftioii .  $3.00  a  year.  Stniile  colnes.  25  cents.  \.    i ,    i  i  j.j 


The  Greatest  Singing 
Picture  Ever  MacJd 


XAUGHTY-MARBETTA'  A  HIT 


«^s»«^.c.,  Sri 


rf'"e  One"  '^AJ  " 


fo  P'ace  nf  k^;;'"^  that 


'n^bri,^°tn.    fl^^J-^a/d,  l^riT»- 


P;w  5     \A,  '    Edward  R  ^'^"^ 


Mac  Donald,  Eddy 
Charm  in  Operetta 

"NAUGHTY  MARIETTA" 
(MCM) 

Direction  W.  S.  Van  Dyke 

Original  Opertta:  Victor  Herbert  and 

Rida  Johnson  Young. 
Screen  Play:  John  Lee  Mahin,  Frances 
Goodrich  and  Albert  Hackett. 

Lyrics   Cus  Kahn 

Photography  William  Daniels 

Producer  Hunt  Stromberg 

Cast:    Jeanette    MacDonald,  Nelson 
Eddy,  Frank  Morgan,  Elsa  Lanches- 
ter,     Joseph     Cawthorn,  Douglas 
pumbrille,  Cecilia  Parker, 
Greta  Meyer, 
Harold  Huber, 


V/alter 
Aki-m 
Edward 


Kingsford, 
Tamiroff, 
Brophy. 

Lilting .  music  that  trills  its  way 
\^  throughout  the  picture  and  thrills  by 
Sjts  performance.  The  lovely,  familiar 
Victor  Herbert  arias  are  at  once  the 
hero  and  'hercAne  and  raison  d'etre  of 
the  production  and,  as  sung  by  Jean- 
ette MacDonald  and  Nelson  Eddy, 
they  are  something  one  can't  afford 
to  miss.  It's  a  picture  that  shoul 
be  labelled,  "Must  See.' 

There  is  in  the  picture  another  d'ebf 
the  public  owes  itself  and  that  is  the 
privilege  of  hearing  Nelson  Eddy.  He 
sings  his  way  through  with  the  great- 
est of  ease,  with  a  voice  that  has  a 
surprisingly  great  range,  with  a  per- 
sonality that  is  easy-going  and  charm- 
ing, and  he  has  all  the  physical 
attributes  of  a  hero.  '  There's  'gold  in 
that  thar  voice  for  Mr.  Eddy,  the  pro- 
ducers and  the  exhibitors. 

Those  are  the  outstandingly  impor- 
tant features  of  "Naughty  Marina.' 
The  plot  doesn't  matter,  because  ii  s 
delightfully  hidden  by  the  music  and 
direction,   the  acting  and   the  spare 


dialogue.  The  whole  thing  is  neces- 
sarily made  up  of  individual  credits. 
Van  Dyke  turns  his  talents  on  a  musi- 
cal and  manages  to  give  it  the  same 
moving  pace  that  he  injects  into  all 
his  pictures-;*  The  big  song  numbers 
have  been  staged  very  well  and  he 
has  gotten  that  same  feeling  of  the 
actors  having  fun  while  working  that 
I  impresses  in  everything  he  does. 

Herbert  Stothart  is  the  one  to  thank 
for  the  grand  scoring  of  the  picture. 
It  must  have  been  a  terrific  task  and 
he  has  done  a  gorgeous  job.  And  to 
continue  with  the  music,  Cus  Kahn 
has  contributed  fresh  lyrics  that  help 
treinendously  in  the  pleasure  of  re- 
newing acquaintance  with  old  favor- 
ites. The  screen  play  has  been  cleverly 
and  amusingly  done  by  John  Lee 
■  Mahin,  Frances  Goodrich  and  Albert 
Hackett. 

Jeanette  MacDonald  has  the  happi- 
est role  that's  been  handed  her  in  a 
long  time.  She  looks  so  beautiful  in 
the  costumes  and  .her  voice  is  an 
inspiration.  Frank  Morgan,  good  old 
Frank  Morgan,  is  a  )oy  as  the  governor 
trying  to  forget  what  he  married. 
What  he  married  was  Elsa  Lanchester 
in  her  first  sizable  part  on  the  Ameri- 
can screen  and  there's  an  actress  who 
should  become  a  very  valuable  factor 
in  our  fair  business.  She's  grand,  she's 
so  realistically  awful.  Harold  Huber 
and  Edward  Brophy  as  a  couple  of 
palsy  walsys  in' Daniel  Boone  outfits 
are  priceless.  Cecilia  Parker  is  lovely 
and  very  charming  -as  a  little  maid. 
Joseph  Cawthorn,  Douglas  Dumbrille, 
Walter  Kingsford,  Akim  Tamiroff  and 
Greta  Meyer  are  ,all  excellent  in  sup- 
porting roles.  • 

William  JSahiels'  -pho 

rriuch  to 'enhance  the 

'pYbiJuction,   and   for  tha 

itself   Hunt   Stronl|erg  i 

bow.    Hunt  seems  f dbe  {fl 

rather  merrily  these  d 

this   picture    is  soi 

about  for  the  whol 


''Kill  I J  


-iiiiiiiiiiii 


i!l||||ip]i|ijiji,;'"i|pn 

iiilij!' 


■■iiP 


iiiiiii. 


l  lllllll'W'''  „. 


liil 


i,";  ¥'i!i9'i!i|lii!:fi!i 


 Itll1lllllllllllllll1ll1llll|lllllli|iii  I  " 


WARNER  BROS. 

who  gave   you  "Devil  Dogs" 
and  "Sweet  Music",  now  bring 
you  3  major  stars,  in  a  single  show, 
to  keep  you  living  on  velvet. 


If  iir 


CIS 


mil  IS 


I  


iiiiii 


I  Iff ' 


If 


r 


Of  J 


D    IT  ME 


ills* 


mJET 


FRANK  BORZAGE 

who  helped  make  "Flirtation  Walk" 
one  of  the  box- office  champions  of 
1934,  turns  in  another  swell  directo- 
rial job  in  this  First  National  Picture. 


Specia/Acac/eiriyAwan/ (o 

SHIRLEY  TEMPLE 


Said  Irvin  S,  Cobb  in  making  the 
presentation:  "When  Santa  Claus 
brought  you  down  creation's 
chimney,  he  brought  the  loveliest 
Christmas  present  that  was  ever 
given  to  the  world.  Shirley,  honey, 
you  cannot  realize  the  full  im- 
portance of  this  occasion,  but 
you  will  in  later  years.  You  have 
given  the  world  one  of  its  great- 
est gifts.  I  am  told  you  have 
made  more  people  happy  and 
made  more  children  laugh  than 
any  child  your  age  in  the  history 
of  the  world.  So,  on  behalf  of  the 
Academy,  I  give  you  this  statu- 
ette with  all  love  and  admiration." 


MOTION  PICTURE  HERALD 


Vol.  1 18,  No.  10 


March  9,  1935 


IT  CAN  BE  DONE 

THE  attention  of  the  nnotion  picture  industry  may  well  be 
directed  to  the  significance  of  the  procedure  by  which 
Universal  Pictures  Corporation  has  enforced  retraction 
from  the  "press  of  the  air"  in  connection  with  a  chatter  broad- 
caster's erroneous  report  of  the  sale  of  the  company. 

The  motion  picture  has  long  been  subject  to  the  destructive 
and  sensation  seeking  air  gossip  of  the  radio  columnists. 

The  motion  picture  has  been  taking  it  from  the  radio,  with 
much  of  the  same  unreasonable  meekness  with  which  it  accepts 
irresponsible  and  destructive  journalism  of  the  fan  press  and 
sectors  of  the  alleged  trade  press. 

There  is  perhaps  not  much  that  is  to  be  done  about  mere 
incompetent  journalism  and  editorship  either  on  the  air  or  on 
printed  page,  but  there  are  remedies  against  gross  irrespon- 
sibility and  the  recklessness  which  is  so  closely  akin  to  malice. 
Freedom  of  speech  and  freedom  of  the  press  do  not  imply 
that  printer's  ink  and  the  microphone  can  be  made  the  play- 
thing of  Ignorant,  conscienceless  adventures  in  the  jungles  of 
gossipland. 

The  best  that  is  done  in  radio-journalism  is  decidedly  excellent. 
The  worst  that  is  done  on  the  air  is  the  worst  in  the  world — and 
that  is  the  part  the  motion  picture  has  been  getting. 

AAA 

FILM  BIOLOGY 

THE  news  of  the  week  concerning  the  rehabilitation  of 
Pathe  Exchange,  Inc.,  is  interesting  evidence  of  the  vast 
vitality  of  the  motion  picture.  Here  is  a  corporation  which 
was  cut  precisely  in  two  by  a  half-accomplished  liquidation, 
and  thereupon  proceeds  to  grow  a  new  head  and  complete 
organism  from  the  unliquidated  tail  end.    What  a  rooster! 

AAA 

AS  YOU  WERE 

THE  great  Tri-Ergon  specter  has  vanished,  slipping  off  into 
history  along  with  that  long  array  of  tremendous  things 
that  never  were. 
The  audit  continues  to  show  that  in  the  world  of  the  motion 
picture  there  is  more  probability  of  profit  on  the  screen  than 
in  the  courts. 

There  is  to  be  sure  no  final  certainty  of  opinion  justified  in 
unfinished  patent  controversies  of  any  sort,  the  courts  being 
technologically  handicapped  as  they  are,  but  the  publicity 
given  to  the  ambitions  of  Mr.  William  Fox,  as  based  on  Tri- 
Ergon,  loomed  much  larger  than  the  facts  warranted  at  any 
time.  It  is  pleasant  to  recall  at  the  moment  that  Motion  Pic- 
ture Herald's  presentations  on  the  subject  refused  to  view  with 
alarm.    In  our  issue  of  October  20,  1934,  in  an  article  entitled 


"Inside  of  the  Patents,"  the  editor  of  Motion  Picture  Herald 
said: 

"We  shall,  if  we  survive  years  enough  to  see  the 
end  of  the  sound  picture  patents  litigations,  pend- 
ing and  impending,  find  once  again  that  something 
did  not  happen.  ,  .  ," 

With  respect  to  patent  excitements  of  the  sort  It  is  a  safe 
general,  assumption  that  the  known  history  of  an  Industry  always 
includes  the  complete  line  of  significant  elements  of  develop- 
ment, and  that  surprises  from  ambush  outside  the  regular  pat- 
tern of  growth  are  seldom  well  founded.  A  great  many  patent 
claims  are  merely  good  stories  for  the  Sunday  supplements. 

AAA 

F  indeed,  as  seems  possible,  Mr.  Phillips  Lord,  radio  enter- 
tainer aboard  his  schooner,  the  Seth  Parker,  in  the  South 
Seas,  was  looking  for  publicity,  he  seems  to  have  got  it — 
of  a  sort,  that  sort  that  confers  little  on  American  status  the 
world  around.  The  "perils"  which  menaced  the  Seth  Parker 
appear  to  have  been  almost  as  desperate  as  the  dangers  of 
Commander  Byrd's  sojourn  in  the  insulated  bungalows  of 
Little  America.  The  path  of  the  publicity  bungler  is  beset 
with  punctures  and  blow-outs. 

AAA 

MOVIES— WHEN  HE  GOES  OUT 

A SURVEY  by  the  National  Recreation  Association  sets 
forth  that  the  average  citizen  makes  the  motion  pic- 
ture third  of  his  amusements,  the  first  and  second  being 
reading  newspapers  and  listening  to  the  radio,  respectively. 
It  is  pleasant  to  know  that  when  he  is  sufficiently  stirred  to 
get  up  and  go  somewhere,  the  first  place  he  thinks  of  is  the 
picture  theatre.  The  report  also  tends  to  give  support  to  our 
frequent  assertion  that  the  newspaper  of  today  tends  to  be 
mostly  penny  vaudeville — an  amusement  enterprise. 

AAA 

March  13  is  announced  by  the  Brewers'  Board  of  Trade  as 
the  official  release  date  for  the  bock  beer  of  1935.  Then  be- 
fore long  there  will  be  the  May  wine,  brewed  with  herbs.  Things 
could  be  worse. 

AAA 

THIS  being  early  March,  they  are  making  maple  sugar  in 
New  England,  the  jonquils  are  peeping  through,  the  first 
robins  have  been  reported  in  Bronx  Park,  and  Mr.  Samuel 
Goidwyn  has  arrived  from  Hollywood,  on  his  way  to  London, 
with  his  annual  spring  headline  making  interviews.  Looks  like 
a  good  season. 


MOTION  PICTURE  HERALD  MARTIN  QUIGLEY.  Editor-in-Chief  and  Publisher 

Incorporating  Exhibitor's  Herald,  founded  I9I5;  Motion  Picture  News,  founded  1913;  Moving  Picture  World,  founded  1907;  Motography,  founded  1909;  The  Filnn  Index, 
founded  1906.  Published  every  Thursday  by  Quigley  Publishing  Company,  1790  Broadway,  New  York  City.  Telephone  Circle  7-3100.  Cable  address  "Quigpubco,  New  York." 
Martin  Quigley,  Editor-in-Chief  and  Publisher;  Colvin  Brown,  Vice-President  and  General  Manager;  Terry  Ramsaye,  Editor;  Ernest  A.  Rovelstad,  Managing  Editor;  Chicago 
Bureau,  407  South  Dearborn  Street,  Edwin  S.  Clifford,  manager;  Hollywood  Bureau,  Postal  Union  Life  Building,  Victor  M.  Shapiro,  manager;  London  Bureau,  Remo  House,  310 
Regent  Street,  London  W  I,  Bruce  Allan,  cable  Quigpubco  London;  Berlin  Bureau,  Berlin-Templehof,  Kaiserin-Augustastrasse  28,  Joachim  K.  Rutenberg,  representative;  Paris 
Bureau,  19,  Rue  de  la  Cour-des-Noues,  Paris  20e,  France,  Pierre  Autre,  representative,  cable  Autre-Lacifral-20  Paris;  Rome  Bureau,  Viale  Gorizia,  Rome,  Italy,  Vittorio  Malpassuti, 
representative,  Italcable,  Malpassuti,  Rome;  Sydney  Bureau,  600  George  Street,  Sydney,  Australia,  Cliff  Holt,  representative;  Mexico  City  Bureau,  Apartado  269,  Mexico  City, 
Mexico,  James  Lockhart,  representative;  Prague  Bureau,  Na  Slupi  8,  Prague  II,  Czechoslovakia,  Harry  Knopf,  representative;  Cape  Town  Bureau,  10  St.  George's  Villas,  Green 
Point,  Cape  Town,  South  Africa,  H.  Hanson,  representative;  Budapest  Bureau,  3,  Kaplar  -u,  Budapest.  Hungary,  Endre  Hevesi,  representative;  Buenos  Aires  Bureau,  Cuenca  52, 
Buenos  Aires,  Argentina,  N.  Bruski,  representative.  Member  Audit  Bureau  of  Circulations.  All  contents  copyright  I93S  by  Quigley  Publishing  Company.  Address  all  corre- 
spondence to  the  New  York  Office.  Better  Theatres,  devoted  to  the  construction,  equipment  and  operation  of  theatres,  is  published  every  fourth  week  as  section  2  of  Motion 
Picture  Herald.      Other  Quigley  Publications:  Motion  Picture  Daily,  the  Motion  Picture  Almanac,  published  annually,  and  the  Chicagoan. 


8 


MOTION    P^CTURE  HERALD 


March    9,  1935 


THIS  WEEK--- 


OP 


FILMS  ABROAD 

"Hollywood  is  the  one  place  where  good 
pictures  are  made  consistently,  although 
notable  strides  are  being  made  abroad," 
says  Actor  Victor  Varconi,  in  Europe  three 
years,  now  back  in  RKO  Radio's  "Roberta." 
He  calls  the  film  industry  dead  in  Germany, 
points  to  some  interesting  activity  in  Vien- 
na, and  little  of  importance  elsewhere  ex- 
cept in  England,  although  he  sees  British 
production  no  threat  to  Hollywood.  .  .  . 

LOTTERY  FINE 

Imposed  on  Harry  Wade,  operating  at 
Talladega,  Ala.,  was  a  $100  fine  by  Judge 
Grubb  in  Birmingham  federal  court  for  run- 
ning an  advertisement  that  a  "live  baby" 
would  be  given  away  in  a  lottery.  The 
charge  was  using  the  mails  in  connection 
with  a  lottery,  to  which  Mr.  VV^ade  pleaded 
guilty.  .  .  . 

TRAGEDY 

Crashing  tragedy  last  week  ended  what 
was  to  have  been  a  novel  stunt  advertising 
Warner's  "Devil  Dogs  of  the  Air"  at  the 
Plaza,  in  Lamar,  Mo.  Rex  Thomas,  Lamar 
Democrat  reporter,  went  aloft  to  "bom- 
bard" the  town  with  ad  material,  with  him 
going  Maurice  Bassett,  local  sheriff's  son, 
and  pilot  Ward  Millard.  As  hundreds 
watched,  the  plane  spun,  dived  to  the 
street  from  350  feet  up.  Thomas,  Bassett 
were  killed.  .  .  . 

IMPROVEMENT 

Generally  improved  conditions,  theatre 
business  uptrend,  a  new  note  of  optimism, 
were  the  encouraging  discoveries  of  Nor- 
man Moray,  Vitaphone  sales  manager,  on 
his  tour  of  numerous  situations  in  the  coun- 
try. He  restates  a  perennial  truth,  "Good 
pictures  are  doing  excellent  business.".  .  . 

COLUMBIA  EXPANDS 

Expanding,  Columbia's  studio  has  pur- 
chased a  40-acre  tract  near  Burbank,  Cal., 
to  be  used  for  permanent  outdoor  sets, 
since  the  company  has  long  found  It  neces- 
sary to  lease  exterior  locations  from  other 
studios  having  their  own  ranches.  .  .  . 

BERMUDA  MERGER 

Bermuda  General  Theatres  has  been 
formed  to  operate  the  combined  proper- 
ties of  Bermuda  Moving  Picture  Company, 
Ltd.,  with  nine  houses,  and  Reid  Hall,  Ltd., 
with  six.  Three  theatres  will  be  closed. 
The  deal  was  arranged  by  E.  S.  C. 
Coppock,  with  Paramount  for  many  years 
and  noted  as  a  circuit  "doctor."  A  busi- 
ness committee  of  two  directors  from  each 
company  will  be  actively  in  charge.  .  .  . 


COSTLIEST  TOY 

The  world's  costliest  toy,  Colleen  Moore's 
famed  doll's  house,  containing  20  rooms, 
inlaid  with  gold  and  jewels,  beautifully 
furnished,  fully  equipped  in  miniature,  even 
to  tiny  books  by  famous  authors,  a  usable 
radio,  a  working  organ,  the  whole  taking 
nine  years,  employing  700  workmen,  and 
costing  $435,000,  will  be  on  display  at 
Macy's  in  New  York  April  8,  first  stop  on  a 
world  tour  to  raise  funds  for  crippled  Amer- 
ican children.  .  .  . 

FILMED  HISTORY 

At  the  California  Pacific  International 
Exposition,  opening  May  29  on  the  Coast, 
will  be  shown  a  film  recounting  the  history 
of  the  building  of  the  West,  sponsored  by 
F.  J.  Hansen  Company,  Ltd.,  real  estate 
developers  of  San  Diego.  From  the  ar- 
rival of  Juan  Rodriguez  Cabrillo  to  the 
exposition  itself,  the  film  will  span  the  years 
of  California  development.  .  .  . 

BOARD  DECISION 

The  Los  Angeles  code  grievance  board 
recently  refused  to  accede  to  the  demand 
of  the  ITO  of  Southern  California  that 
Harry  Hicks  be  dropped  from  the  board 
for  alleged  violation  of  the  code  through 
the  use  of  script.  Mr.  Hicks  is  said  to 
have  agreed  to  stop  the  practice.  .  .  . 


In  This  Issue 

Tri-Ergon  decision  blasts  William  Fox's 
hope  of  building  new  "empire"  on 
sound  patent  royalties 

Complete  text  of  Tri-Ergon  ruling 

Radio  bows  to  newsreel's  demand  and 
apologizes  for  commentator's  remarks 

Approval  of  Webb  plan  assures  continu- 
ation of  Pathe  operation 

Circuit  and  Paramount  adopt  electrical 
transcription  system  for  radio  ex- 
ploitation 

FEATURES 

Editorial 

The  Camera  Reports 
The  Cutting  Room 
The  Hollywood  Scene 
J.  C.  Jenkins — hHis  Colyum 
Productions  in  Work 

DEPARTMENTS 

What  the  Picture  Did  for  Me 
Showmen's  Reviews 
Managers'  Round  Table 

Technological 

Short  Features  on  Broadway 
Letters  from  Readers 
The  Release  Chart 
Box  Office  Receipts 
Classified  Advertising 


Page  9 
Page  57 

Page  13 

Page  17 

Page  27 


Page  7 
Page  15 
Page  38 
Page  47 
Page  66 
Page  93 


Page  78 
Page  48 
Page  85 
Page  84 
Page  83 
Page  84 
Page  70 
Page  40 
Page  94 


GRACE  MOORE 

Recognizing  the  screen  as  an  art  "vitally 
affecting  our  national  culture  at  the  present 
stage  of  our  evolving  civilization,"  the 
Society  of  Arts  and  Sciences  has  awarded 
its  annual  fellowship  gold  medal  for  dis- 
tinguished service  to  Grace  Moore,  opera 
star,  for  her  work  in  Columbia's  "One 
Night  of  Love."  Miss  Moore  thus  joins  a 
distinguished  company  of  52  previous 
recipients,  only  one  of  whom  was  a  woman, 
the  stage's  Eva  LeGalllenne.  .  .  . 

ITALIAN  VERSION 

Last  weekend  opened  at  the  Venice 
(formerly  Jolson)  theatre  on  Broadway,  "II 
Martirio  Dei  Cristiani,"  which  is  an  Italian 
dialogue-dubbed  version  of  the  Paramount- 
DeMille  spectacle,  "The  Sign  of  the  Cross." 
Clemente  Giglio  presents  the  film  as  his 
first  under  a  Paramount  contract  for  ex- 
clusive American  exhibition  of  Italian  ver- 
sions of  Paramount  product.  .  .  . 

MEXICAN  TAX 

Under  an  amendment  to  the  Mexican 
Income  tax  act,  distributors  must  pay  a  6 
per  cent  import  in  fiscal  stamps  on  money 
received  in  rentals  from  exhibitors,  who 
must  request  receipts  from  distributors 
bearing  the  stamps  before  paying  rentals. 
In  January  of  each  year  distributors  must 
report  to  the  finance  department  their  total 
income  for  the  previous  calendar  year.  .  .  . 

SMPE  MEDAL 

Created  by  the  Society  of  Motion  Pic- 
ture Engineers  Is  a  new  award,  the  Progress 
Medal,  to  be  presented  to  an  Individual 
for  outstanding  work  resulting  in  significant 
advance  of  motion  picture  technology. 
The  award  will  be  made  at  the  fall  con- 
vention of  the  Society.  A  committee, 
headed  by  Dr.  Alfred  N.  Goldsmith,  has 
been  named  to  select  the  recipient.  .  .  . 

JOE  V^EBER.  EXHIBITOR 

From  stage  to  screen,  In  a  sense,  has 
gone  Joe  Weber,  of  the  famous  old  vaude- 
ville team  of  Weber  and  Fields,  having 
taken  over  operation  of  the  DeLuxe,  film 
house  on  New  York's  125th  street,  where 
he  will  exhibit  under  a  double  feature 
policy.  Screen,  stage  stars  have  promised 
to  attend  his  opening  performance.  .  .  . 

OVERSEATING 

Milwaukee  members  of  the  MPTO  of 
Wisconsin  and  Upper  Michigan  have  peti- 
tioned the  mayor  to  regulate  new  theatre 
construction  In  the  city.  Members  point 
to  75  theatres,  with  more  than  82,000  seats, 
a  ratio  of  seven  persons  for  each  seat.  .  .  . 


March    9  ,     19  3  5 


MOTION    PICTU  RE  HERALD 


9 


SUPREME  COURT  SMASHES 
FOX  HOPE  OF  NEW  EMPIRE 


Highest  Tribunal  Finds  the  Tri- 
.  Ergon    Sound    Patents  Are 
Based  on  "Ancient  Devices" 
and  They  "Lack  Invention" 

The  United  States  Supreme  Court  this 
week  blasted  with  dramatic  swiftness 
the  visions  of  WilHam  Fox  of  a  new 
empire  of  the  motion  picture  with 
him,self  on  the  throne  when  it  declared 
that  the  Tri-Ergon  sound  patents,  upon 
which  he  hoped  to  collect  millions  in  roy- 
alties, were  based  on  "ancient  mechanical 
devices"  and  "lacked  invention." 

Reversing  the  lower  courts,  in  expressions 
considerably  more  definite  than  marked 
their  recent  "gold  clause"  ruling,  the  judges 
of  the  high  court,  without  a  dissenting 
vote,  held  invalid  claims  of  infringement 
which  Mr.  Fox  had  advanced  against  vir- 
tually the  entire  Industry  during  a  four- 
year  court  battle  in  behalf  of  Tri-Ergon's 
"double  printing"  patent  for  recording, 
and  "flywheel"  mechanism  in  reproduction. 

The  decisions  finally  and  effectively  dis- 
pose of  some  30  suits  filed  in  a  wholesale 
court  attack  against  producers,  distributors, 
exhibitors  and  film  laboratories',  thereby 
relieving  the  industry  of  any  worries  of 
threatening  interruptions  in  motion  picture 
sound  procedure,  and  preventing  Mr.  Fox 
from  pressing  his  demands  for  royalties 
amounting  to  millions. 

Asserting  that  Tri-Ergon  was  not  entitled 
to  patent  protection  of  the  discoveries, 
and  that  "the  record  fails  to  show  that 
there  was  any  long-felt  or  generally  recog- 
nized want  in  the  motion  picture  industry 
for  the  devices"  defined  by  the  claims, 
the  Supreme  Court  at  once  kept  the  sound 
Industry  In  status  quo  and  shattered  any 
hopes  William  Fox  may  have  had  for  a 
"comeback"  through  Tri-Ergon. 

Word  from  Washington  on  Monday  in- 
dicating the  Supreme  Court  had  found  that 
the  technical  methods  involved  in  the  litiga- 
tion "required  only  the  exercise  of  ordinary 
good  judgment  and  not  the  inventive  facul- 
ty," stimulated  industry  management,  for 
while  the  final  decision  has  been  awaited 
with  optimism  there  was  a  realization  that 
Mr.  Fox  had  already  been  sustained  by  all 
of  the  lower  courts. 

Developments  in  lower  courts  in  recent  years 
had  established  somewhat  the  nature  of  Mr. 
Fox's  scheme  by  which  he  hoped,  some  day, 
to  lay  tribute  on  practically  every  company  in 
the  industry,  collecting  large  royalties  on 
the  rights  to  the  two  sound  mechanisms  de- 
veloped by  three  unknown  German  inventors 
and  purchased  by  him  seven  years  ago  for 
$66,000. 

This  much  has  been  known :  William  Fox, 
the  historic  "independent"  foe  of  the  onetime 
great  Motion  Picture  Patents  Company,  has  for 
a  half-dozen  years  envisioned  himself  as  a  mo- 
tion picture  patents  company  with  purposes  and 
plans  as  broad  in  scope  as  those  of  the  "trust" 


Complete  text  of  the  deci- 
sions handed  down  on  Monday 
by  the  United  States  Supreme 
Court  at  Washington  denying 
William  Fox's  "flywheel"  and 
"double  printing"  Tri-Ergon 
claims  starts  on  page  57. 


against  which  he  fought  with  force,  finesse  and 
injunction  all  the  way  from  a  nickelodeon  on 
the  East  Side  of  New  York's  crowded  Four- 
teenth Street  to  the  White  House  in  the  bitter, 
violent  days  of  1910-14. 

While  it  is  impossible  to  estimate  the  actual 
amount  involved,  claims  by  Mr.  Fox  and  his 
American  Tri-Ergon  Corporation  have  been 
variously  placed,  in  newspaper  headlines,  at  be- 
tween $25,000,000  and  $100,000,000.  Presum- 
ably much  of  this  would  have  devolved  upon  the 
two  large  "electrics"  since  they  would  probably 
have  been  obliged  to  protect  their  licensees  from 
damage  suits. 

To  his  enormous  holdings,  variously  reported 
worth  between  $50,000,000  and  $200,000,000— 
a  considerable  part  of  which  was  gained  in  an 
extensive  short-selling  movement  in  stocks,  re- 
sulting in  a  summons  to  appear  before  a  United 
States  Senate  investigating  committee — Mr.  Fox 
would  have  added  tribute  from  each  motion 
picture  producer,  theatre  owner  and  manufac- 
turer of  sound  equipment,  if  the  courts  had 
upheld  the  patents. 

In  two  opinions,  totaling  some  9,000  words, 
handed  down  Monday  morning  by  Associate 
Justice  Stone,  the  court  specifically  disposed  of 
three  "test"  cases  brought  by  Tri-Ergon,  one 
against  Altoona  Publix  Theatres,  Inc.,  one 
heard  jointly  against  Wilmer  and  Vincent  Cor- 
poration and  Locust  Street  Real  Estate  Com- 
pany, both  involving  the  "flywheel"  in  theatre 
reproducers ;  and  a  third  against  Paramount 
Publix  Corporation,  involving  the  double  print- 
ing system  in  sound  recording.  Justice  Bran- 
deis  did  not  participate  in  either  the  consider- 
ation of  the  cases  or  the  decisions,  but  with 
that  exception  the  opinions  were  unanimous. 

The  suit  against  the  theatre  operators  was 
defended  by  the  Radio  Corporation  of  America 
on  behalf  of  its  subsidiary,  RCA  Photophone, 
Inc.,  licensor  of  reproducers  installed  in  the- 
atres of  the  defendants.  The  case  against  Para- 
mount was  defended  by  Electrical  Research 
Products,  Inc.,  a  subsidiary  of  Western  Electric, 
affiliated  with  American  Telephone  and  Tele- 
graph Company. 

Seven  of  19  claims  in  a  patent  held  by  Tri- 
Ergon  covering  projection  were  involved  in 
the  case  against  the  theatre  companies,  five  of 
them  relating  to  the  "flywheel"  device  for  se- 
curing uniformity  of  speed  in  reproducers.  Two 
other  claims  were  sought  to  be  incorporated  in 
the  case  by  a  disclaimer  filed  shortly  before 
the  hearing,  but  disallowed  in  the  decision. 

"While  both  courts  below  have  found 
Invention  and  sustained  the  patent,  the 
Court  of  Appeals  did  not  pass  on  the 
separate  claims  In  Issue,  but  found  Inven- 
tion In  a  combination  of  elements  not  em- 
braced in  any  single  claim,"  the  Supreme 
Court  pointed  out.  "In  consequence,  the 
case  presents  no  question  of  concurrent 
findings  by  the  courts  below  that  the 
claims  In  Issue  severally  Involve  invention." 

The  suits  concerning  the  validity  of  the  pat- 
ents  had   been   sustained  by  Federal  Circuit 


Decisions  Dispose  of  30  Suits 
and  Automatically  Prevent 
Williann  Fox  from  Pressing  for 
Many   Millions   in  Royalties 

Courts  in  New  York  and  Pennsylvania.  Five 
months  ago  the  Supreme  Court  in  a  formal 
order  refused  to  review  an  appeal  by  Para- 
mount and  the  others.  But  a  month  later  the 
court  reversed  its  position  and  consented  to 
reopen  the  litigation. 

Doubly  Significant  for  Paramount 

The  Supreme  Court  by  its  original  refusal 
to  review  had  not  automatically  declared  that 
the  patents  were  valid,  nor  that  they  had  been 
infringed.  By  its  formal  action  the  court  mere- 
ly refused  to  review  the  lower  courts  because 
it  felt  there  was  not  sufficient  legal  reason  for 
a  review. 

The  decision  this  week  has  double  significance 
for  Paramount  Publix,  in  view  of  the  large 
claim  that  had  been  standing  against  it  as  filed 
by  Tri-Ergon  in  connection  with  the  reorgani- 
zation of  the  company. 

The  quality  of  Tri-Ergon's  patent  claims  has 
for  months  been  the  subject  of  much  argument 
in  the  technical  field.  While  exhibitors  and 
producers  labored  pretty  much  in  the  dark  as 
to  the  legalities  and  technicalities  of  the  claims, 
sound  and  patent  experts  were  somewhat  di- 
vided in  their  opinions.  To  them  the  court's 
conclusions  carried  as  much  interest  as  the 
opinion  itself. 

Electrical  Research  Products,  through  John 
E.  Otterson,  its  president,  made  the  following 
statement : 

"The  so-called  Tri-Ergon  patents  in  ques- 
tion, originally  taken  out  by  German  In- 
ventors, have  been  used  as  the  basis  for 
numerous  Infringement  suits  brought 
against  American  manufacturers,  motion 
picture  producers,  and  exhibitors,  In  con- 
nection with  which  extravagant  claims  for 
damages  were  made.  The  decisions  of 
the  Supreme  Court  declaring  these  patents 
to  be  invalid  finally  and  effectively  dispose 
of  all  of  these  suits  and  the  claims  Incident 
thereto." 

The  ofike  of  David  Sarnofif,  president  of 
Radio  Corporation,  was  trying  to  make  up  its 
mind  whether   it   would  voice  any  comment. 

William  Fox  was  silent. 

In  the  Courts  Since  1930 

William  Fox  and  his  American  Tri-Ergon 
interests  had  been  fighting  the  defendants  since 
1930.  The  cases  had  been  steered  independently 
through  the  lower  courts  to  the  door  of  the 
United  States  Supreme  Court,  which,  on 
October  8th,  1934,  threw  a  bombshell  into  the 
industry  when  it  refused  to  review  the  lower 
court's  decisions  favoring  Mr.  Fox. 

Immediately,  Broadway's  executive  offices  and 
Main  Street's  theatre  owners  began  to  indulge 
in  wild  speculation  of  the  potential  import  that 
the  decision  might  have  on  the  users  of  motion 
picture  sound  equipment.  Daniel  Rosenblatt,  a 
Fox  attorney,  said  the  Supreme  Court's  action 
would  pave  the  way  for  royalty  suits  on  the 
wholesale.  He  intimated  that  the  "big  guns" 
of  the  industry  would  be  the  first  to  be  "talked 
to."  The  socalled  "small"  exhibitors,  he  as- 
sumed, would  immediately  "fall  in  line." 

Regardless,  the  business  proceeded  normallv. 

(Continued  on  following  page^ 


10 


MOTION    PI  CTU  RE  HERALD 


March    9  ,     19  3  5 


AIMED  AT  BILLION  IN  ROYALTIES 


(Continued  from  precedinci  page) 

even  when  Mr.  Fox,  in  mid-October,  deluged 
the  United  States  District  Courts  with  suits 
against  seven  motion  picture  laboratories,  six 
independent  producer-distributors  and  virtually 
all  of  the  large  corporations.  He  charged  in- 
fringement of  Tri-Ergon  patents  against  the 
following. 

AmerAnglo  Corporation. 
Cinelab  Laboratories,  Inc. 
Columbia  Pictures  Corporation. 
Consolidated  Film  Industries,  Inc. 
Du-Arv  Film  Laboratories,  Inc. 
Filmlab,  Inc. 

First  Division  Pictures,  Inc. 
H.  E.  R.  Laboratories,  Inc. 
Loew's,  Inc. 

Malcolm  Laboratories  Corporation. 
Metro-Goldwyn-Mayer    Distributing  Cor- 
poration. 

Metro-Goldwyn-Mayer  Corporation. 
Metro-Goldwyn  Pictures  Corporation. 
Monogram  Pictures  Corporation. 
Producers'  Laboratories,  Inc. 
Reliance  Picture  Corporation. 
Talking  Picture  Epics,  Inc. 
Twentieth  Century  Pictures,  Inc. 
Universal  Pictures  Corporation. 
Warner  Pictures,  Inc. 

The  following  week  a  federal  district  court 
in  Pennsylvania  awarded  actual  damages  to  Tri- 
Ergon  in  the  "flywheel"  claim  against  Altoona 
Publix,  Wilmer  and  Vincent  and  Locust  Street 
Realty.  It  was  the  first  decision  granting 
damages  to  Mr.  Fox  in  his  court  attack. 

At  the  same  time  American  Tri-Ergon  was 
reported  to  be  preparing  the  establishment  of  a 
nationwide  collection  agency,  managed  by  Jack 
G.  Leo,  a  Fox  brother-in-law,  to  gather  any 
damages  that  might  be  awarded  it  by  the  courts 
in  the  various  states,  and  to  establish  a  fixed 
schedule  of  periodical  payments  by  theatres  ac- 
cording to  size  and  gross. 

Mr.  Fox  was  obviously  anticipating  victory  in 
the  various  intricate  legal  entanglements  with 
which  he  believed  he  had  entwined  the  whole 
industry  when,  on  November  10th,  the  United 
States  Supreme  Court  figuratively  administered 
to  him  a  stinging  slap  after  it  had  been  informed 
that  he  was  using  his  position  in  the  matter  to 
"coerce  substantially  the  entire  motion  picture 
industry." 

Reconsidering  its  refusal  of  October  8th 
to  review  the  lower  courts,  the  Supreme 
Court  granted  the  industry,  through  peti- 
tions filed  in  the  cases  of  Paramount  Publix 
and  the  three  theatre  companies,  a  re- 
hearing for  a  review  of  the  claims,  thus 
bringing  to  an  abrupt  halt  Mr.  Fox's  wide- 
ly publicized  legal  onslaught,  and,  thereby, 
considerably  weakening  his  so-called  "dom- 
inant" position  through  which  he  hoped  to 
collect  millions. 

The  petitions  pointed  out  to  the  Supreme 
Court  that  Mr.  Fox's  attack  had  the  immediate 
efTect  of  threatening  to  interfere  with  the  entire 
business  in  its  normal  pursuits  of  producing  and 
exhibiting  motion  picture  entertainment  for  the 
public.  Fox  would  claim  tribute  from  everyone, 
it  was  said. 

The  basis  of  the  industry's  defense  was  that 
the  patents  covered  methods  well  known  in  the 
industry  that  do  not  constitute  patentable  inven- 
tions. The  decisions  of  the  Supreme  Court  this 
week  upheld  this,  and  now  Mr.  Fox  is  right 
back  where  he  started  from. 

Under  the  terms  of  the  licensing  agreements 


"SAVES  ME 
MANY  DOLLARS" 

"  'What  the  Picture  Did  for 
Me'  is  a  great  help  in  the  select- 
ing of  the  pictures  I  run  In  my 
theatre."  —  This  from  B.  L. 
.  Smith  of  the  Liberty  Theatre  at 
Quinton,  Okla.,  who  adds: 

"I  read  the  reports  each  week 
and  save  nnany  dollars  by  tak- 
ing the  advice  I  obtain  from  this 
department.  I  am  sending  you 
two  reports  on  pictures." 


existing  between  Electrical  Research  Products 
and  RCA  Photophone  and  their  producer  and 
exhibitor  licensees,  the  two  sound  manufactur- 
ers agree  to  defend  the  licensees  to  the  extent 
of  their  investment  in  the  equipment,  in  any 
cases  involving  patent  infringement. 

When  the  Tri-Ergon  matter  reached  the 
Supreme  Court  last  October  there  was  much 
speculation  over  eventualities  in  the  case  of  a 
complete  victory  for  Mr.  Fox.  It  appeared 
later  that  the  electrics  had  one  of  three  courses 
open :  effect  a  complete  settlement  with  Tri- 
Ergon,  arrange  to  pay  him  moderate  royalties 
for  further  use  of  the  patents,  or  evade  the 
patents  in  sound  systems  and  let  the  courts  de- 
cide whether  their  owner  is  entitled  to  any  pay- 
ments for  previous  use. 

Besides  the  three  theatre  defendants  and 
Paramount  Publix  which  were  involved  in  the 
litigation,  and  the  20  laboratory  and  producer- 
distributor  defendants  named  in  October,  both 
Erpi  and  RCA,  and  Radio-Keith-Orpheum, 
were  named  defendants  in  actions  filed  in  Dela- 
ware in  November,  1931.  These  are  still 
pending. 

Claimed  "Great  Losses" 

Although  Tri-Ergon's  various  complaints 
specified  no  definite  amount  as  being  involved 
in  damages,  they  charged  that,  as  a  result  of 
alleged  infringements,  Tri-Ergon  had  suffered 
"great  and  irreparable  loss,  damage  and  injury" 
and  is  deprived  of  great  gains  and  profits.  Fur- 
ther, Mr.  Fox  modestly  asked  in  the  lower 
courts  that  the  defendants  be  required  to  "pay 
over  to  the  plaintiff  all  gains,  profits  and  advan- 
tages earned  or  received." 

The  Tri-Ergon  patents  played  an  important 
part  in  Upton  Sinclair's  book  about  the  life  of 
William  Fox,  published  in  1933.  In  the  narra- 
tive, which  was  supposed  to  have  been  related 
by  Fox  to  Sinclair,  Fox  charged  the  bankers 
and  the  electrics  with  "wresting"  from  him 
control  of  his  motion  picture  companies.  (Mr. 
Fox  received  $21,000,000  for  these  corpora- 
tions). 

Mr.  Fox  and  Mr.  Sinclair  appeared  in  the 
book  to  be  having  a  merry  time  figuring 
out  the  possible  royalties  that  would  be  col- 
lected through  Tri-Ergon,  which  they  both 
"roughly"  estimated  at  that  time  as  approx- 
imately some  $1,300,000,000,  or,  as  Mr.  Fox 
so  aptly  described  it  in  the  book,  a  sum  of 
money  "equal  to  the  wealth  of  a  nation." 

Mr.  Fox's  American  Tri-Ergon  Corporation 
is  a  patent-holding  company  organized  by  him 


as  a  personal  venture  for  the  express  purpose  of 
exploiting  commercially  in  the  United  States 
the  inventions  of  three  Germans  :  Hans  Vogt, 
Joseph  Massolle  and  Joseph  Engl,  who  had 
worked  on  the  systems  in  a  Berlin  attic  since 
1900.  The  devices  brought  to  them  nothing 
more  than  a  bare  existence  during  their  devetop- 
ment,  and  virtually  nothing  afterward.  So  pro- 
nounced was  the  failure  of  these  three  young 
German  inventors  to  realize  commercially  on 
their  labors  that  their  disappointment  caused 
them  to  dissolve  a  long  friendship  and  associa- 
tion.   And  today  they  work  alone. 

The  five  principal  patents  held  by  Tri-Ergon 
on   applications    granted    originally   to  Vogt, 
Massolle  and  Engl  by  the  Deutsches  Reichs- 
Patent  Offices,  Berlin,  are : 
Deutsches  Reichs-Patent  No.  368,367,  filed 
June  3rd,  1919,  on  a  recording  glow  lamp 
invented  by  Hans  Vogt  in  collaboration 
with  Joseph  Massolle  and  Dr.  Jo  Engl. 
Deutsches  Reichs-Patent  No.  368,383,  filed 
April    ISth,    1921.   on   a   double  printing 
process  invented  by  Hans  Vogt  in  collab- 
oration with  Joseph  Massolle  and  Dr.  Jo 
Engl. 

Deutsches  Reichs-Patent  No.  387,058,  filed 
May  23rd,  1920,  on  a  fly-wheel  device  in- 
vented by  Hans  Vogt  in  collaboration  with 
Joseph  Massolle  and  Dr.  Jo.  Engl. 

Deutsches  Reichs-Patent  No.  387,059,  filed 
July  26th,  1919,  on  a  resistance  amplifier  in- 
vented by  Joseph  Massolle  in  collaboration 
with  Hans  Vogt  and  Dr.  Jo  Engl. 

Deutsches  Reichs-Patent  No.  389,598,  filed 
June  6th,  1922,  on  a  gamma  ray  process  in- 
vented hy  Dr.  Jo  Engl  in  collaboration 
with  Hans  Vogt  and  Joseph  Massolle. 

Deutsches  Reichs-Patent  No.  417,967,  filed 
March  4th,  1919,  on  a  photoelectric  cell  in- 
vented by  Hans  Vogt  in  collaboration  with 
Joseph  Massolle  and  Dr.  Jo  Engl. 
The  two  patents  specifically  involved  in  the 

litigation   ended   by   the   Supreme   Court  this 

week  are : 

(1)  U.  S.  Patent  No.  1,713,726,  Vogt,  et 
al,  granted  May  21,  1929,  popularly  known 
as  the  "flywheel  patent,"  relating  to  cer- 
tain methods  and  apparatus  for  uniformly 
moving  the  sound  record  film  under  the 
control  of  inertia,  either  in  record  or  re- 
producing machines  and  utilizing  sound 
controlled  light  in  translating  the  sound  to 
or  from  the  film;  this  patent  also  relates  to 
the  photoelectric  cell  when  used  with  such 
reproducing  apparatus  as  is  generally  sup- 
posed to  be  the  present  practice;  and, 

(2)  U.  S.  Patent  No.  1,825,598,  Vogt,  et 
al,  granted  September  29,  1931,  relating 
to  the  process  for  producing  combined 
sound  and  picture  film  by  photographing 
the  sound  and  pictures  on  separate  films  so 
that  they  may  be  developed  separately, 
and  then  printing  both  records  side  by  side 
on  a  single  film. 

In  1924  the  inventors  and  some  others  in 
Europe  who  had  obtained  an  interest  in  the 
developments,  assigned  their  rights  to  Tri- 
Ergon,  Ltd.,  of  St.  Gall,  Switzerland,  which  in 
turn  sold  to  Mr.  Fox  90  per  cent  of  the  Amer- 
ican rights  in  1928.  Mr.  Fox  then  vested  these 
rights  with  the  American  Tri-Ergon  Corpora- 
tion, of  which  he  is  president.  It  has  been 
pointed  out  that  Mr.  Fox  was  still  the  president 
of  Fox  Film  Corporation  when  he  turned  the 
rights  over  to  his  Tri-Ergon  company,  and  that 
he  took  these  rights  with  him  when  he  sold  Fox 
Film  to  the  bankers. 

Of  equal  importance  with  any  action  that  Mr. 

(Continued  on  following  page) 


M 


arc 


h    9 ,     19  3  5 


MOTION    PICTURE  HERALD 


'NOT  RESULT  OF  INVENTION/  IS  RULING 


(Continued  from  t>recedinf/  page) 

Fox  might  have  taken  to  recover  royalties  from 
the  industry  was  a  threatening  interruption  of 
the  proceedings  by  the  Swiss  Tri-Ergon  inter- 
ests, which,  last  October,  was  reported  to  be 
considering  a  suit  against  Mr.  Fox  to  retrieve 
the  rights  in  the  patents  on  the  grounds  that 
Fox  was  no  longer  entitled  to  them  because  he 
had  failed  to  commercially  exploit  the  devices. 

Too,  Fox  Film  Corporation  has  had  pending 
in  the  courts  a  suit  against  William  Fox  in 
which  the  film  corporation  asked  for  a  sum 
ranging  between  $10,000,000  and  $15,000,000, 
charging  irregularity,  and  for  the  return  of  the 
Tri-Ergon  patents. 

Court  Belittles  Tri-Ergon's  Claims 

Discussing  the  technical  points  of  the  claims 
involved,  the  Supreme  Court  this  week  found 
that  "there  is  no  serious  contention,  nor  could 
there  well  be,  that  the  combination  apparatus, 
for  moving  the  linear  record  past  the  translation 
point  at  which  the  sound  is  recorded  or  repro- 
duced, involves  invention  without  the  flywheel. 
Mechanisms  for  moving  linear  strips,  or  ribbons, 
by  passing  the  strip  over  a  revolving  drum  or 
cylinder,  are  a  familiar  type  in  the  arts.  They 
have  long  been  used  in  the  motion  picture  in- 
dustry, when  it  was  desired  to  employ  the  linear 
strips  at  an  intermediate  point  for  sound  and 
picture  reproduction,  and  the  like.  The  gist  of 
respondent's  contention  is  that  by  the  addition 
of  the  flywheel  to  this  familiar  mechanism  the 
patentees  have  succeeded  in  producing  a  new 
type  of  machine  for  recording  and  reproducing 
sound  by  the  photographic  film  method.  It  is 
insisted  that  the  new  device,  because  of  its 
greater  accuracy  and  precision  of  film  move- 
ment, is  so  useful  and  constitutes  such  an  ad- 
vance in  the  sound  motion  picture  art  as  to 
entitle  it  to  the  rank  of  a  patentable  invention." 

Cites  Rejection  of  Edison  Application 

The  court,  in  this  connection,  pointed  out  that 
an  application  by  Thomas  A.  Edison  in  1879  in 
connection  with  his  phonographic  work  was  re- 
jected "as  covering  the  'use  of  a  fly  wheel  as 
ordinarily  used  with  machinery  for  the  purpose 
of  securing  uniformity  of  motion.'  Upon  recon- 
sideration the  claim  was  again  rejected  on  the 
ground  that  the  adaptation  of  the  flywheel  re- 
quired only  the  exercise  of  'ordinary  good  judg- 
ment' and  not  the  inventive  faculty. 

"An  improvement  to  an  apparatus  or  method, 
to  be  patentable,  must  be  the  result  of  invention, 
and  not  the  mere  exercise  of  the  skill  of  the 
calling  or  an  advance  plainly  indicated  by  the 
prior  art. 

"The  patentees  brought  together  old  elements, 
in  a  mechanism  involving  no  new  principle,  to 
produce  an  old  result,  greater  uniformity  of 
motion.  However  skilfully  this  was  done,  and_ 
even  though  there  was  produced  a  machine  of 
greater  precision  and  a  higher  degree  of  motion- 
constancy,  and  hence  one  more  useful  in  the  art, 
it  was  still  the  product  of  skill,  not  of  invention. 

"Moreover,  the  record  fails  to  show  that 
there  was  any  long-felt  or  generally  recog- 
nized want  In  the  motion  picture  industry 
for  the  device  defined  by  the  flywheel 
claims,  or  that  the  use  of  sound  motion 
pictures  was  delayed  by  the  inability  of 
those  skiled  In  the  art  to  add  a  flywheel 
to  the  apparatus  in  order  to  give  the  de- 
sired uniformity  of  motion  to  linear  phono- 
grams." 

With  respect  to  the  disclaimers  filed  by  Tri- 
Ergon  seeking  to  add  the  flywheel  to  two  other 
claims,  the  court  held  that  the  statutes  did  not 
permit  the  addition  of  a'new  element  to  a  com- 
bination previously  claimed,  whereby  the  patent 


THEIR  QUARTERS  PAID 
HIS  WAY  TO  COAST 

Floods  of  job  applications,  buoyed 
on  a  current  of  cmriously  identical 
willingness  of  each  xvriter  "to  go  to 
Central  or  Sotith  America  and  become 
one  of  your  employees  in  whatever 
district  you  see  fit  to  place  me",  mys- 
tified the  Universal  studio,  to  which 
the  letters  were  addressed,  and  the 
company's  foreign  department,  to 
which  they  were  referred.  Inquiries 
finally  brought  the  following  explana- 
tion from  one  of  the  applicants: 

"It  happened  that  I  was  looking 
for  work  and  a  man  neatly  dressed 
stepped  up  to  me  and  asked  -me  if  I 
would  be  interested  in  foreign  serv- 
ice. I  replied  that  1  would,  and  he 
said  that  for  twenty-five  cents  he 
would  give  me  a  model  form  of  ap- 
plication and  a  concern  I  could  write 
to,  so  he  gave  me  ymirs.  You  know 
that  anyone  out  of  work  would  be 
willing  to  gamble  a  quarter  if  he 
thought  he  coidd  get  a  job,  and  I  be- 
ing in  that  position  paid  him  a 
quarter." 

The  trail  of  the  "man  neatly 
dressed"  was  traced  by  postmarks  of 
the  application  letters  from  Utica, 
N.  Y.,  to  Culver  City  itself. 


originally  for  one  combination  is  transferred 
into  a  new  and  different  one  for  the  new  com- 
bination. 

Involved  in  the  Paramount  case  was  a  claimed 
patent  for  a  method  of  producing  a  single  photo- 
graphic film  by  printing  upon  it  a  dual  picture 
record  and  a  sound  record  from  separately  ex- 
posed and  developed  negatives. 

Pointing  to  the  need  of  synchronization  of 
sound  and  picture  records  for  successful  opera- 
tion of  the  talking  picture,  the  court  explained 
that  this  has  been  accomplished  by  the  manner 
in  which  the  two  records  are  printed  upon  a 
single  film. 

"It  is  Important  to  indicate  the  more 
significant  features  of  the  sound  reproduc- 
tion procedure  and  mechanisms  which  are 
not  embraced  in  the  claims,"  the  court 
continued.  "The  patent  does  not  claim 
either  a  method  or  a  device  for  recording 
or  for  reproducing  sound,  or  a  method  of 
synchronizing  the  two  records,  or  the  use 
of  a  single  film  In  the  reproduction  of 
combined  sound  and  picture  records,  or 
any  method  or  device  for  printing  the 
positive  record  from  the  two  separate 
negatives. 

"An  examination  of  the  prior  art  can  leave 
no  doubt  that  the  method,  as  thus  described  and 
clearly  restricted  by  the  patent,  lacks  novelty 
and  invention,"  the  court  found. 

"This  use  of  an  old  method  to  produce  an 
old  result  was  not  invention,"  the  court  de- 
clared. "To  claim  the  merit  of  invention  the 
patented  process  must  itself  possess  novelty. 


The  application  of  an  old  process  to  a  new  and 
closely  analogous  subject  matter,  plainly  indi- 
cated by  the  prior  art  as  an  appropriate  subject 
of  the  process,  is  not  invention.  However  wide 
the  difference  between  the  procedures  and  re- 
sults of  sound  reproduction  from  film  on  the  one 
hand,  and  picture  reproduction  on  the  other, 
the  method  of  producing  photographic  sound 
and  picture  records  and  uniting  them  on  the 
positive  film  are  identical,  for  both  sound  and 
picture  records,  from  the  time  of  exposure  of 
the  negatives  until  the  single  film  is  completed. 
With  knowledge  of  the  well  understood  ad- 
vantages of  the  union  of  the  two  records  on  a 
single  film,  it  required  no  more  than  the  ex- 
pected skill  of  the  art  of  photography  to  use  an 
old  method  of  printing  photographically  the  two 
negatives  upon  a  single  positive. 

"Against  this  conclusion  respondents  throw 
the  weight  of  voluminous  evidence,  showing  the 
practical  utility  and  widespread  use  of,  the  pat- 
ented process,  which  prevailed  with  the  court 
below  as  sufficient  to  establish  invention,"  it 
continued.  "It  is  said  that,  however  simple  and 
obvious  the  method  may  appear  to  be  now  that 
it  is  in  successful  use,  no  one  before  the  pat- 
entees had  used  it  for  producing  the  union  of 
a  sound  and  picture  record. 

"But  the  state  of  the  motion  picture 
art,  as  it  is  disclosed  by  the  present  rec- 
ord, indicates  that  there  was  no  generally 
recognized  demand  for  any  type  of  film 
record,  for  the  reproduction  of  sound  to 
accompany  motion  pictures,  until  after  the 
present  patent  was  applied  for. 

"The  bare  fact  that  several  inventors,  in  the 
early  stages  of  sound  reproduction,  working 
independently,  of  whose  knowledge  and  skill 
in  the  photographic  art  we  know  little  or  noth- 
ing, failed  to  resort  to  a  method,  well  known 
to  that  art  for  printing  a  combination  film  for 
which  there  was  then  no  generally  recognized 
need,  does  not  give  rise  to  the  inference  of 
invention." 

Meanwhile,  the  Department  of  Commerce  at 
Washington  received  from  Trade  Commissioner 
George  R.  Canty,  at  Berlin,  the  following  re- 
port pertaining  to  the  double-printing  patent  in 
Germany : 

"Action  by  the  Reichs  Patent  Office,  in  Ber- 
lin, on  January  31,  1935,  in  declaring  void  Tobis' 
double-print  patent  is  a  point  of  great  interest 
both  to  the  German  and  American  film  indus- 
tries. 

"On  December  22,  1934,  the  German  Supreme 
Court,  at  Leipzig,  sustained  decisions  of  two 
lower  courts  in  the  case  of  Ufa-Afifa  and  Hu- 
bert Schenger  versus  the  Tobis,  which  read 
that  the  double-print  methods  of  these  com- 
panies contravened  the  patent  held  by  the  Tobis, 
which  the  latter  secured  from  the  Tri-IJrgon 
group  in  1928. 

"In  August,  1934,  Friess  A.  G.,  a  manufac- 
turer of  sound  film  recording  sets,  petitioned  the 
Reichs  Patent  Office  to  declare  void  the  Tobis 
patent  in  question  on  the  ground  that  there  was 
a  prior  publication  of  it  in  1913,  filed  by  one 
Friedrich  Reimer.  The  Patent  Office  upheld 
this  contention,  and  also  found  fault,  because 
of  prior  publication,  with  another  section  of  the 
patent  specification  which  'restricts  the  joint 
shooting  of  sound  and  picture  on  one  negative 
film,  with  the  contention  that  this  negative  is 
cut  longitudinally  in  two  before  developing  in 
order  to  enable  an  independent  developing  of  the 
two  parts.' 

"It  is  expected  that  the  Tobis  will  appeal 
this  decision  before  the  German  Supreme  Court, 
at  Leipzig,  but  trade  opinion  in  Germany  veers 
toward  the  viewpoint  that  the  Patent  Office's 
decision  will  be  upheld,  thus  throwing  the  entire 
question  wide  open  again." 


12 


MOTION    PICTURE  HERALD 


March    9.  1935 


WEED  OUT  "BUMS," 
GOLDWYN  DEAAANDS 


How  Can  Writers  Write  If 
They  Don't  Know  What's 
Going  On?  Asks  Producer 

There  has  got  to  be  a  revolution  in  Holly- 
wood. Samuel  Goldwyn  said  so  this  week. 
The  revolution — mentioned  casually  during 
Mr.  Goldwyn's  annual  spring  statement  to 
the  New  York  trade  press — will  involve  a 
complete  cleaning  up  of  the  writer  situation 
in  the  production  colony,  with  special  em- 
phasis on  a  general  weeding  out  of  persons 
whom  Mr.  Goldwyn  referred  to  as  "bums." 
Good  writers  will  be  placed  on  a  royalty 
basis,  "like  in  the  theatre."  The  "bums" 
will  get  nothing. 

"At  the  present  time  Hollywood  is  merely 
a  stop-over  place  for  good  writers,"  he  said. 
"They  come  to  work  for  ten  weeks,  between 
periods  of  writing  their  own  plays  and 
just  to  make  enough  money  to  carry  them 
over  until  their  next  play  or  book  comes  out. 
They  do  not  realize  the  possibilities  of  the 
screen,  or,  if  they  do,  the  present  system 
does  not  hold  sufficient  rewards  for  them." 

Mr.  Goldwyn,  having  been  confined  by  a 
cold  to  his  spacious  apartments  on  the  33rd 
Hoor  of  the  Waldorf-Astoria  for  several 
days,  reclined  at  ease  in  a  pair  of  baby-blue 
pyjamas  and  a  multi-colored  bath  gown,  and 
considered  the  situation. 

Extended  Contracts  "Silly" 

"I  feel  very  strongly  that  the  writer  situ- 
ation is  wrong,"  he  said.  "The  entire  busi- 
ness is  in  the  hands  of  the  writer.  If  it 
weren't  for  the  writer  there  wouldn't  be 
any  picture  business.  This  idea  of  signing 
up  writers  for  three  or  nine  years  is  silly. 
You  cannot  expect  them  to  work  to  order 
and  they  cannot  be  limited  as  to  time." 

Mr.  Goldwyn  said  that  no  writer  should 
stay  in  Hollywood  for  more  than  six  months 
at  a  time,  that,  under  the  present  "system," 
they  lose  their  perspective  of  world  affairs. 

"How  can  they  write  if  they  don't  know 
what's  going  on  in  the  world?"  he  asked. 

What  Hollywood  must  do,  Mr.  Goldwyn 
insisted,  is  to  give  writers  a  definite  incen- 
tive to  create  big  stories  and  an  opportunity 
to  make  as  much  money  as  producers. 

"This  business  of  nnaking  a  writer  punch 
a  time  clock  is  ridiculous.  Hollywood  must 
show  writers  that  they  can  make  as  much 
money  out  of  a  fine  picture  as  they  would 
from  a  successful  play.  That  can  be  done 
only  by  letting  the  writer  participate  In 
the  profits,  getting  royalties.  That  will  en- 
courage him  to  do  an  enthusiastic,  crea- 
tive job  and  follow  his  story  through  re- 
hearsals and  filming  until  it  is  completed." 

Under  what  Mr.  Goldwyn  continually  re- 
ferred to  as  the  present  "system,"  a  writer 
sells  an  idea  to  the  studio  for  a  picture,  but 
he  is  not  paid  to  develop  that  idea,  to  follow 
it  through  until  the  picture  is  completed. 

"That  business  of  taking  a  story  and  leav- 
ing it  on  the  doorstep  of  a  studio  for  some 
other  writer  to  develop  is  like  leaving  a  child 
on  the  doorstep  of  an  orphan  asylum.  The 


result  is  the  same — it  grows  up  to  be  an 
orphan." 

As  proof  that  he  intends  to  be  the  father 
of  the  forthcoming  revolution  in  Hollywood, 
Mr.  Goldwyn  pointed  to  the  fact  that  he  has 
signed  Miss  Rachel  Crothers  to  do  an  origi- 
nal on  a  royalty  basis. 

Production  costs,  too,  came  in  for  a  lam- 
basting at  the  tongue  of  the  producer.  They 
are  far  too  high,  he  said,  higher  than  at  any 
time  in  the  industry's  history. 

"They  are  getting  to  the  point  of  being 
ridiculous.  There  are  too  many  incompetent 
people  in  this  business  being  paid  excessive 
salaries.  Production  costs  are  going  up  and 
box  office  prices  are  going  down.  Someone 
is  going  to  get  hurt." 

Mr.  Goldwyn  declined  to  quote  any  fig- 
ures. There  are,  he  said,  too  many  figures 
on  the  industry  being  bandied  about. 

Plans  "Goldwyn  Follies" 

Mr.  Goldwyn  said  he  will  make  six  fea- 
tures for  release  on  United  Artists'  1935-36 
schedule.  The  first  of  these  is  to  be  "The 
Dark  Angel,"  which  Ronald  Colman  and 
Vilma  Banky  made  as  a  silent  for  Mr.  Gold- 
wyn several  years  ago.  He  said  definitely 
Miss  Banky  will  not  be  re-engaged  for  the 
part,  but  he  would  neither  confirm  nor  deny 
reports  that  Mr.  Colman  will  play  in  it. 

"Nothing  has  been  set  as  yet,"  he  said. 
"I  don't  believe  players  should  appear  twice 
in  the  same  part."  Sidney  Franklin  will 
direct  the  first  on  the  new  season  schedule, 
he  said. 

The  second  picture  will  be  "Barbary 
Coast,"  with  Miriam  Hopkins,  and  Howard 
Hawks  directing.  The  third  will  be  an  un- 
titled Eddie  Cantor  picture  and  the  fourth 
Miss  Crothers'  original.  The  fifth  produc- 
tion will  be  a  revue  entitled  "The  Goldwyn 
Follies"  and  the  sixth  an  Anna  Sten  produc- 
tion. 

Mr.  Goldwyn  was  very  mysterious  about 
"The  Goldwyn  Follies."  He  said  he  has  en- 
gaged three  outstanding  personalities  of  the 
musical  comedy  stage  and  films,  but  he  would 
not  reveal  their  identities. 

Of  the  Legion  of  Decency  Mr.  Goldwyn 
had  high  praise. 

"Personally,  I  think  it  has  been  a  good 
thing  and  Joe  Breen  (of  the  Production 
Code  Administration)  has  done  a  wonderful 
job.  Of  course,"  he  added  modestly,  "the 
Legion  has  been  no  liability  to  me.  I've 
never  had  any  trouble  with  censors  and  I 
don't  expect  to.  I  haven't  changed  my 
methods  one  bit." 

Mr.  Goldwyn  advanced  the  theory  that  one 
reason  for  the  existence  of  the  Legion  is 
that  there  have  always  been  "weak  sisters" 
at  the  box-office  and  that  the  industry  at- 
tempts to  make  too  many  pictures. 

"The  industry  is  not  capable  of  making 
more  than  50  features  annually,"  he  said. 
In  the  next  breath  he  said: 

"There  are  too  many  theatres,  not  too 
many  pictures." 

Mr.  Goldwyn,  in  line  with  his  admoni- 
tion that  creative  workers  should  not  remain 
in  Hollywood  more  than  six  months  at  a 
time  lest  they  lose  their  perspective  on  world 
affairs,  plans  to  sail  for  Europe  soon. 


Studios  Set  For 
Florida— Schenck 


Joseph  M.  Schenck  this  week  in  Miami 
proposed  that  Florida  raise  |10,000,000  by 
popular  subscription  to  build  motion  picture 
studios  to  be  rented  to  the  industry  for  a 
stipulated  $250,000  annually,  according  to 
Associated  Press  dispatches  from  Miami  on 
Wednesday.  Mr.  Schenck  is  quoted  as  say- 
ing the  film  industry  is  apprehensive  of 
California's  tendencies  toward  "soaking  the 
rich,"  as  exemplified  in  the  bill  providing  a 
35  per  cent  tax  on  industrial  incomes,  and 
is  ready  to  move  from  Califormia  to  Florida. 

The  first  demand  of  the  industry,  if  it 
migrated,  he  is  reported  as  saying,  would 
be  for  guarantees  against  future  "gouging" 
by  tax  authorities.  For  this  reason,  he  ex- 
plains, it  would  ask  that  the  people's  money 
be  invested  in  the  physical  plants  at  a  speci- 
fied interest  rate  not  exceeding  2^/^  per  cent. 

Mr.  Schenck  planned  to  confer  this  week 
with  Sidney  R.  Kent,  president  of  Fox  Film 
Corporation,  at  Boca  Raton.  Fox,  he  said, 
as  well  as  the  other  major  companies,  would 
be  forced  to  join  an  exodus  from  California 
if  the  proposed  income  tax  was  levied. 

Assemblyman  Morgan,  before  the  Cali- 
fornia legislature,  called  Mr.  Schenck's  state- 
ment "propaganda." 


Exhibitors  Meet  Feist 
On  Chicago  "Invasion" 

Indicating  that  plans  by  Loew  to  invade 
Chicago  with  a  number  of  its  own  theatres 
are  more  than  threats  by  the  circuit  to  bring 
into  line  exhibitors  who  refuse  to  do  business 
with  Metro-Goldwyn-Mayer  in  that  city  be- 
cause of  MGM's  percentage  demands,  ex- 
hibitor leaders  at  the  MPTOA  convention  in 
New  Orleans  last  week  conferred  with  Felix 
F.  Feist,  MGM  general  sales  manager,  in  an 
effort  to  stay  the  Chicago  program.  Loew's 
reported  plans  to  build  from  eight  to  10 
theatres  in  the  Illinois  metropolis  are  in 
answer  to  refusal  by  Essaness  and  Schoenadt 
circuit  to  accept  MGM's  percentage  terms. 
These  circuits  buy  through  booking  combines 
maintained  by  Aaron  Saperstein. 

Mr.  Feist  is  understood  to  have  said  that 
the  matter  is  out  of  his  hands  and  a  decision 
rests  with  the  theatre  department. 

One  hundred  Chicago  theatres  have  turned 
down  MGM  because  of  the  percentage  and 
preferred  playing  time  demands,  it  is  stated, 
costing  it  from  $6,000  to  $7,000  weekly. 

Tom  Pettey  Named 
Assistant  to  Hays 

Tom  Pettey,  of  the  Neiv  York  Herald- 
Tribune  reportorial  staff,  has  joined  the 
Motion  Picture  Producers  and  Distributors 
of  America  as  assistant  to  Will  H.  Hays  in 
the  public  relations  department. 


Mexican  Union  Calls 
Strike  in  Capital  Houses 

A  strike  in  all  Mexico  City  theatres  em- 
ploying its  members  was  called  for  Friday  of 
this  week  by  the  National  Cinematographic 
Workers  as  a  sympathy  move  in  support  of 
a  local  strike  at  Monterey  on  the  border. 


March    9 ,  1935 


MOTION    PICTURE  HERALD 


13 


RADIO  BOWS  TO  NEWSREEL'S  POWER, 
APOLOGIZES  FOR  GOSSIP  BROADCAST 


Universal's  Protest  at  News 
Commentator's  Statement 
Brings  Public  Retraction 
Over  the  Air  by  James  Fidler 

At  last  the  chattering  radio  has  said  too 
much  about  the  movies  and  has  had  to  take 
it  back — on  the  air. 

Through  Universal  Pictures  Corporation, 
the  motion  picture  industry,  so  long  subject 
to  the  gossip  mongering  of  the  broadcasting 
columnists,  this  week  hit  back,  demanded 
retraction,  and  for  the  first  time  on  record 
had  the  courage  to  point  out  to  its  younger 
competitor  in  entertainment  the  power  of 
the  screen  through  the  newsreel. 

The  controversy  started  Wednesday  eve- 
ning, February  27,  when  James  Fidler, 
self-styled  "Hollywood  news  commentator," 
made  the  unequivocal  statement  on  the 
"Tangee  Hour"  over  the  National  Broad- 
casting system  that  a  sale  of  Universal 
Pictures  to  Warner  Brothers  had  been  con- 
summated, that  papers  had  actually  been 
signed,  and  that  Carl  Laemmle  had  thereby 
sold  the  company  "down  the  river." 

To  Mr.  Fidler  the  remark  merely  added 
another  to  his  long  list  of  inaccuracies  in 
the  name  of  gossip  columning.  By  Uni- 
versal it  was  viewed  as  an  immediate 
jeopardization  of  its  goodwill  in  business, 
and  its  production  and  sales  morale.  Some 
12,600.000  listeners  of  the  24  NBC  "Blue 
Network"  stations,  acording  to  radio  esti- 
mates, had  heard  the  statement. 

Robert  H.  Cochrane,  vice-president  of 
Universal  and  general  manager  in  New 
York,  complained  to  all  parties  concerned, 
including  M.  H.  Aylesworth,  president  of 
National  Broadcasting  Company,  and  the 
Tangee  sponsors,  the  cosmetic  makers. 

Fidler  Instructed  to  Apologize 

It  is  said  that  for  the  first  time  the  signifi- 
cance of  the  newsreels'  capacity  for  reaching 
the  public  was  suggested  as  an  instrument 
of  defense  of  the  motion  picture.  It  was 
made  clear,  so  the  report  goes,  that  failing 
redress  on  the  air  Universal  would  find  it 
necessary  to  go  to  its  public  on  the  screen 
through  its  newsreel. 

Shortly  Mr.  Fidler  was  instructed  to 
apologize  on  the  following  broadcast, 
Wednesday  of  this  week,  as  follows : 

"Last  week  I  broadcast  a  statement  that 
Universal  Pictures  had  been  sold.  I  based 
my  announcement  on  what  I  considered  good 
authority.  At  the  same  time  I  spoke  of  how 
much  I  would  regret  the  passing  of  Carl 
Laemmle,  Sr.,  from  the  field  of  producers 
because  he  is  a  man  loved  by  all  Hollywood. 
Well,  my  information  was  wrong.  'Uncle 
Carl'  definitely  informs  me  that  his  company 
has  not  been  sold.  For  25  years,  various 
persons  have  tried  to  buy  Universal  and  for 
25  years  Uncle  Carl  has  held  on  to  his  baby. 

"Even  though  it  has  meant  this  retraction, 
I  am  happy  that  my  information  was  incor- 
rect and  that  Laemmle  has  not  sold  his  com- 
pany. I  don't  think  Hollywood  could  ever 
be  the  same  without  him  and  I  wish  another 


25  years  of  success  to  the  'grand  old  man 
of  Hollywood— Uncle  Carl.'  " 

Hollywood  has  known  Mr.  Fidler  for  a 
long  time  in  many  roles. 

James  M.  Fidler  was  first  heard  of  on 
Hollywood  Boulevard  in  1925,  an  ambitious 
youngster  of  25  who  had  come  out  of  the 
Midwest,  his  heart  set  on  Hollywood  con- 
quest. Immediately  he  became  engaged  in 
that  form  of  motion  picture  star  exploitation 
known  as  "freelance"  publicity,  obtaining  as 
his  clients,  among  others,  Ben  Lyon,  Bebe 
Daniels,  Lina  Basquette  and  Sue  Carol. 

He  soon  provoked  discussion  in  studio  cir- 
cles by  "plugging"  and  selling  some  dozen 
varieties  of  perfumes  to  housewives  and 
younger  unsophisticates  in  the  hinterlands 
who  had  sent  "fan"  letters  of  adoration  and 
approbation  to  players. 

Mr.  Fidler  then  wrote,  always  as  a  free- 
lance, for  the  fan  magazines,  and  after  sev- 
eral years  crystalized  his  ambitions,  in  1933, 
by  getting  appointment  as  western  editor 
of  Screenland,  in  charge  of  studio  coverage 
for  this  monthly  fan  journal  published  in 
New  York  by  V.  G.  Hainbucker,  under  the 
editorship  of  Delight  Evans. 

Mr.  Fidler  assured  Editor  Evans  by  tele- 
phone from  Plollywood  Wednesday  that  in 
the  future  his  radio  announcements  will  be 
"more  constructive."  He  promised  that 
there  will  not  be  a  recurrence  of  the  present 
incident. 

Turned  to  Broadcasting 

Mr.  Fidler  still  holds  the  title  of  Screen- 
land's  western  editor,  although  apparently 
he  has  devoted  in  recent  months  much  of 
his  time  to  other  pursuits,  principally  in  con- 
nection with  broadcasts  over  NBC  net- 
works. 

Screenland's  publishers  have  hastened  to 
point  out  that  the  publication  has  no  respon- 
sibility for  their  Hollywood  editor's  air  esca- 
pades. 

Mr.  Fidler's  first  appearance  on  the  air 
came  last  year  when  John  Swallow  in  Los 
Angeles  engaged  him  for  NBC's  weekly 
"Hollywood  on  the  Air"  program  as  master 
of  ceremonies.  "Jimmy's"  glib  tongue  stood 
him  well,  until  some  months  later  Mr.  Swal- 
low was  succeeded  by  Eddie  Eckels,  pio- 
neer publicist  who  has  spent  much  of  his 
press  agentry  days  in  the  RKO  theatre  and 
studio  divisions. 

Fidler  received  at  the  hands  of  Mr. 
Eckels  his  first  setback  in  radio  when  he  was 
demoted  from  the  exalted  position  of 
master  of  ceremonies  to  that  of  plain  "news 
commentator" — or,  in  this  case,  Hollywood 
Broadcasting  columnist.  Subsequently  Mr. 
Eckels  discontinued  the  relation  for  "non 
cooperation."  It  was  charged  that  Mr. 
Fidler  "could  not  take  orders  from  a  su- 
perior," and,  besides,  insisted  upon  "hog- 
ging" the  show.  Jack  Grant,  now  the  edi- 
tor of  "Hollywood  Magazine,"  succeeded 
him  on  the  air. 

Mr.  Fidler  then  organized  31  "Fidler  Fan 
Clubs"  on  his  own  and  succeeded  in  enticing 
10,000  fans  to  his  membership  roster.  The 
organization  proceeded  along  its  merry  way 


Broadcaster  Who  Sold  Per- 
fumes to  Writers  of  "Fan" 
Letters  Was  Dropped  From 
Two  Previous  Engagements 

until  Mr.  Fidler  started  to  advise  his  fol- 
lowers to  stay  away  from  certain  pictures 
for  reasons  unrevealed.  There  were  loud 
repercussions  from  the  studios  and  else- 
where. 

In  September  of  1934  he  returned  to  the 
air  on  the  Sunday  morning  national  broad- 
cast sponsored  by  Maybelline,  a  mascara 
liquid  for  eyelash  makeup.  After  three  pro- 
grams this  engagement  ended.  The  reasons, 
Hollywood  had  heard,  were  that  the  com- 
mentator had  demanded  more  money  from 
his  sponsors.  It  was  said  his  costs  included 
fees  to  socalled  "guest"  stars  who  he  sup- 
posedly had  induced  to  appear  without 
charge  on  the  strength  of  his  position.  Re- 
gardless, Maybelline  appealed  to  his  chief, 
Miss  Evans,  in  New  York,  and  succeeded 
in  having  him  relinquish  his  contract  for 
other  broadcasts — at  a  price.  Ironically, 
Jack  Grant  again  succeeded  him. 

His  third  broadcasting  engagement  is  the 
present  one,  with  the  Tangee  cosmetics  na- 
tional hookup  Wednesday  evenings  over  the 
24  "Blue  Network"  stations.  The  sponsors 
of  Tangee,  trade  name  for  the  facial  prod- 
ucts manufactured  by  George  W.  Luft  Com- 
pany, of  New  York,  could  not  help  but  hear 
some  of  the  vigorous  condemnations  against 
the  type  of  material  broadcast  by  their 
"Hollywood  news  commentator." 

M.P.P.D.A.  Demanded  Ouster 

Recently  he  told  the  same  12,600,000  NBC 
listeners  on  the  Tangee  Hour  that  the  prin- 
cipal stars  of  Paramount  Publix  in  Holly- 
wood had  deserted  the  company  because 
Adolph  Zukor  had  discharged  Emanuel 
Cohen  as  production  executive. 

The  Motion  Picture  Producers  and  Dis- 
tributors of  America,  Inc.,  appealed  to  Mr. 
Aylesworth  to  force  an  apology  and  de- 
manded that  Fidler  be  immediately  removed 
from  the  air.  Mr.  Aylesworth  was  under- 
stood to  have  promised  attention. 

George  Brent,  a  Warner  Brothers  star, 
and  Fred  Astaire,  Radio  Pictures  dancer 
and  comedian,  are  among  the  Hollywood 
players  who  have  made  complaint  about  the 
nature  of  the  remarks  broadcast  by  Fidler 
concerning  their  private  and  public  lives. 
The  fact  that  Mr.  Astaire  is  now  being 
built-up  for  theatre  box  offices  by  RKO, 
which  is  in  the  same  RCA  family  with  NBC, 
apparently  has  no  bearing  on  the  matter. 

Mr.  Fidler  has  often  been  in  controversy 
with  the  Hollywood  Hays  organization  be- 
cause of  the  nature  of  fan  magazine  articles 
which  he  has  submitted  to  them  for  approval 
before  publication. 

The  general  impression  in  Hollywood  is 
that  Mr.  Fidler  is  also  the  Hollywood  cor- 
respondent of  a  well  known  New  York  gos- 
sip columnist. 

Mr.  Fidler,  in  biographical  information 
apppearing  in  Motion  Picture  Almanac, 
admits  to  five  hobbies :  "golf,  bridge,  swim- 
ming, tennis  and  gossip !" 


14 


MOTION    PICTURE  HERALD 


March    9,  1935 


DISTRIBUTORS  FIGHT 
STATE  SALES  TAX  BILLS 


Substitution  of  Manufacturers' 
Tax  for  Adnnission  Levy 
Would    Have    Films  Pay 

Anti-motion  picture  legislation  in  a  half 
dozen  states  this  week  was  reaching  a  climax 
while  in  Washington,  Congressman  Pet- 
tengill  of  Indiana  introduced  a  bill  to  outlaw 
block  booking  and  blind  selling  of  film  to  ex- 
hibitors. 

Distributors  are  opposing  general  state 
sales  tax  bills  with  the  argument  that  films 
are  leased,  not  sold,  to  theatres  and  there- 
fore are  not  subject  to  such  taxation.  This 
plan  was  decided  last  week  after  a  meeting 
of  attorneys  of  the  Motion  Picture  Produc- 
ers and  Distributors  of  America.  The  dis- 
tributors already  have  won  what  are  con- 
sidered important  rulings  of  the  Colorado 
and  Iowa  legislatures  that  advertising  sales 
accessories  are  not  within  the  scope  of 
general  sales  taxes. 

Manufacturers'  Tax  Proposed 

At  Washington,  repeal  of  the  nuisance 
taxes,  including  that  on  admissions,  and 
substitution  of  a  general  manufacturers' 
excise  sales  tax  of  3  per  cent  was  proposed 
in  a  bill  prepared  by  Representative  Clar- 
ence J.  McLeod  of  Michigan.  The  proposed 
tax  would  apply  to  films. 

In  California  the  legislature  had  12  of 
Governor  Merriam's  tax  proposals  and  a 
score  of  independent  measures  up  for  con- 
sideration. 

In  Connecticut,  exhibitors  were  fighting 
a  5  per  cent  gross  tax  pending,  also  a  cen- 
sorship bill.  Exhibitors  in  that  state  already 
are  paying  11  different  kinds  of  taxes. 

10  Per  Cent  More  on  Shows  Asked 

In  Iowa  a  bill  has  been  introduced  to 
assess  an  additional  10  per  cent  on  shows, 
films  and  all  athletic  events  staged  for  profit. 

In  Maryland,  Senator  John  G.  Callan,  who 
had  fought  for  Sunday  showings,  introduced 
a  bill  to  double  the  license  fees  for  theatres. 
All  houses  charging  over  five  cents  admis- 
sion would  be  affected. 

Missouri  exhibitors  were  rallying  to  fight 
the  Shea  state  censorship  bill.  The  ways 
and  means  committee  of  the  Missouri  legis- 
lature killed  a  bill  calling  for  a  10  per  cent 
amusement  tax  and  another  providing  for  a 
5  per  cent  sales  tax. 

In  New  York  Assembly  Bernard  J.  Mo- 
ran  introduced  a  bill  calling  for  a  graduated 
footage  tax  running  from  one  cent  a  foot 
on  theatres  of  more  than  5,000  seats  in  a 
community  of  more  than  1,000,000  popula- 
tion down  to  two-tenths  of  a  mill  per  foot  on 
theatres  of  less  than  2,000  seats  in  com- 
munities of  less  than  10,000  population. 

Fight  Ohio  Measure 

Distributors  in  Ohio  announced  their  in- 
tention of  a  fight  to  the  finish  against  the 
Waldvogel  bill,  passed  by  the  Senate,  pro- 
hibiting designated  play  dates  from  being 
specified  in  contracts,  a  measure  sponsored 
by  the  Independent  Theatre  Owners  of 
Ohio.  The  Ohio  House  judiciary  committee 
reported  out  a  bill  to  increase  the  state's 
censorship  fees  to  $3  for  the  first  reel  and  $2 


for  each  subsequent  reel.  Present  rate  is 
$1  per  reel. 

In  Oregon,  under  a  10  per  cent  amuse- 
ment tax  bill,  theatres  would  be  required  to 
purchase  their  supply  of  admission  tickets 
from  the  state  treasurer. 

A  steering  committee  has  been  appointed 
in  Pennsylvania  to  direct  the  fight  of  ex- 
hibitors against  a  10  per  cent  state  tax  on 
amusements. 

In  Utah,  increase  in  the  amusement  tax 
to  10  per  cent  is  included  in  a  proposal  for 
expanding  the  scope  of  the  state  sales  tax 
to  provide  funds  for  the  benefit  of  teachers. 

A  Senate  bill  to  legalize  Sunday  shows  in 
Kansas  was  killed  in  committee. 

Exhibitors  Rally 
Against  New  Tax 

A  great  rally  of  exhibitors  and  others  op- 
posed to  the  proposed  Pennsylvania  10  per 
cent  tax  on  gross  receipts  of  theatrical  and 
other  amusement  enterprises  was  held  in 
Harrisburg  Tuesday.  The  theatre  men, 
from  every  section  of  the  state,  first  met  in 
the  Penn-Harris  hotel,  where  they  mapped 
out  a  plan  of  campaign,  and  then  adjourned 
to  the  hall  of  the  House  of  Representatives 
where  a  hearing  on  the  $203,000,000  bill 
was  held  before  the  ways  and  means  com- 
mittee. The  bill  is  sponsored  by  Governor 
Earle. 

In  the  all-afternoon  session  speakers 
against  the  bill  brought  out  the  fact  that  the 
tax  would  have  to  be  passed  on  to  the  pub- 
lic, as  theatres  could  not  possibly  absorb  it. 
This,  it  was  declared,  would  mean  a  great 
reduction  in  attendance,  as  the  greater  mass 
of  motion  picture  patrons  are  relatively  poor 
persons,  and  would  drive  many  theatres  to 
the  wall. 

Confesses  Attennpt  on 
Operator's  Life  for  Job 

Clarence  Rusk  of  Connersville,  Ind.,  con- 
fessed last  week  to  an  attempt  on  the  life 
of  Leroy  Burns,  by  placing  a  bomb  in  Burns' 
car,  and  admitted  he  hoped  to  get  the  job 
as  projectionist  at  the  Auditorium  theatre, 
held  by  his  intended  victim.  Rusk  had  been 
working  as  Burns'  assistant  at  the  theatre 
for  six  months  without  pay,  having  been 
promised  a  regular  job  as  soon  as  a  vacancy 
occurred.  Mac  McCain,  regular  assistant 
to  Burns,  was  also  to  have  been  a  victim. 

When  he  went  to  the  police  with  a  holdup 
story,  Rusk  was  questioned  and  finally  con- 
fessed that  he  had  made  the  bomb,  which 
was  so  connected  as  to  explode  when  the 
ignition  of  the  car  was  turned  on,  from  ma- 
terials stolen  from  a  sporting  goods  store 
near  the  theatre. 


Pryor  Contract  Dropped 

The  seven-year  contract  of  Roger  Pryor, 
player,  with  Universal,  has  been  terminated 
by  mutual  consent.  He  will  act  as  a  free- 
lance player  in  the  future. 


Court  Postpones 
St.  houis  Action 

Postponement  from  March  4  to  March  15 
of  the  date  for  arraignment  of  major  dis- 
tributors and  their  officers  under  indictment 
for  violating  the  Sherman  anti-trust  law 
and  Clayton  Act  in  St.  Louis  was  ordered 
last  week  by  Federal  Judge  Charles  B.  Davis. 
Defendants  are  understood  to  have  asked 
additional  time  for  preparation  of  their 
pleadings.  Date  of  trial  will  be  set  by  the 
judge  after  the  arraignment. 

The  defendants  in  the  important  action 
are  the  three  Warner  Brothers  units,  War- 
ner Bros.  Pictures,  Inc.,  Vitaphone  Corpo- 
ration, and  Warner  Bros.  Circuit  Manage- 
ment Corporation;  General  Theatrical  En- 
terprises, Inc. ;  Paramount  Pictures  Distrib- 
uting Company,  Paramount  Pictures  Dis- 
tributing Corporation,  and  Harry  M.  War- 
ner, Abel  Cary  Thomas,  Herman  Starr, 
Gradwell  Sears,  George  J.  Schaefer  and 
Ned  E.  Depinet. 

In  Chicago,  Judge  Woodward  of  the 
United  States  district  court  this  week  set 
April  8  for  calling  witnesses  and  the  giving 
of  testimony  in  the  Roder-Rubin  case,  mark- 
ing an  initial  victory  for  the  plaintiffs  over 
the  defendants'  motion  for  dismissal.  The 
setting  of  a  trial  date  upsets  the  contention 
of  defense  counsel  that  the  case  belongs  be- 
fore code  boards.  The  case  is  the  result  of 
a  suit  filed  by  James  Roder,  owner  of  the 
Astor  theatre  and  Jack  Rubin  of  the  Public 
theatre,  both  against  major  distributors.  The 
primary  defendants  in  both  suits  are  circuit 
officials  who,  it  is  charged,  conspired  with 
distributors  to  bring  about  the  elimination 
of  double  features  and  the  establishment  of 
a  15-cent  minimum  admission  scale. 

In  Sioux  Falls,  S.  D.,  this  week,  Federal 
Judge  Lucius  J.  Wall  dismissed  the  $7,500 
damage  suit  brought  against  Paramount  Dis- 
tributing Corporation  and  Albert  R.  Ander- 
son, local  Paramount  Exchange  manager,  by 
Richard  H.  Wagner,  operator  of  the  Capi- 
tol theatre,  who  charged  that  Paramount  had 
conspired  with  other  major  companies  not 
to  supply  him  with  pictures. 


U.  S.  Justice  Agents  May 
Advise  on  Anti-Crime  Films 

Agents  of  the  United  States  Department 
of  Justice  will  assist,  in  an  advisory  ca- 
pacity, in  the  production  of  anti-crime  pic- 
tures planned  by  several  Coast  producers, 
it  was  determined  at  a  series  of  conferences 
last  week  among  Will  H.  Hays,  president  of 
the  Motion  Picture  Producers  and  Distribu- 
tors of  America,  Attorney  General  Homer 
S.  Cummings  and  J.  Edgar  Hoover,  chief 
of  the  Bureau  of  Investigation,  at  Wash- 
ington. The  attorney  general  had  previ- 
ously declared  he  did  not  favor  production 
of  films  with  justice  agents  pictured  as 
heroes. 

Carl  Milliken,  secretary  of  the  MPPDA, 
addressed  the  New  Jersey  crime  conference 
last  week  under  the  auspices  of  Governor 
Harold  G.  Hoffman.  Mr.  Milliken  said  in 
part :  "The  motion  picture  industry,  through 
Mr.  Hays,  offers  to  cooperate  with  any  na- 
tional or  state  program  which  may  be 
adopted  to  arouse  public  opinion  to  the 
needs  of  law  enforcement  and  crime  preven- 
tion." 


March    9,  1935 


MOTION    PICTURE  HERALD 


15 


THE  CAMERA  RE  PORTS 


PRETTIEST  USHERETTE.  (Below) 
Is  Allene  Fransen,  of  the  Omaha 
theatre,  Omaha,  winner  of  a 
Universal-sponsored  contest  for 
"The  Good  Fairy." 


FROM  ENGLAND.  (Left)  Arrive 
Michael  E.  Balcon,  GB  produc- 
tion head,  and  Mrs.  Balcon,  he 
in  search  of  American  film  tal- 
ent,  and   now  on  the  Coast. 

LIBRETTIST.  (Right)  Otto  Har- 
bach,  famed  musical  show  book 
and  lyric  writer,  asforthe  original 
of  Radio's  "Roberta,"  address- 
ing a  teachers'  group  in  New 
York. 


MME.    VERSATILITY.    Might   well    be   the    second    name    of  HOMEWARD  BOUND.  To  Hollywood  from  New  York  is  this 

Mme.  Suzanne  Silvercruys,  internationally  known  actress,  author,  group  of  Fox  executives,  and  their  wives.   From  the  left  in  the 

playwright  and  sculptor,  soon  to  appear  in  a  Broadway  produc-  front  row:   Mr.  and   Mrs.   Eugene   Ford,   Mrs.  John  Blystone, 

tion  before  she  goes  on  to  the  Coast  and  the  motion  picture.  Mrs.  John  Stone;  rear:  John  Blystone  (left)  and  John  Stone. 


16 


MOTION    PICTURE  HERALD 


March    9  ,     19  3  5 


ACADEMY  AWARD  WINNERS  FOR1934 


DIRECTOR.  Frank  Capra,  for  "It  THREE  BESTS.  Actor,  Clark  Gable;  Actress,  Claudette  Col- 
Happened  One  Night."  bert,  in  Best  Picture,  Columbia's  "It  Happened  One  Night." 


ADAPTATION.  Robert  Riskin,  for 
"It  Happened  One  Night." 


M 


ORIGINAL.  Arthur  Caesar, 
Manhattan  Melodranna,  Metro. 


ART.  Cedric  Gibbons,  for  CAMERAMAN.  Victor  Milner, 
M-G-M's    "Merry   Widow."         for   Paramount's  "Cleopatra." 


SOUND.  John  Livadary,  Co- 
lumbia's "One  Night  of  Love." 


COMEDY  SHORT.  "La  Cucaracha,"  Pio- 
neer-Radio subject  in  color. 


CARTOON  SHORT.  "The  Tortoise  and  NOVELTY  SHORT.  "City  of  Wax,"  Wood- 
the  Hare,"  Walt  Disney  -  United  Artists.  ard-Educational-Fox. 


SCORING.  Lou  Silvers,  Co- 
lumbia's "One  Night  of  Love." 


ASSISTANT  DIRECTOR.  John  Waters  for  Metro-Goldwyn- 
Mayer's  production,  "Viva  Villa." 


BEST  SONG.  Con  Conrad  and  Herb  Magigson,  for  "The 
Continental,"  in  Radio's  "The  Gay  Divorcee." 

SCIENTIFIC.  Class  II.  Electrical  Research  Products,  Inc., 
for  development  of  Vertical  Cut  Disc  Method  of  Recording. 


SCIENTIFIC.  Class  III.  Columbia  Pictures  for  application 
of  Vertical  Cut  Disc  Recording  in  production  "One  Night 
of  Love";  and  to  Bell  &  Howell  Company  for  develop- 
ment  of    Fully    Automatic    Sound    and    Picture  Printer. 


SPECIAL  AWARD.  Shirley  Tem- 
ple, Fox,  greatest  contribution. 


March    9  ,  1935 


MOTION    PICTURE  HERALD 


17 


WEBB  PLAN  APPROVAL  ASSURES 
CONTINUED  OPERATION  OF  PATHE 


Program  Does  Not  Include  Pro- 
duction, Aims  at  Develop- 
ment of  Its  49  Per  Cent  of 
Dupont  Stock  Holdings 

The  Webb  plan  of  reorganization  of  Pathe 
Exchange,  Inc.,  pending  many  months,  was 
approved  by  an  extraordinary  session  of  the 
stockholders  this  week  in  New  York. 

This  move  assures  the  continued  operation 
of  Pathe,  one  of  the  oldest  concerns  in  the 
industry,  surviving  and  emerging  from  a 
period  of  ordeal  involving  the  sale  of  its 
production  assets  to  RKO  in  1930  and  a 
subsequent  period  of  internal  strife  between 
a  policy  of  liquidation  and  a  policy  of  re- 
habilitation. 

Despite  the  endless  rumors  current,  Pathe 
will  not  engage  in  production,  under  the 
present  policy.  Production  activity  by  Pathe 
would  be  lawful  under  the  terms  of  the  RKO 
contract  after  the  end  of  the  five  year  period 
beginning  at  the  date  of  sale. 

The  program  oi'  the  company  as  an- 
nounced appears  definitely  aimed  at  sup- 
port and  development  of  the  value  of  its 
largest  single  asset,  49  per  cent  of  the 
stock  of  the  Dupont  Film  Manufacturing 
Company,  makers  of  raw  stock.  Pathe  con- 
tinues and  enlarges  the  activities  of  its  big 
laboratories  at  Bound  Brook,  New  Jersey, 
and  will  continue  financing  production  on 
terms  calculated  to  keep  the  printing  plant 
busy  consuming  Dupont  film. 

Other  activities  of  the  concern  are  likely 
to  find  expressions  through  such  channels  of 
affiliation  as  indicated  by  the  chairmanship 
of  the  board  of  First  Division  Exchanges 
held  by  Stuart  W.  Webb,  president  of  Pathe. 

The  Pathe  meeting,  held  Monday  in  New 
York,  was  pursuant  to  an  amendment  to  the 
state's  stock  corporation  law,  which  permits 
a  supreme  court  justice  to  authorize  an  ex- 
traordinary meeting  of  shareholciers  if  the 
statutory  quorum  of  two-thirds  of  the  out- 
standing stock  cannot  be  obtained  because 
of  indifference  rather  than  opposition. 

Mr.  Webb  announced  that  the  new  com- 
pany, proposed  under  the  reorganization, 
will  be  incorporated  as  soon  as  the  Securities 
Exchange  Commission  has  approved  a  new 
$2,000,000  issue  of  Pathe  securities.  Ap- 
proval will  be  sought  soon. 

Following  this  approval,  the  Pathe  board 
must  ratify  the  plan  and  then  dissolve  the 
old  company.  A  new  board  and  new  officers 
will  then  be  elected.  Few  changes  are  ex- 
pected, Mr.  Webb  said. 

Security  holders  of  the  old  company  will 
be  offered  an  exchange  on  the  following 
basis : 

1.  Each  share  of  the  present  8  per  cent 
preferred  stock  will  receive  one  share  of 
new  $7  convertible  preferred  and  five 
shares  of  common  stock  in  the  new  com- 
pany. The  exchange  will  erase  accumulated 
dividends  of  approximately  $56  a  share  on 
the  old  Issue. 

2.  Holders  of  Class  A  preference  stock, 


STUART  W.  WEBB 

on  which  there  are  accumulated  dividends 
of  about  $28  a  share,  will  be  offered  two 
shares  of  common  stock  in  the  new  com- 
pany. 

3.  Each  share  of  old  common  stock  will 
receive  one-twentieth  of  a  share  of  new 
common. 

The  new  company  in  addition  will  be 
authorized  to  issue  collateral-secured  notes 
convertible  into  common  stock  in  an  amount 
not  to  exceed  $4,000,000,  issuance  and  rate 
to  be  left  to  the  discretion  of  the  directors. 

The  existing  issue  of  $1,987,500  of  7  per 
cent  sinking  fund  debentures  of  the  old  com- 
pany, which  otherwise  would  have  matured 
on  May  1,  1937,  has  been  called  in  for  re- 
demption May  1  of  this  year  at  the  call 
price  of  103  plus  accrued  interest. 

Giving  effect  to  a  complete  exchange  of 
securities  in  the  new  company  for  those  of 
the  old  organization,  there  would  be  out- 
standing 8,000  shares  of  the  new  $7  pre- 
ferred and  573,000  shares  of  new  common. 
Mr.  Webb  said  application  has  been  made 
for  permanent  listing  of  the  new  common 
stock  on  the  New  York  Stock  Exchange. 

Three  stockholders  at  the  Monday  meeting- 
voiced  opposition  to  the  plan,  describing  it  as 
placing  a  penalty  on  holders  of  the  common 
stock  to  the  advantage  of  holders  of  the  8 
per  cent  and  Class  A  stock.  Mr.  Webb,  who 
presided,  answered  the  criticism  with  the 
statement  that  there  was  an  accumulation  of 
unpaid  dividends  of  more  than  $8,000,000 
on  the  preference  stock  and  that  without  the 
reorganization  common  stockholders  would 
have  little  chance  of  receiving  dividends  un- 
til that  deficiency  had  been  adjusted. 

Mr.  Webb  also  told  the  meeting  that  Pathe 
definitely  will  not  engage  in  active  produc- 
tion. 

In  reply  to  a  query  from  a  stockholder, 
Mr.  Webb  said  Pathe  expects  to  realize  a 
substantial    amount   on  the   $1,690,549  of 


Will  Enlarge  Activities  of 
Bound  Brook  Laboratories 
and  Continue  Financing  Pro- 
duction; New  $2,000,000  Issue 

Radio-Keith-Orpheum  notes  which  it  holds, 
when  RKO  is  reorganized. 

Directors  of  Pathe  Exchange  include,  in 
addition  to  Mr.  Webb,  Theodore  C.  Strei- 
bert,  Charles  A.  Stone,  Arthur  Sewall,  2nd, 
Arthur  8.  Poole,  Robert  W.  Atkins,  Paul 
Fuller,  Jr.,  Henry  J.  Guild,  Charles  B.  Wig- 
gin  and  George  S.  Montgomery,  Jr. 

Officers  are:  Stuart  W.  Webb,  president; 
Arthur  B.  Poole,  vice-president;  T.  P.  Loach, 
secretary,  and  Ellen  U.  Keough,  assistant 
secretary. 

Mr.  Webb  came  into  the  motion  picture 
industry  in  1928  with  FBO  in  the  period 
when  that  concern  was  under  the  control  of 
Joseph  P.  Kennedy  and  the  late  Guy  C. 
Currier  of  Boston.  Coincident  with  the 
taking  over  of  Pathe  management  by  Mr. 
Kennedy,  Mr.  Webb  transferred  his  attentions 
to  that  concern.  Subsequent  to  the  sale  of 
Pathe's  studio  and  production  assets  to  RKO, 
and  Mr.  Kennedy's  gradual  withdrawal  from 
active  participation  in  the  company's  affairs, 
management  passed  to  Mr.  Webb  who  be- 
came president  April  26,  1932,  supported  by 
a  voting  trust  organized  among  stockholders 
opposed  to  the  prior  policy  of  liquidation. 

The  new  Pathe  issue  now  comes  before  the 
Securities  Exchange  Commission  for  formal 
approval — and  Joseph  P.  Kennedy  is  chair- 
man of  the  Commission,  an  appointee  of 
President  Roosevelt. 

Mr.  Webb  was  born  in  Worcester,  Mass., 
in  1883.  He  was  educated  at  Brookline 
High  School  and  Harvard  University.  He 
first  worked  for  City  Trust  Company  in 
Boston,  and  in  1909  was  made  assistant 
secretary  of  that  bank.  Later  he  was  assist- 
ant secretary  of  Old  Colony  Trust  Company 
and  was  treasurer  of  Eastern  Manufacturing 
Company.  In  1914  he  was  made  vice-presi- 
dent of  the  Old  Colony  and  chairman  of  the 
board  of  Eastern  in  1916.  In  1919  he  be- 
came a  partner  in  Bon  and  Goodwin  and  in 
1922  was  elected  president  of  Eastern  Man- 
ufacturing Company. 

A  spectacular  but  unpublished  chapter  of 
Mr.  Webb's  career  was  his  series  of  financial 
exploits  in  the  purchase  of  the  outstanding 
stock  of  the  Ford  Motor  Company  in  behalf 
of  Henry  Ford.  This  operation  occupied 
some  six  months  of  negotiations  and  involved 
the  expenditure  of  $28,000,000  of  Mr.  Ford's 
money. 

Mr.  Webb  is  a  director  of  Dupont  Film 
Manufacturing  Corp.,  in  which  Pathe  holds 
49  per  cent  of  the  stock.  In  addition  he  is  a 
director  of  Trans-Lux  Daylight  Screen  Cor- 
poration, president  and  director  of  Bright- 
water  Paper  Company,  and  chairman  of  the 
board  of  First  Division  Exchanges.  Mr. 
Webb,  with  John  Curtis,  vice-president  of 
First  Division  Productions,  was  instrumen- 
tal in  acquiring  for  First  Division  the  dis- 
tribution of  The  March  of  Time  reel,  pro- 
duced by  the  publishers  of  Time  Magazine. 


18 


MOTION    PICTURE  HERALD 


March    9  ,     19  3  5 


The  chart,  based  on  Mofion  Picture  Herald's  tabulation  of  box  office  grosses, 
shows  the  business  done  in  each  of  three  midwestern  key  cities  during  the  eleven 
weeks  from  Dec.  8,  1934  to  Feb.  16,  1935.  In  each  city,  the  receipts  for  the  first 
week  of  the  period  are  taken  as  100  per  cent  for  that  city. 


Louisville  Film  Council 
Praised  for  Year's  Work 

The  Better  Films  Council  of  Louisville 
held  a  two-day  conference  at  the  Brown 
Hotel  recently,  at  which  Dr.  Edgar  Dale, 
director  of  educational  research  at  Ohio 
State  University,  said  that  appreciation  of 
good  films  is  being  taught  admirably  in 
Louisville. 

Mrs.  Lawrence  F.  Speckman,  vice-chair- 
man of  the  Better  Films  Council,  outlined  a 
plan  of  cooperation  which  can  be  worked  out 
by  parents  in  overseeing  the  films  their  chil- 
dren are  to  see.  The  Council  is  publishing 
lists  of  recommended  films  from  time  to 
time.  Mrs.  E.  F.  Horine,  chairman,  pre- 
sided at  the  conference. 

Music  Publishers'  Code 
Gets  Federal  Approval 

The  National  Industrial  Recovery  Board 
this  week  announced  its  approval  of  a  code 
of  fair  competition  for  the  music  publishing 
industry,  effective  March  18. 

The  code  provides  a  basic  maximum  work 
week  of  38  hours  and  a  basic  minimum  week- 
ly wage  of  $15.  It  sets  up  separate  code 
authorities  for  the  standard  and  popular 
music  divisions,  with  a  coordinating  com- 
mittee. 


$5,314,145  in  Claims 
On  Saenger  Allowed 

Claims  against  Saenger  Theatres  totaling 
$4,038,425  and  of  $1,275,720  against  Saenger 
Realty,  Inc.,  were  allowed  by  the  federal 
court  at  New  Orleans  this  week  for  the 
purposes  of  participating  in  the  plan  of  re- 
organization of  both  companies. 

Final  determination  of  several  other  claims 
has  been  reserved  pending  further  court  con- 
sideration. 


Belgium  Trade  Deal 
Cuts  Raw  Stock  Duty 

Reduction  of  the  duty  on  raw  stock  from 
four-tenths  of  a  cent  to  two-tenths  of  a  cent 
per  foot  is  provided  in  the  reciprocal  trade 
agreement  concluded  with  Belgium,  it  was 
indicated  in  Washington  last  week.  The 
new  duty  will  apply  to  film  of  standard  width 
of  one  and  three-eighths  inches,  or  more  sub- 
ject to  duty  in  equal  proportion  thereto. 


Adelaide  Fitz-Allen, 
Stage,  Radio  Star,  Dies 

Adelaide  Fitz-Allen,  veteran  actress  of 
years  ago,  and  more  recently  a  popular  radio 
personality,  died  last  week  in  the  Sherman 
Square  Hotel,  New  York,  after  an  attack 
of  pneumonia,  at  the  age  of  79.  As  the  old 
witch,  Nancy,  in  the  WOR  air  series,  "The 
Witch's  Tale,"  which  she  has  portrayed  vo- 
cally for  four  years,  Miss  Fitz-Allen  was 
known  to  thousands  of  listeners. 

Her  stage  career  was  long  and  successful 
and  studded  with  the  starring  names  of  the 
greatest  of  yesterday's  stage  personalities. 
She  toured  America  and  Europe,  and  not- 
ably, starred  with  Alexander  Savini.  She 
appeared  in  several  film  short  subjects. 

Warner  Shifts  Five 
New  England  Managers 

Five  Warner  New  England  managers 
have  been  transferred.  They  are  George 
Hoover,  from  the  State,  South  Manchester, 
to  the  Capitol,  Springfield,  Mass. ;  Jack  San- 
son, from  the  Colonial,  Hartford,  to  the 
State ;  David  Sugarman,  from  the  Embassy, 
New  Britain,  to  the  Colonial ;  John  Hesse, 
from  the  Capitol  to  the  Roger  Sherman, 
New  Haven;  John  Grace,  from  the  Strand, 
New  Britain,  to  the  Embassy. 

Dvvight  Van  Meter,  manager  of  the  first 
run  Aldine,  Wilmington,  Del.,  has  been 
transferred  to  the  Astor,  first  run  with 
vaudeville,  at  Reading,  Pa. 

Balcon,  Lee  of  GB 
To  Confer  on  Coast 

Michael  E.  Balcon,  production  head  of 
GB  Productions,  and  Arthur  A.  Lee,  vice- 
president,  left  New  York  this  week  for  the 
Coast,  where  they  plan  to  arrange  for  an 
interchange  of  stars. 

A.  P.  Waxman,  advertising  counsel  for 
GB,  has  appointed  Estelle  Schrott  as  editor 
of  the  GB  weekly  sales  drive  publication, 
"The  Big  Push,"  in  addition  to  handling  fan 
magazine  publicity. 

Cuba  Asks  Ban  on  "Rumba" 

The  Cuban  Government  this  week  notified 
Paramount  that  unless  its  picture,  "Rumba," 
is  destroyed  and  an  apology  rendered  to 
Cuba,  all  films  of  the  company  will  be  barred 
from  the  island,  according  to  a  wireless  dis- 
patch to  the  New  York  Times. 


A.  T.  &T.  Net/or 
'34  $121, 748, 729 

The  American  Telephone  and  Telegraph 
Company  reports  net  income  of  $121,748,729 
for  the  year  1934,  equal  to  $6.52  a  share 
earned  on  18,662,275  capital  shares,  which 
compares  with  net  income  of  $137,456,776, 
or  $7.37  per  share  in  1933.  Dividends  of  $9 
per  share  were  paid  each  year,  resulting  in 
a  charge  to  surplus  of  $46  211,746  last  year, 
against  $30,503,699  in  1933. 

Operating  revenues  in  1934  were  $39,447,- 
908,  comparing  with  $86,695,109  in  1933,  and 
net  operating  revenues  after  all  expenses  and 
depreciation  were  $19,874,069,  comparing 
with  $18,605,400  in  1933.  Operating  earn- 
ings after  taxes  totaled  $14,509,906,  against 
$13,653,460  during  the  previous  year. 

Total  income,  including  miscellaneous 
non-operating  revenues',  was  $145,912,471, 
compared  with  $162,169,771  in  1933.  No 
dividends  were  received  from  the  subsidiary 
Western  Electric  Company,  in  either  1933 
or  1934,  the  company  having  a  consolidated 
net  deficit  of  $7,751,548  for  1934,  against  a 
deficit  of  $13,772,504  for  1933. 


Urges  Birthday 
Ball  Cooperation 

Lee  W.  Mofiitt,  president  of  the  Seville 
Amusement  Company,  and  leading  theatre 
operator  of  Owensboro,  Ky.,  who,  as  chair- 
man of  the  local  Birthday  Ball  and  Ban- 
quets for  the  President,  turned  over  to  the 
Warm  Springs  fund  one  of  the  largest  per 
capita  totals  in  the  country,  urges  all  the- 
atre managers  to  cooperate  in  the  national 
affair  next  year,  as  a  valuable  good  will 
measure  for  the  motion  picture  industry. 

Noting  that  such  cooperation  would 
"create  friends  for  the  theatres,"  Mr.  Mof- 
fitt  said,  "I  believe  that  anything  we  can  do 
to  strengthen  our  position  with  the  public 
in  the  way  of  aiding  causes  so  human  as 
this  one  .  .  .  helps  the  industry  in  general." 

Mr.  Mofifitt,  as  chairman,  forwarded  to 
Keith  Morgan,  treasurer  of  the  Birthday 
Ball,  in  New  York,  a  check  for  $1,665.91, 
representing  the  contribution  of  Owensboro, 
which  with  its  population  of  22,000,  achieved 
a  per  capita  record  for  the  country. 

Rejects  Plan  to  Turn 
Church  into  Film  House 

Judge  John  C.  Knox  in  New  York  federal 
court  last  week  rejected  a  proposal  to  trans- 
form the  Manhattan  Conregational  Church, 
on  Broadway  and  76th  street,  into  a  motion 
picture  theatre,  with  an  adjoining  cafe  con- 
taining a  bar.  The  plan  was  submitted  by 
the  bondholders  committee  of  the  Manhat- 
tan Towers  Hotel,  in  which  the  church  is 
located,  in  showing  cause  why  the  property 
should  not  be  taken  over  by  the  court  under 
Section  77B  of  the  federal  bankruptcy  act. 


Moley  to  Address  Forum 

Raymond  Moley,  former  assistant  secre- 
tary of  state  and  now  editor  of  Today,  will 
address  the  Monday  meeting  of  the  New 
York  Motion  Picture  Club  Forum,  on  the 
New  Deal  and  the  motion  picture  industry. 


i 


THE  GREATEST  SINGER  IN  THE  WORLD  ...  IN 
THE  TWO  BEST  MUSICALS  EVER  PRODUCED  . . . 

MY  HEART  IS  CALLING 
MY  SONG  FOR  YOU 


A 


TOPS  EM  ALL 


I 


'  1  ^  1  s 


CONRAD  VEIDT 

WOMEN  FIGHT  FOR  CONRAD  VEIDT 

...  THE  MAN'S  MAN  ... 
THE  PERFECT  LADIES'  MAN  .... 


TOPS  'EM  ALL 


PUBLIC  ENEMY  No.  1  . . . 
OF  ALL  THE  WORLD 


^MAN  WHO  KNEW  TOO  MUCH 

NOVA  PILBEAM  •  PETER  LORRE  •  EDNA  BEST  •  LESLIE  BANKS 


THE  ARCH  CRIMINAL.. .OF 
ALL  CRIME...OF  ALL  TIME 


TOPS  'EM  ALL 


■IT  ■„'    'S^  ■  I       '  -  " 

y     •'  '"v  ^^■•,1■li.♦:■ 


THE  GREATEST  COMEDY  FIND  SINCE  CHAPLIN. 

^««CHULBERT 

THE  CAMELS  ARE  COMING 

EVEN  THE  SPHINX  WINKS  AT  THE  HIGH  JINKS 
...  A  HAREM-SCARE'EM  AVIATOR  DETECTIVE 
IN  SAHARA  HAREMS  ...  HOT  CHA  CHA  .  .  . 


I 


TOPS  'EM  ALL 


w 


LOVER  DIVINE 

MARTA  EGGERTH  •   HANS  JARAY  •  HELEN  CHANDLER 


// 


LIKE  THE  ENORMOUSLY  SUCCESSFUL  "BLOSSOM  TIME".  . . 
IT  DRAMATIZES  THE  LOVES  OF  FRANZ  SCHUBERT... WHOSE 
MUSIC  KINDLED  ROMANCE  IN  THE  HEARTS  OF  ALL  WOMEN 


TOPS  'EM  ALL 


CLIVE  BROOK 
MADELEINE  CARROLL 


IN 


DICTATOR 


^1 


TOPS  'EM  ALL 


TOPS  'EM  ALL 


March    9,  1935 


MOTION    PICTURE  HERALD 


27 


EXHIBITORS  USING  TRANSCRIPTIONS 
OVER  RADIO  TO  BOOST  ATTENDANCE 


Evergreen  Circuit  in  Far  North- 
west and  Paramount  Make 
Available  Scenes  from  Fea- 
tures, with  Broadcast  Chain 

Exhibitors  and  the  radio  broadcasters  are 
patching-  up  their  differences.  Theatres, 
which  frequently  have  condemned  certain 
practices  of  the  broadcasters  as  unfair  com- 
petition, are  now  utilizing  radio  facilities  to 
help  sell  their  wares,  in  the  same  manner 
as  do  national  advertisers. 

Leaders  in  this  reconciliation  movement 
are  Frank  L.  Newman,  Sr.,  president  of 
Evergreen  State  Amusement  Corportion,  in 
the  Far  Northwest,  and  Paramount  Publix. 
Both  Evergreen  and  Paramount  have  made 
available  to  exhibitors,  with  the  cooperation 
of  World  Broadcasting  System,  electrical 
transcriptions  of  scenes  from  Paramount 
feature  product  as  a  medium  of  selling  mo- 
tion picture  entertainment  to  the  public. 

Campbell  Directs  Transcribing 

The  transcriptions  of  these  pictures, 
known  as  "The  Hollywood  Movie  Parade," 
are  made  in  the  Hollywood  studios  of  WBS 
under  the  direction  of  P.  W.  Campbell,  resi- 
dent manager.  Mr.  Campbell  formerly  was 
connected  with  Pathe  and  Metro-Goldwyn- 
Mayer.  The  program  goes  on  the  air  in 
advance  of  the  opening  of  Paramount  pic- 
tures in  local  playhouses,  and  stations  com- 
mercializing these  programs  report  appre- 
ciable increases  in  theatre  attendance. 

Electrical  transcription  appears  to  be  com- 
ing rapidly  into  an  important  spot  in  broad- 
casting. For  years  the  radio  public  resented 
"canned"  programs,  largely  Ijecause  in  the 
early  days  stations  tried  to  mislead  the 
listening  public  into  believing  the  programs 
of  ordinary  phonograph  records  were  made 
up  of  "live"  talent.  Today,  however,  with 
new  and  improved  reproducing  equipment 
designed  by  Western  Electric  and  Radio 
Corporation  of  America,  and  with  special 
electrical  recordings  of  full  length  programs, 
it  is  recognized  that  by  transcription  the 
finest  talent  can  be  offered  at  comparatively 
low  cost.  Transcription  has  been  perfected. 
Finally,  there  is  no  attempt  to  "fool  the 
public."  The  Federal  Communications  Com- 
mission, under  a  ruling  made  by  its  prede- 
cessor, the  Radio  Commission,  requires  that 
all  electrical  transcription  programs  be  spec- 
ified as  such. 

According  to  C.  Roy  Hunt,  general  man- 
ager of  station  KOIN  at  Portland,  Ore., 
the  Paramount  transcription  plan  has  proved 
to  be  that  company's  greatest  merchandising 
asset  in  that  territory. 

"The  excellent  quality  of  the  World 
Broadcasting  transcriptions  for  Paramount 
has  helped  us  tremendously  in  selling  the 
theatres,  as  naturally  the  theatres  are  most 
critical  and  wish  to  sponsor  only  a  very 
high  quality  entertaining  program,"  Mr. 
Hunt  said. 

"We  believe  much  credit  is  due  Para- 
mount for  building  a  transcription  of  such 
high  quality,  also  for  the  fine  cooperation 


they  are  giving  theatres  playing  their  pic- 
tures. These  transcriptions  will  not  only 
help  theatres,  but,  I  believe,  will  be  a  great 
asset  to  Paramount  for  merchandising  their 
pictures." 

Last  summer  in  Seattle,  during  the  week 
of  August  30,  every  theatre  sponsored  15- 
minute  transcription  programs,  with  Para- 
mount, Warner  and  Twentieth  Century  rep- 
resented, the  two  last-named  with  Warner 
and  RCA  transcription  and  Paramount  with 
World.  At  present  no  film  companies  beside 
Paramount  are  regularly  sponsoring  tran- 
scription programs. 

"Our  renewal  agreements  embody  a  plan 
which  will  make  it  possible  for  all  concerned 
(broadcasters,  station  representatives  and 
program  producers)  to  work  together  to  ac- 
complish the  desired  objective,"  said  Percy 
L.  Deutsch,  president  of  World  Broadcast- 
ing. 

Warner  to  Launch  Use 

Warner  Bros.'  Hollywood  radio  station, 
KFWB,  is  shortly  to  launch  transcription 
independently  of  other  affiliations  as  a  regu- 
lar feature.  This  station  also  is  looking 
ahead  to  the  time  when  it  can  sponsor  a 
transcription  syndicating  plan  on  a  nation- 
wide basis.  At  present  the  station's  plans 
call  for  an  hour-daily  program  service  of 
transcriptions  and  continuities  to  local  sta- 
tions. KFWB  makes  its  own  transcriptions 
and  utilizes  a  Western  Electric  double 
33  1/3  R.P.M.  turntable  and  double  78 
R.P.M.  turntable. 

Small  local  radio  stations  see  a  boon  in 
electrical  transcription.  Many  have  ex- 
hausted local  talent  or  lack  high  caliber 
talent.  Furthermore,  the  transcription  cost 
is  lower  than  talent  salaries. 

However,  there  looms  one  serious  draw- 
back :  the  Federal  Communications  Com- 
mission is  considering  prohibition  of  elec- 
trical transcription  used  as  sustaining  pro- 
grams. In  other  words,  all  such  programs 
would  have  to  be  sponsored,  and  many  sta- 
tions have  been  chary  of  using  transcription 
on  sustaining  time  because  of  the  public's 
earlier  antipathy. 

Circuit  Sees  Plan  Work 

In  a  letter  to  Mr.  Campbell  at  World's 
Los  Angeles  office,  Frank  L.  Newman,  Sr., 
commended  electrical  transcription  as  an 
aid  to  the  theatre  man  in  selling  his  shows. 

"We  are  very  much  interested  in  the 
electrical  transcriptions  we  are  using  in  this 
territory,"  Mr.  Newman  said.  "As  you  un- 
doubtedly know,  we  operate  26  theatres  in 
Washington  and  Oregon  in  12  towns,  in- 
cluding Portland,  Seattle  and  Spokane.  We 
believe  the  right  kind  of  transcriptions  will 
not  only  sell  our  show  for  us  in  Seattle,  but 
at  the  same  time  do  us  some  good  out  in 
the  territory. 

"We  have  had  some  excellent  electrical 
transcriptions  from  you.  I  believe  you  are 
on  the  right  track  in  making  these  transcrip- 
tions and  I  believe  they  should  be  used  all 
over  the  country. 

"...  we  are  only  too  glad  to  pay  the  sta- 
tion time  when  they  are  good,  as  we  know 
they  mean  something  to  us  at  the  box  office." 


Exhibitor  Unit 
Is  Subject  of  Tour 

Furtherance  of  a  plan  to  organize  a  third 
national  exhibitor  unit  will  get  under  way 
in  New  York  by  the  end  of  this  month  when 
Charles  L.  O'Reilly,  president  of  the  Theatre 
Owners  Chamber  of  Commerce,  and  Harry 
Brandt,  president  of  the  New  York  Inde- 
pendent Theatre  Owners'  Association,  leave 
on  a  cross-country  tour  to  sound  out  ex- 
hibitor associations. 

For  many  years,  Mr.  O'Reilly  has  wanted 
to  divide  the  country  into  Congressional  dis- 
tricts with  exhibitor  representation  from  an 
independent  national  organization  in  each. 
Headquarters  of  the  new  association  will  be 
in  New  York. 

In  New  Orleans  last  week,  the  Gulf  States 
Theatre  Owners'  Association,  convening  im- 
mediatly  after  the  close  of  the  MPTAO 
meeting,  appointed  a  committee  to  call  upon 
Compliance  Director  Sol  A.  Rosenblatt  with 
complaints  to  the  effect  that  present  code 
operations  are  unfair  to  independents. 

Other  exhibitor  organization  activities  in- 
cluded unanimous  nomination  of  Harry 
Brandt  in  New  York  for  the  presidency  of 
the  ITOA.  Four  other  members  who  had 
been  proposed  as  nominees  had  withdrawn 
in  favor  of  Mr.  Brandt.  General  elections 
will  be  held  March  27. 

St.  Louis  Council 
Reviews  Success 

In  brief  review  of  its  work  during  the 
four  years  since  its  establishment,  the  Better 
Films  Council  of  Greater  St.  Louis,  of  which 
Mrs.  A.  F.  Burt  is  president,  points  to  the 
notably  successful  efforts  put  forward  to 
improve  the  tone  of  pictures  and  to  insure 
greater  public  appreciation  for  worthwhile 
films,  and  says,  "  We  appreciate  the  need  for 
adult  pictures  and  realize  that  the  versatility 
in  motion  picture  tastes  cannot  be  satisfied 
by  the  sole  production  of  'family'  type  pic- 
tures." 

Mrs.  Burt  completed  the  organization  of 
the  Council,  which  was  chartered  as  a  cor- 
poration last  year,  in  December,  1930,  after 
it  was  found  that  the  exhibitors  of  St.  Louis 
were  showing  only  40  per  cent  of  the  pic- 
tures approved  by  national  reviewing  groups, 
that  the  city  ranked  last  in  selective  pro- 
grams for  children  and  that  theatre  adver- 
tising in  the  city  was  the  most  suggestive  of 
any  city  in  the  country. 

Mrs.  Burt,  state  chairman  of  motion  pic- 
tures of  the  Missouri  Federation  of  Women's 
Clubs,  consolidated,  during  the  four  years, 
the  work  of  various  units,  until  today  the 
Council  reports  20  groups,  consisting  of  551 
units,  cooperating  in  the  work  of  the  Coun- 
cil. 


28 


MOTION    PICTURE  HERALD 


March-  9,  1935 


ASKS  "NEW  BLOOD"  ON 
PARAMOUNtS  BOARD 


Attorney  for  Vanderlip  Com- 
mittee Demands  Board  Bet- 
ter Versed  in  Film  Matters 

Asserting  that  the  proposed  board  of 
directors  for  reorganized  Paramount  Pub- 
lix  Corporation  is  barren  of  creative  knowl- 
edge and  motion  picture  experience,  Morris 
L.  Ernst,  attorney  and  member  of  the 
Frank  A.  Vanderhp  debenture  committee, 
which  has  been  one  of  the  most  important 
factors  in  the  reorganization  proceedings, 
this  week  caused  further  delay.  The  plan 
has  received  court  approval,  but  formal 
notice  of  approval  also  must  be  obtained 
from  the  various  reorganization  and  bond- 
holder groups. 

In  a  letter  to  Paramount  bondholders  Mr. 
Ernst  said  he  had  no  faith  in  the  proposed 
board's  worthiness  of  "the  magnitude  of  the 
task  and  the  exciting  possibilities  of  the 
enterprise."  Mr.  Ernst  approved  of  the  re- 
organization plan,  his  sole  objection  being 
to  the  makeup  of  the  board. 

"No  one  can  deny  that  the  motion  picture 
industry  is  suffering  from  the  distrust  and 
arm's  length  dealings  of  all  those  who  trans- 
act business  with  it  at  present,"  his  letter 
stated.  "In  my  opinion  the  first  company 
that  establishes  real  confidence  in  the  mar- 
ket of  talent  will  run  away  with  the  show. 

Mr.  Ernst  said  "new  blood"  and  repre- 
sentation for  production  talent  on  the  board 
must  be  obtained  if  the  company's  future 
business  is  to  grow.  The  only  "new  blood" 
on  the  proposed  board,  he  said,  is  Henry  R. 
Luce,  editor  and  publisher  of  Time  and 
Fortune  magazines,  whom  Mr.  Ernst  him- 
self proposed.  The  attorney  suggested  that 
the  screen  branches  elect  panels  from  which 
one  or  more  representatives  might  be  se- 
lected. 

"They  could  elect  Clark  Gable,  Robert 
Montgomery,  Groucho  Marx,  Alexander 
Woollcott  or  anyone  they  want  to  represent 
them,"  his  letter  stated.  Harpo  and  Groucho 
Marx  had  been  suggested  as  possible  candi- 
dates by  someone  who,  Mr.  Ernst  intimated, 
had  intended  to  "spoof"  his  plan. 

"Both  of  them  are  shrewd  business  men 
and  I'd  prefer  them  to  Samuel  InsuU  or 
Charles  Mitchell,"  he  said. 

While  Mr.  Ernst  recommended  to  bond- 
holders that  they  accept  the  Paramount  plan 
in  its  present  form,  he  urged  them  to  com- 
municate objections  as  to  board  personnel 
to  Federal  Judge  Alfred  C.  Coxe,  and  will 
voice  his  own  objections  at  the  next  sched- 
uled court  hearing,  April  4th.  He  is  known 
to  be  particularly  opposed  to  the  proposed 
directorship  of  John  D.  Hertz,  a  member  of 
Lehman  Brothers. 

The  Vanderlip  committee,  of  which  Mr. 
Ernst  is  a  member,  represents  $13,000,000 
of  the  $25,000,000  of  old  Paramount  deben- 
tures outstanding. 

Mr.  Ernst  said  that  Paramount's  foreign 
interests  require  a  board  member  familiar 
with  international  trade,  and  that  none  had 
been  named.  He  declared  the  board  also 
needed  a  member  familiar  with  radio  and 
television  and  an  educator  for  film  possibili- 
ties in  schools.   He  suggested  someone  like 


Dr.  James  Bryant  Conant,  president  of  Har- 
vard University. 

Suggestion  had  been  made  that  Mr.  Van- 
derlip in  all  probability  would  be  made 
chairman,  with  Adolph  Zukor  remaining-  as 
president.  Creditor  groups  also  were  said 
to  favor  election  of  George  J.  Schaefer  as 
vice-president  and  general  manager ;  Charles 
E.  Richardson,  former  trustee  in  bankruptcy, 
as  treasurer ;  Austin  Keough  as  secretary, 
and  H.  A.  Fortington,  representative  of 
British  insurance  companies  holding  Para- 
mount securities,  as  chairman  of  the  finance 
committee. 

Mr.  Fortington's  interests,  which  are 
principally  the  Royal  group  of  British  in- 
surance companies,  made  a  tentative  offer 
to  underwrite  the  new  stock  issue  of  ap- 
proximately $6,500,000.  The  offer  is  being 
held  in  abeyance  pending  further  progress. 

Approval  of  the  plan,  which  includes  re- 
organization of  Paramount  Broadway  Cor- 
poration, was  adopted  by  the  protective  com- 
mittees of  the  two  corporations,  according 
to  advices  to  shareholders  and  bondholders. 

Recommendations  of  the  company's  trus- 
tees for  provisional  allowance  of  17  claims 
for  the  purpose  of  voting  on  the  reorgani- 
zation plan,  made  known  this  week,  include : 
Electrical  Research  Products,  Inc.,  $1,280,- 
250;  Sidney  R.  Kent,  $70,406;  Samuel  and 
Nathan  Goldstein,  $127,000;  Prudence  Co., 
Inc.,  relating  to  Jacksonville,  Fla.,  property, 
$784,452;  Prudence  Co.,  Inc.,  relating  to 
property  at  St.  Petersburg,  Fla.,  $602,083 ; 
Prudence  Co.,  Inc.,  relating  to  property  at 
Astoria,  Long  Island,  $886,222 ;  Joseph  H. 
Cooper,  $64,726;  Circle  Theatre  Co.,  In- 
dianapolis, $370,170;  Cravath,  de  Gersdorff, 
Swaine  and  Wood,  $i26,660 ;  Chase  Na- 
tional Bank,  $29,954 ;  Lawrence  Berenson, 
$15,000;  D.  W.  Chamberlain,  $59,299. 

While  Adolph  Zukor  was  in  Hollywood 
conferring  with  B.  P.  Schulberg,  Special 
Master  John  E.  Joyce  in  New  York  took 
under  advisement  a  hearing  to  permit  Para- 
mount Properties,  Inc.,  holding  company 
for  the  west  coast  studio  and  Paramount 
Theatre  Bldg.,  Los  Angeles,  to  file  a  plan 
of  reorganization  in  federal  court  for  South- 
ern California  and  authorization  for  the 
Paramount  trustees  to  participate. 

Judge  Coxe  approved  a  settlement  of  a 
$443,390  claim  against  Paramount  by  the 
1432  Broadway  Corporation. 


Paramount  Plans 
Astoria  Revival 

Paramount  is  considering  a  revival  of 
short  subject  production  at  its  old  studios 
in  Astoria,  Long  Island,  it  was  learned  this 
week.  The  studio,  formerly  operated  by 
Paramount,  is  now  operated  by  Electrical 
Research  Products,  Inc. 

Although  no  decision  was  announced  as  to 
when  the  company  will  begin  production, 
discussions  are  underway  between  Austin 
Keough,  Paramount  legal  head,  and  studio 
authorities,,  as  to  leasing  arrangements. 

It  is  understood  that  if  present  negotia- 
tions and  plans  are  consummated  Paramount 
will  concentrate  on  short  musical  pictures. 


CANTOR  PROPOSED  FOR 
BANK  OF  ENGLAND  POST 

when  a  rival  comedian,  Harpo 
Marx,  was  suggested  as,  a  director  of 
the  reorganized  Paramount  Publix, 
Eddie  Cantor's  press  agent  this  week 
leaped  to  the  fore  with  London  clip- 
pings shovAng  that  Cantor  had  been 
recommended  to  the  board  of  the 
Bank  of  England. 

Sir  Herbert  Morgan,  taking  Lloyd 
George's  hint  that  the  bank's  board 
ivas  not  representative  of  Great 
Britain's  commercial  interests,  pro- 
posed Eddie  Cantor  to  reinforce  the 
board  from  the  amusement  industries. 


Russia  Is  Unable 
To  Forget  Ideals 
In  Making  Awards 

At  the  Soviet  World  Film  Festival,  just 
completed  in  Moscow,  and  the  first  of  its 
kind  undertaken  by  Russia,  all  the  films  cho- 
sen for  awards  had  at  least  a  thematic  ten- 
dency in  the  direction  of  the  difficulties 
encountered  in  capitalist  countries,  or  told 
outright  of  Revolution  and  the  mass  strug- 
gle. 

First  award  went  to  product  of  Russia's 
own  state-controlled  studios,  the  winners 
being  "Cliapayev,"  now  playing  in  New 
York;  "Peasants"  and  "Youth  of  Maxim." 
Second  award  went  to  a  French  film,  "Last 
Millionaire,"  the  title  of  which  alone  some- 
how implies  a  distribution  of  wealth.  Third 
prize  went  to  America's  own  Walt  Disney, 
for  his  Mickey  Mouse  subject,  "The  Or- 
phans' Benefit,"  distributed  by  United  Ar- 
tists. 

Awarded  honorable  mention  were  "Our 
Daily  Bread,"  produced  by  King  Vidor  and 
released  by  United  Artists,  Warner's  "Gen- 
tlemen Are  Born,"  and  Metro-Goldwyn- 
Mayer's  "Viva  Villa,"  which  received  its 
certificate  although  it  actually  was  not 
eligible  for  the  competition. 

"Viva  Villa"  recounts  glamorously  the 
daring  and  occasionally  touching  exploits  of 
that  rebel  of  all  rebels  against  organized 
government,  Pancho  Villa,  the  Mexican 
guerrilla  warfai'e  chieftain,  who,  hiding  in 
the  mountains  with  his  bandit  army,  defied 
alike  the  Mexican  government  troops  and 
the  Marines  of  the  United  States  for  some 
little  time. 

"Gentlemen  Are  Born"  tells  with  tragic 
accent  the  discouraging  experiences  of  sev- 
eral young  men,  newly  graduated  from  col- 
lege, and  suddenly  brought  face  to  face,  with 
shocking  force,  with  the  American  depres- 
sion and  its  consequent  scarcity  of  jobs  for 
earnest  and  ambitious  young  men.  Sweet- 
hearts come  to  them,  and  their  difficulties 
multiply,  until  tragedy  in  the  form  of  hos- 
pital death  and  police  bullets  makes  the  sur- 
vivors bitter  and  hostile. 

"Our  Daily  Bread"  concerns  itself  also 
with  the  depression  and  the  tragic  and  diffi- 
cult complications  it  throws  into  the  lives 
of  those  involved  in  the  story. 


March    9  ,  1935 


MOTION    PICTURE  HERALD 


29 


THEATRE  GETS  $7.70  OF 
AVERAGE  MAN  IN  YEAR 


Columbia  Doubles 
Six  Months  Net 
Made  Last  Year 

Columbia  Pictures  Corporation  announced 
Tuesday  that  its  net  profits  for  the  six 
months  ended  Dec.  29,  1934,  amounted  to 
$919,185,  which,  after  all  charges  and  pro- 
visions for  federal  income  tax,  is  equal  to 
approximately  $5.15  per  share  on  173,593 
shares  of  common  stock  outstanding  after 
deducting  preferred  dividend.  This  com- 
pares with  net  profits  of  $404,563,  or  $2.25 
for  the  corresponding  period  of  1933,  with 
169,359  shares  outstanding. 

The  company  has  declared  a  quarterly 
dividend  of  25  cents  per  share  on  the  com- 
mon stock  and  voting  trust  certificates  for 
common  stock,  payable  April  1,  1935,  to 
stockholders  of  record  March  13,  1935. 

The  consolidated  balance  sheet  as  of  Dec. 
29.  1934,  shows  current  assets  of  $7,137,715 
and  total  current  liabilities  of  $1,418,973,  or 
a  ratio  of  more  than  five  to  one. 

U.  S.  Acts  to 
Bar  ''''Ecstasy'' 

Martin  Conboy,  United  States  district  at- 
torney in  New  York,  moved  this  week  to 
exclude  from  the  United  States  the  Czecho- 
slovakian  feature,  "Ecstasy,"  on  the  ground 
it  is  obscene  and  immoral. 

The  government's  libel  was  filed  against 
"two  tin  boxes  containing  the  motion  pic- 
ture film."  The  film  in  question  was  im- 
ported by  Eureka  Productions,  Inc.,  and  was 
seized  by  the  New  York  collector  of  cus- 
toms and  impounded.  It  was  then  sent  to 
Washington  and  privately  shown  to  officials 
of  the  Treasury  Department,  who  voted 
against  allowing  the  picture  to  be  shown. 

Eureka  Productions  is  a  property  of  Sam- 
uel Cummins,  New  York. 

Film  Daily  said  Monday :  "New  Orleans — 
Samuel  Cummins  will  show  a  French  nudist 
film  at  the  Crescent  this  week  together  with 
a  stage  show  billed  as  'Lady  Eve  and  Her 
Nudist  Girls.'  With  'Sterilization'  recently 
on  Canal  street,  this  may  start  a  wave  of 
police  patrol  similar  to  that  which  followed 
'Elysia.'  Cummins  is  reported  to  be  operat- 
ing the  house." 


Exhibitor  Found  Guilty  of 
Labor  Clause  Violation 

Violation  of  Section  7-A  of  the  National 
Recovery  Act  was  charged  to  Edwin  S. 
Young,  Central  theatre,  Kansas  City,  in  a 
decision  of  the  local  regional  labor  board 
this  week.  The  Independent  Motion  Picture 
Operators'  Union  filed  the  complaint  after 
a  member  was  discharged  and  Young 
switched  to  Local  170. 


Skourases  Sign  This  Week 

Spyros  and  Charles  Skouras  were  sched- 
uled to  sign  their  10-year  joint  operating 
contract  with  the  new  National  Theatres 
Corporation  and  Chase  National  Bank  of- 
cials  in  New  York  this  week. 


Attending  Film  Shows  Is  Third 
to  Reading  and  Radio, 
Recreation   Society  Says 

The  average  American  citizen  spends  $7.70 
annually  for  his  motion  picture  and  legiti- 
mate theatre  entertainment,  the  National 
Recreation  Association,  Inc.,  declared  this 
week.  The  Association  is  a  non-profit  organ- 
ization the  purpose  of  which  is  to  promote 
national  interest  in  ways  and  means  of 
spending  leisure  time  to  best  advantage. 

The  $7.70  is  spent  by  the  citizen  in  an 
"average"  year,  the  Association's  report  said. 
It  did  not  define  "average"  year,  but  it  was 
assumed  that  the  Association  considered  last 
year  "average,"  as  the  survey  was  made  in 
1934.  Expenditures  by  Mr.  John  Citizen  on 
lu.xuries  and  amusements  during  the  year 


were  compared  as  follows  : 

Theatre  attendance   $7.70 

Cigars    6.20 

Pipe  and  chewing  tobacco...   5.15 

Cigarettes   5.10 

Soft  drinks     4.50 

Confectionery   4.00 

Musical  instruments    2.20 

Chewing  gum  41 


According  to  the  Association  survey,  22 
cents  of  the  American  dollar  is  spent  for 
luxuries,  24.5  cents  for  necessities,  1.5  cents 
for  education  and  8.5  cents  for  crime. 

The  report  pointed  out  that  it  costs  |500 
annually  to  maintain  a  boy  or  girl  in  a  re- 
formatory, but  only  five  cents  each  time  a 
juvenile  visits  a  supervised  recreation  park. 

The  National  Recreation  Association,  Inc., 
last  year  sent  questionnaires  to  representa- 
tive individuals  in  all  walks  of  life  in  an 
attempt  to  determine  what  the  nation's  citi- 
zens do  with  their  spare  time.  The  results 
show  that,  of  the  persons  questioned,  10 
things  done  and  enjoyed  most  by  all  persons 
during  their  leisure  hours  are,  in  the  order 
of  preference : 

Newspaper  and  magazine  reading. 
Listening  to  the  radio. 
Attending  motion  picture  shows. 
Visiting  or  entertaining. 
Reading  fiction. 
Automobile  pleasure  riding. 
Swimming. 
Writing  letters. 
Reading  non-fiction. 
Conversation. 

In  27th  place  on  the  list  in  the  question- 
naire appeared  the  occupation  of  just  plain 
Loafing.  Poetry  writing  occupied  the  72nd 
position. 

Home  activities  during  the  depression 
years,  the  report  said,  increased  approxi- 
mately 64  per  cent.  The  chief  gains  regis- 
tered under  this  department  were  in  letter 
writing,  picnicking,  serious  study  and  read- 
ing, all  these  things,  in  addition  to  the  radio, 
combining  to  afifect  motion  picture  box  office 
receipts. 

The  survey  also  contained  an  "Un-met 
Desires"  department,  under  which  were  list- 


ed some  of  the  things  individuals  would  like 
to  do  during  their  spare  moment  but  which, 
for  one  reason  or  another,  they  find  impos- 
sible. Among  these  were  such  items  as  swim- 
ming, boating,  tennis,  golf,  and  camping. 

An  indication  gathered  from  an  analysis 
of  the  report  was  that  most  persons  would 
rather  loaf  than,  for  example,  play  soccer 
or  football. 

Married  men  over  35,  the  survey  revealed, 
"yearn"  for  picnics,  horseshoe  pitching,  and 
caring  for  pets.  Bachelors  would  rather 
enjoy  the  pleasures  of  motor  camping,  con- 
certs, evening  schools,  gymnasium  and  card 
parties. 

Married  women  find  their  greatest  pleas- 
ure, according  to  the  report,  in  visiting,  en- 
tertaining and  picnics.  Unmarried  women, 
it  seems,  prefer  hiking,  museums  and  read- 
ing non-fiction. 

Both  se.xes,  the  report  said,  enjoy  theatre- 
going  and  card-playing.  A  few  single  per- 
sons mentioned  conversation  as  a  principal 
diversion,  but  married  couples  ignored  it. 

Officials  of  the  National  Recreation  Asso- 
ciation, Inc.,  are  Joseph  Lee,  president; 
Howard  Braucher,  secretary,  and  Gustavus 
T.  Kirby,  treasurer.  Dr.  John  H.  Finley, 
educator  and  editor,  is  first  vice-president; 
John  G.  Winant,  governor  of  New  Hamp- 
shire, second  vice-president,  and  Robert 
Garrett,  banker,  third  vice-president. 

Improved  Public  Favor 
Toward  Films  Is  Shown 

Evidence  of  nationwide  appreciation  of 
the  improvement  in  the  moral  tone  of  screen 
entertainment  and  advertising  matter  was 
placed  before  publicity  executives  at  the 
Motion  Picture  Producers  and  Distributors 
of  America  in  Hollywood  Tuesday.  J.  J. 
McCarthy  and  Lupton  Wilkinson  said  a  sur- 
vey showed  public  sentiment  had  been  in- 
creasingly favorable. 

"If  clean  pictures  and  clean  ads  have  paid 
dividends  at  the  box  office,  it  follows  that 
wholesome  material  will  also  pay  dividends 
for  the  columns,  fan  magazines  and  other 
media  that  derive  circulation  from  copy 
about  Hollywood,"  said  Mr.  Wilkinson. 


Scollard  with  Swope 

Clinton  J.  "Pat''  Scollard,  long  associated 
with  the  enterprises  of  Joseph  P.  Kennedy, 
now  chairman  of  the  Securities  Exchange 
Commission,  in  the  FBO  and  Pathe  organ- 
izations, and  also  with  Mr.  Kennedy's  Som- 
erset Importers,  Ltd.,  has  been  made  assist- 
ant to  Herbert  Bayard  Swope,  officing  in  the 
RCA  Building  in  Radio  City,  New  York. 
Mr.  Swope  is  a  director  of  Keith-Albee- 
Orpheum,  RKO  Radio  Pictures  and  Pathe 
News. 


Comerford  improves 

M.  E.  Comerford  of  the  Comerford  The- 
atres of  Pennsylvania,  who  has  been  ill  for 
more  than  10  days  in  a  Washington  hos- 
pital, this  week  was  reported  to  have  passed 
a  crisis  and  is  resting  comfortably. 


30 

Sex  appeal  Used 
By  Culhertson  to 
Promote  Bridge 

Showmen,  aware  of  the  fact  that  the  com- 
petition of  bridge  games  is  costing  the  box 
office  much  money,  will  find  an  illuminating 
story  of  how  a  pastime  was  turned  into  a 
comprehensive  business  by  publicity  and  ad- 
vertising, in  an  address  given  by  Ely  Cul- 
bertson,  contract  bridge  specialist,  before 
the  Sales  Executive  Club  of  New  York  at 
a  luncheon  Monday  at  the  Hotel  Roosevelt. 

Appeal  to  the  instincts  of  sex  and  fear 
was  the  first  line  of  promotion  in  building 
an  organization  now  having  a  payroll  of  be- 
tween $10,000  and  $15,000  a  month,  with 
4,000  teachers.  The  game  brought  men  and 
women  together.  Studiously  Mr.  Culbertson 
concocted  the  phrases  "forcing  bid"  and  "ap- 
proach bid"  because  he  saw  a  sex  connota- 
tion in  them. 

Appealed  to  Women 

"First  we  had  to  build  a  system,"  he  ex- 
plained. "That  took  six  years.  Then  we 
had  to  sell  that  system.  We  founded  a 
magazine  and  interested  the  leading  persons 
in  the  game.  You  have  to  do  that  before  you 
can  sell  to  the  masses. 

"We  appealed  to  women,  to  their  natural 
inferiority  complex.  Bridge  was  an  oppor- 
tunity for  them  to  gain  intellectual  parity 
with  their  husbands.  Then,  we  appealed  to 
the  husbands.  We  worked  on  their  fear  in- 
stinct. We  made  it  almost  tantamount  to 
shame  not  to  play  contract.  Finally,  we  ap- 
pealed to  the  gambling  instinct  of  both. 
Americans  are  natural  gamblers,  but  by 
praising  the  skill  in  the  game  we  applied  the 
brakes  to  gambling,  thereby  gaining  social 
approval  and  at  the  same  time  the  oppor- 
tunity for  gambling." 

Sells  Himself  as  Smart-Aleck 

Mr.  Culbertson  said  he  was  not  the  smart- 
aleck,  pugnacious  type  he  had  sold  himself 
to  be  in  the  mass  public  mind,  nor  was  Mrs. 
Culbertson  the  shy,  diffident,  dignified,  cool 
and  calculating  woman  of  the  organization's 
publicity.  These  characters,  he  said,  were 
promotional  fiction  to  attract  national  atten- 
tion to  them,  personally.  The  more  the  in- 
sults and  fights  the  more  he  liked  it — "I 
didn't  care  which  way  they  used  my  name, 
just  so  they  used  it."  He  said  he  had  learned 
the  mass  mind  when,  at  15,  he  participated 
in  radical  demonstrations  in  Russia,  and  his 
wife  had  urged  him  to  apply  that  knowl- 
edge to  contract  bridge. 

Each  of  the  4,000  teachers  in  the  organi- 
zation pays  $10  a  year  for  the  privilege  of 
selling  the  Culbertson  system.  He  formed 
a  publishing  company  and,  instead  of  de- 
manding a  royalty,  paid  the  publisher  two 
cents  for  each  copy  of  his  books  sold. 

Mr.  Culbertson  is  selling  a  bridge  column 
daily  to  170  newspapers,  and  Mrs.  Culbert- 
son is  writing  for  60  newspapers.  He  gets 
publicity  by  writing  for  magazines  and  is 
paid  for  the  articles.  He  wins  publicity  by 
writing  scenarios  and  appearing  in  short 
features.  One  business  company,  through 
his  tieups,  circulated  three  million  pamph- 
lets concerning  him  and  with  no  cost  to  him. 


MOTION    PICTURE    H  ERALD 


PUPILS  PRODUCE 
FILM  MELODRAMA 

A  one-reel  melodrama  of  the  Stone 
Age,  portraying  man's  eternal  con- 
flict with  the  forces  of  Nature,  writ- 
ten, acted  and  produced  by  children 
in  the  tenth  grade  of  Lincoln  School, 
Columbia  University,  was  shown  for 
the  first  time  this  week  in  the  school's 
auditorium. 

The  cast  of  "The  Brothers  of  Alta- 
mira"  is  composed  of  eight  14-  and 
\5 -year-old  boys  and  girls.  The  action 
involves  members  of  the  Cro-Magnon 
race  who  lived  in  the  region  now 
known  as  the  Pyrenees,  between 
France  and  Spain,  some  50,000  years 
ago.  It  first  was  intended  to  shoot 
most  of  the  action  among  the  rocky 
"mountains"  of  Central  Park,  but  the 
weather  became  so  cold  that  the 
juvenile  producers  were  forced  to  film 
most  of  the  picture  on  the  stage  of 
the  auditorium.  There  was  one  ex- 
ception, a  scene  in  which  the  villain 
is  shown  being  drowned  in  a  stream 
by  the  hero.  In  this  sequence  a  cor- 
ner of  the  school's  swimming  pool 
was  utilized.  The  entire  production 
cost  $50. 

Baker  Names  New 
British  Releases 

Reginald  P.  Baker,  financial  head  of  Asso- 
ciated Talking  Pictures  of  London,  and  joint 
managing  director  of  the  A.T.P.  Studios  and 
Associated  British  Film  Distributors,  sees 
another  British  "invasion"  of  the  American 
market  coming  this  spring.  Mr.  Baker  is  in 
this  country  talking  over  production  plans 
with  First  Division. 

A  purpose  of  ATP  is  to  increase  the 
standard  and  quality  of  British  pictures,  Mr. 
Baker  said  in  New  York  prior  to  his  de- 
parture for  Hollywood  with  M.  L.  Fiske,  HI, 
vice-president  of  First  Division  Productions. 

Among  ATP  pictures  to  be  released  in  this 
country  next  season  by  First  Division  will 
be  two  starring  Clive  Brook,  three  starring 
the  Lancashire  comedienne,  Gracie  Fields. 

The  second  release  of  "The  March  of 
Time"  appeared  this  week.  The  story  of  the 
New  York  Daily  News  coverage  of  the 
Hauptmann  verdict  comes  first.  Next,  Pro- 
fessor Edgerton  of  Massachusetts  Institute 
of  Technology  demonstrates  the  speedy 
stroboscopic  camera.  The  movement  for  a 
Senatorial  investigation  of  shipping  is  de- 
scribed with  shots  of  the  Mohawk  and 
Talisman  disasters.  Number  four  is  the 
story  of  Huddie  Ledbetter,  who  sang  his 
way  out  of  prison.  Finally,  by  picture  and 
diagram  is  shown  how  the  powers  are  en- 
circling Hitler  with  a  ring  of  diplomacy 
and  steel. 

Famous  Players  Canadian  Corporation 
booked  the  series  for  all  of  its  75  theatres 
in  Canada.  Regal  Films,  Ltd.,  is  handling 
distribution  in  the  Dominion.  Fred  McCon- 
nell,  Charles  Stillman,  Daniel  Longwell  and 
Amos  Hiatt,  March  of  Time  executives,  are 
conferring  in  Detroit  this  week  with  First 
Division  president  Harry  Thomas  and  Ralph 
Rolan,  vice-president  of  March  of  Time,  Inc. 


March    9,  1935 

Pupils '  Symposium 
Features  Meeting 
Of  National  Board 

"Intelligent  People  and  the  Movies"  will 
be  the  keynote  of  the  eleventh  annual  con- 
ference of  the  National  Board  of  Review  of 
Motion  Pictures,  which  opens  Thursday 
morning  at  the  Hotel  Pennsylvania  in  New 
York.  The  sponsors  hope  that  "out  of  these 
sessions  may  emerge  a  definite  concept  of 
what  thoughtful  people,  bringing  all  their 
intelligence  to  bear,  may  look  for  in  the 
further  growth  of  the  movies." 

Specific  session  topics,  running  through 
Thursday,  Friday  and  Saturday  morning,  will 
be:  "What  Are  the  Movies  Up  Against?" 
pertaining  to  motion  picture  censorship,  legal 
and  otherwise ;  "Community  Motion  Picture 
Activity" ;  "How  Important  Can  the  Movies 
Be? — (a)  In  Increasing  General  Intelli- 
gence, (b)  In  Advancing  General  Culture"; 
"Photography  and  the  Motion  Picture  Art"; 
"Youth  and  the  Movies." 

For  the  first  time,  said  Wilton  Barrett, 
executive  secretary  of  the  Board,  there  will 
be  held  a  symposium  of  young  folk — of  ele- 
mentary school  standing — concerning  the 
motion  picture.  This  will  be  sponsored  by  the 
Young  Reviewers'  Club  of  the  National 
Board,  assisted  by  youthful  groups  cooper- 
ating in  the  work. 

A  demonstration  of  reviewing  committee 
at  work  examining  an  unreleased  film  at  the 
Warner  home  office  was  to  feature  the 
Thursday  morning  session  of  the  three-day 
meeting.  The  afternoon  was  to  be  devoted 
to  addresses  subdivided  under  the  general 
topic,  "What  the  Movies  Are  Up  Against," 
with  Dr.  Frederick  M.  Thrasher  of  New 
York  University  as  presiding  officer. 

Friday  the  meeting  was  to  hold  a  panel 
discussion  on  community  motion  picture  ac- 
tivity, the  afternoon  session  topic  being 
"How  Important  Can  the  Movies  Be?"  A 
private  showing  of  GB's  "Man  of  Aran" 
and  Audio  Productions'  "Musical  Moods" 
subjects  was  scheduled  for  the  evening. 
"Youth  and  the  Movies,"  with  Robert  Adam 
of  the  11th  grade  of  the  Birch  Wathen 
School  as  presiding  officer,  was  to  be  the 
topic  of  the  young  folk's  symposium  on 
Saturday  morning,  followed  by  the  conclud- 
ing event,  the  twentieth  annual  luncheon  of 
the  National  Board. 


Morgan,  Cummings,  Bancroft 
Guests  at  AMPA  Luncheon 

William  R.  Ferguson,  Metro  exploiteer, 
was  to  resume  the  open  luncheon-meetings 
of  the  Associated  Motion  Picture  Adver- 
tisers at  the  New  York  Motion  Picture  Club 
on  Thursday,  presiding  from  a  dais  at  which 
guest  stars  included  Frank  Morgan,  Con- 
stance Cummings,  George  Bancroft,  James 
Barton,  Sylvia  Froos,  Walter  Connelly,  Bob 
Hope,  Jane  Wyatt,  Patsy  Flick,  Noah  Beery, 
Joe  Weber,  Stepin  Fetchit,  jack  Powell  and 
Buck  and  Bubbles. 

Others  to  be  on  hand  were  Buster  Collier, 
Nicholas  Hannen,  Louis  Waldman,  Charlie 
Cantor,  Teddy  Bergman,  Mickey  Harmon, 
Adele  Ronson,  Aida  KuznetzofT  and  Ruth 
Davies. 


JOY- CRAZED  EXHIBITORS  AND  CRITIC! 
UP  PHONES  IN  THE  GRANDEST  ORGY  Ol 

BALTIMORE  . .  march  l  .."'Roberta' opening  today  necessitated  extra  police  handle 
crowds  establishing  new  high  box-office  record  in  history  theatre.  Critics  unani- 
mous in  praise.  Have  never  seen  such  an  enthusiastic  response  before.  Thanks 
for  this  gold  mine.''— Izzy  Rappaport,  Hippodrome  Theatre 

MARCH  2  . .  "Hell  broke  loose  here  tonight.  Police  and  house  staff  unable  to  cpn^ 
trol  crowds.  Shattered  previous  opening  day  record.  Two  thousand  people  turned 
away.  Audience  comment  and  reaction  sensational.  I  look  for  three  weeks  maybe 
four  here."— Izzy  Rappaport,  Hippodrome  Theatre 

MARCH  3  . .  "'Roberta'  first  three  days  twenty  per  cent  ahead  previous  house 
record.  Hardly  thought  this  possible,  even  with  extra  police  to  handle  crowds. 
Packed  to  capacity  10:45  this  morning  fifteen  minutes  before  first  show  started. 
Not  even  standing  room  available  at  any  time  since  opening  Friday.  Audience 
reaction  most  enthusiastic  I  have  ever  seen." 

—izzy  Rappaport,  Hippodrome  Theatre 

RICHMOND,  VA..  •  "Marvelous  work  of  Dunne,  Astaire  and  Rogers  in  'Roberta'  the 
talk  of  the  town.  Reviewers  ran  out  of  adjectives.  Looks  like  new  all  time  record 
with  holdover  assured."— Walter  Coulter,  Byrd  Theatre 

PITTSBURGH,  PA..  •  MARCH  2 . .  "'Roberta'  opened  Stanley,  Pittsburgh,  Friday,  one 
thousand  dollars  better  than  'Gay  Divorcee'  opening  at  higher  admission  prices 
and  best  opening  straight  picture  or  stage  policy  this  theatre  past  year  with 
single  exception."  .  .  MARCH  4  .  .  "'Roberta'  got  sensational  gross  Stanley 
Saturday."— Wire  report  from  RKO  District  Manager 

Pittsburgh  Post-Gazette  .  .  "if  Mr.  Kern's  'Roberta'  was  a  good  stage  buy  at 
three  dollars,  then  the  screen  version  is  a  bargain  at  twice  that  much." 

Pittsburgh  Press . .  "'Roberta'  is  the  one  picture  which  must  not  be  missed.  It's 
THE  TOP!  Of  the  popular  operettas,  it  is  unmatched." 

Pittsburgh  Sun-Telegraph . .  "Take  off  your  hat  and  make  a  sweeping  bow  to  the 
RKO  Studio,  which  has  yet  to  fail  in  the  making  of  musical  talkies.  The  bow  is 


IIZZLE  TELEGRAPH  WIRES  AND  BURN 
ICCLAIM  EVER  ACCORDED  A  PICTURE 

DES  MOINES,  I  A. .. 'Roberta'  opened  Orpheuin  biggest  Friday  history  theatre. 
Papers  raving  over  show  and  audience  reaction  marvelous!" 

—Wire  report  from  RKO  Branch  IVIanager 

KANSAS  CITY. .  MARCH  2  ..  '''Roberta'  IVIainstreet  Theatre  opening  Friday  played 
to  twenty-five  hundred  more  people  than  'Gay  Divorcee'.  Theatre  changed 
schedule  opening  at  nine  this  morning  instead  of  usual  eleven  and  had  a  line 
waiting  at  that  time  and  will  have  eight  shows  today."  . .  (Wire  of  MARCH  4). . . 
"'Roberta'  Saturday  and  Sunday  played  to  11,423  paid  admissions..  Number  of 
people  show  to  Saturday  breaks  all  time  house  records." 

—Wire  report  from  RKO  Branch  Manager 

OMAHA .  ."'Roberta'  Brandeis  Theatre,  Omaha,  Friday  opening  largest  in  history  of 
that  theatre  for  that  day  of  week.  Saturday  largest  gross  in  history  of  theatre. 
Enthusiasm  tremendous.  Everyone  talking  'Roberta'.  Crowds  have  been  lined 
at  theatre  fighting  to  get  in  . .  Greater  gross  on  'Roberta'  than  any  important 
picture  ours  at  Norfolk  and  Columbus."— Wire  report  from  RKO  Branch  Manager 

TOLEDO  .  ."Thank  you  for  the  best  picture  of  the  year.  'Roberta'  doing  capacity  busi- 
ness appeals  to  everyone.  Will  hold  for  indefinite  run." 

—John  F.  Kumler,  Pantheon  Theatre 

DALLAS  . .  "'Roberta'  Majestic  Theatre,  Dallas,  Saturday  and  Sunday  did  best  business 
of  any  picture  for  one  and  one-half  years,  beating  highest  gross  of  'Little 
Women',  and  'Gay  Divorcee'."— Wire  report  from  RKO  Branch  Manager 

MEMPHIS  ■  .Memphis  Commercial  Appeal .  .  "The  team  of  Astaire  and  Rogers  has 
doneJt  again  and  better,  this  time  as  a  threesome  with  the  addition  of  Irene 
Dunne,  in  'Roberta'  Mr.  Astaire  and  the  Misses  Dunne  and  Rogers  have  easily 
the  best  tune  talkie  yet  to  emerge  from  the  RKO  Studios." 

NEW  ORLEANS  .  .New  Orleans  Tribune . .  "'Roberta'  is  another  smashing  movie. . . 

The  Wednesday  night  premiere  crowd  was  one  of  the  biggest  that  ever  tried  to 
get  into  the  Orpheum  Theatre.  The  waiting  ticket  buyers  were  lined  up  almost 
around  the  block,  and  police  reserves  had  to  be  called  to  handle  the  surging 
crowds." 

FORT  WORTH y  TEX. .  ."'Roberta'  Saturday  and  Sunday  gross  beat  highest  grosses 
of  'Little  Women'  and  'Gay  Divorcee."'-Wire  report  from  RKO  Branch  Manager 


MIRACLE  MUSICAL  ROMANCE! 


— — 


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OPENING 
RADIO  CITY 
MUSIC  HALL.. 
THURSDAY,  MAR. 7 
..AND  OTHER  KEY 
SPOTS  THIS  WEEK 


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■  "Smoke 

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JEROME 
KERN'S 

tirade  musical 
stage  success  . . . 
screened  in  a 
sunburst  of  song! 

with 

RANDOLPH  SCOTT 
HELEN  WESTLEY 
VICTOR  VARC< 
CLAIRE  DO 

From  th«  pUy  "Sob* 
Book  and  lyrici  by 
Harbaoh.  Dir«oto4 
WILUAM  A.  SEITEM 
PANDRO  S.  BEImI 
PBODUCTION. 


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38 


MOTION    PICTURE  HERALD 


March    9,  1935 


THE  CUTTING  ROOM 


Advance  outlines  of  productions  neerring 
completion  as  seen  by  Gus  McCarthy  of 
Motion  Picture  Herald's  Hollywood  Bureau 


BECKY  SHARPE 

Pioneer  Production  for  Radio  release 

Several  things  that  are  of  novel  and  potent 
showmanship  interest  are  to  be  noted  in  this 
production.  It  is  the  first  feature  length  picture 
done  in  Technicolor's  new  three-color  process. 
All  prior  color  dramas  were  photographed  in 
the  various  two-color  processes,  including  Kino- 
macolor,  Prizma  and  Technicolor.  The  process 
being  used  for  "Becky  Sharpe"  is  the  same  as 
that  used  in  "La  Cucaracha,"  a  highly  popular 
short  subject.  The  color  design  is  being  handled 
by  Robert  Edmond  Jones,  whose  expert  work 
on  the  short  subject  aided  materially  in  its 
winning  the  Academy  award  as  the  best  short 
comedy.  "Becky  Sharpe"  is  also  the  first  fea- 
ture attempt  of  the  newly  organized  Pioneer 
Productions  and  as  is  usually  the  case  nothing 
will  be  missed  in  the  way  of  any  values  to 
make  a  favorable  initial  impression. 

The  story  is  based  upon  William  Makepeace 
Thackeray's  "Vanity  Fair,"  the  screen  play  is 
by  Francis  Faragoh.  Direction  is  by  Rouben 
Mamoulian,  who  made  the  current  "We  Live 
Again."  Worthy  of  note,  as  far  as  potential 
entertainment  and  exploitation  values  are  con- 
cerned, is  the  fact  that  Kenneth  Macgowan, 
producer  of  "Little  Women"  and  "Anne  of 
Green  Gables,"  is  supervising  the  picture. 

With  the  all-Technicolor  feature  serving  as  a 
unique  salesmanship  angle,  the  personnel  is  also 
of  unusual  value.  As  two  women  are  the  chief 
sources  of  interest  in  the  motivating  story, 
those  roles  are  filled  by  Miriam  Hopkins,  re- 
cently in  "Richest  Girl  in  the  World,"  and 
Frances  Dee.  Among  the  more  favorably 
known  players  who  will  be  seen  are  Cedric 
Hardwicke,  noted  English  actor,  who  is  fea- 
tured in  the  forthcoming  "Les  Miserables," 
Billie  Burke,  Alan  Mowbray,  Nigel  Bruce,  the 
veteran  William  Faversham,  Charles  Richman, 
William  Stack,  Colin  Tapley  and  G.  P.  Hunt- 
ley, Jr. 

Locales  are  England  and  Belgium  and  the 
time  is  1815.  One  of  the  spectacular  phases  is 
an  in-the-distance  portrayal  of  the  Battle  of 
Waterloo. 


The  preset! taf ions  of  this  depart- 
ment are  in  no  sense  reviews  of  the 
pictures  or  evaluations  of  the  produc- 
tions. They  are  inventories  of  material. 

The  endeavor  is  to  inform  the  ex- 
hibitor of  the  nature  of  the  story  and 
the  personnel  and  to  set  forth  the  ele- 
ments of  appeal  which  the  producer 
is  seeking  to  put  into  the  product. 

"The  Cutting  Room"  is  published 
for  the  special  service  of  exhibitors 
who  require  some  detailed  information 
concerning  the  character  of  the  pic- 
ture and  its  selling  factors  in  advance 
of  previews,  reviews  and  press  books. 

This  department's  survey  of  pic- 
tures in  no  way  anticipates  or  sup- 
plants the  functions  of  the  Showmen's 
Reviews  which  are  prepared  when  the 
finished  product  is  made  available. 


of  the  cast.  There  is  definite  name  value  to 
both  the  principal  and  supporting  players.  Nor- 
man Foster,  as  the  schoolmaster,  Charlotte 
Henry  as  the  girl  with  whom  he  falls  in  love ; 
Sarah  Padden  and  William  V.  Mong  as  Mr. 
and  Mrs.  Means,  and  Dorothy  Libaire  as  their 
daughter,  are  the  principal  characters.  Fea- 
tured players  include  Otis  Harlan,  Russell 
Simpson  and  Fred  Kohler,  Jr.  Others  listed  are 
youthful  Tommy  Bupp,  Wallace  Reid,  Jr., 
George  Hayes  and  Joe  Bernard. 

Similar  in  entertainment  quality  to  several 
current  pictures  which  portray  the  drama  and 
romance  of  mid-west  American  life  during  the 
later  1800's,  it  promises  to  be  not  only  an  edu- 
cational but  also  entertaining  feature  with 
strong  appeal  to  the  all-family  type  of  audi- 
ences. 


THE  HOOSIER  SCHOOLMASTER  universal 


MR.  DYNAMITE 


Monogram 

While  this  feature  is  adapted  from  one  of 
last  century's  best  known  American  semi- 
classics,  its  dramatic  story  quality  is  peculiarly 
modern.  "The  Hoosier  Schoolmaster"  is  and 
paradoxically  is  not  a  story  of  one  of  that  great 
group  of  men  teachers  who  played  such  an  im- 
portant part  in  post  Civil  War  readjustment 
and  the  cultural  development  of  the  then  "Far 
West."  The  Edward  Eggleston  novel  is  the 
saga  of  that  band  of  Federal  Army  veterans 
who,  seeking  their  bonus  in  the  form  of  new 
land,  were  defrauded  by  greedy  interests.  That 
condition  serves  as  a  background  for  the  story 
of  Ralph  Hardstock,  whose  romantic  and  dra- 
matic experience  is  essentially  good  theatre, 
promising  much  in  entertainment  and  showman- 
ship. 

The  screen  play  is  by  Charles  Logue,  recently 
credited  with  "Home  on  the  Range"  and  re- 
membered for  his  work  on  "Black  Beauty." 
Direction  is  by  Lewis  D.  Collins,  maker  of  the 
current  "Sing  Sing  Nights." 

In  line  with  the  importance  of  the  story, 
more  than  usual  care  was  taken  in  selection 


One  of  this  production's  most  prominent  as- 
sets is  the  fact  that  the  original  story  is  by 
Dashiell  Hammett,  author  of  "The  Thin  Man." 
That,  in  itself,  is  sufficient  to  establish  its  char- 
acter— a  mystery  tinged  romantic  drama.  The 
screen  play  is  by  Doris  Malloy,  associated  with 
such  dramatic  pictures  as  "Gambling  Lady" 
and  "I'm  a  Thief"  and  Harry  Clork,  with  whom 
she  has  collaborated  on  a  few  Universal  cur- 
rent features  and  the  forthcoming  "Princess 
O'Hara."  Direction  is  by  Alan  Crosland,  maker 
of  the  recent  "Case  of  the  Howling  Dog,"  "The 
White  Cockatoo,"  similarly  atmosphered  pic- 
tures, and  "It  Happened  in  New  York." 

In  content,  modernly  timed  and  localed,  the 
story  follows  through  a  maze  of  mystery  melo- 
drama in  which  two  men  are  killed,  also  com- 
plicated romantic  drama  and  liberal  doses  of 
situation,  action  and  dialogue  comedy.  To  solve 
the  killings,  the  motives  for  which  dovetail,  a 
super-detective,  who  not  only  makes  use  of  all 
the  latest  and  most  scientific  crime  detection 
aids  but  also  plays  funny  hunches,  is  brought 
in.  His  scientific  deductions  solve  the  problem. 

Cast  in  the  role  of  Mr.  Dynamite  is  Edmund 


Lowe,  in  a  character  which  is  a  direct  follow- 
up  of  his  current  appearance,  "The  Great  Ho- 
tel Murder."  His  secretary  and  partner  in  giv- 
ing criminals  and  the  regular  police  the  jitters 
is  Jean  Dixon,  last  seen  in  "Sadie  McKee." 
Other  principals  are  Esther  Ralston,  Victor 
Varconi,  returning  after  a  long  European  stay, 
Verna  Hillie,  who  was  seen  in  "Romance  in  the 
Rain"  and  is  appearing  in  "Princess  O'Hara," 
and  Minor  Watson.  In  minor  roles  are  Brad- 
ley Page,  Robert  Gleekler,  Jameson  Thomas, 
Greta  Mayer,  Matt  McHugh,  Joyce  Compton 
and  Mary  Wallace. 

This  production  should  give  those  exhibitors 
who  like  to  specialize  in  dramatic  mysteries  a 
chance  to  try  much  that  is  new. 


CARDINAL  RICHELIEU 

20th  Century 

No  other  screen  artist  compares  with  George 
Arliss  in  success  of  portrayal  of  historical  char- 
acters. "Disraeli,"  "Alexander  Hamilton,  "Vol- 
taire," "Rothschild"  and  "The  Iron  Duke"  are 
sufficient  proof.  Now  he  comes  in  the  role  of 
Armand  du  Plessis,  Cardinal  Richelieu,  France's 
great  prelate-statesman  of  300  years  ago. 

This  feature  is  to  be  produced  on  a  mag- 
nificent scale,  with  the  same  degree  of 
authenticity  in  every  detail  with  which 
the  same  producing  company  endowed  "The 
House  of  Rothschild."  Nunnally  Johnson,  who 
wrote  the  "Rothschild"  screen  play,  and  Cam- 
eron Rogers  spent  months  in  research  prior  to 
adapting  the  highlights  of  countless  historical 
tomes  and  documents  into  continuity  form.  The 
screen  play  is  by  Maude  Howell,  who  did  three 
other  Arliss  pictures,  "King's  Vacation,"  "The 
AVorking  Man"  and  "Voltaire,"  and  was  asso- 
ciate director  on  "Rothschild."  The  dialogue 
is  the  work  of  W.  P.  Lipscomb,  scenarist  of 
"Clive  of  India"  and  currently  associated  with 
"Les  Miserables."  Direction  is  by  Rowland  V. 
Lee,  who  made  "Count  of  Monte  Cristo."  The 
picture  is  being  photographed  by  Peverell  Mar- 
ley,  who  shot  "Rothschild,"  "Clive"  and  "Monte 
Cristo." 

Besides  story  content,  through  which  the  full 
range  of  entertainment  values  run,  and  spectac- 
ular production  values,  there  are,  in  addition  to 
Arliss,  a  host  of  names  whose  interest  creating 
merit  is  unquestioned.  Among  the  many  are 
HaJliwell  Hobbes,  Edward  Arnold,  Violet 
Kemble-Cooper  ("Copperfield") ,  as  well  as 
Maureen  O'Sullivan,  Katherine  Alexander, 
Caesar  Romero,  Francis  Lister,  Douglas  Dum- 
brille,  Lumsden  Hare,  Murray  Kinnell,  Pat 
Somerset. 

This  production  is  fully  worthy  of  the  kind 
of  advance  campaign  commonly  given  an  event 
on  any  program  of  entertainment. 


THUNDER  IN  THE  STREETS 

Ma]estic 

As  the  file  of  many  years'  production  is 
checked,  it  is  distinctly  noticeable  that  the  great 
majority  of  pictures  have  had  sympathy  arous- 
ing romantic  drama  for  their  main  subject  mat- 
ter. This  production,  although  the  present  title 
is  rather  inappropriate,  is  of  that  category.  It 
is  the  story  of  a  man  who,  to  satisfy  the  de- 
mand of  his  wife  and  mother-in-law,  committed 
a  theft.  Jailed,  he  lives  only  on  the  promise 
of  his  wife  to  await  the  day  he  will  be  free. 
When  his  wife  marries  another,  he  joins  a  gang 


March    9  ,  1935 


MOTION    PICTURE  HERALD 


39 


IN  THE  STUDIO  CUTTING  ROOM 


of  racketeers  upon  his  release,  intent  upon  re- 
venge. Stealing  into  his  former  wife's  home, 
he  sees  her  husband  shot  while  threatening  her. 
Circumstantial  evidence  points  to  the  woman, 
but  as  the  criminal  investigation  runs  up  against 
a  stone  wall,  the  killer  confesses,  and  the  path  is 
clear  to  resume  the  interrupted  romance. 

Original  story  and  screen  play  are  by  Stuart 
Anthony,  recently  credited  similarly  on  "Char- 
lie Chan  in  Paris."  Direction  is  by  Burt  Lyn- 
wood. 

As  there  is  both  showmanship  and  entertain- 
ment merit  to  the  production's  story  content, 
there  is  also  more  than  usual  exploitation  value 
in  the  cast.  Donald  Cook  and  Irene  Hervey 
play  the  lead  roles,  with  Doris  Lloyd  appearing 
as  the  avaricious  and  ambitious  mother-in-law 
and  Edwin  Maxwell  being  seen  as  the  murdered 
second  husband.  These  four  have  all  appeared 
recently  in  many  major  studio  productions  and 
consequently  are  favorably  known  to  audiences. 
Supporting  players  are  competent  performers, 
several  are  just  as  well  known  as  the  principals. 
Included  are  William  Lestrange  Millman,  Rus- 
sell Simpson,  John  Kelly,  Edwin  Argus,  Billy 
West,  Wheeler  Oakman,  Frank  LaRue  and 
Fern  Emmett. 


THE  GOOSE  AND  THE  GANDER 

Warner 

As  can  easily  be  read  into  the  title,  this  is 
an  allegorical  portrayal  of  the  axiom  "What's 
sauce  for  the  goose  is  sauce  for  the  gander." 
Essentially,  however,  and  despite  the  compli- 
cated dramatic  content,  it  is  a  comedy  romance 
that  borders  on  the  farcical. 

Original  story  and  screen  play  are  by  Charles 
Kenyon,  scenarist  on  "Dr.  Monica"  and  "The 
Firebird."  Direction  is  by  Alfred  E.  Green, 
whose  latest  pictures  are  "A  Lost  Lady,"  "Gen- 
tlemen Are  Born"  and  "Sweet  Music." 

The  story  details  the  ef¥orts  of  a  woman  to 
steal  her  former  husband  away  from  his  pres- 
ent wife  and  the  surprising  and  unexpected 
romantic  and  dramatic  situations  into  which 
she  leads  herself.  Not  only  is  there  another  man 
who  intrigues  her  heart ;  but  a  pair  of  jewel 
thieves  and  a  smart  old  lady  lend  a  hand  in 
further  complicating  the  situations. 

In  the  production,  which  is  being  handsomely 
mounted  and  the  feminine  members  of  the  cast 
luxuriously  gowned,  the  locales  are  the  swanky 
Santa  Barbara  watering  place  and  the  Califor- 
nia mountains  adjacent.  Kay  Francis,  playing 
essentially  a  comedy  role,  is  cast  as  the  woman 
who  is  the  center  of  all  the  fun  and  drama. 
She  is  teamed  with  George  Brent,  with  whom 
she  appeared  in  "Living  on  Velvet,"  a  recent 
release.  The  other  two  principals  in  the  the- 
matic plot  are  Genevieve  Tobin  and  Ralph 
Forbes.  The  supporting  cast  includes  Claire 
Dodd,  John  Eldridge  as  the  jewel  thieves  who 
unwittingly  provide  much  of  the  accompanying 
comedy;  Helen  Lowell  as  the  old  lady  and 
Spencer  Charters  as  chief  of  the  police  called 
in  to  solve  the  robbery  case.  Others  are  Eddie 
Schubert,  Charles  Coleman,  William  Austin  and 
Gordon  Elliott. 

Title,  players,  story  content  and  production 
values  definitely  clue  the  type  of  applicable 
showmanship.  A  combination  of  the  title  sig- 
nificance, the  players'  names  and  only  the 
vaguest  of  explanatory  hints  as  to  what  the 
picture  is  all  about  should  prove  sufficient  to 
create  interest. 

MAN  EATINgTiGER 

(Tentative  title) 
Fox 

This  is  a  farce  romantic  comedy,  accent  on 
comedy,  and  not  a  jungle  picture.  It  concerns 
a  rebellious  heiress  who  runs  away  from  her 
very  prim  and  proper  intended  on  their  wed- 


ding eve.  Landing  in  a  deserted  mountain  resort 
with  her  maid,  she  runs  into  a  romantic  circus 
troubador  with  a  genius  for  making  love ;  a 
wildly  excited  newspaper  reporter  on  the  trail 
of  a  big  story ;  an  Amazonian  tiger  tamer ;  an 
unsympathetic  caretaker,  and  a  pair  of  half- 
witted moonshiners.  To  fast  moving,  hilarious 
comedy,  she  learns  what  love  really  is,  and  the 
man  from  whom  she  fled  also  gets  a  few  les- 
sons in  the  proper  love  making  technique. 

The  production  is  adapted  from  a  stage  play 
by  Ben  Hecht  and  Rose  Caylor.  The  screen 
play  is  by  Patterson  McNutt  (not  to  be  con- 
fused with  William  Slaven  McNutt)  and  H. 
W.  Hanneman.  Direction  is  by  Clyde  Bruck- 
man,  now  a  writer  but  previously  director  for 
such  comedians  as  Buster  Keaton,  Harold  Lloyd 
and  Laurel  and  Hardy. 

The  cast,  while  by  no  means  sensational,  pre- 
sents many  adequate  box  office  names.  Lew 
Ayers,  last  in  "Lottery  Lover,"  but  known 
for  his  performances  in  many  pictures  from 
"All  Quiet  on  the  Western  Front"  to  "State 
Fair,"  is  the  fled-from  hero.  Claire  Trevor  is 
the  girl  in  the  case  and  her  maid  is  Zasu  Pitts. 
Jack  Haley,  seen  in  "Sitting  Pfetty"  and 
"Here  Comes  the  Groom,"  is  the  reporter.  Wal- 
ter King,  outstanding  in  "One  More  Spring," 
is  the  troubador  who  sings  the  production's  one 
song  number,  "Tonight  There's  a  Spell  on  the 
Moon."  Tala  Birell,  now  in  "Captain  Hates 
the  Sea"  and  "Once  a  Gentleman,"  appears  as 
the  tiger  tamer.  Seigfried  Rumann,  soon  to  be 
seen  in  "The  Wedding  Night,"  is  the  care- 
taker, and  Mitchell  and  Durant  are  the  father 
and  son  moronic.   Minnie  is  the  tiger. 

Essentially  an  exciting  and  fun-packed  com- 
edy, it  calls  for  all-laugh  exploitation. 


$10  RAISE 

Fox 

In  this  picture,  Edward  Everett  Horton,  fea- 
tured in  many  pictures — "Gay  Divorcee,"  "Merry 
Widow,"  "Night  Is  Young,"  "Biography  of  a 
Bachelor  Girl,"  "All  the  King's  Horses,"  and 
so  on,  and  widely  regarded  by  many  patrons  as 
the  best  character  in  them — gets  his  opportunity 
at  being  a  lead  star.  The  story,  by  Peter  B. 
Kyne,  with  screen  play  by  Henry  Johnson  and 
Louis  Breslow,  recently  associated  respectively 
with  "Handy  Andy"  and  "She  Learned  About 
Sailors,"  and  directed  by  George  Marshall, 
whose  most  recent  credit  is  "Life  Begins  at  40," 
is  particularly  adapted  to  Horton's  personality 
and  talents.  In  character  he  is  a  threadbare 
office  bookkeeper.  With  an  inferiority  complex 
and  devoted  to  pinch  penny  economies,  he  lives 
for  a  $10  raise.  He  wants  it  so  that  he  may 
marry  the  office  stenographer.  Suddenly  turn- 
ing into  a  man  of  iron,  he  first  amazes  his 
roaring  boss,  then  turns  him  into  a  human  be- 
ing, makes  himself  a  super  hero  and  gets  his 
raise. 

The  significance  of  the  title  and  story  con- 
tent being  more  than  originally  familiar  to  mil- 
lions of  men  and  women  who  exist  in  the  same 
mental  state  as  its  hero  and  the  girl  he  loved, 
the  production  looks  to  be  one  that  should 
easily  stimulate  unusual  and  appealing  person- 
ally directed  exploitation. 

With  Horton's  the  outstanding  name,  the  sup- 
porting cast  is  made  up,  with  but  few  excep- 
tions, of  well  known  players.  Karen  Morley, 
now  in  "Black  Fury"  with  Paul  Muni,  is  his 
sweetheart.  Berton  Churchill,  in  practically  all 
the  recent  Will  Rogers  pictures  as  well  as 
many  others,  is  the  fire-eating  boss.  Others  are 
.A.lan  Dinehart;  Glen  Boles,  featured  in  several 
recent  Warner  attractions  ;  Frank  Melton  ;  Ray 
Walker,  seen  in  "Baby  Take  a  Bow" ;  and  a 
pair  of  juvenile  newcomers,  Rosina  Lawrence 
and  William  Benedict. 


PEOPLE  WILL  TALK 

Paramount 

Charlie  Ruggles  and  Mary  Boland,  so  well 
received  in  several  recent  pictures,  the  last  of 
which  is  "Ruggles  of  Red  Gap,"  are  again 
paired  in  this.  The  production  is  a  combination 
of  original  yarns  by  Sophie  Kerr  and  F.  Hugh 
Herbert,  the  screen  play  by  Herbert  Fields. 
.\lfred  Santell  is  the  director. 

In  theme,  it  is  an  hilarious  domestic  comedy. 
The  one  blight  in  the  life  of  Ruggles  and  Miss 
Boland  is  the  way  in  which  their  married 
daughter,  Leila  Hyams,  and  Dean  Jagger  quar- 
rel constantly.  In  order  to  shame  their  chil- 
dren into  some  semblance  of  domestic  bliss,  the 
oldsters  stage  a  fake  quarrel  of  their  own.  The 
brawl,  however,  runs  into  complications  that 
very  emphatically  brand  Ruggles  as  a  philander- 
ing husband.  Then  it's  the  children's  turn  to  act 
as  peacemakers.  Jagger  frames  a  kidnaping  of 
his  father  and  mother-in-law,  and  when  Charlie 
loosens  his  bonds,  it's  his  own  big  chance  to 
impress  his  wife.  Pantomiming  a  terrific  battle 
with  gangsters  and  using  interested  onlookers 
as  atmospheric  menaces,  he  convinces  Mary  that 
he  is  a  dutiful  spouse  and  courageous  hero. 

Other  than  the  names  mentioned,  practically 
the  entire  supporting  cast  is  composed  of  un- 
known players,  save  Ruthelma  Stevens,  seen  in 
several  recent  pictures.  Listed  are:  Stanley 
.\ndrews,  Sarah  Edwards,  Betty  Alden,  Mit- 
chell Ingraham,  Aileen  Carlyle,  Cecil  Cunning- 
ham, Edwin  Stanley,  Jack  Raymond,  Edmund 
Burns  and  Malcolm  McGregor. 

There  being  undoubted  commercial  value  in 
tlie  title,  story  content  also  appears  to  be  amply 
endowed  with  salable  material.  Nevertheless, 
for  practical  purposes,  the  drawing  power  of 
the  Ruggles-Boland  team  should  be  the  most 
effective  asset. 

Laughton  to  Make  Film 
Directed  by  Rene  Claire 

Charles  Laugton,  English  actor,  who  has 
just  completed  "Ruggles  of  Red  Gap"  for 
Paramount,  sailed  from  New  York  last 
week-end  for  a  hurried  visit  to  London, 
where  he  will  confer  with  Alexander  Korda 
of  London  Films,  who  controls  six  months 
of  his  services  annually.  Next  June,  said 
Mr.  Laughton,  for  London  Films,  he  will 
make  a  picture  under  the  direction  of  Rene 
Claire,  French  director,  tentatively  titled 
"Sir  Tristram  Goes  West,"  in  which  he  will 
play  the  part  of  a  ghost. 


Urges  More  Selection 
In  Films  to  New  Zealand 

The  position  of  American  producers  in  the 
New  Zealand  market  would  be  greatly  im- 
proved if  greater  discrimination  were  shown 
in  the  type  of  films  sent  there,  in  the  opinion 
of  W.  W.  Orebaugh,  at  Wellington,  Ameri- 
can vice-consul.  It  is  the  opinion  in  New 
Zealand,  reports  the  representative,  that  too 
many  American  films  are  being  shown, 
which  tends  to  lower  the  public  appreciation 
of  American  films,  since  many  are  unsuitable 
for  the  market.  He  suggests  that  each 
American  company  offer  only  about  30  pic- 
tures in  New  Zealand  each  season. 


Two  More  tor  Dix 

Richard  Dix,  with  one  more  film  to  make 
for  Radio,  has  signed  for  two  others,  the 
first  a  Dudley  Nichols  original  story. 


40 


MOTION    PICTURE  HERALD 


March    9  .     19  3  5 


THEATRE  RECEIPTS 


The  total  of  theatre  receipts  for  the  calendar  week  ended  March  2,  1935,  from 
110  theatres  in  18  nnajor  cities  of  the  country,  reached  $1,141,317,  an  increase  of 
$81,337  over  the  total  for  the  preceding  calendar  week,  ended  February  23,  when 
108  theatres  in  18  nnajor  cities  aggregated  $1,059,980. 

(Copyright,  1935:   Reproduction  of  material  from  this  department  without  credit  to  Motion  Picture  Herald  expressly  forbidden) 


Theatres 


Boston 


2,900 

25c-50c 

1,800 

30c -50c 

3,500 

25c-65c 

Loew's  State... 

3,700 

2Sc-55c 

Metropolitan   . . . 

4,350 

35c-65c 

1,800 

25c-50c 

Buffalo 

3,500 

30c-55c 

3,000 

25c 

Great  Lakes  ... 

3,000 

25c-40c 

Hippodrome  .... 

2,100 

25c-40c 

3,300 

25c 

Chicago 

Apollo  

1,400 

25c- 50c 

4,000 

25c-68c 

900 

25c-40c 

3,940 

25c-40c 

2,509 

25c-50c 

1,591 

2Sc-50c 

2,776 

20c-35c 

United  Artists.. 

.  1,700 

30c-60c 

Current  Week 

Picture  Gross 

"Night  Life  of  the  Gods"  (Univ.)  13,000 

"All  the  Kings  Horses"  (Para.).-  5,000 
and  "The  White  Cockatoo"  (W.  B.) 

"Tlie  Good  Fairy''  (Univ.)   21,000 

"After  Oflfice  Hours"  (MGM)  and  14,500 

"The  Best  Man  Wins"  (Col.) 

"Sweet  Music"  (W.  B.)    35,000 

"All  the  Kings  Horses"  (Para.)..  8,500 
and  "The  White  Cockatoo"  (W.B.) 


Cleveland 

Allen   3,300 

Circle   1,875 

Hippodrome  ....  .3,800 
RKO  Palace  ....  3,100 

State  3,400 

Stillman    1,900 


Denver 

Aladdin  ..........  1,500  25c- 50c 

Dfenham                 1,500  25c-S0c 

Denver                  2,500  25c-50c 

Orpheum                 2,600  25c-S0c 

Paramount              2,000  25c-40c 


Holly  wood 

Chinese  ..........  2,500  30c-6Sc 

Pantages    3,000  25c-40c 

W.  B.  Hpllywood,  3,Q0O  25c-65c 


Previous  Week 

Picture  Gross 

"Strange  Wives"  (Univ.)   11,000 

"Woman  in  Red"  (F.N.)  and....  5,000 
"Charlie  Chan  in  Paris"  (Fox) 


"Murder  on  a  Honeymoon"    25,000 

(Radio) 

"Biography  of  a  Bachelor  Girl"..  12,000 

(MGM)  and  "Mills  of  the  Gods"  (Col.) 

"Devil  Dogs  of  the  Air"  (W.B.)..  28,000 

"Woman  in  Red"  (F.  N.)  and....  6,500 
"Charlie  Chan  in  Paris"  (Fox) 


^'Sweet  Music"  (W.  B.)   18,100      "One  More  Spring" 

■'Helldorado"  (Fox)  and   5,900 

"Mystery  Woman"  (Fox) 


"Charlie  Chan  in  Paris''  (Fox)  and 
"Red  Hot  Tires"  (W.  B.) 


(Fox)   14,800 

6,000 


(MGM). 
aive  of  India"  (U.  A.)  


■'After  Office  Hours 
(8  days) 


'The  Whole  Town's  Talking".. 
(Col.) 


"The  County  Chairman''  (Fox). 

(2nd  week) 
"After  OfTice  Hours"  (MGM).. 


'Baboona"  (Fox)  

(2nd  week) 
"The  Band  Plays  On"  (MGM). 


"Transient  Lady"  (Univ.). 
"Sweet  Music"  (W.  B.).. 
"Helldorado"  (Fox)   


8,300 

7,800 
10,200 


5,000 
43,000 

3,000 
15,000 
22,000 
10,000 
11,000 


"The  Night  Is  Young"  (MGM)  and  6,900 
"Society  Doctor"  (MGM)  (6  days) 

"Devil  Dogs  of  the  Air"  (W.B.)..  8,000 

"The  Good  Fairy"  (Univ.)   7,300 


"The  County  Chairman"  (Fox)....  11,000 
(Isf  week) 

"Wings  in  the  Dark"  (Para.)....  47,000 


"Baboona"  (Fox)  

(1st  week) 
"Charlie  Chan  in  Paris" 


  8,500 

(Fox)..  17,000 


"The  Mystery  of  Edwin  Drood"..  15,000 
(Univ.) 

"Devil  Dogs  of  the  Air"  (W.  B.)  12,000 

(8  days-2nd  week) 
"Strange  Wives"  (Univ.)   13,000 


'David  Copperfield''  (MGM). 
(3rd  week) 


20c-40c 

"The  Good  Fairy"  (Univ.)  

4,100 

20c-30c 

"That's  Gratitude"  (Col.)  

5,500 

30c-42c 

"The  Little  Colonel"  (Fox)  

16,000 

30c-60c 

"Woman  in  Red"  (F.  N.)  

13,500 

30c-42c 

"After  Office  Hours"  (MGM).... 

16,000 

20c-40c 

"Wings  in  the  Dark"   (Para.) . . . 

.  5,100 

"Woman  in  Red"  (F.  N.)   2,000 

"Ruggles  of  Red  Gap"  (Para.)....  9,000 

"The  Little  Colonel"  (Fox)   6,000 

"The  Mystery  of  Edwin  Drood"..  5,000 
(Univ.) 

"Red  Hot  Tires"  (F.  N.)  and....  700 
"Maybe  It's  Love"  (F.  N.)  (3  days) 

"Society  Doctor"  (MGM)   1,000 

(4  days) 


12,000      "David  Copperfield"   (MGM)   20,000 

(2nd  week) 


"Under  Pressure"  (Fox)   3,400 

"Gambling"   (Fox)   5,600 

"Sweet  Music"  (W.  B.)   7,500 

"One  More  Spring"  (Fox)   8,200 

(30c -42c)   (8  days) 

"The  Gilded  Lily"  (Para.)   10,500 

"The  President  'Vanishes"  (Para.)  3,800 


"Under  Pressure"  (Fox)   2,000 


"Wings  in  the  Dark"  (Para.)... 

"One  More  Spring"  (Fox)  

"Sequoia"  (MGM)   


"David  Copperfield"  (MGM). 

(3  days) 
"Red  Hot  Tires"  (F.N.)  and. 
"Maybe  It's  Love"  (F.  N.) 

(4  days) 


5,500 
5,500 
4,000 
900 
850 


"Clive  of  India"   (U.  A.)   10,700 

(6  days)  (30c-S5c) 

"The  Good  Fairy"   (Univ.)   4.200 

.  ,(2nd  .  week) 


"David  Copperfield"  (MGM)   11,500 

(2nd  week) 

"The  Good  Fairy"  (Univ.)   7,800 

(1st  week) 


"Sweet,  Music"  (W.  B.). 
(6  days) 


9,000 


"Devil  Dogs  of  the  Air"  (W.B.) 
(2nd  week) 


6,800 


High  and  Low  Gross 

(Tabulation  ccuvers  period  from  January,  1934.) 
(Dates  are  1934  unless  otherwise  specified.) 

High  12-29  "West  of  Pecos"   23,000 

Low  2-2-35  "One  Exciting  Adventure"..  8,500 
High  1-6  "Lady  Killer"  ( 

and  "Girl  Without  a  Room"  j  12,000 
Low  2-2-35  "Maybe  It's  Love"  ) 

and  "Murder  in  the  Clouds"  }  3,300 

High  2-16-35  "White  Lies"   28,000 

Low  1-19-35  "Evergreen"   7,000 

High  4-7  "Riptide"    22,000 

Low  2-16-35  '^'Clive  of  India"   9,000 

High  1-27  "All  of  Me"   39,000 

Low  1-19-35  "The  County  Chairman"....  21,000 
High  1-6  "Lady  Killer"  ) 

and  "Girl  Without  a  Room"  f  12,000 
Low  2-2-35  "Maybe  It's  Love"  and  7 

"Murder  in  the  Clouds"    J  4,200 


High  1-6  "Design  for  Living"   26,000 

Low  12-29  "Music  in  the  Air"   5,000 

High  4-21  "The  Lost  Patrol"  and  ) 

"Three  on  a  Honeymoon"  (  8,100 
Low  12-29  "I  Am  a  Thief"  and  ) 

"Side   Streets"                    )  4,000 

High  9-29  "Belle  of  the  Nineties"   18,800 

Low  12-22  "Gentlemen  Are  Born"  and  ) 

"Marie  Galante"                 J  3,800 

High  5-19  "The  House  of  Rothschild"..  18,000 

Low  7-28  "Here  Comes  the  Navy   4,800 

High  3-10  "It  Happened  One  Night"  I 

and  "Before  Midnight"  \  16,700 
Low  11-17  "Jane  Eyre"  and  ) 

"Young  and  Beautiful"        J  4,200 


High  9-8  "The  Cat's  Paw"   16,000 

Low  11-24  "The  Captain  Hates  the  Sea"  5,000 

High  8-11  "She  Loves  Me  Not"   66,000 

Low  5-26  "Thirty  Day  Princess"   19,000 

High  2-23-35  "Baboona"   8,500 

Low  10-27  "Kansas  City  Princess"   4,000 

High  1-5-35  "Big  Hearted  Herbert"....  25,000 

Low  6-16  "Registered  Nurse  ,   12,000 

High  6-23  "Cockeyed  Cavaliers"   30,000 

Low  12-1  "Kentucky  Kernels"   8,000 

High  1-5-35  "Forsaking  All  Others"....  27,000 

Low  8-18  "Paris  Interlude"   6,000 

High  9-8  "The  Most  Precious  Thing  in 

Life"    19,000 

Low   5-2-35    "Helldorado"   11,000 

High  5-5  "House  of  Rothschild"   30,000 

Low  4-28  "Looking  for  Trouble"   10,000 


High  10-27  "Six-Day  Bike  Rider"   7,000 

Low  12-15  "Silver  Streak"    1,400 


High  4-7  "Wonder  Bar"    20,000 

Low  3-17  "Journal  of  a  Crime"    2,900 

High  11-10  "Desirable"   28,000 

Lew  5-19  "Where  Sinnert  Meet"   4,000 

High  1-12-35  "Forsaking  All  Others"..  28,000 

Low  12-29  "Private  Life  of  Don  Juan"..  3,500 

High  9-15  "CThained"   10,000 

Low  1-12-35  "Our  Daily  Bread"   2,000 


High  5-5  "House  of  Rothschild"   9,000 

Low  8-11  "I  Give  My  Love"    1,200 

High  9-29  "Belle  of  the  Nineties".   16,500 

Low  4-7  "She  Made  Her  Bed"   800 

High  1-13  "Roman  Scandals"    17,500 

T^w  9-29  "British   Agent"   4,000 

High  2-17  "Hi  Nellie"    19,500 

Low  12-29  "Hat,  Coat  and  Glove"   1,000 

High  1-13  "Dinner  at  Eight"   S,50G 

Low  6-9  "Uncertain  Lady"   400 


High  4-14  "House  of  Rothschild"   25,171 

Low  12-29  "Music  in  the  Air"   4,292 

High  12-8  "Imitation  of  Life"   12,200 

Low  3-3  "Fugitive  Lover*"  and  I 

"The  Poor  Rich"                   f  1,500 

High  9-8  "Dames"   25,000 

Low  12-29  "Sweet  Adeline"   6,300 


March    9.  1935 


MOTION    PICTURE  HERALD 


41 


t THEATRE  I3ECEIPTS--C€NT'D1 


Theatres 


Current  Week 


Previous  Week 


Picture 


Gross  Picture 


Gross 


Indianapolis 

Apollo    1,100  25c -40c 

Circle    2,800  25c-40c 

Indiana    3,133  2Sc-40c 

Lyric    2,000  2Sc-40c 

Palace    3,000  25c-40c 

Kansas  City 

Mainstreet    3,049  lSc-40c 

Midland    4,000  15c-40c 

Newman    1,800  25c-40c 

Tower    2,200  2Sc 

Uptown    2,000  25c-40c 

Los  Angeles 

Filmarte    800  40c -55c 

Four  Star    900  30c -55c 

Loew's  State   2,416  30c-55c 

Paramount    3,596  30c-55c 

RKO    2,700  25c-65c 

United  Artists...  2,100  25c-55c 

W.  B.  Downtown  3,400  25c-40c 


Minneapolis 

Century    1,650  25c-40c 


•One  More  Spring"  (Fox)   2,250 

(2nd  week) 

'The  Scarlet   Pimpernel"  (U.A.)..  5,000 

•Woman  in  Red"  (F.  N.)   12,000 

'•Murder  On  A  Honeymoon"   6,500 

(Radio) 

'After  Office   Hours"    (MOM)....  4,000 

"Woman  in  Red"   (F.   N.)   8,400 

(25c-40c) 

'•After  Cilice  Hours"   (MGM)....  16,700 

"Devil  Dogs  of  the  Air"  (W.B.)..  b.COO 
(7  days) 

"All  the  King's  Horses"  (Para.)..  2,800 
(4  days) 

"The  Good  Fairy"   (Univ.)   6,500 

(2nd  week) 

"Evergreen"  (GB  Pictures)   3,400 

(2nd  week) 

'The  Unfinished  Symphony"   2,250 

(GB  Pictures)  (6  days) 

"The  Iron  Duke"  (GB  Pictures)..  3,100 

(2nd  week) 

"Clive  of  India"   (U.  A.)   11,550 

(6  days) 

"The   Whole   Town's  Talking"....  20,000 
(Col.) 

"Sweet   Music"    (W.    B.)   8,500 

(6  days) 

"High  School  Girl"  (Foy)  and....  2,728 
"Sudan"  (Foy)   (6  days) 

"Carnival"  (Col.)   and   6,900 

"Maybe  It's   Love"   (F.  N.) 
(6  days) 


"Biography  of  A  Bachelor  Girl".. 
(MGM) 


Montreal 

Capitol    2,547      25c-60c      "The  Iron  Duke"  (GB  Pictures). 


His  Majesty's....  1,700  30c-60c 

Loew's    3,115  30c-6Cc 

Princess    2,272  30c-65c 


New  York 

Astor    1,012  25c-75c 

Capitol    4,700  35c-$1.65 

Mayfair    2,300  35c-65c 

Palace    2,500  25c-75c 

Paramount    3,700  35c-99c 

Rialto    2,200  25c-65c 

Rivoli    2,200  40c-99c 

RKO  Music  Hall  5,945  35c-$1.65 

Roxy    6,200  2Sc-55c 

Strand    3,000  25c-55c 


4,500 


Lyric   

1,238 

20c -25c 

"Chai 

'lie  Chan  in  Paris"  (Fox) .... 

1,500 

Palace   

.  900 

15c-25c 

"Two 

Heads  on  a  Pillow"  (Liberty) 

2,500 

RKO  Orpheum.. 

.  2,900 

25c-40c 

"The 

Whole  Town's  Talking"  

5,500 

(Col.) 

State   

2,300 

25c-40c 

"The 

Gilded  Lily"  (Para.)  

6,000 

300 

20c-25c 

"The 

First  World  War"  (Fox).... 

1,500 

(2nd  week) 

World   

400 

25c -75c 

"The 

Iron  Duke"  (GB  Pictures) . . 

3,500 

10.5U0 


'The  Shepherd  of  the  Seven  Hills"  2,500 
(Ind.)  (25c-75c)  (2nd  week) 


'The  County  Chairman"  (Fox)....  9.000 
and  "Lottery  Lover"  (Fox) 

"The  Private  Life  of  Don  Juan"  7.500 
(U.A.)  and  "Runaway  Queen"  (U.A.) 


"Grand   Old   Girl"    (Radio)   3,000 

(4  davs) 

"Sequoia"    (MGM)    34,000 

"The   Marines   Are   Coming"    6,800 

(Mascots 

"The    Good    Fairy"    (Univ.)   9,000 

"Rumba"    (Para.)    38.000 

"Car  99"   (Para.)   12,000 

"Folies  Bergere"   (U.A.)   34.000 

"One  More   Spring"   (Fox)   75,000 

"Night  Life  of  the  Gods"  (Univ.)  34.000 

"Sweet  Music"   (W.  B.)   32,189 


"One   More  Spring"   (Fox)   7,500 

(1st  week) 

"The  Best  Man  Wins"  (Col.)  and  2,500 
"The, Gilded  Lily"  (Para.) 

"The  Good  Fairy"  (Univ.)   6,000 

"Devil  Dogs  of  the  Air"  (W.B.)..  10,000 

"Sequoia"  (MGM)    3,500 

"The  Scarlet  Pimpernel"  (U.A.)..  5,000 

"Sequoia"   (MGM)    6,900 

"Sweet  Music"  (W.  B.)   6,500 

"The  Good  Fairy"  (Univ.)   10,500 

(1st  week) 

"Evergreen"    (GB    Pictures)   5,600 

(1st  week) 

"The  Blue  Light"  (I>u World)   1,900 

(6  days) 

"The  Iron  Duke"  (GB  Pictures)..  5,000 

(6  days-lst  week) 

"David  Copperfield"  (MGM)   12,500 

(2nd  \yeek) 

"Wings  in  the  Dark"  (Para.)   17,000 

"Devil  Dogs  of  the  Air"  (W.  B.)  8,400 

(2nd  week) 

"The  Winning  Ticket"  (MGM)  and  4,200 
"Lottery  Lover''  (Fox)  (6  days) 

"Woman  in  Red"  (F.  N.)  and....  6,000 
"Lightning  Strikes  Twice"  (Radio) 


"Wings  in  the  Dark"   (Para.)....  5,0)0 

'The  White  Cockatoo"  (W.  B.)..  1.300 

'I've  Been  Around"  (Univ.)   2,000 

'The  Good  Fairy"  (Univ.)   6,000 

"Kid  Millions"   (U.  A.)   6,000 

'The  First  World  War"  (Fox)..  1,500 
(1st  week) 

'Evergreen"  (CiB  Pictures)   3,000 

(2nd  week) 


"Biography  of  A  Bachelor  Girl"..  10,000 
(MGM)  and  "Maybe  It's  Love"  (F.N.) 

"The  Shepherd  of  the  Seven  Hills"  5,000 
(Ind.)  (1st  week) 

"Wings  in  the  Dark"  (Para.)  and  8,500 
"One  Hour  Late"  (Para.) 

"Broadway   Bill"    (Col.)   and   6,500 

"Among  the  Missing"  (Col.) 
(2nd  week) 

"Little   Men"    (Mascot)   6,000 

"David   Copperfield"    (MGM)   35,000 

(5th  week) 

"A  Notorious  Gentleman"  (Univ.)  8,000 

"Wings  in  the  Dark"   (Para.)   10,000 

"The  Gilded  Lily"   (Para.)   28,000 

(2nd  week) 

"Carnival"  (Col.)    12,000 

"The  Right  to  Live"  (W.  B.)....  15,000 

"The  Scarlet  Pimpernel"  (U.  A.)..  72,680 

(2nd  week) 

"Behold    My    Wife"    (Para.)   32.000 

"Devil  Dogs  of  the  Air"  (W.B.)..  22,000 
(2nd  week) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  unless  otherwise  specified.) 

High  2-23-35  "One  More  Spring"   7,500 

Low  2-9-35  "Baboona"   2,000 

High  12-15  "Lady  By  Choice"   8,500 

Low  1-19-35  "The  President  Vanishes"  ) 

and  "Enter  Madame"       f  2,000 

High  3-2-35  "Woman  in  Red"   12,000 

Low  1-12-3S  "Little  Women"   l,S0O 

High  12-22  "Murder  in  the  Clouds"....  11,000 
Low  7-28  "Half  a  Sinner"  and  1 

"Embarrassing  Moments"    i  2,000 

High  2-3  "Sons  of  the  Desert"   12,500 

Low  12-12  "The  Gay  Bride"   2,750 

High  6-23  "Glamour"   23,000 

Low  1-12-35  "I  Sell  Anything"   2,000 

High  4-7  "Riptide"    21,400 

Low  12-22  "Private  Life  of  Don  Juan"  4,000 

High  9-29  "Belle  of  the  Nineties"   14,000 

Low  8-25  "Ladies  Should  Listen"  and  I 

"Call  It  Luck"  i  3,600 

High  1-12-35  "Broadway  Bill"   14,000 

Low  5-5  "Let's  Fall  in  Love"   4,000 

High  10-27  "Judge  Priest"   9,200 

Low  1-27  "Good  Bye  Again"   1,700 

High  4-14  "Moon  Over  Morocco"   7,6K 

Low  6-30  "Island  of  Doom"   160 

High  3-3  "Devil  Tiger"   7.800 

Low  12-15  "Have  a  Heart"   2,500 

High  4-7  "Riptide"    28,500 

Low  12-29  "Music  in  the  Air"   4,206 

High  9-1  "Now  and  Forever"   29,998 

Low  12-22  "One  Hour  Late"   12,500 

High  3-31   "Little  Women"   15,500 

Low  1-27  "Let's  Fall  in  Love"   1,800 

High  1-20  "I'm  No  Angel"   13.000 

Low  5-12  "Sorrell  and  Son"   2,500 

High  9-8  "Dames"    20,000 

Low  12-29  "White  Lies"  and  1 

"The  Last  Wilderness"       (  4,900 

High  10-20  "Barretts  of  Wimpole 

Street"    6,500 

Low  9-29  "The  Cat's  Paw"   2,500 

High  11-3  "Our  Daily  Bread"   2,000 

Low  1-27  "Jimmy  and  Sally"   500 

High  1-5-35  "Romance  in  the  Rain"   3,000 

Low  2-23-35  "I've  Been  Around"   2,000 

High  12-1  "One  Night  of  Love"   6,800 

Low  8-25  "The  Lady  is  Willing"   2,700 

High  8-18  "She  Loves  Me  Not"   7,000 

Low  7-28  "Here  Comes  the  Navy"   5,000 

High  10-20  "Girl  of  the  Llmberlost". . . .  3,500 

Low  12-8  "Cimarron"    1,000 

High  4-14  "Private  Life  of  Henry  VIU"  4.000 
Low  7-7  "Sweden,  Land  of  the  Vikings"  2,000 

High  2-24  "Queen   Christina"   13.500 

Low  12-22  "Great  Expectations"  and  ] 

"Wake  Up  and  Dream"      j  3,500 
High  2-23-35  "Shepherd  of  the  Seven  Hills"  5,000 

Low  6-2  "All  Quiet  on  the  Western 

Front"    3,000 

High  12-8  "Six  Day  Bike  Rider"   14,500 

Low  7-21  "Fog  Over  Frisco"  and  1 

"Affairs  of  a  Gentleman"     f  4,500 
High  1-5-35  "Kid  Millions"  and  I 

"Fugitive  Lady"  |  10,500 

Low  8-4  "House  of  Rothschild"  and  ( 

"Most  Precious  Thing  in  Life"  f  4,500 


High  3-31  "House  of  Rothschild"   23,600 

Low  2-23-35  "Little  Men"   6,000 

High  10-6  "Barretts  of  Wimpole  Street"  65,860 

Low  12-29  "The  Band  Plays  On"   4,500 

High  1-27  "Sixteen  Fathoms  Deep"   15,300 

Low  6-2  "Unknown  Soldier  Speaks"   1,250 

High  7-21  "Of  Human  Bondage"   16,200 

Low  12-22  "Babbitt"    6,500 

High  8-25  "Cleopatra"    72,000 

Low  8-11  "Elmer  and  Elsie"   10,500 

High  4-7  "The  Lost  Patrol"   32,800 

Low  5-12  "Success  at  Any  Price"   7,700 

High  11-17  "Kid  Millions"   51,000 

Low  2-23-35  "The  Right  to  Live'   15,000 

High  1-5-35  "The  Little  Minister"   110,000 

Low  1-19-35   "Evergreen"   52,000 

High  12-1  "Imitation  of  Life"   44,000 

Low  6-30  "Affairs  of  a  Gentleman"   13,700 

High  3-10  "Wonder  Bar"   43,863 

Low  1-20  "Easy  to  Love"   9,271 


42 


MOTION    PICTURE  HERALD 


March    9  ,     19  3  5 


ETHCATCE  I3ECEIPTS--C€NT'D1 


Theatres 


Oklahoma  City 

Capitol                     1,200  10c-41c 

Liberty                    1,500  10c-35c 

Midwest                   1,500  10c-56c 

Warner                    1,900  10c-56c 

Omaha 

Brandeis               1,200  25c-40c 

Omalia                     2,200  25c-_40c 

Orpheum                 3,000  25c-40c 

Paramount               2,500  25c-55c 

Philadelphia 

Aldine                     1,200  35c -55c 

Arcadia                      600  25c-50c 

Boyd                        2.400  35c-55c 

E:arle                       2,000  25c -55c 

Fox                         3,000  40c -65c 

Karlton                    1,000  25c-40c 

Keith's                   2,000  30c-50c 

Locust                      l-»Ofl  55c-65c 

Roxy    Mastbaum.  4,800  40c-65c 

Stanley                   3,700  35c-S5c 

Stanton                    1,700  30c-50c 

Portland,  Ore. 

Broadway                 1,912  25c-40c 

May  fair                    1,700  25c-40c 

Oriental                  2,040  15c-2Sc 

Orpheum                  1,700  25c-40c 

Paramount               3,008  25c-40c 

United  Artists...     945  25c-40c 

San  Francisco 

Fox                         4,600  lSc-40c 

Golden    Gate          2,800  25c-40c 

Orpheum                 3,000  15c-40c 

Paramount               2,670  25c-40c 

St.   Francis              1,400  15c-S5c 

United   Artists...  1,200  15c-53c 

Warfield                 2,700  25c-65c 

Seattle 

Blue  Mouse              950  25c-55c 

Fifth  Avenue  ...  2,500  25c-55c 

Liberty                   1,800  15c-S0c 

Music  Box                950  25c-55c 

Music  Hall             2,275  25c-55c 

Orpheum                  2,450  23c- 50c 

Paramount              3,050  25c-.f5c 


Current  Week 


Picture 


■'Anne  of  Green  Gables"  (Radio). 


•Hat,  Coat  and  Glove"  (Radio). 

(4  days) 
"Their  Big  Moment"   (Radio) . . 

(3  days) 

■Sweet  Music"  (W.  B.)  


Gross 


Previous  Week 

Picture  Gross 


'Living  on  Velvet"   (F.  N.). 


"The  Whole  Town's  Talking"  (Col.) 
and  "Maybe  It's  Love"  (F.  N.) 
(8  days) 

"Devil  Dogs  of  the  Air''  (W.B.). 

(8  days) 

"Biography    of   A    Bachelor   Girl"  7,000 
(MGM)  and  "Secret  of  the  Chateau" 
(Univ.) 

"Charlie  Chan  in  Paris"   (Fox)...  5,200 

(3   days)  (35c-5Sc) 
"The  Night  Is  Young"  (MGM)..  2,000 
and  "Helldorado"  (Fox)  (4  days) 

(25c-35c) 


'The  Scarlet  Pimpernel"  (U.A.)..  6,000 

(6  days-3rd  week) 

"Lives  of  A  Bengal  Lancer''   2,700 

(Para.)   (6  days) 

"After   Office  Hours''    (MGM)....  14,000 


"I  Am  A  Thief"   (W.   B.)   14.000 

(6  days) 

"The  Little  Colonel"  (Fox)   25,000 

(6  days) 

"Gigolette"   (Radio)   ,   2,20C 

(6  days) 

"David   Copperfield"    (MGM)   3,300, 

(5  days  ■2nd  week) 

"The   Iron   Duke"    (GB    Pictures)  4.000 

(6  days) 

"Living   on   Velvet"    (W.B.)   32,000 

(8  days) 

"Sweet  Music"  (W.  B.)   13,000 

"Sequoia"   (MGM)    7,500 

(8  days) 


"Mystery  of  Edwin  Drood"   4,500 

(Univ.) 


2,600 

"Woman  in  Red"  (F. 

N.)  

2,800 

2,200 

"Red  Hot  Tires''  (W. 

B.)  

2,500 

(4  days) 

800 

"Secret  of  the  Chateau 

"  (Univ.).. 

800 

(3  days) 

3.900 

"Clive  of  India"  (U. 

A.)  

4fim 

3,400 

"The  Little  Minister" 

(Radio) .... 

3,000 

4,000 

"Carnival"   (Col.)  and. 

4,500 

"Gentlemen  Are  Born" 

(F.N.)  (8  days) 

7.800 

'Bordertown"    (W.    B.)    and   7,400 

'Evergreen"   (GB  Pictures) 


"The  Band  Plays  On"  (MGM).. 
(3  days) 

"The  Iron  Duke"  (GB  Pictures)., 
and  "I've  Been  Around"  (Univ.) 

(4  days)  (2Sc-35c) 


7,600 
2,200 

9,500 


"The  Scarlet  Pimpernel"  (U.A.).. 

(6  days -2nd  week) 

"The  Gilded  Lily"  (Para.)   2,900 

(8  days) 

"The  Night  Is  Young"  (MGM)..  6,500 
(5  days) 

"The  Winning  Ticket"   (MGM)..  14,500 

(6  days) 

"One  More  Spring"  (Fox)   18,500 

"Enchanted  April"   (Radio)   3,000 

(6  days) 

"David  Copperfield"   (MGM)   4,300 

(6  days- 1st  week) 


"The  Good  Fairy"  (Univ.). 


27,000 


"Devil  Dogs  of  the  Air"  (W.  B.)  14,000 
(8  days) 

"Mills  of  the  Gods"  (Col.)   2,800 

(4  days) 


"David  Copperfield 
(2nd  week  ) 


"The  Little  Colonel"  (Fox)   3,500      "Broadway  Bill" 


(MGM)   5,000 

(Col.)   3,900 


"The  Marines  Are  Coming"  (Mascot)  4,000 
(25c -40c) 

"The  Good  Fairy"   (Univ.)   5,OJ0 

"One   More   Spring"    (Fox)   S,606 


"Little  Minister"  (Radio)   2,500 


"Sweet  Music"  (W.  B.).... 
"The  Whole  Town's  Talking" 


(Col.) 


6,000 
9,700 


"The  Scarlet  Pimpernel"  (U.A.).. 


"Woman  in  Red"  (F.  N.)  and... 
"Little  Men"  (Mascot) 

"Notorious  Gentleman"  (Univ.) .... 

"The  Good  Fairy"  (Univ.)  and  

"Mystery  Man"  (Mono.)  (2nd  week) 


5,000      "After  Office  Hours"   (MGM)....  4,800 


10,500 

12,500 
4,500 


"Living  on  Velvet"  (W.B.)  and..  8,500 
"All  the  King's  Horses"  (Para.) 

"Devil  Dogs  of  the  Air"  (W.B   6,500 

(2nd  week) 

"Clive  of  India"  (U.  A.)   5,500 

(3rd  week) 

"The   Little  Colonel"    (Fox)   28,000 


"Devil  Dogs  of  the  Air"  (W.B.)..  3,700 

(2nd  week) 

"David  Copperfield"  (MGM)..,....  3,400 

(4  days-2nd  week) 

"The  Gilded  Lily"  (Para.)   3,200 

(3  days) 

"Broadw,xy  Bill"  (Col.)    5,800 

(4th  week) 

"The  Good  Fairy"   (Univ.)   3,650 

'Sweet  Music"  (W.  B.)  


"The  Winning  Ticket"  (MGM)  and  7,500 
"School    for    Girls"  (Liberty) 

"Captain  Hurricane"  (Radio)   12,500 

"The  Good  Fairy"  (Univ.)  and..  10,500 
"Mystery  Man"  (Mono.)  (1st  week) 

"Wings  in  the  Dark"  (Para.)  and  10,500 
"The  Band  Plays  On"  (MGM) 

"Devil  Dogs  of  the  Air"  (W.B.)  8,500 
(1st  week) 

"Clive  of  India"  (U.  A.)   7,500 

(2nd  week) 

"One  More  Spring"  (Fox)   21,500 


"Devil  Dogs  of  the  Air"  (W.B.)..  3,650 
(1st  week) 

"David  Copperfield"  (MGM)   8,600 

(1st  week) 


"Murder  on   A  Honeymoon' 
(Radio) 


'Biography  of  A  Bachelor  Girl" 
(MGM)  and  "Rocky  Mountain 
Mystery"  (Para.) 


4,200 
5,400 

5.600 


"Broadway   Bill"    (Col.)   6,800 

(3rd  week) 

"Clive  of  India"  (U.  A.)   3,300 

(2nd  week) 

"The  Good  Fairy"  (Univ.)   5,900 

'Mystery  of  Edwin  Drood"  (Univ.)  5,30C 


"Charlie  Chan  in  Paris"  (Fox)  and  5,900 
"Baboona"  (Fox) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  iniless  otherwise  specified.) 


High  1-6  "Going  Hollywood"   4,100 


Low  9-8  "You  Belong  to  Me" 
High  8-11  "Great  Flirtation"  and 

"I  Give  My  Love" 
Low  10-27  "Crime  Without  Passion".. 


80O 

3,700 
400 


High  12-29  "Bright  Eyes"   9,540 

Low  5-26  "Merry  Wives  of  Reno"   2,000 

High  1-5-35  "Forsaking  All  Others"....  13,000 

Low   12-22  "Limehouse   Blues"   2,900 


High  1-12-35  "The  Little  Minister"   9,100 

Low  2-16-35  "Babbitt"  and  ) 

"Murder  in  the  Clouds"    f  3,000 


High  3-10  "Easy  to  Love"   17,250 

Low  12-29  "Babes  in  Toyland"  and  ) 

"Home  on  the  Range          j  5,000 

High  2-16-35   "The   Secret   Bride"   13,200 

Low  2-24  "Six  of  a  Kind"  and  I 

"Good  Dame"                     j  5.250 


High  5-5  "House  of  Rotlischild"  

Low  6-9  "Sorrell  and  Son"  

High  1-6  "Duck  Soup"  

Low  1-27  "Women  In  His  Life"  

High  1-6  "Little  Women"  

Low  2-23-35  "The  Night  Is  Young".. 
(5  days) 

High  4-7  "Harold  Teen"  

Low  7-21  "Cockeyed  Cavaliers"  

High  12-29  "Bright  Eyes"  

Low  7-28  "She  Was  a  Lady"  

High  11-3  "One  Night  of  Love"  

Low  11-24  "Wednesday's  Child"  

High  3-3  "Carolina"  

Low  1-5-35  "Sweet  Adeline"  

High  10-6  "Caravan''   

Low  11-17  "The  Scarlet  Letter"  


23,000 
4.000 
6,500 
400 

30,000 
6,50.1 

40,000 

11,000 

28,500 
7,000 
8,500 
2,200 
8,000 
i.snn 

8,500 
2,503 


High  1-5-35  "Broadway  Bill"  

Low  12-29  "Behold  My  Wife"  

High  3-31  "The  Lost  Patrol"  

Low  1-5-35  "Man  Who  Reclaimed  His 
Head"   


High  4-7 
Low  7-14 


and 


"Wonder  Bar"  .... 
"The  Circus  Cnown" 
"I  Give  My  Love" 
High  3-2-35   "The   Little  Colonel"... 
Low  1-19-35  "Behold  My  Wife"  and 

"Defense  Rests" 
High  5-26  "Merry  Wives  of  Reno"... 
Low  10-6  "The  Human  Side"  and 
"Hat,  Coat  and  Glove" 

High  12-1  "Kentucky  Kernels"  

Low  11-10  "Wednesday's  Child"  

High  3-24  "David  Harum"  and 

"Once  to  Every  Woman 
Low  6-30  "Now  I'll  Tell"  and 

"Springtime  for  Henry" 
High  4-28  "House  of  Rothschild"... 
Low  8-4  "Paris  Interlude"  


High  3-3  "Son  of  Kong"  

Low  8-18  "Sin  of  Nora  Moran"  and  I 

"Along  Came  Sally"  ( 

High  3-3  "It  Happened  One  Night"  

Low  7-7  "Cockeyed  Cavaliers"  

High  6-9  "Sing  and  Like  It"  

Low  6-30  "Affairs  of  a  Gentleman"  ) 

and  "Orders  is  Orders"  f 

High  9-29  "Belle  of  the  Nineties"  

Low  1-20  "Four  Girls  in  a  Boat"  and  I 

"Fugitive  Lovers"  f 
High  1-19-35  "The  County  Chairman".. 
Low  4-14  "Registered  Nurse"  and  ) 

"Murder  in  Trinidad"  j 

High   1-6  "Roman  Scandals"  

Low  5-26  "No  Greater  Glory"  

High  12-29  "Bright  Eyes"  

Low  3-31  "Gambling  Lady"  


High  2-17  "Roman  Scandals"... 
Low  7-7  "Tomorrow's  Children". 

High  4-14  "Riptide"  

Low  3-24  "Fashions  of  1934"... 


High  2-16-35  "Broadway  Bill"  (2d  week) 
Low  10-6  "Jane  Eyre"  and  I 

"King  Kelly  of  U.  S.  A."  J 

High  4-14  "Spitfire"   

Low  1-26-35  "Man  Who  Reclaimed  His 

Head"   

High  S-26  "Wild  Cargo"   

Low  2-2-35  "Enchanted  April"  (6  days) 

High  12-1  "Kentucky  Kernels"  

Low  4-21  "Two  Alone"  and  } 

"I  Believed  in  You"  f 

High  1-27  "Fugitive  Lovers"  

Low  12-8  "Peck's  Bad  Boy"  and  ) 

"Menace"  ( 


22,000 
7.500 
9,000 

2.000 

13,000 

3,900 

4.000 

1,600 
4,800 

1,500 
8,000 
3.500 

12,000 

4,000 
9.8C0 
3,700 

14.000 

4,500 
20,500 
10.200 
19,500 

5,000 
19,000 

8,000 
11,000 

3,500 
15.000 

4.000 
29,000 
15,500 

7.500 
2.550 
12.750 
3,500 

7,100 

3,100 
6,500 

2.850 
11,500 
3,900 
8,400 

3,750 
8,500 

3.300 


Already  a  Sensation  at  Saenger 

23%  OVER  GOLD 

New  Orleans  Stayed  Up  All  Night  to  Cheer  the  Incredible  Berk 
the  Pre-release  Engagements  Specially  Selected  by  Warners  to 

AUDIENCE  REACTION  ALL 


"TWO  LAVISH  MUSICAL  NUMBERS... 

are  sufficient  to  set  this  musical  into  the  money  divi- 
sion..  .The  'Piano'  and  'Broadway'  numbers . .  .will  click 
with  any  audience,"  says  Red  Kann.  Photo  gives 
you  a  flash  of  THE  BALLET  OF  THE  BABY  GRANDS 
with  50  grand  pianos  in  amazing  "dance  formations." 


r 


s 


s  Mardi  Gras  World  Premiere! 


DIGGERS  OF  1933 ! 

ey  Spectacles  —  the  lOO's  of  Girls —the  12  Great  Stars  in  First  of 
et  Up  ''Gold  Diggers"  as  Your  Biggest  Money  Show  in  2  Years! 

rHE  PICTURE,  SAYS  M.P.  DAILY 


I 


THREE  ALREADY  FAMOUS  SONGS 

by  Warren  &  Dubin,  breath-takingly  staged  by 
Berkeley  and  radio-plugged  for  weeks  .... 

THE  LULLABY  OF  BROADWAY" 
THE  WORDS  ARE  IN  MY  HEART" 
I'M    GOING   SHOPPING  WITH  YOU" 


March    9  ,  1935 


MOTION    PICTURE  HERALD 


47 


THE  HOLLYWOOD  SCENE 


By  VICTOR  M.  SHAPIRO 
Hollywood  Correspondent 

IF  MGM's  "Titues  Square  Lady"  has  any 
success  at  the  box  office,  credit  will  be 
due  largely  to  Robert  Taylor  and  Vir- 
ginia Bruce,  who  carry  the  leading  roles  on 
their  own  shoulders  without  help  from  any  of 
the  high  priced  names  on  the  Metro  payroll. 
And  Miss  Bruce  and  Taylor  must  in  turn 
give  credit  for  any  success  they  have  here 
or  hereafter  to  Oliver  Hinsdale,  who  is 
mainly  responsible  for  development  of  the 
■company's  talent. 

Mr.  Hinsdale,  though  he  has  no  official 
title,  is  in  charge  of  all  the  younger  contract 
players  at  the  studio.  His  job  is  to  recog- 
nize talent  wherever  he  may  see  it,  and  to 
train  it — a  sort  of  combination  scout  and 
coach.  He  has  as  qualification  for  this  job 
a  record  of  eight  years  as  head  of  the  Little 
Theatre  of  Dallas,  during  which  time  he 
won  the  Belasco  little  theatre  tournament 
each  time  he  competed  for  it. 

Mr.  Hinsdale  has  been  with  MGM  the 
last  four  years,  and  players  who  have  conne 
under  his  care,  in  addition  to  Virginia 
Bruce  and  Taylor,  include  Martha  Sleeper, 
Muriel  Evans,  Betty  Furness  and  Bill  Tannen. 

His  method  of  working,  once  he  has  his  ma- 
terial, is  comparatively  simple.  He  trains  them 
in  stage  technique  and  schools  them  from  the 
beginning,  teaching  them  how  to  carry  them- 
selves, how  to  walk,  and  what  to  do  with  their 
hands,  before  he  lets  them  read  a  line. 

He  has  other  rookies  who  will  be  heard 
from  soon.  One  in  particular,  a  young  woman 
named  Agnes  Anderson,  who  was  "Miss  De- 
troit" not  so  long  ago,  he  rates  as  a  second 
Katharine  Cornell.  Then  there  are  Irene  Her- 
vey,  Jean   Parker,   Shirley   Ross  and  others. 

V 

All  Hollywood  is  still  talking  of  how 
Harry  Cohen  dominated  this  year's  Acad- 
emy Awards  banquet  by  receiving  for  his 
studio  six  out  of  the  fourteen  awards. 
Five  of  these  were  voted  on  the  strength 
of  his  production  "It  Happened  One 
Night."  Clark  Gable  was  given  the  statu- 
ette for  the  best  acting  performance; 
Claudette  Colbert  for  the  best  actress; 
Frank  Capra,  best  director,  Robert  Riskin, 
best  adaptation,  and  the  film  was  given 
the  award  for  the  best  picture  of  the  year. 
In  addition,  Columbia  won  the  award  for 
the  best  sound  recording,  for  "One  Night 
of  Love." 

The  banquet  itself  proved  to  be  a  brilliant 
affair.  Irvin  S.  Cobb  lent  humor  and  charm  to 
the  job  of  master  of  ceremonies.  Major  Nathan 
Levinson  presided  in  the  absence  of  Frank 
Lloyd,  the  Academy's  president. 

Surprise  climax  came  when  Mr.  Cobb  pre- 
sented little  Shirley  Temple  with  a  miniature 
statuette  as  a  special  award  for  the  greatest 
individual  contribution  to  the  screen  in  1934. 

V 

Carl  Laemmle,  Sr.,  has  returned  to  the 
studio  after  a  month's  confinement  to  his  home 
with  an  eye  infection  and  is  quite  active  pre- 
paring for  one  of  the  company's  most  active 
production  seasons. 

*    *  * 

Before  leaving  for  New  York,  Samuel  Gold- 


wyn  signed  David  Niven,  English  actor,  to  a 
seven-year  contract. 

J;:       *  * 

Darryl  Zanuck  plans  to  produce  Sir  Walter 
Scott's  immortal  "Ivanhoe,"  as  one  of  the  big 
spectacles  of  the  year,  with  production  tenta- 
tively to  start  the  middle  of  July.   There  are 

fifteen  important  characters  to  the  story. 

^  ^ 

Ernst  Lubitsch  Is  determined  to  surround 
himself  with  as  many  top  line  directors  as 
possible.  As  a  forerunner  to  this  campaign 
he  has  signed  Lewis  Milestone  to  a  two- 
year  contract,  his  first  assignment,  "Thir- 
teen  Hours   By  Air,"   co-featuring  Gary 

Cooper  and  Carole  Lombard. 

*  *  * 

The  new  studio  basic  contract  for  actors 
went  into  effect  March  1st  and  will  be  recog- 
nized by  the  12  major  producing  organizations 
signatory,  as  their  standard  contract  with  free- 
lance and  day  player  actors  for  the  next  five 
years. 

More  than  300  studio  officials  gathered  at  the 
Fox  Westwood  Hills  studio  Thursday  night  to 

familiarize  themselves  with  the  covenants. 

*  *  * 

Paramount  Studio  Organization 

The  Paramount  studio,  under  the  new  leader- 
ship of  Henry  Herzbrun  and  Ernst  Lubitsch, 
has  established  a  definite  studio  organization 
consisting  of  13  departmental  executive  heads 
and  ten  associate  producers.  Executive  per- 
sonnel, in  the  order  of  listing  and  importance, 
is  as  follows :  Henry  Herzbrun,  vice-president 
and  general  manager ;  Ernst  Lubitsch,  manag- 
ing director  of  production;  Benjamin  Glazer, 
Arthur  Hornblow,  Jr.,  Harold  Hurley,  Wil- 
liam Le  Baron,  Albert  Lewis,  Louis  D.  Lighton, 
Douglas  MacLean,  Charles  R.  Rogers,  E.  Lloyd 
Sheldon  and  Bayard  Veiller,  associate  pro- 
ducers. 

A.  M.  Botsford  is  listed  as  executive  assistant 
to  Henry  Herzbrun ;  Fred  Leahy,  production 
manager ;  Frank  Brandow,  studio  manager ;  A. 
C.  Martin,  studio  comptroller :  Jacob  Karp, 
resident  attorney  for  studios ;  Bogart  Rogers, 
head  of  scenario  department ;  Jeff  Lazarus, 
chairman  of  editorial  board ;  Fred  Datig,  casting 
director ;  Nathaniel  Finston,  director  of  music 
department ;  Tom  Baily,  studio  publicity  direc- 
tor, and  William  Pine,  studio  advertising  and 
exploitation  director. 

^  ii= 

The  past  week  saw  Hollywood's  studios 
making  radical  changes  in  production  schedules. 
Work  started  on  nine  features.  More  than  a 
dozen  that  had  kept  the  calendar  crowded  were 
finished. 

At  Fox  the  first  to  start  was  "Gaucho 
Lover,"  in  which  will  be  seen  Warner  Baxter, 
Ketti  Gallian,  J.  Carrol  Naish,  Arminda,  Blanca 
Vischer,  George  Irving  and  John  Miljan.  Also 
before  the  cameras  is  "Secret  Lives,"  with 
Mona  Barrie,  Gilbert  Roland,  Hardie  Albright, 
Herbert  Mundin  and  Nick  Foran.  The  last  of 
the  trio  is  the  long-deferred  "Red  Heads  on 
Parade,"  a  Lasky  production,  which  will  pre- 
sent John  Boles,  June  Knight,  Alan  Dinehart. 

Monogram  began  "The  Hoosier  Schoolmas- 
ter, with  Norman  Foster,  Charlotte  Henry, 
Dorothy  Libaire,  Sarah  Padden,  Otis  Harlan, 
Fred  Kohler,  Jr.,  Russell  Simpson,  William  V. 
Mong,  Tommy  Bupp,  Wallace  Reid,  Jr.,  George 
Hayes  and  Joe  Bernard. 

At  Paramount  work  started  on  "The  Glass 
Key."  George  Raft  is  starred  with  the  new- 
comer, Rosaline  Culli.  The  supporting  cast  in- 
cludes Edward  Arnold,  Charles  Richman,  Guinn 


Tim  TALENT  SCOUT  IS  COACH,  TOO 
AWARD  BANQUET  BRILLIANT  AFFAIR 
BASIC  CONTRACT  NOW  IN  EFFECT 
NINE  FILMS  START,  12  FINISHED 

Williams,  Tammany  Young,  Raymond  Milland, 
Harry  Tyler,  Dean  Jagger  and  Emma  Dunn. 

"Let  'Em  Have  It,"  based  on  the  De- 
partment of  Justice  war  on  gangsters,  was 
started  by  Reliance  Pictures  for  United 
Artists  release.  With  additions  to  come, 
the  present  cast  Includes  Richard  Arlen, 
Virginia  Bruce,  Bruce  Cabot,  Eric  Linden. 

Columbia  began  work  on  "Air  Fury,"  an- 
other topical  production  of  aviation  activities, 
the  cast  being  headed  by  Ralph  Bellamy,  Tala 
Birell,  Douglas  DumbriUe,  Billie  Seward',  and  a 
newcomer,  Victor  Killian. 

Work  started  at  Warner  on  "Alibi  Ike,"  a 
Joe  E.  Brown  picture.  The  cast  to  date  in- 
cludes Oliva  DeHaviland,  William  Frawley, 
Roscoe  Karns  and  Ruth  Donnelly. 

Radio's  contribution  to  the  new  activity  is  a 
Wheeler  and  Woolsey  comedy  titled  "Nit 
Wits." 

Of  the  completed  pictures,  two  are  historicals 
and  two  are  "shockers." 

First  of  Radio's  completed  three  is  "Strangers 
All."  In  this  May  Robson,  Preston  Foster, 
Florine  McKinney,  William  Bakewell,  Leon 
Ames  and  Samuel  Hinds  will  be  seen.  "Syl- 
vestre  Bonnard"  will  present  Anne  Shirley,  O. 
P.  Heggie,  Helen  Westley,  Elizabeth  Patter- 
son, Trent  (Junior)  Durkin,  John  Qualen, 
Hilda  Vaughn  and  Etienne  Girardot.  The  third 
feature  stars  William  Powell  and  Ginger 
Rogers,  with  Gene  Lockhard,.  Ralph  Morgan, 
Leslie  Fenton  and  J.  Farrell  Macdonald  fea- 
tured. 

Both  the  20th  Century  features  are  histori- 
cals. In  "Cardinal  Richelieu"  George  Arliss 
has  the  title  role.  Best  known  of  the  large  sup- 
porting cast  are  Halliwell  Hobbes,  Edward 
Arnold,  Violet  Kemble-Cooper,  Katherine 
Alexander,  Maureen  O'Sullivan,  Caesar  Ro- 
mero, Francis  Lister,  Douglas  Dumbrille,  Lums- 
den  Hare,  Russell  Hicks,  Murray  Kinnell,  Her- 
bert Bunston  and  Pat  Somerset.  "Les  Misera- 
bles"  stars  Fredric  March  and  Charles  Laugh- 
ton. 

Universal  completed  a  shocker  and  a  western. 
In  the  first  will  be  seen  "Werewolf  of  London," 
Henry  Hull,  Warner  Oland,  Valerie  Hobson, 
Lester  Matthews,  Clark  Williams,  Zeflie  Til- 
bury, Charlotte  Granville,  Spring  Byington, 
Lawrence  Grant,  J.  M.  Kerrigan  and  Louis 
Vincenot.  "The  Showdown"  is  a  Buck  Jones 
which  features  Marion  Shilling  and  Niles 
Welch. 

Another  shudder  feature,  "Vampires  of  the 
Night"  (tentative  title),  was  finished  at  MGM. 
The  cast  lists  Lionel  Barrymore,  Elizabeth 
Allen,  Bela  Lugosi,  Lionel  Atwill,  Jean  Hers- 
holt,  Henry  Wadsworth,  Donald  Meek. 

Paramount's  completed  job  is  "Hold  'Em 
Yale,"  a  Damon  Runyon  yarn,  in  which  will 
appear  Patricia  Ellis,  Larry  Crabbe,  Caesar 
Romero,  William  Frawley,  Andy  Devine. 

"Travelling  Saleslady"  was  finished  at  War- 
ner. It  will  present  Joan  Blondell,  William 
Gargan,  Hugh  Herbert,  Ruth  Donnelly,  Grant 
Mitchell,  Glenda  Farrell,  Johnny  Arthur,  Al 
Shean,  Mary  Treen  and  Gordon  Elliott. 

At  Fox  "$10  Raise"  was  finished.  Edward 
Everett  Horton  is  starred,  with  Karen  Morley, 
Alan  Dinehart,  Glen  Boles,  Berton  Churchill, 
Rosina  Lawrence,  Ray  Walker,  Frank  Melton 
and  William  Benedict  in  support. 

Majestic  completed  "Thunder  in  the  Streets." 
The  complete  cast  includes  Donald  Cook,  Irene 
Hervey,  Doris  Lloyd,  Edwin  Maxwell,  William 
L.  Millrnan,  Russell  Simpson,  John  Kelley, 
Edwin  Argus,  Billy  West,  Wheeler  Oakman, 
Frank  LaRue  and  Fern  Emmett. 


48 


MOTION    PICTURE  HERALD 


March    9,  1935 


This  department  deals  with  new  product 
from  the  point  of  view  of  the  exhibitor 
who  is  to  purvey  it  to  his  own  public 


McFadden's  Flats 

(Paramount-Rogers) 
Comedy 

Comedy,  in  which  there  is  more  than  the 
usual  quota  of  laughs  in  dialogue,  action,  situa- 
tions and  characterizations,  is  this  pictures  en- 
tertainment and  showmanship  essence.  Having 
but  one  objective— to  amuse— it  sticks  faithfully 
to  that  premise,  and  there  is  wholesome  enter- 
tainment for  both  adults  and  youngsters.  While 
the  main  motivation  concerns  itself  with  Mc- 
Fadden and  his  ambitions,  it  also  is  tinged  with 
pleasing  bits  of  domestic  drama  and  menaced 
juvenile  romance. 

Modernized  in  production  values  as  well  as 
theatric  presentation,  the  picture  is  a  brand 
new  portrayal.  Consequently  there  is  much  that 
is  novel,  setting  this  version  of  the  wellknown 
story  completely  apart  from  anything  that  has 
gone  before. 

McFadden,  culminating  his  rise  from  hod- 
carrying  day  laborer  to  wealthy  contractor, 
decides  to  build  a  large  apartment  house.  Early 
sequences  are  given  showing  the  affection  that 
exists  between  him  and  his  Scotch  friend,  Jock 
MacTavish.  Turning  to  domestic  drama,  the 
problem  of  what  to  do  with  tomboy  daughter 
Molly  next  becomes  the  center  of  attention. 
The  decision  to  send  her  off  to  finishing  school 
is  not  too  happy  for  her  sweetheart,  Mac- 
Tavish's  son  Sandy. 

Financial  troubles  beset  the  ambitious  Mc- 
Fadden and  the  supposedly  tight  Scotchman 
comes  to  his  rescue,  pledging  his  life's  savings 
to  carry  on  the  building  work,  but  under  the 
condition  that  McFadden  must  not  know  it. 
Comes  Labor  Day  and  Molly,  who  has  become 
a  social  light  friend  of  the  wealthy  Hall  fam- 
ily, is  with  them  in  New  York.  A  parade 
passes  and  the  girl  is  abashed  to  see  her  father 
carrying  a  golden  hod  leading  the  parade.  He 
is  laughed  at  by  her  snooty  friends,  and  the 
girl  leaves  them,  returning  to  the  just  com- 
pleted flats. 

She  prevails  upon  her  father  and  mother  to 
throw  a  grand  party  for  the  Halls.  The  antics 
of  all  the  old  McFadden  friends  and  neighbors 
amaze  and  amuse  the  aristocrats.  As  shy  Sandy 
is  left  in  the  background  Bob  Hall  tries  to  win 
Molly  only  to  have  his  efforts  win  him  a 
beating  up  from  Sandy.  Meanwhile,  Mr.  Hall 
and  McFadden,  who  suddenly  have  discovered 
they  were  bricklayers  together  in  the  old  days, 
are  carrying  on  in  high  carnival  in  the  library. 
Under  the  influence  of  good  liquor  they  pro- 
ceed to  contest  each  other  in  a  brick-laying  bat- 
tle— with  books. 

The  upshot  is  that  Hall  thanks  Sandy  for 
walloping  his  son;  MacTavish  is  assured  that 
his  secret  investment  is  secure  as  Hall  and 
McFadden  enter  into  a  contracting  partner- 
ship. 

Concentrate  on  the  motivating  subject  mat- 
ter— fun — and  let  patrons  know  that  there  is 
plenty  of  pastime  in  it  fully  worthy  of  the 
admission  price.  There  are  plenty  of  leads  in 
all  the  feature's  phases,  action,  dialogue,  situa- 
tions and  production  settings,  which  should  in- 
spire some  unique  exploitation.  Walter  C. 
Kelly,  the  wellknown  Virginia  judge  of  the 
vaudeville  stage,  has  been  in  pictures  before, 
but  this  in  his  first  starring  role.  Much  can 
be  done  with  him  and  also  Andy  Clyde,  more 


familiar  as  a  short  subject  comedian. — McCar- 
THYj  Hollywood. 

Produced  and  distributed  by  Paramount.  Produced 
by  Charles  R.  Rogers.  Directed  by  Ralph  Murphy. 
Play  by  Gus  Hill.  Screen  play  by  Arthur  Caesar 
and  Edward  Kaufman.  Adaptation  by  Casey  Robin- 
son. Additional  dialogue  by  Andy  Rice.  Sound,  Earl 
Hayman.  Film  editor,  Joseph  Kane.  Art  directors. 
Hans  Dreier  and  John  Goodman.  Photographed  by 
Ben  Reynolds.  P.  A.  C.  Certificate  No.  585.  Running 
time,  when  seen  in  Hollywood,  67  minutes.  Release 
date,  March  22,  1935.  General  audience  classification. 
CAST 

Dan  McFadden    Walter  C.  Kelly 

Jock  MacTavish   :   Andy  Clyde 

Sandy    MacTavish  Richard  Cromwell 

Nora  McFadden    Jane  Darwell 

Molly  McFadden    Betty  Furness 

Mr.  Hall    George  Barbier 

Mary  Ellen  Hall    Phylhs  Brooks 

Robert  Hall    Howard  Wilson 

Mrs.  Hall    Nella  Walker 

JeiTerson    Frederick  Burton 

Tim  Malone    Pat  Moriarity 

Mrs.   Bernstein    Esther  Michelson 

Mrs.   Bono    Anna  Demetno 

Teacher   Mary  Forbes 

Gottschalk    Lee  Kohlmar 


Love  in  Bloom 


(Paramount) 
Romance  with  Comedy 

This  is  the  kind  of  attraction  which  from  an 
exploitation  viewpoint  possesses  many  adaptable 
values.  Its  entertainment  quality,  strictly  aver- 
age commercial  in  caliber,  hardly  substantiates 
the  showmanship  potentialities.  Basically  the 
yarn  is  a  love  story,  embellished  with  comedy 
and  music. 

As  it  follows  a  trite  and  often  used  premise, 
Joe  Morrison  and  Dixie  Lee  (Bing  Crosby's 
wife)  are  the  in-love  boy  and  girl.  Morrison 
sings  several  songs,  most  appealing  of  which 
are  "Let  Me  Sing  You  to  Sleep  with  a  Love 
Song"  and  "My  Heart  is  an  Open  Book."  Burns 
and  Allen  contribute  the  familiar  brand  of  com- 
edy, the  most  laugh-provoking  of  which  are 
Gracie's  traffic  ticket  destroying  experience  with 
the  motor  cop  and  her  selling  of  the  music 
store  to  its  owner. 

Given  a  comedy  circus  carnival  opening,  the 
story  moves  to  New  York  where  Larry  and 
Violet  are  bounced  out  of  their  respective 
rooms  for  nonpayment  of  rent.  Their  mis- 
fortunes weld  a  bond  of  friendship  and  they 
eventually  promote  a  job  in  Pop's  music  store. 
As  song  pluggers,  they  boost  the  old  man's 
business  phenomenally.  Sentiment  grows  apace. 
Larry  is  ambitious  to  be  a  song  writer.  But 
when  Pop  pays  them  off,  Gracie  and  George 
appear  to  grab  the  cash  and  it  is  revelead  that 
without  Violet  the  Downey  Carnival  is  going 
on  the  rocks.  Getting  rid  of  the  in-law  leeches, 
Larry  and  Violet  decide  to  get  married,  but 
drunken  Dad  Downey  appears  at  the  church 
to  shame  Violet  and  she  deserts  her  suddenly 
successful  song  writer  at  the  altar.  The  semi- 
finale  shows  Larry's  "My  Heart  is  an  Open 
Book"  being  a  worldwide  hit,  arranged  in  the 
tempo  of  every  nation's  music  and  even  as  a 
symphonic  piece.  Finally,  Larry  buys  a  half 
interest  in  the  Carnival  so  he  can  have  Violet 
with  him  all  the  time. 

Merely  adapting  the  elements  that  the  pict- 
ure uses  in  its  own  motivation  permits  a  brand 
of  unique  interest-creating  exploitation.  From 
the  early  carnival  atmosphere  through  the  se- 
quences that  present  the  calliope  over  which 
Burns  and  Allen  preside,  the  boarding  house 
episodes,  the  sequences  in  the  music  store  and 


the  novel  gag  of  a  vvorld  spinning  to  show  the 
popularity  of  the  song  hit,  there  are  numberless 
ideas  for  tricky  showmanship.  But  as  the 
smash  entertainment  quality  seldom  approaches 
that  of  the  potential  showmanship,  care  should 
be  taken  not  to  go  overboard  and  promise 
things  that  the  picture  cannot  deliver. — Mc- 
Carthy, Hollywood. 

Produced  and  distributed  by  Paramount.  Produced 
by  Benjamin  Glazer.  Directed  by  EUliott  Nugent. 
Screen  play  and  adaptation  by  J.  P.  McEvoy  and 
Keene  Thompson.  Sound,  Harold  Lewis.  Film  editor, 
William  Shea.  Art  directors,  Hans  Dreier  and  Robert 
Odell.  An  original  screen  play  by  Frank  R.  Adams. 
Additional  dialogue  by  John  P.  Medbury.  Lyrics  and 
music  by  Mack  Gordon  and  Harry  Revel.  Photo- 
graphed by  Leo  Tover.  P.C.A.  Certificate  No.  584. 
Running  time,  when  seen  in  Hollywood,  77  minutes. 
Release  date,  March  15,  1935.  General  audience  classi- 
fication. 

CAST 

George   George  Burns 

Gracie   Gracie  Allen 

Larry   Deane  Joe  Morrison 

Violet  Downey  Dixie  Lee 

Colonel  "Dad"  Downey  J.  C.  Nugent 

Pop  Lee  Kohlmar 

Sheriff   Richard  Carle 

Mrs.  Cassidy  Mary  Foy 

The  Cop  Wade  Boteler 

Edith  Bowen  Marian  Mansfield 

Waitress   Julia  Graham 

Cashier   Sam  Godfrey 

Beggar   Jack  Mulhall 

Mother  in  Music  Store  Frances  Raymond 

Daughter  in  Music  Store  Bernadine  Hayes 

Sexton   Harry  Bradley 

Rector   Douglas  Wood 

Strong  Man  William  Gorsman 

1st   Boy  Douglas  Blackley 

2nri  Boy  Bennv  Baker 


Laddi 


le 

(  Radio  ) 

Dramatic  Romance 

"Laddie"  is  the  kind  of  picture  whose  presen- 
tation should  be  a  pleasure  to  audiences.  Essen- 
tially, it  is  homespun  and  down  to  earth.  It 
deals  with  simple  folk  and  simple  situations  in 
an  understandable,  human  way.  Sans  any  scene- 
tearing  theatrics,  but  nevertheless  dramatic 
and  real,  it  tells  an  interesting  and  thoroughly 
possible  love  story.  Continuously  aimed  at 
stirring  the  most  sentimental  emotions,  it  makes 
use  only  of  tried  and  proved  ingredients. 
While,  in  the  main,  the  pages  of  Gene  Strat- 
ton  Porter's  original  story  have  been  closely 
followed,  and  all  the  color  and  character  of  its 
locale,  time  and  individuals  have  been  retained, 
certain  concessions  have  been  made  to  modern- 
ism. Probably  as  a  condescension  to  the  present 
child  artist  vogue,  the  character  of  Little 
Sister,  finely  played  by  Virginia  Weidler,  is 
developed  to  such  an  extent  that  for  most 
practical  purposes  she  is  the  star  of  the  show. 

The  picture  is  the  story  of  the  Stanton  and 
Pryor  families,  farmer  folk  with  the  Pryors 
considering  themselves  a  bit  superior,  living 
in  the  Indiana  country  made  famous  by  the 
Gene  Stratton  Porter  books.  It  is  the  love 
story  of  Laddie  and  Pamela  and  it  is  also  the 
story  of  Little  Sister  and  the  influence  she 
exerted  in  transforming  a  dynamite-laden  situa- 
tion into  one  of  happiness. 

As  the  picture  unreels  its  elements  of  drama, 
romance,  comedy  and  threatened  tragedy,  with 
an  aura  of  understandable  humanness  applied 
to  each  quality,  there  is  a  cohesion  that  makes 
for  quick  interest  creation.  While  there  are 
times  when  a  tear  or  two  are  in  order,  there 
are  as  many  occasions  in  which  to  smile  and 
laugh.    There  is  a  brand  of  tense  suspense  lead- 


March    9  ,     19  3  5 


MOTION    PICTURE  HERALD 


49 


.ng-  up  to  the  aiiti-climax  which  greatly  accents 
the  final  appeal. 

In  any  analysis,  "Laddie"  is  an  all-family 
picture.  Such  a  terming,  however,  does  not 
signify  that  the  picture  is  something  directed 
primarily  at  the  general  trade  of  the  secondary 
theatres.  It  does  have  unique  appea,l  for  women 
and  because  of  Virginia  Weidler  is  of  more 
than  usual  interest  to  children.  Yet  wherever, 
regardless  of  the  pull — or  its  lack —  of  big 
names,  good  entertainment  is  appreciated,  this 
picture  has  in  story,  acting  and  production 
quality  all  that  is  necessary  to  give  audiences 
full  value  for  the  money  they  pay  to  see  it. — 
McCarthy,  Hollywood. 

Produced  and  distributed  by  RKO  Radio.  Produced 
by  Pandro  S.  Berman.  Directed  by  George  Stevens. 
From  the  novel  by  Gene  Stratton-Porter.  Screen  play 
by  Ray  Harris  and  Dorothy  Yost.  Photographed  by 
Harold  Wenstrom.  Art  directors,  Van  Nest  Polglase 
and  Perry  Ferguson.  Musical  director,  Roy  Webb. 
Recorded  by  Hugh  McDowell,  Jr.  Edited  by  James 
Morley.  Running  time,  when  seen  in  Hololyvvood.  82 
minutes.  Release  date,  March  29,  1935.  General  audi- 
ence classification. 

CAST 

Laddie  Stanton  John  Beal 

Pamela  Pryor  Gloria  Stuart 

Little  Sister  Virginia  Weidler 

Mr.   Pryor  Donald  Crisp 

Mrs.  Stanton  Dorothy  Peterson 

Mr.   Stanton  Willard  Robertson 

Xobert  Pryor  William  Bakewell 

Sally  Stanton  Gloria  Shea 

Shelly  Stanton  Charlotte  Henry 

Leon  Stanton  Jimmy  Butler 

Peter  Dover  Grady  Sutton 

Candace   Greta  Meyer 

Mrs.  Pryor  Mary  Forbes 


Death  Flies  East 

(  Columbia) 
Drama 

There  is  entertainment  of  an  average  sort 
in  this  dramatic,  somewhat  mysterious,  occa- 
sionally amusing  and  generally  active  story  of 
a  transcontinental  flight  which  revolves  about 
an  act  of  charity,  suddenly  developed  romance, 
pursuit  by  police,  a  murder  and  incidental  bits 
of  dramatic  effect. 

In  the  fact  that  the  film  has  the  larger  part 
of  its  setting  in  the  interior  of  a  transconti- 
nental plane,  there  may  be  exploitation  tieup 
possibilities.  The  title  appears  salable  in  itself, 
giving  implication  of  action  and  mystery. 

The  cast  is  not  especially  strong  in  drawing 
power,  the  top  names  being  Conrad  Nagel  and 
Florence  Rice.  The  others  are  only  slightly 
familiar.  Stressing  the  action-mystery  elements 
in  the  story  would  appear  the  most  practicable 
method. 

Miss  Rice  is  released  from  California  prison 
on  parole,  after  her  conviction  with  her  former 
employer,  a  noted  doctor,  on  a  charge  of  poison- 
ing. One  condition  of  her  parole  is  that  she 
remain  within  the  state  until  her  sentence  ter- 
minates. She  learns  that  a  man  implicated  with 
them  is  about  to  be  electrocuted  in  Sing  Sing 
prison,  New  York.  A  confession  from  him 
would  clear  herself  and  the  doctor.  She  deter- 
mines to  break  her  parole,  fly  east. 

Aboard  the  plane  are  Nagel,  college  pro- 
fessor bound  for  Washington  with  an  im- 
portant munitions  formula,  who  immediately 
sees  through  Miss  Rice's  flimsy  disguise,  and 
is  attracted  to  her.  Also  on  board  are  a  private 
detective,  an  insurance  salesman,  a  business  man, 
a  deaf  woman,  a  New  York  doctor,  a  Japanese 
who  had  boarded  the  plane  at  its  first  stop, 
and  another  man. 

The  complications  develop  early,  as  the 
Japanese  eyes  Nagel's  valuable  brief  case,  as  the 
private  detective  is  found  dead  of  poisoning,  and 
the  young  man  is  found  slightly  poisoned.  The 
plane  goes  back  to  Dallas,  an  investigation 
makes  it  look  bad  for  Miss  Rice,  whose  identity 
and  her  broken  parole  have  been  uncovered, 
when  Nagel  steps  into  the  breach,  conducts  a 
little  experiment  and  discovers  that  the  young 
man,  who  poisoned  himself  to  avert  suspicion, 
had  murdered  the  detective  because  of  a  long- 
standing personal  grudge.  Miss  Rice  is  held 
for  the  California  authorities,  Nagel  flies  ahead 
to  get  the  confession  and  obtain  her  freedom 
and  that  of  the  doctor,  and  the  little  Japanese 
turns  up  with  a  receipt  for  the  brief  case,  which 


he  delivered  at  Washington,  after  having  taken 
it  wiicn,  he  decided,  Nagel  did  not  know  how 
to  take  care  of  it  properly.  Miss  Rice  and  Mr. 
Nagel  return  to  California  together. 

This  picture  may  be  sold  via  lively  exploita- 
tion somewhere  in  the  midweek. — Aaronson, 
New  York. 

Produced  and  distributed  by  Columbia.  Story  by 
Philip  Wylie.  Screen  play  by  Albert  Demond  and 
Fred  Niblo,  Jr.  Director,  Phil  Rosen.  Assistant 
director,  Arthur  Black.  Cameraman,  Al  Siegler. 
Sound  engineer.  Edward  Bernds.  Film  editor,  John 
Rawlins.  Running  time.  65  minutes.  Release  date, 
Feb.  7,  1935.  P.C.A.  Certificate  No.  582.  General  audi- 
ence classification. 

CAST 

John  Robinson  Gordon  Conrad  Nagel 

Evelyn   Vail   Florence  Rice 

Evans   Raymond  Walburn 

Helen  Gilbert   Geneva  Mitchell 

Baker   Robert  Allen 

Burroughs   Oscar  Apfel 

Satu   Miki  Morita 

Dr.  Landers   Pumell  Pratt 

Mrs.  Madison   Irene  Franklin 

Dr.   MofTat   George  Irving 

Pastoli   Adrian  Rosley 

O'Brien   Fred  Kelsey 

Wotkyns   George  Hayes 


Sunset  Range 

(First  Division) 
Western 

With  Hoot  Gibson  back  on  the  screen,  "Sun- 
set Range"  has  all  that  the  old  westerns  ever 
had.  There's  the  atmosphere  of  the  great  out- 
doors and  its  spirit  of  adventure.  There's  the 
heroine  tenderfoot  girl  who,  coming  to  claim 
her  ranch,  finds  herself  involved  in  a  conflict- 
ing romantic  drama  with  the  hero  foreman 
cowboy.  Of  course,  there  are  the  menacing 
villains,  this  time  eastern  bank-robbing  gang- 
sters, a  la  the  modern  action  trend.  Then  there's 
the  weakling  brother,  unwilling  tool  of  the  bad 
men,  whose  arrival  on  the  scene  makes  possi- 
ble the  thrilling  wild  riding,  Cjuick  shooting, 
man  to  man  conflict  and  the  eventual  triumph 
of  the  forces  of  virtue. 

Bonnie  arrives  at  the  ranch,  not  knowing  that 
among  her  baggage  is  a  trunkful  of  hot  money 
stolen  from  a  bank  by  Grant's  gangsters,  who 
have  forced  Bonnie's  brother,  Eddie,  to  have  a 
hand  in  their  operations.  Romance  quickly 
springs  up  between  the  foreman,  Reasonin' 
Bates,  and  the  girl.  When  the  gangsters  show 
up  to  get  the  money,  Bonnie  learns  how  her 
brother  is  a  part  of  the  mob  and  tells  this  news 
to  Reasonin'.  He  rounds  up  his  cowboy  aids 
to  show  the  gangsters  how  real  Americans  deal 
with  their  menace  to  law  and  order.  A  thrill- 
ing chase,  the  gangsters  in  autos  and  the  cow- 
boys aboard  horse,  winds  up  with  the  villains 
on  the  way  to  the  calaboose  and  Reasonin'  and 
Bonnie  altar  hound. 

Primarily,  "Sunset  Range"  is  an  attraction 
to  interest  the  youngsters,  also  something  to 
entertain  lovers  of  outdoor  adventure. — McCar- 
thy, Hollywood. 

Produced  by  First  Division  Productions.  Distributed 
by  First  Division  Exchanges.  Directed  by  Ray  Mc- 
Carey.  Story  by  Paul  Schofield.  Photographed  by 
Gil  Warrenton.  Screen  play  by  Paul  Schofield  and 
Ray  Schrock.  Running  time,  when  seen  Hollywood. 
55  minutes.  Release  date,  March  15,  1935.  General 
audience  classification. 

CAST 

Reasonin'  Bates    Hoot  Gibson 

Bonnie    Mary  Doran 

Caswell    John  Elliott 

Grant    Walter  McGrail 

Eddie    James  Eagles 

Li  Fong   Eddie  Lee 

Freddie    Fred  Oilman 


mance,  in  the  persons  of  the  leading  players, 
Lyle  Talbot  and  Mary  Astor,  and  its  menace, 
liandled  by  Gavin  Gordon  and  Bradley  Page. 
The  yarn  moves  from  the  American  tracks  to 
the  court  room  and  prison,  to  South  American 
tracks,  and  climaxes  at  the  so-called  Dayton 
track,  in  reality,  the  Indianapolis  champion- 
ship speedway,  and  the  famed  SOO-mile  battle  of 
the  wheels. 

Romance  on  the  racetrack,  playing  up  the 
action  which  lies  in  that  active  setting,  com- 
bined with  the  selling  of  the  names,  appear  to 
be  the  exploitation  factors  of  chief  importance. 

Talbot,  with  the  capable  young  Frankie  Darro 
as  his  idolizing  mechanic  and  satellite,  is  me- 
chanic for  Henry  Kolker,  master  racing  car 
builder.  His  daughter,  Miss  Astor,  is  herself 
a  mechanic,  more  than  a  little  interested  in 
Talbot,  a  feeling  he  returns.  There  is  no  love 
lost  between  Talbot  and  Gordon,  Kolker's  rac- 
ing driver,  Gordon  being  in  love  with  Miss 
Astor  as  well.  They  fight,  Talbot  is  fired,  his 
friend  Karns  going  with  him.  At  a  big  race, 
Talbot  gets  a  chance  to  race  for  an  opposing 
company,  and  warns  Gordon  to  be  careful. 
Bradley  and  Gordon  already  have  arranged  a 
spike  device  which  would  throw  off  the  track 
any  car  that  approached  too  close  to  Gordon's. 
The  two  cars  tangle,  Gordon  goes  through  the 
fence  and  is  killed. 

Talbot  is  sentenced  to  10  years  for  man- 
slaughter, but  through  the  effort  of  Darro  and 
Miss  Astor  a  pardon  is  obtained,  the  guilt  of 
Gordon  and  Page  proved,  but  the  night  Miss 
Astor  arrives  at  the  prison  with  the  pardon, 
Karns  aids  Talbot's  escape.  Under  an  assumed 
name  Talbot  becomes  the  most  famous  racing 
driver  in  South  America.  Miss  Astor  sud- 
denly discovers  who  he  is,  and  invites  him  to 
race  for  father.  Not  realizing  she  knows,  he 
accepts.  Karns  goes  on  ahead,  he  to  follow  at 
the  last  moment. 

Page  tries  to  stop  him  by  tipping  off  the 
authorities,  but  Talbot  lands  on  the  infield  of 
the  track  after  the  race  has  started,  with  Karns 
at  the  wheel  and  Miss  Astor  riding  as  me- 
chanic. Talbot  jumps  into  the  race,  wins  in  a 
thrilling  sequence,  and  the  jail  break  charge  is 
effectively  removed  as  an  obstacle  to  romance. 
— Aaronson,  New  York. 

Produced  and  distributed  by  First  National.  Di- 
rector, D.  Ross  Lederman.  Story  and  screen  play  by 
Tristam  Tupper.  Photography  by  Arthur  Todd.  Film 
editor,  Frank  McGee.  Art  directors,  Anton  Grot  and 
Hugh  Reticker.  P.  C.  A.  Certificate  No.  458.  Run- 
ning time,  61  minutes.  Release  date,  Feb.  2,  1935. 
General  audience  classification. 

CAST 

Wallace  Storm    Lyle  Talbot 

Patricia   Sanford    Mary  Astor 

Bud  Keene    Roscoe  Karns 

Johnny    Frankie  Darro 

Robert  Griffin    Gavin  Gordon 

Maggie    Mary  Treen 

Martin  Sanford    Henry  Kolker 

Curley  Taylor    Bradley  Page 

Governor    John  Elliott 

Old  convict  ■   Eddie  Sturgis 


Red  Hot  Tires 

(First  National) 
Action  Dranna 

The  fast-paced  and  melodramatic  action  of 
the  automobile  race  tracks  puts  punch  and  speed 
into  this  film.  It  is  good  entertainment  of  its 
kind,  and  looks  to  warrant  a  playing  position 
at  the  weekend. 

Highlighted  by  the  crash  and  dash  of  the 
motor  speedways,  which  supply  the  thrill  and 
maintain  the  pace,  the  story  has  its  incidental 
comedy,  mostly  from  Roscoe  Karns,  its  ro- 


Great  Cod  Cold 

(  Monogram  ) 
Drama 

Well  paced  entertainment  and  a  story  re- 
volving about  a  strictly  modern  theme  of  the 
world  of  business  of  today,  this  production  has 
a  dominantly  dramatic  element,  interspersed 
with  little  comedy  and  a  romance  which  is  more 
or  less  subordinated  to  the  note  of  business 
unscrupulousness,  the  part  played  in  affairs 
of  men  by  the  toss  of  a  coin  and  the  desire  for 
revenge  on  the  part  of  a  girl  whose  happiness 
has  been  blighted  by  the  activity  of  the  business 
racket  leader. 

The  story  will  have  to  carry  the  weight  of 
the  selling,  a  situation  made  easier  by  the 
theme,  since  the  cast  names  are  not  of  sufficient 
marquee  strength  to  attract  patronage  of  them- 
selves. The  leading  players  are  Sidney  Black- 
mer,  Martha  Sleeper  and  Regis  Toomey. 

The  business  racket  which  has  attracted  con- 
siderable public  attention  in  recent  months  is 
that  of  unscrupulous  receiverships,  a  direct 
outgrowth  of  the  depression,  when  large  com- 
panies could  not  meet  obligations  on  time,  and 
creditors  took  action  in  the  courts,  demanding 


A  Fi¥e  Star  Cast! 


CHARLES 
B  O  Y  E  R 


HELEN 
VINSON 


CLAUDETTE 
COLBERT 

The  Star  of  Stars!  Winner  of 
the  Motion  Picture  Acodemy 
of  Arts  and  Science  Award  for 
the  Best  Performance  of  1934 ! 


JOAN 
BENNETT 


JOEL 
McCREA 


A  WALTER  WANGER  PRODUCTION  •  Directed 


A  Four  Star  Story! 


"0»»' 


Phil 


Rocky 


LED  THE  BEST  SELLERS 
OF  THE  SEASON!... 

The  Greatest  Woman's  Story  of 
the  Years!  Translated  to  the 
Screen  with  a  Star  for  Every  Role! 


'  Seen/"  ""Jiojf 


^'"■"■'AW, 


by  Gregory  La  Cava  •  A  Paramount  Release 


52 


MOTION    PICTURE  HERALD 


March    9  ,     19  3  5 


the  appointment  of  receivers,  who,  in  turn,  made 
fortunes  from  their  court  apixjintments.  That 
rather  timely  theme  might  be  used  in  the  selling 
to  attract  patron  attention. 

For  the  most  part  the  production  has  been 
well  handled,  in  construction  and  performances. 

Blackmer,  well-to-do  and  honest  stock  mar- 
ket player,  gets  a  lucky  piece  from  interviewer- 
reporter  Toomey,  sells  out  just  before  the 
crash  in  1929.  Throughout  he  consults  the  re- 
sult of  a  toss  of  his  lucky  piece  before  making 
a  vital  decision.  He  is  approached  by  un- 
scrupulous lawyers  Edwin  Maxwell  and  John 
T.  Murray,  to  act  as  their  "front"  or  receiver 
for  actions  they  plan  to  force  against  com- 
panies unable  to  meet  their  obligations.  They, 
through  political  connections,  are  to  have 
Blackmer  appointed  receiver,  with  the  proceeds 
of  bleeding  the  companies  to  be  split  three  ways. 

He  accepts,  takes  over  the  large  hotel  owned 
by  Miss  Sleeper's  father,  who  commits  suicide. 
Miss  Sleeper  is  determined  to  get  evidence  in- 
dicating Blackmer's  crooked  operation,  and 
Toomey,  whom  she  meets,  agrees  to  assist,  for 
personal  reasons.  Blackmer's  failing  for  women 
is  partly  responsible  for  his  eventual  downfall, 
as  he  gets  along  too  well  with  Maria  Alba,  wife 
of  one  of  his  henchmen,  Ralph  Harolde. 

When  Blackmer  takes  over  a  big  utilities 
company,  he  finds  Miss  Sleeper  the  private 
secretary,  and  continues  her  in  the  post.  She 
obtains  the  evidence  she  wants,  and  at  his 
apartment  finds  him  shot,  Harolde  having  dis- 
covered the  affair  with  his  wife.  Blackmer 
hands  her  an  important  paper,  the  last  step 
in  the  incriminating  evidence,  putting  himself 
in  a  more  sympathy-inspiring  light  before  he 
dies,  a  gambler  to  the  end.  Miss  Sleeper  leaves 
— with  Toomey. 

It  appears  the  kind  of  material  which  adults 
may  find  entertaining,  there  being  nothing  in 
it  for  children. — Aaronson,  New  York. 

Produced  and  distributed  by  Monogram.  Directed 
by  Arthur  Lubin.  Adapted  by  Norman  Houston. 
Additional  dialogue  by  Jefferson  Parker.  Story  by 
Albert  J.  Meserow,  Elynore  Dalkhart.  Art  director, 
E.  R.  Hickson.  Photography,  Milton  Krasner.  Editor, 
Jack  Ogilvie.  Sound,  T.  A.  Stransky,  Jr.  P.  C.  A. 
Certificate  No.  623.  Release  date,  April  15,  1935. 
Running  time,  71  minutes.  Adult  audience  classi- 
fication. 

CAST 

John   Hart   Sidney  Blackmer 

Marcia  Harper   Martha  Sleeper 

Phil  Stuart  Regis  Toomey 

Gert   Gloria  Shea 

Nitto   Edwin  Maxwell 

Frank  Nitto   Ralf  Harolde 

Elena  Nitto   Maria  Alba 

Simon   John  T.  Murray 


Square  Shooter 


(  Columbia  ) 
Western 

This  western  is  much  like  all  the  others.  It 
provides  lively,  fast  action  entertainment  for 
the  weekend  position  on  the  weekly  program, 
and  for  the  patrons  who  desire  and  enjoy  west- 
erns. 

With  Tim  McCoy  in  the  leading  role,  the 
exhibitor  has  something  to  sell  to  the  many 
followers  this  western  star  boasts.  Although 
he  has  appeared  from  time  to  time  in  many 
another  action  film  of  various  sorts,  his  popu- 
larity appears  to  lie  in  his  portrayal  of  western 
roles.  In  support,  taking  care  of  the  romantic 
aspect  is  Jacqueline  Wells,  with  the  very  fa- 
miliar J.  Farrell  MacDonald  in  a  minor  role. 

Against  the  usual  western  scenic  background 
is^  told^  the  accustomed  active  story.  McCoy, 
with  his  friend,  John  Darrow,  returns  to  Mc- 
Coy's western  home  town,  is  taken  in  by  his 
old  friend,  the  local  doctor,  and  causes  con- 
siderable stir  among  several  elements  of  the 
town.  McCoy,  it  seems,  has  emerged  from  jail 
after  serving  sentence  for  a  crime  which  we 
are  assured  he  did  not  commit,  the  murder  of 
his  uncle. 

Three  unscrupulous  gentlemen  contrived  to 
share,  respectively,  a  mine,  a  ranch  and  a  good 
deal  of  money  which  rightfully  should  have  been 
McCoy's.  And  there  is  a  missing  will  to  prove 
his  right  to  the  property.  The  three  plot  to  put 
McCoy  out  of  the  way,  while  he,  finding  no 


ally  in  the  law,  bands  together  a  group  of  men, 
all  of  whom  were  wronged  by  at  least  one  of 
the  three,  and  proceeds  to  prey  upon  them 
from  a  secret  hideout  in  the  mountains. 

Darrow,  who  had  been  shot  accidentally  in 
an  attempt  on  McCoy's  life,  is  confined  to  the 
house  and  develops  a  deep  interest  in  Miss 
Wells,  the  doctor's  daughter.  When  he  sees 
McCoy  kissing  her,  he  reveals  the  McCoy  hide- 
out to  the  three  men.  McCoy  and  the  doctor  are 
captured  and  about  to  be  shot  when  the  repentant 
Darrow,  riding  for  help,  arrives  to  save  the 
day,  following  a  confession  by  the  trio  of  the 
murder  of  which  McCoy  was  convicted. 

McCoy  steps  aside  so  that  Miss  Wells  and 
Darrow,  whom  she  really  loves,  may  be  to- 
gether.— Aaronson,  New  York. 

Produced  and  distributed  by  Columbia.  Story  and 
screen  play,  Harold  Shumate.  Director,  David  Sel- 
man.  Assistant  director,  Norman  Deming.  Camera- 
man. George  Meehan.  Sound  engineer,  Lodge  Cun- 
ningham. Film  editor,  Al  Clark.  Running  time,  57 
minutes.  Release  date,  Jan.  21,  1935.  P.C.A.  Certifi- 
cate No.  409.    General  audience  classification. 

CAST 

Tim  Baxter    Tim  McCoy 

Sally  Wayne    Jacqueline  Wells 

Dr.   Wayne   Erville  Alderson 

Miller   Charles  Middleton 

Johnny    John  Darrow 

Sheriff    J.  Farrell  MacDonald 

Thorne    Wheeler  Oakman 

Pete    Steve  Clark 


The  Triumph  of 
Sherlock  Holmes 

(  Gaumont-British) 
Mystery  Drama 

Exceptional  fidelity  to  the  atmosphere  and 
characterization  of  the  Conan  Doyle  stories  is 
the  outstanding  quality  of  this  British  picture, 
one  of  a  series  made  for  Gaumont  British  dis- 
tribution, in  the  Twickenham  studio.  There  is 
suspense  and  a  surprise  finish. 

Arthur  Wontner's  resemblance  to  Holmes  as 
he  \vas  pictured  in  the  first  illustrations  to  the 
Doyle  stories  is  a  big  asset.  It  is  coupled  with  a 
real  understanding  of  the  author's  methods  of 
narration  on  the  part  of  Leslie  Hiscott,  the 
director. 

The  story  is  that  Holmes,  on  the  verge  of 
retirement,  receives  a  visit  from  Dr.  Moriarty, 
the  super  crook,  who  warns  him  that  he  will 
"come  back"  at  his  peril.  Later  Holmes  is 
asked  to  investigate  the  murder  of  John  Doug- 
las, a  wealthy  Anglo-American,  at  a  lonely 
country  house.  An  anonymous  message  warns 
him  that  Moriarty  is  involved. 

The  murder  was  done  with  a  shotgun,  the 
face  destroyed.  Mrs.  Douglas  explains  the  mo- 
tive by  telling  how  her  husband  had  delivered 
to  the  police  the  members  of  "The  Scourers," 
aji  American  secret  society,  and  that  he  had 
feared  their  vengeance.  Holmes,  piecing  to- 
gether such  trivial  clues  as  the  disappearance 
of  one  of  a  pair  of  dumbbells  and  the  length 
of  a  burned  candle,  deduces  that  Douglas  is 
not  dead  and  that  the  real  victim  is  the  would- 
be  assassin.  He  discovers  Douglas  hiding  in  an 
old  tower.  Moriarty,  who  has  planned  the 
crime,  comes  to  carry  away  the  murderer,  is 
trapped  and  falls  to  his  death  from  the  tower. 

It  is  safe  to  promise  that  the  character  and 
story  are  visualized  exactly  as  Conan  Doyle 
conceived  them. — Allan,  London.  • 

Produced  by  Real  Art  Productions  at  Twickenham 
and  distributed  by  Gaumont-British.  Based  on  Sir 
Arthur  Conan  Doyle's  "The  Valley  of  Fear."  Adapta- 
tion by  H.  Fowler  Mear  and  Cyril  Twyford.  Camera, 
William  Lufif.  Sound,  Leo  Wilkins.  Running  time, 
87  minutes.  "A." 

CAST 

Sherlock  Holmes    Arthur  Wontner 

Dr.  Watson    Ian  Fleming 

Professor   Moriarty    Lyn  Harding 

John  Douglas    Leslie  Ferrins 

Ettie  Douglas    Jane  Carr 

Inspector  Lestrade    Charles  Mortimer 

Mrs.  Hudson    Minnie  Rayner 

Cecil  Barker    Michael  Shepley 

Ted  Balding    Ben  Welden 

Boss  McGinty    Roy  Emerton 

Ames    Conway  Dixon 

Col.  Sebastian  Moran    Wilfred  Caithness 

Captain  Marvin    Edmund  D'Alby 

Jacob  Schafter  Ernest  Lynds 


Northern  Frontier 

(Ambassador) 
Action  Story 

Partaking  of  the  nature  of  the  western  fea- 
ture, this  moderately  entertaining  action  yarn 
moves  from  the  western  plains  and  mountains 
into  the  country  of  the  Northwest  Mounted 
Police.  The  film  features  Kermit  Maynard, 
brother  of  the  redoubtable  and  popular  Ken 
Maynard.  Hardly  a  more  expert  actor,  but 
definitely  better  looking,  Kermit  injects  some- 
thing of  his  trick  riding  ability  into  the  picture, 
which  is  from  a  James  Oliver  Curwood  story. 

Against  a  background  of  efl^ectively  rugged 
scenery  the  action — and  romance — take  place, 
with  a  few  slow  spots  compensated  by  plenty 
of  fast-moving  action.  The  pace,  on  the  whole, 
is  maintained  at  a  rapid  tempo. 

Name  value  is  stronger  in  support  than  usual, 
but  the  lead  name  is  not  outstanding.  How- 
ever, Kermit  Maynard  looks  like  a  good  action 
name  to  build  up.  The  support  includes  Eleanor 
Hunt,  in  the  feminine  lead;  J.  Farrell  Mac- 
donald  and  Russell  Hopton. 

Maynard,  Mounted  Police  officer,  is  ordered 
by  his  chief  to  track  down  a  group  of  counter- 
feiters working  their  territory.  He  goes  to  work, 
efl^ectively,  bringing  in  two  men,  and  then, 
learning  an  important  secret,  joins  the  coun- 
terfeit gang  as  one  of  them.  He  learns  that  the 
father  of  Miss  Hunt,  whom  Maynard  loves,  is 
the  former  engraver  doing  the  counterfeiting, 
being  forced  into  the  work  by  the  gang  leader 
who  holds  something  over  him. 

When  he  follows  one  of  the  gang  into  town 
from  the  hideout  and  is  in  danger  he  is  saved 
by  another  member.  With  chases,  scrapping 
and  stunting  by  Maynard,  the  film  moves 
rapidly,  until  the  gang  is  captured.  Maynard's 
rescuer  reveals  himself  as  a  member  of  the 
United  States  Secret  Service,  and  Miss  Hunt, 
with  her  father  freed  and  discovered  to  be  inno- 
cent, accepts  her  sentence  of  life — with  May- 
nard. 

Action  material,  it  should  be  found  satisfac- 
tory in  the  weekend  position.— Aaronson,  New 
York. 

Produced  and  distributed  by  Ambassador  Pictures. 
Suggested  by  James  Oliver  Curwood's  story,  "Four 
Minutes  Late."  Directed  by  Sam  Neufield.  Screen 
play  by  Barry  Barringer.  Film  editor.  Jack  English. 
Sound  engineer,  Hans  Weeren.  Supervised  by  Sig. 
Neufield.  Photographed  by  Edgar  Lyons.  Running 
time,  57  minutes.  Release  date,  Feb.  1,  1935.  General 
audience  classification. 

CAST 

MacKenzie   Kermit  Maynard 

Beth    Braden   Eleanor  Hunt 

Duke  Milford   Russell  Hopton 

Inspector  Stevens  J.  Farrell  Macdonald 

Bull  Stone   Roy  Mason 

Sam  Keene  Ben  Hendricks,  Jr. 

Mae   Gertrude  Aster 

Braden   Lloyd  Ingraham 

Mike   Kernan  Cripps 

Pete   Dick  Curtis 

Durkin   Jack  Chisholm 

Slink   Garu  Artie  Artego 

Mountie   Charles  King 

Cook   Walter  Brennan 


While  the  Patient  Slept 

(First  National) 
Mystery 

There  should  be  a  strong  selling  point  in  the 
fact  that  this  murder  mystery  is  adapted  for 
the  screen  from  the  novel  of  the  same  title  by 
Mignon  G.  Eberhart,  one  of  the  most  popular 
of  today's  mystery  story  writers.  There  can 
be  no  doubt  that  this  story  has  received  the 
avid  attention  of  many  potential  patrons. 

It  must  be  said  that,  although  the  mystery 
is  really  quite  mysterious,  with  its  several  sus- 
pects, its  plentiful  motives  and  opportunities 
for  the  crimes,  there  is  almost  too  much  comedy. 
Those  who  like  their  mystery  films  unadulter- 
ated with  humor,  may  be  unappreciative  of  so 
much  comedy.  On  the  other  hand,  many  may 
be  more  apt  to  attend  if  they  are  told  there  are 
numerous  laughs  to  go  with  the  mystery.  The 
exhibitor  must  decide  which  is  the  best  tack 
to  take. 

There  are  three  outstanding  comedy  names 


March    9,  1935 


MOTION    PICTURE  HERALD 


53 


to  be  sold,  Guy  Kibbee  and  Aline  MacMahon, 
who  have  gained  an  increasing  popularity  as 
comedy  team,  and  Allen  Jenkins,  always  de- 
pendable where  laughs  are  wanted.  Kibbee  as 
the  detective  and  Miss  McMahon  as  the  trained 
nurse  who  finds  herself  in  the  midst  of  crime 
and  illness,  and  assists  old  friend  Kibbee  in 
solving  his  mystery,  are  the  concentration  cen- 
ters of  the  story,  with  Jenkins  as  the  stupid 
and  noisy  detective  assistant  of  Kibbee  con- 
tributing largely  and  hectically  to  proceedings. 

Nurse  MacMahon  is  called  to  the  home  of  the 
wealthy  Walter  Walker  when  he  falls  ill,  sur- 
rounded by  his  avaricious  relatives.  There  is 
all  the  tried  and  true  atmospheric  material  in 
the  howling  rain  storm,  the  large  dog  chained 
in  the  yard  and  barking  at  the  approach  of 
strangers,  the  large  and  gloomy  house  and  all 
the  rest.  Robert  Barrat,  eldest  son,  steals 
down  into  the  master's  bedroom,  and  is  mur- 
dered as  he  tries  to  get  away  with  a  small 
metal  figure  of  an  elephant,  taken  from  the 
mantel. 

Kibbee  arrives  with  Jenkins  and  goes  to 
work.  Suspect  are  all  the  relatives  and  servants, 
and  as  Jenkins  rants  and  tears  through  the 
house  with  vim,  gusto  and  no  results,  Kibbee 
quietly,  and  humorously,  works  his  way  from 
person  to  person,  idea  to  idea.  He  thinks  he 
has  the  murderer  in  his  grasp  by  virtue  of  the 
clues  which  have  been  uncovered  for  the  most 
part  by  Miss  MacMahon,  when  the  suspect  is 
killed,  strangled  with  a  violin  string.  All  this 
time  Kibbee  is  pressing  his  apparently  long 
standing  courtship  of  Miss  MacMahon. 

Eventually,  through  a  ruse,  Kibbee  uncovers 
the  totally  unsuspected  murderer,  and  Miss 
MacMahon  is  about  to  say  yes  to  Kibbee  when 
the  still  unconscious  elderly  Mr.  Walker  sud- 
denly awakens — and  asks  if  anything  has  hap- 
pened. 

Mystery  with  a  strong  comedy  slant,  this  may 
well  be  sold  with  emphasis  on  both  aspects  of 
the  story  and  its  treatment,  and  with  plenty  of 
name-selling. — Aaron  son.  New  York. 

Produced  and  distributed  by  First  National.  Di- 
rector, Ray  Enright.  Screen  play  by  Robert  N.  Lee 
and  Eugene  Solow.  Additional  dialogue  by  Brown 
Holmes.  Dialogue  director.  Gene  Lewis.  Based  on 
novel  by  Mignon  G.  Eberhart.  Pliotography  by  Ar- 
thur Edeson.  Film  editor,  Owen  Marks.  Art  direc- 
tor, Esdras  Hartley.  P.  C.  A.  Certificate  No.  576. 
Running  time,  66  minutes.  Release  date,  March  9, 
1&3S.     General  audience  classification. 

CAST 

Sarah  Keate    Aline  MacMahon 

Lance  O'Leary    Guy  Kibbee 

Deke  Ix)nergan   ,   Lyle  Talbot 

March   Federie   Patricia  Elhs 

Jackson   Allen  Jenkins 

Adolphe  Federie    Robert  Barrat 

Eustace  Federie    Hobart  Cavanaugh 

Mittee  Brown    Dorothy  Tree 

Elihu  Dimuck    Henry  O'Neill 

Dr.  Jay    Russell  Hicks 

Isobel   Federie    Helen  Flint 

Grondal    Brandon  Hurst 

Muldoon    Eddie  Shubert 

Richard  Federie    Waher  Walker 


The  Lost  City 


(Regal  Pictures) 
Action  Melodrama 

Available  to  the  exhibitor  either  in  the  forrn 
of  a  feature  or  as  a  serial,  "The  Lost  City" 
appears  to  offer  the  greater  probable  appeal 
via  the  serial  route,  since  its  makeup  is  of  the 
sort  to  find  best  reaction  from  the  youngsters 
and  those  adults  who,  not  particular  as  to  per- 
formances and  the  ring  of  authenticity  in  situa- 
tions, like  their  screen  fare  in  the  action  tempo 
of  melodrama.    Here  is  week-end  material. 

The  novel  premise  of  this  independent  film 
is  a  lost  city  in  the  jungle  heart  of  Africa, 
atop  a  magnetic  mountain,  from  which  a  crazed 
scientist  causes  devastating  electrical  disturb- 
ances to  hurl  disaster  into  the  outside  world, 
turns  native  tribesmen  into  brainless  ^  slaves, 
and  does  other  equally  weird  maneuvering. 

William  Boyd,  Kane  Richmond,  Claudia  Dell 
and  George  Hayes  are  the  best  known  names. 

Scientists  determine  something  must  be  done 
to  stop  the  deluge  of  catastrophic  occurrences. 
Richmond,  young  scientist,  through  a  mag- 
netic device  of  his  own  invention,  is  certain  the 
trouble  is  coming  from  a  location  in  the  cen- 


ter of  Africa.  He  leads  an  expedition,  includ- 
ing his  assistant  and  two  other  formerly  scep- 
tical scientists. 

In  Africa  they  run  into  trouble  at  once,  find 
the  source  is  as  Richmond  had  guessed,  and 
seek  the  magnetic  mountain.  They  are  cap- 
tured by  the  slaves  of  Boyd,  the  master  of  the 
lost  city.  His  power  lies  in  his  influence  over 
an  aged  scientist,  whose  inventions  give  him 
his  great  electrical  power.  The  old  man's 
daughter  is  the  means  of  forcing  her  father  to 
obey  Boyd.  Boyd,  it  is  discovered,  turns  natives 
into  giant  slaves  who  can  only  obey  his  will, 
sees  through  powerful  television  what  is  going 
on  anywhere  about  him,  hears  what  others  say, 
and  in  general  does  as  he  pleases  by  virtue  of 
the  apparatus  at  his  command. 

Fast  and  fistic  action  has  its  place,  as  Rich- 
mond and  his  assistant  attempt  to  escape.  The 
two  other  scientists  try  to  doublecross  him  by 
making  away  with  the  brilliant  old  man,  and 
are  captured  by  the  infuriated  natives,  until 
Richmond  succeeds  in  saving  father,  daughter 
and  self  for  the  benefit  of  humanity — and  ro- 
mance.— Aaronson,  New  York. 

Distributed  by  Regal  Pictures.  Produced  by  Sher- 
man S.  Krellberg  for  Super-Serial  Productions,  Inc. 
Directed  by  Harry  Revier.  From  the  story  by  Zelma 
Carroll,  George  W.  Merrick  and  Robert  Dillon.  Screen 
play  by  Perley  Poore  Sheehan,  Addie  Graneman  and 
Leon  d'Usseau.  Running  time,  74  minutes.  Release 
date,  Feb.  14,  1935.    General  audience  classification. 

CAST 

Zolok   William  Boyd 

Bruce  Gordon   Kane  Richmond 

Natcha   Claudia  Dell 

Manyus   Josef  Swickard 

Butterfield   George  F.  Hayes 

Reynolds   Ralph  Lewis 

Gorzo   William  Bletcher 

Jerry    Eddie  Fetherston 

Andrews   Milburn  Moranti 

Appolyn   Jerry  Frank 

Colton   William  Millman 


School  for  Girls 

(Liberty) 
Drama 

A  social  drama,  centering  about  the  man- 
agement of  a  reform  school  for  girls,  this  in- 
dependent film  is  really  entertaining  fare,  but 
adult  material. 

Where  lighter  moments  would  seem  difiicult 
of  inclusion,  there  have  been  several  injected, 
chiefly  through  the  amusing  attempt  of  an  in- 
mate to  use  long  words,  always  incorrectly. 
Romance  is  almost  secondary  to  the  mainspring 
of  the  structure — the  conditions  in  the  reform 
school,  the  results  of  those  conditions,  and  the 
cleansing  of  this  blot  upon  society.  Perhaps  by 
reason  of  the  central  theme,  with  discussion  now 
and  again  in  the  newspapers  concerning  such 
institutions,  the  exhibitor  may  enlist  com- 
munity support  of  one  sort  or  another. 

The  cast  is  good,  although  not  especially 
strong  in  box  office  names,  including  Sidney 
Fox,  Paul  Kelly,  Lois  Wilson.  As  the  hard- 
bitten, grafting  and  cruel  superintendent  of  the 
school,  Lucille  La  Verne  is  excellent  in  a  highly 
unsympathetic  role.  The  film  is  an  adaptation 
of  a  novel  by  Reginald  Wright  Kauffman,  "Our 
Undisciplined  Daughters." 

The  selling,  it  would  seem,  might  better  con- 
centrate on  the  reform  school  theme,  at  the 
same  time  not  overlooking  the  romantic  aspect. 

Miss  Fox,  out  of  work,  is  befriended  by  an- 
other girl,  meets  Russell  Hopton,  and  is  led  into 
a  situation  where  she  is  arrested  with  him,  a 
jewelry  thief.  She  is  sentenced  to  three  years 
in  the  reform  school,  and  comes  under  the 
heavy  hand  of  the  merciless  head,  Miss  La 
Verne.  The  only  bright  spots  in  her  incarcer- 
ation are  the  friendliness  of  her  roommates, 
and  the  constant  though  mostly  unavailing  ef- 
forts of  the  assistant  superintendent.  Miss  Wil- 
son, to  lighten  the  toilsome  burden  of  the  in- 
mates. 

Miss  Fox  is  permitted  to  cultivate  a  small 
garden,  but  for  the  most  part  Miss  Wilson 
fights  against  enormous  odds.  The  girls  try 
to  escape,  are  caught  and  subjected  to  solitary 
confinement.  Miss  Wilson's  digging  unearths 
the  fact  that  Miss  La  Verne  is  appropriating 
most  of  the  money  realized  from  the  produce 


raised  by  the  back-breaking  toil  of  the  girls  on 
the  truck  farm.  The  school  is  visited  by  the 
board,  including  Kelly,  wealthy  playboy,  who 
perceives  what  is  not  visible  on  the  surface,  and 
incidentally  falls  in  love  with  Miss  Fox. 

He  begins  quietly,  with  Miss  Wilson's  help, 
to  hunt  out  facts  and  figures  concerning  the 
operation  of  the  school,  and  learns  enough  to 
present  his  case  to  the  governor,  his  father's 
friend.  Before  action  can  be  taken,  the  girls 
in  Miss  Fox's  dormitory,  herself  the  lone  ex- 
ception, attempt  another  escape.  One  of  them 
has  found  a  gun.  They  are  captured,  but  when 
Miss  La  Verne  comes  to  investigate  the  noise, 
she  is  killed.  Miss  Wilson  actually  did  the 
shooting  and  takes  the  blame,  reforms  are 
instituted,  and  Miss  Fox  is  paroled  in  the  cus- 
tody of  Kelly,  permanently. — Aaronson,  New 
York. 

Produced  and  distributed  by  Liberty  Pictures.  Pro- 
ducer, M.  H.  HolTman.  Directed  by  William  Nigh. 
Screen  story  by  Albert  De  Mond.  Suggested  by  "Our 
Undisciplined  Daughters"  by  Reginald  Wright  Kauflf- 
man.  P.  C.  A.  Certificate  No.  219.  Running  time,  73 
minutes.  Release  date,  March  22,  1935.  Adult  audi- 
ence classification. 

CAST 

Annette    Sidney  Fox 

Gary  Waltham    Paul  Kelly 

Miss  Cartwright    Lois  Wilson 

Miss  Keeble    Lucille  La  Verne 

Dorothy    Dorothy  Lee 

Hazel    Toby  Wing 

Florence    Dorothy  Appleby 

Peggy    Lona  Andre 

Eliott  Robbins    Russell  Hopton 

Nell  Davis    Barbara  Weeks 

Gladys    Kathleen  Burke 

Dr.  Calvin    Anna  Q.  Nilsson 


One  Run  EInner 

(Educational) 
Good 

A  fairly  good  comedy  as  comedies  go  today, 
but  not  up  to  the  standard  of  Buster  Keaton's 
previous  comedy  efforts  for  Educational.  Here 
he  is  a  lonesome  gas  station  operator  in  the 
middle  of  the  desert,  upset  by  the  arrival  of 
competition  across  the  road.  The  two  play  on 
opposite  teams,  both  with  their  minds  on  a  girl 
who  promises  she  will  go  to  a  dance  with  the 
one  whose  team  wins.  The  comedy  antics  at 
the  desert  ball  game  are  really  entertaining, 
with  Keaton's  "accidents"  and  long  face  respon- 
sible for  the  humor. — Running  time,  19  minutes. 


Off  All  Things 

( Cartoon  Exhibitors ) 
Fair 

Cartoon  Exhibitors,  Inc.,  New  York  firm,  is 
releasing  a  sequence  which  it  describes,  justi- 
fiably, as  suitable  for  tacking  on  the  end  of 
the  newsreel  on  the  theatre  program.  It  is  the 
screen  reproduction,  with  accompanying  inci- 
dental music,  of  paragraphs  from  the  New 
Yorker's  column  of  occasionally  amusing  com- 
ment on  events  in  the  news  by  Howard  Bru- 
baker.  The  running  time  is  only  three  to  four 
minutes,  and  the  material  would  seem  more 
readily  adaptable  to  the  metropolitan  audience. 
As  part  of  the  newsreel,  it  would  seem  a  rather 
welcome  variation. 


Object  Not  Matrimony 

(Educational) 
Only  Fair 

The  acknowledged  excellent  comedy  ability 
of  the  diminutive  Ernest  Truex  of  the  stage 
and  screen  is  hardly  in  keeping  with  the  ma- 
terial with  which  he  has  to  work  in  this  com- 
edy subject,  being  composed  largely  of  noise 
and  slapstick.  The  best  sequence  is  probably 
Truex's  inebriation  act.  The  story  has  Truex, 
alone  at  home  at  his  writing,  going  to  hire  a 
new  cook,  wandering  into  a  matrimonial  agency 
by  mistake  and  engaging  a  mountainous  girl  as 
a  cook,  he  thinks.  Her  efforts  to  be  romantic, 
his  to  assert  his  authority,  are  the  focal  points 
of  the  comedy.  Only  fair. — Running  time,  19 
minutes. 


54 


MOTION    PICTURE  HERALD 


March    9,  1935 


MPTOA  CONVENTION  VOTES  FOR 
REVISION  OF  CODE,  LOCAL  BOARDS 


Committee  to  Confer  with  Ros- 
enblatt for  Equalized  Balance 
on  Code  Authority,  More 
Authority  for  Local  Boards 

Several  hundred  motion  picture  exhibi- 
tors returned  last  weekend  from  New  Or- 
leans and  the  15th  annual  Motion  Picture 
Theatre  Owners  convention  after  three  days 
of  discussions  of  practices  and  problems  of 
the  trade  held  in  the  open  on  the  Roosevelt 
Hotel  convention  floor  had  crystallized  into 
the  usual  set  of  resolutions  of  condemnation 
and  approbation. 

Lone  Action  in  Code  Attack 

The  attack  was  centered  on  the  motion 
picture  code  and  its  machinery,  and  although 
Sol  A.  Rosenblatt,  NRA  Compliance  Direc- 
tor, made  the  trip  expressly  from  Washing- 
ton to  defend  the  document  and  plead  for 
tolerance  toward  its  board  machinery,  the 
delegates  voted  to  proceed  for  a  recon- 
struction of  both.  This  was  the  one  out- 
standing action,  after  re-election  of  officers. 

There  were  22  resolutions  written  at  this 
1935  convention,  about  the  same  as  past 
conventions  and  covering  virtually  the  same 
subjects — the  code,  trade  practices,  score 
chai-ges,  block  booking,  music  seat  taxes, 
insurance,  non-theatricals  and  the  like. 

A  committee  of  five,  yet  to  be  named, 
will  confer  with  Mr.  Rosenblatt  to  recom- 
mend : 

(1)  Reorganization  of  the  Code  Authority 
to  provide  for  nnore  equitable  representa- 
tion of  the  various  industry  branches. 

(2)  Greater  authority  for  Local  Grievance 
Boards,  their  decisions  to  beconne  imme- 
diately effective  and  operative  until  and 
unless  revised  or  modified  by  the  Code 
Authority. 

(3)  To  Provide  for  a  review  by  the  Code 
Authority  of  matters  or  findings  of  fact 
resulting  in  decisions  by  Local  Grievance 
and  Zoning  Boards  only  when  such  review 
is  necessary  to  establish  or  support  the 
legality  of  the  board's  decision. 

The  resolution  was  presented  by  Morgan  A. 
Walsh. 

A  20  per  cent  cancellation  clause  in  the  code, 
instead  of  the  present  10  per  cent,  was  de- 
manded. 

Producers  were  complimented  for  their  self- 
regulation  of  production  morals  and  in  the 
same  resolution  an  appeal  was  made  to  the 
public  to  support  motion  pictures  produced 
under  the  new  standard. 

Distributors  were  attacked  for  demending  pre- 
ferred playing  time,  and  selective  contracts  were 
denounced  as  a  whole. 

Block  booking  was  endorsed  as  an  industry 
practice. 

Elimination  of  premiums  through  a  majority 
vote  in  each  territory  was  requested. 

A  complete  divorcement  between  the  sale  of 
short  subjects,  including  newsreels,  and  fea- 
tures, was  resolved. 

Complete  elimination  of  score  charges  was 
demanded. 

Entry  of  the  United  States  into  the  Inter- 
national Copyright  Union  at  Berne  will  be 
opposed  unless  changes  are  made  in  existino- 


copyright  laws  to  protect  Americtn  exhibitors 
from  the  deluge  of  additional  licenses  which,  it 
was  said,  would  follow  such  entry.  A.  Julian 
Brylawski  presented  this  resolution. 

On  nontheatrical  competition,  the  delegates 
resolved  that  a  standing  committee  be  appointed 
to  discourage  the  practice  as  indulged  in  by 
national  advertisers. 

Declaring  "local  problems  can  best  be  amic- 
ably disposed  of  by  Local  Grievance  and  Clear- 
ance Boards  acting  without  instructions  from 
interested  parties  unfamiliar  or  but  superficially 
acquainted  with  local  conditions,"  a  resolution 
expressed  the  delegates'  opposition  to  the  re- 
ported practice  of  attempting  to  influence  board 
members. 

Would  Set  Matinee  Close  at  6:01  P.M. 

Voted  for  inclusion  in  the  code  was  a  reso- 
lution declaring  that  matinees  be  designated 
as  expiring  not  later  than  6:01  p.m.,  and  that  it 
would  be  unfair  practice  to  continue  matinee 
admission  prices  beyond  that  hour. 

Free  radio  shows  were  denounced. 

Family  night  type  of  programs  were  en- 
dorsed. 

Independent  producers  were  complimented 
for  the  caliber  of  recent  product. 

Fire  underwriters  will  be  petitioned  to  re- 
duce premium  rates. 

Cooperation  with  theatre  patrons  to  facili- 
tate individual  selection  of  pictures  according 
to  the  taste  and  preference  of  the  patron  was 
urged. 

Opposition  was  expressed  to  the  practice  of 
broadcasters  permitting  large  audiences  to  at- 
tend free  broadcasts. 

Members  were  requested  to  pledge  them- 
selves not  to  exhibit  "sex-hygiene"  pictures, 
socalled,  because  they  inspire  "hostile  legisla- 
tion." Production  and  distribution  of  such 
pictures  were  denounced. 

The  motion  picture  trade  press  was  thanked 
for  covering  the  convention. 

A  resolution  expressed  sympathy  for  M.  E. 
Comerford,  vice-president,  who  is  ill. 

Ed  Kuykendall,  president,  was  given  a  vote 
of  confidence. 

Voted  down  were  resolutions  advocating  the 
banning  of  double  featuring  unless  a  majority 
of  exhibitors  in  a  territory  voted  for  the  policy, 
and  barring  any  code  Clearance  Board  member 
from  sitting  on  a  case  in  which  he  is  interested. 

Denied  by  Chicago's  Jack  Miller  was  a  report 
that  the  convention's  discussions  about  scrap- 
ping the  code  were  merely  a  screen  for  trading 
with  distributors. 

Agreeing  that  "essential  modifications"  of 
the  code  would  be  in  order,  Mr.  Rosenblatt  de- 
clared at  the  final  session  Thursday  that  it  is 
the  soundest  means  yet  found  to  lighten  the 
problems  of  the  industry. 

Lashing  out  at  code  critics,  Mr.  Rosenblatt 
said  the  code  had  established  rights  and  reme- 
dies, tribunals  to  regulate  practices  and  afford 
relief  from  unfair  competition,  and  means  for 
relief  from  overbuying.  He  said  decisions  in 
75  per  cent  of  code  cases  favored  exhibitors. 

"Out  of  1 ,020  cases  tried  by  Local 
Grievance  Boards,"  Mr.  Rosenblatt  ex- 
plained, "some  771  complaints  brought 
relief  to  exhibitors.  In  only  24  per  cent 
of  the  cases,  or  237  complaints,  was  relief 
denied."  In  only  15  per  cent  of  appeals 
to  the  Code  Authority  were  the  local 
boards  reversed. 

"In  the  fifteen  months  that  the  motion  pic- 
ture code  has  been  in  operation,  whatever  else 
has  happened — and  the  scroll  is  long  in  its  list 
of  achievements — this  one  result  is  of  national 
significance.    Under   a   single   motion  picture 


20  Per  Cent  Cancellation  Asked; 
Block  Booking  Endorsed;  Ros- 
enblatt Says  75  Per  Cent  of 
Code  Rulings  Favor  Exhibitor 

code,  coordinating  for  the  first  time  in  history 
the  three  essential  divisions  of  the  industry — 
the  way  has  been  found  for  constructive  action 
for  the  good  of  all.  .  .  . 

"Until  the  code  was  achieved,  there  was  no 
such  thing  as  relief  for  clearance  and  zoning 
problems  generally.  Now  the  Clearance  and 
Zoning  Boards  are  in  operation  to  pass  wholly 
upon  those  questions.  In  the  first  289  cases 
brought  to  these  boards,  relief  has  been  granted 
to  172  exhibitors — 59  per  cent  of  these  com- 
plaints filed.  Appeals  were  taken  to  the  Code 
Authority  in  78  of  these  cases.  Again  the  ex- 
hibitor profited ;  again  the  exhibitor  gained 
protection  that  was  never  thought  of  and 
could  never  be  had  before  this  code  was  drawn. 
Eighteen  per  cent  of  the  appeals  heard  were 
reversed  and  sent  back  to  the  Zoning  Boards ; 
judgment  was  affirmed  in  82  per  cent  of  the 
appeals.'' 

Exhibitors  Critical 

However,  generally  critical  of  Mr.  Rosen- 
blatt's statement  that  the  Code  Authority  and 
field  boards  have  acted  with  complete  fairness, 
exhibitor  criticism  was  expressed  through 
Morgan  A.  Walsh,  code  committee  chairman, 
and  Jack  Miller. 

"Harry  M.  Warner,  Nicholas  M.  Schenck 
and  Merlin  H.  Aylesworth  asked  for  and  got 
places  on  the  Code  Authority,  but  they  never 
attended  a  single  meeting  beyond  the  first," 
Mr.  Walsh  charged. 

Mr.  Miller  told  the  exhibitors,  "You'll  co- 
operate and  cooperate  until  producers  and  dis- 
tributors own  all  of  your  theatres.  I  say  let's 
go  to  Washington  again.  If  we  can't  get  some- 
thing real,  let's  throw  our  end  of  the  code 
out." 

Robert  B.  Wilby,  of  Valatenga  Theatres,  in 
the  south,  declared,  "I  don't  want  the  code 
either.  I  don't  want  rain  on  Saturday  any 
more  than  I  do  the  code,  and  if  you  can  reso- 
lute that  for  me,  I'd  like  it." 

"Creation  of  a  gigantic  judicial  system  in 
eight  months  is  impossible,"  said  Louis  Nizer, 
of  the  New  York  Film  Board  of  Trade,  in 
urging  exhibitors  to  be  tolerant. 

L.  W.  Robert,  Jr.,  assistant  secretary  of  the 
United  States  Treasury,  said  that,  barring  new 
action  by  Congress,  the  present  ten  per  cent 
federal  tax  on  tickets  will  expire  July  1,  re- 
storing the  old  ticket  tax  exemption  to  ad- 
missions under  $3. 

Carriers  Organize  Fight 

Ninety  per  cent  of  all  film  deliveries  are 
being  handled  for  theatres  by  members  of  the 
National  Film  Carrier,  Inc.,  delegates  heard 
from  James  P.  Clark,  Philadelphia,  president. 
The  carriers  elected  a  legislative  committee  of 
five  to  fight  state  bills.  On  this  committee  are 
Mr.  Clark,  George  Callahan,  Pittsburgh;  L. 
C.  Gross,  Cleveland ;  Harold  Robinson,  De- 
troit; John  Vickers,  Charlotte. 

Delegates  from  San  Francisco,  St.  Louis, 
Oklahoma  City  and  Cincinnati  petitioned  the 
MPTOA  for  the  1936  convention. 

Harry  Thomas  and  the  "March  of  Time"  ar- 
ranged for  a  special  broadcast  from  New 
York  during  the  banquet  on  Thursday. 

A  change  in  the  MPTOA  executive  personnel 
structure  was  ordered  by  the  convention.  Here- 
after the  units  in  the  field  will  select  the  execu- 
tive committee,  naming  a  member  from  each 
zone  in  a  mail  vote. 


.v. 


LIFE 
BEGINS 

of 40' 

with 

ROCHELLE  HUDSON 
RICHARD  CROMWELL  '  GEORGE  BARBIER 
Jane  Darwell  •  Slim  Summerville 

Produced  by  So\  M.  Sffurtttl 
Directed  by  George  Marshall 
Susg*$t*d  by  the  book  by 
Wahcr  B.  PHicin 


March    9  ,  1935 


MOTION    PICTURE  HERALD 


57 


TEXT  OF  SUPREME  COURT 

RULING  ON  TRI-ERCON 


SUPREME  COURT  OF  THE  UNITED  STATES 
October  Term,  1934 
No.  254. 

Paramount    Publix    Corpora-    i    On  Writ  of  Certiorari 

tion,  to  the  United  States 

Petitioner.    [      Circuit  Court  of  Ap- 
vs.  [      peals  for  the  Second 

American    Tri-l£rgon    Corpo-    [  Circuit. 

ration.  I 

(March  4,  1934) 
Mr.  Justice  Stone  delivered  the  opinion  of  the  Court. 

In  this  case  certiorari  was  granted,  293  U.  S. — ,  to 
review  a  decree  of  the  Court  of  Appeals  for  the 
Second  Circuit,  71  F.  (2d)  153,  which  held  vaUd  and 
infringed  the  process  patent  of  Vogt  and  others,  No. 
1,825,598,  of  September  29,  1931,  "for  producing  com- 
bined sound  and  picture  films."  It  reversed  the  dis- 
district  court,  which  had  held  the  patent  invalid  for 
anticipation  and  want  of  invention.  4  F.  Supp.  462. 
The  several  claims  involved  relate  to  a  method  of 
producing  a  single  photographic  film  by  printing  upon 
it  a  picture  record  and  a  sound  record  from  separately 
exposed  and  developed  negatives.  The  positive  film 
thus  produced  is  useful  and  extensively  used  in  repro- 
ducing sound  and  picture  records  in  the  exhibition  of 
"talking  moving  pictures." 

The  respondent,  who  was  the  plaintiff  below,  is  a 
patent  holding  company,  and  acquired  the  patent  by 
assignment.  The  petitioner,  who  was  the  defendant 
below,  is  a  producer  of  motion  pictures,  and  the 
defense  of  the  present  suit  has  been  conducted  on  its 
behalf  by  the  Electrical  Research  Products,  Inc.,  a 
subsidiary  of  the  Western  Electric  Company. 

Procedure  and  Mechanisms 

In  order  that  the  precise  nature  of  the  claims  may 
be  understood,  it  will  be  necessary  first  to  describe 
briefly  the  procedure  and  the  mechanisrns  ernployed 
in  recording  and  reproducing  talking  motion  pictures, 
although  neither  is  embraced  in  the  claims  of  the 
patent.  Several  methods  have  been  devised  for 
recording  sound  and  reproducing  it  in  connection  with 
the  exhibition  of  motion  pictures.  A  familiar  one  is 
the  disc  system,  by  which  the  sound  vibrations  are 
mechanically  recorded  upon  and  reproduced  from  discs 
by  a  stylus,  which  receives  the  sound  vibrations  for 
recording  and  transmits  them  from  the  disc  to  a  loud 
speaker  in  reproducing  the  sound. 

Another  method,  important  here,  is  the  photographic 
film  system,  in  which  the  sound  vibrations  are  re- 
corded upon  a  photographic  record.  In  the  typical 
procedure,  used  by  the  petitioner,  the  sound  waves  to 
be  recorded  are  received  by  a  microphone  so  devised 
as  to  produce  variable  electric  currents  whose  vari- 
ations correspond  to  the  variations  in  the  sound  waves 
received.  The  electric  currents  thus  produced  are 
amplified  and  transmitted  to  two  metal  threads, 
arranged  side  by  side  so  as  to  form  a  narrow  slit 
about  I'VXXl  of  an  inch  in  width,  called  a  light  valve. 
The  current  produces  vibration  of  the  metal  threads 
with  consequent  variation  of  the  hght  passing  through 
the  valve  exactly  corresponding  to  the  sound  vibra- 
tions to  be  recorded.  In  recording  sound,  a  moving 
sensitized  photographic  film  is  exposed  to  a  beam  of 
light  passed  through  the  vibrating  light  valve  which 
is  activated  by  the  electric  currents  varying  according 
to  the  sound  vibrations.  The  exposed  film  is  then 
developed  and  the  "sound  record"  thus  produced  is 
printed  'rom  it  upon  a  positive  film,  where  it  appears 
as  a  scries  of  short  parallel  lines  of  varying  light 
dc-nsity,  corresponding  to  the  sound  vibrations,  wliich 
have  controlled  in  turn  the  variation  in  the  electric 
current  passing  to  the  light  valve  and  the  corre- 
sponding variations  of  Hght  passing  through  it  to  the 
sensitized  film. 

In  reproducing  the  recorded  sound  the  procedure  is 
reversed.  The  positive  sound  film  is  passed  before 
a  light  slit,  from  which  the  light  passes  through  the 
sound  record  film  to  a  photoelectric  cell,  which  is 
devised  to  produce  a  variable  electric  current  corre- 
sponding to  the  light  variations  caused  by  the  moving 
record  film.  The  electric  current  thus  produced  is 
amplified  and  passed  to  a  loud  speaker,  where  it  is 
translated  into  sound  vibrations. 


Synchronization  Methods 


Successful  operation  of  the  talking  motion  picture 
involves  synchronization  of  the  sound  and  picture 
records.  The  difficulties  of  synchronization  are  obvious 
where  the  recorded  picture  and  sounds  are  separately 
reproduced  by  independent  mechanisms.  Success  has 
been  achieved,  and  convenience  in  use  of  the  two 
records  secured,  by  uniting  them  upon  a  single  posi- 
tive film  and  passing  it  at  the  requisite  uniform  speed 
through  a  single  apparatus  designed  to  reproduce  both 
the  sound  and  the  picture.  A  familiar  method  of 
securing  the  two  records  on  a  single  film  is  by 
photographing  simultaneously  the  picture  record  and 
the  sound  record  side  by  side  upon  the  same  strip  of 
film  and  then  printing  from  the  developed  negative  a 
single  positive  film.  This  method  was  disclosed 
in  the  Haines,  British  Patent,  No.  18,057,  of  1906;  in 
the  Ries  Patent,  U.  S.  No.  1.473,976,  of  1923,  applied 
for  in  1913;  in  the  French  patent  to  MacCarty,  No. 


Paramount  Case 


448,757,  of  1912;  and  in  the  Walker  Patent,  U.  S.  No. 
1,186,717,  of  1916.  Another  method  is  by  mechanically 
uniting  the  two  positive  records,  as  by  cementing  them 
together,  after  they  have  been  separately  printed  from 
negative  separately  exposed  and  developed.  This  was 
disclosed  by  the  Bullis  Patent,  U.  S.  No.  1,335,651,  of 
March  30,  1920,  applied  for  in  1915.  A  third  method, 
which  IS  that  claimed  by  the  patent  in  suit,  is  by 
printing  the  two  records  on  a  single  ix)sitive  film 
from  separately  exposed  and  developed  negatives. 

In  petitioner's  practice  separate  photographic  films, 
moving  at  uniform  speed,  are  separately  exposed,  so 
as  to  record  a  scene  and  the  accompanying  sounds, 
and  are  then  separately  developed.  The  two  records 
are  then  printed,  side  by  side,  on  a  single  positive 
film,  used  for  reproducing  the  picture  and  the  sound. 
In  the  typical  reproducing  apparatus  the  film  passes 
successively  through  the  picture  projector  and  the 
mechanism  for  sound  reproduction.  Accordingly,  syn- 
chronization is  accomplished  by  arranging  the  two 
records  on  the  positive  film  in  such  relative  positions 
that  the  two  records  will  simultaneously  reach  the 
two  mechanisms  for  reproducing  them,  so  that  the 
reproduced  sound  will  accompany  the  reproduced  scene 
of  the  picture  as  it  did  when  they  were  recorded. 

Patent  Specifications 

The  specifications  of  the  patent  state  broadly  that 
it  is  of  great  advantage  to  arrange  the  sound  record 
sequences  and  the  picture  record  sequences  on  a  single 
film.  They  then  describe  the  technical  difficulties  in 
developing  the  negative  when  the  sound  and  picture 
records  are  photographed  on  a  single  film.  They  i>oint 
out  that  the  picture  record  is  made  under  changing 
light  conditions,  which  may  result  in  over  or  under 
exposures,  which  will  require  correction  and  a  treat- 
ment in  the  development  of  the  negative  different 
from  that  suitable  to  the  sound  sequence,  which  is 
recorded  under  different  light  conditions.  It  is  said 
that  it  is  practically  impossible  to  secure  the  vari- 
ations in  treatment  required  for  developing  the  two 
types  of  record  where  the  two  sequences,  picture  and 
sound,  are_  photographed  upon  the  same  film  strip. 
The  specifications  then  describe  the  invention  as 
follows ; 

"According  to  the  present  invention  the  difficulty 
IS  overcome  by  either  employing  entirely  separate 
films  for  the  simultaneous  photographing  of  the  sound 
and  picture  negatives,  or  films  which  are  connected 
durmg  the  photographing,  but  which  are  separated 
from  one  another  before  the  developing,  then  sepa- 
rately developing  the  negatives  if  and  in  the  manner 
required  to  remedy  the  difficulties,  and  then  printing 
both  sequences— picture  and  sound— on  the  different 
portions  of  the  same  positive  film." 

Respondent  relies  on  Claims  5  to  9.  inclusive,  and 
Claim  11  of  the  patent,  of  which  it  is  agreed  Claim  5 
IS  typical.    It  reads  as  follows: 

"A  process  for  producing  a  combined  sound  and 
picture  positive  film,  for  talking  moving  pictures, 
comprising  photographing  a  sequence  of  pictures  on 
one  length  of  film,  and  simultaneously  photographing 
on  another  length  of  film  a  corresponding  sequence 
of  sounds  accompanying  the  action,  separately  develop- 
mg  the  two  negatives  in  a  manner  appropriate  for 
each,  and  printing  the  sound  and  picture  negatives 
respectively  upon  different  longitudinally  extending 
portions  of  the  same  sensitized  film,  to  form  the  sound 
sequences  at  one  side  of  and  along  the  picture 
sequence. 

Clainn  Method  or  Process 

It  will  be  observed  that  the  claim  method  or  process 
IS  lor  combining  sound  and  picture  records  on  a  single 
film  and  comprises  three  steps:  first,  the  simultaneous 
photographing  of  a  picture  record  and  a  record  of 
the  accompanying  sound,  each  on  a  separate  negative- 
second,  the  separate  development  of  the  two  negatives 
in  a  manner  appropriate  to  each;  and  third,  the  print- 
ing, either  simultaneously  or  successively,  from  the 
two  negatives  of  the  sound  record  and  the  picture 
record  side  by  side  on  a  single  positive  film 

It  IS  important  to  indicate  the  more  significant  fea- 
tures of  the  sound  reproduction  procedure  and 
mechanisms  which  are  not  embraced  in  the  claims 
ihe  patent  does  not  claim  either  a  method  or  a 
device  for  recording  or  for  reproducing  sound,  or 
a  method  of  synchronizing  the  two  records,  or  the 
use  of  a  single  film  in  the  reproduction  of  combined 
sound  and  picture  records,  or  any  method  or  device 
for  printing  the  positive  record  from  the  two  separate 
negatives.  o^h^kiic 

While  the  claims  speak  of  a  process  or  method  for 
producmg;  a  combined  sound  and  picture  positive  film. 
It  IS  obvious  that  the  process  described  and  claimed 
has  no  necessary  connection  with  sound  reproduction. 


The  positive  film  bearing  the  combined  sound  and 
picture  records  is  a  product  of  the  photographic  art. 
The  method  claimed  for  producing  it  relates  exciu- 
sivelv  to  that  art.  It  is  neither  a  method  of  sound 
recording  nor  sound  reproduction.  It  claims  only  a 
process  every  step  in  which  is  an  application  ':;f  the 
art  of  photography:  simultaneous  exposure  of  the 
negatives,  their  separate  development,  and  printing 
from,  them  a  single  positive  film.  The  process  is  as 
applicable  to  any  other  form  of  photographic  record 
as  tC'  a  photographic  sound  record.  It  is  as  effective 
in  the  production  of  the  one  as  the  other.  Its  impor- 
tance to  the  sound  picture  industry  arises  cnly  from 
the  fact  that  the  single  film,  bearing  the  two  records, 
for  which  no  patent  is  claimed,  is  of  great  utility  in 
that  industry. 

An  examination  of  the  prior  art  can  leave  no  doubt 
that  the  method,  as  thus  described  and  clearly  re- 
stricted by  the  patent,  lacks  novelty  and  invention. 
The  only  step  in  respondent's  method,  for  which  any 
advance  could  be  claimed  over  earlier  methods,  is 
the  process^  of  uniting  two  records  on  a  single  positive 
film  by  printing  them  from  separate  negatives.  The 
Bullis  Patent,  already  mentioned,  and  the  Craig 
Patent,  U.  S.  No.  1,289,337,  of  1918,  had  shown  the 
simultaneous  exposure  and  separate  development  oi 
sound  and  picture  films,  the  advantages  of  which,  as 
well  as  the  advantages  of  the  double  record  on  a 
single  film,  were  well  known.  The  claim  to  invention 
is  thus  narrowed  to  the  single  contention  that  the 
patentees  secured  the  benefit  of  these  well  known 
advantages  by  resort  to  the  added  step  of  uniting  the 
two  separate  photographic  records,  sound  and  picture, 
by  printing  them  on  a  single  film. 


Practice  Long  Known 


The  practice  of  printing  separate  photographs  from 
separately  developed  negatives  upon  a  single  positive 
film  has  long  been  known  to  photographers.  Standard 
photographic  dictionaries,  pubhshed  here  and  abroad 
between  1894  and  1912,  describe  the  procedure  for 
"combination  printing"  of  a  single  positive  picture 
from  separately  developed  negatives.  (*1)  The  pro- 
cedure is  shown  to  have  been  followed  in  the  labora- 
tories of  the  Eastman  Kodak  Company  for  many  years 
prior  to  April,  1921,  the  date  claimed  for  the  present 
patent,  and  before  that  date  the  Company  had  made 
special  materials  for  use  in  combination  printing. 

The  practice  was  also  well  known  in  the  motion  pic- 
ture industry.  In  1908  the  American  Mutoscope  & 
Biograph  Company  made  and  released  in  the  United 
States  a  motion  picture.  The  Music  Master.  This 
picture  was  prepared  by  separately  photographing 
two  scenes.  From  the  separately  developed  negatives 
a  positive  was  printed,  showing  the  two  pictures  on 
the  same  strip  of  film,  from  which  the  motion  picture 
was  reproduced.  The  British  Downing  Patent  No. 
6,727,  of  1913,  discloses  methods  and  apparatus  for 
producing  motion  pictures,  accompanied  by  printed 
words  used  by  the  actors,  the  two  records  being 
printed  on  a  single  positive  film  from  separately 
exposed  and  developed  negatives.  The  Messter  Patent. 
U  S.  No.  1,286,383,  of  1918,  and  the  British  Patent, 
No.  21,467.  issued  to  Rossi  in  1909,  each  discloses  a 
method  of  printing  two  separately  exposed  picture 
records  on  a  single  film.  The  Craig  Patent,  already 
mentioned,  calls  for  separate  exposure  and  develop- 
ment of  sound  and  picture  negatives,  simultaneously 
recorded,  and  their  printing  on  opposite  sides  of  a 
single  film.  The  Greensfelder  Patent,  U.  S.  No. 
1,254,684,  of  1918,  discloses  a  method  for  printing, 
from  separately  exposed  and  developed  negatives,  a 
sound  record  and  a  picture  record  on  the  same  side 
of  a  single  positive  film.  The  function  of  the  sound 
record  differed  radically  from  that  contemplated  by 
respondent's  patent,  but  this  is  immaterial  so  far 
as  its  printing  is  concerned,  in  which  the  (Greensfelder 
patent  does  not  substantially  differ  from  that  in  suit. 
While  these  patents  did  not  specifically  mention  the 
separate  development  of  the  negatives  of  the  two 
records,  it  appears  that  they  were  photographed  sepa- 
rately upon  separate  negatives,  and  the  record  shows 
that  at  their  dates  the  state  of  the  art  was  such  as 
to  require  separate  development  of  the  two  negatives. 
The  practice  and  advantage  of  separate  development 
are  also  shown  to  be  well  known.  This  and  other 
evidence  in  the  record  abundantly  supports  the  finding 

(Continued  on  page  60) 


(*1)  Wilson's  Cyclopaedic  Photography ,  published  by 
Edivard  L.  Wilson,  New  York,  1894;  Encyclopaedic 
Dictionary  of  Photograph.y,  by  Woodbury,  published  by 
Scovill  cS-  Adams  Co.,  New  York,  1896;  Konig,  pub- 
lished by  Dawbarn  &  Ward,  Ltd.,  London,  1906;  Cas- 
sell's  Cyclopaedia  of  Photography ,  by  Jones,  published 
by  Cassell  S-  Company,  Ltd.,  1912.  (The  references, 
with,  quoted  portions  of  the  te.vts,  were  made  a  part  of 
the  record  by  stipulation.)  The  publication  last  men- 
tioned states  that  "combination  printing  had  its  origin 
in  1855,  ivhen  Berwick  and  Annan,  of  Glasgozv,  e.r- 
hibited  a  picture  printed  from  two  different  negatives 
— a  figure  and  a  landscape :''  numerous  later  e.vamples 
of  the  practice  are  givo^. 


Carl  LaemmJe  presents 

THORNS  SMIT 


HT  LIFE 

A  Universal  Picture  with 

ALAN  MOWBRAY  •  FLORINE  McKINNEY 
PEGGY  SHANNON  •  RICHARD  CARLE 
WESLEY  BARRY  •  HENRY  ARMETTA 
FERDINAND  GOTTSCHALK  •  WM.  BOYD 


A  LOWELL  SHERMAN 

PRODUCTION 


/ 


FIRST  THREE 
DAYS'  BUSINESS  AT 
N.  Y.  ROXY  GETS  BIGGEST 
GROSSES  SINCE  ''THE  INVISIBLE 
MAN''- AND  EVEN  BETTERS  THE 
SENSATIONAL  BUSINESS  DONE 
BY  "IMITATION  OF  LIFE"!... 
UNIVERSAL  DOES  IT  AGAIN! 


60 


MOTION    PICTU  RE  HERALD 


March    9  ,     19  3  5 


CLAIM  OF  INVENTION  IS  REJECTED 


(,Contiimed  from  page  57) 

of  the  trial  court  that  as  early  as  1908  it  was  common 
practice  in  the  motion  picture  industry  to  print,  on 
standard  positive  film,  composite  pictures  from  sepa- 
rately developed  negatives. 

Not  Invention 

The  simultaneous  photographing  of  sound  and  pic- 
ture records  was  not  novel,  separate  development  of 
the  negatives  was  well  known,  the  advantage  of 
uniting  the  two  records,  sound  and  picture,  on  a  single 
film  was  well  known,  and  the  method  of  uniting  two 
photographic  picture  records  by  printing  them  from 
the  separate  negatives   was  well  known. 

This  use  of  an  old  method  to  produce  an  old  result 
was  not  invention.  See  Electric  Cable  Co.  v.  Edison 
Company,  292  U.  S.  69,  80,  and  cases  cited.  E,ven  if 
it  be  assumed  that  the  Greensfelder  patent  did  not 
anticipate  that  of  respondent,  because  the  sound  record 
there  mentioned  was  designed  directly  to  operate 
musical  instruments,  rather  than  a  loudspeaker,  all 
that  was  novel  in  the  claimed  method  was  its  applica- 
tion in  the  production  of  a  combined  sound  and  picture 
record,  instead  of  a  combination  .  of  two  picture 
records.  To  claim  the  merit  of  invention  the  patented 
process  must  itself  possess  novelty.  The  apphcation 
of  an  old  process  to  a  new  and  closely  analogous 
subject  matter,  plainly  indicated  by  the  prior  art_  as 
an  appropriate  subject  of  the  process,  is  not  invention. 
Brown  v.  Piper,  91  U.  S.  37.  41 ;  see  Pennsylvania 
Railroad  Co.  v.  Locomotive  Truck  Co.,  110  U.  S.  490, 
494;  Drevfus  v.  Searle,  124  U.  S.  60.  64;  Concrete 
Appliances  Co.  v.  Gomery.  269  U.  S.  177.  184,  185. 
However  wide  the  differences  between  the  procedures 
and  results  of  sound  reproduction  from  film  on  the 
one  hand,  and  picture  reproduction  on  the  other,  the 
method  of  producing  photographic  sound  and  picture 
records  and  uniting  them  on  the  positive  film  are 
identical,  for  both  sound  and  picture  records,  from 
the  time  of  exposure  of  the  negatives  until  the  single 
film  is  completed.  With  knowledge  of  the  well  under- 
stood advantages  of  the  union  of  the  two  records  on 
a  single  film,  it  required  no  more  than  the  expected 
skill  of  the  art  of  photography  to  use  an  old  method 
of  printing  photogi'aphically  the  two  negatives  upon  a 
single  positive. 

Against  this  conclusion  respondents  throw  the 
weight  of  voluminous  evidence,  showing  the  preicticaJ 
utility  and  widespreaid  use  of  the  patented  process, 
which  prevailed  with  the  court  below  as  sufficient  to 
establish  invention.  It  is  said  that,  however  simple 
and  obvious  the  method  may  appear  to  be  now  that 
it  is  in  successful  use,  no  one  before  the  patentees  had 
used  it  for  producing  the  union  of  a  sound  and  a 
picture  record.  Respondents  eJso  allege  that  the  posi- 
tive film  produced  by  its  method  is  more  useful  than 
any  it  had  been  possible  to  produce  by  other  methods, 
and  that  it  has  found  all  but  universal  acceptance. 
These  considerations,  it  is  urged,  shoidd  turn  the 
scale  in  favor  of  invention. 

Laying  aside  the  objection  that  it  is  only  when 
invention  is  in  doubt  that  advance  in  the  art  may 
be  thrown  in  the  scale,  DeForest  Radio  Company  v. 
General  Electric  Company,  283  U.  S.  664.  685;  Smith 
V.  Dental  Vulcanite  Co..,  93  U.  S.  486,  495,  496,  we 
think  the  evidence  of  utility  and  prompt  acceptance  of 
the  patented  method,  in  the  circumstances  of  this 
case,  adds  little  weight  to  the  claim  of  invention. 
The  greater  utility  of  respondent's  film  over  those 
effecting  the  union  of  the  two  records  by  other  meth- 
ods does  not  establish  the  novelty  of  the  method. 
Evidence  of  great  utility  of  a  method  or  device,  it 
is  true,  may  in  some  circumstances  be  accepted  as 
evidence  of  invention.  Where  the  method  or  device 
satisfies  an  old  and  recognized  want,  invention  is  to 
be  inferred,  rather  than  the  exercise  of  mechanical 
skill.  For  mere  skill  of  the  art  wotild  normally  have 
been  called  into  action  by  the  generally  known  want. 
See  Loom  Co.  v.  Higgins.  105  U.  S.  580.  591;  Krementz 
V.  S.  Cottle  Co.,  148  U.  S.  556,  560;  Hobbs  v.  Beach, 
180  U.  S.  383,  392;  Carnegie  Steel  Co.  v.  Cambria  Iron 
Co.,  185  U.  S.  403.  429,  430;  Expanded  Metal  Co.  v. 
Bradford,  214  U.  S.  366,  381. 

Traces  Beginning  of  Sound 

But  the  state  of  the  motion  picture  art,  as  it  is 
disclosed  by  the  present  record,  indicates  that  there 
was  no  generally  recognized  demand  for  any  type  of 
film  record,  for  the  reproduction  of  sound  to  accom- 
pany motion  pictures,  until  after  the  present  patent 
was  applied  for.  See  Hollister  v.  Benedict  &  Burn- 
ham  Mfg.  Co.,  113  U.  S.  59,  73.  Compare  McClain 
V.  Ortmayer,  141  U.  S.  419,  428;  Grant  v.  Walter,  148 
U.  S.  547,  556. 

Before  1926  motion  pictures  were  silent  and  there 
was  no  convincing  evidence  that  the  public  would 
prefer  the  sound  picture.  In  that  year  Warner  Broth- 
ers exhibited  sound  pictures  produced  by  the  disc 
system,  provided  by  the  Western  Electric  Company. 
At  that  time  the  Company  had  for  some  years  been 
experimenting  with  both  film  and  disc  systems  for 
recording  sound,  and  it  had  electrically  recorded  disc 
phonographic  records  which  were  in  commercial  use. 
The  addition  of  sound  on  disc  to  motion  pictures  in- 
volved merely  the  attachment  of  the  phonographic 
type  of  turntable  to  the  ordinary  motion  picture  pro- 
jector, without  any  extensive  modification  of  the 
projector  or  the  film  printing  machines  then  in  use. 


as  was  later  necessary  in  order  to  employ  the  film 
method.  Moreover,  as  has  already  been  indicated, 
skilfully  devised  mechanisms  were  required  for  suc- 
cessfully recording  and  reproducing  sound  by  the 
film  method,  a  problem  distinct  from  any  method  of 
uniting  the  sound  and  picture  records  upon  a  single 
film. 

Until  these  appliances  were  perfected  there  could 
be  no  pressing  and  generally  recognized  demand  for 
the  sound  film.  It  was  not  until  after  the  public  in- 
terest in  sound  pictures  was  disclosed,  in  the  summer 
of  1926,  that  the  mechanism  for  recording  and  re- 
producing sound  by  the  film  method  was  carried  to 
a  state  of  perfection  which  would  warrant  its  produc- 
tion in  commercial  form.  The  light  valve  was  pro- 
duced in  commercial  form  in  December,  1926,  and  the 
first  installations  were  in  1927.  A  rival  system,  of 
the  Fox  Case  Company,  for  recording  and  reproduc- 
ing sound  by  film,  was  not  brought  to  completion 
until  after  1926.  Other  problems  engaging  the  atten- 
tion of  experimenters  in  this  field  were  the  necessary 
improvement  of  the  photo-electric  cell,  the  devising 
of  suitable  emulsion  for  sound  negatives,  of  appara- 
tus for  "mixing"  the  sound  to  be  recorded,  and  the 
mechanical  perfection  of  the  apparatus  for  reproducing 
sound  from  film.  See  Nos.  255,  256,  Altoona  Publix 
Theatres.  Inc.,  et  al.  v.  American  Tri- Ergon  Holding 
A.  G.,  decided  this  day. 

Thus  there  is  no  basis  shown  by  this  record  for 
the  contention  that  advance  in  this  phase  of  the 
motion  picture  industry  was  awaiting  the  development 
of  the  combined  sound  and  picture  record  upon  a 
single  positive  film.  On  the  contrary,  the  inference 
seems  plain  that  the  advance  awaited  the  pubhc  ac- 
ceptance of  the  sound  motion  picture;  that  when  the 
public  demand  became  manifest  it  was  still  necessary 
to  develop  suitable  mechanisms,  not  embraced  in  the 
patent,  for  the  reproduction  of  sound  from  film.  There 
had    long    been,    ready    at    hand,    knowledge    in  the 


photographic  art  which  would  enable  one  skilled  in 
the  art  to  produce  the  film  suitable  for  use  in  the 
new  apparatus.  Indeed,  at  some  time  before  1924, 
Wente,  engaged  in  research  on  sound  film  apparatus 
for  the  Western  Electric  Company,  vrithout  any 
knowledge  of  the  work  of  the  patentees  of  the  pres- 
ent patent,  had  prepared  the  combined  sound  and 
picture  positive  film  by  printing  it  from  separate 
negatives,  sepcirately  exposed  and  developed. 

The  bare  fact  that  several  inventors,  in  the  early 
stages  of  sound  reproduction,  working  independently, 
of  whose  knowledge  and  skill  in  the  photographic  art 
we  know  little  or  nothing,  failed  to  resort  to  a  method, 
well  known  to  that  art,  for  printing  a  combination 
film  for  which  there  was  then  no  generally  recognized 
need,  does  not  give  rise  to  the  inference  of  invention. 

The  court  below  also  rested  its  decision  on  the 
ground  that  the  petitioner  is  estopped  to  deny  the 
validity  of  the  patent  by  the  application  of  Wente, 
April  8,  1924,  who  was  in  the  employ  of  the  Western 
Electric  Company,  for  a  patent  for  an  improvement 
in  recording  and  printing  the  sound  record  film,  which 
contained  claims  broad  enough  to  include  the  method 
claimed  by  respondent.  These  claims  were  rejected 
by  the  Patent  Office  as  reading  on  the  British  Patent 
178,442  of  the  present  patentees,  and  the  Greensfelder 
patent,  already  mentioned.  However  inconsistent  this 
early  attempt  to  procure  a  patent  may  be  with  peti- 
tioner's present  contention  of  its  invalidity  for  want 
of  invention,  this  Court  has  long  recognized  that  such 
inconsistency  affords  no  basis  for  an  estoppel,  nor 
precludes  the  court  from  relieving  the  alleged  infringer 
and  the  pubhc  from  the  asserted  monopoly  when 
there  is  no  invention.  Haughey  v.  Lee,  151  U.  S. 
282.  285. 

Reversed. 

Mr.  Justice  Brandeis  took  no  part  in  the  considera- 
tion or  decision  of  this  case. 


Wilmer  &  Vincent,  Altoona  Coses 


SUPREME  COURT  OF  THE  UNITED  STATES 
October  Term,  1934. 
Nos.  255  and  256. 

Altoona  Publix  Theatres,  Inc., 
Petitioner, 


American  Tri-Ergon  Corpo- 
ration and  Tri-Ergon  Hold- 
ing, A.  G. 


On  Writ  of  Certiorari 
to  the  United  States 
Circuit  Court  of  Ap- 
peals for  the  Third 
Circuit. 


Wilmer  &  Vincent  Corpora- 
tion and  Locust  Street  Real 
Estate  Company. 

Petitioners, 

vs. 

American  Tri-Ergon  Corpo- 
ration and  Tri-Ergon  Hold- 
ing, A.  G. 

(March  4,  1935.) 
Mr.  Justice  Stone  delivered  the  opinion  of  the  Court. 

These  cases  come  here  on  certiorari,  293  U.  S.  ■ — , 
to  review  a  decree  of  the  Court  of  Aopeals  for  the 
Third  Circuit,  72  F.  (2d)  S3,  which  affirmed  a  decree 
of  the  district  court,  5  F.  Supp.  32,  holding  valid  and 
infringed  the  patent  of  Vogt  and  others.  No.  1,713,726, 
of  May  21,  1929,  applied  for  March  20,  1922,  for  a 
"device  for  phonographs  with  linear  phonogram  car- 
riers." 'The  two  cases  were  tried  together  and  have 
been  brought  here  on  a  single  record. 

Petitioners,  the  defendants  below,  are  operators  of 
motion  picture  theatres  whose  sound  reproduction 
machines  are  said  to  infringe  certain  claims  of  the 
patent  in  suit.  The  Radio  Corporation  of  America 
is  defending  both  cases  on  behalf  of  its  subsidiary, 
R.  C.  A.  Photophone,  Inc.,  which  supplied  the  peti- 
tioners' machines.  Respondent,  the  plaintiff  below,  is 
a  patent  holding  company  and  owner  of  the  patent. 

Seven  Claims  in  Issue 

Of  the  nineteen  claims  of  the  patent,  seven  are  in 
issue.  Five  of  them,  numbered  5,  7,  17,  18  and  19, 
relate  to  a  device  for  securing  uniformity  of  speed 
in  machines  used  for  recording  and  reproducing  talk- 
ing motion  pictures,  and  are  referred  to  as  the  "fly- 
wheel claims."  They  may  conveniently  be  considered 
separately  from  Claims  9  and  13  which  present  the 
flywheel  claims  in  a  different  aspect.  Claim  9,  as 
originally  allowed,  was  for  the  accurate  flexing  of  the 
film  record;  Claim  13  similarly  was  for  a  combina- 
tion for  a  means  for  projecting  a  narrow  line  of  light 
upon  and  through  the  moving  film  to  a  photoelectric 
cell  in  sound  reproduction.  A  disclaimer,  filed  by  re- 
spondent shortly  before  the  trial, _  purports,  in  varying 
terms,  to  add  the  flywheel  device  to  each  of  these 
claims. 

While  both  courts  below  have  found  invention  and 
sustained  the  patent,  the  Court  of  Appeals,  as  will 
presently  appear  in  more  detail,  did  not  pass  on  the 
separate  claims  in  issue,  but  found  invention  in  a 
combination  of  elements  not  embraced  in  any  single 
claim.    In  consequence,  the  case  presents  no  question 


of  concurrent  findings  by  the  courts  below  that  the 
claims  in  issue  severally  involve  invention,  see  Con- 
crete Appliances  Co.  v.  Gomery,  269  U.  S.  117,  180. 
The  Flywheel  Claims. 
"Phonograms,"  or  sound  records,  for  the  recorda- 
tion and  reproduction  of  sound,  are  of  several  types. 
They  include  discs  or  cylinders  to  which,  and  from 
which,  sound  vibrations  are  transmitted  mechanically 
by  a  stylus  in  the  course  of  recording,  and  reproduc- 
ing, sound.  Long  strips  of  waxed  paper  carrying 
sound  record  grooves,  similarly  made,  are  used.  Othei' 
types  are  long  strips  of  film  on  which  sound  is  photo- 
graphically recorded,  and  long  steel  wires  on  which 
sound  variations  have  been  magnetically  recorded. 
The  claims  relate  to  an  improvement  in  mechanisms 
for  recording  and  reproducing  sound  by  the  use  of 
linear  photographic  record  carriers.  The  typical  pro- 
cedure in  recording  and  reproducing  sound  by  the  use 
of  phonographic  film  strips  is  described  in  No.  254, 
Paramount  Publix  Corporation  v.  American  Tri-Ergon 
Corporation,  decided  this  day.  and  need  not  be  re- 
peated here. 

Both  in  recording  and  reproducing  sound,  by  any 
form  of  record,  uniform  sped  in  the  movement  of  the 
phonogram  is  of  the  highest  importance,  in  order  to 
secure  evenness  and  regularity  in  the  reproduced 
sound.    The  specifications  state: 

"The  recording  and  the  reproduction  of  sound  waves 
by  the  use  of  linear  phonogram  carriers  such  as  film 
strips,  steel  wires,  and  so  forth,  can  only  be  effected 
in  absolutely  satisfactory  manner,  even  after  the 
removal  of  all  other  occurring  difficulties,  when  the 
speed  of  the  record  carrier  is  uniform  both  for  the 
receiving  and  the  reproduction,  and  when  in  both 
cases  no  variations  of  any  kind  occur.  Especially  in 
the  case  of  musical  reproductions  is  the  record  ex- 
tremely sensitive  to  the  slightest  variations  of  speed." 

Irregularities  of  Movement 

They  also  point  out  that  linear  phonograms  such 
as  the  photographic  film,  because  of  their  lightness 
and  their  want  of  the  momentum  afforded  by  a  re- 
volving cylinder  or  disc  record,  are  peculiarly  sus- 
ceptible to  irregularities  of  movement  caused  by  the 
play  or  friction  in  the  projections  and  connections  of 
the  many  parts  of  the  propelling  apparatus,  and  de- 
clare that: 

"According  to  the  present  invention,  this  draw-back 
which  attaches  to  all  hitherto  known  propulsion 
mechanisms  for  linear  phonogram  records,  is  obviated 
by  the  arrangement,  that  the  light  sound  record  has 
giveii  to  it  at  the  controlling  point  the  property  of 
a  weighty  mass.  This  is  attained  by  the  arrangement 
that  the  record  carrier  (a  film  strip  or  the  like)  is 
firmly  pressed  against  one  or  more  rollers  connect- 
ing with  a  heavy  rotating  mass,  so  that  the  record 
moves  in  exact  conformity  with  the  rollers  and  the 
rotating  mass." 

The  references  to  a  "weighty  mass"  or  "a  heavy 
rotating  mass"  used  to  secure  uniformity  of  motion 
are  to  the  familiar  flywheel.   The  specified  "property" 


March    9  ,  1935 


MOTION    PICTURE  HERALD 


61 


FLYWHEEL  HELD  ^ANCIENT  DEVICE 


of  a  rotating  heavy  mass  is  inertia,  the  tendency  of 
matter  in  motion  to  continue  in  motion,  the  force 
of  which  is  increased  by  the  mass  of  the  moving 
body.  It  is  the  property  which  gives  to  the  flywheel 
its  pecuhar  efficacy  in  securing  uniformity  of  speed 
in  mechanisms  with  which  it  is  associated. 

The  first  three  flywheel  claims.  5.  7  and  17,  are 
apparatus  claims.  The  others,  18  and  19,  are,  in 
foim,  method  claims,  defining  the  method  of  secur- 
ing uniformity  in  movement  of  the  record  film  by 
apparatus  defined  by  Claims  5  and  17.  Claim  5  reads 
as  follows: 

"In  phonographic  apparatus  in  which  the  sound 
record  is  formed  on  an  elongated  ribbon  of  incon- 
siderable mass,  having  feeding  perforations  therein, 
the  combination  of  (a)  means  for  supporting  and 
progressing  the  record  ribbon  from  one  point  to  an- 
other point  and  past  an  intermediate  point  at  which 
the  record  is  made  on  the  ribbon  in  recording  or  from 
which  the  record  is  taken  from  the  ribbon  in  repro- 
ducing, including  (1)  a  toothed  cylinder  over  a  por- 
tion of  which  the  ribbon  passes  adjacent  to  said  in- 
termediate point,  the  teeth  of  said  cylinder  engaging 
the  perforations  of  the  ribbon.  (2)  a  fly-wheel  asso- 
ciated with  said  cylinder,  and  (3)  means  for  rotating 
said  cylinder,  under  control  of  said  fly-wheel  at  uni- 
form speed." 

Other  Claims  Compared 

Claim  17  is  substantially  the  same  as  Claim  S.  the 
principal  difference  being  that  it  uses  the  word  "cyl- 
inder" instead  of  "toothed  cylinder." 

Claim  7  adds  to  the  essentials  of  Claim  5,  "a  re- 
silient connection  between  said  driving  member  (the 
shaft)  and  fly  wheel,  and  stop  means  for  limiting  the 
amount  of  yielding  of  said  resilient  comiection."  This 
so-called  flexible  or  elastic  flywheel  connection,  de- 
signed to  overcome  more  gradually  the  inertia  of 
the  flywheel,  and  thus  to  secure  an  improved  flywheel 
operation,  was  anticipated,  among  others,  by  the 
Constable  Patent,  U.  S.  No.  1,425,177,  of  August  8, 
1922.  appUed  for  June  24.  1918,  as  the  district  court 
found.  Its  inclusion  in  Claim  7  may  therefore  be 
disregarded  as  adding  nothing  more  to  the  present 
patent  than  the  flywheel  without  it. 

There  is  no  serious  contention,  nor  could  there  well 
be,  that  the  combination  apparatus,  for  moving  the 
linear  record  past  the  translation  point  at  which  the 
sound  is  recorded  or  reproduced,  involves  invention 
without  the  flywheel.  Mechanisms  for  moving  linear 
strips,  or  ribbons,  by  passing  the  strip  over  a  revolv- 
ing drum  or  cylinder,  are  a  familiar  type  in  the  arts. 
They  have  long  been  used  in  the  motion  picture  in- 
dustry when  it  was  desired  to  employ  the  linear 
strips  at  an  intermediate  point  for  sound  and  picture 
reproduction,  and  the  like.  Such  a  mechanism,  for 
moving  a  picture  film  past  the  translation  point  in  a 
motion  picture  projector,  is  shown  by  the  Hoist 
Patent,  U.  S.  No.  587,527,  of  1897.  A  like  mechanism 
for  recording  or  producing  sound,  or  both,  by  the  use 
of  linear  photographic  records,  is  shown  in  the  British 
Duddel  Patent,  No.  24.546,  of  1902,  and  the  Reis  Pat- 
ent, U.  S.  No.  1,607,480,  of  1923,  filed  May  21,  1913. 
Still  other  mechanisms,  like  two  of  the  figures  at- 
tached to  the  specifications  of  the  patent  in  suit,  show 
the  translation  point  at  the  film-carrying  cylinder. 
Examples  are  the  patents  of  Bock,  U.  S.  No.  364,472, 
of  1887;  Byron,  U.  S.  No.  1,185,056,  of  1916;  and  Peder- 
sen,  British  Patent  No.  115,942,  of  1918.  The  gist  of 
respondent's  contention,  as  is  shown  by  the  clairns 
and  the  parts  of  the  specifications  already  quoted,  is 
that  by  the  addition  of  the  flywheel  to  this  familiar 
mechanism  the  patentees  have  succeeded  in  producing 
a  new  type  of  machine  for  recording  and  reprodticing 
sound  by  the  photographic  film  method.  It  is  insisted 
that  the  new  device,  because  of  its  greater  accuracy 
and  precision  of  film  movement,  is  so  useful  and  con- 
stitutes such  an  advance  in  the  sound  motion  pictiire 
art  as  to  entitle  it  to  the  rank  of  a  patentable  in- 
vention. 

The  flywheel  set  upon  a  revolving  sheift  is  an  an- 
cient mechanical  device  for  securing  continuity  and 
uniformity  of  motion  when  brought  into  association 
with  euiy  form  of  machinery  moved  by  intermittent 
force  or  meeting  with  irreguleir  or  intermittent  re- 
sistance.(*)  So  universal  is  its  use  for  that  purpose 
in  every  type  of  machinery  that  standard  treatises 
on  mechanics,  long  before  the  application  for  the  pres- 
ent patent,  gave  the  mathematical  formulae,  for  ascer- 
taining the  appropriate  weight  and  dimensions  of  a 
flywheel,  moving  at  a  given  speed,  required  to  over- 
come known  variations  in  force  resistance,  and  pre- 
scribed the  standard  procedure  for  locating  the  fly- 
wheel in  cis  direct  association  as  possible  with  that 
part  of  the  mechanism  at  which  the  intermittent  re- 
sistance occurs.  See  article.  Mechanics,  Sec.  121, 
Encyclopaedia  BritannicEi,  Eleventh  Edition,  1911; 
Angus,  Theory  of  Machines,  pp.  261-272,  1917. 

The  specifications  of  the  patent  recognize  that  disc 
and  cylinder  records  themselves  operate  as  flywheels 
and  proceed  to  show  how  a  want  of  a  similar  control 
may  be  supplied,  in  mechanisms  used  for  motion  pic- 
ture  film   records,  by  the  addition  of   the  flywheel. 


(*)  The  addition  of  the  flywheel  to  the  steam  en- 
gine, in  1758,  was  said  to  be  "a  very  important  addi- 
tion to  the  engine,  and  though  sufficiently  obvious,  it 
is  ingenious  and  requires  considerable  skill  and  address 
te  make  it  effective."  Robinson,  Mechanical  Philosophy, 
Vol.  2,  p.  105,  1822. 


Kut  this  was  specifically  taught  by  the  prior  art  for 
the  reproduction  of  sound  both  from  phonographic 
and  film  records.  There  are  in  evidence  two  Edison 
commercial  recording  machines  with  cylindrical  rec- 
ords, which  were  used  at  the  Edison  Recording  Lab- 
oratory in  New  York  before  1921.  Each  has  a  heavy 
flywheel  mounted  directly  on  the  shaft  of  the  record- 
carrying  cylinder.  These  flywheels  produce  a  high 
degree  of  '*speed  Constance."  An  application  for  a 
patent  by  Edison  in  1879  on  a  claim  for  a  combination 
"with  the  phonograph  cylinder  and  its  shaft,  of  a  fly- 
wheel" w'as  rejected  by  the  examiner  April  7,  1879, 
as  covering  the  "use  of  a  fly  wheel  as  ordinarily  used 
with  machinery  for  the  purpose  of  securing  uniformity 
of  motion."  Upon  reconsideration,  the  claim  was  again 
rejected  on  the  ground  that  the  adaptation  of  the 
flywheel  required  only  the  exercise  of  "ordinary  good 
judgment"  and  not  the  inventive  faculty. 

Other  Patents  Cited 

The  Underbill  Patent,  U.  S.  No.  995,390,  of  1911, 
exhibits  a  phonograph  machine  with  a  flywheel  to 
secure  uniformity  of  motion  of  the  record.  The  spe- 
cifications state  that  the  flywheel  is  used  for  that 
pui-pose.  The  patent  of  Alexander  Graham  Bell  and 
others  (Bell  &  Tainter),  U.  S.  No.  341,213,  of  1886, 
discloses  a  mechanism  for  recording  sound  on  a 
photographic  plate  rotated  at  uniform  speed  under 
the  control  of  a  flywheel.  Another  patent  of  the 
same  inventors,  U.  S.  No.  341,214,  of  1886,  discloses  a 
flywheel  used  in  association  with  a  mechanism  for 
moing  a  linear,  waxcoated  phonograph  record  at  uni- 
form speed  for  recording  and  reproducing  speech  and 
other  sounds.  That  the  record  used  was  not  photo- 
graphic is  unimportant.  The  problem  of  securing  uni- 
formity of  motion  of  the  record  is  the  same  for  either 
type  of  linear  sound  record,  as  the  present  patent 
itself  establishes,  by  classing  together  all  types  of 
linear  records  as  exhibiting  the  "problem"  to  which 
the  patent  is  directed.  The  French  Dragoumis  Patent, 
No.  472,467,  of  1914,  shows  a  film  record  moved  by  a 
cylinder  turning  on  a  shaft  carrying  a  large  wheel, 
obviously  acting  as  a  flywheel,  though  not  described 
as  such.  See  American  Road  Machine  Co.  v.  Pen- 
nock  &  Sharp  Co.,  164  U.  S.  26,  38.  The  flywheel  was 
mounted  on  the  shaft  of  the  record-carrying  cylinder 
at  the  translation  point.  Finally,  the  British  Peder- 
sen  Patent,  already  referred  to,  shows  a  photographic 
sound  record  carried  by  a  cylinder  as  it  passes  the 
translation  point.  His  specifications,  after  pointing  out 
that  sound  is  "exceedingly  sensitive  to  variation  in 
rotating  speed,"  and  that  it  is  necessary  to  obviate 
this  during  the  recording  and  reproducing  operations, 
state  that  this  may  be  done  "by  providing  particu- 
larly large  flywheels." 

There  are  numerous  patents  showing  the  like  use 
of  the  flywheel  in  apparatus  for  reproducing  motion 
pictures  from  film.  That  of  Hoist,  already  noted, 
shows  in  detail  an  apparatus  exhibiting  every  element 
of  Claim  5,  except  that  its  use  is  for  reproducing  mo- 
tion pictures  instead  of  sound  from,  film.  The  toothed 
cylinder  is  located  adjacent  to  the  intermediate  point, 
which  is  the  point  of  translation.  The  flywheel  is 
associated  with  the  cylinder  by  being  attached  to 
the  rotary  shcift  carrying  the  cylinder. 

An  improvement  to  an  apparatus  or  method,  to  be 
patentable,  must  be  the  result  of  invention,  and  not 
the  mere  exercise  of  the  skill  of  the  calling  or  an 
advance  plainly  indicated  by  the  prior  art.  Electric 
Cable  Joint  Co.  v.  Brooklyn  Edison  Co.,  292  U.  S.  69, 
79,  80.  The  inclusion  of  a  flywheel  in  any  form  of 
mechanism  to  secure  uniformity  of  its  motion  has  so 
long  been  standard  procedure  in  the  field  of  mechanic 
and  machine  design  that  the  use  of  it  in  the  manner 
claimed  by  the  present  patent  involved  no  more  than 
the  skill  of  the  calling.  See  American  Road  Machine 
Co.  v.  Pennock  &  Sharp  Co.,  supra,  41.  Patents  for 
devices  for  use  both  in  the  motion  picture  art  and 
in  the  art  of  sound  reproduction,  notably  the  Hoist, 
the  Bell  &  Tainter,  the  Dragoumis  patents^  and  the 
Edison  application,  already  noted,  plainly  foreshadowed 
the  use  made  of  the  flywheel  in  the  present  patent, 
if  they  did  not  anticipate  it.  The  patentees  brought 
together  old  elements,  in  a  mechanism  involving  no 
new  principle,  to  produce  an  old  result,  greater  uni- 
formity of  motion.  However  skilfully  this  was  done, 
and  even  though  there  was  produced  a  machine  of 
greater  precision  and  a  higher  degree  of  motion- 
constancy,  and  hence  one  more  useful  in  the  art,  it 
was  still  the  product  of  skill,  not  of  invention.  Hailes 
V.  Van  Wormer,  20  Wall.  353,  368;  Grinnell  Washing 
Machine  Co.  v.  Johnson  Co..  247  U.  S.  426,  432-434; 
Powers-Kennedy  Contracting  Corp.  v.  Concrete  Mixing 
&  Conveying  Co.,  282  U.  S.  175,  186.  Its  application 
in  recording  sound  or  reproducing  it,  by  use  of  a 
particular  type  of  linear  record,  the  photographic, 
analogous  so  far  as  the  problem  of  uniformity  of 
motioti  was  concerned  to  other  types  used  by  Bell 
&  Tainter  and  Dragoumis,  was  not  invention.  See 
Paramount  Publix  Corporation  v.  American  Tri-Ergon 
Corporation,  supra. 

Teaching  of  the  Art 

There  is  some  suggestion  in  respondent's  brief  and 
argument  that  the  location  of  the  flywheel  adjacent 
to  the  toothed  cylinder  is  an  element  in  the  invention 
which  contributed  to  the  success  of  the  mechanism. 
But  as  has  already  been  indicated,   such  location  is 


but  the  teaching  of  the  art.  In  any  ca.se.  tho  claims 
call  only  for  the  flywheel  located  upon  the  shaft  or 
in  association  with  the  cylinder.  No  particular  loca- 
tion is  mentioned. 

The  Court  of  Appeals,  in  upholding  the  patent,  made 
no  examination  of  its  separate  claims,  but  treated 
the  patent  throughout  as  though  it  were  a  combina- 
tion of  five  distinct  elements,  the  photoelectric  cell, 
the  accurate  flexing  of  the  fihn,  the  flywheel,  the 
flexible  connection  of  the  flywheel  and  the  optical  slit, 
although  nowhere  in  the  patent  is  any  such  combina- 
tion claimed.  The  patent  thus  upheld  is  one  which 
was  neither  claimed  nor  granted.  Under  the  statute 
it  is  the  claims  of  the  patent  which  define  the  inven- 
tion. See  White  v.  Dunbar,  119  U.  S.  47,  51,  52; 
McClain  v.  Ortmayer,  141  U.  S.  419,  423-425;  The 
Paper  Bag  Patent  Case,  210  U.  S.  405,  419;  Smith  v. 
Snow,  decided  January  7.  1935.  And  each  claim  must 
stand  or  fall,  as  itself  sufficiently  defining  invention, 
independently  of  the  others.  See  Carlton  v.  Bokee, 
17  Wall.  463  ,  472;  Russell  v.  Place,  94  U.  S.  606,  609; 
Leeds  &  Catlin  Co.  v.  Victor  Talking  Machine  Co., 
213  U.  S.  301,  319;  Symington  Co.  v.  National  Malle- 
able Castings  Co.,  250  U.  S.  383  ,  385;  Smith  v.  Snow, 
supra;  Walker  on  Patents,  Sec.  220,  6th  Ed.  As  none 
of  the  flywheel  claims  as  drawn  define  an  invention, 
none  can  be  aided  by  reading  into  it  parts  of  the  spe- 
cifications, or  of  other  claims,  which  the  patentees 
failed  to  include  in  it. 

The  court  below,  attributing  the  rapid  development 
of  the  sound  motion  picture  industry  to  the  invention 
in  the  patent  in  suit,  thought  as  respondent  earnestly 
argues  here,  that  its  utility  and  commercial  success 
must  be  accepted  as  convincing  evidence  of  invention. 
But  we  think  that  want  of  invention  would  have  to 
be  far  more  doubtful  than  it  is  to  be  aided  by  evidence 
of  commerciej  success,  indicating  that  it  brought 
realization  of  a  long-felt  want.  Smith  v.  Dental  Vul- 
canite Co.,  93  U.  S.  486,  495,  496;  Grant  v.  Walter, 
14«  U.  S.  547;  556;  DeForest  Radio  Co.  v.  General 
Electric  Co.,  283  U.  S.  664,  685;  compare  McCIain  v. 
Ortmayer,  supra,  428.  Moreover,  the  record  fails  to 
show  that  there  was  any  long-felt  or  generally  recog- 
nized want  in  the  motion  picture  industry  for  the 
device  defined  by  the  flywheel  claims,  or  that  the 
use  of  sound  motion  pictures  was  delayed  by  the 
inability  of  those  skilled  in  the  art  to  add  a  flywheel 
to  the  apparatus  in  order  to  give  the  desired  uni- 
formity of  motion  to  linear  phonograms.  See  Para- 
mount Publix  Corporation  v.  American  Tri-Ergon 
Corporation,  supra.  There  was  no  public  demand  for 
sound  motion  pictures  before  1926,  when  the  disc  sys- 
tem of  the  Western  Electric  Company  was  first  pub- 
licly used  in  conjunction  with  moving  pictures.  Before 
change  ^  to  the  photographic  film  system  could  be 
accomplished,  it  was  necessary  to  await  the  develop- 
ment of  numerous  electrical  devices  not  embraced  in 
the  present  claims.  Among  them  were  adequate  am- 
plifiers, loud  speakers  and  microphones.  Progress  in 
the  perfection  of  these  appliances  was  achieved  rap- 
idly, after  the  public  acceptance  of  the  sound  picture 
in  1926,  through  the  efforts  of  many  independent 
workers  in  the  field.  When  the  need  arose  for  a 
mechanism  suitable  to  move  film  records  with  such 
speed-constancy  as  to  reproduce  the  sound  success- 
fully, it  was  forthcoming.  Only  the  skill  of  the  art 
was  required  to  adapt  the  flywheel  device  to  famiHar 
types  of  mechanism  to  secure  the  desired  result. 

Claims  9  and  13 

The  court  below  made  no  reference  to  the  contention 
of  petitioner,  tu-ged  here  and  below,  that  the  patent 
was  rendered  invalid  by  the  disclaimer  filed  shortly 
before  the  trial  of  the  present  suit.  The  patent  as 
issued  contained  the  following  claims: 

"9.  The  method  of  translating  sound  or  similar 
vibrations  to  or  from  a  film  record  by  the  use  of 
light  varied  in  accordance  with  the  sound,  which  com- 
prises flexing  the  film  accurately  longitudinally  at  the 
point  of  translation  and  rapidly  and  uniformly  moving 
the  film  in  a  circumferential  direction  past  said  point." 

"13.  An  apparatus  for  reproducing  speech,  music 
or  the  like  sounds  from  vibrations  recorded  on  a 
film,  by  the  use  of  a  line  of  light  varied  in  accordance 
with  the  sound,  comprising  a  photo-electric  cell,  means 
for  imparting  to  the  film  a  rapid  and  uniform  motion 
longitudinally  of  the  film  past  said  cell,  a  source  of 
light  projection  for  providing  said  light,  and  an  objec- 
tive lens  in  the  path  of  said  light  and  spaced  from 
the  film  for  directing  said  light  as  a  converging  nar- 
row line  impinging  on  the  film  at  a  point  in  the 
region  of  the  focal  point  of  said  lens,  said  light  pass- 
ing through  the  film  and  on  to  said  cell,  the  space 
between  said  lens  and  the  film  being  free  of  obstruc- 
tions to  said  light," 

In  1933  respondents,  by  appropriate  procedure,  dis- 
claimed: 

"(b)  The  method  as  set  forth  in  claim  9,  except 
wherein  the  uniformity  of  movement  of  the  film  past 
the  translation  point  is  effected  by  the  subjecting 
the  portion  of  the  film  passing  said  point  to  the 
control  of  the  inertia  of  a  rotating  weighty  mass. 

"(c)  The  combination  as  set  forth  in  claim  13,  ex- 
cept wherein  a  flywheel  is  operatively  connected  with 
the  film  through  means  which  imparts  uniformity  of 
motion  of  the  flywheel  to  the  film.  While  the  effect 
of  the  disclamer,  if  valid,  was  in  one  sense  to  narrow 
the  claims,  so  as  to  cover  the  combinations  originally 
appearmg  in  Claims  9  and  13  only  when  used  in  con- 
junction with  a  flywheel,  it  also  operated  to  add  the 
flywheel  as  a  new  element  to  each  of  the  combina- 
(Continiied  on  page  64) 


64 


MOTION    PICTURE  HERALD 


March    9,  1935 


CLAIMS  HELD  INVALID 


{Coutinucd  from  page  61) 

tions    described    in    the    claims.     The    disclaimer  is 
authorized  bv   R.   S.    sec.   4917,   which  provides  that 
when  "through  inadvertence,  accident,  or  mistake  .  .  . 
a  patentee  has  claimed  more  than  that  of  which  he 
was  the  .  .  .  inventor  ...  his  patent  shall  be  valid 
for  all  that  part  which  is  truly  and  justly  his  own," 
provided  that  he  or  his  assigns  "made  disclaimer  of 
such  parts  of  the  thing  patented  as  he  shall  not  choose 
to  claim  .  .  .  stating  therein  the  extent  of  his  interest 
in  such  patent."    While  this  statute  affords  a  wide 
scope  for  relinquishment  by  the  patentee  of  part  of 
the   patent   mistakenly   claimed,   where  the   effect  is 
to  restrict  or  curtail  the  monopoly  of  the  patent,  (*)  it 
does  not  permit  the  addition  of  a  new  element  to  the 
combination   previously   claimed,   whereby   the  patent 
originally   for  one  combination   is  transferred  into  a 
new  and  different  one  for  the  new  combination. 
If  a  change  such  as  the  present  could  validly  be  made, 
it  could  only  be  under  the  provisions  of  the  re-issue 
statute,  R.  S.  sec.  4916,  which  authorizes  the  altera- 
tion of  the  original  invention   in  a   reissued  patent, 
upon  surrender  of  the  old  patent,  for  its  unexpired 
term.    Upon  the  reissue  "the  specifications  and  claim 
in  every  such  case  shall  be  subject  to  revision  and 
restriction  in  the   same  manner  or  original  applica- 
tions  are."    A   patent   amended   by    disclaimer  thus 
speaks  from  the  date  of  the  original  patent,  while  the 
re-issued  patent,  with  respect  to  the  amended  claim, 
speaks  from  the  date  of  reissue.    If  respondent  could 
thus,  by  disclaimer,  add  the  flywheel  to  the  arcuate 
flexing  claim  and  to  the  optical  claim,  he  w^ould  in 
effect  secure  a  new  patent  operating  retroactively  in 
a  manner  not  permitted  by  the  re-issue  statute  and 
without    subjecting    the    new    claims    to    revision  or 
restriction  by  the  customary  patent  office  procedure 
required  in  the  case  of  an  original  or  re-issued  patent. 
Such  transformation  of  a  patent  is  plainly  not  within 
the  scope  of  the  disclaimer  statute,  and  the  attempted 
disclaimer   as   applied   to   Claims   9   and    li   is  void. 
Hailes  V.  Albany  Stove  Co.,  123  U.  S.  582,  587;  (*2) 
see  Union  Metallic  Cartride  Co.  v.  United  States  Cart- 
ridge Co.,  112  U.  S.  624,  642;  Collins  Co.  v.  Coes,  130 
U.   S.  56,  68;   compare  Grant  v.   Walter,   148  U.  S. 
547,  553.    It  is  unnecessary  to  consider  whether  the 
flywheel  claim,  if  added  tO'  the  original  Claims  9  and 
13,  is  such  a  part  of  the  patentee's  original  concep- 
tion as   to  entitle  it   to  the  benefit  of  the  re-issue 
statute.   See  Miller  v.  Brass  Co.,  104  U.  S.  350,  355; 
Hoffheins   v.   Russell.    107   U.    S.    132,    141;    Gage  v. 
Herring,  107  U.  S.  640.  645;  Ives  v.  Sargent,  119  U.  S. 
652,  663;  Corbin  Cabinet  Lock  Co.  v.  Eagle  Lock  Co., 
150  U.  S.  38,  41-43. 

With  the  invalid  iJisclaimer  must  fall  the  original 
claims  as  they  stood  before  the  disclaimer.  The  dis- 
claimer is  a  representation,  as  open  as  the  patent 
itself,  on  which  the  public  is  entitled  to  rely,  that  the 
original  claim  is  one  which  the  patentee  does  not,  in 
the  language  of  the  statute,  "choose  to  claim  or  hold 
by  virtue  of  the  patent.''  Upon  the  filing  of  the  dis- 
claimers, the  original  claims  were  withdrawn  from  the 
protection  of  the  patent  laws,  and  the  public  was  en- 
titled to  manufacture  and  use  the  device  originally 


(*)  The  disclaimer  and  re-issue  statutes  were  adopt- 
ed to  ovoid  the  rule  that  if  one  claim  is  invalid  the 
whole  patent  is  void.  Moody  v.  Fiskc,  2  Mason  112, 
118;  see  Ensten  v.  Simon,  Ascher  &  Co.,  282  U.  S. 
445,  452;  Hailcs  v.  Albany  Stove  Co.,  123  U.  S.  582, 
589.  The  use  of  the  disclaimer  has  been  upheld  where 
the  elimination  from  the  patent  of  the  matter  not  re- 
lied upon  did  not  operate  to  enlarge  the  monopoly  of 
the  patent,  but  narrowed  it,  as  by  eliminating  in  their 
entirety  some  of  the  claims  of  the  patent.  Sessions  v. 
Romadka.  145  U.  S.  29,  40;  see  Union  Metallic  Cart- 
ridge Co.  V.  United  States  Cartridge  Co.,  112  U.  S. 
624,  642,  or  by  striking  out  an  alternative  method  or 
device,  Dunbar  v.  Myers,  94  U.  S.  187,  192,  194- 
Hurlburt  v.  Schillinger,  130  U.  S.  456;  Carson  v. 
American  Smelting  &  Refining  Co.,  4  F.  (2d)  463,  469, 
470_  (CCA  9th),  or  by  limitation  of  a  claim  or  specifi- 
cation by  deletion  of  unnecessary  parts,  Carnegie  Steel 
Co.  V.  Cambria  Iron  Co.,  185  U.  S.  403,  435,  436; 
Marconi  Wireless  Telegraph  Co.  v.  DeForest  Radio 
Telephone  &■  Telegraph  Co.,  243  Fed.  560,  565  (CCA 
2nd) .  or  by  limiting  the  claim  to  a  specific  type  of  the 
general  class  to  which  it  was  applied.  Minerals  Separa- 
tion, Ltd.  V.  Butte  &■  Superior  Mining  Co.,  250  U.  S. 
336,  354;  United  Chromium  Inc.  v.  International  Sil- 
ver Co..  60  F.  (2d)  913.  914  (CCA  2d);  Seiberling  v. 
Tliropp's  Sons  Co.,  284  Fed.  746,  756,  757  (CCA  3rd). 

(*2)  Albany  Steam  Trap  Co.  v.  Worthinqton.  79  Fed. 
966,  969  (CCA  2d);  Strause  Gas  Iron  Co.  v.  Wm.  H. 
Crane  Co.,  235  Fed.  126.  129.  130  (CCA  2d):  Grasclli 
Chemical  Co.  v.  National  Aniline  &  Chemical  Co.  26 
F.  (2d)  305,  310  (CCA  2d);  Hudson  Motor  Car  Co. 
IK  American  Plug  Co.,  41  F.  (2d)  672,  673  (CCA  6th)  ■ 
Corn  Products  Refining  Co.  v.  Pennick  &  Ford  Ltd 
63  F.  (2d)  26.  30.  31  (CCA  7th);  General  Motor, 
Corp.  V.  Riibsam  Corp.,  65  F.  (2d)  217,  222  (CCA 
6th);  Consumers  Tobacco  Co.  v.  American  Tobacco 
Co..  66  F.  (2d)  926,  927  (CCA  3rd);  Fruehauf  Trailer 
^^Shway  Trailer  Co.,  67  F.  (2d)  558,  559,  560 
(CCA  6tli) :  White  v.  Gleason  Mfg.  Co.,  17  Fed  159 
lo'5  (C.  C);  Cerealine  Mfg.  Co.  v.  Bates,  77  Fed. 
S83,  884  (C.  C.) ;  Westinghousc  Air  Brake  Co.  v.  New 
York  .4ir  Brake  Co.,  139  Fed.  265,  267-270  (C.  C). 


claimed  as  freely  as  though  it  had  been  abandoned. 
To  permit  the  abandoned  claim  to  be  revived,  with 
the  presumption  of  validity,  because  the  patentee  had 
made  an  improper  use  of  the  disclaimer,  would  be 
an  inadmissible  abuse  of  the  patent  law  to  the  detri- 
ment of  the  public. 

While  the  precise  effect  of  an  invalid  disclaimer  vipon 
the  original  claim  seems  not  to  have  been  judicially 
determined,  analogous  principles  of  the  patent  law 
are  so  well  recognized  as  to  leave  no  doubt  what  our 
decision  should  be.  It  has  long  been  settled  that  a 
claim  abandoned  or  rejected  in  the  patent  office  with 
the  acquiescence  of  the  applicant  cannot  be  revived  in 
a  re-issued  patent.  Yale  Lock  Co.  v.  Berkshire  Bank, 
135  U.  S.  342,  379;  Dobson  v.  Lees,  137  U.  S.  258, 
263-265.  Nor  can  an  interpretation  be  given  the  al- 
lowed claims  which  would  revive  the  claims  which 
were  abandoned  in  order  to  obtain  the  patent.  Shepard 
v.  Carrigan,  116  U.  S.  593,  597;  Roemer  v.  Peddie, 
132  U.  S.  313,  317;  Royer  v.  Coupe,  146  U.  S.  524, 
532;  Corbin  Cabinet  Lock  Co.  v.  Eagle  Lock  Co.,  150 
U.  S.  38,  40;  Morgan  Envelope  Co.  v.  Albany  Paper 
Co.,  152  U.  S.  425,  429;  I.  T.  S.  Co.  v.  Essex  Co., 
272  U.  S.  429,  443;  Smith  v.  Magic  City  Club,  282 
U.  S.  784,  789,  790;  Smith  v.  Snow,  supra.  Similarly, 
where,  in  order  to  secure  a  re-issued  patent,  a  dis- 
claimer is  made  of  a  part  of  the  original  claims,  the 
part  so  disclaimed  cannot  be  revived  by  a  second 
re-issued  patent,  Leggett  v.  Avery,  101  U.  S.  256, 
nor  where  the  disclaimer  is  for  the  purpose  of  se- 
curing an  extension  of  the  original  patent.  Union 
Metallic  Cartridge  Co.  v.  U.  S.  Cartridge  Co.,  supra, 
644.  See  Collins  v.  Coes,  supra,  68;  compare  Gage  v. 
Herring,  supra,  646.  The  settled  rule  that  unreason- 
able delay  in  making  a  disclaimer  invalidates  the 
whole  patent,  Ensten  v.  Simon  Ascher  &  Co.,  282 
U.  S.  445,  452-458;  compare  O'Reilly  v.  Morse,  15 
How  62,  121;  Seymour  v.  McCormick,  19  How.  96,  106; 
Silsby  V.  Foote,  20  How.  378,  387;  Gage  v.  Herring, 
supra,  646;  Yale  Lock  Mfg.  Co.  v.  Sargent.  117  U.  S. 
536,  554;  Minerals  Separation,  Ltd.  v.  Butte  &  Super- 
ior Mining  Co.,  250  U.  S.  336,  354,  rests  upon  the 
similar  principle  that  misuse  of  the  patent,  or  a  part 
of  it,  by  the  patentee  in  such  a  manner  as  to  mislead 
the  public  or  operate  to  its  detriment,  deprives  the 
claim  of  the  benefit  of  the  patent  laws.  T'he  part  of 
the  patent  disclaimed  can  stand  in  no  better  position 
because  the  disclaimer  was  an  unsuccessful  misuse 
of  the  disclaimer  statute. 

As  Claims  9  and  13  must  be  held  invalid  because 
of'  the  improper  disclaimers,  and  as  the  remaining 
claims  in  issue,  the  flywheel  claims,  are  held  invalid 
for  want  of  invention,  it  is  unnecessary  to  determine 
whether  the  improper  disclaimers  as  to  some  of  the 
claims  render  the  entire  patent  void,  as  petitioners 
contend,  and  as  has  been  intimated  but  not  decided. 
See  Hailes  v.  Albany  Stove  Co.,  supra,  589;  Marconi 
Wireless  Telegraph  Co.  v.  DeForest  Radio  Tel.  & 
Tel.  Co.,  243  Fed.  560,  565  (CCA  2d);  Seiberling  v. 
Thropp's  Sons  Co.,  284  Fed.  746,  756,  759  (CCA  3rd). 
Reversed. 

Mr.  Justice  Brandeis  took  no  part  in  the  considera- 
tion or  decision  of  this  case. 

Court  Dissolves 
Film  Securities 

Film  Securities  Corporation,  organized  as 
a  iiolding  company  for  the  Fox  stock  interest 
in  Loew's,  Inc.,  under  a  government  consent 
decree  of  1931,  was  dissolved  and  its  trustees 
dismissed  under  a  court  order  signed  in  New 
York  Tuesday  by  Federal  Judge  John  Knox. 

The  company  had  been  preparing  for  its 
final  dissolution  for  the  past  year.  Follow- 
ing the  sale  at  auction  on  December  19,  1933, 
of  the  660,900  shares  of  Loew's,  Inc.,  which 
constituted  the  sole  assets  of  Film  Securities, 
it  realized  the  purpose  for  which  it  had  been 
organized,  to  end  the  dual  control  of  Fox 
and  Loew's  by  a  single  interest. 


House  Approves  A.  T.  &  T. 
Investigation  Resolution 

The  House  of  Representatives  early  this 
week  approved  at  Washington  the  Senate 
resolution  calling  for  an  investigation  of 
the  American  Telephone  and  Telegraph 
Company  and  its  subsidiaries  by  the  Federal 
Communications  Commission.  The  resolu- 
tion now  will  go  to  the  President  for  signa- 
ture. 


Recovery  Act  Quizi 
Begun  by  Senate 
Finance  Group 

A  searching  investigation  of  the  operation 
of  the  industrial  recovery  act  has  been  in- 
itiated by  the  United  States  Senate's  finance 
committee. 

Consideration  of  the  motion  picture  code 
is  seen  assured  by  the  agreement  that,  if  the 
inquiry  was  left  to  the  finance  committee, 
the  four  Senators  not  members  thereof  who 
had  been  seeking  investigations  would  be 
invited  to  join  in  questioning  witnesses. 

The  four  are  Senators  Nye  of  North  Da- 
kota and  Borah  of  Idaho,  both  of  whom  have 
sharply  criticized  the  motion  picture  code, 
and  McGill  of  Kansas  and  McCarran  of 
Nevada.  Senator  King  of  Utah,  who  was 
to  lead  a  judiciary  subcommittee  in  its  pro 
posed  investigation,  also  is  a  member  of  the 
finance  committee. 

Hearings  May  Begin  in  Week 

Public  hearings  on  the  question  of  the  recov- 
ery act  probably  will  begin  next  week.  It 
was  evidenced  that  the  pending  inquiry  is 
taken  seriously  by  the  Recovery  Adinistration. 

The  Senate  finance  committee  planned  to 
meet  Wednesday  to  plan  its  investigation. 
Senator  Nye  immediately  will  take  the  spot- 
light of  the  investigation  of  the  motion  picture 
code  phase.  The  Senator  will  base  his  inquiry 
on  much  of  the  report  of  the  Darrow  Board. 

The  motion  picture  Code  Authority,  Senator 
Nye  charges,  is  a  quasi-judicial  body,  deciding 
controversies  as  it  sees  fit,  with  producer  repre- 
sentatives in  preponderance. 

Formal  Charges  Waited 

The  film  Code  Authority  announced  that 
unless  charges  hurled  against  it  at  the  Motion 
Picture  Theatre  Owners'  of  America  conven- 
tion in  New  Orleans  last  week  and  demands 
for  increases  in  code  cancellation  privileges  are 
presented  formally  to  the  Code  Authority  for 
investigation,  that  body  will  take  no  cognizance 
of  them. 

Clarification  of  the  non-theatrical  clause  in 
the  code  as  to  its  limitations  were  to  be  sought 
this  week  at  the  regular  Code  Authority  ses- 
sion in  New  York.  One  of  the  main  points 
involved  is  the  angle  of  public  institutions, 
among  which  are  schools,  permitted  to  operate 
in  competition  with  established  theatres.  The 
case  at  issue  involves  the  Trimble  theatre, 
Mt.  Sterling,  Ky.,  and  the  Morehead  State 
Normal  School  at  Morehead,  Ky, 

Approximately  $30,000  more  than  require- 
ments now  being  held  by  the  Code  Authority 
will  be  credited  or  returned  to  the  industry 
next  June,  under  orders  issued  by  the  Na- 
tional  Industrial   Recovery  Board. 

In  approving  the  1934  budget,  the  recovery 
board  ordered  that  the  excessive  1934  con- 
tributions be  carried  as  a  surplus  until  the 
second  half  of  the  current  year.  Then,  if  the 
recovery  act  is  continued,  they  will  be  credited 
against  assessments  for  the  last  part  of  1935, 
and  if  the  act  is  not  continued  they  are  to  be 
returned.  The  surplus  arising  f  rom  the  con- 
tributions of  each  division  of  the  industry  will 
be  credited  to  that  division  and  divided  pro 
rata  upon  the  members. 

The  board  also  provided  that  distributors 
shall  be  billed  for  the  contributions  of  the 
producers  they  represent  but  are  not  to  be 
made  liable  therefor.  In  the  event  a  pro- 
ducer fails  to  authorize  his  distributors  to  make 
payment  for  him,  the  code  authority  is  to  call 
upon  him  for  his  gross  figures  and  bill  him 
direct  for  his  share  of  the  assessment. 


March    9,  1935 


MOTION    PICTURE  HERALD 


65 


From  Penny  Arcade  Day  to  27  Years 
Of  Continuous  Operation^  Ohio  Record 


The  Exhibit  Theatre,  a  few  weeks  after  it  opened  April  20,  1907 


In  1905  Max  Steam,  now  manager  of  the 
Southern  theatre  at  Columbus,  Ohio,  and  of 
Olentangy  Park,  opened  the  first  Penny 
Arcade  in  Columbus,  with  a  single  Miita- 
scope  as  sole  equipment.  So  well  did  the 
public  take  to  the  new  entertainment  that 
Mr.  Steam  decided  to  build  a  real  theatre 
for  ^notion  pictures,  immediately  adjoining 
the  Edisonia  in  the  heart  of  downtown.  This 
was  the  Exhibit,  with  a  fancy,  well-lighted 
front,  300  seats  and  a  substantial  screen. 

Playing  "day  and  date"  with  a  circus,  the 
Exhibit  opened  April  20,  1907,  and  6,000 
persons  attended  the  first  day.  The  opening 
program  consisted  of  "Wonderful  Flames" 
a  "thriller,"  made  by  C.  G.  P.  C.  (Pat he) 
from  France;  "Tragic  Rivalry,"  in  colors, 
and  "Amateur  Night,"  Vitagraph  release. 

Subsequently  one  "feature"  was  elimi- 
nated and  the  theatre  played  two  single  reels 


and  a  slide  song.  Then  Mr.  Steam  dropped 
one  of  the  singles,  and  later  one  chorus  of 
the  slide  song,  reducing  the  program  /o  10 
minutes,  with  a  two-minute  intermission  be- 
tween shows.  Admission  continued  to  be 
five  cents. 

State  Fair  Week  in  1907  was  the  biggest 
week  the  theatre  had,  playing  to  34,000  at 
a  gross  of  $1,700. 

After  operating  the  Exhibit  for  seven 
years,  Mr.  Steam  turned  it  over  to  Robert 
J.  Hartman,  and  when  Mr.  Hartman  went 
to  war  in  1917  the  theatre  reverted  to  the 
building  manager,  E.  M.  Nichols,  who  has 
operated  it  as  a  straight  motion  picture  house 
ever  since. 

The  theatre  is  intact,  just  as  it  was  built, 
except  for  a  few  changes  of  the  front  and 
the  interior  decorations.  It  is  believed  to  be 
the  only  theatre  in  Ohio  which  has  been  in 
operation  continuously  for  27  years. 


Critic  Attacks 
Academy  Awards 

The  annual  awards  of  the  Academy  of 
Motion  Picture  Arts  and  Sciences  for  ex- 
cellence in  acting  are  attacked  by  Lowell 
Lawrence,  film  critic  of  the  Kansas  City 
Journal-Post ,  who  complains  that  "'the  Acad- 
emy seems  to  have  forgotten  what  consti- 
tutes good  acting." 

"In  giving  the  awards  for  the  finest  screen 
performances  of  1934  to  Clark  Gable  and 
Claudette  Colbert  for  their  work  in  'It  Hap- 
pened One  Night,'  the  Academy  has,  in  my 
opinion,  hanged  Thespis  in  effigy  and  shown 
a  discouraging  lack  of  appreciation  for  true 
artistic  merit  in  Hollywood,"  it  is  charged 
by  Lawrence. 

He  charges  further  that  the  acting  awards 
were  based  on  box-office  popularity  and 
"winning  personality"  rather  than  "histrionic 
excellence." 

In  Lawrence's  opinion,  the  honors  should 
have  gone  to  Robert  Donat  for  his  part  in 
"The  Count  of  Monte  Cristo"  and  to  Bette 
Davis  for  her  work  in  "Of  Human  Bond- 

"The  ability  to  draw  vivid  characteriza- 
tions, not  merely  showing  off  personality,  is 
the  mark  of  great  acting,"  he  adds. 

Protests  Fee  for 
National  Park  Use 

When,  last  year,  President  Roosevelt 
urged  the  public  to  make  greater  use  of  the 
country's  national  parks,  and  invited  motion 
picture  companies  to  do  likewise  in  order 
to  encourage  the  movement,  Sol  Lesser, 
Coast  producer,  took  advantage  of  the  invi- 
tation and  made  "Dude  Ranger"  in  Zion 
National  Park  without  fee  to  the  govern- 
ment. This  year  he  asked  the  Department 
of  the  Interior  for  permission  to  produce 
"The  Cowboy  Millionaire"  in  the  same  loca- 
tion, but  received  a  wire  asking  payment 
from  Secretary  of  the  Interior  Ickes. 

The  telegram  said :  "Under  a  new  policy 
laid  down  by  this  department  adequate  com- 
pensation will  be  required  in  all  cases  of 
filming  pictures  in  national  parks  or  on 
properties  within  the  jurisdiction  of  the  De- 
partment of  the  Interior.  Will  gladly  issue 
permit  requested  upon  undertaking  by  you 
to  pay  $5,000  for  privilege."  On  protest, 
Mr.  Ickes  reduced  the  fee  to  $2,000. 

Mr.  Lesser  has  delayed  production,  pend- 
ing the  outcome  of  a  direct  appeal  to  Presi- 
dent Roosevelt.  He  bases  his  request  for 
free  use  of  the  park  on  the  money  which 
will  be  spent  in  Utah  by  the  company,  and 
the  film  publicity  the  park  will  receive. 


Two  Companies  Plan 
Studios  in  Florida 

Two  producing  companies,  American  Na- 
tional Pictures,  Inc.,  Merrill  Waide  presi- 
dent, and  British-American  Cinema  Studios, 
Inc.,  have  determined  to  build  film  studios 
in  the  vicinity  of  Miami,  Fla.,  following 
activity  of  the  Greater  Miami  Studio  Indus- 
tries committee,  and  after  adoption  of  the 
state  constitutional  amendment  exempting 
film  studios  from  taxation  for  l.'^  years. 


Maryland  Censor  Rejected 
Only  9  of  2,261  in  1933-34 

The  Maryland  state  censor  board,  in  its 
annual  report,  covering  the  year  to  Septem- 
ber 30,  1934,  indicated  it  has  examined  2,261 
films,  of  which  nine  were  entirely  rejected, 
with  four  later  passed  in  revised  form,  and 
had  ordered  eliminations  in  779  films.  These 
figures  compare  with  1932-33  totals  of  2,325 
films  examined,  and  eliminations  ordered  in 
676.  Total  board  receipts  were  $36,563,  a 
gain  of  $2,687.54  over  the  previous  year. 
The  state  received  $9,389.51  revenue. 


Claude  Neon  Company 
Shows  Profit  Increase 

Claude  Neon  Electrical  Products  Corpo- 
ration, Ltd.,  and  subsidiaries,  Los  Angeles, 
reports  for  the  calendar  year  1934  net  profit 
of  $392,766,  after  depreciation,  federal  taxes, 
and  other  charges,  equal,  after  $6,491  divi- 
dends on  the  seven  per  cent  preferred  stock, 
to  $1.47  per  share  on  the  262,193  non-par 
common  shares.  This  compares  with  net 
profit  of  $324,823,  or  $1.15  a  share  on  262,- 
303  shares  of  common  stock  in  1933,  after 
$20,958  preferred  dividends. 


66 


MOTION    PICTURE  HERALD 


March    9  ,     19  3  5 


J.  C.  JcNriN$--Hi$  CoLriiM 


i 


Alamo,  Texas 

Dear  Herald: 

Some  of  these  Longhorns  down  here  have 
a  pretty  prolific  imagination.  One  fellow 
said  the  other  day  that  he  had  153  hens 
that  laid  152  eggs  every  day.  A  fellow  asked 
him  what  was  the  matter  with  the  other  hen 
that  she  didn't  lay,  and  the  Longhorn  replied, 
"Well,  you  see,  she  was  too  busy,  she  had  to 
keep  books."  This  reminds  us  very  much  of 
a  letter  we  got  the  other  day  from  H.  J. 
Longaker  of  Glenwood,  Minnesota.  He 
asked  us  to  come  up  there  and  go  fishing 
with  him,  said  they  were  catching  lots  of 
fish  by  spearing  them  through  the  ice,  and 
that  the  day  before  he  speared  a  sunfish  that 
weighed  110  pounds,  but  he  didn't  say 
whether  it  was  dressed  or  in  its  stocking 
feet. 

We  are  going  to  try  and  match  this  hen 
man  against  H.  J.  and  if  we  can  we  are 
going  to  bet  on  Ray  Musselman  of  Lincoln, 
Kansas,  or  Harold  Stettmund  of  Chandler, 
Oklahoma. 

V 

Cashier  Fine,  Too 

Jevver  see  "Anne  of  Green  Gables"  ? 
There  is  a  picture  you  ought  to  go  and  get 
without  waiting  for  breakfast.  Bert  Bos- 
well  of  the  Plaza  theatre  at  Donna  invited 
us  to  come  there  and  see  it. 

Anne  was  an  orphan,  and  a  man  and  his 
wife  adopted  her,  and  when  the  man  brought 
her  home  his  wife  blew  up  because  she  was 
a  girl  instead  of  a  boy.  This  woman  had 
a  sister  who  was  just  about  as  mean  and 
ornary  as  she  was,  and  they  were  two  of 
the  meanest  old  cats  you  ever  saw.  We  used 
to  know  a  woman  back  in  Indiana  who  was 
as  mean  as  both  of  'em.  in  fact  she  was  so 
mean  that  a  grasshopper  wouldn't  stay  on  the 
place.  Anne  was  a  dandy  kid,  and  she  tried 
as  hard  as  she  could  to  please  both  of  these 
old  jaybirds  but  it  was  no  use,  so  the  man 
finally  took  her  back  to  the  poor  farm,  but 
after  she  had  gone  this  old  snapping-turtle 
began  to  miss  her  and  she  finally  sent  the 
old  man  back  to  get  her  because  she  said 
she  couldn't  get  along  without  her.  There 
was  no  darn  sense  in  two  old  pelicans  act- 
ing as  they  did  towards  Anne  for  she  was 
a  peach  of  a  kid  and,  listen  Gertie,  you  will 
warm  up  to  her  the  minute  you  see  her.  But 
say,  those  two  old  ladies  were  there  and  over 
when  it  comes  to  acting  their  parts,  but 
who  would  want  to  act  their  part  ? 

We  are  indebted  to  Mr.  Boswell  for  in- 
viting us  down  to  see  the  picture,  and  we 
are  also  thankful  because  we  got  to  meet 
Elizabeth  Freetag,  his  cashier,  and  we  have 
been  wondering  ever  since  just  what  her 
nationality  is.  She  is  not  a  Mexican  and 
she  is  not  a  Swede.  Our  guess  is  that  she 
came  from  Nebraska,  and  if  she  did  she 


is  all  right. 


V 


Since  that  hen  man  told  about  his  hens 
laying  152  eggs  every  day  and  Longaker 
told  about  spearing  that  sunfish,  we  were 
not  going  to  tell  you  about  those  sharks 
(that  we  didn't  catch)  down  in  the  gulf  the 
other  day.  The  doctor  wouldn't  let  us  afo. 
V 

We  are  informed  that  the  Government 
has  started  the  preliminary  work  on  that 
"Shelterbelt"  they  are  going  to  plant,  and 


now  we  are  going  to  buy  us  a  pair  of  rubber 
boots  and  three  umbrellas  so  as  to  be  pre- 
pared for  the  rain.  That  "Shelterbelt"  will 
be  a  good  place  for  jackrabbits. 

V 

We  note  that  our  old  friend,  Bert  Silver 
of  the  Silver  theatre  at  Greenville,  Michi- 
gan, is  a  regular  contributor  to  "What  the 
Picture  Did  for  Me,"  and  if  you  think  that 
Bert  don't  know  pictures  then  you  have 
been  putting  in  too  much  time  watching 
the  squirrels.  While  Bert  isn't  related  to 
old  pegleg  "Chon  Silver"  he  used  to  be 
mayor  of  Greenville  and  Greenville  has 
about  5,000  Wolverines  and  quite  a  num- 
ber from  Indiana.  Bert  has  his  office  in 
one  room  of  his  home  and  it  has  been  our 
pleasure  to  sit  in  his  office  and  hear  him  tell 
of  the  early  days  in  the  show  business  in 
Michigan  with  the  "Silver  Family  Theatre 
Co."  If  you  should  ever  go  to  Michigan, 
go  and  call  on  Bert  and  see  his  theatre, 
and  give  Berf  our  regards. 

V 

Just  as  the  moon  was  coming  up  the  other 
night  we  heard  a  crooner  on  the  radio  sing- 
ing "I'm  dying  to  fold  you  in  my  arms, 
dear,"  and  then  we  asked  the  landlord  where 
he  kept  the  ax. 

V 

Somebody's  Boner 

The  recent  heavy  wind  they  had  down 
here  blew  hundreds  of  bushels  of  grape- 
fruit oH  the  trees,  and,  under  some  kind  of 
a  law,  the  growers  are  required  to  bury  it. 
Yesterday  we  saw  more  than  a  drayload  of 
fine  fruit  thrown  in  the  trenches  to  be  buried, 
just  as  good  fruit  as  were  left  on  the  trees, 
but  they  could  not  be  shipped.  There  is 
something  wrong  down  here  when  they 
won't  allow  fruit  to  be  shipped  into  a  coun- 
try where  there  is  none  of  its  kind  ever 
grown.  Somebody  is  pulling  a  boner. 
V 

Just  as  soon  as  we  get  that  Old  Age  Pen- 
sion of  $15  a  month  that  is  being  advocated, 
we  are  going  to  buy  us  a  new  pair  of  socks 
and  maybe  change  our  politics,  too. 
V 

We  note  that  one  fellow  is  predicting, 
In  effect,  that  for  the  good  of  the  industry, 
pictures  should  show  more  sin.  Yes  Indeed. 
Some  directors  will  probably  agree  with 
him.  We  don't  know  this  advocate  of  sin, 
but  our  guess  is  that  he  wasn't  brought  up 
In  the  country  or  small  towns,  but  he  knows 
the  Bowery  from  Bleecker  street  to  the 
docks.  For  the  good  of  the  Industry,  why 
not  more  sin?  For  the  good  of  the  nation, 
why  not  more  kidnappers?  Wonder  if  the 
Legion  of  Decency  will  approve  of  his 
theory? 

In  spite  of  the  mercury  being  91  in  the 
shade;  in  spite  of  having  to  bury  tons  upon 
tons  of  fruit;  in  spite  of  the  centipedes, 
scorpions,  rattlesnakes  and  other  reptiles 
(although  we  haven't  seen  any  yet)  business 
at  the  theatres  seems  to  be  on  the  upgrade. 
This  may  be  accounted  for  by  one  of  two 
reasons:  Pictures  are  getting  better  all  the 
while,  or  the  people  want  some  place  to  go. 
We  are  inclined  to  believe  that  the  first 


reason  is  right,  and  if  right,  thanks  to  the 
Legion  of  Decency.  That  organization 
doesn't  seem  to  favor  the  showing  of  sin 
in  its  entertainment,  and  that  organization 
doesn't  stand  alone  in  these  United  States  of 
America  by  a  whole  lot. 

V  • 

Those  stars  out  in  Hollywood  are  a  mighty 
fine  lot  of  people,  but  somewhat  queer.  We 
have  tried  to  tell  the  truth  about  them  in 
this  colyum  but  they  probably  believe  in  that 
old  saying  that  "what  you  get  for  nothing 
isn't  worth  much",  since  we  seldom  receive 
any  thanks  for  the  good  things  we  try  to 
say  of  them,  when  they  deserve  it.  Not 
only  that  but  they  are  exceptional  people, 
and  should  we  ever  go  to  Hollywood  again 
we  will  go  and  call  on  them,  provided  the 
butler  will  let  us  in. 

V 

There  is  this  about  writing  a  colyum 
that  the  bulk  of  the  writers  don't  understand, 
and  that  is  that  the  less  you  write  the  better 
the  readers  are  satisfied.  It  isn't  just  neces- 
sary to  write  what  you  know,  but  to  know 
what  to  write,  and  that's  our  trouble  right 
now,  and  that's  the  reason  we  are  going  to 
quit  right  here. 

COLONEL  J.  C.  JENKINS. 
The  HERALD'S  Vagabond  Colyumnist 


Milwaukee  Variety  Club 
Takes  Over  New  Quarters 

Members  and  officers  of  the  Milwaukee 
Variety  Club  were  inducted  last  week  in 
the  new  club  rooms  in  the  Franklinton 
Hotel.  Among  those  present  were  John  Har- 
ris, national  chief  barker ;  James  Balmer, 
national  chief  property  man,  and  "Rosey" 
Roswell,  radio  star. 

Officers  installed  at  the  meeting  are: 
George  Fischer,  chief  barker;  Charles  W. 
Trampe,  first  assistant  chief  barker ;  Sam 
Shurman,  second  assistant  chief  barker; 
Gen  Konig,  property  man ;  A.  N.  Schmitz, 
wagon  man,  and  H.  J.  Fitzgerald,  A.  C. 
Guttenberg,  A.  D.  Kvool,  E.  F.  Maertz,  J. 
O.  Kent  and  E.  J.  Weisfeldt,  canvasmen. 


Robb  &  Rowley  Acquire 
12  Theatres;  Total  Is  82 

Robb  &  Rowley  circuit  has  added  12 
theatres  to  its  Texas  holdings,  making  a 
total  of  82  houses.  Theatres  in  Taylor, 
Brenham  and  four  other  Texas  towns  are 
included  in  the  acquisitions.  Harold  Robb 
and  Ed  Rowley,  and  J.  Y.  Robb,  arrived  in 
New  York  last  week  on  film  deals.  They 
attended  the  Motion  Picture  Theatre  Owners 
of  America  convention  in  New  Orleans. 


Sentry  Safety  Control 
Shows  Profit  for  Year 

Sentry  Safety  Control  Corporation  has  re- 
ported a  net  profit  of  $10,025  in  1934,  after 
depreciation,  expenses  and  other  charges. 
Combined  with  net  loss  of  $7,342,  reported 
by  Universal  Sound  System,  Inc.,  a  sub- 
sidiary, the  company's  net  profit  is  equal  to 
$2,683  for  the  year. 


EDWIN  C.  HILL 

RAN  AWAY! 

It  wasn't  even  a  contest.  He  was  so  far  in  the  lead  that  you  couldn't 
see  any  of  his  competitors,  even  on  a  clear  day.  Certainly  we  mean  the 
Annual  Radio  Poll  of  the  New  York  World -Telegram  in  which  260  of 
America's  foremost  radio  editors  voted  for  the  favorite  commentator  of 
the  air  waves.  Ed  Hill  got  246  enthusiastic  votes.  He  won  last  year,  too! 
That's  why  the  name  of  EDWIN  C.  HILL,  Globetrotter  of  M-G-M's 
HEARST  METROTONE  NEWS  is  bringing  extra  dough  to  thousands 
of  Showmen  who  know  what's  top! 


68 


MOTION    PICTURE  HERALD 


March    9,  1935 


"LEADING  PICTURES" 

"The  leap  toward  fitter  prodnction  is  so  marked  that  appreciation  is  pouring  in  from 
the  ttiany-tniiided  public,"  says  the  office  of  Mrs.  T.  G.  Winter,  public  relations  de- 
partment of  the  Hollywood  office  of  the  Motion  Picture  Producers  and  Distributors 
of  Atnerica,  in  announcing  its  compilation  of  foretnost  productions  for  the  month 
ended  January  15  th.  Following  are  the  titles  and  details  as  to  distributor,  director, 
cast,  and  audience  suitability: 


Best  of  the  Month 

David  Copperfield.  MGM.  Director,  George 
Cukor.  From  the  novel  by  Charles  Dickens. 
Cast:  Freddie  Bartholomew,  W.  C.  Fields, 
Edna  May  Oliver,  Lionel  Barrymore,  Eliza- 
beth Allan,  Roland  Young,  Lewis  Stone,  Mau- 
reen O'Sullivan,  Frank  Lawton,  Madge 
Evans,  Basil  Rathbone,  Una  O'Connor,  Her- 
bert Mundin.  Family. 

Lives  of  a  Bengal  Lancer.  Paramount.  Di- 
rector, Henry  Hathaway.  Cast :  Gary  Cooper, 
Franchot  Tone,  Richard  Cromwell,  Sir  Guy 
Standing,  Katherine  De  Mille.  From  the 
novel  of  the  same  name  by  Francis  Yeats- 
Brown.    Adults  and  young  people. 

The  Man  Who  Reclaimed  His  Head.  Uni- 
versal. Director,  Edward  Ludwig.  Cast: 
Claude  Rains,  Lionel  Atwill,  Joan  Bennett, 
Carol  Coombe,  Wallace  Ford.  Adults  and 
young  people. 

Topics  of  the  Day 

Devil  Dogs  of  the  Air.  Warner.  Director, 
Lloyd  Bacon.  Cast:  James  Cagney,  Pat 
O'Brien,  Margaret  Lindsay.  Family. 

Life  Returns.  Produced  by  Lou  Ostrow.  Re- 
leased by  Universal.  Director,  Dr.  Eugen 
Frenke.  Presents  Dr.  Robert  E.  Cornish. 
Cast:  Onslow  Stevens,  George  Breakston, 
Lois  Wilson,  Valerie  Hobson.  Family. 

Manlock.  Fox.  Director,  Raoul  Walsh.  Cast : 
Victor  McLaglen,  Edmund  Lowe,  Grace 
Bradley,  Marjorie  Rambeau.  Adults  and 
young  people. 

Wings  in  the  Dark.  Paramount.  Director, 
James  Flood.  From  the  story  "Eyes  of  the 
Eagle,"  by  Nell  Shipman  and  Fliil  D.  Hurn. 
Cast :  Myrna  Loy.  Cary  Grant,  Roscoe  Karns, 
Hobart  Cavanaugh.  Family. 

Social  Drama 

Gilded  Lily.  Paramount.  Director,  Wesley 
Ruggles.  Cast :  Claudette  Colbert,  Fred  Mac- 
Murray,  Ray  Milland.  Family. 

The  Last  Gentleman.  United  Artists.  Direc- 
tor, Sidney  Lanfield.  Story  by  Katherine 
Clugston.  Cast :  George  Arliss,  Janet  Beech- 
er,  Edna  May  Oliver,  Ralph  Morgan.  Adults 
and  young  people. 

Mills  of  the  Gods.  Columbia.  Director,  Roy 
Wm.  Neill.  Cast :  May  Robson,  Fay  Wray, 
Victor  Jory.  Family. 

North  Shore.  Warner  Bros.  Director,  Robert 
Florey.  Cast :  Barbara  Stanwyck,  Gene  Ray- 
mond, Genevieve  Tobin,  John  Eldredge. 
Adults  and  young  people. 

One  Hour  Late.  Paramount.  Director,  Ralph 
Murphy.  Cast :  Joe  Morrison,  Helen  Twelve- 
trees,  Conrad  Nagel,  Toby  Wing,  Arline 
Judge.  Adults. 

Only  Eight  Hours.  MGM.  Director,  George 
Seitz.  From  the  novel  "The  Harbour,"  by 
Theodore  Reeves.  Cast :  Chester  Morris,  Vir- 
ginia Bruce,  Robert  McWade.  Adults. 

Strange  Wives.  LTniversal.  Director,  Richard 
Thorpe.  From  "Bread  on  the  Waters,"  by 
Edith  Wharton.  Cast :  Roger  Pryor,  June 
Clayworth,  Esther  Ralston,  Ralph  Forbes, 
Doris  Lloyd,  Ivan  Lebedeff,  Leslie  Fenton, 
Genevieve  Tobin.  Claude  Gillingwater.  Adults 
and  young  people. 

Musical  Romance 

Music  in  the  Air.  Fox.  Director,  Joe  May. 
Cast :  Gloria  Swanson,  John  Boles,  Douglass 
Montgomery,  Reginald  Owen,  Joseph  Caw- 
thorn,  Hobart  Bosworth.  Family. 

The  Night  is  Young.  MGM.  Director,  Dud- 


ley Murphy.  From  the  story  "In  Old  Vienna," 
by  Vicki  Baum.  Cast :  Ramon  Novarro,  Eve- 
lyn Laye,  E.  E.  Horton,  Charles  Butterworth, 
Una  Merkel.  Family. 

Mystery  and  Melodrama 

The  Best  Man  Wins.  Columbia.  Director, 
Erie  Kenton.  Cast:  Edmund  Lowe,  Jack 
Holt,  Bela  Lugosi.  Family. 

Charlie  Chan  in  Paris.  Fox.  Director, 
James  Tinling.  Cast:  Warner  Oland,  Mary 
Brian,  Erik  Rhodes,  Conchita  Montenegro. 
Adults  and  young  people. 

Crime  Without  Passion.  Paramount,  Direc- 
tion and  story:  Ben  Hecht,  Charles  MacAr- 
thur.  Cast:  Claude  Rains,  Wliitney  Bourne, 
Margo,  Stanley  Ridges,  Leslie  Adams.  Adults. 

A  Notorious  Gentleman.  Universal.  Director, 
Edward  Laemmle.  Cast :  Charles  Bickf  ord, 
Helen  Vinson,  Onslow  Stevens.  Adults  and 
young  people. 

The  White  Cockatoo.  Warner.  Director,  Alan 
Crosland.  Cast:  Jean  Muir,  Ricardo  Cortez, 
Gordon  Westcott,  Ruth  Donnelly.  Adults  and 
young  people. 

Foreign 

Power.  Gaumont-British.  Director,  Lothar 
Mendes.  From  novel  by  Leon  Feuchtwanger. 
Cast :  Conrad  Veidt,  Frank  Vosper,  Cedric 
Hardwicke,  Benita  Hume,  Sir  Gerald  du 
Maurier.  Adults. 

Short  Subjects 

(* — The  best  are  starred.) 

Note:  Wherever  the  names  of  two  producing  com- 
panies are  given  in  the  following  list,  the^  first  in- 
dicates the  producer  and  the  second  the  distributor. 
F.  indicates  suitability  for  family.  J.  M.,  interest  and 
suitability  for  children's  matinees.  A.,  for  adults 
only.    Y.  P..  interesting  to  young  people. 

Radio  Row  No  1.  Pepperpot  Series.  Vitaphone. 
Songs  and  music.  F. 

*Pictorial  No.  6.  Paramount.  A  Robert  Bruce 
production  with  music  by  Rubinoff.  F. 

*Geneva  by  the  Lake.  Fox.  Magic  Carpet 
series.  Beautiful  scenes  of  country  and  peo- 
ple. F. 

Movie  Memories.  Vitaphone.  Bits  from  pic- 
tures of  early  film  stars,  most  of  whom  are 
now  dead.  A.  and  Y.  P. 

Yacht  Club  Boys  Garden  Party.  Paramount. 
Quartet.  F. 

*Hey,  Hey,  Fever.  MGM.  Color  cartoon. 
Mother  Goose  characters  finds  a  way  to  work 
out  of  the  depression.  F. 

*Village  Blacksmith.  F.N.  Color  novelty. 
Picturization  of  Longfellow's  poem.  F. 

Harlem  Harmonies.  Educational-Fox.  Treas- 
ure Chest  series.  Colored  choruses  and  com- 
edy. F. 

Dog  Show.  Fox.  Terrytoon  cartoon.  Dogs 
stage  a  rodeo.  F. 

We  Aim  to  Please.  Paramount.  Popeye  car- 
toon. F. 

*The  Hare  and  the  Tortoise.  Walt  Disney- 
Urited  Artists.  Silly  Symphony  in  color.  F. 

*Da^<'n  to  Dawn.  A  Cameron  Macpherson 
production.  Emotional  moods  and  landscapes. 
Adults. 


Is  Photoplay  Ad  Manager 

Curtis  J.  Harrison  has  been  named  east- 
ern advertising  manager  of  Photoplay 
Magazine,  succeeding  Herbert  J.  Donahue, 
resigned.  Mr.  Harrison  has  been  with 
Photoplay  for  16  years. 


RKO  Radio  Sets  Deals 
For  Foreign  Distribution 

RKO  Radio  has  closed  several  foreign 
distribution  deals  on  its  product.  Included 
are  Gloria  Films,  Stockholm,  to  distribute 
in  Denmark;  Kemal  Films,  Istambul,  for 
Turkey  and  Franco-Paris  Film  of  Warsaw, 
for  Poland. 

Eight  Radio  features  will  be  dubbed  in 
French  and  distributed  in  France  by  Radio 
Cinema  of  Paris,  after  the  films  have  had 
first  runs  with  superimposed  French  titles. 
The  deal  was  concluded  by  E.  D.  Leishman 
and  Harry  Leasim  of  Radio  Pictures  Inter- 
national, Ltd. 


Holt  Heads  Cleveland 
Unit  of  Variety  Club 

Nat  Holt  was  unanimously  elected  presi- 
dent of  the  Cleveland  Variety  Club  at  a 
meeting  last  week.  Mr.  Holt  succeeds  Frank 
D.  Drew,  MGM,  who  was  tendered  a  ban- 
quet upon  completion  of  a  year's  service  as 
president.  Other  officers  elected  were :  I. 
J.  Schmertz,  Fox,  first  vice-president; 
Colonel  Harry  E.  Long,  Loew,  second  vice- 
president  ;  M.  E.  Horwitz,  local  circuit  head, 
secretary ;  Nat  L.  Lefton,  Monogram,  treas- 
urer. Mr.  Drew,  Jess  Fishman  and  Jack 
Shulman  were  elected  to  the  board  of  trus- 
tees. 


Donat  Assigned  Title  Role 
For  Reliance's  "Robin  Hood" 

Robert  Donat.  the  Edmund  Dantes  of 
Reliance's  "The  Count  of  Monte  Cristo," 
United  Artists  release,  has  been  assigned 
the  title  role  in  the  Reliance  production  of 
"Robin  Hood."  Mr.  Donat,  now  appearing 
on  the  English  stage,  will  return  to  Holly- 
wood at  the  conclusion  of  his  present  en- 
gagement, at  which  time  "Robin  Hood" 
will  go  into  production.  It  also  will  be  re- 
leased by  United  Artists. 


Deals  Are  Closed  for 
Several  Action  Series 

Majestic  Pictures  Corporation  of  Ohio 
has  closed  a  deal  with  Stage  and  Screen 
Productions  for  distribution  in  Ohio  and 
Kentucky  of  several  series  of  action  fea- 
tures, including  six  Police  Dog  subjects, 
six  Northwest  Mounted  features,  and  with 
Superior  Talking  Pictures  for  six  Rough 
Rider  and  six  Range  Rider  westerns.  Nat 
Lefton  of  Monogram  Pictures  Corporation 
of  Ohio  has  taken  the  same  product  for 
western  Pennsylvania  and  West  Virginia. 


Berlin  Firm  Bankrupt 

At  a  recent  meeting  of  the  creditors  of 
Aafa  in  Berlin,  it  was  revealed  that  assets 
of  only  10,000  marks  are  available  against 
preferred  claims  of  102,000  marks  and  or- 
dinary claims  of  1,200,000  marks. 


Dramatic  Critic  Resigns 

Lloyd  Thompson,  for  six  years  dramatic 
editor  and  critic  of  the  San  Francisco  Ex- 
aminer, has  resigned  to  devote  his  time  to 
play  writing,  and  has  been  succeeded  by 
Ada  Hanafin. 


Plan  Monogram  Drive 

Monogram  franchise  holders  will  hold  a 
play-date  drive  from  May  1,  to  May  31  in 
honor  of  W.  Ray  Johnston.  Monogram  pres- 
ident. 


<~VAv^  '~\jfvj^  '~viA»>^  '~vaj»^  ""V/vv^  '~v«a»v^  '~vtA»>^  "^vyvj**^  ""V^/Vj^  -^yvj*^  ""vt^vv^  '~v*rt>j»^  ""Ncyvv^*-' 


^  \  Jlw  n   making   [dfoucJ  acknowledgement  of  tke   Annua  1  ; 


^  Awards  of  tke  Academy  oi  Motion  Picture  Arts  and  Sciences,  } 

i  _  '  .  ^ 

^  Columkia  announces  its  Fifteentk  Anniversary.  "L 

\  .         -  I 

^  It  is  l^ecukarly  fitting  fkat  tke  organization  wkick  kad  its  kumkle  ^ 

^  —  ; 


9 


(  keginning  in  igao  witk  tke  advent  of  tke   Hall  Room  Boys   skould  S, 

\    .  .       \         „       .  „  i 

I  in  successive  stages  mark  its  way  uf>ward  tkrougk     Sukmarine  ,  S 


^  Fligkt  ,    Platinum  Blonde  ,    Dirigikle  ,    Lady  For  A  Day  ,  "It  \ 


^  Ha  ^|Dened  One  Nigk",  "One  Nigkt  Of  L  ove  ,    Broadway  BiU"  ^ 


I  and    Tke  ^\)/kole  Town's  Talking    to  tke  kigkest  konors  witkin  ^ 

^  tke  gift  of  a  d  istinguisked  Academy  and  simultaneously  estaklisk  itsell  ^ 


*  in  tke  world-wide  confidence  of  exkikitors.  ^ 

t  s 


(  ^X^e  acknowledge  witk  tkanks  tke  good  wiskes  and  congratulations  j 

\  1 


^  of  our  friends.  ^ 

3  t 


^  6ti  Preparation.  ^ 


\  A  cHtw  FRANK  CAPRA  proSudbn  I 

%  A  cMew  GRACE  MOORE  picture  ? 


^  A  cMew  CLAUDETTE  COLBERT  pidure  ; 


Xi><*"<V«"V>  t>*"Wj  t^x^V^kj  <^V»^j  o^'Vi'Xj  jV^Wj  tV^Vt'N^  tV^Vi'Vj  t>*"Wj  <_<<*"Wj 


70 


MOTION    PICTURE  HERALD 


March    9 ,    19  3  5 


THE  RELEASE  CHART 


Productions  are  listed  according  to  the  names  of  distributors  in  order  that  the  exhibitor  may  have  a  short-cut  towards  such 
information  as  he  may  need,  as  well  as  information  on  pictures  that  are  coming.  Features  now  in  work  or  completed  for  release 
later  than  the  date  of  this  issue  are  listed  under  "Coming  Attractions."  Running  times  are  those  supplied  by  the  companies. 
Asterisk  indicates  running  time  as  made  known  by  West  Coast  studio  before  announcement  by  home  office  in  New  York.  Varia- 
tions also  may  be  due  to  local  censorship  deletions.  Dates  are  1934,  unless  otherwise  specified.  Letter  in  parentheses  after 
title  denotes  audience  classification  of  production:  (A)  Adult,  (S)  General.  Numerals  following  audience  classification  are  pro- 
duction numbers. 


AMBASSADOR  PICTURES 


Features 

Title 


Star 


Fight  Trooper,   The  Kermit  IVIaynard   ..Nov. 

Northern   Frontier   Kermit  IVIaynard   Jan. 


Running  Time 
Rel.  Date      Minutes  Reviewed 


15. 
15. '35. 


Comina  Attractions 

His  Fighting  Blood   Kermit  IVIaynard   July    26, '35 

Red  Blood  of  Courage  Kermit  IVIaynard   Apr 

Sandy  of  the  Mounted  Kermit  Maynard   

Timber  War   Kermit  Maynard   

Trails  of  the  Wild  Kermit  Maynard   June   26. '35 

Wilderness   Mail   Kermit  Maynard   Mar.    13, '35 


17, '35. 
Aug.  26. '35. 
May    21. '35. 


CHESTERFIELD 


Rel. 


Features 

Title  Star 

Curtain  Falls,  The  (A)  Henrietta  Crosman   Oct 

Green   Eyes   (G)   Charles  Starrett-Shirley  Grey. ...June 

Sons  of  Steel  C.  Starrett  -  Polly  Ann  Young.  .  Dec. 

World  Accuses,  The  Dickie  Moore  -  Russell  Hopton  - 

Cora  Sue  Collins  Nov. 

Coming  Attractions 

Circumstantial    Evidence   Chicli  Chandler-Shirley  Grey  

Happiness  CCD  

Shot  in  the  Dark,  A  Charles  Starrett-Marion  Shilling  


Running  Time 
Date      Minutes  Reviewed 

I  67...  Oct.  6 

15  67  Dec.  8 

15  


12. 


COLUMBIA 


Running  Time 

Minutej  Renewed 

 61  Dec.  I 

'35  57.  Feb.  2,'35 

 57  Dec.  20 

'35...  68.  Jan.  5,'35 
  105  Nov.  10 

'35  75.  Feb.  23,'33 

'35  


Features 

Title  Star  Rel.  Date 

Against  the  Law   (A)  John  Mack  Brown-Sally  Blane .  .  .  .  Oct.  25 

Behind  the  Evidence  (G)  Norman  Foster-Sheila  Manners.  .  .Jan.  20, 

Best  Man  Wins,  The  (G)  Tim   McCoy-Shirley  Grey  July  20 

Beyond  the  Law  (G)  J.  Holt-Florence  Rice-E.  Lowe... Jan.  5, 

Broadway  Bill  (G)  Warner  Baxter-Myrna  Loy  Dec,  27 

J,  Durante  -  Lee  Tracy  -  Sally 

Carnival    (G)                                Filers  -   Florence   Rice  Feb.  10, 

Death  Flies  East  Florence   Rice-Conrad    Nagel  Feb.  28, 

(See   "Mistaken   Identity"   "In  the  Cutting   Room,"   Jan,  I9,'35.) 

Fugitive   Lady   (A)   Neil    Hamilton-Florence    Rice..    Get.  211.. 

(See   "In  the   Cutting    Room,"   Oct.  20.) 

Girl  in  Danger  (A)  Ralph   Bellamy-Shirley  Grey  Aug.  29  

I'll  Fix  It  Jack  Holt-Mona  Barrie  Oct.  15  

Jealousy   (G)   Nancy  Carroll-Donald   Cook  Nov.  20  

Lady  by  Choice  (G)  Carole  Lombard  -  May  Robson  - 

Walter  Connolly-Roger   Pryor.  Oct.  15..,. 

Law  Beyond  the  Range  Tim  McCoy-Billie    Seward  Feb.  I5,'35. 

Let's  Live  Tonight  Lilian   Harvey-Tullio  Carminati.  .  Mar.  I, '35  

(See   "Once  A   Gentleman"   "In  the  Cutting   Room."   Dec.  29.) 

Man's  Game,  A  (G)  Tim  McCoy-Evelyn   Knapp   June  21   58 

Men  of  the  Night  (G)  Bruce  Cabot-Judith  Allen   Nov.  26  58. 

Mills  of  the  Gods   (G)  May  Robson  -  Victor  Jory  -  Fay 

Wray   Dec.  15  67. Jan. 

Prescott  Kid   Tim  McCoy-Sheila  Manners  Nov.  8  56  

Square  Shooter  (Gl   Tim  McCoy   Jan.  21, '35  .57  

(See  "Quick   Sand"   "In  the  Cutting   Room,"   Nov.  17.) 

That's  Gratitude  (A)  Frank  Craven-Sheila  Manners. .  .  .Oct.  6 

Voice  in  the  Night   (G)  Tim  McCoy-Billie  Seward   Apr.  6  

Westerner,  The  (G)  Tjm  McCoy-Marian    Shilling  Dec.  10  

White    Lies    (A)  Victor  Jory-Fay  Wray    Nov.  27  

Whole  Town's  Talking,  The  (G)  .Edw.  G.  Robinson-Jean  Arthur.  .Feb.  22,'35. 


.61  Dec.  I 

.fl  Nov.  17 

.60....  Dec.  13 


•!!5.  . 
,58.  . 


.Oct. 


.Oct. 
.  Dec. 


20 


I9,'35 


 64. . , .  Nov. 

 59  


.74. Jan. 
*93. Jan. 


5, '35 
23, '35 


Coming  Attractions 

Air  Fury   Ralph  Bellamy-Tala  Birell  

Black   Room   Mystery  Boris  Karloff   

Call  to  Arms   (G)  Willard   Mack-Ben  Lyon-Shiela 

Mannors-Wera  Engels   

(See   "In   the   Cutting   Room,"   Nov,  3,) 

China  Roars   

Depths  Below    \ 

Eight  Bells   Ann  Sothern-Ralph  Bellamy! ". 

(See  "In  the  Cutting  Room,"  Feb.  23,'35,) 

Feather  in  Her  Hat,  A  

Fighting   Shadows  Tim  McCoy-Geneva  Mitchell.!.!.!!!!!!,!!!'! 

Frisco  Fury   jack  Holt   

Georgiana   Ann  Sothern   

Girl    Friend,   The  Lupe  Velez-Jack  Haley   

Grand  Exit   

Hot   News   Richard  Cromwell-Biliie  Seward !!!!!!!!!!!!! ! 

If  You  Could  Onlv  Cook  Claudette  Colbert  

I'll   Love  You  Always   Nancy  Carroll-George  Murphy! !..  Mar.'  2oV'35' 

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 
In  Spite  of  Danger  Marian   Marsh-Wallace  Ford  Mar.     8, '35. 

(See   "Devil's   Cargo"    "In  the   Cutting   Room,"   Jan.  26,'35.) 

Jim  Burke's  Boy  Florence  Rice   

Lady  Beware   

Maid  of  H onor  !!!!!!!!!!!!!!!!!!!!!! 

On  Wings  of  Song  Grai-e  ivioore  !!!  ! 

Party  Wire   Jean  Arthur- Victor  Jory  

Revenge    Rider   Tim   McCoy-Billie  Seward  Mar.  I8,'35 

(See  "AP's    lohn   Law"   "In  the  Cutting   Room,"   Dec.  8,) 
Stranger  in  His  House  Jack  Holt-Mona  Barrie   Mar.   20, '35 

(See   "Gimpy"   "In  the   Cutting    Room."    Mar.   2, '35.) 
Sure   Fire   Gene   Raymond-Ann  Sothern  


DU  WORLD  PICTURES 


Features  Running  Time 

^!*.'°. .     .  Star  Rel.  Date       Minutes  Reviewed 

Blue   Light   (A)   5029  Leni   Riefenstahl   Oct.    15   90 

Cranguebille    5038   Dec.  15 

Girl  in  the  Case  5005   Jimmy   Savo-Eddie  Lambert- 

„   .       .   .  Dorothy  Darling   60  

Kocha,   Lubi   Szanule   5041  ...  (Polish)   Nov.      1   72 

L'Agonie  des  Aigles  (A)  5032. Pierre  Renoir   Dec.      I   80       Dec  8 

Man  Who  Changed   His  Name,  ..">=... 

The  (A)   5036   1  yn  Harding    65       Oct  27 

Mane  5043   Annabella   Jan.      I,'35         67.  " 

Old  Bill  5038   Anatole  France  story  Feb.    10. '35...  70 

Viennese  Love  Song  Maria  Jeritza   Feb.    15, '35  72!...!!.!!!!! 

Coming  Attractions 

Lady  of  Camelias   Y.   Printemos-Pierre   Fresnay  Apr.    15, '35  

World  in   Revflt   Graham  McNamee   Mar.  1,'35  


FIRST  DIVISION 


(Releases   Monogram,   Liberty.   Chesterfield  and    Invincible  pictures   in  certain  territories.) 

Features  Running  Time 

Title  Star  Dist'r  Rel.  Date      Minutes  Reviewed 

Convention    Girl  Rose  Hobart    Oct.  31  

Flirtation   Jeannette  Loff- 

Ben   Alexander  Nov.  9  

Hei  Tiki   (G)   (All  Native  Cast) ...  Principal   Feb.     I, '35.  86.  Feb.     9, '35 

Little  Damozel   Anna  Neagle  Dec.  I  

Return  of  Chandu  Maria  Alba- 

Bela  Lugosi  Principal   Oct.  4  

White  Heat    Virginia    Cherrill  Oct.  1 


FIRST  NATIONAL 


Running  Time 
Date      Minutes  Reviewed 
8  *75  Nov.  17 


I  . 
17. 
27. 


20 ... . 
2, '35. 


. .97. . 

.''75. . 
. .86. . 

. .70, . 

..80.. 


I2,'35  62  Nov.  24 

15  61. Jan.      5, '35 

2,35  61  

20  69  Nov.  10 

9, '35  66  

16, '35  68  


Features 

Title  Star  Rel. 

Babbitt   (G)   869  Aline  MacMahon-Guy   Kibbee  Dec. 

Flirtation  Walk   (G)  752  Dick   Powell  -  Ruby  Keeler-Pat 

O'Brien   Dec. 

Gentlemen  Are  Born  (G)  872. .  Franchot   Tone-Jean    Muir  Nov. 

Happiness  Ahead  (G)  854  Dick    Powell-J,    Hutchinson  Oct. 

I  Sell  Anything  (G)  873  Pat   O'Brien  -  Ann    Dvorak  -  C. 

Dodd   Oct. 

Living  On   Velvet  859  Kay  Francis  -  George  Brent  - 

Warren  William  Mar. 

(See  "In  the  Cutting  Room,"   Dec,  8.) 

Maybe   It's  Love  (G)   876  Gloria  Stuart-Ross  Alexander.  ...  Jan. 

Murder  in  the  Clouds  (G)  877.Lyle  Talbot-Ann  Dvorak   Dec. 

Red  Hot  Tires  878   Lyie  Talbot-Mary  Astor   Feb. 

Six  Day  Bike  Rider  (G)  864.. Joe  E.   Brown-Maxine  Doyle  Oct. 

While  the  Patient  Slept  874...  Aline  MacMahon-Guy  Kibbee. ...  Mar. 
(See  "In  the  Cutting  Room."   Dec.  29.) 

Woman  in  Red,  The  (A)  863  . B.  Stanwyck-Gene  Raymond  Feb. 

(See   "Northshore"   "In  the  Cutting   Room,"    Dec.  8,) 

Coming  Attractions 

Alibi   Ike   Joe  E.  Brown   

Black  Fury  (A)  Paul   Muni-Karen  Morley  

(See   "In  the  Cutting    Room,"   Jan,   19. '35.) 

Captain   Blood   Robert  Donat-Jean  Muir  

Case  of  the  Curious  Bride  Warren  William   Apr.    13, "35  

Go  Into  Your  Dance  853  Al   Jolson-Ruby   Keeler  Apr.  20,'35  

(See   "In  the  Cutting   Room,  "  Jan,   19, '35.) 

Gold  Diggers  of  1935  (G)  851.  Dick  Powell-Gloria  Stuart  Mar.    16, '35  95. 

In  Caliente  856   Dolores  Del   Rio-Pat  O'Brien  

(See  "In  the  Cutting  Room,"  Feb.  2, '35.) 

Napoleon   Edw.  G.  Robinson-Bette  Davis  

Oil  for  the  Lamps  of  China  867.   J.    Hutchinson-Pat  O'Brien  

Singer   of   tJaples  Enrico  Caruso,  Jr  

Traveling  Saleslady  870  Joan  Blondell   Apr,  6.35  

(See  "In  the  Cutting  Room,"  Mar.  2, '35.) 
Wanderlust  875   Aline  MacMahon-Guy   Kibbee  Apr.    27, '35  

(See  "In  the  Cutting  Room,"   Mar.  2, '35.) 


.Nov. 
.  .Oct, 
Sept. 


10 

20 
22 


.Oct.  20 


FOX  FILMS 


28.... 

5.  .  .. 

I, '35. 
1  l,'35. 
21  


Features 

Title  Star  Rel. 

Baboona  (G)  530   Mr.  &  Mrs.  Martin  Johnson  Feb. 

Bachelor  of  Arts  (G)  520  Tom   Brown-Anita  Louise  Nov. 

(See   "In   the   Cutting    Room."    Nov.  3.) 

Bright   Eyes   (G)   524  Shirley  Temple-James   Dunn  Dec. 

Caravan  (A)  508  Charles   Boyer-Loretta  Young- 
Jean  Parker-Phillips  Holmes.  Oct, 

Charlie  Chan  in  Paris  (G)  526.  Warner   Oland   Feb- 

County  Chairman,  The  (G)  520.  Will   Rogers   'J^"- 

Dude  Ranger,  The  (G)  507. ...  George  O'Brien   Sept. 

Elinor  Norton  (A)  510  Claire  Trevor  -  Norman  Foster - 

Hugh  Williams-G.  Roland  Nov, 

First  World  War,  The  (A)  519  Nov, 

Gambling    (A)    512   George  M.  Cohan   Nov. 

Great  Hotel  Murder  (G)  522..  Edmund    Lowe-Victor   McLaglen . .  Mar. 

Helldorado   (G)   522  Richard   Arlen-Madge   Evans  Dec. 

Hell  in  the  Heavens  (A)  517.  Warner  Baxter-C.  Montenegro. ..  .Nov. 

Little  Colonel   (G)  531  Shirley  Tcmple-L.   Barrymore  Feb. 

Lottery  Lover  (G)   523  "Pat"  Paterson-Lew  Ayres   Jan. 

Love  Time  (G)  506  "Pat"   Paterson-Nils  Asther  Sept. 

Marie  Galante  (A)  511  Spencer  Tracy- Ketti   Gallian  Oct. 

Music  in  the  Air  (G)  513  Gloria  Swanson  -  John  Boles  - 

Douglass  Montgomery  Dec. 

Mystery  Woman  (G)  515  Mona  Barrie-Gilbert   Roland  Jan. 

One  More  Spring  (G)  529  Janet  Gaynor-Warner  Baxter  Feb. 

Peck's  Bad  Boy  (G)  516  Jackie  Cooper-Thomas  Meighan- 

Dorothy  Peterson-Jackie  Searl .  Oct. 

Pursued  (A)  502  Rosemary  Ames-Victor  Jory  ..Aug. 

365   Nights  in   Hollywood  (G) 

514   Alice   Faye-James   Dunn  Oct. 

Under   Pressure  521  Edmund  Lowe-Victor  McLaglen.  .  .Jan. 

(Reviewed   under  the  title  "Man  Lock") 

When  a  Man's  a  Man  (G)  527.  George  O'Brien   Feb. 

White  Parade,  The  (G)  518...  John    Boles-Loretta  Young  Nov. 

Coming  Attractions 

Dante's   Inferno   Claire  Trevor-Alice  Faye  

(See  "In  the  Cutting  Room,"  Mar.  2, '35.) 

Doubting  Thomas   Will  Rogers   

Gaucho  Lover  528  Warner  Baxter-Ketti   Gallian  June  7,'35. 

George   White's    1935  Scandals 
534   Alice  Faye-James   Dunn  Mar.  8,'35.... 

(See  "In  the  Cutting  Room."  Feb.  23,'35.) 

Heaven's  Gate   Shirley  Temple   

It's  a  Small  World   Spencer  Tracy-Wendy  Barrie  

Life  Begins  at  40  533  Will    Rogers   .,  Mar.  22,'35  

(See  "In  the  Cutting   Room,"   Jan.  26, '35.) 

Man  Proposes   James    Dunn-Mae  Clarke  

Redheads  on  Parade  536  1.  Boles-Claire  Trevor-Alice  Fay  

Secret    Lives   Gilbert  Roland-Mona  Barrie  

Spring  Tonic   Lew  Ayres-Claire  Trevor  Mar.  ISi'SS... 

$10  Raise   Edward   Everett  Norton  


Running  Time 
Date      Minutes  Reviewed 

8,'35  72. Jan.    26, '35 

23  74  


.  .83. 


Dec.  15 


ini  Sept.  8 

.*70.Jan,  5,'35 

.78  Dec.  29 

.  65.... Sept.  22 


2  72  Oct.  27 

23  78.,..  Nov.  17 

3  80  Dec.  II 

l,'35....*70.Feb,    23, '35 

21  74. ...Dec.  15 

9  80  Nov.  3 

22,'35. .  ..*80.Feb.  I6,'35 

4, '35  82.  Feb,  9,'35 

21  73,,,, Nov.  24 

26  88  Nov.  24 

7  81  Dec.  22 

I8,'35  69. Jan.  26,'35 

I5,'35  90,  Feb.  9,'35 

19  70.... Sept.  8 

24  68  Nov.  24 


12  

25, '35. 


.74.,.. Nov.  17 
•65.  Jan.  I9,'35 


1 5, '35  68.  Mar,  2,'35 

16  83. ...Oct.  27 


March  9,1935 


MOTION    PICTURE  HERALD 


71 


(THE  I2ELEASE  CHAI5T"C©NT'D) 


GB  PICTURES 


Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Chu  Chin  Cliow  (G)  3401  Anna  May  Wong-George  Robey...Oct.     15  95  Sept.  29 

Dictator,  The  (A)  Clive  Brooli   95.  Feb.  I6,'35 

Evensong  (A)  3406  Evelyn   Laye   Dec.    15  82  Nov.  3 

Evergreen    (A)    3405  Jessie   Matthews-Sonnie  Hale. ...Dec. 

Iron  Duke,  The  (G)  3407  George  Arliss   Jan. 

Jack  Ahoy  (G)  3404  Jack  Hulbert   Feb. 

Little  Friend  (A)  3403  Nova  Pilbeam-Matheson  Lang. ...Nov.  _ 

Lover  Divine   Marta    Eggerth   Oct.  13 

(Reviewed    under  the  title    "Unfinished  Symphony") 
Man  Who  Knew  Too  Much,  The 

(G)   Peter  Lorre-Nova  Pilbeam  80  Dec.  29 

Man  of  Aran   (A)   Robert  Flaherty   Dec  77  Oct.  27 

My  Heart  Is  Calling  (G)  Jan   Kiepura   90.  Feb.     2, '35 

My  Song  for  You  Jan   Kiepura   Nov.  10 

Power   (A)    3402  Conrad  Veidt.Benita  Hume  Nov.      I  103  Oct.  13 

Princess  Charming  (G)  3408. ..  Evelyn  Laye-Henry  Wilcoxon  Jan.        '35  81  


31  98  June  23 

'35  90  Dec.  22 

8,'35  70.  Feb.    16. '35 

IB  88  Oct.  29 


INVINCIBLE  PICTURES 

[Distributed  through  Chesterfield] 


Features  Running  Time 

Tille  Star  Rel.  Date      Minutes  Reviewed 

Ghost   Walks,   The  John  Milian-June  Collyer  Dec.     I  ' ' " 'mV.," ' 'oa 

One  in  a  Million   (G)  Dorothy  Wilson-C.  Starrett  Sept.     5  66.... Nov.  24 

Port  of  Lost  Dreams  (G)  Wm.   Boyd-Lola  Lane   Oct.    15  68.... Nov.  24 

Symphony  for  Living  Evelyn  Brent-AI  Shean  Jan.    20,35  75  

Coming  Attractions 

Death  from  a  Distance  

Public  Opinion   Lois  Wilson-Shirley  Grey  

Room  and  Board   


LIBERTY  PICTURES 


Running  Time 
Rel.  Date       Minutes  Reviewed 
 70. 


..Oct.  8 

..Dec.    14  72. 

..Oct.      2  71. 

..July    20  74. 


July  21 
.May  10 
.Oct.  13 


Features 

Title  Star 

No  Ransom  (A)   1004  Leila  Hyams-Phillips  Holmes. 

Once   to    Every    Bachelor  (A)   

1005   Marian   Nixon-Neil  Hamilton. 

Two  Head's  on  a  Pillow  (A)   

1006   Neil  Hamilton-Miriam  Jordan. 

When  Strangers  Meet  1002  Richard  Cromwell-Arllne  Judge 

Coming  Attractions  ^,  . 

Diz2y   Daines   M-   Rambeau-Florine  McKinney  

Old  Homestead,' The  :;:^^:;:M.'ary  'cariisle-Lawr^       Gray..  .ii 

School  For  Girls  (A)  1007  Sidney  Fox-Paul   Kelly  Mar.  22,  35  of  Feb  "  23 '35 

Sweepstake  Annie  (G)  Marian   Nixon-Tom   Brown  81. Feb.  23,35 

Without  Children  (A)   1008  M.  Churchill-Bruce  Cabot  


MAJESTIC 


Sept. 
.  Dec. 


Fpnfiiret  Running  Time 

reuiMJco  ^^^^  Pjj^^       Minutes  Reviewed 

Niaht  Alarm    (G)    505  Bruce  Cabot. Judith  Allen-H.  B.    (New  -^ork) 

IMignt  Alarm    (t.)    ouo  Warner  -   Fuzzy  Knioht  Dec.  15   .65. 

Perfect  Clue,  The  (G)  512  David  Manners-Dorothy  Libaire.. Mar.    10,35....  63. 

Scarlet  Letter,  The  (A)  501  ...Colleen  Moore-Hardie  Albright- 

Henry  B.  Walthall  Sept. 

.Larry  "Buster"  Crabbe  -  Isabel 

Jewell  -  Sally  Blane  Sept. 

Coming  Attractions 

Mutiny  Ahead   Neil 

(See  "In  the  Cutting  Room," 


She  Had  to  Choose  (G)  504. 


14. 
14. 


.70. 
.65. 


.July  14 
.Aug.  II 


Hamilton-Kathleen  Burke. 
Jan.  26,'35.) 


MASCOT  PICTURES 


Star 


Running  Time 
Rel.  Date       Minutes  Reviewed 

...Ben  Lion-Sari  Maritza  Oct.       1  •  m';*;  24 

...Ken   Maynard-Evalyn   Knapp  Nov.      5  '  '  Bee'  22 

..Erin  O'Brien-Moore-R.   Morgan..  Dec.      4  7^....uec. 

u„».  .u„a.»    ....  V-  Clyde   Beatty   June    13  68  

Marines  Are  Coming.  The  William   Haines-Armida  .•■  

marines  «re  oom.ng,  Conrad  Nagel-Esther  Ralston.  .  .Nov.  20.. 

.Sept.  2... 


Features 

Title 

Crimson  Romance  (A). 
In  Old  Santa  Fe  (G). 

Little  Men  (G)   

Lost  Jungle,  The  (G). 


70  Dec.  15 

68...  Sept.  8 


Running  Time 
Rel.  Date       Minutes  Reviewed 


Young  and  Beautiful  (A)  William  Haines-Judith  Allen. 

Coming  Attractions 

Behind  the  Green  Lights  Norman   Foster-Judith  Allen. 

METRO-GOLDWYN-MAYER 

Features 

After"^  Office  Hours  (G)   C.    BennVciark   Gable  ■  ■  F«b"lV35- •  •  • 

Babes  irToyland     G  ..Laurel  and   Hardy-C.   Henry.        Nov.    30  79...  Nov. 

larretts  of  Wimpole  Street  (A). Norma   Shearer-Charles  Laugh- 

ton-Fredric    March   Sept. 

Band  Plays  On,  The  (G)  Robt.  Young-Betty  Furness  Dec. 

Biograpliy  of  a   Bachelor        ^    „„ntBomery-Ann   Harding. ..  .Jan. 

rha  ned    (A)  Joa"  Crawford -Clark  Gable  Aug. 

'D'a^v'iS'''coipe^rf,eld  (G) '  ^-l^-'-V.  '^"^e^r^L. 

Barrymore-Edna   M.    Oliver. ...  Jan. 

Death  on  the  Diamond   (G)...  Robert  Young-Madge  Evans  Sept. 

Evelyn   Prentice    (A)  William   Powell-MY"a   LWj-  --  Nov. 

Forsaking  All  Others  (A   Joan  Crawford  -  Clark  Gable  - 

^u.^a.^...■l  Robert  Montgomery   Dec. 

Gav   Bride    The    (A)  Carole  Lombard-Chester  Morris.  ..  Dec. 

Havp  a  Heart  (G)   Jean  Parker  -  James  Dunn  - 

Have  a  Heart  (b)    ^^^^^^  ^^^.^     ^^^^  Merkel . . .  .Sept. 

Merry  Widow,  The  (A)   Maurice  Chevalier-J    MacDonald  . .  Nov. 

Night  Is  Young,  The  (G)  Ramon   Novarro-Evelyn   Laye  ...Jan. 

Outcast  Ladv  (A)   Constance   Bennett   -  Herbert 

outcast  uany  («)  Marshall  -  Hugh  Williams  Sept. 

Painted  Veil,  The  (A)  Greta  Garbo-Herbert  Marshall- 

George   Brent   Nov. 

Sequoia   (G)   Jean  Parker-Russell  Hardie  Feb. 

Shadow  of  Doubt  (G)   Ricardo  Cortez-Virginia  Bruce...  Feb. 

Society  Doctor   Chester   Morris-V.    Bruce  Jan. 

(Reviewed  under  the  title  "Only  8    Hours")  x     „  ^ 

Student    Tour  (G)   Charles  Butferworth-J.   Durante.  .Oct. 

Treasure    Island    (G)  Wallace    Beery-Jackie   Cooper.  . 

Lionel  Barrymore-Otto  Kruger  ..Aug. 
Vanessa:  Her  Love  Story  (A). .Helen  Hayes-Robert  Montgomery ..  Mar. 
What  Every  Woman  Knows  (G).  Helen  Hayes-Brian  Aherne  ..Oct. 

Wicked  Woman  (A)   Mady  Christians-Chas.  Bickford  .  .Dec. 

Winning  Ticket.  The  (G)  Leo  Carrillo-L.  Fazenda  Feb. 

Coming  Attractions 

Age  of  Indiscretion  May   Robson-Madge   Evans  , 

Baby  Face  Harrington  Charles  Butterworth   ........ ...Apr.    19,  35  

(See  "Public  Enemy  No.  2"  "In  the  Cutting  Room,'  Mar.  2,35.) 

Casino  Murder  Case  Paul  Lukas      •  •■•  Mf".   15,  3S  

(See    "In   the   Cutting    Room,"    Feb.    16,  35.) 

China  Seas   Wallace  Beery-Clark  Gable  

Mark  of  the  Vampire  Lionel  garrymore  . . . . . . .  Apr.         35. ..     ...........  •■■ 

Naughty  Marietta  (G)   J.  MacDonald-Nelson   Eddy  Mar.  29,  35. ...  80. Mar.  2,35 


III. 

...Aug.  4 

21  

...85. 

...Dec.  29 

4.'35.. 

. . . 84 . 

...Dec.  29 

31  

♦74. 

...Sept.  1 

I8,'35. . 

..133. 

Jan.    19. '35 

14  

...72. 

...Sept.  29 

9  

...80. 

...Nov.  3 

28  

...84. 

...Dec.  8 

14  

. ..82. 

...Nov.  17 

7  

.  . . 82 . 

...Oct.  27 

2    .  . . 

100. 

...Sept.  8 

II, '35.. 

.  . .82. 

...Dec.  29 

28  

. . .79. 

...Sept.  8 

23  

...86. 

...Nov.  10 

I,'35.. 

.  . .72. 

...Nov.  17 

I5,'35.. 

...75. 

Feb.  9,'35 

25,'35.. 

.  ..68. 

Jan.  12,'35 

5  

...87. 

...Nov.  10 

1 10 

 July  14 

I,'35. . 

...77. 

Feb.  23,'35 

19  

. . .92. 

...Oct.  13 

7  

.  .  .74 

 Dec.  1 

8,'35.. 

.  .  .70 

Jan.  I9,'35 

Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Order   Please   Franchot  Tone-Una   Merkel  Apr.    26, '35  

Reckless   Jean  Harlow-Wm.  Powell  ..Apr.    19, '35  

(See  "In  the  Cutting  Room,"  Feb.  16. '35.) 

Times  Square  Lady  (G)  Robert  Taylor- Virginia  Bruce ....  Mar.     8,'35  69.  Mar.  2,'35 

Typee   Mala,  Lotus  Long  

Vagabond   Lady   Robert  Young-Evelyn  Venable  

West  Point  of  the  Air  Wallace  Beery-Robert  Young  Mar.   22,'35  89  

(See  "In  the  Cutting  Room,"  Feb.  2,'35.) 

MONOGRAM  PICTURES  CORPORATION 


Features 

Title 

Flirting  With  Danger  (G)  3023 
Girl    of  the   Limberlost  (G) 

3001   

Girl  0'  My  Dreams  (G)  3015. 

Happy  Landing  (G)  3029  

Lawless  Frontier  (G)  3035  

Lost  in  the  Stratosphere  (G) 

3020   

Man  from  Utah,  The  (G)  2044 
Million  Dollar  Baby  (G)  

Monte  Carlo  Nights  (A)  2024. 
Mysterious    Mr.    Wong,  The 

(A)  3022   

'Neath  Arizona  Skies  (G)  3032 

Redhead    (A)  3012  

Sing  Sing  Nights  (A)  

Star  Packer,  The  (G)  2041... 
Successful  Failure,  A  (G)  3024 

Texas  Terror   

Tomorrow's  Youth  3021  

Trail  Beyond,  The  (G)  3031  . . 
Women  Must  Dress  (G)  


Star 

Robert  Armstrong-Marion  Burns 


Running  Time 
Rel.  Date      Minutes  Reviewed 
.Dec.      I  70  Nov.  17 


Marian  Marsh-Ralph  Morgan .....  Oct.  15. 

Mary  Carlisle-Creighton  Chaney..Nov.  17. 

Ray  Walker-Jacqueline  Wells. ..  .Sept.  I. 

John  Wayne-Sheila  Terry  ..Nov.  22. 

June  Collyer-William  Cagney. .  . . Nov.  15. 

John  Wayne   May  15. 

Arline  Judge  -  Ray  Walker  - 

Jimmy  Fay   Jan. 

Mary  Brian-John   Darrow  May 


...86  Sept.  I 

...65  Nov.  16 

...63  Aug.  4 

...54. Feb.  2,'35 


.Oct.  27 


..64.. 
. .55. . 


Bela  Lugosi-Wallace   Ford  Jan. 

John  Wayne-Sheila  Terry  Dec. 

Bruce  Cabot-Grace   Bradley  Nov. 

Conway  Tearle-Mary  Doran  Dec. 

John  Wayne-Verna  Hillie  July 

Wm.   Collier,  St.   -  Lucille 

Gleason   Oct. 

John  Wayne   Feb. 

Dickie  Moore  -  Martha  Sleeper  - 

John  Miljan-Gloria  Shea  Sept.    15  ... 

John  Wayne-Verna  Hillie  Oct.  22  

Minna  Gombell-Gavin  Gordon ....  Feb.     I, '35. 


I5,'35  65  Dec.  20 

20  62  

25, '35  68. Jan.  I9,'35 

5  52  Dec.  IS 

I  76  Sept.  22 

15  60.  Feb.  2,'35 

30  54  


15. 


,'35. 


.62. 
.51 . 


.Oct. 


.63  

.55  Sept.  22 

.77.  Jan.  26,'35 


Coming  Attractions 

Cheers  of  the  Crowd  

Dawn   Rider,  The  John  Wayne   

Desert  Trail   John  Wayne-Mary  Kornman  Apr.    22, '35  

(See  "In  the  Cutting  Room,"  Feb.  23.  35.) 

Great  God  Gold   Sidney  Blackmer-Gloria  Shea.... Apr.    15, '35  

(See  "In  the  Cutting  Room,"   Dec.  15.) 

Healer,  The   

Honeymoon  Limited   

Hoosier  Schoolmaster.  The  Charlotte   Henry-Norman  Foster  

Keeper  of  the  Bees,  The  

Mystery  Man  (G)  Robert  Armstrong   Apr.   2S,'35  62. Feb.  I6,'35 

Nut   Farm,  The   (G)  Wallace   Ford   Mar.  25, '35  65.  Feb.  9,'35 

Rainbow  Valley   John   Wayne-Lucille    Brown  Mar.    15, '35  52  

Reckless   Romeos  3019  Robt.  Armstrong-Wm.  Cagney  

PARAMOUNT 

Features 

Title 

All  the  King's  Horses  (G)  3430. 
Behold  My  Wife  (A)  3419.... 
Belle  of  the  Nineties  (A)  3353. 

Car  99    (G)  3432  

Cleopatra  (A)  3410   


Star 


Rel. 


College  Rhythm   (G)  3417.... 

Enter  Madame  (A)  3414  

Father  Brown,  Detective  (G) 
3420   


Gilded  Lily,  The  (G)  3426... 
Here  Is  My  Heart  (G)  3423.. 
Home  on  the  Range  (G)  3421. 

It's  a  Gift  (G)  3418  

Limehouse  Blues  (A)  3415.... 
Lives  of  a  Bengal  Lancer  (G) 

3427   

Menace  (A)  3413   

Mrs.   Wiggs  of  the  Cabbage 

Patch   (G)  3407   


Mary  Ellis-Carl  Brisson  Feb. 

Sylvia  Sidney-Gene  Raymond  Dec. 

Mae  West   Sept. 

Fred  MacMurray-Ann  Sheridan ...  Mar. 
Claudette  Colbert  -  Henry  Wil- 

coxon-Warren  William   Oct. 

Joe  Penner-Lanny  Ross  Nov. 

Elissa  Landi-Cary  Grant  Jan. 

Walter  Connolly-Paul  Lukas- 

Gertrude  Michael   Dec. 

C.  Colbert-Fred  MacMurray  Jan. 

Ring  Crosby-Kitty  Carlisle  Dec. 

Jackie  Coogan- Randolph  Scott. ...  Dec. 

W.  C.  Fields-Baby  LeRoy  Nov. 

George   Raft-Jean   Parker  Nov. 

.Gary  Cooper- Franchot  Tone  Jan. 

Paul  Cavanagh   Oct. 

.  Pauline  Lord  -  W.  C.  Fields  - 
Zasu   Pitts  -   Kent  Taylor  - 

Evelyn   Venable   Oct. 

.Joe  Morrison-Helen  Twelvetrees  . .  Dec. 
.Arthur  Byron-Janet  Beecher  Jan. 

.Francis  Lederer-Joan  Bennett. ...  Nov. 

.Richard  Arlen-lda  Lupine  Oct. 

.  R.  Scott-Chas.  "Chic"  Sale  Feb. 

'  "In  the  Cutting   Room,"   Nov.  10.) 

.George  Raft-Carole  Lombard  Feb. 

Gary  Grant-Myrna  Ley  Feb. 


Running  Time 
Date      Minutes  Reviewed 
22,'35.  .  ..♦85.Feb.  23,'35 

7  79.  Feb.  23,'35 

21  75  Aug.  25 

l,'35....*75.Feb.  I6,'35 


5  

23  

4,'35. . 


.101  Aug.  25 

.*83  Nov.  ID 

..83  Nov.  8 


21  *65  Dec.  I 

25. '35  *80.Jan.  5,'35 

25  76  Dec.  8 

21  55  Mar.  2,'35 

30  68  Nov.  24 

9  66  Dec.  22 

18. '35  89. Jan.     5, '35 

26  58. ...Oct.  13 


19  73. 

14  75. 

1  l,'35  83. 


..Aug.  23 
. .  Dec.  8 
..Nov.  24 


16  

12  

8,'35. 


.72. 
♦65. 
.63. 


.Sept. 
.Oct. 


15 

6 


I5,'35.... 
I,'35. . . 


*70.Feb. 
.75. Jan. 


2,'35 
I9.'35 


One  Hour  Late  (G)  3422  

President  Vanishes  (G)  3416. 
Pursuit  of   Happiness,  The 

(A)  3409   

Ready  for  Love  (G)  3412  

Rocky  Mountain  Mystery  3428 
(See  "Vanishing  Pioneer'' 

Rumba  (A)  3429  

Wings  in  the  Dark  (G)  3424. 

Coming  Attractions 

Crusades,  The   Loretta  Young-Henry  Wilcoxon  

Devil  Is  a  Woman,  The  (A) . . .  Marlene   Dietrich-Cesar  Romero. .Apr.    15, '35  *90.Mar.  2,'35 

Four  Hours  To  Kill  Richard  Barthelmess   

(See  "In  the  Cutting  Room."   Feb.  23,'35.) 

Glass  Key,  The  George  Raft  

Hold  'Em   Yale  Patricia  Ellis-Larry  Crabbe  

(See    "In    the   Cutting    Room,"    Feb.    16, '35.) 
How  Am  I  Coin'?  Mae  West   

(See  "In  the  Cutting  Room,"   Feb.  23, '35.) 
Love  in  Bloom  3434  Joe   Morrison-Dixie   Lee  Mar.   15, '35  

(See  "Win  or  Lose"   "In  the  Cutting   Room,"  Jan.   12, '35.) 
McFadden's  Flats   Betty  Furness-Richard  Cromwell.  .Apr.    22, '35  

(See  "In  the  Cutting   Room,"  Jan.  26, '35.) 

Milky  Way,  The  Jack  Oakie-Adolphe  Menjou  

Mississippi  (G)  3433  Ring  Crosby-Joan   Bennett  Mar.   29,'35  *80.Mar.  2,'35 

Once  in  a  Blue  Moon  3425....).  Savo-Michael  Dalmatoff  Mar.  22, '35  

Paris    in   Spring  Tullio  Carminati-Mary  Ellis  

(See  "In  the  Cuttinq  Room."^  Feb.  23,'35.) 

People   Will  Talk  Chas.  Ruggles-Mary  Boland  

Private  Worlds  3435   C.  Colbert-J.  Bennett-C.  Boyer  .Mar.  22,'35  

(See  "In  the  Cutting  Room."  Mar.  2, '35.) 
Ruggles  of  Red  Gap  (G)  3431.  Charles  Laughton-Mary-Poland- 

Charles  Ruggles-Zazu  Pitts  Mar.     8,'35  *90.Feb,  I6,'35 

Stolen  Harmony   George  Raft   Apr.  29,'35  

(See   "In  the   Cutting    Room,"    Feb.  2,'35.) 


PRINCIPAL 


Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Little  Damozel  722   Anna  Neagle-James  Ronnie  ..June    II  59  

Peck's  Bad  Boy  (G)  Jackie  Cooper-Thomas  Meighan- 

Dorothy  Peterson-Jackie  SearL.Oct.     19  70  ... Sept.  8 

Return  of  Chandu,  The  (G) 
300-312   Bela  Lugosi-Maria  Alba  Oct.      1  65  


72 


MOTION    PICTURE  HERALD 


March    9  .  1935 


(THE  CCLCASE  CHACT—CCNT'D) 


RKO  RADIO  PICTURES 


Features 

Title 

Adventure  Girl  (G)  4148  

Aje  of  Innocence,  The  (A)  503. 
Anne  of  Green  Gables  (G)  507, 

By  Your  Leave  (A)  509  

Captain   Hurricane  (G)  

Dangerous  Corner  (A)  506  


Enchanted  April,  The  (A)  

Gay  Divorcee,  The  (G)  505  ... 

Gigolette   

Grand  Old  Girl  (G)  519  

Gridiron  Flash   (G)  511  

Kentucky  Kernels  (G)  508  

Lightning    Strikes    Twice  (G) 

517   

Little  Minister  (G)  512  

Murder  on  a  Honeymoon  (G).. 

Red  Morning  (A)  515  

(See  ■  Girl  of  the  Islands 
Romance  in  Manhattan  (G)  518. 

Silver  Streak,  The  (G)  513  

Wednesday's  Child  (G)  510... 

West  of  the  Pecos  (G)  516  

Woman  in  the  Dark  (G)  


Coming  Attractions 


Star  Rel. 

Joan   Lowell   Aug. 

Irene   Dunne-John   Boles  Sept, 

Anne  Shirley-Tom  Brown  Nov. 

Genevieve  Tobin-Frank  Morgan ...  Nov. 

James  Barton-Helen  Westley  Mar. 

Melvyn  Douglas- Virginia  Bruce- 
Conrad  Nagel   Oct. 

Ann   Harding-Frank   Morgan  Feb. 

Fred  Astaire-Ginger  Rogers  Oct. 

Adrienne  Ames-Ralph  Bellamy.  ..  Feb. 

May  Robson-Hale  Hamilton  Jan. 

Eddie  Quillan-Betty  Furness  Oct. 

Wheeler  &   Woolsey  Nov. 

Ben  Lyon-Pert  Kelton  Dec. 

Katharine  Hepburn-John  Beal . .  . .  Dec. 

Edna  May  Oliver-J.  Gleason  Feb. 

Steffi    Duna-Regis  Toomey  Dec. 

,"    "In  the  Cutting   Room,"  Sept. 
Francis  Lederer-Ginger  Rogers.  .  Jan. 

Sally  Blane-Charles  Starrett  Dec. 

Karen  Morley-Edward  Arnold  ....  Oct. 

Richard   Dix-Martha  Sleeper  Jan. 

Fay  Wray-Ralph  Bellamy  Nov. 


Running  Time 
Date       Minutes    Pev'cw- ( 

17  76  Aug.  25 

14  82  Sept.  8 

23  79....  Oct.  27 

9  '80  Oct.  e 

1,'35  72  .  Feb.  16/35 

5  67. Jan.  18,'35 

1,'35....*78  Dec.  15 

19  "107. ...Oct.  13 

15, '35  

18, '35  72. Jan.  I2,'35 

26    64.  Jan.    26, '35 

2  75  Oct.  27 

7  66.  Mar.  2,'35 

28  110  Dec.  22 

22,'35...  731/2.  Feb.  2,'35 

14  66  

29.) 

ll.'35  78  Dec.  I 

21  72...  Dec.  8 

26  69  Sept.  29 

4,'35  69. Jan.      5, '35 

9  70  Dec.  8 


Becky  Sharp   Miriam  Hopkins   

Break  of  Hearts  K.  Hepburn-Charles  Boyer  

Dog  of  Flanders  (G)  Frankie  Thomas-Helen  Parrish .  . .  Mar.  22,'35. . .  .  72.  Mar.     2,  3o 

Laddie   John  Beal-Gloria  Stuart  Mar.  29,'35  

(See    ■in  the  Cutting  Room,"  Feb.  2,'35.) 

Informer,  The    Victor  McLaglen-Margot  Graham  

People's  Enemy   Preston  Foster-Melvyn  Douglas.  .  .  Mar.    15, '35  

Roberta  (G)   Irene  Dunne  -   Fred  Astaire  - 

Ginger   Rogers   Mar.     8,'35...  lOSi/jFeb.  23. '35 

Star  of  Midnight  William  Powell-Ginger  Rogers  

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 
Strangers  All   May   Robson  ■ 

(See  '  In  the  Cutting  Room,"  Feb.  23, '35.) 
Sylvestre  Bonnard   Anne  Shirley   

(See   ■■In  the  Cuttin"   Room."   Mar.  2,'35.) 
Village  Tale   Randolph  Scott-Kay  Johnson  

(See   '■In  the  Cutting   Room."    Mar.  2.'35.) 


STATE  RIGHTS 


Features 

Title  Star 
Are  You  a  Mason?  ( A) . . . .  Sonnie  Hales.... 

Battle.  The   Charles  Boyer- 

Merle  Oberon 

Calling  All  Cars  (G)  Jack  LaRue  

Cowboy  Holiday   (G)  Big  Boy  Williams 

Deserter.  The  (A)  Boris  Livanov  ... 

Dealers  in  Death  (A)  

Life  in  the  Congo  (G)  

Lost  City,  The  Wm.  Boyd  -  Claudia 

Dell   

Loyalties   Basil  Rathbone 

Man  of  Courage  (G)  

Norah  O'Neale   Lester  Mathews 

Maryjka   Ina  Benita  .... 

Ticket  to  a  Crime  (G)  Ralph  Graves  .. 

War  Is  a  Racket  (A)  

Woman  Condemned   Slaudia  Dell  .. 


Running  Time 
Dist'r              R«l-  Date      Minutes  Reviewed 
M.  J.  Kandel  Oct.     29  85.  .. Nov.  3 


 Nov. 

Empire  Films  . .  .  .Jan. 

Syndicate   Jan. 

Garrison  Film  . .  .  .Oct. 
Topical  Films  ....  Dec. 
Kinematrade   Nov. 


12  75  Dec.  1 

25. '35.  .  .67.  Jan.  26. '35 
1, '35  .  .  .57.  Jan.    26, '35 

12  105  Oct.  27 

13  68  Dec.  22 

29  60  Dec.  29 


Regal    Pictures  ...  Feb.  (4. '35. 

Harold  Auten   Oct.  24  

Eureka   Nov.  12  

 Oct.  24  

Principal  Film  .  . .  Dec.  I  

Syndicate   Dec.  15  

Eureka  Prod  Dec.  8  

Marcy  Pictures..  ..Apr.  4.... 


.74.  . 

. .  Nov. 

3 

95. . 

. .  Nov. 

24 

66. . 

. .  Nov. 

3 

65.  . 

. .  Dec. 

15 

.67.. 

. .  Dec. 

29 

.68.  . 

. .  Dec. 

29 

65  . 

UNITED  ARTISTS 

Features 

Title 

Clive  of  India  (G)  

Count  of  Monte  Cristo.  The  (G) 

Folies  Bergere  (G)  

Kid  Millions  (G)  


Last  Gentleman,  The  (G) . 
Mighty  Barnum.  The  (G). 


Our  Daily  Bread  (G)  

Private  Life  of  Don  Juan,  The. 

Runaway  Queen   

Scarlet  Pimpernel,  The  (G)... 
Transatlantic  Merry-Go-Round 
(A)   

We  Live  Again  (A)  


Star  Rel. 
Ronald  Colman-Loretta  Young...  Jan. 

Robert    Donat-Elissa   Landi  Sept. 

Maurice  Chevalier-Merle  Oberon. .Mar. 
Eddie    Cantor  -  Ann    Sothern  - 

Ethel  Merman   Dec. 

George  Arfiss   Sept. 

Wallace  Beery  -  Adolphe  Men- 
jou-Janet  Beecher-V.  Bruce..  ..Dec. 

Karen  Morley-Tom  Keene  Sept. 

Douglas  Fairbanks,  Sr.  -  Merle 

Oberon   Nov. 

Anna  Neagle-Fernand  Graavey.  . .  Dec. 
Leslie  Howard-Merle  Oberon  Feb. 

Gene    Raymond-Nancy  Carroll- 
Sydney  Howard-Jack  Benny  .  Nov. 
Anna  Sten-Fredric  March  Nov. 


Running  Time 
Date      Minutes  Reviewed 
25,'35. . .  .  90.  Jan.  26,'35 

7   113  Sept.  8 

8,  '35          85. Feb.    23. '35 


28. 
21 . 


.*92. 
.  .72. 


25. 
28. 


*105. 
.  .74. 


30. 
21  . 


.Oct.  27 

..May  12 

.  Dec.  I 

.Aug.  18 

.Sept.  22 


15, '35  95. Jan.    26, '35 

■  m 


2. 

16. 


'•2  Nov.  17 

83  Sept.  29 


Coming  Attractions 

Brewster's  Millions   Jack  Buchanan-Lili  Damita    

Call  of  the  Wild,  The  C.   Gable-Loretta  Young  May     6, '35  

(See  '  In  the  Cutting  Room,"  Mar.  2/35.) 

Cardinal   Richelieu   George  Arliss   Apr.    21, '35  

Congo  Raid   Leslie  Banks  -  Paul  Robeson  - 

Nina  Mae  MacKinney  ,  

Les  Miserables   Fredric  March-C.  Laughton  Mar.  22, '35  

(See  "In  the  Cutting  Room,"  Mar.  2, '35.) 

Nell   Gwyn   (A.)  Anna   Neagle-Cedric   Hardwicke  . . Apr.     5,'35  75.  July    14, '35 

Wedding  Night,  The  (G)  Anna  Sten-Gary  Cooper  Mar.     8,'35...  *90.Feb.  23,'35 


UNIVERSAL 


Running  Time 

Star  Rel.  Date  Minutes  Reviewed 
Cesar  Romero-Fay  Wray  Nov.     5  67. 


Features 

Title 

Cheating  Cheaters  (G)  8022 
Embarrassing  Moments  (G) 

7023   Chester  Morris-Marian  Nixon ....  July 

Crimson  Trail,  The  8083  Buck  Jones   ...  Feb 

Gift  of  Gab  (G)  8030  Edmund   Lowe  -  Gloria  Stuart-" 

Alice  White    Sept 

Good  Fairy.  The  (G)  8003  Margaret  Suliavan-H.   Marshall  .Feb 

Great  Expectations  (G)   8029. .  Henry  Hull-Jane  Wyatt-Phillips 

,   .  Holmes   Oct. 

Imitation  of  Life  (G)  7003  Claudette  Colbert-W.  William..  Nov 

I've  Been  Around  (A)  8025  Chester  Morris    Dec. 

Man  Who  Reclaimed  His  Head 

8028   Claude   Rains-Joan   Bennett  Dec. 

Million    Dollar    Ransome  (A) 

8014   Mary    Carlisle-Edward  Arnold- 

...        ,  .-J  .  Phillips  Holmes   Sept. 

Mystery  of  Edwin  Drood  8024. .Claude  Rains-Heather  Angel...  Feb 
(See  "In  the  Cutting  Room."  Dec.  15.) 


9  67. 

I8,'35  58. 


.  Dec.  29 
Oct.  6 


24  *7I....Sepl. 

18,'35  98.  Feb.  9. 


22.... 
26.... 
31.... 


. 102. . 
.III.. 

.*75. . 


. .  Oct. 
. .  Dee. 
. .  Dee. 

. .  Dec. 


20 
29 


17  

4. '35. 


67.  . 
.87.. 


.Sept.  29 


Title  Star  Rel. 

Night  Life  of  the  Gods  (G) 

8008   Alan   Mowbray   Mar. 

Notorious  Gentleman,  A  8032  ..  Charles  Bickford-Helen  Vinson ...  Jan. 
One  Exciting  Adventure  (G) 

8027   Binnie    Barnes-Neil    Hamilton..  .Oct. 

Rendezvous  at  Midnight  (A) 

8031   Ralph  Bellamy   Feb. 

(See  "In  the  Cutting  Room,"  Nov.  17.) 

Secret  of  the  Chateau  (G)  8033. Claire   Dodd-Clark  Williams  Dec. 

Straight   from    the    Heart  (A) 

8036   Mary  Astor-Roger  Pryor-Baby 

Jane   Jan. 

Strange  Wives  (G)  8020  June  Clayworth- Roger  Pryor  Dec. 

Rocky  Rhodes  (G)  8001  Buck  Jones-Sheila  Terry  Sept. 

There's  Always  Tomorrow  (A) 

8035   Frank  Morgan-Elizabeth  Young- 
Lois  Wilson-Binnie  Barnes  Sept. 

Wake  Up  and  Dream  (G)  8021  .  Russ  Columbo  -  June  Knight  Oct. 

When  a  Man  Sees  Red  (G)  8082.i.uck  Jones   Nov. 


Running  Time 
Date      Minutes  Reviewed 


1 1. '35. 
21. '35. 


.  75. Jan. 
.'*75.Jan. 


I2,'35 
19/35 


15. . . 
1 1. '35  

3  69 . 


73.... Oct. 


Sept.  15 


14,'3S. . .  *68.  Feb.    16, '35 

10  75  Dec.  8 

24  60  Dec.  22 

10  87  Nov.  17 

1  78  Oct.  20 

12  60.  Jan.  26/35 


Coming  Attractions 


Bride  of   Frankenstein   8009.  .  .  Boris   Karloff   Apr.  8,'35  

(See  "In  the  Cutting  Room."  Feb.   16, '35.) 

Great  Ziegfeld,  The  8005  William  Powell-Fanny  Brice  

It  Happened  in  New  York  8023.  Lyle  Talbot-Heather  Angel  Mar.  18.'35  

(See  "In  the  Cutting  Room,"  Jan.  26, '35.) 

Life  Returns   (G)  Onslow  Stevens-Lois  Wilson  'OO.Jan.  I2,'35 

Mister  Dynamite  8012  Edmund  Lowe-Esther   Ralston. ..  Apr.    15. '35  

Princess  O'Hara  8013  Jean  Parker-Chester  Morris  Mar.   25, '35  

(See  "In  the  Cutting  Room,"  Jan,  26,'35) 

Stone  of  Silver  Creek  Buck  Jones-Noel  Francis  Apr,    15, '35  

Sing  Me  a  Love  Song  8026  

Transient  Lady  (G)  8019  Gene  Raymond-Henry  Hull  Mar.  4,'35  

Werewolf  of  London,  The  8015  .  Henry  Hull   Apr.  29/35  

(See   "In  the  Cutting   Room,"   Mar.  2,'35.) 


WARNER  BROS. 


Features 

Title  Star  Rel. 

Big-Hearted  Herbert  (G)  830  .  Guy  Kibbee-Aline  MacMahon . . .  . Oct. 

Bordertown  (A)  806  Paul  Muni-Bette  Davis  Jan. 

Case  of  the  Howling  Dog,  TheWarrcn  William-Mary  Astor  Sept. 

Church  Mouse  881  Laura  La  Plante  Dec. 

Devil  Dogs  of  the  Air  (G)  816.  James  Cagney-Pat  O'Brien  Feb. 

Firebird,  The   (A)  825  Verree  Teasdale-Ricardo  Cortez.  Nov. 

Housewife  (A)  478  George  Brent-Bette  Davis  Aug. 

I  Am  a  Thief  (G)  826  Mary  Astor-Ricardo  Cortez  Nov. 

Kansas  City  Princess  (G)  819. Joan  Blondell-Glenda  Farrell  Oct. 

Madame  Du  Barry  (A)  452. ...  Dolores  Del  Rio- Victor  Jory  Oct. 

Right  to  Live  (A)  828  George  Brent-J.  Hutchinson  Jan. 

St.  Louis  Kid,  The  (G)  817...  James  Cagney   Nov. 

(Reviewed  under  the  title,  ■■A  Perfect  Week-End") 

Secret  Bride,  The  (G)  811  B.  Stanwyck- Warren  William ....  Dec. 

Sweet  Adeline  (G)  802  Irene   Dunne-Donald  Woods  Dec. 

Sweet  Music   (G)  805  Rudy  Vallee-Ann   Dvorak  Feb. 

White  Cockatoo  (G)  827  Jean  Muir-Ricardo  Cortez  Jan. 


Running  Time 
Date      Minutes  Reviewed 

6  *60  Aua.  25 

5,'35  90.  Feb.  2/35 

22  75. ...Sept.  I 

15  

9, '35  86.  Feb.  9/35 


3. 
1 1 . 
24. 
13. 
13. 


•75. 

.69. 

.64. 
.  .64. 
.  .77. 


.Get. 
.July 
.Nov. 
.Aug. 
.Aug. 


13 
28 
17 
13 
18 


26, '35  66. Feb.  23/35 

10  67  Oct.  20 

22  64.  Feb.  9/35 

29  ^82  Dee.  15 

23. '35  95. Mar.  2,'35 

I9,'35...  .70. Jan.  26/35 


Coming  Attractions 

Broadway  Gondolier   

Dinky   

Farrell  Case,  The   

Florentine  Dagger,  The  829.. 

(See  "In  the  Cutting  Room 

Goose  and  the  Gander  

Green  Cat   

Haircut   

Irish  in  Us,  The  

Midsummer   Nights  Dream.... 

Money  Man   

Night  at  the  Ritz,  A  823  

(See  ■'King  of  the  Ritz," 

Page  Miss  Glory  

Present  from  Margate,  A  

Stranded   


Dick  Powell-Joan  Blondell  

Jackie  Cooper-Mary  Astor  

James  Cagney-Margaret  Lindsay  

Donald  Woods-Margaret  Lindsay .. Mar.  30, '35. 
."  Jan.  26, '35) 

Kay  Francis-George  Brent  

i.ette  Davis   

George  Brent-Jean  Muir  

James  Cagney-Pat  O'Brien  

All  Star   

Edw.  G.  Robinson-Bette  Davis  

William  Gargan-Patricia  Ellis. ..Mar.  23,'35. 

■  In  the  Cuting  Room,"  Jan.   26,  35) 

Marion  Davies   

Kay  Francis-Ian  Hunter  

Kay   Francis-Geo.  Brent  


OTHER  PRODUCT  (FOREIGN) 


Features 

Title 

Bella  Donna  (A) .  . . . 
Broken  Melody,  The. 


68  Dec.  I 

"'I.  Jan.  26/35 
80  

r 

22 


88. 


.  Dec. 


Running  Time 

Star  Dist'r  Rel.  Date       Minutes  Reviewed 

.Mary   Ellis   Gaumont-British  85. Jan.  5/35 

John  Garrick- 

Merle  Oberon  Oct.  30  

Chapayev  (A)   Amkino   Jan.  I2,'35. 

Cornflower   Irene  Agai   Danubia  Pictures.  .Jan.    1 1, '35. 

(Hungarian  Dialogue) 

Czar  Wants  to  Sleep  (A)..M.  Yanshin   Amkino   Dec.  8  

Death  at  Broadcasting 

House   Ian   Hunter   ABFD    British   90. 

Dirty  Work   (G)  Ralph  Lynn   Gaumont-British   SO. 

Forbidden  Territory,  The.  Gregory  Ratoff   Gaumont-British   f7. 

Doctor's  Orders   Leslie    Fuller   British  Int'l    75. 

Everything  for  the  Women.  Tiber    Von    Halmay .  Danubia  Pictures  .Oct.     10   64. 

(Hungarian  Dialogue) 

Fathers  Knows  Best  azoke  Szakail  Danubia  Pictures.  .Jan.    18, '35.  .80. 

(Hungarian  Dialogue) 

Green  Pack   John  Stuart   British  Lion  ... 

House  of  Greed  V.  Gardin   Amkino   

Lady  in  Danger  (A)  Tom  Walls   Gaumont-British 

Lorna  Doone  (G)  John  Loder   ABFD  British. 

Madame  Bovary  (A)  Pierre  Renoir   John  Tapernoux 


.Aug.  11. 


 Nw.  3 

.71  

63  ..Dec.  29 
.80.  Feb.  2,'35 

no  Dee.  8 

.83  

.68  

 Nov.  10 


Aug.    26  79  


  ,   .    .    .Nov.  17. 

Marionettes   L.  Leonidoff   Amkino   May  5. 

Miracles   V.  Gardin   Amkino   Oct.  19. 

Mister   Cinders   Clifford  Mollison  ...British  Int'l   

My  Wife  the  Miss  Irene  Agai  -  Paul 

(Hungarian  Dialogue)         Javor   Danubia  Pictures 

My  Song   Goes   Round  the 

World  (G)   John   Loder    Oct.  20 

Old  Curiosity  Shop  Elaine  Benson   Assoc.  British   B5.Feb.  2/35 

One  Night   Ingert  Bluggren   Scandinavian   80. Feb.  9/35 

Petersburg   Nights   (A) . .  . .  B.    Dobron    Ravov.  ..  Amkino   Sept.     8  97... Sept.  27 

~  "     .Gordon  Harker   Gaumont-British  75. Feb.  9,'35 

.Will   Hay  -  Helen 

Chandler   Assoc.  British   "S.Jan.  12/35 

Rakoczi  March   Paul  Javor   Danubia  Pictures  .  Nov.    12  89  


Phantom  Light,  The  (G). 
Radio  Parade  of  1935. 


(Hungarian  Dialogue) 


Shepherdess'  Sweetheart   ..(Greek  Feature) 

Stila  Biolanti   (Greek  Feature) 

Sufti  Is  Life  (Greek  Feature) 

Ta^Galazia   Keria  (Greek  Feature) 

Ten  Minute  Alibi  (A)  Phillips  Holmes 


.  Frank  Norton 
.  Frank  Norton 
.  Frank  Norton 
.  Frank  Norton 
.British  Lion.. 


Three  Songs  About  Lenin..  Amkino 

They  Are  Looking  Up  (G).  Cicely  Courtneidge  .Gaumont-British 

Thunderstorm  (A)   A.  K.  Tarasova  ....Amkino   

Waltz  Time  in  Vienna  Renate  Mueller   Ufa   

Victor  and  Victoria  (G)...  Renate  Mueller   Ufa   Jan. 


.  Feb. 

I7,'35. 

.  .  Oct. 

15.... 

.  .  .  Jan. 

I9,'35. 

.  .  Oct. 

15.... 

a'.'.'.'. 

28.... 

26/35. 


75  Dee.  29 

118  

115  

119  

.85  

80.  Feb.  9/35 
64....M8».  17 
PI  .  Feb.  9/3S 
.80.... Oct.  5 

 Dec.  I 

.84.  Feb.  2/35 


Wandering  Jew,  The  (A).. Conrad    Veldt  Olympic  Pictures  83. Jan.  19/35 


WILL  IT  BE  a  bull's-eye?  Of  that  the  producers  of  THE 
MARCH  OF  TIME  cannot  be  sure.  No  one  can. 
But  of  this  much  MARCH  OF  TIME's  editors  can  be 
sure — are  sure:  the  new  release  of  THE  MARCH  OF 
TIME  is  better  than  the  first. 

They  have  done  much  to  tighten  up  this  month's  new 
MARCH  OF  TIME.  They  have  made  it  crisper,  faster, 
cleaner.  The  rushes  more  than  fulfill  promise  of  that. 

It  is  MARCH  OF  TIME's  determination  to  make  each 
new  release  a  more  complete,  a  more  skillful  "News- 


magazine of  the  Screen." 

GET  YOUR  SHARE  OF  THIS  GIGANTIC  AUDIENCE 

For  the  second  release  of  THE  MARCH  OF  TIME— a  national 
advertising  campaign  even  stronger  than  last  month's!  Advertise- 
ments in  TIME  and  FORTUNE  to  a  combined  audience  of  more 
than  2,548,000 — advertisements  in  109  local  newspapers  to  an 
additional  17,747,284 — spot  radio  advertising  in  38  cities  to 
20,842,444 — and  a  dramatic  24-sheet  campaign  in  37  cities  to  an 
audience  estimated  at  25,095,129  daily!  AH  of  this  advertising  will 
bring  customers  to  theatres  showing  the  new  release  of  THE 
MARCH  OF  TIME. 


Released  by  Fl RST  DIVISION— Harry  H.  Thomas,  Pres.,  Radio  City,  N.  Y. 

THE  MARCH  OF  Tl 


E 


74 


MOTION    PICTURE  HERALD 


March    9,  1935 


(THE  CELtASE  CHART— CCNT'D) 


$H©CT 
EILA4& 

lAll  dates  are  1934  unless 
otherwise  stated"] 

CELEBRITY  PROD'TIONS 


Title  Rel.  Date 

COMICOLOR  CARTOONS 

Jack  and  the  Beanstalk  

The  Little  Red  Hen  

The  Brave  Tin  Soldier  

Puss   in  Boots  

The  Queens  of  Hearts.... 

Aladdin   

The  Headless  Horsemen... 

The  Valiant  Tailor  

Don  Quixote   

Jack  Frost   

Little  Black  Sambo  

Bremen  Town  Musicians.. 

Old   Mother  Hubbard  

Mary's   Little  Lamb  

COLUMBIA 


Min. 

Jan.     2  8... 

Feb.  16  7... 

Apr.    7  7... 

May  17  I  rl. 

June  25  7. . . 

Aug.  10  7... 

Oct.     I  I  rl. 

Oct.  29  I  rl. 

Nov.  28  8... 

Dec.  24  8... 

Jan.  21. '35. .  I  rl. 
Feb.  I7,'35..l  rl. 
.Mar.  I7,'35..l  rl. 
Apr.  I4,'35. .  I  rl. 


Title  Rel. 

BROADWAY  COMEDIES 
His  Bridal  Sweet  

Harry  Langdon 
His  Old  Flame  Jan. 

Charlie  Murray 
Horse  Collars   Jan. 

(3  Stooges) 
I'm  a  Father  Feb. 

Andy  Clyde 
In  the  Dog  House  Dec. 

Andy  Clyde 
It's  the  Cat's  Oct. 

Andy  Clyde 
Men  in  Black  Sept 

(3  Stooges) 
One  Too  Many  Dec. 

Leon  Errol 
Perfectly  Mismated   Nov. 

Leon  Errol 
Restless  Knights   Feb. 

(3  Stooges) 
Shivers   Dec. 

Harry  Langdon 
Three   Little   Pigskins  Dec. 

(Stooge  Comedy) 

COLOR  RHAPSODIES 

1934-35 

A  Cat.  a  Bell  and  Mouse  

Babes  at  Sea  Dec. 

Holiday  Land   Nov. 

Make  Believe  Revue.  The.  .Mar. 
Shoemaker  and  the  Elves...  Jan. 

KRAZY   KAT  KARTOONS 

1934-35 

1.  The  Trapeze  Artist  Sept. 

2.  Katnips  of  1940  Oct. 

3.  Krazy's  Waterloo   Nov. 

4.  Birdman   Feb. 

5.  Hotcha  Melody   Mar. 

6.  Goofy  Gondolas   Dec. 

LAUGHING  WITH 

MEDBURY   

1934-35 

Laughing  with  Medbury 

in  the  Arctics  Sept. 

In  Maylesia   Oct. 

Among  the  Caccons  Nov. 

At  a  County  Fair  Dec. 

Medbury  in  Hollywood  Jan. 

In  the  Old  Days  Feb. 

LIFE'S   LAST  LAUGHS 

1934-35 


Date 


Min. 


25. '35 
10.'35 
7. '35 


28. .  . 
28.  . . 
20... 
20. '35 
24. . . 


20.... 
20.... 
20.... 
20.... 
20.... 
20.... 
20.... 
20.... 
161/2.. 
20.... 
20.... 


12. .  . 
9.  .  . 
22, '35 
20.'35 


I  

12  

16..., 

1.'35. 
15. '35. 
21.... 


.7... 
.7. . . 
.7... 
.7... 


.7.... 
.7.... 
.7.... 

.7  

.7.... 
.7.... 


I  —  . 

2—  . 

3—  . 

4—  . 

5—  . 

6—  . 


.Sept. 
Oct. 
.  Nov. 
.  Dec. 
.  Jan. 
.  Feb. 


No. 
No. 
No. 
No. 
No. 
No. 

MUSICALS 
No.  7 — Tripping  Through 

the  Tropics   July 

SCRAPPY  CARTOONS 

Gloom  Chasers,  The  Jan. 

Happy  Butterfly   Dec. 

Scrappy's  Experiment   

Scrappy's  Ghost   

1934-35 

Concert   Kid   Nov. 

Gold  Getters   Mar. 

Graduation  Exercises 
SCREEN  SNAPSHOTS 
I  —  

2—  

3—  

4—  

5—  

6—  

SPICE  OF  LIFE 
1934-35 

No.     I  —  

2—  

3—  

4—  

5—  

6—  


15  

20.... 

9  

7  

I  I. '35. 

28, '35. 


15  

12  

9.... 

12  

4,'35. 
1,'35, 


27. 


10  

10.... 

10  

ID  

10.... 
10.... 


10..  . 
10... 
ID... 
10... 
10. . . 
10... 


.2  ris. 


18. '35, 
20.... 


.7.... 
.7.... 

.8  


.'35 


.7.. 
.7. . 


No. 
No. 
No. 
No. 
No. 
No. 


No. 
No. 
No. 
No. 
No. 


.Sept. 
.Oct. 
.  Nov. 
.  Dec. 
.  Jan. 
.  Feb. 


.Sept, 
.Sept, 
.  Dec. 
.  Dec. 
■  Jan. 
.  Mar. 


29. . . . 
26. . . . 
23 ... , 

21  

18. '35. 
22, '35. 


10  

29.... 
13.... 

31  ... . 
20, '35. 
I. '35. 


IO'/2. 
101/2. 
lO'/a. 
101/2. 
10... 
10... 


10.. 
10.. 
10.. 
10.. 
10. . , 
10.. 


WORLD  OF  SPORT 

Anything  for  a  Thrill  

Decks  Awash    Aug 

Heigh-Ho  the   Fox  June 

1934-35 

Air  Thrills    Mar 

Good  Golfers  Start  Young. .  .Sept. 

Pardon  My  Grip  Feb 

Pole  Thrills    Oct 

Thrill   Flashes    Dec 

When  Men  Fight  Jan 


.  I  rl. 
.IN. 
.1  rl. 


I. '35. 
20  

I. '35. 

12  

12  

4.'35. 


10.., 
10... 
10.., 
10... 
10.., 
10. ., 


DU  WORLD  PICTURES 


Rel.  Date 


Title 

QUEST    OF  PERFECT 
WOMAN  SERIES 
(TOM  TERRIS) 

1.  Veiled  Dancer  of  Eloued.July  15 

2.  Vampire  of  Marrakesh..  .Aug.  I 


Min. 


Min. 


.26.... 

.15  

.  .8  

.9.... 
.18  


Title  Rel.  Date 

SEMI-FEATURES 
AND  SHORTS 

Bride  of  Samoa  Mar.  I... 

Chump   Nov.    I . . . 

Frankie  and  Johnny  Oct.  I... 

Charles  Laughton 

Mire  Unga   Aug.  15. . . 

Prisoner   Sept,  15. . . 

Retribution   of   Clyde  Bar- 
row and  Bonnie  Parker. .  .July   10.... 20  

Stars  in  the  Making  Oct.     I....  (7.... 

Frank  Albertson 

Sword   of  the   Arab  Sept.  15  28  

Duncan  Renaldo 

Yokel  Dog  Makes  Good  Sept.  1  18  

EDUCATIONAL 

[Distributed  through  Fox  Films] 

Title  Rel.  Date  Min. 

BING  CROSBY 
SPECIALS 
I  —  I  Surrender  Dear  

2 —  One    More  Chance  

3 —  Billboard  Girl   

i — Dream  House   

CORONET  COMEDIES 

An   Ear  for  Music  

Easy  Money   

Hello.  Sailors   

Rural  Romeos   

Second   Hand  Husband... 
Super-Stupid 

Two  Lame  Ducks  

FROLICS  OF  YOUTH 

Boosting  Dad   

Campus  Hoofer.  The  

Educating  Papa   

Little  Big  Top,  The  

MARRIAGE  WOWS 

SERIES 

Domestic  Bliss-Ters   

Dumb  Luck   

How  Am  I  Doing?  

MUSICAL  COMEDIES 

Big  Business   

Girl  from  Paradise.  The... 
Good   Luck — Best  Wishes.. 

Nifty  Nurses   

She's   My  Lilly   

SONG    HIT  STORIES 
Blue  and  the  Gray.  The... 

Bounding   Main,  The  

Gay  Old  Days  

House  Where  I  Was  Born. 

The   

I  Smell  Smoke   

Mountain  Melody   

Song  Plugger   

Time  on  Their  Hands  

Way  Down  Yonder  

STAR  COMEDY 

SPECIALS 
Dog-Gone  Babies   

STAR  PERSONALITY 

COMEDIES 

Gentlemen  of  the  Bar   Dec.  28  18  

Hayseed  Romance   .Mar.  15,'35.  .2  rIs. 

His  Lucky  Day   Sept.  21  20  

Mr.  Widget    Jan.  25.'35.2I  

Object    Not    Matrimony          Mar.  I.'35..2rls. 

One-Run  Elmer   •  Feb.  22. '35. 19  

Palooka   From   Paducah    . .  J""-  1  I. '35. 20  

TERRY-TOONS 

Black  Sheep,  The   Oct.     5  6  

Bull  Fight,  The   Feb,  8,'35.,6  

Busted    Blossoms   .Aug.  10  6  

Dog  Show,  The    Dec.  28  6  

Fireman  Save  My  Child. . .  ■  Feb-  22,'35. .  I  rl. . 

First  Snow.  The    Jan.  1 1, '35.. 6  

Five    Puplets   May  I7,'35. .  I  rl . . 

Flying   Oil    Apr.   5,'35..l  rl . . 

Hot  Sands   •  Nov.    2  6  

Jack's   Shack    Nov.  30  6  

Jail   Birds    Sept.  21  6  

Magic  Fish.  The   Oct.    19  6  

Mice  in  Council   Aug.  24  6  

Modern  Red  Riding  Hood. 

A   .May   3, '35..  I  rl  . 

Moth  and  the  Spider.  The.   Mar.  8,'35..l  rl . . 

My   Lady's   Garden   July  13  8  

Old  Dog  Tray   Mar.  21  ,'35. .  I  rl.. 

Peg  Leg  Pete,  the  Pirate.  APr.  19,'35. .  I  rl. . 

South  Pole  or  Bust   Dec.  14  6  

Tom  Tom  the  Piper's  Son.  Nov.  16  6  

What  A  Night   Jan.  25,'35..6  

iVhy  Mules  Leave  Home         Sept.   7  6  

TOM  HOWARD 

COMEDIES 
Wrong  Bottle,  The   July   13....  16  

TREASURE  CHEST 

Chums    Mar.   I, '35.  .1  rl. . 

Harlem  Harmony    Dec.  21  10  

Hollywood  Gad-About    Oct.     5  9  

Hollywood  Movie  Parade. 

The    Nov.    2  9  

Then  Came  the  Yawn   Aug.  10  8  

Your  Stars  for  1935   Oct.    19  II  

YOUNG  ROMANCE 

Moon  Over  Manhattan  Feb.  15, '35. 17  

Three  Cheers  for  Love  Dec.  14....  1 9  


3... 

22.. 

Aug. 

31  ... 

20.. 

Oct. 

5.  .  . 

21 . . 

Sept.  28. . . 

19.. 

8.'35 

18. . 

Feb. 

8,'35 

18. . 

17.  . . 

20. . 

16. . . 

20.. 

Oct. 

26.  .  . 

19.. 

14. . . 

19.. 

30... 

18.. 

Dec. 

21... 

21 . . 

9. .  . 

19.. 

2,  .  . 

16. . 

Feb. 

I,'35 

21  . . 

.Oct. 

12.  .  . 

19.. 

.Jan. 

I8,'35 

17. . 

.  Jan. 

4, '35 

20.. 

.  Dec. 

7... 

19.. 

.  Nov. 

23.  . . 

21 . . 

.Aug.  24. . . 

21.. 

Oct. 

19... 

20.. 

.Sept. 

7... 

22. . 

.  Mar. 

I5,'35 

.1  rl 

.Nov. 

16. . . 

10.. 

■  Jan. 

4.'35 

10.. 

.Oct. 

26. . . 

10.. 

.Apr. 

12. '35 

.1  rl 

.Aug. 

31  .  . . 

10.. 

.  Jan. 

I8.'35 

.9.. 

Sept. 

14.  . . 

II .. 

.  Dec. 

7... 

II.. 

.July 

6. . . 

20. . 

FIRST  DIVISION 


.  10. 


(Technicolor) 

1.  In  a  Monastery  Garden  . Oct.     2  7  

2.  Mexican  Idyl   Oct.  16  

3.  Fingal's  Cave   Nov.  13  

4.  Lieberstraum   Nov.  3  

5.  Dance  of  the  Hours  Dec.  15  

S.  Ava  Maria   Jan.    I, '35  

Barcarolle   8.... 

In  a  Mountain  Pass  

Irish   Melody   8.... 

Italian  Caprice   8.... 

October  Day  

Old  Faithful  Speaks  8  

Mediterranean  Songs   

FOX  FILMS 

Title  Rel.  Date  Min. 

ADVENTURES  OF  THE 

NEWSREEL  CAMERAM 

Man's  Mania  for  Speed  10.... 

Marching  With  Science  9.... 

On   Foreign  Service   9.... 

Casting   for    Luck  10.... 

MAGIC  CARPET 

SERIES 

The  Coast  of  Catalonia  


Title  Rel.  Date  Min. 

Picturesque  PortLgal   9  

Crossroads  of  the  World  9.... 

Geneva-By-The-Lake   10.... 

MOVIE  TINTYPE  SERIES 
The  Heart  of  Valeska  Mar.    9  10  

MASTER  ART  PRODUCTS 


Rel.  Date 


Min. 


Rel.  Date 
(Variable) 


Min. 


Title 

HUMAN  SIDE  OF 
THE  NEWS 
(EDWIN    C.  HILL) 

1.  Roosevelt  Family  in 

America   II.... 

2.  A  Visit  to  West  Point  ID  

3.  Carrie  Jacobs  Bond  9.... 

MELODY  MAKERS 

Fields    and    McHugh  9.... 

ORGANLOGUES  » 
What's  in  a  Name  8.... 

RAIN  SONGS 
Irving  Kaufman-Lew  White  

SPECIAL 

Take  a  Letter  Please  

Eddie  Stanley- 
Evelyn  San 

METRO-GOLDWYN- 
MAYER 

Title  Rel.  Date  Min. 

ALL-STAR  COMEDIES 

Caretaker's  Daughter   Mar.  10  10.... 

Movie  Daze   19..., 

Mrs.  Barnacle  Bill  Apr.  21  20  

CRIME   DOESN'T  PAY 

No.  I — Buried  Loot  19.... 

CHARLEY  CHASE 

Chases  of  Pimple  Street  Dec.  22  20.... 

Fate's    Fathead   Nov.  17...  18  

I'll  Take  Vanilla   May    5  19  

It  Happened  One  Day  July    7  ...  19  

Something  Simple   Sept.   8. ...18.... 

You  Said  a  Hatful   Oct.    13  19  

IRVIN   S.  COBB 

Ballad  of   Paducah   Jail  Oct. 

Nosed  Out   Sept. 

Speaking  of  Relations.....  

You   Brings  the   Ducks  Nov. 

FITZPATRICK 
TRAVEL  TALKS 

Africa.  Land  of  Contrast  

Citadels  of  the 

Mediterranean   

Colorful  Ports  of  Call  Jan. 

Cruising  in  the  South  Seas  

Glimpses  of  Erin  

Holland  in  Tulip  Time  Sept. 

Ireland.  The  Emerald  Isle.  Dec. 

Rainbow  Canyon   Feb. 

Switzerland,  The  Beautiful .  Oct. 
Tibet,  Land  of  Isolation ....  Mar. 
Zeeland,  The  Hidden 

Paradise   Jan. 

Zion,  Canyon  of  Color  Nov. 

GOOFY  MOVIES 


24. 


.19.. 
.18. . 
.19.. 
.16.. 


13 


15.  . 


I  rl. 

9... 
I  rl. 
I  rl. 
9... 
8... 
2,'35.  .8. . . 

13  9... 

17  9... 


5.'35..7.. 
10  8.. 


No. 
No. 
No. 
No. 


.  M  ay    5 . . . 


.Sept. 


No.    8   Oct. 


.  Nov. 


No.  9 
No.  10 

HAPPY  HARMONIES 
(Harman-lsing) 

1 —  The  Discontented  Canary. Sept. 

2 —  Old   Pioneer   Sept. 

3 —  A    Tale   of  the  Vienna 
Woods   Oct. 

4 —  Bosco's  Parlor  Pranks. ..  Nov. 

5 —  Toyland    Broadcast   Dec. 

6 —  Hey.   Hey.   Fever  Jan. 

7 —  When  the  Cat's  Away..  Feb. 

8—  The  Lost  Chick  

LAUREL  &  HARDY 

Fixer-Uppers   

Going  Bye-Bye   

Live  Ghosts   

Them  Thar  Hills   

Tit  for  Tat   Jan. 

MUSICAL  COMEDIES 

Music  in  Your  Hair  June 

Roamin'  Vandals   Apr. 

MUSICAL  REVUES 

Gentlemen   of  Polish  

Grandfather's  Clock   Oct. 

Spectacle   Maker.   The  Sept. 

Star  Night  at  the  Cocoanut 

Grove   Dec. 

What  Price  Jazz?  

ODDITIES 

Attention.  Suckers!   June 

Dartmouth   Days   Nov. 

Donkey  Baseball   

Motorcycle  Cossacks   Jan. 

Little    Feller   May 

Old  Shop   June 

Pichlanni   Troupe   Sept. 

Pro  Football   

Rugby   Dec. 

Strikes  and  Spares   Oct. 

Taking  Care  of   Baby  Aug. 

Trick   Golf   Mar. 

Vital  Victuals   Mar. 

(Color) 

Windy   

OUR  GANG 

Mama's  Little  Pirate  Nov. 

Shrimps  for  a  Day  

Mike    Fright   Aug, 

Wash-ee   Iron-ee   Sept, 

TODD-KELLY 

Bum  Voyage   Dec. 

Done  in  Oil  Nov. 

I'll  Be  Suing  You   June 

Maid  in  Hollywood  May 

One   Horse   Farmers  Sept, 

Opened    by   Mistake  Oct. 

Sing.   Sister.  Sing!  

Three  Chumos  Ahead  

Tin   Man,  The  

Treasure  Blues   


 I  rl . 

8.. ..10... 

6  9... 

3  ...10... 
 10... 


.9  

.8.... 


....9... 
....9... 

 8... 

35. .9. . . 
35. .9... 
10. . . 


 21  

 21  

 21  

 2  rIs. 

'35.20.... 

....17  

...18  


.  ..2rls. 
. .  17  

.  .20  

..21  

..18.... 


...10. 
...II. 

 8. 

'35. .9. 


..9. 
.  .9. 
.  .9. 
.  10. 
.  .9. 
..9. 
..8. 
.10. 


.18  

.21.... 

.18  

.17.... 

.20.... 

.18  

.19  

.20  

.18  

.19.... 

.21  

.  .2  rIs. 

.16  

..19... 


Title 

WILLIE  WHOPPER 

Cave   Man   7.. 

Good  Scout   7.. 

Insultin'  the  Sultan  Apr.  14  8.. 

Jungle   Jitters   7.. 

Raslin'  Round   

Reducing   Creme   May  19  8.. 

Robin  Hood.  Jr  Mar.  10  8.. 

(Color) 

Viva  Willie   7.. 


MONOGRAM 


PORT  0'  CALL  SERIES 

10.  Dravidian   Glamour   ....Sept.  I. 

11.  Adventure    Isle   Oct. 

12.  Queen  of  the  Indies  Nov. 

13.  A  Mediterranean  Mecca  .  Dec. 


I . 


1 . . 


I . 


.10. 
.10. 
.10. 
.10. 


Rel.  Date 


18.'35. 

13.... 
21  

19.... 

18  

15  

15. '35. 
1 5. '35. 

16.... 


Min. 


7... 
7... 
.7... 
7... 
,7... 
7... 


17... 
21... 


.7... 
.7... 


PARAMOUNT 

Title 

BETTY  BOOP 

CARTOONS 

Baby  Be  Good  Jan. 

Betty  Boon's  Life  Guard... July 

Betty  Boop's  Life  Pal  Sept. 

Betty  Boop's  Prize  Show. ..Oct. 
Betty  Boop's  Rise  to  Fame.  May 

Betty  Boop's  Trial  June 

Stop  That  Noise  Mar. 

Taking   the    Blame  Feb. 

Keep   in  Style  Nov. 

There's  Something  About  a 

Soldier   Aug, 

When  My  Ship  Comes  In... Dec. 

COLOR  CLASSICS 

An  Elephant  Never  Forgets.  Dec.  28  7 

Little   Dutch    Mill   Oct.   26  7... 

Poor  Cinderella   Aug.    3  7... 

Song  of  the  Birds  Mar.    I. '35  

HEADLINERS 
Cab  Calloway's   Hi-De-Ho. .  .Aug. 
Feminine  Rhythm   Feb. 

Ina  Ray  Hutton  and  Her 

Melodears 
Club  Continental   Oct. 

Leon  Belasco  &  Orchestra 

George  Givet -Vivian  Janis 

Grace  Barry 
Hollywood   Rhythm   Nov. 

Gordon  and   Revel  -  Lyda 

Roberti  -  Jack  Oakie-Nor- 

man  Taurog-LeRoy  Prinz- 

Edith  and   Bill  Wilshire 
Ladies  That  Play  Dec. 

Phil    Spitalny    and  His 

Musical  Ladies 

Melody  Magic   Mar. 

Million   Dollar  Notes  Feb. 

Red  Nichols  and  his  World 

Famous  Pennies 
Radio  Announcer's  Review.  .Sept. 
Rhythm  on  the   Roof  Oct. 

Anson  Weeks  &  Orchestra 

Society  Notes   Aug. 

Song    Writers   of   the  Gay 

Nineties   Mar. 

Yacht  Club  Boys  Garden 

Parly   Dec. 


24. ...II... 
8,'35..l  rl. 


5  10. 


16. ...10... 


7. ...10. 


22, '35.... 
8,'35.... 


14.. ..10. 
26....II. 

3. ...10. 

1,'35.... 

28. ...10. 

17. ...10. 


PARAMOUNT  PICTORIAL 
(NEW  SERIES) 
No.  1 — Song  Makers  of  the. Aug. 
Nation  —  Chas.  Tobias  — 
Flowery    Kingdom  of 
America — The  Windjam- 
mer 

No.  2 — The    Big  Harvest — .Sept. 

Geared  Rhythm  —  Denys 

Wortman 
No.  3 — Bear    Facts  —  The. Oct. 

Valley  of  Silence — Irving 

Mills 

No.  4 — Tub  Boat  Ahoy — Hot  .  Nov. 
Dog — Mabel  Wayne 

No.  5 — Rose   of   Bulgaria — .Dec. 
0.   Soglow — Coney  Island 

No.  6 — Twilight  Melody  — .Jan. 
Pets    from    the  Wild- 
Howard  Chandler  Christy 

PARAMOUNT  VARIETIES 

No.    7—   Feb. 

No.    8—   Mar. 

No.    9—   Mar. 

Baby  Blues   Oct. 

(Technicolor) 

Coo-Coo  News   Jan. 

Jungle  Antics   Feb. 

Madhouse  Movies  No.   I.... Aug. 

Manhattan  Rhythm   Mar. 

Monkey  Shines   Nov. 

Movie  Sideshow   Jan. 

Nerve  of  Some  Women,  The.  Nov. 

Old   Kentucky   Hounds  Sept. 

Screen  Souvenirs  No.  I  Sept. 

Screen  Souvenirs  No.  2  Nov. 

Screen  Souvenirs  No.  3  Feb. 

Superstition  of  the  Black 

Cat   Aug.  (0... 

Superstition  of  the  Rabbit's 

Foot   Mar.  22. '35 

Superstition  of  Three  on 

a  Match   Oct.  19... 

Superstition    of  Walking 

Under  a  Ladder  Dec.  28... 

POPEYE  THE  SAILOR 

A  Dream  Walking  Sept.  28  

Axe   Me  Another  Aug.  24    ' " 

Be  Kind  to  Animals  Feb.  22,'35 

Beware  of  Barnacle   Bill... Jan.  25,'35' 

Dance   Contest   Nov.  23 

Shiver   Me   Timbers  July  27 

Shoein'  Hosses   June  I 

Strong  to  the  Finich  June  29 

Two  Alarm   Fire  Oct.  26.! 

We  Aim  to  Please  Dec.  28..!! 

SCREEN  SONGS 

Love  Thy    Neighbor  July  29 

Mary  Small 

SCREEN  SOUVENIRS 

No.  I   

No.  2   

No.  3   


I 


14. ...10.. 

I2....I0.. 

9. ...10  

7. ...10.... 

4,'35. 10  


1.'35. 
1.'35. 
29, '35. 
5  

25, '35. 
22,'35. 

24  

8,'35. 

16  

II, '35. 

2  

7  

21  

30. . . . 
8,'35. 


10... 


10. 


.  I  rl. 
II... 
10... 
10... 

lo... 

10... 


.10... 
.  I  rl. 
II... 
II... 


7... 
7... 
I  rl. 
7... 


.1  ri.. 

.in., 
.in.. 


Hur  ANNIVERSARY 


X  X  Because  .  .  .  That  new- idea  of  15  years  ago  is  recognized  today 
by  every  type  of  showman  .  .  .  from  Class -A  Circuits  to  the  small- 
est 3-hundred-seater  ...  as  the  cheapest  and  best  exploitation 
ever  devised  ^  *  Because  ...  In  the  heat  of  the  drive  .  .  .  when  you 
need  ideas  most  .  .  .  you  can  count  on  the  National  Screen  Trailer 
as  the  key-stone  of  your  selling-campaign  ^  ^  Because .  .  .  That  same 
"new-idea"  organization  which  blazed  new  trails  to  theatre  exploita- 
tion 15  years  ago  is  now  bigger  .  .  ,  stronger  .  .  .  greater  than  ever 
. . .  the  Little  Giant  of  this  big  industry . . .  with  eight  great  branches 
hooking  service  together  from  coast-to-coast . . .  with  more  than  700 
employees  thinking  only  of  TRAILERS  x  ^  With  special  equipment 
.  .  .  specialized  brains  ...  an  organization  built  from  top  to  bottom 
for  TRAILER  SERVICE  x  x  And  today ...  on  our  15th  Anniversary 
.  .  the  roll-call  of  theatres  using 


m  NATIONAL  SCREEN  SERVICE///// 


76 


MOTION    PICTURE  HERALD 


March    9  ,  1935 


Title  Rel-  Oate 

PARAMOUNT  SOUND 
NEWS 
Two  Editions  Weeldy 

GRANTLAND  RICE 
SPORTLIGHTS 
(NEW  SERIES) 

No.  I — Miles  Per  Hour  Aug.  3... 

No   2 — Springboard  Cham- 
pions  Aug.  31 .  . . 

No.  3— Water    Rodeo  Sept.  28... 

No.  4 — Keeping    Time  Oct.  26... 

No.  5 — Saddle    Champs  Nov.  30... 

No.  6 — A   Sportlight  Coclt- 
tail   Dec.  28..  . 

No.  7— King   of  the  Ever- 
B]a(le%   J*"-  35 

No.  8— Feline    Athletes  Feb.  22.  35. 

TWO   REEL  COMEDIES 
Making  the  Rounds.   July  6... 

Pallette-Catlett 
New    Dealers,    The  .Apr.  6... 

Pallette-Catlett 
News   Hounds   .June    1  . . . 

Pallette-Catlett 
No  More  Bridges   Mar.  16... 

Leon  Errol 
Oil  s  Well   May  4... 

Chic  Sale 

Old   Bugler,  The  .Jan.  5  

Chic  Sale 

Petting   Preferred   Apr.  27.  . 

Pleased  to  Meet  Cha!  Mar.  22,  3o 

Sporting  Sounds   Mar.  22,  35 

Up  and  Down  Mar.  2  

Franklyn  Pangbom 


Min. 


PRINCIPAL 


1-jtic  Rel.  Date  Min 

Death  Day   Apr.  10.  ..  17... 

Glory  of  the   Kill  May  23.  28... 

Newslaugh— No.   2  Dec.  20,33._9... 

Wonders  of  the  Tropics  Dec,  13,  33.32  

CONFLICTS  OF 

NATURE  SERIES 
Circle  of   Life  of  the  Ant  ^  ^ 

Lion,    The  Feb.    4  7.... 

Farmer's   Friend   Oct.     I  /  

From  Cocoon  to  Butterfly.  .  .Jan.   10  7  

Her  Majesty  the  Queen  Bee.  Dec.    1,33.. 6  

Insect  Clowns   ■  ■  ■  ■  Mar.  4.     . ./. .  . 

Queen  of  the  Underworld  ...  Dec.    6,  33.  . 7  


RKO  RADIO  PICTURES 


Title 

BLONDE  and  RED 
HEAD  SERIES 


Rel.  Date 


Min. 


Dec. 

14. .  . 

19  

Feb. 

22, '35 

171/2.. 

Oct. 

12. . . 

21  

Apr. 

27... 

20.... 

June 

15.  .  . 

21.... 

CHICK  CHANDLER 
COMEDIES 

Big    Mouthpiece   Nov.    9  20  

Horse   Heir   Feb.  l,'33.l9'/2.. 

Raised   and   Called  Mar.  22.'35.20  

Unlucky  Strike   Aug.  31  2O1/2  . . 

CHARLIE  CHAPIN 

SERIES  (Re-Issues) 

Behind  the  Screen  May  25  2  ris. 

The  Adventure   July    5  2  rls. 

CLARK  &  McCULLOUGH 
SERIES 

Alibi   Bye  Bye  June  14, '35.21 '/2  ■ 

Bedlam  of  Beards  Apr.  13. ...18... 

Everything's  Ducky   Oct.   19  21... 

Flying    Down  to  Zero  Apr.  19, '35. 19... 

In  a  Pig's  Eye  Dec.  28  20' 2  . 

In  the  Devil  Dog  House. ...  Feb.  2.  ...21... 

Odor  in  the  Court  Aug.    2  211/2. 

CUBBY   THE  BEAR 

CARTOONS 

Cubby's  Stratosphere  Flight.  Apr.  20  7... 

Fiddlin'  Fun   June  15  7... 


DUMBBELL  LETTERS 

No.  3   Aug.  17  4.. 

No.  4   Sept.  28  4i,'2 

No.  5   Oct.   26  5.. 

No.  6   Nov.  23  41/2 

No.  7   Dec.  21  5.. 

No.  8   Jan.    4, '35.. 51/2 

No.  9   Jan.  18,'35..5.. 

No.  10   Feb.  1,'35..5.. 

EASY  ACES 

Pharaohland   Feb.  22. '35.  .9  

FOUR  STAR 
COMEDIES 

Fixing  the  Stew  Nov.    2  20  

Fuller  Gush  Man   Aug.  24. ...18  

How  to    Break  90 
at  Croquet   Jan.    4, '35. 15  

HEADLINER  SERIES 
No.  6 — Well  Cured  Ham.. 


.June  22. ...  19. 


HEADLINER  SERIES 

(1934-35) 

No.  1 — Songs  of  the  Colleges .  Oct.  5....  15.. 

No.  2 — Ferry   Go   Round  .  .  .  .  Nov.  23 .  .  .  .20 . . 

No.  3 — This    Band    Age. ...Jan.  25,'35.21'/2 

No.  4 — Simp  Phoney  Concert. Mar.  15, '35. 21.. 

EDGAR  KENNEDY 

COMEDIES 

Blasted   Event   June  29. .  . .  19. . 

Brit-a-Brac   Jan.  18, '35. 19.. 

Love  on  a  Ladder  Sept.  7....20i,/2 

Poisoned  Ivory   Nov.  16. ...21.. 

Wrong   Direction   Nov.  16  21.. 

MUSICALS 

Fverybodv  Likes  Music  Mar.  9....19''2.. 

Henry  the  Ape  Jan.  26  2  rls. 

Bert  Lahr 


Title  Rel.    Date  Min. 

If  This  Isn't  Love  Sept.  28  211/2.. 

Spirit  of   1976   Fed.  15,'35  .  21 '/2  .  . 

MUSICOMEDIES  SERIES 

tRuth  Etting) 

An  Old  Spanish  Onion  Mar.    I, '35. 20  

Bandits  and  Ballads  Dec.  7....18'/2.. 

Southern    Style   Sept.  14  20  

Ticket  Or  Leave   It  May  26, '35  

PATHE  NEWS 

Released  twice  a  week 

PATHE   REVIEWS  (1933-1934) 
Released  once  a  month 

PATHE  TOPICS 
Released  seven  times  a  year 

RAINBOW 

PARADE  CARTOONS 

Japanese  Lantern   

Parrotville  Old  Folks  Jan.  25, '35.. 7  

Spinning  Mice   

Sunshine  Makers,  The  Jan.  1 1,'35.  .8.  . . . 

SOGLOW'S    "THE  KING" 
CARTOONS 

Cactus   King   June    8  I  rl . . 

SPECIALS 

Century  of  Progress  June  15  ... 22  

Grand  National  Irish 

Sweekstakes  Race,  1934... Apr.    2  10  

La  Cucaracha   Aug.  31 ...  .201/2 . . 

Steffi  Duna-Don  Alvarado 

(Technicolor) 

TODDLE  TALE 
CARTOONS 

A  Little  Bird  Told  Me  Sept.   7  5  

VAGABOND  ADVENTURE 
SERIES 

Damascus   June 

Eyes   on    Russia   Aug. 

Fakeers  of  the  East  Dec. 

Isle  of  Spice   Jan.  1 1,'35. 

Jamaica   

Red   Republic   Sept.  21  10. . . 

STATE  RIGHTS 

CENTRAL 

Child  of  Mother  India  30. . . 

Hindu    Holiday   9... 

GENERAL  FILMS 
It's  a  Bird  14... 

MARY  WARNER 
Olympic   Winter  Sports 

Capital   8... 

METROPOLITAN  LIFE 
Once  Upon  a  Time  10... 


9. 

7. . . 


.  I  rl. 
II... 

l8'/2. 

101/2  • 


UNITED  ARTISTS 


Title  Rel.  Date 

MICKEY  MOUSE 

5.  Gulliver  Mickey   May  19.. 

6.  Mickey's  Steamroller. ..  .June  15.. 

7.  Orphans'  Benefit   Aug.  II.. 

8.  Mickey  Plays  Papa  Sept.  29.. 

9.  The   Dognappers   Nov.  10.. 

10.  Two-Gun   Mickey   Dec.  25.. 

11.  Mickey's  Man  Friday. .  .Jan.  17, '35 

12.  Band   Concert   Feb.  23. '35 

SILLY  SYMPHONIES 

6.  The  Wise  Little  Hen. ..June    7  1  rl 

7.  The  Flying  Mouse  July   12  7.. 

8.  Peculiar  Penguins   Sept.   6  8.. 

9.  Goddess   of    Spring  Nov.  1  

10.  The  Golden  Touch  


UNIVERSAL 


T"-\e 

Rel. 

Date 

Min. 

CARTUNE  CLASSICS 

No.    1— Jolly  Little  Elves. . 

Oct. 

1 . . . 

.9.... 

No.    2 — Toyland  Premiere. 

Dec. 

10 

.9.... 

GOING  PLACES 

with  LOWELL  THOMAS 

No.  2   

Oct. 

8 

1  rl.. 

No.  3   

Nov. 

5 

1  rl  . . 

No.  4   

Dec. 

3 

1  rl.. 

No.  5   

Dec. 

31 

1  rl.. 

No.  6   

Jan. 

14, '35 

.9  

No.  7   

.9  

No.  8   

Mar.  25. '35 

GOOFYTONE  NEWS 

No.  7   

Apr. 

30 

.9  

OSWALD  CARTOONS 

Mar.  25, '35. 

.1  rl .  . 

Hill  Billys   

Feb. 

l,'35 

.9.... 

Robinson  Crusoe  Isle  

Jan. 

7. '35 

.9.... 

Sky  Larks   

Oct. 

22  .  .  . 

.8  

Spring  in  the  Park  

Nov. 

12 

.7... 

Two  Little  Lambs  

Mar. 

1  l.'35 

.1  rl. . 

Wax  Works,  The  

Ju"e 

25..  . 

.9  

William  Tell   

July 

9  . 

.6.... 

STRANGER  THAN 

FICTION  SERIES 

Aug. 

27... 

.9.... 

No.    2 — Novelty   

Sept.  24... 

ID.... 

No.    3 — Novelty   

Oct. 

22... 

.9  

No.  4 — Novelty   

Nov. 

26. . . 

.9.... 

No.    5 — Novelty   

Dec. 

17... 

.9  

No.  6 — Novelty   

Ian. 

28,'35 

.8. . . . 

No.    7 — Novelty   

Mar. 

4,'35 

.8  

No.  8 — Novelty   

Apr. 

l,'35. 

.  1  rl  .  . 

UNIVERSAL  COMEDIES 

At  the  Mike  

Oct. 

10. . . 

20..  .. 

(Mentone   No.  3-A) 

Demi  Tasse   

Oct. 

3 

2  rls. 

(Doane  Musical  No.  1) 

Doin'  the  Town   

Jan. 

30,'35 

18.... 

(Mentone  No.  9-A) 

Fads  and  Fancies  

Aug. 

22.  .  . 

20  

(Mentone  No.  13) 

Father    Knows  Best  

Feb. 

20, '35. 

.2  rls. 

Sterling  Holloway 

Gus  Van  and  His  Ne-qhbors. 

Sept. 

19... 

18.... 

(Mentone  No.  2-A) 

Title 

Rel. 

Date 

Min. 

Henry's  Social  Splash 

Dec 

19... 

.21 ... . 

Henry  Armetta 

Hits  of  Today 

Aug 

15 

2  rls 

(Mentone  No.  12) 

Hollywood  Trouble   

.  Jan. 

9,'35 

.20  

.  Aug. 

8... 

.19  

Knickerbocker   Knights  ... 

.  Dec. 

12. .  . 

.20.... 

Mentone 

Meet  the  Professor   

Feb. 

13. '35 

.19  

(Mentone  No.  lO-A) 

Night  in  a  Night  Club.  A 

.Sept 

2.  .  . 

.18  

(Mentone  No.  1-A) 

26 

2  rls. 

(Mentone  No.  5-A) 

July 

18.  .  . 

.21  

Sterling  Holloway 

Revue  a  la  Carte  

Jan. 

16. '35 

.17  

Tom  Patricola 

(Mentone  No.  8) 
Soup  for  Nuts  

(  Mentone  No.  1 1 ) 
Sterling's  Rival  Romeo.... 

Sterling  Holloway 
Tid  Bits   

(Doane  Musical  No.  2) 
Well,  By  George  

(Mentone  No.  4-A) 

George  Price 
Whole  Show,  The  

(Mentone  No.  7-A) 

James  Barton 
World's   Fair  and  Warmer. 


June  27  2  rls, 

Nov.  14  2  rls 

Oct.  24  2  rls, 

Oct.  31  20. 

Dec.  26.  .  .  .20. 

Oct.  17  22. 


VITAPHONE  SHORTS 

Title  Rel.  Date  Min 

BIG  V  COMEDIES 
No.  20 — Daredevil  O'Dare..  Aug.  I  I....  19... 
Ben  Blue 
1934-35 

All  Sealed  Up  Sept.  15  19. . , 

Ben  Blue 

Get  Rich  Quick  Apr.  20, '35.. 2  rls 

Allen  Jenkins 
His   First   Flame  Mar.  9,'35  

Shemp  Howard 

Daphne  Pollard 
Oh  Sailor   Behave  Sept.  29. .  . .  17. . . 

El  Brendel 

Old  Gray  Mayor,  The  Apr.    6, '35.. 2  rls 

Bob  Hope 

Smoked  Hams   Oct.   20  18. . . 

Shemp  Howard 

Daphne  Pollard 
So  You  Won't  T-T-T-Talk.  .Nov.    3.  ...20... 

Roscoe  Ates 

Out  of  Order  Nov.  17  19. . . 

Ben  Blue 

Vacation    Daze   2  rls, 

Jenkins  &.  Donnelly 
Dizzy  and   Daffy   Dec.   15. ...19. 

Dizzy  and  Daffy  Dean 
Once  Over  Lightly  Jan.  12, '35  .2  rls. 

Roscoe  Ates 
Radio  Scout    Jan.  26. '35.  19. 

El  Brendel 


BROADWAY  BREVITIES 

No.  32 — The  Policy  Girl...  Aug. 

Mitzi  Mayfair-Roscoe  Ails 

1934-1935 
Syncopated  City   Sept. 

Hal  LeRoy- Dorothy  Dare 
Paree.  Paree   Sept. 

Dorothy  Stone-Bob  Hope 
Good   Morning   Eve  Sept. 

Leon  Errol 

(Technicolor) 
No  Contest   Oct. 

Ruth  Etting 
Off  the  Beat  Oct. 

Morton  Downey 
The   Flame  Song  Oct. 

Bernice  Claire- 

J.  Harold  Murray 
Gem  of  the  Ocean   Nov. 

Jeanne  Aubert 
Gypsy  Sweetheart   Mar. 

Winifred  Shaw- 
Phil  Regan 
Hear  Ye!  Hear  Ye!   Dec. 

Vera  Van  and  the 

Yacht  Club  Boys 
See.   See,   Senorita  Jan. 

Tito  Guizar  Armida 
What.  No  Men?  .Jan. 

El  Brendel-Phil  Regan 

(Technicolor) 
Soft  Drinks  &  Sweet  Music  Dec. 

George  Price-Sylvia  Froos 
Show  Kids   .Jan. 

Maglin  Kiddies 

Tad  Alexander 
Radio  Silly   .Jan. 

Cross  &  Dunn 
Cherchez  La  Femme  .Feb. 

Jeanne  Aubert 
In  the   Spotlight   Feb. 

Hal  LeRoy  &.  Dorothy  Lee 
Mr.   &    Mrs.    Melody  •  Mar. 

Ildmay  Barley — Lee  Sims 
Shoestring    Follies  .Feb. 

Eddie  Peabody 
Singing  Silhouette,   The. ...Mar. 

Olga  Baclanova 
Castle  of  Dreams,  The   Apr. 

Morton  Downey 
Cure  It  With  Music  Apr. 

Fifi  D'Orsay 
In  This  Corner   Apr. 

Pick  and  Pat- Roscoe  Ails 


.20.. 
.21 . . 

.19.. 

.21  .  . 
.20. . 
.19.. 


19  20. 

30, '35.. 2  rls 

22  2  rls 

r2.'35.  .2  rls 
5, '35. 21 . . 

8. ...20.. 

5,  '35. 20. . 

9,'33.  .2  rls 
2. '35  .  .2  rls 
22, '35.  .2  rls, 

16, '35  

16, '35.  .2  rls 
16.'35..2  rls, 

6,  '35.  .2  rls 
13, '35.. 2  rls, 
27,'35..2  rls 


LOONEY  TUNES 

No.  II — Buddy's  Circus   Irl. 

No.  12 — Buddy  the   Detective  Irl 

No.  13 — Viva   Buddy    I  rl 

(1934-1935) 

No.    I — Buddy's  Adventures   I  rl 

No.    2 — Buddy  the   Dentist  I  rl 

No.  3 — Buddy  of  the 
!  egion   7., , 


6.  .  . 

10. . 

3. . . 

10.  . 

29. .  . 

10. . 

1 . . . 

10. . 

26, '35 

10.. 

I6.'35 

.1  rl 

2,'35 

.1  rl 

16, '35 

.  1  rl 

Title  Rel.  Date  Min. 

No.  4 — Buddy's    Theatre  1  rl . . 

No.  5 — Buddy's    Pony  Ex- 
press  I  rl. . 

MELODY  MASTERS 
1934-1935 

Mirrors   Sept.   8. ...II.... 

Freddy  Rich  &.  Orchestra 
Phil   Spitalny   and  His 

Musical   Queens   Oct. 

Richard  Himber  and  His 

Orchestra   Nov. 

Don  Redman  and  His  Band.  Dec. 
Will  Osborne  and   His  Or- 
chestra  Dec. 

A  &.  P  Gypsies  Jan. 

Harry  Horlick 
Charlie  Davis  and  Band...  Feb. 
Rimac's    Rhumba   Orchestra .  Mar. 
Barney  Rapp  and  His  New 

Englanders   Mar. 

MERRIE  MELODIES 

1934-35  (In  Color) 

No.    I — Those  Beautiful   Dames  7... 

No.    2 — Pop  Goes  My  Heart  7... 

No.    3— Mr.  &.  Mrs.  Is  the 

Name   7. . . 

No.  4 — Country  Boy   7... 

No.    5 — I  Haven't  Got  a  Hat  I  rl. 

SEE   AMERICA  FIRST 

E.    M.  NEWMAN 

No.    1 — Pilgrim  Days   Oct. 

No.    2 — Boston  Tea  Party  .  Nov. 

No.  3 — Hail  Columbia   Dec. 

No.  4 — Remember  the 

Alamo   Dec. 

No.    5 — Trail  of  the  49ers..Jan. 

No.    6 — Dixieland   Feb. 

No.  7 — Blue  and  the  Gray.  Mar. 
No.  8 — The  Mormon  Trail.  Mar. 
No.  9 — Westward  Bound  ..Apr. 
No.  10 — Remember  the 

Maine   May 

PEPPER  POT 
No.  24 — At  the  Races  July 

Edgar  Bergen 
No.  25 — The  Stolen  Melody. July 
No.  26 — Camera  Speaks  ....Aug. 

1934-35 

Little  Jack   Little  Sept. 

Radio  Reel  No.   I  Sept. 

Mr.  and  Mrs.  Jesse  Crawford  . Sept. 

Vaudeville  Reel  No.  1  Oct. 

Movie  Memories   Oct. 

Songs  That  Live  Nov. 

Gus  Edwards 
Two   Eoobs  in  a  Balloon  

Edgar  Bergen 

Good    Badminton   Nov.  24.... 

Stuffy's  Errand  of  Mercy...  Dec.  15.... 
Listening  in   Dec.  8  

Radio  Reel  No.  2 

Vaudeville  Reel  No.  2  Dec.  29  

Harry  Von  Tilzer   Jan.    5, '35. 

Chas.  Ahearn   Jan.  19, '35. 

A   Trip  Thru  a  Hollywood 

Studio   Feb.  2,'35. 

We  Do  Our  Part  Feb.  9,'35. 

Radio  Reel  No.  3 

Vaudeville  Reel  No.  3  Feb.  16, '35. 

Guess  Stars   Mar.  22,'35. 

Radio  Ramblers 

Billy  Hill   Mar.  I6,'35. 

Eggs  Marks  the  Spot  Mar.  30,'35. 

Radio  Reel   No.  4 
Some  Bridge  Work  Apr.  I3,'35. 

Edsy  Aces 

Vaudeville   Reel   No.  4  Apr.  27,'35. 


27. 
17. 
8. 

20.... 

19, '35. 

9, '35. 

2, '35. 
23, '35. 
13, '35. 

4,'35. 

21  ... . 

28. 
I  I . 


.11... 
.11... 
.10... 

.10... 
10. . . 
10... 
10. .  . 

.'ivr. 

.  I  rl. 

.10... 

. 10. . . 
..9... 


I . . 
15.  . 
29. . 
13. . 
27. . 
10. . 


.1  rl. 
.9... 
10.  . 

10... 
10... 
10... 

.8... 
.  I  rl. 

.  I  rl. 
10... 


rl.. 
rl.. 


12  Episodes   Each   Unless  Otherwise  Specified 
Title  Rel.  Date  Min. 

FIRST  DIVISION 

Young  Eagles   July     I  2  rls. 

Boy  Scouts 

MASCOT 

Burn  'Em  Up  Barnes   June  16  2  rls. 

Jack   Mulhall-Lola    Lane-  (each) 

Frankie  Darro 
Lost   Jungle,   The  June  13  2  rls. 

Clyde  Beatty  (each) 

Law  of  the  Wild  Sept.   5  2  rls. 

Rex,  Rin  Tin  Tin,  Jr.  (each) 

Ben  Turpin,  Bob  Custer 
Mystery  Mountain   Dec.    3  2  rls. 

Ken  Maynard- Verna  H  illie  (each) 

Phantom   Empire   Feb.  23, '35.  .2  rls. 

Gene  Autry-Frankie  Darro  (each) 


PRINCIPAL 

Chandu  on  the  Magic  Island  

Bela  Lugosi-Maria  Alba 

Return  of  Chandu,  The  Oct.  I  

Bela  Lugosi-Maria  Alba  (Seven -reel  feature 
followed  by  eight 
two-reel  episodes) 


UNIVERSAL 


Call  of  the  Savage  Apr.  15, '35. 20  

Noah  Beery,  Jr.  (each) 

Red  Rider,  The  July   16..  . 20  

Buck  Jones  (each) 

(15  episodes) 
Rustler's  of  Red  Dog  Jan.  21, '35. 20  

John  Mack  Brown  (each) 

Tailspin  Tommy   Oct.   29  ... 20  

Maurice  Murphy-  (each! 

Noah  Beery,  Jr. 
Vanishing  Shadow,  The  Apr.  23  20  

Onslow  Stevens-Ada  Ince  (each) 


Remodeling 


In  Recent  Issues  of 
Better  Theatres 

Proper  Planning  for  Air  Condition- 
ing 

Revamping  Small  Store  Building 
for  Theatre 

Modernizing  the  Projection  Room 

Heating  the  Theatre  Economically 

Methods    for     Theatre  Employe 
Training 

Some  Pointers  on  Reconstruction 

What  an  FHA  Loan  Can  Do 

Better  Amplification  at  Lower  Costs 

Reconditioning  for  Better  Projection 
Results 

Attracting  the  Patron  with  Light 

A  Design  for  an  Exclusive  Com- 
munity 

New  Lighting  for  Today's  Theatre 
Fronts 

Constructing   Theatre  Advertising: 
How  to  Use  Type 

A  900-Seat  Theatre  Costing  $55,000 

and  each  month: 

Richardson  on  Projection 
Knight  on  Maintenance 

Section    Tw  o    o  f 


Most  urgent  today  are  the  remodeling  needs  ot 
many  thousands  of  theatres.  Owners  will  pres- 
ently spend  millions  of  dollars  for  lobby,  audi- 
torium, stage  and  exterior  repairs,  replacements, 
decorations  and  general  renovizing.  Better 
Theatres  with  its  current  emphasis  on  remodeling, 
drawing  advice  from  the  world's  leading  archi- 
tects, engineers  and  technicians,  extends  the 
value  of  every  dollar  spent— and  shows  more 
results.  Its  authoritative  counsel,  in  its  editorial 
pages  and  in  its  nation-wide  correspondence 
service,  is  free  to  America's  exhibitors. 

For  counsel  on  your  remodeling  and  maintenance  prob- 
lems— just  write  to  Better  Theatres — and  a  reply  will  be 
promptly  forthcoming  free  of  all  "trade  tie-ups"  and 

without  obligation. 

3etteuheatres 

Motion    Picture  Herald 


78 


MOTION    PICTURE  HERALD 


March    9 ,    19  3  5 


WHAT  THE  PICTURE 
DID  ECD  ME 


Columbia 


LADY  BY  CHOICE:  Carole  Lombard,  May  Robson, 
Walter  Connolly,  Roger  Pryor — This  is  a  good  picture 
and  pleased  almost  100  per  cent.  Business  not  so 
good,  but  no  fault  of  picture.  You  need  not  be  afraid 
of  this  one.— C.  W.  Tipton,  New  Theatre,  Manila,  Ark. 
General  patronage. 

MEN  OF  THE  NIGHT:  Bruce  Cabot,  Judith  Allen 
—Here  is  a  very  good  photoplay.  Bruce  Cabot  is  cast 
100  per  cent.  Judith  Allen  works  hard  and  puts  her- 
self over  in  a  very  pleasing  way.  You  will  find  it  is 
entertainment  but  hard  to  get  them  in.  Business  av- 
erage last  three  days  of  week. — W.  H.  Brenner,  Cozy 
Theatre,  Winchester,  Ind.    General  patronage. 

MEN  OF  THE  NIGHT:  Bruce  Cabot,  Judith  Allen 
— A  nice  little  action  picture  for  Friday,  Saturday. 
Running  time,  58  minutes. — Fred  E.  Pennell,  Cozy 
Theatre,  Decatur,  Mich.    Small  town  patronage. 

NO  GREATER  GLORY:  George  Breakston,  Jimmie 
Butler,  Jackie  Searl,  Frankie  Darro — I  consider  this 
a  poor  picture.  It  was  very  mushy  in  places  and  the 
moral  or  object  was  brought  out  very  poorly.  Bor- 
zage's  productions  lack  reality  and  the  scenes  are  often 
too  sentimental.  No  drawing  power.— B.  L.  Smith, 
Liberty  Theatre,  Quinton,  Okla.  Small  town  patron- 
age. 

SQUARE  SHOOTER:  Tim  McCoy— Average  west- 
ern that  pleased  the  Friday-Saturday  patronage.  Run- 
ning timCj  58  minutes. — Fred  E.  Pennell,  Cozy  Thea- 
tre, Decatur,  Mich.    Small  town  patronage. 

WESTERNER,  THE:  Tim  McCoy,  Marion  Shilling 
■ — This  is  a  good  western  picture  that  pleased  all  of  my 
Saturday  patrons.  It  is  crammed  full  of  action,  fight- 
ing and  a  touch  of  romance.  McCoy  plays  his  part 
well  and  makes  this  an  excellent  attraction  for  the 
regular  Saturday  fans,  who  enjoy  plenty  of  action  and 
fighting.  Played  one  day  to  very  good  business.  Run- 
ning time,  55  minutes.  Played  February  16. — J.  J. 
Medford,  Orpheum  Theatre,  Oxford,  N.  C.  Country 
patronage. 


First  National 


BABBITT:  Aline  MacMahon,  Guy  Kibbee— This  is 
a  very  good  picture  of  the  comedy  type  and  it  pleased 
all  who  saw  it.  It  is  the  story  of  a  small  town  busi- 
ness man,  his  ups  and  downs.  This  is  strictly  comedy 
throughout  and  is  good  entertainment  for  both  young 
and  old.  The  trailer  sold  the  show  for  us  and  we 
played  on  a  late  Saturday  night  show  to  good  busi- 
ness. Running  time,  75  minutes.  Played  February  16. 
—J.  J.  Medford,  Orpheum  Theatre,  Oxford,  N.  C. 
Country  patronage. 

DARK  HAZARD:  Edward  G.  Robinson,  Genevieve 
Tobin,  Glenda  Farrell — Very  good.  Robinson  puts  this 
picture  over  in  fine  shape.  Based  on  gambling;  the 
ups  and  downs  that  go  with  this  game.  The  action 
and  shots  of  the  greyhound  racing  was  new  to  our 
audience.  Picture  okay  for  weekend  run. — A.  E.  Han- 
cock, Columbia  Theatre,  Columbia  City,  Ind.  General 
patronage. 

DRAGON  MURDER  CASE,  THE;  Warren  Will- 
iam, Margaret  Lindsay,  Lyle  Talbot — Just  played  this 
and  it  failed  to  get  anywhere. — Herman  J.  Brown, 
Majestic  Theatre,  Nampa,  Idaho.    General  patronage. 


Fox 


BABOONA:  Mr.  and  Mrs.  Martin  Johnson— The 
critics  are,  as  usual,  all  wet  on  this.  It  is  the  best 
African  picture  and  it  will  get  money  if  you  will  for- 
get all  the  African  pictures  before  it  and  go  after  it. 
Be  sure  to  talk  of  ten  thousand  wild  elephants  in  a 
herd,  of  snow  a  hundred  feet  deep  at  the  equator,  of 
monkey  people  battling  the  big  baboony  ape  people 
and  winning  the  battle,  etc.  Johnson  should  give  us  a 
little  less  Ossie  and  use  the  space  for  Africa  in  these 
pictures. — Herman  J.  Brown,  Majestic  and  Adelaide 
Theatres,  Nampa,  Idaho.    General  patronage. 

BABOONA:  Mr.  and  Mrs.  Martin  Johnson— Unique 
story  of  airplane  exploration  in  Africa  gives  this  wild 
animal  picture  a  different  angle  from  previous  releases. 
—John  A.  Milligan,  Broadway  Theatre,  Schuylerville, 
N.  Y.    Small  town  patronage. 

BABOONA:  Mr.  and  Mrs.  Martin  Johnson— Some 
thought  this  not  quite  as  good  as  "Congorilla,"  but 
on  the  whole,  entertaining  and  educational.  I  liked 
it  very  much  and  was  good  at  the  box  office,  consider- 
ing time  of  year.  Plenty  of  action  in  the  last  reel, 
and  comedy,  too.  Hope  to  have  another  from  them 
in  a  year  or  two.  Running  time,  73  minutes.— Fred 
E.  Pennell,  Cozy  Theatre,  Decatur,  Mich.  Small  town 
patronage. 

BABY  TAKE  A   BOW:    Shirley   Temple,  James 


N  this,  the  exhibitors'  own  de- 
partment, the  theatremen  of  the 
nation  serve  one  another  with 
information  on  the  box  office  per- 
formance of  product  for  their  mu- 
tual benefit.  It  is  a  service  of  the 
exhibitor  for  the  exhibitor.  Address 
all  communications  to — 

WJoat  the  'Picture  Did  for  Me 

MOTION  PICTURE  HERALD 

I  790  Broadway,  New  York 


Dunn,  Claire  Trevor — Excellent  picture.  Good  busi- 
ness.— Sammie  Jackson.  Jackson  Theatre,  Flomaton, 
Ala.    Small  town  patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn- 
Excellent.  Box  office  said  so. — R.  V.  Fletcher,  Lyric 
Theatre,  Hartington,  Neb.    General  patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn,  Jane 
Darwell,  Judith  Allen — The  best  that  Shirley  has  done, 
but  this  Jane  Withers,  her  foil,  runs  her  a  close 
second  as  the  brat.  The  cast  was  perfect,  especially 
Sellon  that  took  the  part  of  Uncle  Ned. — A.  E.  Han- 
cock, Columbia  Theatre,  Columbia  City,  Ind.  General 
patronage. 

BRIGHT  EYES:  Shirley  Temple— This  is  one  of  the 
best  pictures  I  have  ever  run  and  pleased  all.  Busi- 
ness good. — C.  W.  Tipton,  New  Theatre,  Manila,  Ark. 
General  patronage. 

CHARLIE  CHAN  IN  LONDON:  Warner  Oland— 
Entertaining  detective  story.  Saturday  biz  just  so-so. 
—Roy  W.  Adams,  Mason  Theatre,  Mason,  Mich.  Small 
town  patronage. 

CHARLIE  CHAN  IN  PARIS:  Warner  Oland,  Mary 
Brian — Good  entertainment  for  Friday  and  Saturday. 
— R.  V.  Fletcher,  Lync  Theatre,  Hartington,  Neb. 
General  patronage. 

CHARLIE  CHAN  IN  PARIS:  Warner  Oland,  Mary 
Brian — Without  first  asking  Sidney  Skolsky,  this,  I 
believe,  rates  as  a  very  good  mystery  thriller.  Audi- 
ence liked  it. — John  A.  Milligan,  Broadway  Theatre, 
Schuylerville,  N.  Y.    Small  town  patronage. 

DUDE  RANGER,  THE:  George  O'Brien— Very  good 
comedy  western. — P.  G.  Held,  New  Strand  Theatre, 
Griswold,  Iowa.    Neighborhood  patronage. 

HELLDORADO:  Richard  Arlen,  Madge  Evans— A 
good  Friday  and  Saturday  picture. — R.  V.  Fletcher, 
Lyric  Theatre,  Hartington,  Neb.    General  patronage. 

MARIE  GALANTE:  Spencer  Tracy,  Ketti  Gallian 
— Medium  program  type  picture. — R.  V.  Fletcher,  Ly- 
ric Theatre,  Hartington,  Neb.    General  patronage. 

SHE  LEARNED  ABOUT  SAILORS:  Alice  Faye, 
Lew  Ayres — ^An  entertaining  comedy  to  terrible  mid- 


A  NATIONAL  ADVERTISER 

will  help  pack  your  theatre 


Free! 


TRIP    TO  HOLLY- 
WOOD 
as  a  grand  prize. 

THOUSANDS 

OF  PRIZES 
for  the  kiddies. 

CASH  PRIZES 
for  tlie  exhibitor. 


PLUS  A  TREMENDOUS  ADVERTISING  CAMPAIGN 
to  help  you  pacl4  your  theatre  with  youngsters 
and  keep  'em  coming  for  weeks. 
A  NATIONAL  RADIO  HOOK-UP  (EDWIN  C.  HILL 
PROGRAM) — Thousands  of  window  displays  and  news- 
papers to  get  behind  your  theatre  and  put  over  the 
greatest  Kiddie  deal  in  years. 

FOR    RESERVATION    AND  DETAILS 

wire — write — phone 

FRANKIE  DARRO  PICTURE  STAMP  CLUB 

630  NINTH  AVE.,  N.  Y.  C. 


week  business  (it  must  be  the  weather). — Roy  W. 
Adams,  Mason  Theatre,  Mason,  Mich.  Small  town 
patronage. 

365  NIGHTS  IN  HOLLYWOOD:  Alice  Faye,  James 
Dunn — Our  patronage  enjoyed  this  film,  but  agreed 
that  it  was  not  as  good  as  "She  Learned  About  Sail- 
ors."— J.  W.  Noah,  New  Liberty  and  Ideal  Theatres, 
Ft.  Worth,  Texas.    General  patronage. 

WHITE  PARADE,  THE:  John  Boles,  Loretta 
Young — This  picture  will  please  most  any  audience.  It 
is  a  good  picture.  Good  for  small  town. — C.  W.  Tip- 
ton, New  Theatre,  Manila,  Ark.    General  patronage. 


Mascot 


CRIMSON  ROMANCE:  Ben  Lyon,  Sari  Maritza— A 
thrilling  war  picture  that  appealed  to  everybody  who 
saw  it.  Got  extra  business  by  playing  up  war  angle. 
If  your  patrons  like  war  stories  don't  fail  to  book  it. 
Played  December  19-20.— Al  Johnston,  Rialto  Theatre, 
Jacksonville,  Texas.    Small  town  patronage. 

CRIMSON  ROMANCE:  Ben  Lyon,  Sari  Maritza— 
This  is  only  fair  entertainment.  It  is  a  drama  of  war 
with  romance  set  against  a  background  of  the  German 
air  force.  Ben  Lyon  as  the  smart  Alec  practically 
ruined  the  show,  but  for  the  excellent  acting  of  Bush 
and  Sari  Maritza.  It  is  adult  entertainment  and  will 
not  please  the  ladies  because  of  the  war  scenes. 
Played  one  day  to  poor  business.  Running  time,  67 
minutes.  Played  February  20. — J.  J.  Medford,  Orphe- 
um Theatre,  Oxford,  N.  C.    Country  patronage. 

LITTLE  MEN:  Ralph  Morgan,  Erin  O'Brien-Moore, 
Junior  Durkin,  Cora  Sue  Collins,  Frankie  Darro, 
Dickie  Moore — A  swell  picture  for  a  small  town  with 
population  over  7,000.  Played  this  picture  during  the 
year's  coldest  weather,  sleet  and  snow,  and  did  excel- 
lent business.  If  this  picture  is  exploited  well  it  will 
get  extra  business.  Played  January  20-21-22. — Al 
Johnston,  Rialto  Theatre,  Jacksonville,  Texas.  Small 
town  patronage. 

MARINES  ARE  COMING,  THE:  William  Haines, 
Esther  Ralston,  Conrad  Nagel,  Armida — A  snappy 
picture  that  did  swell  business  for  three  days.  I  could 
have  gotten  lots  of  extra  business  on  this  one,  if  24 
sheets  were  available.  This  picture  appealed  to  the 
adults.  Played  December  20-31,  January  1.— Al  John- 
ston, Rialto  Theatre,  Jacksonville,  Texas.  Small  town 
patronage. 


MGM 


BABES  IN  TOYLAND:  Stan  Laurel,  Oliver  Hardy, 
Charlotte  Henry— This  is  not  adult  entertainment.  I 
would  suggest  a  matinee  for  the  kids  if  you  have  to 
run  it.— R.  V.  Fletcher,  Lyric  Theatre,  Hartington, 
Neb.    General  patronage. 

BABES  IN  TOYLAND:  Laurel  and  Hardy— This 
is  a  good  picture  of  its  type,  but  not  the  kind  the 
patrons  of  today  want.  This  is  a  comedy  of  Fairyland 
with  all  of  the  story  book  characters  and  will  make 
excellent  entertainment  for  the  kids.  If  you  play  this 
for  a  kiddie  matinee,  you  will  do  business,  otherwise 
it  will  be  just  another  flop  at  the  box  office.  Played 
two  days  to  poor  business.  Running  time,  78  minutes. 
Played  February  18-19.— J.  J.  Medford,  Orpheum  The- 
atre, Oxford,  N.  C.    Country  patronage. 

BIOGRAPHY    OF    A    BACHELOR   GIRL:  Ann 

Harding,  Robert  Montgomery — Got  a  world  of  vvell 
justified  kicks  on  this  one.  Glad  I  saw  it  for  nothing 
myself  as  would  have  hated  to  think  I  paid  to_  see  it. 
My  town  is  strictly  off  Ann  Harding;  perhaps  it's  be- 
cause of  the  fact  they  put  her  in  stuflf  like  this.  Busi- 
ness poor.  Direction  terrible,  like  an  old  time  _  stage 
play;  no  action,  no  wit,  no  reason  on  earth  why  it  was 
ever  made. — Herman  J.  Brown,  Majestic  Theatre, 
Nampa,  Idaho.    General  patronage. 

BIOGRAPHY    OF    A    BACHELOR    GIRL:  Ann 

Harding,  Robert  Montgomery — There  is  a  lot  of  dia- 
logue to  this  picture,  but  it  is  so  cleverly  given  that 
it  is  far  from'  boresome.  Personally  liked  it  very 
much  and  received  good  comments,  but  was  way  low 
at  the  B.  O.  Running  time,  84  minutes. — Fred  E. 
Pennell,  Cozy  Theatre,  Decatur,  Mich.  Small  town 
patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford,  Rob- 
ert Montgomery,  Clark  Gable,  Billie  Burke,  Charles 
Butterworth,  Frances  Drake — Excellent.  The  box  ofTice 
said  so,  although  I  had  bad  roads  and  weather  to 
fight.— R.  V.  Fletcher,  Lyric  Theatre,  Hartington, 
Neb.    General  patronage. 

PAINTED  VEIL,  THE:  Greta _  Garbo— Was  agree- 
ably surprised  in  this  one  for  it  seemed  to  please 
nearly  everyone.  Garbo  is  not  popular  here  but  this 
one  has  the  advantage  of  a  good  story  and  I  consider 
it  her  best  picture.    Not  as  good  at  the  box  office  but 


March    9,  1935 


MOTION    PICTURE  HERALD 


79 


pleased  those  who  came.  Running  time,  86  minutes. 
Played  January  26-27. — Gladys  E.  McArdle,  Owl  The- 
atre, Lebanon.  Kan.    Small  town  patronage. 

WHAT  EVERY  WOMAN  KNOWS:  Helen  Hayes, 
Brian  Aherne,  Madge  Evans— Poison  to  the  box  of- 
fice. One  Scotchman  came  twice. — R.  V.  Fletcher,  Ly- 
ric Theatre,  Hartington,  Neb.    General  patronage. 

WICKED  WOMAN.  A:  Mady  Christians,  Jean 
Parker,  Charles  Bickford — A  good  melodramatic  pro- 
gram picture.— R.  V.  Fletcher.  Lyric  Theatre,  Hart- 
ington, Neb.    General  patronage. 

WICKED  WOMAN,  A:  Mady  Christians,  Charles 
Bickford — Was  agreeably  surprised  with  this  one. 
Figured  it  was  just  another  program  feature  and 
it  turned  out  to  be  an  A-1  piece  of  entertainment. 
Has  some  nice  weepy  moments  that  the  ladies  just 
love  and  enough  comedy  relief  to  keep  it  from  getting 
draggy.  Good  picture  and  good  business  so  every- 
thing's lovely  on  the  Sumas  front.  Played  February 
20.— B.  HoUenbeck,  Rose  Theatre,  Sumas,  Wash. 
Small  town  patronage. 


Monogram 

GIRL  O'  MY  DREAMS:  Mary  Carlisle.  Creighton 
Chaney — Very  poor  picture.  Business  bad. — C.  W. 
Tipton,  New  Theatre,  Manila,  Ark.  General  patron- 
age. 

GIRL  OF  THE  LIMBERLOST,  A:  Marian  Marsh, 
Ralph  Morgan — Set  it  midweek  position  and  this  is  not 
a  regular  policy.  Gave  it  lots  of  newspaper  space 
and  sat  back  and  took  in  the  money.  Gave  fine  satis- 
faction as  entertainment,  and  the  boxofTice  fairly 
groaned  with  the  take-in. — W.  H.  Brenner,  Cozy  Thea- 
tre, Winchester,  Ind.    General  patronage. 

GIRL  OF  THE  LIMBERLOST:  Marian  Marsh, 
Ralph  Morgan — Very  good.  A  picture  that  is  suitable 
and  will  be  enjoyed  by  the  whole  family.  However, 
for  some  reason  or  other,  the  box  office  results  on  this 
were  very  disappointing.  Played  February  16. — B. 
Hollenbeck,  Rose  Theatre,  Sumas,  Wash.  Small  town 
patronage. 

GIRL  OF  THE  LIMBERLOST:  Marian  Marsh, 
Ralph  Morgan.  Louise  Dresser — Fair  picture.  Many 
said  they  were  very  disappointed. — Sammie  Jackson, 
Jackson  Theatre,  Flomaton,  Ala.  Small  town  patron- 
age. 

GIRL  OF  THE  LIMBERLOST:  Marian  Marsh, 
Ralph  Morgan — If  all  the  hungry  independent  exhibi- 
tors book  and  play  this  one,  they  will  be  able  to  live 
off  the  fat  purse  this  one  will  bring  into  the  box 
office.  _  Played  this  one  three  days  and  hung  out 
SRO  sign  every  performance.  Went  rather  heavy 
on  the  exploitation  angles  and  that  put  it  over.  Boys, 
do  something  to  get  them  in  the  first  time  on  this 
picture  and  those  who  see  it  will  do  the  rest.  Played 
December  23-24-25.— Al  Johnston,  Rialto  Theatre, 
Jacksonville,  Texas.    Small  town  patronage. 

LOST  IN  THE  STRATOSPHERE:  William  Cag- 
ney,  Edward  Nugent,  June  CoUyer — This  is  a  very 
good  air  picture  and  did  very  good  here.  A  good  pic- 
ture that  the  family  will  enjoy.  All  who  saw  it  were 
pleased.  Played  February  13-14. — Al  Johnston,  Rialto 
Theatre,  Jacksonville,  Texas.     Small  town  patronage. 

MAN  FROM  UTAH,  THE:  John  Wayne— I  played 
this  one  on  Friday  and  Saturday  and  hung  up  SRO 
sign  for  two  days.  Boys,  page  Mr.  Ripley  because 
it's  another  "Believe  It  or  Not."  Plenty  of  action  in 
this  one  to  wow  them.  Heard  lots  of  comment  from 
patrons  on  it.  Played  January  25-26. — Al  Johnston, 
Rialto  Theatre,  Jacksonville,  Texas.  Small  town  pa- 
tronage. 

MILLION  DOLLAR  BABY:  Ray  Walker,  Arline 
Judge — This  is  a  fine  little  picture  with  a  catchy  title. 
Played  it  two  days  and  did  as  much  as  picture  does  in 
three  days.  All  who  saw  it  were  pleased.  It  par- 
ticularly appealed  to  the  younger  crowd.  Played  Feb- 
ruary 3-4. — Al  Johnston,  Rialto  Theatre,  Jacksonville, 
Texas.    Small  town  patronage. 

RANDY  RIDES  ALONE:  John  Wayne,  Alberta 
Vaughn — Played  this  picture  on  Friday  and  Saturday 
and  hung  out  SRO  sign  both  days.  This  picture  holds 
the  record  for  business  in  this  house.  Plenty  of  fast 
action  and  excitement.  Pleased  everybody.  Played 
December  21-22.— Al  Johnston,  Rialto  Theatre,  Jack- 
sonville, Texas.    Small  town  patronage. 

SING  SING  NIGHTS:  Conway  Tearle,  Hardie  Al- 
bright, Boots  Mallory — This  was  a  mighty  fine  picture 
and  appealed  to  everybody.  Hung  up  SRO  sign  first 
day  and  had  a  full  house  second  day.  Patrons  seemed 
to  enjoy  it.  Played  December  26-27. — Al  Johnston, 
Rialto  Theatre,  Jacksonville,  Texas.  Small  town 
patronage. 

WOMEN  MUST  DRESS:  Minna  Gombell,  Gavin 
Gordon,  Hardie  Albright — This  is  a  good  picture,  well 
directed,  well  acted  and  excellent  photography,  it  was 
an  excellent  story,  but  lacked  the  prominent  stars 
to  draw  the  patrons.  Played  February  17-18-19. — Al 
Johnston,  Rialto  Theatre,  Jacksonville,  Texas.  Small 
town  patronage. 


Paramount 

BEHOLD  MY  WIFE:  Sylvia  Sidney,  Gene  Ray- 
mond— A  good  picture  but  no  drawing  power.  Pleased 
everyone   that    saw   it.     Running   time,   79  minutes. 


From  tJje  South  and  Southwest  this 
week  come  three  neti>  reporters  to 
"What  the  Picture  Did  for  Me". 
They  are: 

Al  Johnston,  Rialto  Theatre,  Jack- 
sonville, Texas. 

B.  L.  Smith,  Liberty  Theatre,  Quin- 
ton,  Oklahoma. 

C.  W.  Tipton,  New  Theatre,  Manila, 
Arkansas. 

Reports  from  each  of  these  show- 
men appear  in  the  Department  this 
week. 


Played  February  12-13. — Harry  M.  Newman,  Liberty 
Theatre,  Lynden,  Wash.     Small  town  patronage. 

CLEOPATRA:  Claudette  Colbert,  Warren  William 
— Caesar  calls  it  "Cleo-Patt-ra" ;  Antony  calls  it 
"Cleo-pott-ra" ;  the  dictionary  calls  it  "Oeo-pay-tra." 
I  call  it  a  splendid  big  spectacle,  with  a  great  cast 
and  wonderful  acting.  The  highbrows  went  for  it,  but 
the  regular  gang  failed  to  come,  so  it  wasn't  a  tre- 
mendous financial  success  here. — Roy  W.  Adams,  Ma- 
son Theatre,  Mason,  Mich.    Small  town  patronage. 

CLEOPATRA:  Claudette  Colbert,  Warren  William 
— Have  this  to  say,  "Cleopatra"  is  the  most  preten- 
tious offering  of  the  screen  since  talkies  came  in.  It 
is  big  in  every  way,  everyone  connected  with  it  in  any 
way  have  a  perfect  right  to  be  more  than  proud  of 
their  achievement.  As  a  box  office  we  found  it  okay. 
— W.  H.  Brenner,  Cozy  Theatre,  Winchester,  Ind. 
General  patronaee. 

CLEOPATRA:  Claudette  Colbert,  Warren  William. 
Henry  Wilcoxon,  Joseph  Schildkraut — This  is  a  great 
picture  of  its  type,  but  this  type  does  not  click  at  the 
box  office.  It  is  a  typical  De  Mille  production  and  as 
spectacular  as  its  predecessors.  It  is  a  romantic 
drama  based  on  an  historical  background.  The  act- 
ing, direction  and  settings  are  wonderful,  but  that 
was  not  enough  to  pull  them  in.  Played  two  days 
to  very  poor  business.  Running  time,  100  minutes. 
Played  February  14-15.— J.  J.  Medford.  Orpheum 
Theatre,  Oxford,  N.  C.    General  patronage. 


COLLEGE  RHYTHM:  Lanny  Ross.  Joe  Penner, 
Mary  Hri.in  — Splen<h'd  ccimedy  drama  with  action  and 
romance  nicely  interspersed  with  music  and  fun. 
Pleased.  Drew  above  average  business  on  a  Sunday 
and  Monday.  Played  January  27-28.— P.  G.  Estee, 
S.  T.  Theatre,  Parker,  S.  D.    Small  town  patronage. 

FATHER  BROWN,  DETECTIVE:  Walter  Connol- 
ly,  Gertrude  Michael — Average  program.  Little  slow 
but  pleased  older  patrons  and  had  no  complaints  from 
younger  element.  Played  February  1-2. — P.  G.  Es- 
tee. S.  T.  Theatre,  Parker,  S.  D.  Small  town  patron- 
age. 

HERE  IS  MY  HEART:  Bing  Crosby,  Kitty  Carlisle 
— Clean,  enjoyable  entertainment  for  all  ages.  Pleased. 
Played  February  17-18.— P.  G.  Estee,  S.  T.  Theatre, 
Parker,  S.  D.    Small  town  patronage. 

HERE  IS  MY  HEART:  Bing  Crosby,  Kitty  Car- 
lisle— I  doubled  this  with  a  John  Wayne  western  and 
it  did  the  work.  Running  time,  77  minutes.  Played 
February  8-9-10. — Harry  M.  Newman,  Liberty  Theatre, 
Lynden,  Wash.    Small  town  patronage. 

HOME  ON  THE  RANGE:  Jackie  Coogan,  Randolph 
Scott — An  A-1  westerner  that  pleased  100  per  cent. 
Did  very  good  business  here  and  brought  out  more 
kids  than  I  knew  were  in  town.  Jackie  Coogan  not 
so  hot  as  an  actor,  although  some  came  to  see  him 
out  of  curiosity,  or  maybe  for  old  time's  sake.  Run- 
ning time,  55  minutes.  Played  February  9. — B.  Hol- 
lenbeck, Rose  Theatre,  Sumas,  Wash.  Small  town 
patronage. 

HOME  ON  THE  RANGE:  Jackie  Coogan,  Raii- 
dolph  Scott — A  very  good  western  that  did  the  busi- 
ness and  pleased  everyone.  Played  February  1-2-3. — 
Harry  M.  Newman,  Liberty  Theatre,  Lynden,  Wash. 
Small  town  patronage. 

IT'S  A  GIFT:  W.  C.  Fields,  Baby  LeRoy— Opin- 
ions were  divided  about  this.  Some  thought  it  good, 
others  said  it  was  silly.  It  didn't  do  any  business, 
and  they  must  get  better  stories  for  Fields  or  it's 
going  to  be  too  bad. — Roy  W.  Adams,  Mason  Theatre, 
Mason,  Mich.    Small  town  patronage. 

KISS  AND  MAKE  UP:  Gary  Grant.  Helen  Mack, 
Genevieve  Tobin.  Edward  Everett  Horton — This  pro- 
grammer will  do  all  right. — Herman  J.  Brown,  Ma- 
jestic and  Adelaide  Theatres,  Nampa,  Idaho.  General 
patronage. 

LEMON  DROP  KID:  Lee  Tracy— Average  Satur- 
day business.  Tracy  is  not  the  drawing  card  he  used 
to  be.  and  as  a  fond  papa  he  isn't  quite  convincing. 
— Roy  W.  Adams,  Mason  Theatre,  Mason,  Mich. 
Small  town  patronage. 

(Reports  continued  on   following  page) 


80 


MOTION    PICTURE  HERALD 


March    9  ,     19  3  5 


LEMON  DROP  KID:  Helen  Mack,  Lee  Tracy— 
This  is  a  dandy  program  picture  and  will  give  very 
good  satisfaction— C.  W.  Tipton,  New  Theatre, 
Manila,  Ark.    General  patronage. 

LIMEHOUSE  BLUES:  George  Raft,  Jean  Parker, 
Anna  May  Wong,  Kent  Taylor — Got  by  with  a  hard 
shove.  Raft  has  no  draft  here.  Anna  May  Wong 
has  been  neglected  and  has  to  be  put  across  again. 
It's  remarkable  how  many  clever  people  are  neglected 
and  how  many  dubs  are  thrust  into  every  picture. 
There  must  be  a  clique  in  Hollywood.  If  you  are 
born  in  Czechoslovakia  and  come  from  Europe  they 
will  waste  years  and  millions  trying  to  put  you  over, 
but  if  you  are  an  American,  God  help  you.— Herman 
J.  Brown,  Majestic  Theatre,  Nampa,  Idaho.  General 
patronage. 

MANY  HAPPY  RETURNS:  Gracie  Allen,  George 
Burns,  George  Barbier,  Joan  Marsh,  Veloz  and  Yo- 
landa,  Guy  Lombardo  and  his  Royal  Canadians — Too 
much  Allen;  not  enough  Lombardo.  Fair  program 
picture. — Sammie  Jackson,  Jackson  Theatre,  Flomaton, 
Ala.    Small  town  patronage. 

NOW  AND  FOREVER:  Shirley  Temple,  Carole 
Lombard,  Gary  Cooper — Good  Sunday  business.  Pic- 
ture just  fair.  Hitch  your  wagon  to  this  little  star 
and  you'll  wear  diamonds  (Hecht  and  MacArthur 
to  the  contrary  notwithstanding). — Roy  W.  Adams, 
Mason  Theatre,  Mason,  Mich.    Small  town  patronage. 

NOW  AND  FOREVER:  Shirley  Temple,  Gary 
Cooper,  Carole  Lombard,  Sir  Guy  Standing — This  is 
another  picture  that  offers  only  fair  entertainment 
and  is  entirely  the  wrong  type  of  story  for  Shirley 
Temple.  A  few  more  parts  like  this  and  Shirley  will 
go  down  just  as  many  others  have.  "Bright  Eyes" 
made  her  famous,  but  "Now  and  Forever"  did  much 
harm.  Played  two  days  to  good  business,  but  not  so 
pleasing.  Running  time,  72  minutes.  Played  February 
11-12.— J.  J.  Medford.  Orpheum  Theatre,  Oxford,  N. 
C.    General  patronage. 

PURSUIT  OF  HAPPINESS:  Francis  Lederer,  Joan 
Bennett — A  very  pleasing  picture,  but  I  couldn't  get 
them  out  to  see  it. — Roy  W.  Adams,  Mason  Theatre, 
Mason,  Mich.    Small  town  patronage. 

PURSUIT  OF  HAPPINESS,  THE:  Joan  Bennett, 
Francis  Lederer — Comedy  drama  of  colonial  days,  feat- 
uring oldtime  customs,  among  which  was  "bundling." 
That  is,  the  courting  couples  climbed  into  bed  with  a 
dividing  board  between  them  and  there  visited,  thereby 
saving  fuel  which  history  tells  us  was  a  very  scarce 
article.  Played  January  25-26.— P.  G.  Estee,  S.  T. 
Theatre,  Parker,  S.  D.    Small  town  patronage. 

ROCKY  MOUNTAIN  MYSTERY:  Randolph  Scott— 
A  Zane  Grey  tale.  Pleasing  but  not  up  to  "Wagon 
Wheels"  in  drawing  power;  lacking  song  and  music 


build-up.  Played  February  9-10.— P.  G.  Estee,  S.  T. 
Theatre,  Parker,  S.  D.    Small  town  patronage. 

SHE  LOVES  ME  NOT:  Bing  Crosby,  Miriam  Hop- 
kins— Very  pleasing  comedy  drama  to  slim  Sunday 
business.  Blame  it  on  the  flu  epidemic.  The  picture 
is  OK. — Roy  W.  Adams,  Mason  Theatre,  Mason, 
Mich.    Small  town  patronage. 

WE'RE  NOT  DRESSING:  Bing  Crosby,  Carole 
Lombard,  George  Burns,  Gracie  Allen,  Ethel  Merman 
— Old,  but  very  good. — Sammie  Jackson,  Jackson  The- 
atre, Flomaton,  Ala.    Small  town  patronage. 

WITCHING  HOUR.  THE:  Tom  Brown,  Judith  Al- 
len— One  of  the  best  program  pictures  we  have  played 
in  a  long  while.  Running  time,  64  minutes. — P.  G. 
Held,  New  Strand  Theatre,  Griswold,  Iowa.  Neigh- 
borhood patronage. 

Pinnacle 

CHLOE  (LOVE  IS  CALLING):  Olive  Borden, 
Reed  Howes — If  this  is  a  sample  of  what  Florida  pro- 
ducers are  going  to  ofifer,  we'll  take  Hollywood.  The 
beautiful  natural  settings  of  swampland  and  planta- 
tions are  the  only  redeeming  features  of  this  produc- 
tion which  shows  the  effects  of  a  limited  budget  and 
hurried  effort.  It  is  distinctly  a  second-rate  picture. 
—J.  W.  Noah,  New  Liberty  and  Ideal  Theatres,  Ft. 
Worth,  Texas.    General  patronage. 

RKO  Radio 

ADVENTURE  GIRL:  Joan  Lowell— I  advertised 
this  as  a  travelogue,  so  they  knew  what  to  expect. 
The  recording  is  goshawful.  Joan  Lowell  sounds  as 
if  she  had  her  head  in  a  barrel. — Roy  W.  Adams,  Ma- 
son Theatre,  Mason,  Mich.    Small  town  patronage. 

ANNE  OF  GREEN  GABLES:  Anne  Shirley,  Tom 

Brown — Very,  very  good.  Drew  some  extra  business 
and  pleased  all.  Played  February  3-4-5. — P.  G.  Es- 
tee, S.  T.  Theatre,  Parker,  S.  D.  Small  town  patron- 
age. 

ANNE  OF  GREEN  GABLES:  Anne  Shirley— Excel- 
lent family  picture.  Did  only  fair  at  the  box-office 
because  of  bad  weather  and  roads.  Just  the  type  of 
picture  for  family  entertainment,  clean.  Running  time, 
79  minutes.— P.  G.  Held.  New  Strand  Theatre,  Gris- 
wold,  Iowa.     Neighborhood  patronage. 

ANNE  OF  GREEN  GABLES:  Anne  Shirley,  Tom 
Brown — A  wonderful  picture  and  a  very  fine  cast.  So 
far.  I  am  much  pleased  with  RKO  pictures.  Running 
time,  79  minutes.     Played   February   15-16-17. — Harry 


M.  Newman,  Liberty  Theatre,  Lynden,  Wash.  Small 
town  patronage. 

ENCHANTED  APRIL:  Ann  Harding,  Frank  Mor- 
gan, Ralph  Forbes — Poison  to  your  box  office  and  the- 
tre.  This  is  not  entertainment  in  any  town  or  city. — 
R.  V.  Fletcher,  Lyric  Theatre,  Hartington,  Neb.  Gen- 
eral patronage. 

FINISHING  SCHOOL:  Frances  Dee,  Billie  Burke, 
Ginger  Rogers,  Bruce  Cabot— You  can  give  RKO  credit 
for  this  one.  It  is  a  good  program  picture  and  pleases 
nearly  everyone.  The  direction  was  handled  very 
cleverly.  Ginger  Rogers  knocks  'em  cold.  Business 
was  wonderful.— B.  L.  Smith,  Liberty  Theatre,  Quin- 
ton,  Okla.    Small  town  patronage. 

GAY  DIVORCEE,  THE:  Fred  Astaire,  Ginger 
Rogers,  Alice  Brady,  Edward  Everett  Horton — A 
highly  entertaining  film  which  pleased  our  patrons. — 
J.  W.  Noah,  New  Liberty  and  Ideal  Theatres,  Ft. 
Worth,  Texas.    General  patronage. 

GOODBYE  LOVE:  Charles  Ruggles,  Verree  Teas- 
dale — An  old  one  full  of  wisecracks.  Good  comedy. 
It's  entertainment  that  people  want  and  this  furnished 
it.  Played  February  20-21.— Harold  C.  Allison,  Bald- 
win Theatre,  Baldwin,  Mich.    Small  town  patronage. 

GRAND  OLD  GIRL:  May  Robson,  Mary  Carlisle, 
Fred  MacMurray — Very  good  program  picture. — R.  V. 
Fletcher,  Lyric  Theatre,  Hartington,  Neb.  General 
patronage. 

^  GRAND  OLD  GIRL:  May  Robson— Very  good  fam- 
ily picture.  May  Robson  at  her  best  in  this  one. 
Running  time,  71  minutes. — P.  G.  Held,  New  Strand 
Theatre,   Griswold,  Iowa.     Neighborhood  patronage. 

HAT,  COAT  AND  GLOVE:  Ricardo  Cortez— 
Nothing  extra. — Roy  W.  Adams,  Mason  Theatre,  Ma- 
son, Mich.    Small  town  patronage. 

KENTUCKY  KERNELS:  Bert  Wheeler,  Robert 
Woolsey,  Mary  Carlisle — I  would  like  to  see  Wheeler 
and  Woolsey  in  a  good  picture. — R.  V.  Fletcher,  Lyric 
Theatre,  Hartington,  Neb.    General  patronage. 

LITTLE  MINISTER,  THE:  Katharine  Hepburn, 
John  Beal — Excellent ;  the  box  office  said  so. — R.  V. 
Fletcher,  Lyric  Theatre,  Hartington,  Neb.  General 
patronage. 

RED  MORNING:  Steffi  Duna,  Regis  Toomey— 
Good  program  action  picture.  Localed  on  an  island  ofif 
the  coast  of  British  New  Guinea.  Played  February 
15-16.— P.  G.  Estee,  S.  T.  Theatre,  Parker,  S.  D. 
Small  town  patronage. 

SILVER  STREAK,  THE:  Sally  Blane,  Charles 
Starrett — Entertaining  railroad  drama.  Although  a  bit 
of  propaganda  for  the  railroad  and  streamlines  in  the 
picture,  it  seemed  to  please  our  patrons.  We  played 
on  Sunday.  Played  February  10-11. — P.  G.  Estee,  S. 
T.  Theatre,  Parker,  S.  D.    Small  town  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix,  Martha 
Sleeper — Swell.  Did  the  best  midweek  business  in 
many  months.  Richard  Dix  fits  the  role  like  a  glove. 
Played  February  13. — B.  Hollenbeck,  Rose  Theatre, 
Suma.s,  Wash.    Small  town  patronage. 

WOMAN  IN  THE  DARK:  Fay  Wray,  Ralph  Bel- 
lamy, Melvyn  Douglas,  Roscoe  Ates — Fair  program 
picture. — R.  V.  Fletcher,  Lyric  Theatre,  Hartington, 
Neb.    General  patronage. 

WOMAN  IN  THE  DARK:  Fay  Wray,  Ralph  Bel- 
lamy— This  is  just  a  pleasing  program  picture  and 
that  is  all.  Nothing  big,  but  should  please  the  aver- 
age fans.  It  is  a  drama  about  a  young  man  who 
could  not  keep  out  of  trouble.  Roscoe  Ates  supplies 
the  necessary  comedy  and  the  entire  cast  play  their 
parts  well.  Played  on  late  Saturday  night  show  to 
fair  business.  Running  time,  70  minutes.  Played 
February  9. — J.  J.  Medford,  Orpheum  Theatre,  Ox- 
ford, N.  C.    General  patronage. 


United  Artists 

BORN  TO  BE  BAD:  Loretta  Young,  Gary  Grant— 
This  picture  offers  very  poor  entertainment  and  our 
patrons  did  not  like  it.  This  is  a  bad  story  and 
strictly  adult  entertainment.  Thanks  to  the  Decency 
League,  there  will  be  less  pictures  of  this  type,  li 
you  were  one  of  the  exhibitors  who  didn't  play  this, 
then  you  were  lucky.  Played  one  day  to  fair  business. 
Running  time,  61  minutes.  Played  February  13. — 
J.  J.  Medford,  Orpheum  Theatre,  Oxford,  N.  C.  Gen- 
eral patronage. 

KID  MILLIONS:  Eddie  Cantor,  Ann  Sothern,  Ethel 
Merman,  Block  and  Sully — Very  good  entertainment. 
Pleased  about  75  per  cent.  Personally  think  Eddie 
is  slipping. — R.  V.  Fletcher,  Lyric  Theatre,  Harting- 
ton, Neb.    General  patronage. 

KID  MILLIONS:  Eddie  Cantor,  Ann  Sothern,  Ethel 
Merman,  Block  and  Sully — A  swell  picture.  It  has 
everything,  comedy,  gals  and  two  spectacular  dancers 
that  are  among  the  best  we  have  seen  on  the  screen. 
Ann  Sothern  has  not  the  voice  to  solo;  too  light  in 
volume,  but  this  Merman  girl  has  plenty  of  what  it 
takes.  She's  "tops"  at  putting  a  song  over.  The 
minstrel  number  and  the  ice  cream  sequence  in  color 
is  very  good  and  we  must  not  forget  Eve  Sully  as  the 
slightly  "screwy"  daughter  of  the  sheik.  And  did 
she  put  it  over?  She  did.  A  swell  little  comedian. 
It's  a  honey  for  the  Cantor  fans  and  everyone  else 
that  saw  it. — A.  E.  Hancock,  Columbia  Theatre,  Co- 
lumbia City,  Ind.    General  patronage. 


March    9,  1935 


MOTION    PICTURE  HERALD 


81 


MIGHTY  BARNUM,  THE:  Wallace  Beery, 
Adolphe  Menjou,  Virginia  Bruce,  Rochelle  Hudson — 
Mixed  reception.  Many  thought  it  a  burlesque  on  a 
great  showman.  Whoever  made  this  should  have  read 
"Dollars  and  Sense  or  How  to  Get  On."  This  book 
by  Barnum  I  carried  with  me  ten  years,  from  fifteen 
to  twenty-five.  Read  it.  Barnum  was  not  a  gaping 
fool,  but  a  shrewd  man.  Unbelievable  that  the  show 
business  should  make  a  repulsive  henpecked  ass  out 
of  its  patron  saint.  Business  would  have  been  better 
if  intelligence  had  been  used  in  characterizing  Bar- 
num. The  "stage"  fire  of  the  museum  reminded  me 
of  old  ten-twenty-thirty  cent  melo  days.  A  real  di- 
rector would  have  made  it  thrilling  and  real.  Why 
don't  we  have  a  real  fire  in  some  picture?  Now  don't 
scramble  into  it.  boys,  and  start  a  cycle.  Virginia 
Bruce  a  knockout  and  can  she  sing.  Personally,  1 
thought  Beery  did  a  poor  job  of  it.  He's  better  at 
burlesquing  Garbo,  an  artist  miles  ahead  of  his  com- 
prehension. The  big  laugh,  however,  is  the  fact  that 
the  asinine  "Liberty"  gave  this  four  stars. — Herman 
J.  Brown,  Majestic  Theatre,  Nampa,  Idaho.  General 
patronage. 

PRIVATE  LIFE  OF  DON  JUAN,  THE:  Douglas 
Fairbanks,  Merle  Oberon,  Binnie  Barnes — Drew  50  per 
cent  of  average  crowd,  so  I  can't  say  it's  a  show  that 
will  go  over  big  anywhere.  Doug  is  a  washout  in  this 
one.  Played  February  23-24. — Harold  C.  Allison, 
Baldwin  Theatre,  Baldwin,  Mich.  Small  town  patron- 
age. 

WE  LIVE  AGAIN:  Anna  Sten,  Fredric  March- 
Excellent,  but  not  from  a  box  office  standpoint.  Will 
please  about  25  per  cent  of  any  audience. — R.  V. 
Fletcher,  Lyric  Theatre,  Hartington,  Neb.  General 
patronage. 

Universal 

AFFAIRS  OF  A  GENTLEMAN:  Paul  Lukas,  Leila 
Hyams,  Patricia  Ellis — Another  one  of  those  would-be 
sophisticated  pictures  which  talks  itself  to  death. 
All  about  the  loves  of  a  gentleman  (via  flashback 
method)  who  is  discovered  dead  from  mysterious 
causes.  Naturallv  this  calls  for  a  crowd  of  suspicious 
characters  and  a  detective.  Ho  hum. — J.  W.  Noah, 
New  Liberty  and  Ideal  Theatres,  Ft.  Worth,  Texas. 
General  patronage. 

CHEATING  CHEATERS:  Fay  Wray.  Caesar  Ro- 
mero— Picture  seemed  to  please,  and  did  average  Sat- 
urday business. — Roy  W.  Adams,  Mason  Theatre,  Ma- 
son, Mich.    Small  town  patronage. 

GREAT  EXPECTATIONS:  Henry  Hull,  Janet  Wy- 
att,  Phillips  Holmes — I  tied  up  with  the  school  on  this, 
and  it  went  over  nicely  on  Saturday.  It  is  unusual, 
old-fashioned,  and  leisurely  in  tempo,  but  to  my  sur- 
prise the  Saturday  crowd  took  it  and  liked  it.  Henry 
Hull  is  perfect  in  the  difficult  role  of  Magwitch.  Jane 
Wyatt  is  a  charming  early  Victorian  heroine,  and  the 
rest  of  the  cast  are  very  good. — Roy  W.  Adams,  Ma- 
son "Theatre,  Mason,  Mich.    Small  town  patronage. 

I'VE  BEEN  AROUND:  Chester  Morris,  Rochelle 
Hudson — Just  a  programmer.  Got  an  ending  thrown 
into  it  that  would  make  one  think,  "Well,  I'm  glad 
that's  over."  The  hero  runs  out  on  her  and  she  runs 
for  the  poison  and  they  lived  happily  ever  after.  Run- 
ning time,  75  minutes. — Fred  E.  Pennell,  Cozy  The- 
atre, Decatur,  Mich.    Small  town  patronage. 

WAKE  UP  AND  DREAM:  Russ  Columbo,  June 
Knight — A  pleasing  musical  comedy.  Better  midweek 
business  than  I  have  been  doing  lately. — Roy  W. 
Adams,  Mason  Theatre,  Mason,  Slich.  Small  town 
patronage. 

WAKE  UP  AND  DREAM:  Russ  Columbo,  Roger 
Pryor — Another  picture  that  meant  nothing  at  the 
box-ofifice  and  did  not  please.  Too  many  drinking 
scenes.  Why  don't  the  producers  cut  out  these  drink- 
ing scenes  in  pictures?  Why  don't  they  wake  up  to 
the  fact  that  90  per  cent  of  the  patrons  don't  like 
these  drinking  scenes.  Running  time,  76  minutes. — 
P.  G.  Held,  New  Strand  Theatre,  Griswold,  Iowa. 
Neighborhood  patronage. 

WAKE  UP  AND  DREAM:  Russ  Columbo,  Roger 
Pryor,  June  Knight — After  reading  several  favorable 
reports  on  this  picture,  it  proved  somewhat  of  a  dis- 
appointment as  we  found  it  slow  and  draggy  with  little 
originality.  Russ  Columbo  was  the  outstanding  per- 
sonality and  proved  that  if  he  could  have  lived  and 
been  given  stronger  roles,  he  would  have  gone  to  the 
top.— J.  W.  Noah,  New  Liberty  and  Ideal  Theatres, 
Ft.  Worth,  Texas.    General  patronage. 


Warner 

BORDERTOWN:  Paul  Muni,  Bette  Davis,  Margaret 
Lindsay — Surprised  me  with  the  business  it  did  and 
the  praise  it  got.  My  town  must  be  changing  its 
psychology,  as  such  stuff  used  to  be  poison.  It  did 
first  rate.— Herman  J.  Brown,  Majestic  Theatre,  Nam- 
pa, Idaho.     General  patronage. 

BORDERTOWN:  Paul  Muni,  Bette  Davis— They 
don't  come  any  better  than  this  one  for  a  rural  town. 
Muni  does  one  swell  job  in  this  role.  First  time  that 
we  have  had  him  and  he  is  no  fashion  plate  and  they 
will  never  use  him  on  a  collar  ad,  but  he  can  cer- 
tainly put  a  role  like  this  one  over.  Good  story,  tense 
drama,  a  gripping  picture. — A.  E.  Hancock,  Columbia 
Theatre,  Columbia  City,  Ind.    General  patronage. 

BORDERTOWN:  Paul  Muni,  Bette  Davis— This  is 
the  first  time  we  have  ever  seen  Muni,  and  hope  will 
see  many  more  from  this  star.    This  should  be  classed 


as  mostly  drama.  My  patronage  wanted  to  see  a  lit- 
tle more  action  on  his  part,  as  he  can  sure  put  it 
over.  Bette  Davis  wonderful.  Running  time,  90  min- 
utes.—Fred  E.  Pennell,  Cozy  Theatre,  Decatur,  Mich. 
Small  town  patronage. 

DEVIL  DOGS  OF  THE  AIR:  James  Cagney,  Pat 
O'Brien.  Margaret  Lindsay— Certainly  a  great  picture. 
Every  one  will  want  to  see  this.  Word-of-mouth  ad- 
vertising great.  This  picture  is  destined  to  go  places. 
Give  it  all  you  got,  for  it  certainly  will  pay  you  big 
dividends.  Better  than  "Here  Comes  the  Navy."  Run- 
ning time,  90  minutes.  Played  February  6-8.— Earl 
J.  McClurg,  Grand  Theatre,  Preston,  Td'aho.  Small 
town  and  rural  patronage. 

HAROLD  TEEN:  Hal  LeRoy,  Rochelle  Hudson, 
Patr  icia  Ellis.  Guy  Kibbee — This  picture  may  not  have 
much  of  a  story,  but  is  good  entertinment  for  all  the 
family,  as  it  has  pep,  youth,  and  interesting  person- 
alities.— J.  W.  Noah,  New  Liberty  and  Ideal  Theatres, 
Ft.  Worth,  Texas.    General  patronage. 

HEAT  LIGHTNING:  Aline  MacMahon,  Preston 
Foster,  Ann  Dvorak,  Lyle  Talbot — Pretty  good  pic- 
ture to  pretty  good  business.  Business  could  have 
been  a  third  better;  the  mats  on  this  are  as  bad  as  it 
is  possible  to  make  them. — Herman  J.  Brown,  Majestic 
Theatre,  Nampa,  Idaho.    General  patronage. 

MYSTERY  OF  THE  WAX  MUSEUM:  Lionel  At- 
will,  Fay  Wray — Well  made  picture  and  fine  color 
and  sound  well  recorded.  But  the  condition  of  the 
print  was  bad.  as  it  was  the  last  print  they  had  in 
Detroit.  Had  a  hard  time  running  it.  8  reels.  Liked 
by  all  that  saw  it.  Running  time,  72  minutes. — Albert 
HefTeran,  Owl  Theatre,  Grand  Rapids,  Mich.  College 
students  patronage. 

SECRET  BRIDE,  THE:  Barbara  Stanwyck,  War- 
ren William— Excellent  program  picture.  Strong  story, 
capable  acting,  plenty  of  suspense,  no  sex  and  mush. 
Good  for  any  situation  at  any  time.  Pleased  everyone 
and  word  of  mouth  advertising  built  up  business. 
Don't  pass  it  up.  Running  time.  64  minutes.  Played 
February  14-16.— B.  R.  Johnson,  Orpheum  Theatre, 
Kerrobert,  Canada.    Small  town  patronage. 

SECRET  BRIDE,  THE:  Barbara  Stanwyck.  War- 
ren William — This  I  consider  to  be  a  good  little  pic- 
ture of  the  murder  mystery  type;  state  capitol  scenes 
good;  but  at  the  B.  O.  was  terrible.  Running  time, 
68  minutes. — Fred  E.  Pennell,  Cozy  Theatre,  Decatur, 
Mich.    Small  town  patronage. 

SWEET  ADEILINE:  Irene  Dunne — Any  small  town 
will  be  better  off  not  to  use  this  picture.  It  will  not 
please.  However,  it  is  not  a  bad  picture  but  will  not 
take  with  the  most  of  the  show  game. — C.  W.  Tipton, 
New  Theatre,  Manila,  Ark.    General  patronage. 


SWEET  ADELINE:  Irene  Dunne,  Donald  Woods— 
This  is  the  t)ox  office  disappointment  of  the  year.  I 
had  no  one  else  complain,  but  people  just  don't  want 
to  see  it.  I  think  they  let  Irene  sing  too  much  and 
made  about  two  reels  too  much  show.  Anyway, 
though  I  liked  it,  people  didn't  and  it  ran  down  to 
just  no  business. — Charles  Lee  Hyde,  Grand  Theatre. 
Pierre,  S.  D.    General  patronage. 


Short  Features 

Columbia 

HAPPY  BUTTERFLY,  THE  :  Scrappy  Cartoon 
Series — Excellent  cartoon.  These  new  Scrappy  car- 
toons are  much  better  than  the  old  ones.  Running 
time,  eight  minutes.— P.  G.  Held.  New  Strand  Thea- 
tre, Griswold,  Iowa.     Neighborhood  patronage. 

HORSE  COLLARS:  Three  Stooges— Here  is  a  laugh 
comedy  and  if  you  are  like  me  that  is  what  you  are 
looking  for. — W.  H.  Brenner.  Cozy  Theatre,  Winches- 
ter, Ind.    General  patronage. 

MEN  IN  BLACK:  Three  Stooges— Maybe  you  call 
this  a  comedy,  but  my  patrons  did  not.  Who  told  the 
Stooges  they  could  act?  This  is  poor  comedy  and  en- 
tirely too  silly  to  be  funny.  Let's  have  better  shorts 
and  less  of  this  kind  of  entertainment.  Running  time, 
19  minutes.— J.  J.  Medford,  Orpheum  Theatre,  Oxford, 
N.  C.    General  patronage. 

TRAPE:ZE  ARTIST:  Krazy  Kat  series— This  is  a 
knockout;  a  pip. — Herman  J.  Brown.  Majestic  and 
Adelaide  Theatres,  Nampa,  Idaho.    General  patronage. 

Educational 

GENTLEMEN  OF  THE  BAR:  Ernest  Truex— Could 
be  worse  and  could  be  a  whole  lot  better.  Running 
time,  20  minutes. — Fred  E.  Pennell,  Cozy  Theatre, 
Decatur,  Mich.    Small  town  patronage. 

IRISH  SWEEPSTAKES:  Terry-Toons— Very  fine 
and  print  good  and  recording  clear.  Liked  by  all  who 
attended.  Running  time.  6  minutes. — Albert  Hefiferan, 
Owl  Theatre,  Grand  Rapids,  Mich.  College  students 
patronage. 

MAGIC  FISH,  THE:  Terry -Toon— This  is  fair  en- 
tertainment of  tlie  cartoon  type  and  will  please  all 
who  like  this  kind  of  comedy.  However,  I  think  there 
is  lots  of  room  for  improvement  and  hope  the  pro- 
ducer will  try  it.  Running  time,  9  minutes. — J.  J. 
Medford.  Orpheum  Theatre,  Oxford,  N.  C.  General 
patronage. 

(Reports  continued  on   following  page) 


82 


MOTION    PICTURE  HERALD 


March    9,  1935 


NIFTY  NURSES:  Musical  Comedies  Series— This 
is  very  poor  entertainment  of  the  musical  type.  There 
is  very  little  music  and  the  entire  two  reels  are  en- 
tirely too  silly  for  a  comedy.  Running  time,  19  min- 
utes.— J.  J.  Medford,  Orpheura  Theatre,  Oxford,  N.  C. 
General  patronage. 

SECOND  HAND  HUSBAND:  Tom  Howard— This 
is  only  fair  entertainment  of  the  slapstick  variety  and 
did  not  please  our  patrons.  The  two-reelers  of  today 
are  very  poor  entertainment  compared  with  the  shorts 
of  several  years  ago  and  the  producers  should  give 
this  their  attention.  Running  time,  19  minutes. — J. 
J.  Medford,  Orpheum  Theatre,  Oxford,  N.  C.  General 
patronage. 

THEN  CAME  THE  YAWN:  Treasure  Chest— Very 
clever  satire  on  extravagant  previews  of  pictures. 
Running  time,  8  minutes. — Roy  W.  Adams,  Mason 
Theatre,  Mason,  Mich.    Small  town  patronage. 

WHY  MULES  LEAVE  HOME:  Terry-Toons— A 
good  cartoon. — P.  G.  Held,  New  Strand  Theatre, 
Griswold,  Iowa.    Neighborhood  patronage. 


MGM 

AFRICA,  LAND  OF  CONTRAST:  FitzPatrick 
Travel  Talk — This  is  both  interesting  and  educational 
as  well  as  amusing.  This  one  reeler  shows  many  in- 
teresting scenes  in  Africa  and  especially  the  beautiful 
Victoria  Falls.  Let's  have  more  of  these.  Running 
time,  10  minutes. — J.  J.  Medford,  Orpheum  Theatre, 
Oxford,  N.  C.    General  patronage. 

APPLES  TO  YOU:  Musical  Comedies  Series- 
Why  any  company  should  produce  such  a  short  as  this 
is  beyond  my  knowledge.  Metro,  the  Number  1  com- 
pany, was  the  producer  of  this  and  they  get  the  prize 
for  the  year's  best  flop  in  the  short  subject  line.  If 
you  can  do  worse,  let's  see  it.  Running  time,  19  min- 
utes.—J.  J.  Medford,  Orpheum  Theatre,  Oxford,  N. 
C.    General  patronage. 

BALLAD  OF  PADUCAH  JAIL:  Irvin  S.  Cobb- 
If  Irvin  Cobb  is  funny,  then  we  can  all  go  on  the 
stage  as  great  comedians.  Bum  comedy.  Someone 
should  really  tell  the  Cobb  person  his  mush  is  painful, 
not  funny.— Herman  J.  Brown,  Majestic  and  Adelaide 
Theatres,  Nampa.  Idaho.    General  patronage. 

GOING  BYE-BYE:  Laurel  and  Hardy— This  is  a 
good  two-reel  comedy  of  the  slapstick  variety.  It  is  a 
bit  different  from  the  usual  Laurel  and  Hardy  come- 
dy, but  they  still  use  many  of  their  old  gags.  Why 
not  create  something  new  for  them  so  the  public 
will  not  grow  tired  of  them?  Running  time,  20  min- 
utes.—J.  J.  Medford,  Orpheum  Theatre,  Oxford,  N.  C. 
General  patronage. 

GRANDFATHER'S  CLOCK:  Musical  Revues  Series 


— Not  bad  and  not  good.  Gets  by  and  that's  about 
all. — B.  Hollenbeck,  Rose  Theatre,  Sumas,  Wash. 
Small  town  patronage. 

HANDLEBARS:  Oddities  Series— This  is  a  very  in- 
teresting one-reeler  showing  the  development  of  the 
bicycle  from  the  beginning  to  the  present  time.  This 
will  please  the  majority  of  patrons.  The  remarks  by 
Pete  Smith  make  half  of  the  entertainment.  Running 
time,  10  minutes. — J.  J.  Medford,  Orpheum  Theatre, 
0.xford,  N.  C.    General  patronage. 

JUNGLE  JITTERS:  Willie  Whopper— This  is  a 
good  comedy  that  pleased  all  who  saw  it.  This  is  one 
of  the  best  of  this  series  of  Willie,  and  if  all  were  as 
good  as  this  one,  this  would  be  one  of  the  best  shorts 
on  the  market.  Running  time,  9  minutes. — J.  J.  Med- 
ford, Orpheum  Theatre,  Oxford,  N.^C.  General  patron- 
age. 

LIVE  GHOSTS:  Laurel  and  Hardy— The  best  Lau- 
rel and  Hardy  in  three  years. — Herman  J.  Brown, 
Majestic  and  Adelaide  Theatres,  Nampa,  Idaho.  Gen- 
eral patronage. 

MAID  IN  HOLLYWOOD:  Todd-Kelly— This  is  the 
poorest  Todd-Kelly  comedy  I  have  yet  seen. — J.  W. 
Noah,  New  Liberty  and  Ideal  Theatres,  Ft.  Worth, 
Texas.    General  patronage. 

YOU  BRING  THE  DUCKS:  Irvin  S.  Cobb— I  could 
see  nothing  in  this  one  and  nobody  else  could.  Run- 
ning time,  16  minutes. — Harry  M.  Newman,  Liberty 
Theatre,  Lynden,  Wash.     Small  town  patronge. 

ZION,  CANYON  OF  COLOR:  FitzPatrick  Travel 
Talks  Series — One  of  the  best  travelogues  I  have 
ever  seen.  Wonderful  scenes,  technicolor  and  some 
nice  incidental  music.  It's  OK  and  will  improve  any 
program.  Running  time,  8  minutes. — B.  Hollenbeck, 
Rose  Theatre,  Sumas,  Wash.    Small  town  patronage. 


Paramount 


OLD  KENTUCKY  HOUNDS:  Paramount  Varieties 
—Clever  comedy  played  by  dogs.— Roy  W.  Adams, 
Mason  Theatre,  Mason,  Mich.    Small  town  patronage. 

POOR  CINDERELLA:  Betty  Boop  Series— This  is 
a  wonderful  picture.  Can  use  a  lot  more  like  it. 
Running  time,  7  minutes.— Harry  M.  Newman,  Lib- 
erty Theatre,  Lynden,  Wash.    Small  town  patronage. 

SUPERSTITION  OF  THE  BLACK  CAT:  Para- 
mount Varieties— Rather  slow.— Roy  W.  Adams,  Mason 
Theatre,  Mason,  Mich.    Small  town  patronage. 


THERE'S    SOMETHING    ABOUT   A  SOLDIER: 

Betty  Boop — Fair  cartoon. — Roy  W.  Adams,  Mason 
Theatre,  Mason,  Mich.    Small  town  patronage. 


Principal 

DEATH  DAY:  An  interesting  and  unusual  short. 
This  is  part  of  the  film  made  by  Sergei  M.  Eisen- 
stein  and  financed  by  Upton  Sinclair  who,  incidentally, 
wrote  the  introductory  subtitle  of  this  subject.  Death 
Day,  according  to  this  film,  is  a  Mexican  holiday 
which  is  both  religious  and  festive.  Oti  Death  Day 
the  natives  wear  skull  masks,  bedeck  skeletons  with 
all  manner  of  costumes,  and  buy  skeleton  toys  and 
miniature  skulls  made  of  candy  for  their  children.  The 
photography  is  beautiful  and  the  grotesque  ceremonies 
are  different  from  anything  ever  seen  by  the  average 
theatre  patron.  The  picture  is  silent  with  subtitles 
and  musical  accompaniment. — J.  W.  Noah,  New  Lib- 
erty and  Ideal  Theatres,  Ft.  Worth,  Texas.  General 
patronage. 


RKO  Radio 

LA  CUCARACHA:  Stefifi  Duna,  Don  Alvarado— 
Wonderful,  and  how  the  customers  raved  about  it 
Running  time,  20  minutes. — Harry  M.  Newman,  Lib- 
erty Theatre,  Lynden,  Wash.    Small  town  patronage. 

LITTLE  BIRD  TOLD  ME,  A:  Toddle  Tal»  Car- 
toons— A  dandy  cartoon  comedy.  Running  time,  seven 
minutes.— P.  G.  Held,  New  Strand  Theatre,  Griswold, 
Iowa.    Neighborhood  patronage. 


United  Artists 

FLOWERS  AND  TREES:  Silly  Symphonies— Very 
artistic  and  beautiful.  Running  time,  seven  minutes. 
—P.  G.  Held,  New  Strand  Theatre,  Griswold,  Iowa. 
Neighborhood  patronage. 

THREE  LITTLE  PIGS:  Silly  Symphonies— Still  a 
good  drawing  card. — Roy  W.  Adams,  Mason  Theatre, 
Mason,  Mich.    Small  town  patronage. 


Universal 

AT  THE  MIKE:  Mentone  No.  3-A— Just  an  aver- 
age musical  short. — Roy  W.  Adams,  Mason  'Theatre, 
Mason,  Mich.    Small  town  patronage. 

GOOD  TIME  HENRY:  Henry  Armetta— If  this  is 
comedy,  then  I'm  badly  misinformed  by  my  patrons. 
One  of  the  worst  two-reelers  evev  played  in  my 
theatre.  Patrons  told  me  so.  Universal  should  make 
better  comedies  than  they  do.  Don't  play  this  unless 
you  want  to  be  razzed  by  your  patrons  like  I  was. 
Running  time,  2  reels. — Sammie  Jackson,  Jackson 
Theatre,  Flomaton,  Ala.    Small  town  patronage. 

GUS  VAN  AND  HIS  NEIGHBORS:  Mentone  No. 
2-A— Not  too  good. — Roy  W.  Adams,  Mason  Theatre, 
Mason,  Mich.    Small  town  patronage. 

WAX  WORKS,  THE:  Oswald  Cartoons— Only  fair 
cartoon.  It  seems  as  if  these  don't  make  a  very  big 
hit  here.  Running  time,  seven  minutes. — P.  G.  Held, 
New  Strand  Theatre,  Griswold,  Iowa.  Neighborhood 
patronage. 

WHOLE  SHOW,  THE:  James  Barton— This  is  made 
up  of  a  lot  of  acts,  and  I  think  some  of  them  can  be 
glad  they  are  on  film  and  not  on  stage  or  they  might 
get  a  few  ripe  tomatoes.  Running  time,  20  minutes. — 
Fred  E.  Pennell,  Cozy  Thetre,  Decatur,  Mich.  Small 
town  patronage. 


Vita  phone 

PEACH  OF  A  PAIR:  Shemp  Howard,  Daphne  Pol- 
lard— This  is  a  very  good  comedy  from  this  team.  A 
stuffed  turkey  sequence  in  it  is  a  wow.  Running 
time,  18  minutes. — Fred  E.  Pennell,  Cozy  Theatre,  De- 
catur, Mich.    Small  town  patronage. 

RADIO  SCOUT:  El  Brendel— El  Brendel's  best. 
Goes  scouting  for  hillbillies  in  the  Kentucky  moun- 
tains. Plenty  of  comedy  to  it,  and  some  good  music. 
Running  time,  20  minutes. — Fred  .  E.  Pennell,  Cozy 
Theatre,  Decatur,  Mich.     Small  town  patronage. 


Serials 


Universal 


RED  RIDER,  THE:  Buck  Jones— One  of  the  best 
serials  I  ever  saw.  Boys,  better  book  this  one,  it  will 
bring  in  the  extra  customers. — Al  Johnston,  Rialto 
Theatre,  Jacksonville,  Texas.    Small  town  patronage. 

TAILSPIN  TOMMY:  Maurice  Murphy,  Noah  Beery 
Jr.— Very  good  serial.  Showed  eight  chapters  and 
getting  better  as  they  go  along.— P.  G.  Held,  New 
Strand  Theatre,  Griswold,  Iowa.  Neighborhood  pat- 
ronage. 


March    9,  1935 


MOTION    PICTURE  HERALD 


83 


TRAVELERS 


Patricia  Ellis,  Warner  star,  returned  to  the 
Hollywood  studios  from  her  Detroit  vaca- 
tion. 

Helen  Broderick,  Broadway  actress,  reported 
on  the  RKO  Radio  lot  to  make  her  film  debut 
in  "Top  Hat,"  with  Fred  Astaire. 

Eric  Hatch,  Fox  scenarist,  and  Royee,  Fox 
stylist,  are  in  New  York. 

H.  G.  Wells,  noted  British  author,  is  due  in 
New  York  this  week.  His  "100  Years  From 
Now"  is  nearing  completion  at  the  London 
Films  studios. 

Willard  McKay  of  Universal  is  in  Hollywood 
for  an  indefinite  stay. 

Marlene  Dietrich  arrived  in  New  York  for 
a  holiday. 

Edgar  B.  Hatrick,  Hearst  Metrotone  general 
manager,  is  in  Hollywood  and  plans  to  re- 
main there  several  months. 

Michael  Balcon,  production  head  of  GB  stu- 
dios, and  Arthur  A.  Lee,  vice-president,  left 
New  York  for  Hollywood. 

Leo  Freedman  of  the  Columbia  home  office, 
is  in  Hollywood. 

Jack  Buchanan,  star  of  "Brewster's  Mil- 
lions," London  made,  United  Artists  release, 
arrived  in  New  York  from  England. 

George  McKay,  Broadway  comedian  and 
dancer,  signed  by  Columbia,  left  for  the 
Hollywood  studio. 

Joseph  H.  Seidelman,  Columbia  foreign  man- 
ager, left  for  Los  Angeles  en  route  to  Aus- 
tralia. 

A.^aving    Paramount's    Hollywood    studio  for 

New   York  was   Russell   Holm  an,  story 

board  head  in  the  East. 
Cresson  Smith,  Radio's  western  and  southern 

sales  manager,  returned  to  New  York  from 

the  Coast. 

Trem  Carr,  Monogram  vice-president  in  charge 
of  production,  returned  to  Hollywood  after 
two  months  in  New  York  conferring  with 
W.  Ray  Johnston,  president,  and  acquiring 
1935-36  story  properties. 

Freddie  Bartholomew  returned  to  Culver  City 
from  New  York  for  his  second  for  MGM. 

Gus  Schaefer,  German  manager  for  Para- 
mount, sailed  for  Berlin  from  New  York. 

George  Schaefer,  vice-president  and  general 
manager  of  Paramount,  was  back  at  the  home 
office  from  the  Coast. 

Paramount  production  folk  arriving  in  New 
York  from  the  studios  were  Henry  Hatha- 
way, director ;  Claudette  Colbert  and  Ben 
Bernie. 

Rudy  Vallee  was  vacationing  at  Miami  Beach. 

Hal  Horne,  United  Artists  advertising  direc- 
tor, and  Herbert  Jaedicker,  art  director,  left 
New  York  for  Hollywood  production  confer- 
ences. 

Samuel  Goldwyn  arrived  in  New  York  from 
Hollywood  for  the  premiere  of  Anna  Sten's 
"Wedding  Night." 

Maxwell  Anderson  returned  to  New  York 
from  Hollywood,  where  he  adapted  his  book, 
"So  Red  the  Rose,"  for  Paramount. 

Fred  McConnell,  Charles  Stillman,  Daniel 
Longwell  and  Amos  Hiatt  were  in  Detroit 
to  meet  Harry  Thomas,  First  Division  presi- 
dent, and  Ralph  Rolan,  "March  of  Time" 
advertising  director,  for  sales  discussions. 

Sailing  from  New  York  for  Los  Angeles  were 
Phil  Friedman,  Fox  casting  director; 
Eugene  Forde,  Fox  director,  and  John 
Stone,  Fox  producer. 

Rudolph  Sanders,  Brooklyn  exhibitor,  sailed 
for  Palestine. 

Al  Mertz,  Radio  short  subject  sales  manager, 
was  on  a  midwestern  trip. 

John  Hay  Whitney,  producer,  was  back  in 
New  York  from  Hollywood. 

Morton  Spring  left  New  York  for  Jamaica, 
to  return  this  weekend. 

Basil  Rathbone  left  New  York  for  Metro's 
Culver  City  studio. 

P.  A.  Powers  returned  to  New  York  from 
Palm  Beach. 


Sam  Rinzler.  exhibitor,  returned  to  New  York 
from  a  southern  vacation. 

A.  H.  Schwartz,  Long  Island  circuit  owner, 
left  for  Florida. 

Abe  Leff  and  Louis  Meyers  returned  to  New 
York  from  the  South. 

Harold  B.  Franklin  arrived  in  Hollywood 
from  New  York. 

Merlin  H.  Aylesworth,  RKO  president,  re- 
turned to  New  York  from  the  Coast. 

Louis  Phillips,  motion  picture  attorney,  re- 
turned to  New  York  from  St.  Louis. 

Milton  Kusell  returned  to  New  York  from 
Albany. 

Bert  Perkins  resigned  from  Warners'  exploi- 
tation department  and  was  preparing  to  sail 
for  Turkey  for  American  Export  Steamship 
Company. 

William  Wright,  former  Paramount  produc- 
tion executive,  returned  to  Hollywood  from 
New  York. 

Charles, C.  Pettijohn  was  traveling  the  legis- 
lative circuit. 

Major  I.  E.  Lambert,  RKO  attorney,  was  va- 
cationing in  Miami  from  New  York. 

Phil  Reisman,  Radio's  foreign  executive,  was 
to  sail  for  Europe. 

N.  L.  Nathanson  and  Sir  William  Wise- 
man went  to  Florida. 

Johnny  Walker  returned  to  New  York  from 
England  and  Ireland,  where  he  made  a  pic- 
ture. 

Jack  Warner  is  due  back  in  Hollywood  over 

the  weekend. 
Harvey  Day,  Terry-Toons  sales  manager,  was 

touring  Fox  exchanges  in  the  South. 

Fabian  to  Purchase 
Brooklyn  Paramount 

Si  Fabian  will  purchase  the  Brooklyn  Par- 
amount and  office  building  from  Allied 
Owners'  Corporation  for  $1,500,000,  it  was 
learned  Wednesday.  Paramount's  lease  on 
the  theatre  remains  undisturbed,  as  does  Mr. 
Fabian's  sub-lease  as  operator. 


SHORT  PRODUCT 
PLAYING  BROADWAY 


Week  of  March  2 
MAYFAIR 

Stranger  Than  Fiction  No.  6.  Universal 

His  First  Flame  Vilaphone 

Revue  a  la  Carte  Universal 

MUSIC  HALL 

Dumbbell  Letters  No.  14..  RKO  Radio 
The  Sunshine  Makers  RKO  Radio 

PARAMOUNT 

Be  Kind  to  Animals  Paramount 

Song   Writers   of   the  Gay 

Nineties   Paramount 

Mr.  Widget  Educational 

R I  ALTO 

Casting  tor  Luck  Educational 

Mr.  Widget  Educational 

RIVOLI 

Mickey's  Band  Concert.  .  .  United  Artists 
Chums   Educational 

ROXY 

The  Dognappers  United  Artists 

Gentlemen  of  the  Bar  Educational 

Pardon  My  Grip  Columbia 

STRAND 

A    Trip    Through    a  Holly- 
wood Studio   Vitaphone 

Country  Boy   Vitaphone 


Ralph  Kohn  III  on  Coast 

Ralph  A.  Kohn,  former  Paramount  ex- 
ecutive, is  still  ill  in  Hollywood  and  was 
unable  to  return  to  New  York  for  the  funeral 
of  his  father,  Morris  Kohn,  who  died  last 
week. 


84 


MOTION    PICTURE  HERALD 


March    9  ,     19  3  5 


TECHNCLCeiCAL 


TALKS  WITH  MANAGERS  ON  PROJECTION 


By  F.  H.  RICHARDSON 


In  assisting  theatre  managers  to  determine 
the  proficiency  of  applicants  for  projectionist 
duties,  it  would  serve  no  good  purpose  to 
print  a  series  of  questions.  Were  this  done, 
all  projectionists  and  near-projectionists 
could  quickly  search  out  answers  thereto  and 
"learn  them  by  heart."  Ability  to  answer 
correctly  then  would  be  no  indication  of 
their  knowledge,  even  of  the  matters  the 
questions  covered. 

It  is  not  the  propounding  of  any  set  series 
of  questions  that  counts,  but  the  determining 
of  just  how  much  knowledge  the  one  being 
examined  really  has  of  mechanical  action, 
lubrication,  electrics,  magnetism,  optics  and 
the  proper  care  and  adjustment  of  the  vari- 
ous kinds  of  equipments  he  will  be  in  charge 
of.  Mere  ability  to  dissemble  any  piece  of 
equipment  and  put  it  together  again  proves 
nothing  except  that  he  knows  where  the 
various  parts  belong,  and  possibly  their  cor- 
rect adjustment  with  relation  to  one  another. 
Important,  yes,  but  not  by  any  manner  of 
means  a  final  test.  That  does  not  demon- 
strate his  knowledge  of  the  action  of  the 
equipment,  either  in  part  or  as  a  whole.  For 
example,  a  man  may  know  perfectly  well 
how  to  assemble  electrical  equipment,  yet 
know  little  or  nothing  about  its  electrical 
action,  or  how  to  cause  it  to  work  at  maxi- 
mum efficiency. 

How,  then,  may  a  manager,  who  cannot 
be  expected  to  know  very  much  about  pro- 
jection himself,  conduct  a  competent  exami- 
nation ? 

New  Bluebook  a  Source 

Well,  gentlemen,  that  is  no  easy  task. 
However,  it  may  to  a  considerable  extent  be 
solved  by  use  of  the  new  Bluebook,  about  to 
be  issued.  All  text  matter  therein  is  laid  out 
in  a  way  that  will  enable  even  the  unin- 
formed to  ask  hundreds  of  questions  perti- 
nent to  projection,  and  to  know  whether  a 
substantially  correct  answer  is  given.  It,  of 
course,  would  not  be  fair  to  adjudge  a  man 
incompetent  if  he  is  unable  to  answer  all 
these  hundreds  of  questions. 

However,  by  intelligent,  judicious  use  of 
the  new  book  an  excellent  idea  may  be  at- 
tained as  to  the  applicant's  range  of  knowl- 
edge. 

Managers  should  remember  that  lack  of 
adequate  knowledge  in  the  projection  room 
means  inevitable  loss,  both  at  the  box  ofRce 
and  through  wasted  power  and  rapid  de- 
Ferioration  of  equipment.  Such  losses  may 
amount  to  very  substantial  sums  in  a  year, 
counting  diminished  box  office  receipts. 

I  feel  confident  that  this  plan  of  procedure 
will  be  approved  heartily  by  capable  projec- 
tionists, or  that  at  the  least  they  will  have 
no  objection  to  it.  Incompetent  projection- 
ists can  be  expected  to  protest.  Unions  can- 
not justly  object,  provided  the  examination 
is  a  fair  one.  I  am  now  and  always  have 
been  "'for"  the  projectionist.    However,  I 


have  always  demanded,  and  do  still  demand, 
that  he  be  thoroughly  competent,  which 
means  being  equipped  with  all  possible 
knowledge,  both  technical  and  practical. 

Public  Also  Has  "Rights" 

The  projectionist  has  his  "rights,"  cer- 
tainly, and  I  am  perfectly  willing  to  do  any 
possible  thing  to  see  that  they  are  respected. 
However,  the  industry,  the  exhibitor,  the 
manager  and  the  public  also  have  rights,  and 
those  rights  too  should  be  respected.  More- 
over, I  am  quite  willing  to  help  see  to  it  that 
they  are  respected. 

Failure  of  theatre  managers  to  obtain  for 
themselves  all  possible  knowledge  of  the 
relative  merits  of  various  kinds  of  equip- 
ment is  likely  to  be  costly — perhaps  very 
costly.  The  manager  who  studies  and  equips 
himself  with  competent  knowledge  of  vari- 
ous types  of  equipment  is  a  far  more  valua- 
ble manager  than  is  one  who  does  not. 

How  to  acquire  this  knowledge  depends 
in  part  on  location.  For  city  managers  it  is 
an  easy  matter  to  visit  other  theatres,  ex- 
amine equipment  of  supply  dealers,  and  con- 
sult with  other  managers  and  with  various 
projectionists.  In  the  case  of  small-town 
managers  it  is  a  more  difficult  problem,  yet 
much  may  be  accomplished  if  a  real  attempt 
is  made.  Whether  city  or  small  town  man- 
ager, however,  it  takes  effort  to  obtain 
worthwhile  results. 


SAYS  PROJECTIONIST 
MUST  BE  REPAIRMAN 

To  THE  Editor  of  the  Herald: 

I  startJed  taking  the  Moving  PictureWorld 
in  1913.  I  was  hoping  if  I  didn't  renew 
right  away  you  would  send  J.  C.  Jenkins 
up  after  me.  I  would  sure  like  to  meet  the 
man,  I  get  a  great  kick  out  of  his  writings. 
Please  tell  him  I  think  he  is  a  great  scout. 

Ju.st  as  soon  as  the  Herald  comes  in  I 
read  it  through.  "What  the  picture  did  for 
me"  is  real  funny  but  good.  I  know  if  Bert 
Silver  says  a  picture  is  good,  it  is  good,  and 
I  book  it  if  it  is  not  already  set  in  or  shown. 

I  like  Mr.  Richardson's  writings  but  I 
can't  always  agree  with  him.  He  has  always 
said  a  projectionist  should  not  try  to  put  in 
repairs.  I  say  a  man  is  not  a  projectionist 
if  he  can't  do  repair  work;  at  least  he 
couldn't  run  a  show  out  in  the  country.  I 
expect  he  will  laugh  when  I  say  I  made  my 
first  talking  outfit,  amplifier  and  turntables. 
I  just  saved  $1,500  and  that  outfit  ran  per- 
fectly until  I  put  in  track  in  1932  and  I  had 
sound  in  the  little  town  of  Birtle  in  1929, 
one  of  the  first  small  towns  to  have  sound, 
for  the  price  of  an  outfit  in  those  days  was 
out  of  the  question  here  for  the  small  the- 
atres. 

I  have  run  the  show  in  Birtle  since  1912. 
I  have  a  house  there  seating  250.    I  took 


over  this  theatre  here  in  Virden  in  1930. 
This  house  belongs  to  the  town  and  is  a 
lovely  theatre.  It  is  not  so  good  for  pic- 
tures ;  it  is  more  for  stage  shows.  The 
house  here  seats  500. — Tom  S.  Laidman, 
Auditorium  Theatre,  Virden,  Man.,  Canada, 
and  Savoy  Theatre,  Birtle,  Man. 


Paris  Film  Introduces 
New  Projection  Device 

Majestic  Film,  Paris  producer,  has  com- 
pleted "Napoleon  Bonaparte,"  directed  by 
Abel  Gance,  which  has  received  favorable 
attention  from  critics  of  Paris  newspapers. 
In  the  exhibition  of  the  film,  it  is  planned 
to  make  the  first  use  of  a  new  sound  pro- 
jection method,  the  development  of  Mr. 
Gance  and  Andre  Debrie.  It  is  said  the 
apparatus  may  be  attached  to  any  regular 
projector,  and  is  being  handled  by  Western 
Electric.  The  device  is  termed  the  Sound 
Perspective. 


Van  Schnnus  Denies  He 
Conferred  with  Schenck 

W.  G.  Van  Schmus,  managing  director  of 
the  Radio  City  Music  Hall  in  New  York, 
returns  from  the  Coast  this  week  after  a 
visit  of  two  weeks  in  Hollywood  when  he 
watched  production  and  conferred  with  of- 
ficials of  the  Radio  studio.  He  denied  in 
Hollywood  that  his  trip  included  conferences 
with  Joseph  Schenck,  president  of  United 
Artists,  who  had  preceded  him  east,  rela- 
tive to  a  proposed  deal  giving  preference  to 
United  Artists  pictures  by  the  Music  Hall. 


Bost  Toothpaste  to  Aid 
Liebnnan  with  Darro  Club 

M.  B.  Liebman,  who  merchandises  to  the- 
atres the  "Frankie  Darro  Movie  Stamp 
Club,"  arranged  this  week  with  Bost  Tooth- 
paste for  a  national  exploitation  campaign  in 
which  newspapers,  radio  and  the  usual  pub- 
licity mediums  will  be  utilized,  especially 
NBC's  network  on  the  Edwin  C.  Hill  broad- 
cast. The  principal  award  in  a  contest 
which  will  highlight  the  campaign  will  be 
a  trip  to  Hollywood  visiting  Frankie  Dar- 
ro, theatres  working  with  the  sponsors  to 
put  over  the  stunt. 


Monarch,  20  Others 
In  Rockefeller  Center 

Monarch  Theatres,  Inc.,  has  leased  office 
space  at  Rockefeller  Center,  New  York, 
marking  the  twenty-first  film  company  to 
take  space  at  the  midtown  development.  In 
all,  these  21  companies  occupy  80,000  square 
feet  of  space,  the  greater  part  of  it  taken 
by  companies  directly  engaged  in  the  pro- 
duction of  pictures. 


THE  MANAGER'S  PROVINCE 

Echoes  wafted  back  from  the  recent  MPTOA  meeting  in- 
dicate that  advertising  emanating  from  the  home  offices  was 
slated  to  be  picked  apart  by  properly  indignant  exhibitors. 
Chosen  for  castigation  were  those  ad  chieftains  who  accepted 
invitations  to  speak  before  the  convention.  However,  de- 
tonations, if  any,  were  mild — as  was  to  be  expected. 

The  subject  of  press  books  and  other  home  office  advertising 
helps  has  been  discussed  thoroughly  by  members  during  the 
past  few  months  in  the  Round  Table  pages.  Unquestionably 
these  debatings  have  aided  In  clarifying  the  situation,  and  it 
is  to  be  doubted  whether  fireworks  at  New  Orleans  would 
have  uncovered  any  further  conclusions  of  significance. 

We  would  have  been  more  impressed  were  some  of  this  time 
given  to  ways  and  means  of  improving  the  lot  of  the  manager 
within  whose  province  the  press  book  really  belongs. 

V  V  V 

WHAT,  FOR  INSTANCE? 

Among  the  various  comments  noted  in  the  recent  discus- 
sions on  failings  and  virtues  of  press  books,  some  of  our  con- 
tributors indicated  they  were  not  entirely  sold  on  the  willing- 
ness with  which  the  ad  heads  accepted  suggestions. 

However,  the  unanimity  with  which  these  harassed  execu- 
tives went  for  Manager  Harry  Creasey's  idea  on  radio  an- 
nouncements, as  told  last  week,  leads  to  the  belief  that  if 
there  are  any  "great  walls"  around  the  sanctums  of  the  ad 
men,  the  defences  may  easily  be  scaled  by  showmen  with 
something  to  say. 

The  thought  suggests  a  story  supposed  to  concern  one  of 
the  Brothers  Shubert  and  the  late  Augustus  Thomas  then  direct- 
ing one  of  their  shows.  During  a  rehearsal,  Mr.  Shubert 
stopped  at  the  theatre  to  watch  proceedings  and,  just  before 
the  second  act  curtain,  popped  up  excitedly: 

"Right  there,  Sus,"  he  shouted,  "right  at  that  curtain  is 
the  very  spot  for  a  real  belly  laugh." 

"Exactly,"  replied  Thomas.  "What,  for  Instance?" 

V  V  V 

The  take-a-bow  department  this  week  lists  the  name  of  the 
New  York  Roxy  publicity  prestidigitator,  Morris  Kinzler,  for  his 
newspaper  campaign  on  "Night  Life  of  the  Gods."  That 
Universal  was  sufficiently  impressed  to  broadcast  these  ads  to 
the  trade  with  Kinzler  credited  in  the  billing  may  be  pointed 
to  as  another  Instance  of  the  immediate  response  from  the 
home  officers  to  a  good  job  of  work  from  the  field. 


SHOULD  NOT  BE  A  FAVOR 

As  concerns  juvenile  patronage,  there  is  no  question  but 
that  the  studios  are  now  producing  many  excellent  pictures 
that  deserve  not  only  the  approval  of  school  superintendents 
but  also  their  active  endorsements. 

For  the  most  part,  members  report  little  difficulty  In  obtain- 
ing full  cooperation  from  local  educators,  but  there  are  in- 
stances where  direct  endorsements  to  pupils  and  teachers  have  i 
not  been  so  easy  to  procure.  I 

We  pause  to  ask.  Why?  If  the  producers  are  doing  their 
part  in  releasing  a  grade  of  picture  that  meets  with  the 
approval  of  Better  Films  Councils,  women's  clubs  and  other 
Important  organizations,  then  by  all  means  school  heads  should  , 
fall  in  line  with  at  least  the  same  degree  of  willingness  and 
dispatch.  ; 

Granted  that  the  nation's  schools  are  not  to  be  exploited  ! 
for  box  office  profits — that  educators  must  employ  every  pre-  I 
caution  to  avoid  tieups  that  smack  of  promotion.   However,  ; 
proper  allowances  should  be  made  for  the  "Copperfields"  ' 
and  other  nationally  approved  worthwhiles  If  producers  are  to 
be  encouraged  to  proceed  further  In  this  direction.  Managers 
should  not  be  forced  to  ask  for  school  cooperation  in  the 
light  of  a  personal  favor. 

V    V  V 

THE  TOUGH  TO  SELL  ] 

The  largest  advertising  dollar,  of  course,  is  spent  on  the  ' 
biggest  attraction  and  by  the  same  token  the  widest  tieups  j 
are  usually  built  around  the  standout  pictures.  There  Is  no  , 
quarrel  with  this  procedure.  The  hit  shows  pay  the  rent  and  I 
contribute  much  of  the  oh-day  that  buys  shoes  for  the  baby. 

At  the  same  time,  observing  showmen  are  also  cognizant 
of  the  profit  potentialities  in  many  lesser  but  pleasing  enter- 
tainments that  have  to  be  nursed  vigorously  with  a  full  exploita-  | 
tion  bottle  to  attain  box  office  sturdiness.  Martin  Goldenberg,  | 
of  the  Karlton  Theatre,  Philadelphia,  reporting  on  his  good 
campaign  for  "Little  Men",  says  it  succinctly  with  these  words: 
"It's  the  little  ones  that  are  tough  to  sell". 

How  much  a  manager  has  on  the  ball  may  oftimes  be  deter-  j 
mined  by  the  showmanship  he  displays  in  putting  over  attrac-  | 
tions  of  this  calibre. 


86 


MOTION    PICTURE  HERALD 


March    9,  1935 


SHOWMEN'S    LOBBY     LAFFS  Style  Shows  Open 

"Roberta"  Premiere 


Cartoon  suggested 
by  Homer  Harman, 
Shubert  -  Rialto, 
St.  Louis,  Mo.,  and 
executed  by  Milt 
Rosenfeld. 


WHAT  Vm  00 
COON?  ,J 


Griffith  Circuitmen 
Effect  "Lancer"  Tieups 

Managers  of  the  Griffith  Circuit  of  Okla- 
homa recently  participated  in  a  circuit  con- 
test on  "Bengal  Lancer,"  a  number  of  smart 
ideas  forthcoming  and  reported  by  C.  O. 
Fulgham.  Various  angles  were  included  and 
these  are  detailed  without  particular  identity 
as  names  and  locations  were  not  forwarded. 

Street  Stuff 

Kid  band  of  240  pieces  was  used  in  one 
spot  in  parade  with  six  horsemen  in  lancer 
costume,  carrying  banners.  Parade  was  also 
put  on  in  college  town,  with  uniformed 
school  band  followed  by  float  featuring  life- 
size  animated  camel  attended  by  "native" 
Bengal.  Sand  bags  and  palm  trees  were 
further  decoration.  Bannered  white  cow  was 
led  by  man  in  costume,  tiein  copy  starting : 
"In  India,  the  white  cow  is  worshipped,"  etc. 
Other  marchers  in  costume  were  also  in- 
cluded. 

Along  the  same  idea  was  a  teaser  stunt 
put  on  wherein  three  mysterious  costumed 
strangers  on  horseback  arrived  a  few  days 
ahead  and  worked  the  town  without  disclos- 
ing their  identity  or  purpose,  until  manager 
sprung  the  gag.  Mounted  ushers  in  cos- 
tume, carrying  lances,  and  others  in  uni- 
forms borrowed  from  National  Guard  also 
were  used.  Negro  made  up  as  Hindu,  play- 
ing clarinet  as  a  snake-charmer  and  doing 
his  act  at  important  corners  proved  another 
effective  slant.  Boy  Scouts  and  members  of 
uniformed  organizations  cooperated  on 
street  stuff  in  other  towns. 

Prologue  Ideas 

Mounted  lancer  on  stage  was  used  as  a 
living  advance  trailer,  with  giant  cutout  title 
letters  raised  behind  blue  foots  as  lancer 
rode  slowly  across  stage.  In  another  house, 


dance  scene  from  the  picture  clicked  with 
cast  from  local  school.  Again,  uniformed 
men  with  guns  at  bayonet  made  up  line  in 
front  of  which  "panther  girl"  sang  number, 
closing  to  clashing  of  bayonets.  Another 
house  put  on  dance  school  act  which  included 
boys  in  turbaned  costumes,  with  oriental 
garden  set  for  background. 

Marquee  and  Lobby 

Fort  idea  was  stressed  in  numerous  spots 
using  drummers  and  buglers.  At  theatre 
with  low  roof,  fort  was  built  with  scrap 
beaver  board  and  old  canvas.  Lighted  at 
night  with  stage  border  and  flood  lamps ; 
two  sentinels  paraded  ramparts  and  for  extra 
attractors,  flare  bombs  and  railroad  fuses 
were  set  off.  Special  record  provided  sound 
effects. 

One  fast  worker  secured  original  Gary 
Cooper  costume  from  studios  for  lobby  dis- 
play with  letter  and  autographed  photo  of 
star.  Wire  from  studio  in  advance  was 
blown  up.  Ushers  also  were  costumed. 
Make  193  5  Your  Award  Year 


New  Orleans  Armored  Cars  Carry  "Roberta"  Gowns 


As  befits  the  clothes  background  of  the 
story,  the  world  premiere  of  "Roberta"  at 
the  Orpheum,  New  Orleans,  was  dis- 
tinguished by  a  series  of  style  shows  featur- 
ing 11  of  the  original  gowns  worn  in  the 
production.  The  first  style  parade  took  place 
at  the  theatre  just  before  the  midnight  open- 
ing and  the  second  next  day  at  Holmes, 
leading  department  store. 

The  heavily  insured  Hollywood  creations 
of  metal  moire,  shimmering  satin,  Russian 
sable  and  other  material  worn  by  Irene 
Dunne,  Ginger  Rogers  and  other  stars  in 
the  picture  transported  from  the  station  in 
New  Orleans  by  a  fleet  of  bannered  armored 
cars,  and  accompanied  by  an  escort  of 
motorcycle  police,  were  brought  to  the  store 
to  be  placed  on  exhibition,  where  attractive 
models  met  the  caravan  (see  photo). 

For  the  show  before  the  premiercj  one 
model  wearing  an  original  rode  in  each  of 
11  open  bannered  cars  which  were  routed 
through  the  main  streets  and  then  to  the 
theatre.  Here  the  mannequins  paraded  up 
and  down  the  aisles  while  an  announcer  on 
stage  described  each  costume.  Motion  pic- 
tures were  taken  in  the  lobby,  and  a  band, 
lights,  microphone  were  also  on  hand  to  lend 
the  proper  opening  atmosphere. 

Store  took  plenty  of  space  to  announce  the 
coming  style  show,  ads  including  photo  of 
arriving  gowns.  Papers  also  broke  stories 
of  the  event  and  in  general,  much  to-do  was 
made  by  the  theatremen  and  merchants  to 
build  up  the  campaign,  effective  additionally 
as  it  took  place  during  the  MPTOA  conven- 
tion. 

Manager  Victor  Meyer,  of  the  Orpheum, 
and  Gar  Moore^  publicity  director,  put  on 
the  fashion  pageant  stunt,  assisted  by  Ber- 
nard Waldman,  of  Modern  Merchandise  Bu- 
reau. The  stunt  is  expected  to  be  duplicated 
at  other  "Roberta"  openings. 

Make  19  iS  Your  Award  Year 

Baldridge  Invites  Clubs 
to  Work  on  Junior  Hour 

As  part  of  the  recent  Junior  Hour  cam- 
paign instituted  by  Warner  Theatres  of  the 
various  divisions.  Manager  Tom  Baldridge, 
Capitol,  Winchester,  Va.,  invited  75  clubs, 
literary  societies,  welfare  groups,  church 
boards  and  others  to  cooperate  and  received 
many  encouraging  acceptances. 

Shows  are  to  be  put  on  Saturday  morn- 
ings at  10  o'clock  with  nominal  charge  for 
children.  Subjects  are  to  be  from  recom- 
mended lists  with  possible  addition  of  stage 
shows  made  up  of  talent  from  the  juniors. 

Make  193  5  Your  Award  Year 

Fox  Theatres  Staging 
Junior  N/lovie  Contest 

Managers  in  the  Fox  Midwest  division 
are  now  arranging  for  May  execution,  a 
junior  movie  contest  for  youngsters  not 
over  14  years  of  age  in  which  entrants  will 
impersonate  some  prominent  star.  Local 
winners  will  receive  prizes,  possibly  pro- 
moted from  cooperating  merchants,  the  main 
award  being  a  trip  to  Kansas  City. 

At  one  of  the  Fox  theatres  in  that  spot, 
preliminary  winners  will  take  part  in  further 
competitions.  Motion  pictures  will  be  taken, 
and  while  not  a  test,  outstanders  will  be 
aided  by  having  their  film  efforts  passed  on 
to  sympathetic  production  ears. 


March    9  ,     19  3  5 


MANAGERS'    ROUND  TABLE 


87 


Quigley  Awards 
Information  ♦  ♦  . 


A  QUIGLEY  AWARD,  to  be  known 
as  a  "Quigley  Silver",  will  be  pre- 
sented each  month  during  1935  for 
the  campaign  selected  as  best  by 
the  Judges  from  all  those  submitted 
to  Managers'  Round  Table  Club  on 
pictures  played  between  the  first  and 
last  days  of  that  month.  •  .  . 

V 

A  QUIGLEY  AWARD,  to  be  known 
as  a  "Quigley  Bronze",  will  be  pre- 
sented each  month  during  1935  for 
the  campaign  selected  as  second 
best  by  the  Judges  from  all  those 
submitted  to  Managers'  Round  Table 
Club  on  pictures  played  between  the 
first  and  last  days  of  that  month.  .  .  . 

V 

THE  QUIGLEY  GRAND  AWARD 
will  be  presented  at  the  end  of  1935 
to  the  theatreman  submitting,  in  the 
opinion  of  the  Judges,  the  most  meri- 
torious campaign  on  any  picture 
played  between  January  I  and  De- 
cember 31,  1 935.  .  .  . 

V 

THE  QUIGLEY  SECOND  GRAND 
AWARD  will  be  presented  at  the 
end  of  1935  to  the  theatreman  sub- 
mitting, in  the  opinion  of  the  Judges, 
the  second  best  campaign  on  any 
picture  played  between  January  I 
and  December  31,  1935.  .  .  . 
V 

THEATREMEN  everywhere  in  the 
world  are  eligible.  Campaigns  may 
be  on  domestic  or  foreign  product 
from  major  or  independent  produc- 
ers. Entries  from  foreign  lands  are 
especially  invited  and  will  be  ac- 
cepted for  consideration  during  the 
month  they  are  received.  .  .  . 

V 

VISUAL  EVIDENCE  must  accompany 
every  entry,  such  as  tear  sheets,  pho- 
tos, heralds,  etc.,  etc.  This  ruling  must 
be  obeyed.  .  .  . 

V 

EQUAL  CONSIDERATION  will  be 
given  every  campaign.  Theatremen 
with  small  budgets  will  receive  the 
same  break.  Remember — "it's  what 
you  do,  not  how  much  you  spend." 
V 

CAMPAIGNS  should  be  fo  rwarded 
as  soon  as  possible.  They  may  be 
mailed  after  the  last  day  of  the 
month  on  pictures  that  have  played 
during  the  month.  This  includes  at- 
tractions played  on  last  days  of  month 
and  first  days  of  following.  .  .  . 

V 

ENTRIES  should  be  mailed  to: 

Quigley   Awards  Committee 
1 790  Broadway     -     -     New  York 


SWEET  DISPLAY.  The  flash  advance  lobby  set  piece  for  "Sweet  Music"  at  the  Earle, 
Washington,  D.  C,  designed  by  Frank  La  Falce  and  assisted  by  Bill  Ewing.  Center 
copy  panel  was  transparent  with  color  wheel  attachment,  giving  additionally  attractive 
light  effects.  Orchestra  groups  on  bottom  platform  were  also  transparent.  


Hendricks  Profits 
With  Amateur  Nite 

Alert  showmen  ever  on  the  hunt  to  cash 
in  on  new  slants  that  catch  the  public  eye 
are  now  getting  aboard  the  amateur  night 
angle,  lately  in  the  limelight  through  build- 
up on  various  radio  hours.  Colonel  Bill 
Hendricks,  down  in  Memphis,  has  developed 
this  profitably  in  what  he  states  would 
otherwise  be  an  of¥  night  at  the  Warner  his 
procedure  being  as  follows : 

Leading  radio  station  cooperates  with  a 
lot  of  recognized  air  talent  and  orchestra 
and  Bill  has  also  promoted  a  line  of  girls 
from  dancing  studio,  the  amateur  night  fea- 
ture being  incorporated  in  the  rest  of  the 
entertainment.  Station  and  dance  studio  is 
paid  oi¥  in  theatre  mentions,  names  carried 
in  ads  and  also  on  stage  as  can  be  seen  in 
accompanying  (courtesy  Gerstel  Studio). 
Plenty  of  free  air  advertising  is  also  thrown 
in  as  station  is  eager  to  build  up  many  of 
its  attractions  through  this  idea. 

In  construction  the  show  follows  the  style 
of  a  regular  presentation,   running  about 


Colonel  Hendricks'  Amateur  Nite  Radio  Revne  Finale 


an  hour  and  given  twice,  at  7:30  and  10:15. 
Acts  are  presented  by  M.  C,  who  also 
handles  the  amateurs.  Guest  stars  from 
night  clubs  and  hotels  are  featured  addi- 
tionally. 

An  "applause-o-meter"  is  used  to  record 
the  amount  of  audience  popularity  of  each 
amateur,  and  a  cowbell  to  terminate  the 
efforts  of  those  more  willing  than  talented. 
Prizes  are  all  promoted  from  local  furrier, 
who  also  guarantees  any  extra  expenses 
whenever  the  gross  on  the  night  drops  below 
certain  set  figures.  Bill  says  the  merchant 
has  not  been  called  upon  so  far. 

Make  193  5  Your  Award  Year 

Ed  Hart  Clicks  With 
Temple  Contests 

In  conjunction  with  his  showings  on  re- 
cent Shirley  Temple  features,  City  Manager 
Ed  Hart,  Walter  Reade  Plainfield,  N.  J., 
theatre  reports  good  results  from  contests 
staged  among  local  children  on  Saturday 
mornings  at  the  Oxford  Theatre,  in  that 
spot.  The  gag  took  the  form  of  high  type 
amateur  contests,  with  Ed  throwing  in  a 
lot  of  dressing  on  intelligence  tests,  as  de- 
tailed by  the  Fox  press  books. 

Children  were  allowed  to  enter  any  time 
in  the  week  before  opening,  and  on  day  of 
contests,  Temple  feature  would  be  run  first 
so  that  audience  might  be  better  judges  of 
the  children's  efforts,  after  seeing  the  child 
starlet  in  action. 

Regular  M.  C.  was  in  charge  to  help  the 
youngsters  arrange  their  offerings  and 
routine  the  event.  Cash  prizes  were  awarded 
the  winners,  and  to  appease  those  who  fin- 
ished outside  the  money,  Ed  contributed  a 
pair  of  tickets  to  the  next  best  25. 

Ed  reports  the  stunt  has  been  clicking 
consistently  for  him  and  with  a  few  varia- 
tions has  it  set  for  coming  Temple  pictures. 


88 


MOTION    PICTURE  HERALD 


March    9,  1935 


Alper's  "Wiggs"  Display 

Murray  Alper  at  the  Commodore  in 
Brooklyn,  N.  Y.,  comes  through  with  an- 
other of  his  snappy  lobby  displays  (see 
photo)  on  "Mrs.  Wiggs."  His  "house"  was 
constructed  solely  of  egg  and  grapefruit 
boxes,  with  old  fashioned  stove,  crude  fence 
and  imitation  grass.  Cutouts  of  players 
were  planted  at  table  and  wax  figure  of 
farmer  completed  the  display. 

Make  19  3  5  Your  Award  Year 

Legion  Ties  In  with  Mott 
For  "First  World  War" 

For  his  "First  World  War"  showing  E. 
P.  Mott,  Worcester  Theatre,  Wooster, 
Ohio,  contacted  the  American  Legion  on  a 
benefit  to  raise  funds  for  a  new  entrance  to 
the  high  school  auditorium.  Legion  officers 
sent  letters  to  all  school  teachers  asking 
them  to  aid  in  the  sale  of  tickets  and  to  urge 
pupils  to  see  the  film,  emphasizing  the  fact 
that  the  Legion's  profit  was  derived  only 
from  the  advance  sale.  Legion  boys  built 
trench  and  dugout  in  lobby  (see  photo)  and 
also  stood  guard. 

Make  193  5  Your  Award  Year 

Elephant  Bailys 
"Clive"  for  Peering 

How  he  managed  to  lure  the  cautious 
pachyderm  from  the  zoo,  Francis  Deering, 
State,  Memphis,  Tenn.,  doesn't  say,  but 
this  member  promoted  the  use  of  the  city's 
pet  elephant  for  a  street  bally  on  "Clive  of 
India,"  draping  the  beast  with  theatre  ban- 
ners. 

Through  the  cooperation  of  local  high 
school  dramatic  club,  Francis  arranged  the 
broadcasting  of  "Clive"  radio  playlet.  For 
his  street  bally  ushers  were  used,  each 
carrying  a  letter  of  title  and  tea  company 
donated  India  tea  and  sandwiches  which 
were  served  on  mezzanine ;  merchant  also 
placed  streamers  on  all  grocery  windows 
selling  their  product. 

Make  193  5  Your  Award  Year 

Henderson  Stages  Toy  Parade 
Matinee  on  "It's  a  Gift" 

Leo  Henderson,  Idaho  Theatre,  Twin 
Falls,  Idaho,  staged  an  "It's  a  Gift"  toy 
parade  matinee  with  toy  serving  as  admis- 
sion. Papers  came  through  with  publicity, 
firemen  repaired  the  toys  and  the  associated 
charities  were  the  benefactors  of  hundreds  of 
toys.  Boy  Scouts  aided  in  the  distribution 
and  plugged  the  matinee  at  their  meetings. 

Leaving  from  a  prearranged  meeting 
place  the  parade  of  children  with  their  toys 
headed  by  Scout  band,  marched  through 
streets  to  theatre  where  the  band  played 
selections  before  entering  the  house. 

Make  193  5  Your  Award  Year 

Gilnnan  Constructs  New 
"Copperfield"  Front 

An  entire  new  front  was  constructed  by 
Sam  Oilman,  Loew's  Harrisburg,  Harris- 
burg,  Pa.,  for  "David  Copperfield"  (see 
photo).  Sides  and  top  of  box  office  were 
covered  with  copper  metallic  paper  with 
cutout  letters  painted  a  two  tone  bronze, 
purple  and  silver,  trimmed  with  cromium 
molding. 

At  height  of  recent  blizzard,  Sam  pro- 
moted old  fashioned  sleigh  bally  with  bells, 
which  was  used  three  days  ahead.  Door- 
hangers  were  hung  on  all  pay  station  tele- 


Alper's  Atmospheric  "Wiggs"  Display 


Motf's  "World  War"  Lobby 


Ditcham's  "Copperfield"  Sandwich  Men 


Gihnan's  tine  New  Front 


phone  mouthpieces  and  book  marks  dis- 
tributed by  public,  school  and  circulating 
libraries. 

Small  "I  have  in  my  heart"  pamphlets 
were  inserted  in  screening  invitation  en- 
velopes and  mailed  to  selected  list.  Leading 
card  shop  also  enclosed  one  in  each  greet- 
ing card  envelope. 


Novel  Street  Bally  Sells 
"Copperfield"  for  Ditcham 

Accompanying  photo  shows  the  way  S.  F. 
Ditcham,  managing  director,  Capitol  The- 
atre, London,  England,  sold  "David  Cop- 
perfield" to  the  Britishers  with  a  couple  of 
dozen  sandwich  men  and  stage  coach  bally 
with  occupants  in  costume,  ofYering  free 
rides  to  theatre. 

Oiant  cutouts  atop  marquee  were  illu- 
minated at  night  and  leading  department 
store  featured  a  display  of  Dickens  relics. 

Make  19  i  5  Your  Award  Year 

Cinema  Club  Officer 
Endorses  "Clive" 

Teachers  of  English,  history,  and  those 
in  grade  schools  Dick  Wright  reports  were 
urged  to  attend  "Clive  of  India"  at  the 
Warner,  Youngstown,  Ohio,  by  the  presi- 
dent of  the  local  Cinema  Club,  by  means  of 
signed  post  cards  carrying  impressive  sell- 
ing copy  on  the  date. 

All  district  A  and  P  stores  tied  in  on  a 
plug  for  certain  brand  of  tea,  giving  photos 
of  Colman  and  Young  to  all  purchasers. 
Book  windows  and  co-op  beauty  parlor  ads 
were  also  promoted. 

Make  193  5  Your  Award  Year 

Goldberg  Invites  Clergy 
To  "Anne  of  Green  Gables" 

Invitations  to  all  clergymen  in  his  county 
to  attend  "Anne  of  Green  Gables"  showing 
were  issued  by  Andy  Goldberg,  Regent  The- 
atre, Elizabeth,  N.  J.,  ministers  in  turn 
recommending  it  to  their  parishioners. 

Standard  Oil  posted  sign  on  bulletin 
boards  suggesting  that  all  employees  see 
the  picture.  Cards  were  used  in  all  buses 
and  stills  placed  in  window  of  leading  dress 
shop. 

Make  193  5  Your  Award  Year 

Stein  Tells  Riding  Masters 
About  "Broadway  Bill" 

Louis  Stein  at  the  Stanley,  Newark,  N.  J., 
circularized  all  riding  academies  in  and 
around  town  telling  them  about  his  "Broad- 
way Bill"  opening.  Louis  also  covered 
apartments  and  hotels  with  theatre  and  real 
estate  guides  containing  theatre  ad. 

Press  book  masked  star  contest  was  run 
in  local  papers  offering  tickets  to  first  fifty 
guessing  correctly.  Leading  jeweler  used 
stills  of  Myrna  Loy  in  attractive  frames  in 
window  display. 

Make  193  5  Your  Award  Year 

Gilbert  Arranges  Poll 
On  Rogers  Pictures 

Manager  H.  J.  Gilbert  and  Melvin  Bar- 
nett,  publicist  at  the  Granada,  Bluefield, 
West  Va.,  stationed  a  girl  in  lobby  to  query 
exiting  patrons  on  whether  they  preferred 
"County  Chairman"  to  Rogers'  previous 
"Judge  Priest"  opus.  Votes  were  tabulated 
and  published  in  papers  and  broadcast  each 
evening-.  Arrangements  were  made  with 
station  to  set  up  a  studio  in  foyer  with  music 
and  talk  from  picture  serving  as  background. 
Interviews  with  patrons  placing  their  votes 
was  included. 

Attractive  girls  covered  offices  distribut- 
ing "Vote  for  Rogers"  cards  and  rural  dis- 
tricts were  circularized  with  postcards 
from  Rogers. 


March    9  ,  1935 


MANAGERS'    ROUND  TABLE 


89 


Purves  Treats  Patrons 
To  "Imitation"  Waffles 

Anybody  who  had  the  price  of  admission 
to  the  Capitol  in  Sudbury,  Ont.,  could  step 
up  to  the  lobby  bar  installed  for  the  occasion 
and  have  pancakes  on  Jack  Purves  for  his 
"Imitation  of  Life"  date.  Girl  in  addition 
to  dispensing  pancakes  handed  each  femme 
patron  recipe  on  cookies. 

Hardware  store  came  through  with  large 
window  display  of  waffle  irons  and  cutout 
of  Claudette  Colbert  (see  photo),  copy 
reading,  "Miss  Colbert  won't  make  waffles 
for  vou.  but  buy  an  iron  and  make  your 
own."  Restaurants,  hotels  and  coffee  shops 
hung  signs  mentioning  free  offer  of  pan- 
cakes at  theatre. 

Make  193  5  Your  Award  Year 

Brown  Uses  Shirley's  Eyes 
As  Part  of  Teaser  Campaign 

As  part  of  his  teaser  campaign,  Lou 
Brown,  publicity  director  Loew's  Palace, 
Washington,  D.  C,  hung  25-foot  banners  on 
side  wall  of  theatre  showing  Shirley's  eyes 
and  copy  reading  "Whose  Bright  Eyes  are 
these  ?" 

Through  local  distributor  of  electric  re- 
frigerator fifteen  window  displays  consist- 
ing of  cutouts  and  theatre  plug  were  se- 
cured. Department  store  used  enlargement 
of  Shirley  surrounded  by  dresses,  stills  and 
dolls  and  cardboard  standees  were  sniped 
and  placed  in  prominent  windows. 

Make  193  5  Your  Award  Year 

Smith  Distributes  Heralds 
With  Daily  Newspapers 

J.  O.  Smith,  Paramount,  Ashland,  Ala- 
bama, reports  that  he  finds  the  most  profit- 
able way  to  distribute  heralds  is  clipping 
them  onto  the  daily  papers.  In  that  way  he 
is  sure  of  their  commanding  attention. 

On  "Bright  Eyes"  Smith  covered  the  sur- 
rounding countrysides  with  one  sheets  and 
this  in  addition  to  announcements  in  all 
country  schools  helped  spread  news  of 
Shirley's  new  opus. 

Make  193  5  Your  Award  Year 

Gas  Station  Mails 
Heralds  with  Bills 

A  tieup  was  arranged  with  local  gas  sta- 
tion by  Milt  Harris,  exploiteer,  Loew's 
State,  Cleveland",  Ohio,  for  the  mailing  of 
"Clive  of  India"  announcements  with  all 
monthly  bills.  Five  and  ten  featured  "Clive" 
sundae  and  plugged  it  on  all  menus  in 
branches.  Liberty  and  telegraph  boys 
bicycled  to  theatre,  each  boy  wearing  silk 
badge  and  bikes  carrying  signs,  sound  truck 
preceding  parade. 

Make  193  5  Your  Award  Year 

Duffus  Secures  Coverage 
On  "David  Copperfield" 

Carlton  Duffus,  director  of  advertising. 
Century  Theatre,  Minneapolis,  Minn.,  on 
tiein  with  store  featured  dress  copied  from 
model  in  "Copperfield,"  securing  mention 
in  silk  sale  ad  and  window  display  carrying 
stills  of  Maureen  O'Sullivan  and  Madge 
Evans  wearing  gowns  from  picture.  Ad  was 
run  in  all  papers  asking  for  old  editions  of 
the  book  for  display  purposes.  These  were 
used  in  window  of  leading  book  store  with 
studio  script. 

On  opening  day,  head  of  school  board  vras 


Purves'  "Imitation"  Window  Tieup 


Stubblefield  Uses  Zulu 
Bally  for  "Baboona" 

A  ballyhoo  truck  for  "Baboona"  consist- 
ing of  28  sheets,  grass  hut  and  four  negroes 
dressed  as  cannibals  beating  torn  toms  (see 
photo)  was  conceived  by  Flynn  Stubblefield 
at  the  Strand  in  Louisville,  Ky. 

The  entire  lobby  was  decorated  with  green 
and  brown  crepe  paper,  mounted  wild  birds 
and  animals  borrowed  from  taxidermist  and 
concealed  public  address  system  ran  record 
emitting  cries  of  jungle  beasts. 

Newspaper  contest  on  "My  most  thrilling 
adventure"  was  arranged  for  cash  and  ticket 
prizes,  winner  of  local  prize  to  compete  with 
winners  in  other  cities  for  trip  to  Africa 
offered  by  Fox.  Sporting  goods  stores  used 
window  displays  of  firearms  with  stills 
showing  the  Martin  Johnsons  using  adver- 
tized rifles. 

Make  193  5  Your  Award  Year 

Fountains  Feature  Sandwich 
For  Rotsky's  "Minister"  Date 

George  Rotsky,  Palace,  Montreal,  ar- 
ranged with  chain  drug  stores  to  feature  a 
special  apple  and  cheese  sandwich,  pur- 
ported to  be  a  favorite  of  Katharine  Hep- 
burn, tying  in  copy  on  "Little  Minister," 
currently  playing.  George  also  managed  to 
get  the  sandwich  plugged  over  radio  on 
household  hints  program. 

Make  193  5  Your  Award  Year 

Showmen  Plant  "Silver 
Streak"  in  Auto  Show 

The  only  theatre  to  be  represented  in  the 
Los  Angeles  automobile  show  was  the 
Downtown,  according  to  Manager  Melvin 
Murphy  and  Jaik  Rosenstein,  publicist,  who 
arranged  with  the  Diesel  Company  to  dis- 
play a  miniature  "Silver  Streak"  in  their 
booth  (see  photo)  with  theatre  card. 

Railroad  cards  with  copy  "What  does  the 
future  hold  for  you  as  a  railroad  employee" 
were  posted  in  and  around  all  rail  and  trol- 
ley terminals.  Living  billboard  was  used 
with  trailer  projected  on  glass  screen,  and 
jumbo  telegrams  posted  in  Western  Union 
offices. 

Make  193  5  Your  Award  Year 


Murphy-Rosenstein  "Streak"  Display 


Yearsley's  "Quints"  Clothes  Line 

invited  to  showing,  which  returned  cut  and 
story  in  weekly  issue  of  school  paper.  The 
famous  Micawber  thrift  message  was  pro- 
moted for  bank  tieups  in  windows  in  all 
branches. 

Duffus  generously  shares  credit  for  this 
campaign  with  Harold  Kaplan,  manager ; 
Morris  Abrams,  M-G-M  exploiteer,  and 
George  Tharp,  assistant. 


Another  Clothes  Line 
For  the  "Quints" 

The  clothespin  and  diaper  manufacturers 
must  be  celebrating  a  lot  of  prosperity  to 
judge  from  the  campaigns  on  the  Dionne 
quintuplets  short.  Bill  Yearsley,  Warner 
representative  in  Parkersburg,  West  Va., 
now  gets  in  line  with  baby  wash  day  in  the 
lobby  of  the  Smoot  (see  photo)  and  makes 
it  more  personal  by  indicating  to  which 
infant  the  diapers  belong. 

Bill  reports  the  display  pleased  the  ladies 
and  that  further  attention  was  whipped  up 
by  the  numerous  breaks  given  the  showing 
by  the  local  press. 

Make  193  5  Yojtr  Award  Year 

Paper  Goes  to  Town 
On  "Copperfield" 

The  press  buildup  given  "Copperfield" 
at  the  Warner,  Youngstown,  Ohio,  may  have 
had  something  to  do  with  the  holdover  on 
that  attraction  judging  from  some  of  the 
tear  sheets  Dick  Wright  sends  in  from  the 
Sunday  Vindicator.  Not  only  did  that  sheet 
run  an  eight-column  art  spread,  but  also 
urged  attendance  editorially  in  a  following 
four-column  bold  face  caption. 


90 


MOTION    PICTURE  HERALD 


March    9,  1935 


QUIET  PLEASE! 

In  your  eager  desire  to  effect  a  good  showing,  have  you  been  too  preoccupied 
with  mailing  reports,  nnaking  outside  contacts  and  selling  your  attractions  without 
giving  your  utmost  attention  to  the  proper  atmosphere  in  the  presentation  of 
your  entertainment?  Common  courtesy  and  intelligent  operation  of  your  theatre 
demand  that  every  precaution  possible  be  made  to  insure  a  quiet  and  refined 
atmosphere  for  your  patrons'  comfort.  Confidence  and  enjoyment  of  your  pro- 
grams can  only  be  attained  by  your  watchfulness  of  these  elements.  Unnecessary 
noises  which  may  seem  inconsequential  to  you  not  only  disturb  your  patrons  but 
can  easily  wreck  their  entire  evening  of  anticipated  enjoyment. 

Play  safe  .  .  .  train  your  service  staff  to  eliminate  all  unnecessary  conversation 
between  staff  members.  In  working  a  capacity  house,  minimize  announcements  to 
subdued  tones.  Impress  your  operators  with  the  importance  of  low  tone  con- 
versations so  they  will  not  be  heard  in  the  auditorium  above  your  sound.  Adjust 
door  checks  for  quiet  and  proper  operation  and  eliminate  rattles  and  squeaks  in 
seat  standards  and  sockets.  Instruct  your  doorman  in  the  proper  operation  of  his 
ticket  chopper;  make  sure  that  your  stage  equipment  operates  as  noiselessly  as 
possible;  and  educate  your  staff  members  to  report  to  you  other  annoyances 
which  may  come  from  pounding  lobby  radiators.  Check  regularly  for  loose  hand 
rails,  improper  adjustment  of  toilet  room  fixtures  and  drinking  fountains. 

In  double  checking  your  house  operation  don't  overlook  the  fact  that  your 
own  office  can  be  of  assistance  in  minimizing  noise.  Satisfy  yourself  that  your 
theatre  is  as  near  "quiet-proof"  as  possible.  You  will  not  only  be  amply  repaid 
with  the  effectiveness  of  a  refined  atmosphere  but  you  will  also  be  rendering 
a  distinctive  service  to  your  patrons. 

— By  Dick  Wright,  District  Manager,  in  Warner  Theatres  Ohio  "Mouthpiece" 


Various  Exploitations 
On  "Bengal  Lancer" 

Frank  Moneyhan  at  the  Indiana  in  In- 
dianapolis, Ind.,  highlighted  his  "Bengal" 
campaign  with  a  street  patrol  of  National 
Guardsmen  in  lancer  costumes  and  pith  hel- 
mets. 

F.  H.  Read,  Paramount,  Atlanta,  Ga., 
took  advantage  of  local  polo  matches  to 
break  papers  with  stories  paralleling  army 
polo  and  peg-pulling  sequences  in  picture. 

A  radio  contest  was  promoted  by  the  pub- 
licity staff  of  the  Denham  Theatre  in  Den- 
ver, Colo.,  for  the  best  amateur  talent  to 
broadcast  a  radio  playlet  on  "Lancer."  Lobby 
stunts  consisted  of  guard  in  lancer  uniform 
and  rifle,  with  girls  dressed  as  nautch  dan- 
cers distributing  samples  of  French  candy. 

Make  193  5  Your  Award  Year 

And  Now,  Ed  Siegal 

Add  to  the  various  and  sundry  ways  that 
the  boys  in  the  field  have  advertised  the 
Dionne  Quintuplets  short  that  of  Ed  Siegal, 
Ritz  Theatre,  Pittsburgh,  Pa.,  who  for- 
wards display  illustrated  in  accompanying 
photo. 


Siegal's  "Dionne"  Lobby  Display 


Clubwomen  Aid  Drissel 
On  "Copperfield"  Drive 

At  a  regular  monthly  meeting  three  weeks 
ahead  of  his  opening.  Manager  Roscoe  Dris- 
sel, Loew's,  Wilmington,  Del.,  secured  the 
aid  of  the  Federation  of  Women's  Clubs  to 
put  over  "Copperfield,"  a  resolution  being 
passed  that  every  affiliated  club  would  work 
on  the  date. 

Immediately,  the  next  weekly  broadcast 
sponsored  by  the  local  Better  Films  Council 
was  given  over  to  the  picture,  the  Delaware 
branch  of  the  Association  of  University 
Women  fell  in  line,  bulletins  planted  in  all 
club  headquarters,  and  the  Telephone  Com- 
mittee of  the  Films  Council  went  into  action 
with  each  of  the  members  calling  10  others 
about  the  picture,  who  in  turn  called  10 
more,  etc. 

Lands  School  Endorsement 

For  the  first  time  on  this  date,  Drissel 
reports  success  in  getting  the  superintendent 
of  public  schools  to  endorse  a  picture,  and 
another  "first"  took  the  form  of  a  preview 
at  the  most  important  local  private  school. 
Heads  of  other  hard-to-penetrate  private  and 
parochial  schools  were  invited  with  good 
results  from  this  quarter.  Copperfield  book- 
lets were  also  distributed  to  school  libraries 
through  the  approval  of  the  board  of  educa- 
tion. 

Roscoe  was  additionally  able  to  do  a  bit 
of  selling  to  put  over  the  fountain  pen  press 
book  tieup,  and  succeeded  in  promoting  one 
of  his  stores  to  stock  up  on  the  item  and  get 
behind  the  contest.  Radio  of  course  was  en- 
listed, and  besides  the  free  plugs  from  vari- 
ous quarters  the  picture  playlet  was  broad- 
cast. 

Most  interesting  is  that  Drissel's  First 
Mention  campaign  contained  a  number  of 
follow  up  ideas  and  angles  put  to  work  after 
the  picture  opened,  many  of  which  he  feels 
helped  in  the  daily  buildup  of  his  grosses. 


Managers  to  Divvy 
In  Fox  Bonus  Plan 

Fox  Midwest  Theatres,  under  the  super- 
vision of  Elmet  Rhoden,  division  chief, 
have  recently  inaugurated  a  managers'  and 
employees'  participation  drive,  based  upon 
the  net  cash  return  improvement  over  the 
first  quarter  of  1934.  The  expectancy  of 
par  figures  for  each  situation  will  be  the 
net  cash  returns  made  the  first  13-week 
period.  Individual  managers  will  partici- 
pate in  the  excess  net  cash  return  for  each 
situation. 

Theatres  are  classified  in  three  groups  as 
follows :  Houses  having  a  weekly  gross  of 
$2,250  or  over  are  placed  in  "Class  A," 
managers  in  these  spots  to  receive  five  per 
cent  of  all  cash  return  in  excess  of  par. 

"Class  B"  includes  theatres  with  grosses 
of  between  $1,500  and  $2,250,  where  man- 
agers will  take  down  seven  and  one-half 
per  cent  of  the  net  cash  returns.  Houses 
grossing  under  $1,500  will  return  managers 
10  per  cent  of  all  cash  returns  over  par. 

In  situations  supervised  by  City  Man- 
agers, these  executives  will  retain  one-third, 
the  managers  one-third  and  remainder  to 
theatre  employees.  In  other  spots,  partici- 
pation money  will  be  divided  equally  among 
the  manager  and  house  staff,  manager  to 
use  his  discretion  in  dividing  up  the  50  per 
cent  that  goes  to  the  personnel. 

Three  additional  prizes  will  be  available 
to  best  cashiers,  doormen,  ushers,  operators, 
janitors,  district  managers  and  district 
bookers  also  coming  in  for  part  of  the  divvy. 
Make  193  5  Your  Award  Year 

Venetian-Blind  Action 
Introduced  by  Whitaker 

What  he  terms  "Venetian  blind"  action 
has  been  introduced  by  L  and  J  City  Man- 
ager E.  E.  Whitaker  in  a  unique  kind  of 
lobby  shadow  box  display  on  "President 
Vanishes''  at  the  Fox,  Atlanta,  Ga. 

Small  motor  turns  the  blind,  portraits 
painted  on  one  side  with  catchlines  on  the 
reverse.  Motor  is  geared  so  that  blind  turns 
four  times  a  minute,  just  fast  enough  but  not 
too  fast  to  prevent  easy  reading  of  the  copy. 


Whitaker's  Animated  "Blind"  Shadow  Box 


March    9 ,    19  3  5 


MANAGERS'    ROUND  TABLE 


91 


"THERE  AREN'T  ANY  SMALL  TOWNS 


Ever  since  the  davs  of  "The  Great  Train 
Robbery"  (1905)  and  "Queen  Elizabeth" 
(1912)  we've  been  reading  and  listening 
to  such  phrases  as:  "Not  a  small  town  pic- 
ture." .  .  .  "Will  probably  go  in  big  cities, 
but  no  good  in  small  towns."  .  .  .  "Too 
high  brow  for  my  little  situation."  .  .  . 
"May  be  all  right  for  the  intelligentsia,  but 
not  small  town  material."  And  during  these 
23  years  we've  wondered  what  phrases  like 
that  are  all  about. 

Perhaps  our  interpretation  of  a  small 
town  .  .  .  anything  under  10,000  population 
.  .  .  may  be  wrong.  Our  personal  experience 
goes  no  further  down  than  3,100  population; 
and  no  higher  than  600,000  .  .  .  but  we've 
found  that  a  picture  which  stimulates  a  big 
gross  in  a  sizable  city  also  gathers  big 
receipts  in  a  small  town  .  .  .  comparatively. 
Coming  down  to  cases,  take  some  of  this 
season's  outstanding  successes :  "Chained," 
"Judge  Priest,"  "Forsaking  All  Others," 
"Mrs.  Wiggs  of  the  Cabbage  Patch,"  "Anne 
of  Green  Gables,"  "The  Little  Minister," 
"The  Barretts  of  Wimpole  Street,"  "Bright 
Eyes,"  "The  Mighty  Barnum,"  "Imitation 
of  Life,"  "College  Rhythm,"  "The  Count  of 
Monte  Cristo,"  "David  Copperfield,"  ad  in- 
finitum. Yo  other  small  towners !  Didn't 
these  pictures  do  business  in  your  town,  as 
they  did  here  ?  There  may  be  one  or  two  ex- 
ceptions, as  there  are  to  every  rule ;  but  we 
still  fail  to  find  any  just  application  of  the 
phrase,  "Not  a  small  town  picture"  in  any 
generalization. 

Never  Heard  the  Phrase 

During  nearly  half  of  our  twenty  odd 
years  in  the  show  business,  we  managed 
theatres  for  chains  in  large  cities.  We've 
never  once  heard  the  phrase,  "Not  a  big 
town  picture."  It  has  been  noted,  of  course, 
that  Westerns  have  no  place  in  an  important 
first  run;  but  neither  has  a  Western,  to  our 
knowledge,  ever  broken  any  records  in 
small  towns.  One  could  scarcely  call  the 
epic,  "The  Covered  Wagon,"  a  Western,  in 
the  sense  in  which  it  is  used  here. 

If  the  reporters  refer  to  towns  under 
1,000  population,  we  are  in  no  position  to 
argue  the  matter.  But  certainly  Whitewater, 
with  its  3,500  population,  is  a  small  town. 
Are  people  so  dil¥erent,  so  very  suburban, 
in  the  limited  compass  of  a  couple  of  thou- 
sand of  population?  Cinematically  speaking, 
we  find  them  no  different,  and  their  require- 
ments no  less,  in  a  city  of  three  and  one-half 
thousand  than  in  one  hundred  times  as 
large.  In  1919  we  advertised  the  film  suc- 
cesses of  that  year  in  Minneapolis  and  St. 
Paul  for  the  old  F.  &  R.  circuit.  In  1920 
we  advertised  them  in  an  Iowa  town  of 
3,100  .  .  .  and  the  samt  pictures  were  the 
successes  of  the  latter  situation ;  every  one ! 

The  writer  has  been  in  some  situations 
under  1,000  population  .  .  .  theatres  redolent 
with  heavy  odors  reminiscent  of  barnyards ; 
where  the  projection  machines  were  vying 


Wisconsin  Member  Argues  Size 
of  Comfnunity  Has  Little  Bearing 
on  Pictures'  Success  or  Failure 

by  FRED  HINDS 

Strand,  Whitewater,  Wis. 


FRED  HINDS  has  his  opinions  on 
small  town  operation  and  states  them 
vigorously  in  these  columns,  bringing 
into  discussion  the  meaning  of  a  phrase 
that  has  undoubtedly  affected  the 
grosses  of  many  an  attraction,  good 
and  indifferent.  Hinds  has  been 
around.  He  has  operated  in  the  big 
cities  and  the  small  spots,  for  the  cir- 
cuits, the  independents  and  now  on 
his  own.  He  knows  well  whereof  he 
speaks,  and  whether  or  not  readers 
agree  with  him  unanimously  or  other- 
wise, Fred's  article  makes  darn  good 
reading . — A-MIKE. 


with  the  sound  system  to  see  which  could 
create  the  greatest  noise;  where  it  would 
have  been  difficult  enough  to  understand 
the  words  without  any  interference  from 
worn  out  projectors;  where  the  picture  on 
an  alleged  screen  jumped  in  unison  with 
decayed  inter mittents ;  and  where  the  jani- 
tor, if  any,  brushed  up  lightly  here  and 
there  a  couple  of  times  a  month.  This  is 
not  what  we  mean  by  a  small  town. 

The  writer  has  been  in  a  few  towns  under 
1,000  population,  and  scores  under  5,000 
population,  where  the  projection,  sound, 
seating  and  atmosphere  is  exactly  on  a  par 
with  the  largest  theatres.  The  big  city  the- 
atre has,  of  course,  a  much  more  auspicious 
building,  more  elaborately  appointed,  but, 
if  "the  show's  the  thing,"  it's  no  better  than 
the  properly  outfitted  small  town.  We  have 
our  Western  Electric  or  RCA  sound  sys- 
tems, our  new  type  projectors  with  latest 
arcs,  our  comfortably  upholstered  seats,  our 
thick  carpets,  our  experienced  employees. 
We  present  first  run  pictures  at  approxi- 
mately the  same  show  as  the  larger  cities. 


Presumably  farmers  bear  the  greatest 
brunt  of  the  differentia.  Why?  They  go  to 
college  and  play  golf  now.  Possibly,  as  a 
class  more  of  them  like  Westerns  than  any 
other  division  of  patronage;  but  we  find  a 
large  number  of  town  people  who  also  like 
them.  We  recall  scores  of  farmers  driving 
in  to  see  "The  Barretts  of  Wimpole  Street" 
and  "David  Cooperfield"  .  .  .  more  than 
the  number  who  make  it  a  point  to  take  in 
Westerns.  As  a  matter  of  fact,  through  the 
entirely  natural  process  of  educational  im- 
provement in  both  motion  picture  entertain- 
ment and  prospective  patrons  of  this  amuse- 
ment, our  personal  box-office  discovery  is 
that  the  time  honored  Western  is  in  a  state 
of  prodigious  decline. 

"A  Hit  Is  A  Hit" 

The  very  fact  that  practically  all  of  the 
major  distributors  await  reaction  of  first 
runs  before  allocating  percentage  pictures 
under  their  contracts  is  proof  that  a  hit  is 
a  hit  in  a  big  city  or  small  town.  A  mistake 
or  two  is  made  now  and  then,  but  the  deter- 
mined percentage  engagements  represent  the 
"clickers"  with  what  amounts  to  monoton- 
ous regularity.  Likewise,  circuits  await  the 
reaction  of  their  own  key  spots  before  de- 
termining the  days  of  the  week  on  which  the 
various  subjects  will  play  all  subsequent 
runs  .  .  .  which  far  outnumber  the  keys. 

To  our  knowledge,  the  only  possible  dif- 
ference might  be  in  the  case  of  the  ultra- 
high brow  picture,  where  the  8,000  mem- 
bers of  the  "400"  in  a  big  city  provide  suffi- 
cient prospects  that  the  40  members  in  a 
small  town  cannot  provide  .  .  .  but  these 
are  very  rare  exceptions.  After  eleven  years 
of  watching  box-offices  in  large  cities  and 
eleven  years  watching  them  in  small  towns, 
we  say  "There  are  no  small  towns." 

Make  19  i  5  Yotir  Award  Year 

Simons"  Novel  Illusion 

Jack  Simons,  Poll  Theatre,  Hartford, 
Conn.,  is  using  an  illusion  effect  for  "One 
More  Spring"  that  is  secured  by  hanging 
an  electric  light  bulb  by  a  shoestring  from 
the  top  of  card  (see  photo).  Light  goes  on 
and  off  and  keeps  'em  guessing. 


Simons'  Light  Bulb  Illusion 


92 


MOTION    PICTURE  HERALD 


March    9  ,     19  3  5 


REPRESENTATIVE  NEWSPAPER  ADS 


March    9  ,     19  3  5 


MOTION    PICTURE  HERALD 


93 


|3C€DLCTI€N$  IN  W€Cr 


TITLE 

AMBASSADOR 

"Wilderness  Mail" 

CHARLES  CHAPUN 

Chaplin  Prod.  No.  5 

COLUMBIA 

"Hot  News" 

"Party  Wire" 


"Air  Fury" 

FOX 

"Gaucho  Lover" 


"It's  A  Small  World" 
"Redheads  on  Parade" 

"Doubting  Thomas" 
"Heaven's  Gate" 

"Man  Proposes" 

"Secret  Lives" 

INVINCIBLE 

"Public  Opinion" 

METRO-GOLD  WYN-MAYEK 

"Age  of  Indiscretion" 

"Order  Please" 
"China  Seas" 


PARAMOUNT 

"The  Crusades" 


"People  Will  Talk" 


"The  Glass  Key" 

RKO  RADIO 

"Becky  Sharp" 


"Sylvestre  Bonnard" 
"The  Informer" 
"Village  Tale" 
"Break  of  Hearts" 


UNITED  ARTISTS 
"Cardinal  Richelieu" 


UNIVERSAL 

"Werewolf  of  London" 

"Mister  Dynamite" 

WARNER  BROS.- 
FIRST  NATIONAL 

"A  Midsummer  Night's 
Dream" 


"Oil  for  the  Lamps  of  China" 
"Dinky" 

"The  Farrell  Case" 
"Alibi  Ike" 


WRITER    AND  DIRECTOR 


Story,  James  Oliver  Curwood.    Director:  Forrest 
Sheldon. 

Original  screen  play,  Charles  Chaplin.  Director: 
Charles  Chaplin. 


Original  screen  play,  Anthony  Coldewey.  Di- 
rector:   Lambert  Hillyer. 

Original,  Bruce  Manning,  Vera  Caspary.  Screen 
play,  John  Howard  Lawson,  Ethel  Hill.  Di- 
rector: Erie  Kenton. 

Screen  play.  J.  Griflfin  Jay,  Grace  Ncvill.  Di- 
rector:   Al  Rogell. 

From  an  original,  Gordon  Morris.  Adaptation, 
Ernest  Pascal,  Bradley  King.  •  Director; 
James  Tinling. 

Based  on  a  short  story,  Albert  Treynor.  Screen 
play,  Gladys  Lehman,  Sam  Hellman.  Di- 
rector:   Irving  Cummings. 

Original  story,  Gertrude  Purcell,  Don  Hartman, 
Jay  Gorney.  Screen  play,  Don  Hartman,  Rian 
James.     Director:   Norman  McLeod. 

Based  on  stage  play,  Geo.  Kelly.  Adaptation, 
Bartlett  Cormack.    Director:   David  Butler. 

From    a    story,    Florence    Leighton  Pfalzgraf. 

Adaptation,  Stephen  Avery.  Screen  play, 
Stephen  Avery,  Allen  Rivkin.  Director:  John 
Robertson. 

Based  on  story,  Sidney  Skolsky,  Claude  Binyon. 
Screen  play,  Wm.  Hurlbutt.  Director:  Wm. 
Seiter. 

From  a  story,  Ilya  Zorn.  Director:  Bruce 
Humberstone. 

Original  screen  play,  Karen  de  Wolf.  Director: 
Frank  Strayer. 

Story,  screen  play,  Leon  Gordon.  Director:  Ed- 
ward Ludwig. 

Stage  play,  Edward  Childs  Carpenter.  Adapted, 
Frank  Davis.    Director:   Jack  Conway. 

Novel,  Crosbie  Garstin,  Adaptation,  Jules  Furth- 
man.    Director:    Tay  Gamett. 


Screen    play,    Harold    Lamb,    Dudley  Nichols, 
Waldemar  Young.    Director:  Cecil  B.  DeMille. 


From  original,  Sophie  Kerr  and  an  original  by 
F.  Hugh  Herbert.  Screen  play,  Herbert  Fields. 
Director:    Alfred  Santell. 

Original,  Dashiell  Hammett.  Screen  play, 
Kathryn  Scola,  Kubec  Glasmon.  Director: 
Frank  Tuttle. 

Play,  Langdon  Mitchell.  From  nove'v,  "Vanity 
Fair,"  Wm.  Makepeace  Thackery.  Screen 
play,  Francis  Edw.  Faragoh.  Director:  Rou- 
ben  Mamoulian. 

Novel,  "Crime  of  Sylvestre  Bonnard":  Anatole 
France.  Screen  play,  Francis  Faragoh.  Di- 
rector:   Geo.  Nicholls,  Jr. 

Original,  Llam  O'FIaherty.  Screen  play,  Dudley 
Nichols.    Director:  John  Ford. 

Novel,  Phil  Stong.  Screen  play,  Allan  Scott. 
Director:    John  Cromwell. 

Story,  Lester  Cohen.  Screen  play,  Sarah  Y. 
Mason,  Victor  Heerman.  Director:  Phillip 
Moeller. 

Screen  play,  Nunnally  Johnson,  Cameron  Rogers. 
Director:    Rowland  Lee. 


Story,  Robert  Harris.    Director:  Stuart  Walker. 

Story,  Dashiell  Hammett.    Screen  play,  Harry 
Clork,  Doris  Malloy.    Director:  Alan  Crosland. 


Wm.  Shakespeare's  play.  Original  music  by 
Mendelssohn,  arranged  by  Erich  Wolfgang 
Komgold.  Screen  play,  Chas.  Kenyon,  Mary 
McCall,  Jr.  Directors:  Max  Reinhardt,  Wm. 
Dieterle. 


From  novel,  Alice  Tisdale  Hobart.  Screen  play, 
Laird  Doyle.    Director:  Mervyn  LeRoy. 

Original  story,  John  Fante,  Frank  Fenton,  Sam- 
uel Gilson  Brown.  Adaptation,  screen  play, 
Harry  Sauber.    Director:    D.  Ross  Lederman. 


Story,   screen  play,   Seton  I.  Miller. 
Wm.  Keighley. 


Director: 


Original  story.  Ring  Lardner.    Screen  play,  Bert 
Kalmar,  Harry  Ruby.    Director:   Ray  Enright. 


CAST 


Kermit  Maynard,  Sid  Saylor,  Fred  Kohler. 

Charles   Chaplin,   Paulette   Goddard,   Carter  DeHaven, 
Henry  Bergman. 


Richard  Cromwell,  Billie  Seward,  Wallace  Ford,  Jack 
LaRue. 

lean    Arthur,    Victor    Jory,    Clara    Blandick,  Charlie 
Grapewin,  Geneva  Mitchell. 


Ralph  Bellamy,  Tala  Birell,  Victor  Kilian,  Billie  Seward, 
Douglas  Dumbrille. 

Warner  Baxter,  Ketti  Gallian,  John  Miljan,  Artnida, 
J.  Carrol  Naish,  Blanca  Vischer,  Rita  Cansino,  Soledad 
Jiminez,  George  Irving,  Jack  LaRue. 

Spencer  Tracy,  Wendy  Barrie,  Chas.  Sellon,  Virginia 
Sale,  Raymond  Walbum,  Irving  Bacon. 

John  Boles,  June  Knight,  Alan  Dinehart,  Jane  Withers, 
Jack  Haley,  Herman  Bing,  Wm.  Austin,  Grant 
Mitchell. 

Will  Rogers,  Billie  Burke,  Alison  Skipworth,  Sterling 
Holloway,  Andrew  Tombes,  Frances  Grant,  Gail  Pat- 
rick, Frank  Albertson. 

Shirley  Temple,  Joel  McCrea,  Lyle  Talbot,  Rosemary 
Ames,  Doris  Nolan. 


James  Dunn,  Mae  Clarke,  Neil  Hamilton. 


Mona  Barrie,  Gilbert  Roland.  Hardie  Albright,  Herbert 
Mundin,  Nick  Foran,  Donald  Cook. 

Lois  Wilson,  Crane  Wilbur,  Shirley  Grey,  Luis  Alberni, 
Andres    de     Segurola,     Florence    Roberts,  Gertrude 
Sutton,  Ronnie  Cosbey. 

May  Robson,  Madge  Evans,  Ralph  Forbes,  Shirley  Ross, 

Adrian  Morris,  Una  Merkel,  Samuel  Hinds,  Mary  Jo 

Matthews,  Flush. 
Conrad   Nagel,   Steffi   Duna,    Nat    Pendleton,  Harvey 

Stephens,    Louise    Henry,    Leila    Bennett,  Franchot 

Tone,  Una  Merkel. 
Wallace    Beery,    Clark    Gable,    Jean    Harlow,  Dudley 

Digges,    Lewis    Stone,    Charles    Butterworth,  Robert 

Benchley. 

Henry  Wilcoxon,  Loretta  Young,  Ian  Keith,  Alan  Hale, 
Pedro  de  Cordoba,  Katherine  DeMille,  Ramsey  Hill, 
C.  Henry  Gordon,  George  Barbier,  C.  Aubrey  Smith, 
Lumsden  Hare,  Hobart  Bosworth. 

Charlie  Ruggles,  Mary  Boland,  Leila  Hyams,  Dean 
Jagger,  Ruthelma  Stevens,  Stanley  Andrews,  Sarah 
Edwards. 

George  Raft,  Rosalind  Culli,  Edward  Arnold,  Ray  Mil- 
land,  Dean  Jagger. 

Miriam  Hopkins,  Alan  Mowbray,  Mrs.  Leslie  Carter, 
Wm.  Stack,  Frances  Dee,  Nigel  Bruce,  Cedric  Hard- 
wicke,   Bilhe  Burke. 

Anne  Shirley,  Helen  Westley,  O.  P.  Heggie,  Trent 
Durkin,  Elizabeth  Patterson. 

Victor  McLaglen,  Heather  Angel,  Preston  Foster, 
Margot  Grahame,  Wallace  Ford,  J.  M.  Kerrigan,  Joe 
Sauers. 

Randolph  Scott,  Kay  Johnson,  Janet  Beecher,  Robert 
Barrat,  Dorothy  Burgess,  Edward  Ellis,  Ray  Mayer, 
Guinn  Williams,  Donald  Meek,  Chas.  Bennett. 

Katharine  Hepburn,  Charles  Boyer,  John  Beal,  Inez 
Palange. 


George   Arliss,    Edward   Arnold,    Maureen  O'SuUivan, 
Frances  Lister,  Cesar  Romero,  Halliwell  Hobbs. 


Henry   Hull,  Valerie   Hobson,   Warner   Oland,  Lester 

Matthews,  Clark  Williams. 
Edmund    Lowe,    Jean   Dixon,    Esther   Ralston,  Victor 

Varconi.  Verna  Hillie,  Jameson  Thomas,  Matt  Mc- 

Hugh,  Joyce  Compton,  Mary  Wallace. 

James  Cagney,  Dick  Powell,  Joe  E.  Brown,  Jean  Muir, 
Frank  McHugh,  Ian  Hunter,  Hugh  Herbert,  Anita 
Louise,  Victor  Jory,  Mickey  Rooney,  Oh'via  de  Havi- 
land,  Dewey  Robinson,  Ross  Alexander,  Hobart  Cava- 
naugh.  Grant  Mitchell,  Nina  Theilade,  Arthur 
Treacher. 

Pat    O'Brien,    Josephine   Hutchinson,    John  Eldredge, 

Jean  Muir,  Lyle  Talbot,  Ronnie  Cosbey,  Donald  Crisp. 

Jackie  Cooper,  Mary  Astor,  Sidney  Miller,  Roger  Pryor, 
Jimmy  Butler,  George  Ernest. 


James  Cagney,  Ann  Dvorak,  Robert  Armstrong,  Lloyd 
Nolan,  Margaret  Lindsay,  Edward  Pawley,  Russell 
Hopton,  Barton  MacLane,  Wm.  Harrigan. 

Joe  E.  Brown,  Olivia  de  Haviland.  Wm.  Gargan,  Ruth 
Donnelly,  Roscoe  Karns,  Henry  O'Neill,  Wm.  Frawley. 


STAGE  OF 
PRODUCTION 

Shooting 

Shooting 

Shooting 
Shooting 

Shooting 
Shooting 
Shooting 
Shooting 

Shooting 
Shooting 

Shooting 
Shooting 
Shooting 
Shooting 
Shooting 
Shooting 

Shooting 

Editing 

Shooting 
Shooting 


Shooting 
Shooting 
Shooting 

Shooting 

Editing 
Shooting 

Shooting 


Shooting 
Shooting 

Shooting 

Shooting 


94 


MOTION    PICTURE  HERALD 


March    9,  1935 


CLASSIFIED 
ADVERTISING 


the  great 
national  medium 
for  showmen 


Ten  cents  per  word,  nnoney-order  or  check  with  copy.  Count  initials,  box  number  and  address.  Minimum  insertion, 
$1.    Four  insertions  for  the  price  of  three.    Contract  rates  on  application.    No  borders  or  cuts.    Forms  close 
Mondays  at  5  P.M.    Publisher  reserves  right  to  reject  any  copy.   Address  correspondence,  copy  and  checks  to 
MOTION  PICTURE  HERALD,  Classified  Dept.,  1790  Broadway,  New  York  City 


USED  ECUIPMENT 


UNUSUAL  BARGAINS  IX  USED  OPERA 
chairs,  sound  equipment  moving  picture  machines, 
screens,  spotlights.  stereopticons,  etc.  Projection 
machines  repaired.  Catalog  H  free.  MO\aE  SUPPLY 
COMPANY.    Ltd.,    844    So.    Wabash    Ave.,  Chicago. 


BARGAINS  RECONDITIONED  ARCTIC  NU-AIR, 
Supreme,  American  Blowers,  noiseless  drives,  hy- 
draulic variable  speed  pulleys.  New  air  washers. 
Catalog  mailed.  SOUTHERN  FAN  CO.,  11  Elliott, 
Atlanta,  Ga. 


WISE  EXHIBITORS  KNOW  WHERE  TO  BUY 
those  good  guaranteed  rebuilt  Simplex  and  Powers 
projectors,  reflector  lamps,  rectifiers,  ilazda  equip- 
ment, sound  accessories,  parts,  supplies.  Qualitj-  bar- 
gains ahvavs.  Free  catalog.  Play  safe  with  MONARCH 
THEATRE  SUPPLY  CO.,  Memphis,  Tenn.  Estab- 
lished 25  years. 


FOR  SALE— $250  SYNCROFILM  HEADS,  $25:  $125 
Wright-DeCoster  speakers,  $30;  $56  Jensen  speakers, 
$25;  $10  Oxfords,  $4;  $175  Radiart  amplifiers,  $35;  $30 
exciter  supply,  $15;  $25  Pemberthy  cellar  drains,  $7.50; 
$175  electric  hand  saw,  $40;  $25  quarter  horse  motors, 
$10;  smaller  motors,  $4.00.  LEE  THEATRE,  Cuthbert, 
Ga. 


AT  BARGAIN  PRICES— RCA  SOUND  EQUIP - 
meut.  Simplex  projectors,  mechanisms  niazda  lamp- 
houses  H&C  HI  lamps  accessories.  CINEMA  SUPPLY 
CO.,  575  Eleventh  Ave..  New  York. 


PAIR  PEERLESS  REBUILT  LOW-INTENSITY 
lamps,  $190.,  like  new;  pair  Forest  30  ampere  rectifiers, 
with  4  bulbs,  $150;  2  Powers  6B  equipment,  fine  con- 
dition, complete,  $150;  rewinder  table,  metal,  S15;  metal 
stools,  S2  each.  CROWN,  311  West  44th  St.,  New 
York. 


NEW  ECUIE^MENT 


UPSETTING  THE  APPLE  CART— PRICES  NOSE 
dive— 14"  reels  2,000'  regularly  $1.50,  now  39c;  50 
ampere  Weston  meters  for  arcs,  rectifiers,  generators, 
regularly  $10.00,  now  S2.25;  sound  screens.  Beaded, 
diffusive  or  Ortho  Krome,  regularly  7Sc,  now  29c 
square  foot;  enclosed  rewinds,  approved  fireproof, 
regularly  $75,  now  $29.75.  Cash  with  order.  S.  O.  S., 
1600  Broadway,  New  York. 


CI^LISIiES  AND 
SUPPLIES 


SIGN  PAINTERS'  BRUSHES  AND  SUPPLIES. 
Write  for  FREE  catalog.  DICK  BLICK  COMPANY, 
Box  43,  Galesburg,  Ilhnois. 


GENEPAL 
ECDIPMENT 


■■WIDE  FIDELITY  AT  MY  THEATRE."  BOASTS 
Doctor  Baldwin,  Gillet,  Wisconsin.  ■'Entirely  satis- 
factorv."  Cinemaphone  w-ill  please  vou,  too.  S.  O.  S. 
CORP".,  1600  Broadway,  New  York. 


NOW  AVAILABLE;  POWERS  SEMI-PORTABLE 
sound  projectors  at  bargain  prices.  Simplex,  Holmes, 
Acme.  DeVry — bought  and  sold.  Large  selection  of 
sound  Westerns,  comedies,  cartoons  in  perfect  condi- 
tion. Big  list.  ZENITH  THEATRE  SUPPLY  CO., 
Inc.,  308  W.  44th  St.,  New  York. 


NORTH  DAKOTA  STATE  CHOOSES  SOS— CINE- 
maphone  Wide  Fidelity.  $179.70  up  complete'  Sound- 
heads, $59.50  up;  unified  control  amplifiers,  $39.50  up; 
trades  taken.    S.  O.  S.,  1600  Broadway,  New  York. 


SPECIAL!— ONLY  WHILE  THEY  LAST.  PAIR 
first  class  rebuilt  Peerless  low  intensity  lamps  with 
new  handy  30  ampere  rectifiers,  $375.  One  year  guar- 
antee. MONARCH  THEATRE  SUPPLY  CO., 
Memphis,  Tenn. 


NEW  REFLECTOR  ARC  LAMPS  OR  RECTI- 
fiers.  $49.50 — replace  inefficient  Mazdas,  old  fashioned 
straight  arcs.    S.  O.  S..  1600  Broadway,  New  York. 


SUPPLIES.  EQUIPMENT,  REPAIR  PARTS  FROM 
30Tc  to  40%  off!  Lists,  catalogs  free.  TROUT 
THEATRE  EQUIPMENT  CO.,  Enid,  Okla. 


PCSITICNS  WANTED 


THEATRE  MANAGER— EXPERIENCED— TOWNS 
five  to  thirty  thousand.  References.  Prefer  central 
or  southern  states.  Age  forty.  BOX  526,  MOTION 
PICTURE  HERALD. 


SOUND  PROJECTIONIST  —  EXPERIENCED, 
unmarried,  young,  will  go  anywhere.  BOX  517, 
MOTION  PICTURE  HERALD. 


EXPERIENCED  PROJECTIONIST  WANTS  Posi- 
tion in  Pacific  Coast  theatre.  M.  KLEINSMITH, 
Canby,  Ore. 


OPERATOR  —  PENNSYLVANIA  LICENSE- 
references— details  in  first  letter.  DAVID  BROOKS, 
2805  Cascade,  Erie,  Pa. 


YOUNG  SOUND  ENGINEER— PROJECTIONIST— 

now  employed — desire  connection  with  future.  BOX  529, 
MOTION  PICTURE  HERALD. 


ECUiPMENT 
EXCHANGE 


INCOME  TAXES  DUE?— WE  PAY  "SPOT"  FOR 
used  equipment — trades  taken,  bargains  galore.  S.  O.  S. 
CORP.,  1600  Broadway,  New  York. 


SCDND  E€UIPM£NT 


DISCONTINUED  MODELS  ALWAYS  CHEAPER— 
don't  be  misled — buy  original  genuine  latest  SOS 
Cinemaphone  soundheads,  only  from  S.  O.  S.,  1600 
Broadway,  New  York. 


PROFESSIONAL  TEST  LOOPS— COPYRIGHTED 
instructions,  9,000  cycle,  $1.50.  Buzz  and  chopper 
track,  $2.50.  Combination  of  both,  $3.00.  Vitally 
necessarj-  for  adjusting  soundheads.  S.  O.  S.,  160C 
Broadway,  New  York. 


THEATPES  WANTED 


LEASE  SMALL  THEATRE  ANYWHERE,  FULL 
particulars  immediately.  AUDITORIUM,  Limon, 
Colo. 


PPINTING  SEPVICE 


100  WINDOW  CARDS.  14  x  22,  3  COLORS,  $3.75; 
no  C.O.D.    BERLIN  PRINT,  Berlin,  Md. 


TPAINING  SCtiCCLS 


LE.\RN  MODERN  THEATRE  MANAGEMENT. 
Catalog  free.  THEATRE  MANAGERS  INSTITUTE, 
315  Washington  St.,  Elmira,  New  York. 


THEATPES  ECP 
SALE 


BEST  SMALL  TOWN  THEATRE  IN  MARYLAND. 
Terms  if  desired.  BOX  528,  MOTION  PICTURE 
HERALD. 


TECHNICAL 

Dccrs 


"RICHARDSON'S  HAND  BOOKS  OF  PROJEC- 
tion"  in  three  volumes.  Universally  accredited  as  the 
best  and  most  practical.  Aaron  Nadell's  "Projection 
Sound  Pictures."  Complete  information  on  sound 
equipment.  Both  text  books  complete  for  $12.80. 
QUIGLEY  BOOKSHOP,  1790  Broadway,  New  York. 


Day-after-Day 

EXCELLENCE 


EASTMAN  Super-Sensitive  ''Pan" 
Negative  has  played  a  part  in  pro- 
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EASTMAN  Super-Sensitive 
Panchromatic  Negative 


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II 


WITH       WHICH      IS      COMBINED      "THE  SHOWMAN" 


MARCH   9 .  1935 


qp 


REMODELING  THE  FRONT 

BEGINNING  A  NEW  SERIES 

WHAT  IS  MODERNISM? 

By  Robert  O.  Boiler 

SPRING  RENOVATING 

By  J.  T.  Knight.  Jr. 


In  2  Sections  —  Section  2 


THEATRE  SEATS 


STYLED  TO  PLEASE  PATRONS 


H  eywood  streamline  theatre  chairs  will 
put  new  life  and  decorative  sparkle  into  the  old  "house".  For  new  theatres,  they'll 
do  a  grand  job  of  styling  the  interior  decoration;  setting  it  apart  from  the  common- 
place seating  of  bygone  days.  These  new  swanky  chairs  are  built  to  take  all 
kinds  of  use  and  abuse  ...  to  wear  gracefully  through  the  years  without 
expensive  maintenance  costs.  The  metal  back 
edges  (either  chrome  plated  or  enameled) 
eliminate  the  old  bugaboos  of  chipped 
tops,  upholstery  cutting  through,  etc. 
The  new  Heywood  streamline  edge 
holds  in  the  upholstery  snugly 
and   trimly   and   creates  a 
swanky,  tailored  appearance. 


an 


ic  —  taa  — 


The  new  Heywood  streamline  chairs 
are  easy  to  tind  and  will  quicken 
traffic  all  over  the  house.  The  gleam- 
ing chromium  plated  edge  on  the 
back  furnishes  a  ready  eye  guide  to 
patrons  in  finding  their  seats  and  in 
moving  into  the  rows.  Thus,  there 
will  be  no  fumbling  around  in  the 
dark  ...  no  delays  in  the  aisle.  If 
you  haven't  yet  had  an  opportunity 
to  go  over  these  remarkable  new 
seats,  ask  your  nearest  H-W  Theatre 
Chair  sales  representative  to  demon- 
strate their  many  modern  advan- 
tages in  detail. 

Heywood  -  Wakefield 

General  Offices  174  Portland  Street 
BOSTON,  MASS. 

Sales  Offices  In  All  Principal  Cities 


Heywood -Wakefield  '~J.Lcdt&  <~>c 


catina 


1 


iviuan 


March  9,  1935 


Motion  Picture  Herald 


THEATRE  FRONTS 

AKD  Lobbies 

FORMICA 


Front  lobby,  ticket  booth 
and  all  prominent  sur- 
faces on  a  Chicago  the- 
ater covered  with  Formica. 


A 


Dearborn  Theater,  Chi- 
cago, modernized  with 
Formica  by  Pereira,  Sen- 
seny  &  Burdick,  architects. 


RCHITECTS  specializing  in 
the  modernization  of  theaters  have 
found  a  very  suitable  material  for 
their  purposes  in  Formica.  It  is 
handsome,  stands  wear  and  ex- 
posure, is  simply  and  inexpensively 
installed.  The  result  is  thoroughly 
modern  and  up-to-date. 

There  are  over  forty  colors,  and 
unlimited  possibilities  for  decora- 
tion are  made  available  by  the  fact 
that  metal  silhouettes  or  designs 
in  contrasting  colors  of  Formica 
may  be  pressed  into  the  Formica 
sheet. 

Formica  is  used  for  building 
fronts,  marquise  linings,  lobby 
walls,  box  office  panels  and  deal 
plates,  doors,  and  many  other  uses 
about  the  theater.  Before  you  mod- 
ernize get  the  facts. 

•  THE  FORMICA  INSULATION  COMPANY 
4654   Spring    Grove   Avenue.    Cincinnati,  Ohio 


FOR    BUILDING  PURPOSES 


3etteuhedtm 


March  9,  1935 
Vol.   I  18,  No.  10 


A  section  of  Motion  Picture  Herald  devoted  to  the  operation  . . .  design 
.  .  .  maintenance  .  .  .  and  equipment  of  the  motion  picture  theatre 


GEORGE  SCHUTZ,  Editor 


C.  B.  O'NEILL,  Advertising  Manager 


RAY  GALLO,  Eastern  Advertising  Manager 


GENERAL  FEATURES 

New  Theatres  from  Old :  The  Front   6 

Your  Spring  Cleaning  and  Paint  Job:  By  J.  T.  Knight,  Jr   12 

Maintenance  Tabs    13 

Modernism:  Its  Meaning  in  Practical  Remodeling:  By  Robert  O.  Boiler   14 

Ordinances:  Late  Court  Decisions:  By  Leo  T.  Parker   15 


DEPARTMENTS 

Modern  Projection    17 

Effect  of  A.  C.  Carbons  on  Screens   17 

F.  H.  Richardson's  Comment   18 

Planning  the  Theatre   28 


MISCELLANEOUS 

Editorials    5 

Corporation  Directors'  Duties:  By  M.  Marvin  Berber.  .   16 

Electrogram      26 

Equipment  AfJairs:  Equipment  News  and  Comment   27 

Index  to  Advertisers   33 


QUIGLEY    PUBLISHING    COMPANY.     17  9  0    BROADWAY,    NEW  YORK 

MARTIN  QUIGLEY,  Publisher  and  Edi+or-in-Chief  COLVIN  W.  BROWN,  Vice-Pres.  and  Gen.  Mgr 

CHICAGO:  407  South  Dearborn  Street  HOLLYWOOD:  Postal  Union  Life  BIdg. 

LONDON:  Remo  House.  310  Regent  Street,  W.I 
CABLE  ADDRESS:  Quigpubco  NEW  YORK  TEL.:  Circle  7-3100 

Better  Theatres  (with  which  is  incorporated  The  Showman)  is  published  every  fourth  week  as  Section  Two  of  Motion  Picture  Herald:  Terry  Ramsaye,  editor. 
Member  of  Audit  Bureau  of  Circulations.  All  editorial  and  general  business  correspondence  should  be  addressed  to  the  New  York  office.  All  contents 
copyrighted  1934  by  Quigley  Publishing  Company  and,  except  for  properly  accredited  quotations,  nothing  appearing  herein  may  be  reproduced  without 
written  permission.  Every  precaution  is  taken  to  ensure  the  safety  of  unsolicited  manuscripts  and  photographs  submitted,  but  the  publishers  herewith  deny 
all  responsibility  for  them  in  case  of  mutilation  or  loss.  Manager  Chicago  office,  E.  S.  Clifford.  Manager  Hollywood  Bureau,  Victor  M.  Shapiro.  London 
representative:   Bruce  Allan.    Other  Quigley   Publications:  Motion   Picture  Daily,  The  Motion  Picture  Almanac  (published  annually)  and  The  Chicagoan. 

[4] 


^etteahedtres 


MARCH    9.  1935 


Notes  on  Writers  and 
Articles  in  this  issue  will 
be  found  on  page  33. 


A  SERIOUS  SIDE  OF  THE  CONVENTION 

Whafever  the  intentions  of  those  who  arranged  the  MPTOA  convention 
in  New  Orleans,  the  gathering  was  not  totally  devoid  of  serious  achieve- 
ment. The  sincerity  of  Mr.  Robert  O.  Boiler,  who  canne  to  give  counsel 
on  remodeling;  of  Mr.  J.  T.  Knight,  Jr.,  who  spoke  in  behalf  of  the  theatre 
as  a  business  property  actually  related  to  net  profits;  and  of  Mr.  W.  C. 
Brown,  who  brought  new  ideas  concerning  theatre  lighting,  was  well 
rewarded,  we  were  able  to  observe,  by  an  appreciation  that  endured 
in  subsequent  comment  and  is  likely  to  be  enduring  still. 

It  was  Mr.  Homer  G.  Tasker,  president  of  the  Society  of  Motion  Picture 
Engineers,  who  supplied  the  argument  for  this  greater  attention  to  the 
planning  and  physical  operation  of  the  theatre.  We  quote  a  short 
passage: 

"As  we  approach  a  theatre  the  blaze  of  light  on  the  marquee  and  within 
the  lobby  at  once  fixes  our  attention  and  draws  us  into  the  house.  But 
what  is  the  blaze  of  light  except  many  carefully  selected  electric  lamps 
of  various  colors,  suitably  mounted,  and  Interconnected  in  such  a  way 
that  switches  and  flashers  can  create  attention  arresting  effects.  The 
installation  and  maintenance  of  this  lighting  equipment  is  an  entirely 
everyday  engineering  problem  of  a  simple  sort.  Passing  through  the 
lobby  we  see  posters  and  photographs,  all  made  by  technical  methods 
and  using  modern  equipment.  In  the  box  office  an  electrically  controlled 
ticket  vender  and  change  maker  are  other  examples  of  engineering  equip- 
ment. We  pass  into  the  theatre  and  are  either  attracted  or  repelled  by 
the  appearance  of  the  house  depending  upon  its  architectural  design  and 
the  engineering  skill  used  in  properly  lighting  the  theatre.  We  either 
stumble  down  the  aisle  and  search  In  vain  for  vacant  seats  in  a  too  dim 
theatre,  or  on  the  other  hand,  we  may  find  the  beauty  of  the  picture  on 
the  screen  reduced  by  excessive  or  incorrectly  distributed  house  lighting. 
Technical  problems  these,  but  of  major  importance  In  producing  the 
right  impression  on  the  audience." 

Earlier  in  his  paper,  which  was  read  in  his  absence  by  Mr.  hierbert  Griffin, 
Mr.  Tasker  said,  "If  I  stress  the  engineering  aspects  of  theatre  manage- 
ment unduly,  this  may  be  pardoned  because,  in  general,  such  engineering 
aspects  are  completely  forgotten."  Not  completely,  Mr.  Tasker.  To- 
day's motion  picture  and  its  public  permits  that  no  longer. 

IT'S  MOTION-PICTURE-ARCHITECTURE 

With  theatre  construction  again  assuming  substantial  proportions — the 
thought  In  mind  is  also  pertinent  to  remodeling — both  theatre  owner  and 
architect  do  well  to  consider  the  changes  that  have  come  Into  theatre 
design.  It  Is  a  change  In  point  of  view  as  well  as  a  change  In  method. 
The  many  specific  differences  between  the  theatre  and  all  other  types 
of  buildings  Is  more  clearly  observed  today.  To  what  extent,  therefore, 
is  an  architect  employed  to  design  a  motion  picture  theatre  really  capable 
of  doing  so?  However  competent  he  may  be  as  an  architect,  he  yet 
must  know  theatre  engineering,  and  know  It  in  its  present  terms.  If  he 
doesn't,  and  wishes  to  accept  the  commission  to  design  a  theatre,  he 
owes  It  to  his  client,  to  himself  and  to  his  profession,  to  consult  with 
an  architect  who  does  know. 


G.  S. 


[5] 


6  Better  Theatres  Section  March  9,  1935 

NEW  THEATRES  FROM  OLD:  THE  FRONT 

THE  FIRST  OF  A  SERIES  ON  REMODELING,  CONSIDERING  IN  SUCCESSIVE 
ISSUES:  FRONTS.  LOBBIES  AND  FOYERS.  THE  AUDITORIUM.  AND  LOUNGES 


THE  FRONT  of  your  thea- 
tre either  attracts  business  or  turns  it  away. 
If  it  is  commonplace  and  uninteresting  or 
out-of-date,  you  are  losing  the  benefit  you 
should  receive  from  it.  If  it  is  freakish  or 
bizarre,  it  does  not  command  the  respect  of 
the  public  that  is  one  of  a  theatre's  most 
valuable  assets.  If  it  shov^^s  cheap  design, 
shoddy  materials  and  poor  w^orkmanship  it 
is  a  handicap.  The  public  may  not  know 
or  care  anything  about  architecture,  but  it 
responds  to  it  just  the  same.  Also,  a  badly 
designed  and  badly  built  theatre  front  ages 
with  sickening  rapidity.  It  pays  to  engage 
a  good  architect  and  let  him  make  an  honest 
job,  using  inexpensive  materials  if  neces- 
sary, but  avoiding  cheap  pretense.  There  is 
such  a  wealth  of  good  new  materials  and 
methods  that  no  end  of  interesting  schemes 
can  be  worked  out.  The  older  materials 
are  being  used  in  new  ways  that  make  them 
as  up-to-date  as  tomorrow. 

Modern  design  is  an  acid  test  of  the  de- 
signer's ability.  It  used  to  be  that  men 
without  an  idea  in  their  heads  and  with 
only  a  superficial  knowledge  of  building 
materials  could  get  by  fairly  well.  That 
was  when  architecture  was  largely  a  mat- 
ter of  borrowed  columns  and  arches  and 
•ornament.  Grandpa  may  have  got  a  satis- 
fying sense  of  grandeur  out  of  a  cornice 
■copied  from  a  Greek  temple,  a  Roman  bath 
-or  an  Italian  palace,  even  if  the  sanded 
paint  did  peel  off  and  show  that  it  was  only 
a  galvanized  iron  imitation  instead  of  stone. 
But  the  up-and-coming  present  generation 
demands  something  fresh  and  snappy,  espe- 
cially in  theatre  design.    The  designer  has 


Two  recent  uses  of  established  materials. 
The  lefthand  view  is  of  the  Translux  the- 
atre in  Philadelphia,  showing  the  facade 
in  which  terra  cotta  is  used  in  four 
harmonizing  shades  with  neon  illumina- 
tion. Other  features  consist  in  carved 
glass  enclosing  electric  bulbs  and  a  neon 
sign  with  satin-finished  aluminum  back- 
ground. Thomas  Lamb  was  the  architect. 
The  other  view  is  of  the  Alba  theatre  in 
Chicago,  designed  by  Pereira,  Senseney 
&    Burdick.  The   walls   are   of  Formica. 


to  handle  masses,  planes,  textures  and  colors 
with  skill  and  freedom.  He  has  to  study 
the  old  and  new  materials  and  the  ways  in 
which  he  can  employ  them  most  effectively, 
and  economically.  Therefore,  those  in 
charge  of  theatres  should  be  informed  about 
materials,  methods  and  design  ideas.  They 
will  be  better  able  to  pick  a  designer  who 
has  "what  it  takes,"  and  be  able  to  co-op- 
erate with  him  in  working  out  the  design 
for  the  best  results. 

Advanced  ideas  in  theatre  fronts  range 
all  the  way  from  the  severely  simple  but 
effective  buff  brick  or  terra  cotta,  to  strik- 
ing combinations  of  aluminum,  glass  and 
colored  enameled  steel  with  bands  of  differ- 
ent-colored neon  tubes  and  illuminated 
signs  to  set  them  off.  The  outer  lobby 
with  the  ticket  booth  is  usually  so  open  to 
the  street  that  it  forms  part  of  the  theatre 
front  and  is  so  considered  here.  In  the 
following  discussion  of  materials  the  prices 
given  are  only  approximate  and  some  vary 
with  conditions. 

A  very  smart  front,  either  reserved  or 


gay,  according  to  the  design  treatment  and 
coloring,  can  be  made  easily  and  at  moder- 
ate cost  by  applying  porcelain  enameled 
metal  sheets  to  the  face  of  an  old  building 
— -or  of  a  new  one.  These  sheets  are  simply 
attached  with  screws  to  vertical  strips  of 
wood  fastened  to  the  masonry  wall  of  the 
building.  They  come  ready  to  put  on,  with 
the  edges  turned  so  as  to  form  lock  joints 
and  holes  punched  for  the  screws.  The 
screw  heads  in  the  edges  of  the  plate  are 
covered  when  the  adjoining  plate  is  sliooeH 
in  place.  Mastic  is  applied  in  the  joints  to 
insure  a  weatherproof  job,  in  addition  to 
the  special  locked-seam  construction. 

The  joints  may  be  emphasized  for  decor- 
ative effect  with  either  horizontal  or  ver- 
tical strips  of  aluminum  or  other  metal. 
This  material  is  also  furnished  shaped  to 
the  architect's  drawings  for  details,  such  as 
vertically  fluted  bands  and  other  shapes  re- 
quired for  finish.  These  formed  sections 
are  shaped  in  the  sheet  metal  before  the 
procelain  enamel  is  applied.  This  enamel 
is  a  vitreous  glaze  similar  to  that  on  enam- 
elad  ware  utensils  and  to  the  glaze  on  cera- 
mics. It  is  practically  a  colored,  opaque 
glass  melted  down  until  it  flows,  and  is 
caused  to  adhere  to  the  sheet  metal.  The 
glaze  is  fired  on  the  metal  at  a  high  tem- 
perature in  a  furnace  or  kiln. 

This  material  can  be  had  in  a  wide  range 
of  colors,  in  either  a  single  color  or  in  two 
or  more  colors  combined.  Special  designs 
can  be  made  in  different  colors.  The  cost 
is  about  60c  a  square  foot  for  flat  sheets 
finished  in  one  color  with  the  edges  formed 
for  the  lock  joints  and  the  screw  holes 


March  9,  1935 


Motion  Picture  Herald 


7 


FLUSH  PANEL:2  ROWS  OF  LAMPS      FLUSH  PANEL  3  ROWS  OF  LAMPS       CHANGEABLE  SILHOUETTE  SIGN         DOUBLf-WINDOW  ELEMENT- 

3  ROWS  OF  LAMPS 


CORNtR  PANtL  QUARTER  CYLINDER         PROJECTING  ELEMENT  (70°)       SHALLOW  PROJECTING  ELEMENT: 

2  ROWS  OF  LAMPS 


SQUARE  PROJECTING  ELEMEriT      DEEP  PROJECTING  ELEMENT  SQUARECOLUMN  CYLINDER 


Arrangements  of  lunninous  elennents  (this  group  of  diagrams  is  referred  to  on  pages  9  and  10  as  Figure  A). 


8 


Better  Theatres  Section 


March  9,  1935 


LUMmuj 

No. 

SPACING 

OF 
LAMPS 

(5) 

D/STANCe 

LAMPS70 

ClAff 
CO) 

EFficiem 

1 

1.9  D 

43% 

2 

1.9  D 

46% 

3 

CLOSE 

39% 

4 

/■SO 

ad  7/9 

49% 

I.SD 

0.335 

51% 

6 

1.  25 D 

0.278 

49% 

7 

1.5  D 

0.333 

57% 

6 

D 

0.335 

65% 

9 

1.5  D 

0.4  B 

54% 

10 

I.5D 

57% 

// 

/  5D 

76% 

12 

/.4D 

0.375 

63% 

13 

/■5D 

74% 

14 

/■/  D 

65% 

15 

/.4  D 

<S3% 

16 

1.4  D 

<37% 

Figure  B,  giving  illumina'I'ion  data  for 
luminous  elements  wherein  the  lamps  are 
of  flashed  opal  glass  having  a  trans- 
mission value  of  50%,  white  reflecting 
surfaces    a    reflection    value    of  75%. 


loo        xoo      300      400       5-00        600       700       Soo       900  1000 
S^qUARE  INCHES  OF  TRjUMSLUCeNT  MATEHiAL  PER.  LAMP 


1100 

Figure  C. 


COMPUTATIONS  FOR  LUMINOUS  ELEMENTS  IN  LIGHTING  PLAN 

1.  Select  the  desired  luminous  element  from  Figure  A  (page  7). 

2.  Select  from  Figure  B  (at  left)  the  lamping  data  for  this  element. 

3.  Determine  maximum  cavity  depth  of  cavity  available  and  use  spacing  formulas  to  suit  this 
depth.    Occasionally  one  row  of  lamps  is  sufficient;  usually  two  or  three  rows  are  preferable. 

4.  After  lamp  spacing  is  determined,  figure  area  in  square  inches  of  translucent  material  to  be 
lighted  with  single  lamp. 

5.  Determine  desired  brightness.  Unit  of  brightness  is  the  foot-lambert,  and  desirable  range 
usually  lies  between  50  and  150  foot-lamberts,  with  100  the  average.  Greater  brightness  is 
needed  for  smaller  elements,  for  areas  with  high  competing  brightness,  and  where  greater  at- 
tractiveness is  wanted. 

6.  With  lighted  area  per  lamp  determined  as  described  above  in  No.  4,  ^and  the  brightness 
selected  as  in  No.  5,  proper  lamp  size  can  be  readily  determined  from  Figure  C,  above. 


punched  ready  to  apply.  Formed  shapes 
vary  in  cost  according  to  the  design.  More 
than  one  color  on  a  sheet  or  shape  costs 
extra,  varying  with  the  design.  The  labor 
cost  for  applying  flat  sheets  to  the  wooden 
strips  on  a  wall  may  be  estimated  roughly 
at  about  20c  a  square  foot.  This  affords 
a  very  effective  means  of  transforming  an 
old  front.  {See  photograph,  De  Kalb  Ave- 
nue front,  Translux  theatre,  Brooklyn, 
N.  Y.) 

SEALED    JOINT  TILE 

A  method  of  facing  walls  that  makes 
possible  a  great  variety  of  interesting  and 
pleasing  effects  is  sealed  joint  steel  and 
glass  construction,  which  consists  of  glass 
tiles — either  translucent,  opaque,  plain, 
mottled  or  transparent,  colored  or  crystal 
clear — ^which  are  held  firmly  by  their 
grooved  edges  between  steel  purlins  (hori- 
zontal strips)  bolted  to  vertical  steel 
grounds  which  are  either  screwed  to  ver- 
tical wooden  strips  attached  to  the  masonry 
wall,  to  wooden  studs,  or  are  bolted  to 
vertical  structural  members  of  steel  frame 
construction.  The  glass  tiles  are  Y%  inch 
thick,  and  the  usual  size  is  6  inches  by  6 
inches.  The  purlins  are  spaced  to  take 
these  and  other  dimensions,  and  the  grounds 
are  spaced  either  18  inches  or  24  inches  on 


centers.  The  steel  furring — consisting  of 
these  purlins  and  grounds — is  light  but 
strong,  the  former  being  %  inch  by  inch 
with  beaded  spring  grip  on  the  edge,  and 
the  latter  1^  inch  by  inch.  In  setting, 
suction  mastic  is  applied  to  the  edges  of 
the  tile,  which  is  snapped  into  place  in  the 


The  Omaha  theatre,  Omaha,  Neb.  The 
lighting  scheme  features  flowing  streams 
of  colored  light,  reflecting  of  marquee 
soffit  lamps  against  stainless  steel,  and 
a  traveling   light  effect  to  box  office. 


spring  grip.  The  mastic  is  colored  to  mtach 
the  glass  and  the  line  of  metal  in  the 
joint  is  so  narrow  as  not  to  be  noticeable. 
The  effect  is  that  of  an  unbroken  surface 
of  glass  tiles.  Panels  or  bands  of  enameled 
sheet  metal  on  a  backing  of  insulating  board 
— formed  with  grooved  metal  edges  to  fit 
the  spring  grip — are  furnished  for  use  in 
place  of  the  glass  tile  where  desired.  They 
are  12  inches  deep  and  can  be  had  in 
lengths  up  to  10  feet,  or  possibly  more. 

Now  imagine  what  can  be  done  with 
this  system  of  construction  on  a  theatre 
front.  It  can  be  banded  horizontally  or 
paneled  in  glass  tiles  of  different  colors. 
Bands  or  panels  of  transparent  colored 
glass  or  of  translucent  glass  can  be  inserted 
with  electric  bulbs  or  neon  tubes  in  re- 
cesses in  back  of  them.  Cross  bands  of 
enameled  metal  can  be  introduced  where 
desired.  The  name  of  the  theatre  or  any 
other  design  can  be  executed  in  translucent 
vitreous  glazes  on  the  tiles,  a  portion  on 
each  title  so  that  the  design  is  complete 
when  they  are  set  in  place.  For  example, 
vermilion  letters  in  bold  flowing  script  can 
be  made  on  a  translucent  white  ground. 
The  cost  of  the  materials  for  sealed  joint 
glass  tile  construction  is  about  $1  a  square 
foot,  including  the  glass  tiles,  the  steel 
purlins,  steel  grounds  and  the  bolts  with 


March  9,  1935 


Motion  Picture  Herald 


LIGHTING  PLAN.  For  the  Town  theatre,  Los  Angeles,  Anson 
Boyd,  architect;  installation  by  Luminous  Structures.  Free- 
standing luminous  pylons  boldly  feature  the  theatre  name.  The 
marquee  is  entirely  luminous.  The  diagrams  show  arrange- 
ment of  luminous  elements.  The  pylons  enclose  lamps  placed 
against  a  white  reflecting  background  (see  Figure  A,  No.  II, 
on  page  7).  Lamps  concealed  within  the  strokes  of  the 
name  "Town"  flood  the  facade.  The  righthand  diagram 
shows  the  changeable  silhouette  letters  of  modern  style, 
which  afford  a  high  degree  of  legibility  and  diversity  of 
form  and  size  (see  Figure  A,  No.  5,  on  page  7). 


SKETCHES    AND    SPECIFICATIONS    BY  GENERAL 
ELECTRIC  LABORATORIES 


LIGHTING  PLAN.  For  the  Studio  theatre,  Los  Angeles,  S. 
Charles  Lee,  architect;  installation  by  Luminous  Structures. 
The  glass  tower  at  the  left  of  the  building  is,  in  effect,  a 
fountain  that  pours  a  stream  of  liquid  light  downward  over 
the  vertical  fins  and  along  the  attraction  letter  space.  The 
letters  in  the  name  are  of  the  new  type  having  troughs 
covered  with  flashed  opal  glass.  The  diagram  indicates 
facing  of  letters  with  flashed  opal  glass,  with  lamping  similar 
to  that  of  a  luminous  panel  (see  Figure  A,  No.  5,  on  page 
7),  employing  comparatively  few  lamps.  This  arrangement 
has  a  special  advantage  in  its  concealment  of  a  certain 
amount  of  lamp  outage. 


10 


Better  Theatres  Section 


March  9,  1935 


SKETCHES    AND    SPECIFICATIONS    BY  GENERAL 
ELECTRIC  LABORATORIES 


AMBER  LAMPS 


-GREEN  LAMPS 


AMBER  LAMPS  I 


LIGHTING  PLAN.  For  the  Los  Feliz  theatre,  Los  Angeles. 
S.  Charles  Lee,  architect;  installation  by  Luminous  Struc- 
tures. Luminous  tower  surmounting  marquee  represents  con- 
ventionalized -fountain  that  actually  overflows  with  colored 
light.  Silhouette  letters  are  featured  on  the  fountain  and 
again  on  the  luminous  attraction  signs  of  the  marquee.  The 
lefthand  diagram  shows  the  fountain  scheme.  The  hollow 
reflecting  cones  at  the  left  are  lighted  by  alternate  yellow 
and  green  lamps,  which  are  timed  to  flash  so  as  to  give 
the  effect  of  upward  flowing  motion,  terminating  in  a  colorful 
crest.  The  other  diagram  indicates  the  flashed  opal  luminous 
element  at  the  right  of  the  theatre  (see  Figure  A,  No.  4, 
on  page  7).  This  glows  with  color  while  an  effect  of 
downward  motion  is  produced  by  white  flashing  lamps.  The 
name  of  the  theatre  is  silhouetted  in  opaque  letters  against 
a  luminous  background. 


LIGHTING  PLAN.  For  the  Rialto  theatre,  Chicago,  Pereira, 
Senseney  &  Pereira,  architects.  In  this  plan  a  glowing  facade 
of  flashed  opal  glass  is  given  an  interesting  marbleized 
texture  by  a  random  arrangement  of  colored  lamps.  Flashing 
provides  a  smoothly  changing  play  of  light.  Changeable  at- 
traction letters  are  of  the  silhouette  type.  The  theatre  name 
appears  in  letters  of  the  double-silhouette  type.  The  diagram 
shows  the  double-silhouette  letters,  which  give  striking  effect 
by  juxtaposition  of  two  or  more  contrasting  colors.  A  play 
of  color  may  be  had  by  flashing,  or  better  still,  by  auto- 
matic dimming  with  the  sequence-circuit  type  of  control. 


March  9,  1935 

which  to  join  them.  The  framework  is 
easily  assembled  and  the  tiles  can  be  set 
rapidlj',  so  that  the  labor  cost  need  not  be 
high.  This  system  is  so  new  that  it  seems 
not  to  have  been  used  for  any  theatre  as 
yet,  but  its  practicability  has  been  demon- 
strated in  other  fields  of  construction. 

C  AT  A  L  I  N 

A  material  that  looks  like  glass;  that  is 
semi-opaque,  translucent,  mottled  or  crystal 
clear,  colored  or  not;  that  can  be  sawn  to 
any  shape  like  wood ;  that  is  not  fragile ; 
and  that  is  obtainable  in  colors  of  great 
purity  and  tranlucency,  is  catalin.  This  is 
a  product  of  modern  industrial  chemistry 
that  is  scientifically  known  as  a  phenolic 
resin.  Though  it  has  been  used  very  large- 
ly for  the  past  few  years  in  certain  lines 
of  manufacture,  it  has  just  come  into  the 
architectural  field.  There  are  already 
enough  important  installations  to  demon- 
strate its  worth. 

It  is  suitable  for  wall  paneling  in  the 
outer  lobby  and  for  the  facing  of  the 
ticket  booth  in  conjunction  with  strips 
of  aluminum  or  other  metal  over  the  joints, 
and  for  various  other  uses  on  the  theatre 
front.  For  this  purpose  the  y%  inch  thick- 
ness is  used,  and  the  cost  of  the  material 
is  about  $1.50  a  square  foot.  It  is  made 
in  sheets  up  to  30  inches  by  70  inches. 
The  same  thickness  is  suitable  for  the  fronts 
of  recessed  light  sources,  such  as  continu- 
ous bands  on  walls.  It  is  made  also  in 
square  bars  about  1^  inches  by  1%  inches 
with  a  round  hole  throughout  the  length, 
through  which  a  neon  tube  can  be  run. 
This  bar  costs  about  $2  a  running  foot. 
When  the  serai-opaque  orange  material  is 
used  with  the  red  neon  the  effect  is  very 
striking.  Such  bars  can  be  built  into  the 
architecture.  Letters  sawn  from  the  trans- 
parent ruby  red  material  %-inch  thickness, 
can  be  used  to  form  the  name  of  the  theatre 
over  the  entrance  in  a  modernization  for 
which  plans  have  been  drawn,  with  the 
letters  2  feet  high  and  backed  by  a  lighted 
recess  painted  white  inside.  A  good  color 
effect  would  be  had  also  by  daylight.  The 
%-inch  sheet  material  costs  about  $4  per 
square  foot. 

Designs  can  be  inlaid  in  different  colors 
cut  from  sheets  and  firmly  cemented  with 
the  same  substance  into  an  integral  sheet. 
A  new  line  of  changeable  attraction  letters 
has  just  been  brought  out,  made  from  this 
material.  There  are  countless  ways  in 
which  it  can  be  used  to  advantage  in  the- 
atre modernization. 

DEVELOPMENTS   IN   TERRA  COTTA 

Terra  cotta  in  slabs,  known  as  "ashlar" 
and  also  as  "wall  facing  units,"  has  greatly 
increased  the  adaptability  of  this  material 
to  theatre  modernization  and  there  are  a 
number  of  new  developments  in  this  form 
of  terra  cotta  now  obtainable  in  a  greater 
variety  of  sizes  and  finishes  and  in  almost 
any  desired  color.  These  units,  in  con- 
junction with  detail  moulded  in  designs 
and  in  whatever  special  shapes  may  be  re- 
quired by  the  architect,  afford  a  flexible 
and  colorful  medium  of  expression.  The 
colors  range  from  soft  neutral  tints  to  fine 
deep   blue,    and    vibrant   vermilion  red, 


through  such  pleasant  shades  as  jade, 
tourquoise  and  soft,  old  blue.  Then,  there 
are  the  metallic  finishes,  including  gold,  for 
enrichment. 

OPAQUE    STRUCTURAL  GLASS 

Vitrolite  opaque  structural  glass  in  solid 
color,  or  in  the  agate  effect,  is  excellent 
as  a  facing  material  on  the  exterior  of  the 
theatre,  either  plain  or  with  a  design  in 
sand-blast  carving  to  which  may  be  added 
color  and  metals.  It  is  also  suited  for  cov- 
ering the  walls  of  the  outer  lobby  and  fac- 
ing the  ticket  booth.  This  material  was 
described  in  detail  in  recent  issues  of 
Better  Theatres. 

Carrara  opaque  structural  glass  has  also 
been  used  in  a  very  interesting  way  in  fac- 
ing the  lower  wall  of  a  building,  narrow 
strips  of  bright  nickel-chrome  steel  being 
inserted  in  the  horizontal  joints  between 
the  slabs  of  black  glass  for  decorative  effect. 
This  is  only  one  of  the  many  interesting 
possibilities  of  this  material. 

MOULDED    GLASS  UNITS 

Glass  walls  can  be  built  from  hollow 
glass  blocks  laid  up  like  brick  and  from 
glass  squares  in  pre-cast  slabs  with  rein- 
forcing. Some  square  units  have  an  en- 
closed air  space  and  others  a  vacuum  for 
insulation  against  the  passage  of  heat. 
There  are  hollow  moulded  sections  in  back 
of  which  lamp  bulbs  or  neon  tubes  can  be 


A  special  design  by  Ben  Schlanger,  New 
York  architect,  fo  illustrate  the  use  of  a 
variety  of  materials  in  a  thoroughly  modern 
architectural  style.  The  marquee  is  triangu- 
lar in  plan,  coming  to  a  rounded  point  in 
the  front.  The  angle  of  the  changeable 
signs  is  determined  so  as  to  make  reading 
easy.  The  upper  facade  is  not  obstructed 
by  this  marquee  plan.  The  design  indicates 
treatment  of  side  edges  with  metal  shafts 
having  concealed  neon  lights,  light  coming 
from  the  sides  of  the  center  mass.  The 
background  of  the  name  can  be  glass  or 
catalin.  The  louvres  above  the  name  are  of 
metal  with  concealed  lights.  The  two  ver- 
ticals on  the  center  mass  are  neon  tubes. 
Facing  of  the  large  surfaces  can  be  in  terra 
cotta,  Formica,  glass  or  metal,  and  if  cost 
is  the  primary  consideration,  stucco  on 
metal  lath,  with  smooth  finish,  can  be  used. 


enclosed  for  illuminated  door  trim,  etc. 
SYNTHETIC  DAYLIGHT 

Glass  box-like  lighting  units  on  the  ceil- 
ing of  the  ticket  lobby  or  above  translucent 
glass  panels  under  the  marquee  can  be  made 
to  pour  a  flood  of  "synthetic  daylight" 
by  combining  a  new  type  of  mercury  vapor 
tube  with  incandescent  lamps. 

Sign  tubes  are  being  very  effectively  in- 
corporated  for  decorative  effect,  run  in 
channels  in  the  face  of  the  building,  also 
to  reflect  light  into  niches,  or  set  with 
terminals  in  wall. — Eugene  Clute. 


12  Better  Theatres  Section  March  9,  1935 

YOUR  SPRING  CLEANING  AND  PAINT  JOB 

By  J.  T.  KNIGHT,  JR. 


Timely  counsel  on 
an  important  sea- 
sonal routine  in 
which  wrong  methods 
and  materials  can 
prove     so  costly 


WITH     THE     COMING  of 

spring  every  theatre  manager  must  consider 
"spring  cleaning."  The  depression  is  over 
except  for  those  who  still  like  to  repeat 
over  and  over  again  their  hard-luck  stories. 
The  theatres  will  be  expected  to  put  on 
new  fronts,  paint  lobbies  and  generally 
create  a  fresh,  new,  clean  appearance  this 
year.  Probably  no  money  spent  on  the- 
atres will  be  so  in  line  with  the  times  and 
good  showmanship,  or  will  show  to  better 
advantage,  dollar  for  dollar,  as  that  spent 
on  painting  this  spring.  In  fact,  outside 
of  substantial  remodeling,  there  is  no  other 
single  way  by  which  the  appearance  of 
the  theatre  can  be  so  improved,  with  its 
life  prolonged,  than  by  a  real  first-class, 
tasteful  and  adequate  paint  job. 

Many  theatre  owners  and  managers  have 
only  a  very  general  knowledge  of  paint, 
and  the  thoughts  presented  here  are  de- 
signed to  aid  in  planning  the  painting  pro- 
gram so  that  they  will  get  the  most  out 
of  every  dollar  spent.  This  is  not  intended 
as  a  technical  paper  on  paints  or  painting, 
but  as  an  outline  to  help  managers  to 
understand  better  the  theatre  painting 
problems.  Only  by  having  as  much  infor- 
mation as  possible  before  you  start  the 
spring  painting,  can  mistakes  be  avoided. 

During  the  past  four  years  the  necessary 
painting  of  theatres  inside  and  outside  has 
been  neglected.  We  have  only  general 
conditions  to  blame  for  this.  But  this 
spring  we  come  face  to  face  with  a  real 
problem,  because  conditions  are  such  that 
something  must  be  done.  When  spending 
money  for  painting,  consideration  should 
be  given  to  the  technical  side  of  paints 
and  painting  if  a  dollar's  worth  of  service 
is  to  be  received  for  each  dollar  spent. 
No  attempt  will  be  made  here  to  discuss 
the  artistic  effects  or  the  color  schemes,  as 
that  depends  upon  the  individual  taste  of 
the  owner,  manager  or  the  decorator  em- 
ployed on  the  job.  But  as  a  caution  only: 
If  the  particular  job  is  intended  to  be 
decorative,  it  is  poor  economy  not  to  con- 
sult a  real  decorator  and  have  him  lay 
out  the  whole  scheme  of  color  and  design, 
according  to  your  own  preferences.  Not 


more  than  about  5%  of  the  men  who  work 
as  painters  have  any  idea  of  color  com- 
binations, and  not  more  than  20%  of  the 
painters  can  mix  and  match  colors. 

The  use  of  paint  is  of  great  antiquity. 
The  date  when  paint  was  first  used  has 
not  been  established.  Undoubtedly  it  was 
first  used  as  a  means  of  bodily  adornment, 
and  later  for  the  painting  of  symbols,  and 
then  for  general  decorative  purposes.  It 
did  not  come  into  general  use  as  a  pre- 
servative until  many  centuries  later.  As 
a  protective  coating  for  wood  and  metal 
it  serves  its  primary  purpose  today.  It  is 
in  this  primary  use  that — from  the  main- 
tenance point  of  view — it  is  of  importance 
in  theatre  operation,  besides  being  highly 
useful  in  decoration. 

WHAT  PAINT 
IS    AND  DOES 

IN  GENERAL,  paint  is  a 
liquid  containing  in  suspension  a  solid  col- 
oring material  referred  to  as  a  pigment ; 
the  liquid  which  sustains  the  pigment  is 
called  the  vehicle. 

PIGMENTS 

Pigments  are  very  finely  divided :  in- 
soluble, powder,  in  white  and  other  colors. 
Many  pigments  are  obtained  from  natural 
products,  while  others  in  these  days  are 
manufactured  by  chemical  processes.  Often 
we  hear  a  paint  salesman  or  a  painter 
speak  of  a  paint  having  "good  body."  The 
body  of  a  paint  to  a  large  extent  deter- 
mines its  covering  capacity.  The  body  is 
dependent  upon  the  amount,  nature  and 
fineness  of  the  pigment  contained  in  the 
paint.  The  finer  the  pigment  (from  the 
standpoint  of  the  sizes  of  the  particles  and 
hence  the  grinding)  the  greater  the  body 
and  the  covering  power  of  the  paint.  The 
durability  of  the  paint  is  mainly  dependent 
upon  the  vehicle,  and  that  phase  will  be 
discussed  a  little  later  in  this  article. 

Pigments  which  are  commonly  used  in 
paints  and  with  which  some  theatre  men 
are  more  or  less  familiar  are : 

White  pigments:  white  lead,  zinc  oxide, 
titanium  white,  antimony  oxide,  lithopone 
and  sulphate  of  lead. 

Yellow  pigments:  chrome  yellow,  zinc 
chrome,  yellow  ochre,  raw  sienna. 

Blue  pigments :  ultramarine,  Prussian 
blue,  Chinese  blue,  cobalt  blue. 

Green  pigments:  chrome  oxide  green, 
emerald  green,  verdigris. 

Red  pigments:  red  lead,  Persian  red,  ver- 
milion, Venetian  red. 

Brown  pigments:  Vandyke  brown,  sepia, 
umber,  burnt  sienna. 

Black  pigments:  carbon  black  (lamp 
black),  graphite. 

This  list  does  not  begin  to  include  all 


the  various  pigments,  but  only  those  fre- 
quently met  with.  They  can  be  purchased 
in  either  the  dry  or  powdered  form  or 
mixed  in  oil,  which  is  a  paste. 

THE  VEHICLE 

The  paint  vehicle  is  the  liquid  portion 
which  acts  as  a  binder  for  the  pigment. 
The  best  known  vehicle  is  raw  linseed  oil, 
or  a  mixture  of  raw  and  boiled  linseed  with 
a  dryer  and  a  portion  of  turpentine.  The 
dryer  is  added  to  accelerate  the  drying 
of  the  paint,  and  the  turpentine  is  to  make 
the  paint  more  fluid  and  facilitates  the 
working  of  the  paint  with  the  brush.  Some 
of  the  cheaper  paints  substitute  for  turpen- 
tine a  product  made  from  petroleum  dis- 
tillation for  a  thinning  agent.  Most  of  the 
dryers  used  are  solutions  of  salts  of  lead, 
manganese  and  other  minerals. 

PAINT  QUALITY 

A  paint  of  satisfactory  quality  should  be 
(1)  easily  applied,  (2)  cover  the  surface 
well,  and  (3)  be  opaque.  The  durability  of 
the  paint  is  mainly  dependent  upon  the  oil 
vehicle  in  the  paint,  therefore  the  oils  used 
should  be  pure  and  of  the  highest  quality. 
The  oil  in  combination  with  the  finest 
pigments  determines  the  life  of  the  paint ; 
one  reinforces  the  other. 

Ordinary  or  basic  paints  usually  dry  with 
a  glossy  surface ;  however,  they  can  be 
made  to  dry  with  a  flat  finish.  This  is 
accomplished  by  decreasing  the  proportion 
of  oil  and  increasing  the  amount  of  tur- 
pentine and  dryer.  The  high  gloss  paints 
naturally  have  better  wearing  qualities 
than  the  flat  paints. 

In  recent  years  there  have  been  some 
very  fine  paints  made,  particularly  from 
the  standpoint  of  durability,  in  which  China 
wood  oil  supplants  the  linseed  oil.  China 
wood  oil  is  often  called  Tung  oil.  Many 
cheaper  grades  of  paint  are  cheaper  be- 
cause they  are  made  with  inferior  oils : 
mineral  oil,  rosin  oils,  or  soft  rosin  varnish 
mediums.  The  use  of  these  second-rate 
vehicles  produces  paint  which  will  deteri- 
orate rapidly  on  exposure,  chipping  easily 
and  frequently  flaking  off  quite  soon. 

The  best  protection  you  can  have  is  to 
buy  paints  from  a  reputable  dealer  and 
insist  upon  products  of  outstanding  manu- 
facturers. Cheap  paints  generally  have 
less  coverage  per  gallon  and  last  only  a 
few  months  in  really  first-class  condition. 
Frequently  the  color  of  paint  changes  after 
a  few  months'  exposure — this  also  is  an 
indication  of  paint  made  from  poor  quality 
pigments. 

PROTECTIVE  ACTION 

The  protective  and  anti-corrosive  prop- 
erties of  paint  varies  according  to  ingre- 


March  9,  1935 


Motion  Picture  Herald 


13 


Title  and  text  copyrighted   1934.     Rcproiluctlnii  of  any  part  without  permission  is  expressly  forbidden 


FLOOR  CLEANERS:  The  non-scouring 
types  of  nnarble  floor  cleaners  are  not 
recommended  and  frequently  do  great 
damage  to  the  floor.  The  bad  effects 
take  place  gradually  over  a  long  period 
of  time  so  that  when  the  effects  of  the 
cleaners  are  discovered  it  is  too  late. 
Such  cleaners  are  either  of  a  soap  base 
or  an  alkaline  base.  The  soap  base 
cleaners  are  generally  safe,  but  often 
produce  slippery  or  discolored  floors. 
In  selecting  the  right  cleaner  for  a  fine 
floor  price  can  not  be  the  final  con- 
trolling consideration. 

WATER  TREATMENT:  Many  questions 
have  been  asked  about  water  treatment 
for  boiler  and  air-washer  waters.  Yes, 
there  are  treatments  for  water  which 
increase  efficiency,  reduce  maintenance 
and  practically  eliminate  pitting  and 
scale.  Such  treatment  can  only  be  pre- 
scribed after  an  analysis  of  the  water 
by  a  capable  and  responsible  engineer 
or  laboratory,  then  they  will  lay  out  the 
plan  of  treatment.  There  is  no  one 
compound,  either  solid  or  liquid,  that 
is  a  solution  to  all  scale,  pitting,  rust 
or  corrosion  problems.  Water  treat- 
ment of  the  proper  kind  is  an  econ- 
omical procedure  and  should  receive 
consideration. 

VERMIN:  When  treating  seats  in  a  thea- 
tre for  vermin,  especially  bedbugs,  un- 
screw the  front  screws  of  the  bottom 
board  of  the  seat  with  a  screw-driver. 
Pry  open  sufficiently  to  inject  the  fluid 
or  powder  between  the  bottom  board 
and  the  seat.  This  is  Important.  Of  all 
the  possible  locations  In  a  theatre  chair 
the  front  edge  between  the  bottom 
board  and  the  seat  is  where  vermin  most 
frequently  settle.  There  are  several 
types  of  syringe  sprays  on  the  market 
that  materially  facilitate  this  work. 


INSPECT  PLASTER:  Examine  the  plas- 
ter work  In  the  theatre.  Inspect  the  ceil- 
ing from  above  and  below.  From  above 
the  false  ceiling  one  can  see  whether 
the  nodules  or  ridges  of  plaster  really 
have  a  grip  on  the  wood  or  metal  lath. 
From  below,  with  the  aid  of  a  good 
light,  cracks  can  be  detected.  All 
cracks  indicate  some  stress  or  strain. 
It  is  worth  while  watching  them,  noting 
the  development  and  progress  of  cracks, 
whether  they  occur  in  plaster  ceilings, 
side  walls,  floor  or  exterior  walls.  They 
indicate  that  something  is  taking  place 
and  the  condition  might  become  serious 
even  overnight. 

OIL  FLOOR  PAINT:  Oil  paints  and 
enamels  containing  certain  vegetable  or 
organic  oils  are  not  suitable  for  paint- 
ing floors,  especially  theatre  floors. 
Such  paints  continue  to  oxidize  and 
decompose  from  the  moment  they  are 
applied,  and  the  deterioration  is  rapid. 
Oils  in  such  paints  are  affected  by  heat, 
and  liquids  as  mild  as  soap  and  water 
will  attack  the  surfaces,  while  the  scrap- 
ing of  feet  over  them  is  absolutely 
ruinous. 

HANGINGS:  Anything  that  is  hung 
from  the  celling  or  wall  or  from  any- 
thing overhead  Is  a  potential  danger  to 
someone.  Consequently  heavy  pictures, 
large  mirrors,  llgnting  fixtures,  plaster 
ornaments,  horizontally  hung  ventilating 
grilles,  and  spotlights  for  lobby  or 
foyer  display  are  dangers.  Check  care- 
fully everything  that  hangs  in  the  thea- 
tre, hieavy  lighting  fixtures  that  are 
tied  off  with  rope  or  cable  are  not  safe. 
They  should  be  equipped  with  some 
sort  of  eyebolf  so  that  they  can  be 
supported  on  an  iron  rod  run  through 
It  and  resting  on  adjoining  beams  or 
framework  above  the  ceiling. 


dients  and  the  composition  of  the  paint. 
Paints  having  as  their  base  either  a  good 
quality  of  white  lead  or  zinc  oxide,  are 
usually  extremely  durable  and  quite  satis- 
factory. Paints  containing  either  a  red 
lead  or  graphite  base  are  most  satisfactory 
for  the  protection  of  exposed  iron  or  metal 
from  the  corrosive  actign  of  the  elements ; 
however,  exposed  metal  work  is  frequently 
painted  with  a  bituminous  base  paint.  Such 
paints  recommend  themselves  because  of 
their  cheapness,  but  they  have  excellent 
anti-corrosive  qualities  if  the  actual  job  of 
painting  is  carefully  and  well  done. 

Bituminous  paints  have  as  a  vehicle  or 
solvent,  kerosene  or  naphtha.  These  usually 
come  in  black,  but  can  be  had  in  very 
dark  shades  in  other  colors,  such  as  red 
or  green. 

For  emphasis :  Red  lead  mixed  with  lin- 
seed oil  is  the  safest  protection  for  iron 
work.  As  red  lead  must  be  followed 
usually  with  a  second  coat  of  darker  col- 
ored paint,  it  naturally  is  more  expensive. 
Exposed  iron  work  treated  with  red  lead 
and  a  second  coat,  will  outlast  the  one-coat 
asphaltum  paint  job  about  three  to  one. 

VARNISH.  LACQUER 
AND  ENAMEL 

THE  ENAMELS  which  are 
on  the  market  today  are  made  by  grinding 
high-grade  pigments  in  a  varnish  medium 
or  vehicle.  Consequently  their  superior 
qualities  depend  largely  upon  the  quality 
and  type  of  varnish  used.  There  are  many 
brands  of  so-called  quick-drying  enamels 
on  the  market.  It  is  the  writer's  opinion 
that  these  quick-drying  enamels  are  made 
of  inferior  varnish,  as  they  become  very 
brittle  in  drying  and  should  never  be  used 
on  anything  like  box  offices  or  frames 
where  they  are  exposed  to  the  weather. 
They  can  be  used  for  other  interior  work, 
but  it  is  well  to  keep  in  mind  that  in  ob- 
taining the  quick-drying  feature  some  of  the 
durable  quality  that  recommends  enamel  is 
sacrificed.  The  very  best  grades  of  enamel 
finishes  require  from  twelve  to  eighteen 
hours  to  dry. 

VARNISH 

Varnish  has  been  in  existence  for  many 
centuries ;  it  is  not  a  product  of  this  indus- 
trial age.  The  ancient  Egyptians  knew 
how  to  convert  certain  resins  into  varnish. 
Mummy  cases  on  display  in  several  mu- 
seums show  varnished  surfaces  in  a  sur- 
prisingly good  state  of  preservation  after 
so  many  centuries.  However,  resin  varnish 
with  linseed  oil,  turpentine  and  litharge 
as  a  dryer,  are  only  about  two  centuries 
old.  These  are  the  ingredients  of  varnish 
as  we  know  it  today.  On  application, 
the  turpentine  evaporates  first,  leaving  a 
soft  oil-resin  film;  subsequently  the  oil 
absorbs  oxygen  from  the  air — oxidizes,  as 
it  is  called — and  the  finish  becomes  hard 
and  very  durable. 

The  resin  used  in  the  finest  varnishes 
is  really  the  fossilized  gums  of  ancient 
trees.  Time  has  gradualy  changed  the 
original  soft  gums  to  hard,  brittle,  lustrous 
resin.  The  grade  of  resin  gum  establishes 
ultimately  the  final  grade  or  quality  of  the 


resulting  varnish  manufactured.  Some  are 
especially  adaptable  to  furniture,  floors, 
wood  trim,  boats,  etc.  Don't  just  buy  any 
varnish,  but  buy  the  grade  and  quality 
that  is  right  for  the  work  at  hand. 

SHELLAC 

Shellac  is  really  a  form  or  type  of 
varnish.  It  is  produced  from  a  gum,  but 
this  gum  is  different  from  other  natural 
resin  gums  in  that  it  is  produced  by  in- 
sects.    Certain  insects  attach  themselves 


to  trees  of  the  acacia  group  for  purposes  of 
feeding.  These  insects  produce  a  scaly 
covering  or  coating  of  amber-like  material. 
It  is  this  amber-like  material,  called  lac, 
from  which  shellac  is  made.  Alcohol  is 
generally  the  solvent  or  vehicle  for  shellac. 
Shellac  is  not  a  durable  finish;  frequently 
it  is  used  as  a  filler  for  raw  or  new  wood 
surfaces.  It  is  unsatisfactory  as  a  finish 
about  a  theatre  because  it  hasn't  any  dura- 
ble qualities,  and  what  is  worse,  it  becomes 
(Continued  on  page  30) 


14 


Better  Theatres  Section 


March  9,  1935 


MODERNISM: 
ITS  MEANING 
IN  PRACTICAL 
REMODELING 


A  -facade  design  by  the  author  for  the  Rialto  in  Colorado  Springs. 


What  is  modern  archi- 
tecture, its  falsities, 
its  values?  An  answer 
for  those  who  want 
to  bring  their  the- 
atres up-to-date 


By  ROBERT  O.  BOLLER 


THIS  IS  NOT  a  brief  for 
the  so-called  modern  style  of  architecture. 
At  the  risk  of  being  held  old  fashioned, 
out-of-date,  and  slightly  stubborn,  I  want 
to  analyze  quietly  and  dispassionately,  in- 
sofar as  it  affects  the  motion  picture  the- 
atre of  today,  the  wave  of  hysteria  that  is 
sweeping  over  these  United  States  con- 
cerning this  partially  imported  fashion  in 


building  lines  and  designs  variously  known 
as  "moderne,"  "the  international  style," 
"organic  architecture,"  and  by  other  aliases, 
under  which  this  fad  (if  I  may  call  it  so) 
is  passing.  For  the  purpose  of  distinguish- 
ing the  new  type  of  design  from  adjectives 
indicating  up-to-date,  progressive,  or  recent 
developments,  we  will,  for  convenience 
sake,  adopt  the  term  moderne  when  speak- 
ing of  the  style  under  discussion. 

Early  attempts  to  evolve  a  new  archi- 
tecture in  keeping  with  the  industrial  and 
mechanical  age  in  which  we  now  live  were 
first  made  in  Germany,  Holland,  and 
France  with  most  noteworthy  results. 
There  was  some  "half  modern"  work  in 
Austria  and  Italy,  and  Russia  also  contrib- 
uted her  bit — in  fact,  the  style  did  not 
spring  from  a  single  source,  but  came  into 
being  generally  about  the  same  time. 

In  America,  Richardson  in  the  70's  and 
80's,  introduced  the  Romanesque,  which  in 
some  of  its  plainer  designs  was  a  simplified 
architecture  using  direct  expression  of 
structure.  Louis  Sullivan,  of  Chicago,  in 
the  80's  and  90's,  created  the  SuUivanesque 
style,  which  he  used  in  the  original  Gar- 
rick  theatre  of  that  city.    This  was  an- 


other step  away  from  the  older  custom  of 
superimposing  one  classic  order  over  an- 
other. 

Frank  Lloyd  Wright,  an  internationally 
known  architect  of  our  own  day,  did 
pioneer  work  in  this  field  many  years  ago, 
and  continues  to  present  startling  innova- 
tions which  have  been  largely  unappreciated 
by  his  own  countrymen,  but  which  have 
found  increasing  favor  abroad.  Bertram 
Grosvenor  Goodhue,  before  his  death,  did 
remarkably  good  work  with  mass  and  sim- 
ple lines.  Other  less  known  designers  have 
played  their  part  in  the  onward  march  of 
a  new  and  modern  architecture. 

From  this  hasty  review  of  its  history, 
it  is  evident  that  the  roots  of  moderne  are 
found  far  back  in  architectural  history,  but 
the  new  style  has  pushed  itself  into  public 
notice  and  favor  most  rapidly  since  the 
World  war. 

AFTER    THE  WAR 

In  Europe,  following  the  war,  there 
was  a  very  real  and  urgent  reason  for  the 
birth  of  a  modern  design  stressing  econ- 
omy and  simplicity  in  building  construc- 
tion. The  military  upheaval  had  bank- 
rupted more  than  one  country,  and  fac- 
tories, large  scale  housing  projects  for 
workers,  and  homes  for  the  well-to-do 
which  were  built  immeditely  after  the 
world  conflict  had  to  be  planned  to  meet 
the  appropriation  of  a  comparatively  empty 
purse.  European  designers  made  the  ad- 
justment easily,  it  would  appear;  what  I 
like  to  term  "Avorking  class  architecture" 
became  their  model,  and  Functionalism 
their  god.  To  these  architects,  utility 
meant  beauty,  and  the  old  forms  and  de- 
signs were  impatiently  swept  away  as  relics 
of  a  past  dominated  by  an  arrogant  aris- 
tocracy. 

America,  always  too  eager  to  grasp  at 
anything  with  an  imported  label  or  flavor, 
tried  the  new  design  in  her  skyscraper,  and 
found  that  the  long  vertical  lines  of  one 
type  of  moderne  blended  well  with  the 
requirements  of  that  class  of  building. 
Our  factories,  built  with  an  eye  for  the 
maximum  possibilities  of  air,  light,  and  ef- 
ficiency, to  their  great  surprise  found  them- 
(Continued  on  page  34) 


March  P,  1935 


Motion  Picture  Herald 


15 


ORDINANCES:  LATE  COURT  DECISIONS 


By  LEO  T.  PARKER 


Recent  cases  involv- 
ing municipal  au- 
thority and  other 
points  of  law,  re- 
viewed and  analyzed 
for    theatre  operators 


AN    ORDINANCE    is  Void 

which  requires  non-resident  theatre  or 
traveling  shows  to  pay  higher  license  fees 
for  the  same  privilege  as  may  be  accorded 
proprietors  located  in  the  city. 

CASE 

For  instance,  in  Hamilton  v.  Collins 
(154  So.  201,  Quincy,  Fla.),  it  was  dis- 
closed that  a  city  ordinance  was  enacted 
which  provides  that  a  license  fee  of  $10 
annually  shall  be  paid  by  all  who  main- 
tain an  established  place  of  business  in  the 
city.  The  law,  also,  specified  that  the 
license  fee  for  the  same  privilege  shall  be 
$50  annually  for  all  who  do  not  maintain 
a  place  of  business  in  the  city. 

It  was  contended  that  the  different 
license  fees  for  these  different  classifica- 
tions is  justified,  because  a  proprietor  who 
has  an  established  place  of  business  in  the 
city  is  required  to  pay  other  taxes,  such  as 
ad  valorem  tax  and  other  local  taxes, 
whereas  persons  who  travel  do  not  pay  these 
kind  of  taxes.  However,  the  higher  court 
held  the  law  void,  and  said : 

DECISION 

"Here  the  classification  is  not  based  on 
the  method  of  transacting  the  business,  but 
is  based  merely  upon  the  fact  that  one 
may  have  an  established  place  of  business 
in  the  municipality  while  the  other  has 
not.  They  may  both  under  the  statute 
adopt  identical  methods  and  one  will  be 
required  to  pay  $10  license  tax  and  the 
other  a  $50  license  tax.  We  can  find 
no  reasonable  basis  for  the  discrimination 
and,  therefore,  hold  the  ordinance  invalid." 

STATE  LAW 

SHOULD  AUTHORIZE 

ANY   ORDINANCE  is  Void 

unless  a  state  law  clearly  authorizes  the 
municipality  to  pass  the  ordinance.  So 
held  a  higher  court  in  the  recently  de- 
cided case  of  Lynch  (167  Atl.  664,  Long 
Branch,  N.  J.). 

CASE 

Here  it  was  disclosed  that  a  city  passed 
an  ordinance  which  provides  that  it  shall 


be  unlawful  for  any  person  or  firm  to  en- 
gage in  or  carry  on  any  business,  trade  or 
calling,  etc.,  without  paying  a  specified 
license  fee. 

Suit  was  filed  on  the  contention  that  the 
law  was  void,  because  its  passage  was  not 
specifically  authorized  by  a  state  law.  On 
the  other  hand,  it  was  contended  that  a 
state  law  which  authorized  municipalities 
to  regulate  its  government  and  assess  taxes 
for  revenue  should  be  broadly  construed 
to  include  a  right  to  assess  licenses.  How- 
ever, the  court  indicated  invalidity  of  the 
ordinance,  saying 

DECISION 

"The  Legislature  has  delegated  to  the 
municipalities  not  only  the  power  to  regu- 
late, but  also  the  power  to  tax  for  revenue. 
Both  powers  may  be  unitedly  exercised 
.  .  .  nor  would  the  requirement  of  a 
license  for  that  purpose  be  a  valid  exercise 
of  power.  The  statute  vests  no  such  au- 
thority in  the  municipality.  .  .  .  The 
meaning  of  general  words  must  be  re- 
stricted whenever  it  is  found  necessary 
to  carry  out  the  legislative  intention.  The 
reason  and  spirit  of  the  statute  controls 
in  its  interpretation.  It  is  not  to  be  pre- 
sumed that  the  Legislature  intended  to  per- 
mit the  imposition  of  a  tax  for  revenue  by 
every  municipality  into  which  the  business 
extends." 

DUTY    TO  KEEP 
SI  DEWALKS  SAFE 

NUMEROUS  COURTS  have 
held  that  a  municipality  cannot  shift  its 
primary  liability  for  an  omission  of  duty  to 
keep  a  street  or  sidewalk  reasonably  safe. 
Moreover,  state  statutes  and  city  ordin- 
ances requiring  abutting  property  owners 
to  maintain  sidewalks  adjoining  their  prem- 
ises do  not  impose  liability  directly  upon 
such  owners  for  injury  resulting  to  travel- 
ers in  consequence  of  the  municipality's 
omission  of  its  duty  to  keep  the  sidewalk 
or  street  in  good  repair. 

CASE 

For  example,  in  the  late  case  of  Harbin 
V.  Smith  (76  S.  W.  [2d]  107,  Chattan- 
ooga, Ten.),  the  records  disclose  that  a 
municipality  passed  an  ordinance  which  de- 
clared dangerous  defects  in  sidewalks  to 
be  public  nuisances  for  which  the  owner 
of  the  abutting  property  is  responsible. 

The  owner  of  theatre  property  main- 
tained the  sidewalk  in  such  manner  that 
roots  of  trees  between  the  sidewalk  and 
curbing  spread  beneath  the  concrete  sur- 
face of  the  walk  and  elevated  one  of  the 
sections  of  concrete  about  two  inches  above 
the  other,  thus  producing  an  obstruction 
against  which  a  pedestrian  stumbled,  fell 


and  was  injured.  The  pedestrian  filed  suit 
against  the  owner  of  the  property  to  re- 
cover damages  in  view  of  the  above  men- 
tioned city  ordinance.  However,  it  is  in- 
teresting to  observe  that  the  court  refused 
to  hold  the  property  owner  liable,  and 
said : 

DECISION 

"No  common-law  duty  rested  upon  the 
defendant  to  keep  the  sidewalk  in  repair, 
and  he  could  not  be  held  liable  to  travelers 
for  injuries  caused  by  defects  which  he  had 
no  part  in  creating.  .  .  .  Nor  could  such 
a  liability  grow  out  of  a  statute  or  ordin- 
ance that  merely  required  abutting  proper- 
ty owners  to  repair  sidewalks  in  front  of 
their  premises.  This  is  so  because  the 
primary  obligation  to  keep  sidewalks  in 
safe  repair  rested  upon  the  municipality. 
.  .  .  For  any  omission  of  that  duty  result- 
ing in  injury  to  a  traveler,  the  municipality 
was  primarily  liable.  It  could  not  shift 
that  responsibility  by  ordinance.  .  .  ." 

SELLER  ENTITLED 
TO   A  RECOVERY 

IN  ALL  LEGAL  controver- 
sies involving  contracts  of  sale  one  of  the 
important  legal  questions  to  be  decided  by 
the  court  is:  Did  either  the  buyer  or  the 
seller  fail  to  fulfill  his  obligations  assumed 
in  the  contract  ? 

CASE 

For  illustration,  in  RCA  Photophone  v. 
Carisch  (255  N.  W.  814,  St.  Paul, 
Minn.),  it  was  shown  that  a  theatre 
operator  purchased  electric  sound-repro- 
ducing equipment  for  two  theatres.  The 
theatre  owner  paid  $500  down  for  each 
theatre,  when  the  contract  was  signed,  and 
$750  each  upon  the  delivery  of  the  equip- 
ment. He  was  to  pay  $3,750  more  on 
each  in  24  monthly  installments,  which 
total  sum  of  $5,000  each  compensated  the 
seller  for  the  lease  of  the  equipment  for  a 
period  of  ten  years.  In  addition  to  this 
sum,  the  theatre  owner  was  to  pay  for 
each  theatre  as  a  service,  inspection,  license 
charge  $95  per  month  for  the  first  year, 
$75  per  month  for  the  second  year,  and 
$55  per  month  for  the  remaining  period 
for  each  theatre.  For  this  consideration  the 
seller  was  to  supply  and  install  the  equip- 
ment and  supervise  its  repair  and  adjust- 
ment so  far  as,  in  its  opinion,  as  provided 
in  the  contract,  "it  was  necessary  for  the 
satisfactory  operation  and  maintenance  of 
the  equipment." 

Also,  the  contract  provided  that  the 
theatre  owner  agreed  to  keep  on  hand 
necessary  repair  parts  and  bound  himself 
to  keep  the  equipment  in  good  and  efficient 
working  order  and  condition  and  to  main- 


16 


Better  Theatres  Section 


March  9,  1935 


tain  and  operate  it  as  prescribed  by  the 
seller.  If  a  defect  or  faulty  adjustment 
developed  which  could  not  be  immediately 
corrected  by  the  theatre  owner,  he  was 
bound  to  communicate  promptly  with  the 
seller  and  to  refrain  from  using  the  equip- 
ment until  it  was  properly  adjusted. 

Another  clause  in  the  contract  provided 
that  if  the  theatre  owner  defaulted  in  the 
agreement  the  seller  was  entitled  to  collect 
the  rental  charges. 

Without  going  into  details  as  to  the 
connection  of  the  equipment,  the  evidence 
tended  to  show  that  the  sound-reproducing 
equipment  failed  to  operate  satisfactorily 
and  that  while  out  of  adjustment  the  repro- 
duction was  not  satisfactory.    When  the 


theatre  owner  failed  to  make  the  agreed 
payments  the  seller  filed  suit.  In  holding 
the  seller  entitled  to  a  recovery,  the  court 
said : 

DECISION 

"The  part  of  the  machine  which  got  out 
of  adjustment  was  the  focusing  contrivance 
which  controlled  the  sound  reproduction. 
This  does  not  appear  to  have  been  very 
complicated  and  could  be  adjusted  by  an 
experienced  operator  by  means  of  certain 
set  screws.  The  defendant  (theatre  owner) 
himself  testified  that  the  machine  operated 
all  right  for  some  time  after  being  serviced. 
He  had  in  his  employ  operatives  who 
claimed  to  be  experts  with  such  machines 


and  who  testified  as  such  upon  the  trial. 
At  any  rate,  he  (theatre  owner)  contracted 
to  keep  the  equipment  in  good  and  efficient 
Avorking  order  and  condition,  and  it  is 
conclusively  shown  that  when  in  adjust- 
ment it  operated  satisfactorily." 

COMPETITIVE 
EMPLOYMENT 

CONSIDERABLE  disCUSsioD 

has  arisen  from  time  to  time  whether  a 
theatre  owner  may  recover  damages  from 
an  ex-employe  who  has  accepted  employ- 
ment with  a  competitor,  or  who  has  es- 
tablished a  competing  business  with  con- 
siderable loss  of  business  to  the  original 
employer.  With  respect  to  this  question 
of  the  law  various  Courts  have  held  that 
in  the  absence  of  an  express  contract,  an 
employe  who  takes  a  new  employment,  in 
a  competing  business,  may  solicit  for  his 
new  employer  the  business  of  his  former 
customers,  and  will  not  be  enjoined  from 
so  doing,  at  the  instance  of  his  former  em- 
ployer, providing  the  ex-employe  solicits 
prospects  generally  and  does  not  confine 
solicitation  to  the  customers  of  his  past  em- 
ployer. 

Another  important  point  of  the  law  is 
that  although  a  theatre  owner  may  enter 
into  a  written  contract  with  an  employe, 
by  the  terms  of  which  the  amount  of  salary 
is  clearly  specified,  yet  the  theatre  owner 
and  the  employe  may  enter  into  a  valid 
verbal  agreement  which  varies  the  amount 
of  salary  specified  in  the  written  agree- 
ment. 

CASE 

For  illustration,  in  the  recent  case  of 
Rosenstein  v.  Smith  (257  N.  W.  397,  Des 
Moines,  la.,  it  was  shown  that  an  em- 
ployer, who  had  contracts  to  perform 
services  for  theatre  owners  located  in  vari- 
ous parts  of  the  state,  entered  into  a  writ- 
ten contract  with  an  employe  by  the  terms 
of  which  the  latter  was  to  be  paid  50  per 
cent  income  of  the  employer's  business. 
Afterward  the  employer  and  the  employe 
entered  into  a  verbal  contract  by  the  terms 
of  which  the  employe  was  to  receive  not 
less  than  $70  per  week,  although  the 
amount  of  business  may  be  less  than  $140 
in  a  week. 

Some  time  later  the  employe  quit  the 
employment  and  entered  into  the  business 
of  transporting  films  and  accessories  for 
himself.  The  employe  filed  suit  against 
the  employer  to  recover  $553  alleged  to 
be  due  from  the  ex-employer  in  view  of  the 
verbal  agreement  by  which  the  employer 
had  agreed  to  pay  him  not  less  than  $70  a 
week,  irrespective  of  the  amount  of  busi- 
ness for  any  week. 

The  employer  filed  a  counter  suit  to  re- 
cover damages  from  the  employe  alleging 
that  the  ex-employe  had  obtained  a  route 
list  of  all  the  customers  and  exhibitors  and 
a  schedule  of  the  prices. 

However,  since  it  was  shown  that  the 
former  employe  had  solicited  customers 
and  theatre  exhibitors  generally,  the  higher 
court  held  the  former  employer  not  en- 
titled to  recover  damages  and,  also,  held 
the  employe  entitled  to  recover  back  salary. 


CORPORATION  DIRECTORS'  DUTIES 

By  M.  MARVIN  BERGER 

Member  New  York  Bar 

ALTHOUGH  a  corporation,  in  the  last  analysis,  is 
owned  by  its  stockholders,  it  would  be  impossible,  except  in  the  case  of  a  very 
small  company,  for  each  of  the  stockholders  to  take  an  active  part  in  running  the 
affairs  of  the  organization.  Accordingly,  a  corporation  is  run  by  a  small  body  of 
men  elected  by  the  stockholders  and  known  as  directors.  The  laws  of  most  states 
require  a  corporation  to  have  no  less  than  a  certain  number  of  directors,  generally 
three. 

In  many  states  a  director  is  required  to  be  a  stockholder  in  the  corporation  and 
ordinarily,  at  least  one  of  the  directors  is  required  to  reside  in  the  sta!-e  where 
the  corporation  is  organized.  Usually,  directors  are  elected  at  the  annual  meeting 
of  the  stockholders  and  hold  office  until  the  next  annual  meeting. 

Directors  act  only  as  a  body,  and  a  single  director,  unless  he  is  specially  author- 
ized, has  no  more  power  to  act  in  behalf  of  the  corporation  than  any  other  stock- 
holder. The  directors  act  upon  the  affairs  of  the  organization  at  regular  meetings, 
fixed  by  the  by-laws  of  the  corporation  or  at  special  meetings  called  in  accordance 
with  the  provisions  of  the  by-laws.  Unless  they  meet  at  a  regular,  or  properly 
called  special  meeting,  the  directors  may  not  act  upon  the  corporation's  affairs. 
At  a  meeting,  a  majority  of  the  directors  Is  usually  necessary  to  form  a  quorum 
and  a  majority  of  the  quorum  binds  the  board  of  directors. 

The  directors  are  charged  with  the  duty  of  managing  the  affairs  of  the  cor- 
poration. They  have  charge  of  the  company's  property  and  elect  its  officers. 
Among  the  most  important  duties  of  the  board  Is  the  declaration  of  dividends. 
The  time  of  declaring  dividends  and  the  amount  declared  Is  entirely  within  the 
discretion  of  the  directors  and  the  courts  will  rarely  Intervene  to  order  the  directors 
to  declare  a  dividend  or  to  restrain  them  from  ordering  one.  However,  dividends 
must  be  declared  only  as  provided  by  the  laws  of  the  state  In  which  the  corpora- 
tion Is  organized.  For  example,  if  the  directors  issue  a  dividend  out  of  anything 
but  surplus,  they  subject  themselves  to  civil  and  often  criminal  liability.  In  addition 
to  their  duty  with  respect  to  dividends,  directors  are  held  to  a  high  standard  of 
conduct  and  to  strict  responsibility  to  the  stockholders  In  their  management  of  the 
corporation.  For  any  abuse  of  their  powers  or  mismanagement  resulting  in  loss 
to  the  corporation,  they  may  become  personally  liable  to  the  stockholders.  A 
director  may  not  take  advantage  of  his  office  to  sell  personally  owned  property 
to  the  corporation  at  an  unfair  or  exaggerated  price  and  in  some  states  a  director 
is  even  forbidden  to  do  business  as  an  Individual  with  the  corporation. 

The  day  by  day  business  of  a  corporation  Is  run  by  the  officers.  A  corporation 
is  usually  required  to  have  a  president,  secretary  and  treasurer  and  may  also  have 
vice-presidents  and  assistant  secretaries  and  treasurers.  Ordinarily,  an  officer  may 
hold  more  than  one  office  in  the  corporation.  The  duties  of  the  officers  are  such 
as  are  laid  down  by  law  or  are  given  them  by  the  by-laws  and  the  instructions  of 
the  directors.  An  officer  has  no  independent  authority  to  act  in  behalf  of  the  cor- 
poration outside  of  such  powers  as  are  so  given  him.  An  officer  may  be  removed 
from  office  at  the  pleasure  of  the  board  of  directors.  In  the  absence  of  a  contract 
providing  for  the  officer's  employment  for  a  specified  period  of  time. 

Unless  there  exists  an  express  contract  or  unless  his  salary  is  fixed  by  the  by-laws, 
an  officer  or  director  is  not  entitled  to  a  salary  for  performing  his  official  duties. 
But  if  an  officer  or  director  performs  special  services  to  the  corporation  outside  of 
his  routine  duties  as  officer  or  director,  he  is  entitled  to  compensation  for  such 
Independent  duties  even  though  not  otherwise  privileged  to  receive  a  salary. 


March  9,  1935  Motion  Picture  Herald  17 

MODERN  PROJECTION 


PROJECTION     •     SOUND    R  E  P  R  O  II  U  C  T  I  O  N     •  ACOUSTICS 


EFFECT  OF  A.  C  CARBONS  ON  SCREENS 


A  comparative  anal- 
ysis of  lo  w  -  i  n  t  e  n  s  i  t  y , 
a.  c.  and  suprex  arcs, 
based  on  tests  con- 
ducted in  lamp  and 
screen  manufacture 


THE  CARBON  manufactur- 
er and  projection  lamp  manufacturer  have 
recently  shown  a  laudable  activity  in  the 
development  of  carbons  and  lamps  intended 
to  greatly  increase  projected  light  intensity 
as  vi^ell  as  improve  the  color  and  quality  of 
the  light.  As  a  result,  the  new  Hi-Inten- 
sity copper  coated  carbons  used  in  the  re- 
cently developed  25-volt,  80-ampere  a.c, 
and  43-volt,  45-ampere  d.c.  lamps  are  revo- 
lutionizing projection  in  the  smaller  thea- 
tres of  the  country.  The  Lo-Intensity 
lamp  is  probably  passing.  Though  this 
lamp  has  very  definite  limitations,  its  low 
cost  of  operation  Avas  a  temptation  to  put 
it  in  theatres  that  needed  more  light  in- 
tensity than  it  could  produce. 

About  9,500  (70%)  of  American  thea- 
tres are  equipped  with  Lo-Intensity  lamps. 
At  least  7,000  of  these  theatres  need  more 
light  because  they  are  using,  and  they  need, 
screens  over  18  feet  wide.  Since  the  light 
output  of  a  Lo-Intensity  lamp  can  not  ex- 
ceed 2,000  lumens,  it  follows  that  the  use 
of  a  screen  over  14  feet  will  reduce  the  in- 
tensity of  the  projected  light  to  less  than  7 
foot-candles — -far  too  low  for  comfortable 
seeing  of  the  picture. 

The  new  a.c.  and  d.c.  lamps  with 
H.I.C.C.  carbons  can  produce  from  6,000 
to  7,000  lumens,  respectively,  besides  giving 
out  a  blue-white  light  that  closely  ap- 
proaches daylight.  The  cost  of  operation 
is  very  little,  if  any,  higher  than  for  Lo- 


Intensity.  The  relative  current  costs  per 
hour  at  the  arc  are  shown  in  the  ac- 
companying table. 

The  cost  of  carbons,  generator  or  recti- 
fier current,  are  not  included,  but  the  total 
cost  including  these  items  is  not  appreciable 
higher  than  for  Lo-Intensity. 

These  lamps  do  away  with  the  need  for 
Beaded  or  Silver  screens.  They  function 
best  with  a  white,  diffusive  screen.  The 
following  table  shows  the  foot-candle  in- 
tensity of  the  projected  light : 

Screen  Area 
Foot-Candle         AC.  6000  L.         DC.  7000  L. 
10  15-4  X  20-6  16-0  x  22-0 

9  15-9  X  21-6  16-9  x  23-0 

8  16-9  X  23-0  17-9  x  24-6 

7  17-9  X  24-6  18-llx  26-0 

The  gain  in  light  intensity  over  the  Lo- 
Intensity  is  200%  for  a.c.  and  250% 
for  d.c. 

The  lumen  output  of  the  various  lamps 
is  variable  for  each  type,  and  dependent  on 
the  size  of  carbons  used.  Average  figures 
have  been  used  as  derived  from  normal  pro- 
jection practice. 

It  happens  occasionally  that  larger  car- 
bons than  those  customarily  used  are 
worked  in  an  effort  to  increase  the  light. 
This  of  course  calls  for  higher  voltage  and 
amperage,  but  the  gain  is  seldom  enough 
to  pay  for  the  added  cost  of  current  and 
carbons  because  the  optical  system  is  usually 
designed  for  a  limited  range  of  carbon  sizes 
to  insure  the  greatest  efficiency  plus 
economy.  At  present  there  are  six  types  of 
lamps  used  for  motion  picture  projection; 
namely:  Mazda  900-1,000  watt;  Lo-Inten- 
sity reflector  arcs  up  to  30  amperes;  Hi-Lo 
reflector  arcs  at  70-80  amperes;  a.c.  special 
carbons,  80  amperes. ;  d.c.  special  carbons, 
40-45  amperes;  Hi-Intensity  arcs,  110-180 
amperes. 

Each  type  of  lamp  when  operated  at  its 
maximum  efficiency  has  a  definite  light  out- 
put. The  lumen  output  of  »"he  lamp, 
divided  by  the  square-foot  area  of  the 
screen,  Avill  give  the  foot-candle  brightness 


Per  M  Lumens 

Lumens 

Lamp 

Current 

KW. 

@     .05  KW.H. 

.04J^ 

2000 

Lo-In. 

55V-30A 

1.65 

.0167 

6000 

AC. 

25V-80A 

2.00 

.10 

.0135 

7000 

DC. 

43V-45A 

1.92 

.09!^ 

Re 

ative  Current 

Costs   [see  text] 

of  the  projected  light  at  the  center  of  the 
screen.  The  foot-candle  brightness  of  the 
projected  light  is  not  the  same  as  the  foot- 
candle  intensity  of  the  reflected  light.  In 
fact,  the  intensity  of  the  screen  light  is  gen- 
erally a  great  deal  less,  depending  on  the 
condition  of  the  screen  and  its  reflection 
factor.  The  difference  in  intensity  varies 
from  30  to  40  per  cent. 

It  has  been  shown  that  10  foot-candles 
is  the  least  light  that  should  be  used  (with 
the  shutter  running) ,  yet  many  theatres  are 
operating  with  much  less  light.  It  is  not 
unusual  to  find  the  light  as  low  as  5  foot- 
candles.  And  film  density  is  frequently 
such  as  to  require  15  foot-candles  pro- 
jected light. 

Assuming  the  lamps  to  be  in  good  con- 
dition, the  optical  train  properly  adjusted, 
the  proper  size  and  kind  of  carbons  in  use, 
and  the  lenses  of  a  good  make  and  in  good 
condition,  then  the  cause  of  poor,  insuffi- 
cient screen  light  will  be  one  or  more  of 
the  following: 

1.  Screeen  too  large. 

2.  Reflection  factor  of  the  screen  too 
low,  due  to  either  age  or  dust,  or  because 
the  screen  absorbs  too  much  light  due  to  a 
badly  designed  coating  medium. 

3.  Wrong  type  of  screen,  the  use  of  a 
diffusive  screen  where  the  conditions  prop- 
erly require  either  a  directive  or  reflective 
screen. 

To  insure  good  projection  it  is  necessary 
that  the  screen  and  the  lamp  be  co-ordi- 
nated with  respect  to  the  lumen  capacity  of 
the  lamp,  the  type  of  screen,  and  the  size  of 
screen.  If  any  one  of  these  factors  are  out 
of  line,  under-illumination  of  the  screen  is 
sure  to  be  the  result. 

To  summarize :  Ten  foot-candles  is  the 
lowest  intensity  of  projected  light  that  will 
prevent  eye-strain  and  render  the  true  pic- 
torial value  of  the  film.  Diffusive  screens 
do  not  reflect  back  the  full  power  of  the 
projected  light.  The  loss  varies  from  5% 
to  30%,  depending  on  the  reflection 
factor  of  the  screen.  Beaded  and  silver 
screens  concentrate  the  reflected  light  with- 
in given  angles  and,  therefore,  have  an  ap- 
parent brightness  greater  than  of  the  pro- 
jected light.  These  screens  should  not  be 
used  with  any  light  stronger  than  Lo-In- 
tensity. Increasing  the  screen  size  lowers 
the  intensity  of  the  light.  Decreasing  the 
size  increases  the  light. 


18 


Better  Theatres  Section 


March  9,  1935 


F.  H.  RICHARDSON'S  COMMENT 


AND  ANSWERS  TO  INQUIRIES 

THE  NEW  PROJECTION 
PRACTICE  COMMITTEE 


THE  NEW  projection  prac- 
tice committee  of  the  Society  of  Motion 
Picture  Engineers,  in  its  first  session  of  the 
year,  spent  a  considerable  portion  of  the 
time  in  hearing  objections  to  the  lack  of 
practical  projectionists  on  the  committee. 
Rudy  Mehling  was  particularly  indignant 
that  the  representation  was  so  small.  I 
voiced  objection  to  the  elimination  of  Jes- 
sie Hopkins,  who  has  rendered  invaluable 
service  as  secretary  ever  since  the  projec- 
tion committee  was  reorganized  and  given 
its  present  name.  We  all  felt  that  P.  A. 
McGuire  should  have  remained  on  the 
committee,  to  which  he  has  rendered  valu- 
able service.  Mr.  J.  O.  Baker,  the  new 
chairman,  was  instructed  to  voice  the  com- 
mittee's objection  to  the  small  number  of 
practical  projectionists,  and  especially  to 
the  elimination  of  Messrs.  Hopkins  and 
McGuire. 

It  is  expected  the  committee  will  do 
much  good  work  under  chairman  Baker.  In 
the  past  there  have  been  some  things  that 
most  members  regarded  as  "playing  poli- 
tics," but  we  are  sure  that  there  will  be  no 
more  of  that.  In  committees  of  that  sort 
there  should  be  no  "playing  favorites."  Let 
every  man  be  judged  by  his  merits  and  past 
performances,  and  every  thought  and  effort 
given  to  the  work  of  the  committee. 

The  matter  of  revamping  the  old  pro- 
jection room  report  to  eliminate  some  er- 
rors and  bring  it  up  to  date,  if  possible, 
for  inclusion  in  the  report  to  the  spring 
convention,  was  taken  up.  George  Ed- 
wards was  made  chairman  of  a  sub-com- 
mittee to  make  certain  measurements  and 
report  at  the  next  meeting. 

This  writer  tried  to  induce  the  com- 
mittee to  adopt  a  new,  improved  plan  of 
projection  room  lighting,  in  lieu  of  the 
present  optically  objectionable  scheme  of 
indirect  lighting  that  not  only  smears  the 
whole  front  wall  with  light,  but  also  per- 
mits a  projectionist  to  see  a  brilliant  light 
globe,  after  which  he  cannot  have  a  good 
view  of  the  screen  until  the  iris  of  the  eye 
has  had  time  to  adjust  itself  to  the  different 
condition.  It  is  astonishing  how  difficult  it 
is  to  tear  men  loose  from  wrong  procedure 
once  they  have  become  habituated  to  it. 

After  experience  of  some  years  on  the 
projection  practice  committee  (three  of 
them  as  its  chairman),  I  am  opposed  to 


absent  members.  To  date  we  have  had 
several  of  them,  and  only  one  (Chauncey 
Greene  of  Minneapolis)  has  ever  bothered 
even  to  answer  a  letter  sent  by  the  Secre- 
tary dealing  with  matters  discussed  by  the 
committee.  It  is  expected  that  by  the  next 
meeting  everything  will  be  straightened  out 
and  running  smoothly.  It  also  is  confi- 
dently expected  that  the  new  committee 
will  do  excellent  work  and  lots  of  it.  The 
old  committee  did: 

I  should  like  to  pay  well  deserved  tribute 
to  Past-Chairman  Harry  Rubin,  director 
of  projection  for  Paramount  theatres.  The 
work  of  the  committee  under  his  direction 
constitutes  a  monument  to  his  zeal  and 
talents.  And  I  again  call  attention  to  the 
splendid  service  of  Past-President  Alfred 
N.  Goldsmith.  The  SMPE  has  had  many 
excellent  chief  executives,  but  in  my  opinion 
none  better  than  Dr.  Goldsmith.  President 
Goldsmith  attended  practically  every  meet- 
ing of  the  projection  practice  committee, 
the  work  of  which  was  helped  immeasur- 
ably by  the  active  part  he  took  in  its  delib- 
erations (I'm  afraid  he  would  shorten  the 
word  deliberations  to  scraps).  Projection 
owes  much  to  Dr.  Goldsmith  and  we  must 
not  forget  our  debts. 

ON  ELIMINATION 
OF  A-BATTERIES 

J.    D.    BENNETT,    S  O  U  n  d 

technician  for  the  Kemp  and  Hughes  cir- 
cuit of  theatres  down  Arkansas  way,  has 
written  an  interesting  and  informative  let- 


Other  Articles 

In  addition  to  the  material  on  this 
page,  Mr.  Richardson's  columns  of 
this  issue  also  contain: 

Peculiar  Problem  in  Variant  Sound  Page  20 

Be  Careful  About  Reel-End  Alarms  Page  20 

Meaning  of  "Killing  the  Blades"  Page  2! 

First  Real  Handbook— Why?  Page  22 

Testing  for  Source  of  Flutter  Page  22 

Waiting  for  2,000-Footer  Page  22 

A  Critic  Turns  to  Projection  Page  23 

Rank  Neglect!    Who's  to  Blame?  Page  24 

Theatres  in  India  Page  24 

Funny  Kind  of  Managing  Page  25 

Carelessness  in  Threading  Page  26 


ter  which  is  accompanied  by  one  from  H. 
T.  Head,  manager  of  the  Grand  theatre  in 
DeQueen,  Ark.,  a  Kemp  and  Hughes  house. 
Mr.  Head  says: 

"I  have  read  Mr.  Bennett's  letter  to  you. 
In  addition  to  what  he  says  I  may  say  that 
he,  Mr.  Bennett,  at  my  request  converted 
our  sound  (DeForest)  to  a.c.  last  year, 
when  the  batteries  had  given  up  the  ghost 
and  dimes  looked  like  dollars.  Expense  of 
so  doing  was  very  small.  We  feel  deeply 
grateful  to  him  for  the  excellent  results. 
That  they  are  favorable  has  been  amply 
proven  by  the  many  comments  from  our 
patrons.  I  therefore  feel  that  we  should 
pass  along  his  findings,  on  the  chance  that 
they  may  give  aid  to  some  brother  ex- 
hibitor." 

Mr.  Bennett  sets  matters  forth  as  fol- 
lows : 

"Dear  Mr.  Richardson:  I  read,  with 
much  interest,  inquiries  and  comments  on 
the  matter  of  elimination  of  A-batteries  by 
the  use  of  a.c.  current.  As  sound  technician 
I  have  myself  converted  a  number  of  in- 
stallations to  complete  a.c.  operation,  some 
of  which  have  been  in  operation  for  more 
than  a  year  without  the  least  trace  of  hum 
due  to  a.c.  on  the  exciter  lamp  filament. 

"However,  in  case  of  pre-amplifier  using 
filament  type  tubes,  there  will  be  some 
hum,  unless  the  wiring  be  changed  to  ac- 
commodate 5-prong  sockets  in  which  the 
37-type  tube  may  be  used,  with  6  volts  on 
the  filament,  or  rather  the  heater,  ground- 
ing the  cathode  to  the  negative  or  common 
ground. 

"By  far  the  most  satisfactory  plan, 
though,  is  to  make  complete  conversion  to 
a.c.  when  rewiring  a  pre-amplifier  using  56- 
type  tubes,  and  in  types  of  equipment  hav- 
ing binding  post  strips  and  available  voltage 
tape  on  the  main  amplifier,  taking  all  fila- 
ment and  B  voltage  for  the  pre-amplifier 
directly  from  the  main  amplifier  rack.  In 
case  of  equipment  not  having  such  filament 
voltages  available  on  the  main  rack,  it  is 
best  to  build  a  small  power  supply  for  this 
purpose.  That  last,  however,  is  a  job  for 
a  man  experienced  in  public  address  work. 

"I  differ  from  Mr.  Hersey  (page  20, 


March  9,  1935 


Motion  Picture  Herald 


19 


September  22,  1934  issue  of  Better 
Theatres)  somewhat  with  regard  to  in- 
sulation of  sockets  and  number  of  trans- 
formers required.  If  the  projection  room 
equipment  be  well  grounded,  as  it  of  course 
should  be  (this  covers  projectors,  rack  of 
the  main  amplifier,  the  pre-amplifier,  and 
in  fact  all  heavy  metal  equipment  not  pre- 
sumed to  be  electrically  charged),  one  side 
of  the  filament  winding  may  be  grounded 
to  the  common  ground,  and  a  single  wire 
used  for  the  hot  wire  to  exciter  lamps.  [By 
"hot"  wire  iXIr.  Bennett  means  the  one  car- 
rying current. — F.  H.  R.],  a  single  trans- 
former supplying  current  for  both  lamps, 
regardless  of  whether  they  be  8-volt,  4- 
ampere,  or  10-volt,  5-  or  75^-ampere  types. 
The  thing  to  be  sure  of  is  that  the  filament 
winding  is  large  enough  to  supply  the  re- 
quired 10  to  15  amperes  of  current. 

"In  a.c.  circuits  one  side  of  the  1 10-volt 
line  is  grounded,  and  in  using  the  common 
ground  as  one  leg  of  the  filament  circuit  of 
the  lamps,  no  additional  trouble  or  hazard 
is  encountered. 

"It  is  very  essential,  as  Mr.  Hersey  says, 
that  all  wires  be  run  in  conduit,  both  for 
the  sake  of  appearance  and  for  added  safety. 
However,  if  this  is  impossible  or  imprac- 
ticable, shield  all  wires  thoroughly  and  see 
that  the  shield  is  well  grounded. 

"In  most,  if  not  in  all  systems  using 
battery  supply,  the  negative  lead  from  the 
storage  battery  is  grounded  to  the  common 
ground,  all  switches  and  meters  in  the  cir- 
cuit being  in  the  positive  or  so-called  hot 
wire  leg  of  the  wiring  which  is  common  to 
both  exciter  lamp  and  pre-amplifier  connec- 
tions, resistors  being  used  in  the  pre-ampli- 
fiers  to  reduce  the  voltage  for  the  filamets 
of  the  amplifier  tubes  to  the  correct  values. 
This  positive  wire  lead  may  be  taped  where 
it  enters  the  pre-amplifier,  leaving  it  unused 
at  that  end.  The  end  of  the  positive  wire 
connecting  to  the  battery  circuit  terminal 
on  the  connection  strip  of  the  main  ampli- 
fier should  be  disconnected  from  the  ter- 
minal and  connected  to  the  ungrounded 
side  of  the  filament  winding  on  the  trans- 
former. This  arrangement  will  permit 
using  present  changeover  switches  without 
change  in  the  projection  room  wiring,  the 
1 10-volt  side  of  the  filament  transformer 
being  wired  into  the  a.c.  switch  on  the  main 
panel.  Thus  one  switch  controls  the  whole 
sj^stem.  And  now  a  word  of  caution:  Be 
sure  in  making  the  connection  of  the  former 
positive  wire  to  the  transformer,  that  the 
wire  leading  to  the  machines  is  used,  and 
not  the  wire  to  the  charger. 

"A  single  transformer  may  be  used  for 
different  voltages  by  using  a  heavy-duty 
rheostat  in  the  primary  lead  of  the  trans- 
former. If  this  is  done,  using  a  10-volt 
transformer  for  8-volt  exciter  lamps,  it  will 
be  necessary  to  shunt  the  filament  winding 
with  a  15-volt  a.c.  voltmeter  in  order  that 
the  projectionist  may  keep  the  electrical 
pressure  adjusted  to  8  volts.  I  find,  though, 
that  better  results  seem  to  result  by  using 
the  10-volt  exciter  lamps,  as  they  have  a 
much  heavier  filament  and  therefore  natur- 
ally are  not  subject  to  the  fluctuation  in 
brilliancy  shown  by  the  lighter  filament  of 
the  8-volt  tubes." 

I  express  the  feelings  of  projectionists,  I 


THE  STREAMLINE   PRINCIPLE    IN  PROJECTORS 


THE  OLD  MUn  MAKE^ 
WAY  FOR  THE  NEW 

THE  DeVRY  THEATRE  SOUND 
PROJECTOR  is  completely  inclosed 
from  top  to  bottom,  in  a  strong  metal 
case  of  graceful,  flowing  lines  —  dust- 
proof,  encasing  projecting  parts,  and 
making  for  smoother  and  more  economi- 
cal operation.  Silent  Chain  Drive  and 
Rear  Barrel  Shutter  add  the  last  touch  to 
up-to-the-minute  sound  and  picture  per- 
formance. 

DeVry   Summer   School    of  Visual    Education,   June  24 
+o  28,  1935 


HERMAN  A.  DeVRY,  INC. 


FACTORY  AND  MAIN  OFFICE 
EASTERN  BRANCH 


Dept.  H 


illl  CENTER  ST.,  CHICAGO,  ILL. 
347  MADISON  AVE.,  NEW  YORK,  N.  Y. 


If  four-tenths  of  every  carbon 
were  made  of  cheese  .... 

YOU'D  RAISE  A  HOWL! 


WHEN  YOU  pay  out  good  money  for  a  20-inch  H-I  positive,  you  expect 
just  twenty  inches  of  service.  But  you  don't  get  it  when  four-tenths 
of  every  carbon  is  discarded — ^too  short  to  feed  for  another  reel.  This 
wasted  six  to  ten  inches  might  as  well  be  made  of  cheese,  for  all  the 


good  it  does. 


The  PIC  carbon  saver  presents  a  different  picture.  The  handy  caps  are 
forced  onto  the  stubs  in  a  jiffy  (less  than  six  seconds  per  carbon).  A 
twist,  and  the  cap  is  clamped  immovably  in  a  steel  extension,  ready  for 
the  lamp.   PIC  is  a  perfect  carbon  saver — and  a  cinch  to  use! 


No  Drilling 
No  Grinding 


Write  us  for 
Particulars 


PROJECTOR  V!i7  IMPROVEMENT 

Chrysler  Bldg.  CO.  INC.  New  York  City 


HC-10 


The  Symbol  of  Perfection  in  Projection 


Always  Improving 

J  HE  identification  of  "H  &  C"  with 
'  Perfection  in  Projection  Lighting  is 
the  result  of  many  years  of  research 
and  the  active  technical  skill  in  the 
manufacture  of  "H  &  C"  products. 


HALL  &  CONNOLLY,  INC 

24  VAN  DAM  STREET  NEVv'  YORK.  N.  Y. 

IVrfte  for  Illustrated  Booklet 


20 


Better  Theatres  Section 


March  9,  1933 


am  very  certain,  in  thanking  Mr.  Bennett 
for  this  most  instructive  discussion. 

PECULIAR  PROBLEM 
IN  VARIANT  SOUND 

THE  CHARLESTON  Thea- 
tre Supply  Company  of  Charleston,  W. 
Va.,  submits  the  following: 

"Dear  Mr.  Richardson:  We  have  run 
into  a  most  peculiar  situation  in  one  theatre, 
concerning  which  your  advice  is  requested. 
Out  of  many  sound  installations  in  this  ter- 
ritory this  is  the  first  one  which  has  caused 
us  much  trouble.  We  have  tried  every  ar- 
rangement we  could  think  of  and  have 
made  recommendations  for  house  treatment, 
but  to  no  avail.  The  situation  is  as  fol- 
lows : 

"The  auditorium  is  97  feet  long  and  28 
feet  wide.  The  floor  slope  is  5%.  All 
walls  are  padded.  The  ceiling  is  of  tin — 
nailed  to  the  joist.  There  is  a  loft  overhead 
running  the  full  length  and  width  of  the 
theatre,  with  5  feet  of  clearance  at  the  rear 
end,  and  3  feet  at  the  stage  end.  A  walk- 
way of  boards  is  nailed  to  the  ceiling  joist 
through  the  entire  length  of  the  loft.  It  is 
in  the  center.  The  roof  is  of  sub-roofing 
covered  with  tar  paper.  [Meaning,  pre- 
sumably, boards  and  tar  paper. — F.  H.  R.]. 

"Sound  was  installed  several  years  ago, 
starting  with  cheap  equipment.  This  was 
later  supplanted  by  Western  Electric, 
which  in  turn  gave  place  to  Wonderfone, 


which  in  its  turn  was  displaced  by  yet 
other  equipment.  Sound  now  is  through 
Jensen  Types  M  and  V  loudspeakers  (one 
of  each). 

"The  complaint  is  that  while  with  some 
pictures  the  sound  is  just  fair,  with  others 
a  difference  in  quality  will  be  noticed  every 
4  feet  as  one  walks  down  the  aisle,  alter- 
nately poor  and  then  fair.  Often  it  sounds 
as  though  coming  from  a  tin  trumpet. 

"We  have  made  recommendations  for 
ceiling  treatment,  but  the  owner  will  not 
accept  such  recommendations  or  expend 
money  without  advice  from  an  authority  on 
the  subject.  We  are  well  satisfied  the 
trouble  does  not  lie  in  the  equipment,  basing 
this  opinion  upon  the  fact  that  it  is  giving 
excellent,  thoroughly  satisfactory  service  in 
hundreds  of  other  theatres  throughout  the 
country. 

"Please  give  us  your  recommendations  in 
this  matter.  It  will  be  highly  appreciated 
by  both  the  writer  [manager  of  the  supply 
company]  and  the  owner  of  the  theatre." 

Examining  this  matter  myself,  I  believed 
it  extremely  improbable  that  an  equipment 
fault  could  possibly  produce  such  an  effect. 
However,  I  was  unable  to  decide  what 
building  fault  could  do  it  either.  Then, 
too,  if  it  be  either,  why  was  it  not  present 
with  all  productions  in  exactly  the  same 
amount.  True,  as  we  all  well  know,  dif- 
ferent recordings  or  conditions  of  record- 
ings produce  differences  in  sound,  but  just 
why  should  this  "every  four  feet"  thing  or 


FROM  A  PROJECTIONIST'S  NOTEBOOK 


.X' 


Outside  3^"x  H-" 


This  is  a  diagrammafic  representation  of  how 
Thomas  E.  Foley,  projec+ionisf  of  Kelowna,  B.  C, 
built  a  color  holder  for  a  motion  picture  projec- 
tor. The  device  is  one  of  the  many  which  Projec- 
tionist Foley  has  evolved  or  discovered,  and  which 
are  duly  recorded  in  a  private  notebook.  His 
instructions  for  building  the  color  holder  read: 
Place  color  between  "A"  and  "B,"  then  bolt  these 
together  through  the  tiny  holes  provided  at  top 
and  bottom.    Mount  "A"  on  a  pivot  which  passes 


Cvt'/^  'aricl  3  cot    of  ti-n 
the  c/es'ired  weight. 

HcilesX  ancj  X'  ynvst  coinc/de. 

I)  Y  »  Y    II  II 

Cvt  color  3^"X 


through  1/4-inch  hole  near  bottom.  The  diagram 
shows  the  correct  position  of  "A,"  which  is  a  little 
to  the  left  of  the  projection  lens.  Wire  handles 
may  be  placed  on  the  right-hand  side,  or  on  both 
sides  if  desired.  Three  color  holders  mounted  on 
the  same  pivot,  and  properly  spaced  give  good 
results.  They  should  be  mounted  at  a  distance 
not  greater  than  10  inches  in  front  of  the  lens, 
and  it  is  of  course  preferable  to  place  them  at 
the  "aerial  image." 


tin  trumpet  effect  be  with  one  film  and  not 
with  another?  If  such  an  effect  occurred 
at  longer  intervals  of  space,  and  there  were 
structural  conditions  in  that  ceiling  that 
might  set  up  interference,  one  could  at- 
tempt with  some  confidence  to  account  for 
it,  but  nothing  of  the  sort  is  reported.  So 
after  mulling  the  matter  around  for  a  day 
or  two,  I  decided  to  talk  the  matter  over 
with  a  sound  engineer  or  two,  having  no 
connection  with  either  the  making  or  selling 
of  equipment.  The  resultant  answer 
follows : 

It  is  our  opinion  that  a  test  of  sound  as 
set  forth  is  entirely  wrong.  In  walking 
toward  or  away  from  a  sound  beam  one 
naturally  may  detect  a  difference  at  very 
short  intervals — in  fact,  at  every  step,  since 
it  is  well  known  and  recognized  that  the 
process  of  walking  (taking  a  step)  produces 
a  shock  to  the  ear  drum,  and  sound  will 
change  at  each  such  shock.  We  would 
much  prefer  an  opinion  on  this  from  an  in- 
dividual seated  at  different  points.  We 
would  regard  it  as  far  more  reliable. 

We  note  that  all  walls  are  padded, 
whereas  the  ceiling  is  of  tin.  We  feel  that 
the  wall  padding  may  be  and  probably  is 
sufficient  to  provide  satisfactory  conditions, 
assuming  the  seats  to  be  covered  with  sound 
absorbing  material. 

In  studying  the  sound  equipment  itself, 
after  carefully  analyzing  the  size  of  the 
theatre  (ceiling  height  not  supplied,  hence 
impossible  to  estimate  cubic  contents),  we 
believe  that  with  only  the  two  speakers 
named  it  is  not  only  possible,  but  probable 
that  there  would  not  be  sufficient  sound 
volume  to  provide  proper  distribution  and 
quality  over  the  entire  area. 

As  to  noticing  difference  in  quality  in 
different  pictures,  this  is  not  at  all  unusual, 
as  in  some  the  recording  is  superior  to  that 
in  others.  That  is  of  course  too  well 
known  to  require  discussion.  It  also  is 
quite  possible  that  a  production  having  well 
recorded  sound,  using  the  latest  technique 
of  recording,  may  not  sound  as  well  as  it 
might  and  should  if  equipment  of  more  ad- 
vanced type  were  used. 

It  is  of  course  very  difficult  to  diagnose 
a  peculiar  trouble  such  as  this  with  cer- 
tainty, even  when  right  there  on  the  ground 
and  able  not  only  to  examine  the  audito- 
rium and  equipment,  but  also  to  make  ex- 
periments. 

My  own,  personal  advice  is  (a)  that  one 
or  two  additional  loudspeakers  be  tempo- 
rarily installed,  assuming  there  is  sufficient 
power  available  to  operate  them.  If  this  is 
not  found  to  effect  a  remedy,  then  it  would 
seem  reasonable  that  the  recommendation 
already  made  by  the  supply  company  be 
tried  out,  provided  the  effect  is  sufficiently 
bad  to  justify  the  expense  of  such  a  trial. 

BE  CAREFUL  ABOUT 
REEL-END  ALARMS 

ROBERT  P.  BERQUIST, 
member  of  Local  Union  487  (Virginia, 
Hibbing  and  Eveleth,  Minn.),  writes: 
"Realizing  your  position  as  advisor  to  pro- 
jectionists, may  I  make  a  suggestion.  Most 
prints  run  in  this  theatre  since  the  use  of 


March  9,  1935 


Motion  Picture  Herald 


21 


FOR  PERFECT  PROJECTION 

F  S  c 

EXTRA  HEAT-RESISTING 
CONDENSERS 

Made    of   Selected    "Pyrex"    Brand  Glass 


MATISSE 


F  S  C 


CONDENSERS 


are  ground  and  highly  pol- 
ished to  precision  accuracy 
in  curvature  and  focus  .  .  . 

will  not  discolor  .  .  . 

are  carefully  tempered  to 
withstand  extreme  changes 
of  temperature,  for  which 
"Pyrex"  Brand  Glass  is  so 
well  known  .  .  . 

give  maximum  light  value 
for  projection  and  spotlight 
purposes. 


ASK  YOUR  DEALER  FOR  PRICE  LIST  NO.  24W. 

FISH-SCHURMAN 

CORPORATION 

230  East  45th  St.,  New  York,  N.  Y. 


"HANDY  " 

THE  RECTIFIER  FOR  YOU 

Guts  Cost — Improves  Brilliance 
of  low  intensity  reflector  arc 
lamps.  Delivers  30  amperes  at 
55  volts  for  flickerless  pictures. 

Guaranteed  One  Year 
PRICE  LOW  — QUALITY  HIGH 

Without  Ammeter  $72.00 
With  Ammeter  $84.00 

{Prices  do  not  include  bulbs) 

Distributed  by  members  of  the  Independent 
Theatre  Supply  Dealers  Association 

Ask  about  "HANDY"  for  Suprex  Carbon 
Arc  Lamps 

B ALDOR 

ELECTRIC  CO.  THEATRE  DIV. 

ST.  LOUIS,  MO. 


reel-end  alarms  have  become  rather  com- 
mon in  this  territory,  are  in  good  condition 
for  the  last  90  feet  of  their  length,  but 
badly  scratched  elsewhere.  Unquestionably 
this  damage  is  caused  by  these  alarms,  and 
it  is  highly  injurious  to  the  presentation,  to 
say  nothing  of  lowering  the  useful  life  of 
the  prints.  May  I  therefore  suggest  that 
the  use  of  such  alarms  be  either  discontin- 
ued, or  else  each  alarm  be  counter-balanced 
with  a  weight  set  at  right  angles  to  its 
arm. 

I  cannot  comment  on  the  feasibility  of 
counter-balancing  the  arm.  However,  why 
the  alarm  ?  I  cannot  believe  Minnesota 
projectionists  are  so  lacking  in  energy  that 
they  need  them.  We  have  the  changeover 
signal  printed  in  all  films,  and  while  they 
perhaps  are  sometimes  not  quite  as  plainly 
visible  as  they  might  be,  still  projectionists 
elsewhere  manage  with  them  without  too 
much  trouble,  so  why  cannot  the  men  in 
that  territory? 

It  must  be  remembered,  gentlemen,  that 
the  projectionist  is  not  employed  to  "take  it 
easy,"  when  so  doing  sets  up  any  bad  re- 
sult, and  scratched  film  most  emphatically 
is  a  bad  result. 

THE  MEANING  OF 
"KILLING  THE  BLADES" 

A  PROJECTIONIST  Writing 
from  St.  Louis,  asks,  "Recently  a  service 
man  examined  a  switch  that  was  in  bad 
shape,  remarking,  'The  blades  are  killed.' 
Being  a  new  man  here,  I  did  not  feel  in- 
clined to  admit  ignorance  because  of  the 
fact  that  if  a  man  admits  lack  of  knowledge 
on  one  point,  some  chaps  think  he  is  lacking 
all  around.  Will  you,  Mr.  Richardson,  tell 
me  just  what  is  meant  by  killing  a  switch 
blade?  The  switch  evidently  has  been 
abused  and  its  blade  and  contacts  pretty 
hot.    I  have  installed  a  new  one. 

"And  while  I  am  at  it,  another  thing: 
Just  how  is  the  strength  of  a  magnetic  field 
measured  ? 

"In  closing,  may  I  express  my  sincere 
thanks  for  the  very  great  help  you  and  your 
books,  the  old  Moving  Picture  World,  and 
later.  Motion  Picture  Herald  and  Bet- 
ter Theatres  have  been  to  me.  I  read  a 
straight  projectionist's  publication  my 
neighbor  (also  a  projectionist)  subscribes 
for,  but  we  both  regard  your  "Bluebook 
School"  and  department  in  Better  Thea- 
tres as  having  at  least  double  the  value  of 
the  other." 

Glad  you  like  our  work,  brother.  As 
to  your  questions : 

Hawkins  Electrical  Dictionary  says, 
"Killing  Wire.— (1)  A  method  of 
straightening  wire  by  applying  tension  to  it. 
(2)  The  loss  of  electricity  suffered  by  the 
contact  springs  of  switches  when  heated  to 
excess  by  the  electrical  current."  The  lat- 
ter is  what  Mr.  Engineer  had  reference  to. 

Magnetic  force  is  measured  in  maxwells. 
A  maxwell  is  the  amount  of  magnetism 
passing  through  each  square  centimeter  of 
a  field  of  unit  density.  A  field  of  unity 
density  is  one  in  which  one  maxwell  passes 
through  each  square  mm.  of  field  area. 

The  unit  of  field  strength  is  a  gauss. 


GENERAL 


SCIENTIFIC 


CORPORATION 


Lens  Repairs 


Don't  despair!  No  matter  what  con- 
dition your  discarded  lens  is  in, 
there  is  a  good  chance  that  it  can 
be  put  back  into  service.  Send  it  to 
us  for  inspection.  Or  write  a  careful 
description  of  its  condition.  We  will 
promptly  advise  if  it  can  be  repaired 
and  will  give  you  a  cost  estimate. 

The  picture  illustrates  some 
damaqed  lenses  that  were  put 
back  into  service  after  being 
repaired. 


C  beck-Up 


It's  always  safer  to  make  sure !  The 
disgruntled  patron  who  couldn't  see 
or  hear  to  his  own  satisfaction  is 
the  biggest  cost  on  the  books.  The 
safe  way  is  to  check  over  projection 
and  sound  equipment  regularly. 


Corporation 


General  Scientific  Corporation  is 
composed  of  3  divisions.  Graf  Lens 
division  produces  and  reconditions 
projection  and  sound  optical  equip- 
ment. Lumotron  division  produces 
photo  electric  cells.  Q  R  S  Neon  di- 
vision manufactures  neon  sign  ma- 
terials. All  products  are  manufac- 
tured in  U.  S.  A. 


Lumotron 

The  Lumotron  division  can  furnish 
photo  electric  cells  for  any  sound 
system  installed  in  the  United  States 
and  carries  a  complete  stock.  Orders 
are  filled  and  shipped  within  an 
hour. 

Ask  about  any  problem  of  lenses, 
sound  optical  systems  or  reflectors. 
Address  General  Scientific  Corpora- 
tion, Dept.  313,  4829  S.  Kedzie  Ave- 
nue, Chicago,  111. 


22 


Better  Theatres  Section 


March  9,  1935 


If  your  Sound 

System  is  5  Years  Old, 

//  Cannot  Reproduce  Today 
Full-Range  Recordings.  .  .  . 

Your  audience  compares  your  theatre  with 
others.  Judges  your  sound  by  today's  stand- 
ards. You  can't  "get  by"  with  an  antiquated 
sound  system.  The  C.T.R.  Full  Range  Sound 
System  reproduces  faithfully  all  modern 
sound  effects.  Attractively  priced.  Eco- 
nomical to  run.  Write  for  full  details,  giving 
capacity  of  your  house  and  make  of  pro- 
jectors. 


FULL  RANGE 


SOUND  SYSTEM 


SOUND  DIVISION 
THE  CINCINNATI  TIME  RECORDER  CO. 

(Est.  1896) 

1737  Central  Ave.  Cincinnati,  Ohio 


DA-LITE  Screens  are  made  to  meet  all  pos- 
sible requirements  in  both  the  professional 
and  amateur  fields.  Dealers  in  all  the 
larger  Cities. 

DA-LITE  SCREEN  CO.,  Inc. 

2723  No.  Crawford  Ave.,  Chicago,  Illinois 


Super  Cinct>lior! 

the  true  anastig- 
matic  projection  lens 
which  innproves  the 
innage  quality  a nd 
gives  increased  angular 
covering  power. 

BAUSCH  &  LOMB 
OPTICAL  COMPANY 

679  St.  Paul  St.,  Rochester,  N.Y. 


which  is  the  density  of  magnetism  in  a  field 
that  will  act  on  a  unit  pole  with  a  force  of 
one  dyne;  it  is  equal  to  one  line  of  force 
per  square  millimeter. 


FIRST  REAL 
HANDBOOK- 


-WHY? 


RICHARD    KEUSTER^  a 

New  York  City  projectionist  of  many  years 
standing,  writes:  "In  Better  Theatres 
I  note  the  fact  that  the  new  Bluebook  will 
soon  be  out.  I  have  examined  some  por- 
tions of  the  manuscript  of  the  new  book 
and  am  of  the  opinion  the  book  will  be  the 
most  condensed,  complete  work  on  projec- 
tion yet  laid  before  us.  In  my  opinion  it 
should  and  will  find  a  place  in  the  library 
of  every  progressive  projectionist. 

"It  seems  to  me  that  your  long  years  of 
past  experience  in  both  practical  projection 
and  the  technical  field  thereof,  makes  it  pos- 
sible for  you  to  pick  out  the  most  important 
things,  and  disregard  the  unnecessary.  From 
what  I  have  read  of  Nadell's,  his  contri- 
butation  in  sound  should  have  great  value. 

"However,  when  I  see  George  Edwards 
quoted  as  saying  it  is  "the  first  real  hand- 
book of  projection  that  has  ever  been  put 
out,"  I  object.  After  all  we  just  can't  let 
the  fifth  edition  take  such  a  rap  as  that, 
because  up  to  date  it  is  the  most  complete 
work  on  projection  that  has  ever  been  pub- 
lished. It  has  taken  long  years  of  hard 
work  to  produce  what  we  know  as  the 
Handbook  of  Projection.  I  believe  George 
Edwards  should  realize  that  fact. 

"When  the  new  book  becomes  a  part  of 
my  library,  as  of  course  it  will,  and 
promptly,  I  undoubtedly  still  will  find  oc- 
casion to  consult  the  older  editions.  We 
can't  let  past  efforts  be  washed  out  like 
that.  The  new  book  will  be  more  up-to- 
date,  but  the  other  editions  certainly  did  a 
damned  swell  job  in  their  day." 

What  George  Edwards  said  had  no  ref- 
erence to  the  actual  contents  of  the  book, 
but  to  the  manner  in  which  I  have  made 
the  material  available  by  a  new  system  of 
indexing  that  will  enable  even  the  novice, 
after  just  a  little  practice  in  using  some- 
thing entirely  new,  to  quickly  find  the  an- 
swer to  any  question  relating  to  anything 
dealt  with  in  the  book.  The  new  method 
is  my  own  creation — at  least  I  never  saw 
anything  like  it — and  I'm  darned  proud 
of  it. 

TESTING  FOR 
SOURCE  OF  FLUTTER 

from  a  Colorado  city 
(the  writer  requests  I  do  not  publish  the 
name  or  location)  comes  this  request: 

"Will  you  be  good  enough  to  help  me. 
We  have  a  noise  I  believe  is  what  is  called 
a  'flutter.'  How  can  I  tell  whether  it  is 
in  the  film,  or  in  the  projector  equipment. 
On  one  of  the  projectors  the  sound  is  not 
good.  It  is  all  right  except  that  there  is  a 
lot  of  noise.  I  notice  that  when  I  tap  the 
exciter  very  gently  with  anything  hard,  the 
sound  (noise)  is  very  much  worse." 

The  easiest  method  of  determining 
whether  the  flutter  is  in  the  projector  or 


film  is  to  note  whether  the  same  reel  pro- 
duces flutter  on  both  projectors.  If  it 
does,  nothing  is  necessarily  proven,  but  if  it 
is  clear  on  one  projector  and  on  the  other 
the  trouble  appears — well,  it  is  in  the  film, 
and  that's  that! 

If  it  appears  in  both  projectors  on  all 
films,  it  is  in  the  equipment.  Borrow  a 
reel  from  another  theatre  (there  are  others 
in  your  town)  in  which  no  flutter  trouble 
has  appeared. 

As  to  the  noise,  first  see  to  it  that  your 
lamp  is  tight  in  its  socket  and  is  making 
good  electrical  contact  therewith;  also  that 
the  connections  to  its  socket  are  tight. 
Loosen  them  and  clean  all  contact  surfaces 
with  crokus  cloth.  If  all  these  things  are 
okay,  try  another  lamp,  as  it  is  almost  a 
certainty  that  the  exciter  lamp  filament  it- 
self is  not  making  good  contact. 

WAITING  IMPATIENTLY 
FOR  2,000-FOOTER 

JOHN  t.  seiler  of  Long 
Beach,  Cal.,  asks,  "May  I  remark  that  this 
thing  of  cranking  a  rewind  thousands  of 
unnecessary  revolutions  a  week  building  up 
and  tearing  down  shows,  is  becoming  more 
and  more  irksome.  It  gets  my  angora  to 
think  of  the  vast  amount  of  unnecessary 
labor  being  done  by  thousands  of  men  daily 
in  projection  rooms  because  of  failure  by 
producers  or  distributors  (whichever  may 
be  to  blame,  to  mount  feature  pictures  on 
2,000-foot  reels. 

"I  realize  that  this  is  not  a  new  issue. 
For  that  reason  I  will  not  boil  over  and 
consume  a  lot  of  time  and  space.  The  pass- 
ing of  the  disc  in  general  projection  practice 
removes  the  last  possible  barrier  to  the 
change.  What  real  reason,  if  any,  can  pos- 
sibly be  advanced  for  delay  in  adoption  of 
the  2,000-footer,  when  such  delay  makes 
for  sloppy  presentation,  gross  waste  of 
labor  and  unnecessary  expense  in  print-end 
replacements?  The  answer  seems  to  be 
composed  of  just  one  word;  namely,  None. 

"We  all,  including  myself,  have  been  do- 
ing a  lot  of  private  complaining,  as  well  as 
idea-inventing,  on  this  subject,  but  seem  to 
have  gotten  just  exactly  nowhere.  Dad, 
you  are  in  close  touch  with  a  large  percent- 
age of  the  projectionists  of  this  country.  I 
say  this  because  of  the  "Bluebook  School" 
and  Better  Theatres.  I  believe  every 
projectionist  favors  the  2,000-footer.  Isn't 
there  something  that  can  be  done  to  put  it 
over?  I  am  quite  certain  I  could  rustle 
some  influential  help  among  the  West 
Coast  projectionists.  Am  willing  to  do 
anything  I  can  and  believe  the  thing  can  be 
put  over." 

The  Academy  of  Motion  Picture  Arts 
and  Sciences  has  the  matter  in  charge,  and 
is,  I  believe,  doing  what  it  can  to  put  the 
2,000-foot  reel  over  against  much  opposi- 
tion from  producers  who  object  to  the  ex- 
pense involved  in  making  the  change.  That 
is  the  only  real  objection  I  have  ever  heard. 

Now  if  those  projectionists  who  are  get- 
ting tired  of  waiting  for  action  on  the 
2,000-foot  reel,  will  send  a  letter  or  post- 
card to  Better  Theatres,  1790  Broad- 
way, New  York  City,  saying,  "I  am  a  pro- 


March  P,  1935 


Motion  Picture  Herald 


23 


jectionist  at  the  [name]  theatre  and  urge 
immediate  adoption  of  the  2,000-foot  reel," 
their  messages,  with  the  proper  arguments 
and  data,  will  be  submitted  where  they  will 
do  the  most  good.  The  more  those  who 
write,  the  greater  the  potential  effect. 

A  CRITIC  TURNS 
TO  PROJECTION 

ONE  WHO  desires  not  to  be 
named  writes,  "Dear  Mr.  Richardson:  I 
am  of  those  hated,  feared  and  often  laughed 
at  persons  bearing  the  title  Motion  Picture 
Critic.  My  duties  take  me  to  the  various 
screening  rooms  where  companies  display 
their  production  for  inspection  by  preview 
committees  and  others. 

"No  one  would  presume  that  projection- 
ists would  put  the  productions  on  as  per- 
fectly as  possible  before  such  audiences,  par- 
ticularly in  view  of  the  fact  that  officers  of 
the  producers  are  not  infrequently  present. 
That  assumption  would  seem  quite  natural, 
but  it  pains  me  to  say  the  reverse  seems 
often  the  case — so  much  so  that  often  I  am 
reminded  of  the  movies  I  used  to  see — 
many  years  ago  when  I  was  a  child,  with 
projection  that  would  now  be  termed 
awful  and  an  'elocutionist'  beside  the  screen 
attempting  to  follow  the  shadow  lip  move- 
ments and  put  words  into  the  actors' 
mouths. 

"I  have  often  wondered  why  the  organi- 
zation these  men  belong  to  [Local  Union 
306. — F.  H.  R.]  permit  their  members  to 
do  such  terrible  work.  It  would  seem  that 
previews  should  have  the  very  best  projec- 
tion possible,  as  the  committees  go  there 
with  the  express  purpose  in  view  of  picking 
the  productions  to  pieces,  yet  I  have  time, 
time  and  again  witnessed  about  every  pos- 
sible projection  fault  imaginable — even  to 
oily  film. 

"There  has  been  travel  ghost  and  (very 
common)  anything  from  a  frame  or  two  to 
several  feet  of  transparent  trailer,  often 
bearing  various  stars,  dots,  figures,  etc., 
shown  on  the  screen.  Surely  producers 
cannot  believe  such  a  mess  of  hieroglyphics 
add  anything  to  the  beauty  of  presentation, 
to  say  nothing  of  the  terrific  eye  strain  in- 
volved. Personally,  they  merely  make  me 
wonder  where  the  nearest  exit  may  be  in 
case  fire  occurs  while  the  projectionist  is 
away  from  his  post  beside  the  projector — as 
surely  he  is,  or  such  projection  abortions 
would  not  be  permitted  to  appear.  Even 
the  most  careless,  slovenly  projectionist  cer- 
tainly would  have  sufficient  pride  in  his 
work  to  avoid  them. 

"At  one  preview  I  was  so  disgusted  at 
the  terrible  work  that  I  interviewed  the 
projectionist,  telling  him  he  should  be 
ashamed  to  name  himself  by  that  title.  He 
insisted  the  white  screen  flashes  were  quite 
in  order  as  he  never  had  time  to  run  the 
picture  through  and  there  were  no  cues  for 
changeover.  I  asked  him  why  we  often  al- 
most had  our  ears  exploded  by  sound,  to 
which  he  replied,  'Well,  if  they  didn't  have 
brains  enough  to  tell  me  to  lower  the  vol- 
ume, it  was  just  too  bad.' 

"I  wonder,  Mr.  Richardson,  just  what 
your  opinion  would  be  of  all  this,  hence  this 
letter.    Admitting  I  am  not  too  well  in- 


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24 


Better  Theatres  Section 


March  9,  1935 


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formed  as  to  projection,  still  it  would  seem 
to  this  particular  old  maid  that  better  pro- 
jection than  the  average  screening  room  has 
might  be  provided.  If  these  projectionists 
belong  to  a  union,  surely  the  union  cannot 
know  and  condone  the  terrible  work  some 
of  these  men  are  doing.  If  they  are  not 
union  men,  then  why  are  they  projecting 
pictures  at  all?  Possibly  I  am  all  wrong. 
There  may  be  a  reasonable  reason  for  all 
this.  I  am  asking  your  opinion  through 
your  Better  Theatres  Comments." 

The  volume  was  not  the  fault  of  the  pro- 
jectionist. He  was  right  there  (though  he 
might  well  have  been  a  bit  more  courteous 
and  informing  in  answering  you).  He  is 
in  what  is  supposed  to  be  a  sound-proof 
room,  quite  out  of  touch  with  sound  in  the 
auditorium.  He  cannot  therefore  know 
whether  the  volume  is  too  high  or  too  low. 
An  observer  should  be  provided,  whose  duty 
it  is  to  govern  sound  volume  by  means  of 
signals  to  the  projectionist. 

As  to  the  white  screen  and  hieroglyphics, 
these  may  be  avoided  by  very  careful  work, 
and  it  certainly  is  the  duty  of  projectionists 
to  do  careful  work.  And  even  though  one 
or  two  white  frames  reach  the  screen  at 
rare  intervals,  there  certainly  is  no  possible 
excuse  for  several  feet  of  them.  Even  in  a 
one-man  room  that  is  hardly  to  be  excused. 
True,  the  projectionist  in  a  one-man  room 
is  forced  to  be  away  from  his  projector  at 
times,  but  he  should  be  able  to  time  such 
work  so  that  it  seldom  if  ever  would  be 
necessary  to  be  absent  at  the  end  of  a 
subject. 

Such  things  are  inexcusable,  whoever  is 
at  fault.  In  the  mind  of  the  observer  the 
projectionist  is  brought  into  disrepute.  He 
is  blamed  for  what  may  not  be  due  to  any 
neglect  on  his  part,  as  well  as  for  faults 
that  may  be  his  own.  The  union  is  dis- 
credited in  the  minds  of  observers  because 
it  permits  its  members  presumably  to  com- 
mit outrageous  projection  faults.  It  there- 
fore should  make  some  real  effort  to  place 
its  members  in  position  to  do  good  work, 
and  thus  through  them  maintain  its  own 
standing. 

RANK  NEGLECT! 
WHO'S  TO  BLAME 

AFTER  THE  THREAT,  "If 

you  use  this  and  my  name  I'll  boycott  the 
Bluebooks,"  a  guy  (don't  object  to  the 
"guy" — you  asked  for  it!)  in  Detroit, 
Mich.,  arises  to  remark,  "Good  Morning 
Father!  I  have  just  digested  your  Com- 
ments, particularly  the  one  dealing  with 
Supervisor  Isaac.  Great  credit  is  due  Mr. 
Isaac ;  also,  great  criticism  is  due  both  him- 
self and  all  other  supervisors  because  long 
ago  they  should  have  taken  the  step  Isaac 
finally  did  take.  Probably  I'm  wrong  and 
I'll  very  likely  get  stuck  with  it,  but  that's 
my  story,  and  to  verify  my  contention,  may 
I  present:  • 

"Not  more  than  a  thousand  years  ago  I 
witnessed  a  performance,  and  for  the  most 
part  a  dandy,  too,  in  one  of  our  deluxe 
theatres.  The  stage  show,  the  effects,  the 
sound  and  projection  up  to  a  certain  point 
left  little  to  be  desired  and  nothing  to  be 
criticized,  but  when  the  newsreels  came 


on  the  ghost  of  a  late  shutter — about  one 
foot  late  on  the  screen — showed  up.  When 
the  projectionists  were  let  in  on  the  secret 
they  swore  by  all  that  was  good  and  holy 
they  could  not  see  it  from  the  projection 
room,  which  may  have  been  true,  as  it  was 
a  long  projection  distance.  It  was  the  fault 
of  the  floor  crew,  they  averred,  for  not  call- 
ing their  attention  to  it.  But  the  sad  angle 
to  the  tale  is  that  three  weeks  later  the 
ghost  was  still  right  there  on  the  job,  per- 
fectly visible  to  any  but  one  stone  blind. 
Yea,  verily ! 

"Now  what  I  want  to  know  is,  who  was 
to  blame,  the  floor  manager,  the  projectors 
or  the  projectionists?  My  reason  for  ask- 
ing you  is  that  some  of  these  days  I  may 
land  in  a  really  good  job,  and  if  I  found 
myself  in  the  same  predicament  I'd  want 
to  have  a  first-class  alibi  if  someone  should 
catch  up  with  me. 

"After  reading  the  foregoing  I  still  hold 
that  my  statement  with  regard  to  Mr. 
Isaac  and  supervising  projectionists  in  gen- 
eral holds  good.  How  about  it?  I  enjoy 
j'our  timely  comments.    Best  regards." 

My  answer  is  yes  and  no,  insofar  as  con- 
cerns Brother  Isaac.  He  is  justly  entitled 
to  all  credit  for  finally  starting  something 
you  very  rightly  say  should  have  been 
started  years  ago.  He  is  not  justly  en- 
titled, perhaps,  to  censure  for  not  doing  it 
sooner.  My  reasons  for  saying  that  are 
that  in  all  the  past  supervisors  of  projection 
have  been  appointed  and  then  denied  suf- 
ficient power.  Right  now  we  have  the 
spectacle  of  one  great  threatre  chain  which 
has  a  "supervisor  of  projection"  who  has 
no  authority  at  all.  He  is  merely  a  sort 
of  sublimated  repair  man.  Such  a  situation 
approaches  the  ridiculous.  It  makes  for 
poor  projection  work  in  just  about  every 
way. 

THEATRES 
IN  INDIA 

RECENTLY  I  received  a 
request  for  an  interview  with  a  man  who 
has  been  high  in  the  councils  of  film  af- 
fairs in  far  off  India.  I  of  course  responded, 
and  during  lunch  had  a  most  pleasant  in- 
terview with  this  gentleman,  who  unques- 
tionably knows  exactly  what  the  condi- 
tions are  in  India.  In  the  course  of  the 
talk  I  was  favored  with  some  most  inter- 
esting information.   Said  he: 

"At  the  last  count  made  there  were  ap- 
proximately 340  Indian  theatres  wired  for 
sound.  Projectionists  are,  everything  con- 
sidered, quite  proficient  in  their  work,  but 
very  few  enjoy  good  working  conditions. 
Projection  rooms  are  poorly  ventilated  and 
for  the  most  part  too  small.  Results 
achieved  are,  under  the  conditions,  quite 
creditable.  Most  of  them  understand  how 
to  handle  and  take  care  of  film,  which  fact 
is  proven  by  the  small  number  of  damage 
claims  distributors  have  to  collect  over  any 
given  period  of  time. 

"Theatre  managers  in  general  should 
give  the  projectionists  better  working  con- 
ditions and  better  equipment.  Rewinders 
are,  aside  from  the  big  city  first-run  houses, 
almost  universally  bad.  Spare  parts  for 
equipments  are  only  provided  when  pres- 


March  9,  1935 


Motion  Picture  Herald 


25 


is 
ft 


YOU  OWE  IT 

to  your  patrons  +o  see  a 
demonstration  and  enjoy 
the  vivid  beauty  of  a  pic- 
ture projected  with  the 
new 


STRONG 
MOGUL 

High  Intensity 
Reflector 
Arc  Lamp 

The  answer  to  the  de- 
mand for  more  light  at  a 
lower  operating  cost. 

There  is  a  Strong  lamp 
to  meet  the  needs  of  every 
theatre. 

Che  Strong  Electric  Corporatioit 

2501  LAGRANGE  ST.,  TOLEDO,  OHIO 

Eiporl  Office:  Room  301  220  W«t  42nd  Street  Ne*  York.  N.  Y. 


ij 
W 


SUPER-LITE 
LENSES 

and 

PRO-JE3l^ 
SOUND  UNITS 

are  giving  universal 
satisfaction 

A  TRYOUT  WILL  CONVINCE  YOU 

Projection  Optics  Co.,  Inc. 

330  Lyell  Ave.,  Rochester.  N. Y..  U.S.A. 


sure  is  brought  to  bear.  Film  cement  and 
sound  track  opaque  is  often  either  entirely 
missing  or  of  very  poor  quality. 

"The  usual  practice  is  to  have  three  men 
in  the  projection  room.  'Seniors'  receive 
from  150  to  200  rupees  per  month  in  the 
larger  houses.  First-assistants  get  60  to 
100  rupees,  and  the  third  man  gets  from  25 
to  60  rupees  per  month.  [A  rupee  is  38c.] 

"Programs  consist  in  one  feature  and 
about  four  reels  of  support.  Two  hours  is 
the  limit  of  a  performance.  Most  theatres 
have  a  liquor  license  and  set  apart  a  1 5- 
minute  intermission  for  bar  trade.  If  the 
feature  is  nine  reels  or  more,  this  is  most 
frequently  at  the  end  of  the  third  reel 
of  the  feature,  regardless  of  the  suitability 
of  such  a  break.  This,  however,  is  gradu- 
ally being  overcome,  in  so  far  as  has  to  do 
with  major  releases.  Exhibitors  are  slowly 
being  convinced  this  is  bad  practice. 

"There  are  only  about  a  dozen  theatres 
in  the  whole  country  comparable  in  excel- 
lence with  the  modern  neighborhood  house 
in  the  United  States  or  Canada.  AH  the 
rest  are  old  in  style,  poorly  seated  and  be- 
low the  average  in  acoustic  values.  The 
average  seating  is  below  500,  with  1,000 
seats  as  the  maximum  capacity.  This  latter 
class,  in  so  far  as  has  to  do  with  theatres 
showing  American  films,  is  only  about  10 
in  number. 

"There  are  only  two  theatres  in  India 
with  refrigerated  cooling.  One  of  them  is 
in  Calcutta,  the  other  in  Bombay.  Several 
others  have  air  conditioning  of  sorts,  but 
need  the  assistance  of  many  fans." 

Vqu  who  think  wages  are  low  in  this 
country  and  Canada  may  examine  the  fact 
that  the  highest  paid  projectionist  in  India 
receives  about  $78  a  month,  whereas  the 
lowest  receives  the  magnificent  recompense 
of  less  than  $10  a  month;  also,  that  the 
working  conditions  and  equipment  are  for 
the  most  part  none  too  good. 

FUNNY  KIND 
OF  MANAGING 

FROM  WHOM  and  whence 
this  letter  comes  I  think  it  best  not  to  say, 
except  that  it  is  from  a  city  in  Louisiana. 

"Richardson,  you  advise  us  to  do  good 
work.  You  roast  the  beeswax  out  of  us 
if  we  don't.  But  how  in  the  name  of  the 
sacred  gold-plated  alligator  can  a  man  do 
good  work  when  the  manager  won't  pro- 
vide the  things  necessary? 

"Here  is  the  situation:  If  you  can  come 
down  here  and  get  good  results  in  either 
picture  or  sound  I'll  present  you  with  the 
very  best  prize  I  can  buy,  after  providing 
for  myself,  a  wife  and  two  kiddies  out  of 
a  $24  weekly  'salary.' 

"The  screen  is  a  stem  winding  wonder. 
It  probably  was  a  good  screen  when  it  was 
installed.  The  chump  who  occupies  the 
manager's  office  in  this  theatre  says  it  still 
is  'just  fine.'  I  reckon  he  must  be  right, 
too,  for  it  was  put  in  only  six  years  ago 
and  hasn't  had  one  solitary  blinkety- 
blanked  thing  done  to  it  since,  except  that 
about  eighteen  months  ago  our  star-board- 
er-manager swept  it  off  with  a  broom.  But 
*-hat  made  it  streaked,  and  he  would  not 


GET 
THIS 
BOOK 


— i/yoif  are 
interested  in 
Air  Conditioning 

Whether  the  coming  hot  season  drives 
crowds  into  your  theatre,  or  keeps 
them  out  of  it,  depends  on  you.  In 
this  book  you  will  find  many  pointers 
on  how  to  cash  in  on  hot  weather. 
Here  is  the  latest  information  avail- 
able on  theatre  comfort,  as  provided 
by  a  concern  with  over  6000  installa- 
tions and  "a  Cooling  System  for 
every  type  of  theatre." 

ARCTIC-NU-AIR— "As  Refreshing  as  a 
Sea  Breeze,"  cools  noiselessly  by  air 
movement. 

KOOLER-AIRE— "Nature's  Healthful 
Refrigeration,"  cools  by  washed  air. 

COLD-WATER  KOOLER-AIRE— Same 
effect  as  mechanical  refrigeration,  at  low- 
er cost,  where  55°  water  is  available. 

REFRIGERATED  KOOLER-AIRE— 
Mechanical  refrigeration  plus  U.  S.  AircO 
experience. 


Read  up 
on 
Summer 
Cooling 
now — 
before 
Summer 
Arrives 


Theatre  Coolino 
Division. 


U.  S.  AIR  CONDITIONING  CORPORATION 
2117  Kennedy  St.  N.  E.,  Minneapolis,  Minn. 

Please  send  us,  without  charge,  a  copy  of  your 
book  "Air  Conditioning  for  the  Modern  Theatre." 


Name   . . 
A ddress 
City 

State    .  . 


26 


Better  Theatres  Section 


March  9,  1935 


If  You  Are 
Responsible 
for  Good 
Projection — 
Modernize  with 

The  GARVER 
KURRENT  CHANGER 

Yet  save  20-30%  changing  A.C.  to 
D.C.  Delivers  15-30  amps,  steadily, 
quietly,  dependably.  Eliminates 
change-over  troubles.  No  interfer- 
ence. Recommended  by  (h'l'^C 
lamp  manufacturers  J)  I 

★   ★  Ik- 
Assure  Brilliant,  Quiet 
Mazda  Projection, 

concentra+ed  spot  or  flood  lighting. 

National 
Regulator 

1 10  or  220  volH  $60 


Circulars  on  Request 

Representatives  in 
Principal  Cities 


Modern  Adler 
Cast  Aluminum 

CHANGEABLE  LETTERS 

Write  for  Samples  and  Prices 

BEN  ADLER  SIGNS,  Inc. 

343-B  So.  Dearborn  St.,  Chicago     .  Harrison  3148 


19S5  MODEL  W 

SUPERIOR  PROJECTOR 

MEETING  ALL  DEMANDS  FOR 
IMPROVED  PROJECTION 

COXSACKIE  MFG.  CORP.,  Coxsackie,  N.  Y. 


before  and  will  not  now  permit  anyone  to 
do  anything  more  than  look  at  it.  Phoy! 
It  looks  like  the  day  before  Christmas 
feels  when  one  is  busted  and  has  two  best 
girls ! 

"I've  shown  him  your  articles  on  screens. 
He  just  glances  at  them  and  says,  'What 
the  hell  does  that  bird  know  about  a 
screen  that  is  a  thousand  miles  away.'  And 
that  was  flat  and  final !  You  just  didn't 
click  with  Mr.  Wiseguy. 

"But,  Richardson,  that's  merely  a  be- 
ginning. I  have  to  almost  have  a  smack 
'im  down  to  get  a  new  sprocket  so  long 
as  there  is  more  than  two  teeth  in  sight 
on  each  side  of  the  one  in  use,  and  so  far 
as  the  projector  mechanisms  are  concerned 
I'm  thinking  of  buying  some  hay  wire  to 
keep  parts  from  falling  off  and  mussing 
up  the  floor.  Honest,  I  sometimes  feel 
like  taking  his  head  apart  just  to  see  what 
in  heaven's  name  is  inside.  And  the  bird 
is  continually  growling  about  poor  busi- 
ness! How  in  gehenna  he  expects  to  get 
business  with  what  I  am  able  to  put  on 
that  dirty  old  rag  and  through  the  loud 
speakers,  using  the  superannuated  junk  I 
have  to  work  with,  I  will  admit  I  don't 
quite  know.  And  you  tell  us  to  do  good 
work!" 

What  a  blast!  And  if  conditions  are  as 
described,  I  don't  in  the  least  blame  him. 
Were  I  in  his  place  I  don't  know  but 
some  morning  there  might  possibly  be  a 
big  hole  in  that  "screen."  How  it  would 
get  there  I  don't  quite  know,  but  I  think 
perhaps  it  would.  Sometimes  it  is  a  real 
kindness  to  compel  a  man  to  do  something. 
This  seems  to  be  one  of  the  times. 

First,  though,  I  would  give  the  gentle- 
man a  practical  demonstration  by  obtain- 
ing a  sheet  of  white  cardboard  as  large  as 
possible  from  a  printer,  suspending  it  in 
the  screen  center  after  a  show  some  eve- 
ning, and  projecting  the  white  light  to  the 
screen.  If  that  didn't  wake  him  up  (the 
difference  in  brilliancy  should  be  rather 
startling),  then  certainly  he  would  be 
utterly  beyond  all  help. 

CARELESSNESS 
IN  THREADING 

FROM  AN  Illinois  ex- 
hibitor comes  this  letter: 

"Dear  Mr.  Richardson:  Through  read- 
ing your  books  and  your  Comments  in 
Better  Theatres  I  have  been  enabled  to 
discover  and  remedy  many  faults,  or  at 
least  I  have  found  them  and  caused  my 
projectionists  or  managers  to  remedy  them. 
I  own  seven  theatres  and  have  an  interest 
in  several  others.  I  feel  that  I  owe  you  a 
lot,  so  I'm  going  to  repay  you  by  permit- 
ting you  to  perhaps  help  me  some  more. 
Real  kind  of  me,  is  it  not? 

"I  am  quite  a  crank  on  sound.  Notice 
anything  wrong  with  it  quicker  than  1  do 
with  the  picture.  Here  is  one  that  is  either 
due  to  my  too  vivid  imagination  or  else 
to  I  don't  know  what.  But  I  have  noted 
it  many  times  and  believe  it  is  a  real  fault. 

"As  an  instance,  in  one  of  my  own  thea- 
tres I  was  present  when  the  first  reel  of 
"Broadway  Bill"  was  run.     The  sound 


was  all  I  could  ask  for.  Clear,  good  vol- 
ume and  everything  okay.  Later  I  hap- 
pened to  be  present  when  exactly  the  samt 
reel  was  run  at  the  last  show  (same  thea- 
tre) and  the  sound  was  not  so  excellent. 
Seemed  to  me  it  was  just  a  little  out  of 
synchronism.  Talked  with  the  house  man- 
ager about  it,  but  he  could  detect  nothing 
wrong.  Went  to  the  projection  room  and 
talked  with  the  projectionist,  who  said 
everything  was  exactly  as  it  had  been  be- 
fore. Even  the  theatre  was  filled  about 
the  same. 

"Now,  Mr.  Richardson,  maybe  it  is  my 
imagination,  but  I  have  noticed  this  par- 
ticular thing  so  often  that  I  have  finally 
concluded  to  apply  to  the  source  from 
which  I  have  always  received  the  right 
dope.  I  am  asking:  Can  there  be  any- 
thing wrong  from  time  to  time  that  will 
throw  sound  just  a  little  out  of  synchron- 
ism— for  that  certainly  is  what  it  sounds 
like  to  me?  I  would  appreciate  deeply  any 
information  you  may  be  able  to  supply." 

I  assume  that  you  are  using  sound-on- 
film  reproduction.  The  fault  I  suspect  is 
one  that  would  hardly  be  detected  by  any- 
one not  very  sensitive  to  sound  faults. 
When  the  projectionist  threads  a  projector 
there  must  be  exactly  21  frames  between 
the  projector  aperture  and  the  sound  gate. 
On  the  standard  release  print,  21  frames 
in  advance  of  the  starting  that  goes  over 
the  projector  aperture  is  a  white  line  and 
small  diamond-shaped  mark  that  belongs 
over  the  aperture  of  the  sound-gate — not 
nearly  over  it,  but  exactly  at  the  aperture. 
Now  due  to  differences  in  motor  pick-up 
speed,  projectionists  do  not  place  the  start- 
frame,  located  12  feet,  six  frames  in  ad- 
vance of  the  title  over  the  aperture,  but 
sufficiently  beyond  it  to  compensate  for  the 
pick-up  of  each  projector,  which  may  and 
probably  does  vary,  sometimes  widely. 
They  therefore  cannot  have  the  diamond 
for  reference  as  to  those  21  frames,  and  in- 
stead depend  on  their  own  judgment.  And 
now  here  is  the  crux  of  the  whole  matter. 
To  have  exactly  21  frames  between  pro- 
jector and  sound  gate  apertures,  loops  must 
be  precisely  the  correct  size,  and  your 
trouble  probably  is  that  the  projectionist 
loses  out  by  an3^here  from  one  to  three 
sprocket  holes  from  the  correct  distance. 


electrogram 


MOTOR  VOLTAGE:  About  the  first 
thing  to  do  in  checking  motor  per- 
formance is  to  ascertain  the  voltage. 
Some  of  the  causes  of  low  voltage  at 
the  motor  are  (I)  loose  connections 
In  the  switch,  starter  on  on  the  lines; 
(2)  wires  too  small;  (3)  transformer  too 
small  or  having  poor  regulation  on 
a  motor  (induction)  load. 

•  Write  us  your  electrical  prob- 

lem. An  expert  reply  will  be 
promptly  Electrographed. 


SOUND  EQUIPMENT 

Rebuilt  and  New 

Projectors,  Screens,  Booths. 
Opera  Chairs,  Spotlights. 
Stereopticons,  Film  Cabi- 
nets, Portable  Projectors. 
Arc  Lamps,  M.  P.  Cameras, 
Carbons.  Mazda  Lamps,, 
Tickets  and  Machines.  .  . 

Projection    machines  re- 
paired and  overhauled.  Re- 
p.nir  parts  for  all  makes  of  opera  chairs. 
Equipment  bought  at  highest  prices. 

S.O.S.  CORP. 

1600   Broadway,   New   York  City 


March  9,  1935 


Motion  Picture  Herald 


27 


EQUIPMENT  AFFAIRS 


Equipment  News  and  Comment 


CARBON  SAVERS 

•  A  carbon  saver  for  adaption  to  low-in- 
tensity, a.c.  and  d.c.  suprex  lamps  in  gen- 
eral, and  another  specified  for  Peerless 
Magnarc  lamps,  have  been  added  to  the 
line  of  projection  and  electrical  equipment 
manufactured  by  the  Best  Devices  Com- 
pany of  Cleveland.  The  former  is  adapted 
to  carbons  of  6,  7,  8,  9,  10,  12  and  13 
millimeters,  while  the  Peerless  saver  is  de- 
signed to  permit  both  positive  and  negative 
carbons,  in  6-,  7-  and  8-millimeter  sizes,  to 
be  burned  to  1-inch  stubs. 

"SUPREX"  GENERATORS 

•  A  new  Actodector  for  suprex  carbons 
has  been  developed  by  the  Century  Electric 
Company  of  St  Louis.  In  design,  it  con- 
sists in  two  independent  generators  in  one 
two-bearing  frame  connected  directly 
through  a  flexible  coupling  to  a  separate 
3-phase  motor,  and  all  is  mounted  on  a 
rigid  fabricated  steel  bedplate,  resulting 
in  a  unit  arrangement. 

The  generators  are  designed  to  operate 
without  ballast  resistance.  A  control  panel 
provides  a  field  rheostat  for  each  generator, 
a  voltmeter  and  a  voltmeter  switch  to  read 
the  voltage  in  each  circuit. 

AIR  FILTERS 

•  An  air  filter  of  unit  design  using  dry 
type  filter  element  has  been  developed  by 
the   Coppus  Engineering  Corporation  of 


Worcester,  Mass.,  for  use  in  ventilating 
systems.  Each  unit  consists  in  a  ribbed 
metal  frame  over  which  the  filter  element 
is  drawn.  The  filter  glove  can  be  replaced 
without  removal  of  the  frame  from  the 
installation. 

Cleaning  may  be  accomplished  by  means 
of  a  special  portable  vacuum  cleaner  pro- 
vided with  a  tapered  nozzle  which  extends 
to  the  bottom  of  the  filter  pockets.  In 
making  up  a  bank  of  filters,  according  to 
the  amount  of  air  to  be  passed  through, 
the  units  themselves  are  bolted  together. 
All  the  metallic  parts  are  rust-proofed  and 
lacquered. 

COMBINATION  CHANGEOVER 

•  A  safety  control  incorporating  a  manual- 
ly operated  changeover  device  has  been 
brought  out  by  the  N.  A.  N.  Automatic 
Light  Control  Company  of  Johnstown,  Pa. 
Pulleys  are  used  above  each  shutter  on  the 
ceiling,  a  rope  through  these  pulleys  so 
functioning  that  when  one  shutter  opens 
the  opposite  one  closes  automatically. 

PROJECTOR  SERVICE 

•  A  sprocket  remover  and  sprocket  pin 
ejector  has  been  added  to  the  line  of  equip- 
ment and  supplies  of  the  Trout  Sound  and 
Theatre  Equipment  Manufacturing  Com- 
pany of  Enid,  Okla.  Another  new  item  is 
a  non-warping  E-16  plate  for  Simplex 
projectors. 


CUTOUTS 

MADE  WITH  THE 


An  adaptation  oi  Formica  to  the  theatre  lobby,  as  achieved  in  the  remodeling  of  the  Covent  theatre, 
Baiaban  &  Katz  house  in  Chicago.  Formica  is  of  fibrous  and  resinous  composition  produced  in  thin 
slabs  and  available  in  about  40  colors. 


MAKE  PEOPE 


STOP 


LOOK 


and  ENTER 

YOUR 
THEATRE 

Cutout  entrance,  lobby  and  interior 
decorations  are  your  most  effective 
advertising  mediums.  They  get  atten- 
tion and  bring  in  the  crov/ds.  Yet 
when  made  with  the  Cutawl  they  are 
not  expensive.  Don't  pass  up  an 
opportunity  to  better  your  profits. 
Send  the  coupon  for  full  information. 

Find  Out 
About  Our 

EASY 
PAYMENT 
PLAN 

INTERNATIONAL  REGISTER  CO 

21  S.  Throop  St.  Chicago 


INTERNATIONAL   REGISTER  CO. 
21  S.  Throop  St.,  Chicago 
Please  send  your  Cutawl  literature. 

Name   

Address   

City    State. 


LARGEST  DEALERS 
IN  USED  CHAIRS 


Re-Setting 
Re-Upholster!ng 
Re-Cond!tioning 
"Servastone" 
for  cracked  con- 
crete floors 
Parts  for  all  chairs 
Slip  Covers 
Metal  backs  for 
all  chairs  and 
metal  bottom 
boards  for  all 
cushions. 


Allied  Seating  Company 

358  W.  44th  ST.     NEW  YORK,  N.  Y. 


28 


Better  Theatres  Section 


March  9,  1935 


PLANNING  THE  THEATRE 

A    SERVICE    CONDUCTED    BY    PETER     Si.    HDESKEN,    A.  I.  A. 


The  Question: 

WE  ARE  NOW  arranging 
for  the  erection  of  a  neon  marquee  over 
the  front  of  our  house  and  we  feel  that 
our  lobby  is  badly  in  need  of  a  change. 
Now  just  what  this  change  is  or  how  we 
should  make  it  is  the  question. 

We  are  attaching  hereto  a  rough  sketch 
of  our  lobby  with  measurements  and  would 
greatly  appreciate  your  looking  over  same 
and  sending  us  some  suggestions  as  to  what 
we  might  do  to  liven  things  up. 

Naturally,  we  do  not  want  to  layout  too 
much  money  but  would  be  willing  to  do 
anything  within  reason.  Our  house  is  very 
nice  inside  with  550  seats  down  and  300 
up.— H.  F.  P. 

The  Answer: 

AS  THE  LOBBY  is  divided 
into  two  sections  by  the  use  of  the  middle 
doors,  I  suggest  that  you  use  an  entirely 
different  scheme  of  decorating  for  each  sec- 
tion. In  your  letter  you  state  that  the 
walls  are  covered  with  sheet  tin,  and  I 
presume  that  you  mean  ornamental  gal- 
vanized metal,  of  course  this  material  can 
be  easily  removed.  Plan  for  a  base  about 
30  inches  high  of  architectural  glass  or 
composition  material  with  a  polished  sur- 
face. From  base  to  ceiling  use  horizontal 
courses  between  30  inches  and  36  inches 
wide,  of  imitation  or  genuine  wood  veneer 
or  composition  colored  materials.  Cover 
joints  with  foil-covered  or  white  metal 
strips. 

Only  a  small  cornice  will  be  required  at 
ceiling,  and  this  may  be  made  of  wood  and 
painted  to  match  the  finish  of  the  mate- 
rial used  for  wall  covering.  This  method 
is  quite  effective,  and  a  very  pleasing  color 
scheme  may  be  obtained.  For  ceiling  light- 
ing use  suspended  metal  channels,  either 
with  neon  tubes  or  colored  bulbs  for  in- 
direct lighting.  These  channels  can  be  ar- 
ranged in  two  circles  or  squares  with  even 
distances  between. 

Should  you  desire  a  different  scheme  for 
the  second  lobby,  I  suggest  that  the  walls 
be  plastered  to  an  even  and  smooth  sur- 
face. Paint  walls  in  horizontal  layers  of 
different  colors,  spacing  about  the  same  as 
in  front  lobby.  Make  joints  of  silver  paint 
1-inch  wide.  Start  at  base  with  darkest 
tone  and.  make  each  following  course  two 
to  three  shades  lighter.  If  this  lobby  is 
carpeted,  the  most  predominating  color  in 
the  carpet  should  be  used  as  base  color  for 
walls,  except,  of  course,  when  this  is  black. 

For  ceiling  lighting  use  trough  type  fix- 
ture or  cove  lighting.    If  fixture  is  used, 


NOTE: 

IN  THIS  department 
Better  Theatres  wiH  be 
glad  to  answer  questions  pertaining 
to  the  preliminary  consideration  in- 
volved in  the  planning  of  a  new  the- 
atre or  in  the  remodeling  of  an  exist- 
ing one.  Only  requests  for  ideas  will 
be  answered,  since  this  department 
cannot  assume  the  practical  functions 
of  an  architect.  All  communications 
intended  for  this  department  should 
be  addressed  to  Better  Theatres, 
1790  Broadway,  New  York. 


its  length  should  be  half  the  length  of  the 
ceiling.  This  method  of  decorating  is  very 
inexpensive  and  the  results  obtained  are 
very  effective. 


The  Question: 

I  RECALL  SEEING  in  one  of 
your  issues  an  advertisement  pertaining  to 
advice  and  aid  in  theatre  remodeling.  It 
is  my  sad  misfortune  to  be  unable  to  locate 
the  above  advertisement.  However,  I  hope 
this  letter  finds  the  correct  party  without 
too  many  inconveniences. 

I  have  been  managing  the  above  theatre 
for  one  year  and  a  half.  Have  installed 
new  sound  and  new  chairs  with  a  few  other 
improvements  here  and  there. 

The  enclosed  drawings  will  give  you 
some  idea  of  the  need  for  remodeling.  1 
hope  that  I  have  given  you  the  necessary 
information  you  need.  I  am  buying  the 
theatre,  so  improvements  will  be  for  me. 

The  theatre  needs,  first  of  all,  acoustic 
correction.  Just  how  much  I  do  not  know. 
As  you  will  see  from  the  drawings,  there  is 
felt  padding  on  the  upper  back  wall  and 
also  in  the  panels  on  the  side.  I  do  know 
the  sound  is  perfect  in  the  ticket  booth  and 
also  in  the  advertising  room,  which  is  next 
to  the  rest  room.  I  have  thought  about 
covering  the  entire  ceiling  with  new  wood 
and  possibly  the  walls  also.  You  may  give 
me  your  opinion  on  this.  New  wood  is  $50 
a  thousand. 

I  should  also  like  to  build  a  wall  from 
the  screen  on  a  diagonal  to  the  side  wall. 
The  theatre  seems  terribly  wide  near  the 
front,  and  there  are  also  two  6-inch  steel 
pipes  holding  up  the  roof  which  show  in  the 
theatre.  I  will  take  care  of  the  latter  by 
building  a  support  on  the  roof. 

I  also  do  not  like  the  pillars  on  the  side 


walls  in  which  there  are  now  side  lights. 
I  would  like  to  have  this  flush  with  the 
cement  ledge.  Perhaps  you  can  see  some 
idea  of  decoration  with  new  type  of  side 
lights  which  will  be  highly  satisfactory. 
Do  not  get  me  wrong — I  do  not  care  to 
spend  any  more  than  is  necessary.  If  the 
above  can  be  nicely  improved  at  little  cost, 
that  is  the  method  I  want  to  take. 

I  do  want  to  have  a  nice  looking  foyer. 
At  present  it  is  terrible.  The  benches  and 
advertising  room  should  come  out.  Now 
for  your  suggested  remodeling.  I  do  want 
the  back  now  padded  wall  to  continue  to 
the  floor.  There  is  sufficient  space,  as  the 
seats  were  set  ahead  a  little  for  this  im- 
provement. My  office  and  advertising  room 
could  be  to  the  right  of  the  foyer  as  you 
enter.  I  want  good  rugs — the  most  eco- 
nomical in  the  long  run.  How  about  an 
arch  from  the  foyer  leading  to  the  aisle, 
which  will  be  in  the  extended  wall  ? 

The  lobby  and  front  of  the  theatre  is  of 
stucco,  and  a  dirty  blue  gray  color  (so  it 
seems  to  me).  The  ticket  booth  is  of  the 
same  material  and  color.  The  material  is 
okay,  but  how  can  I  liven  up  things  a  little. 
I  do  not  want  to  go  to  a  great  deal  of  ex- 
pense here.  I  am  more  interested  in  the 
interior  at  present. 

The  furnace  is  now  set.  I  want  to  put 
it  under  the  stage.  There  is  a  wooden  box 
large  enough  for  a  man  to  crawl  in  going 
straight  down  from  where  the  furnace  is 
now  to  the  front  row  of  seats,  and  could  be 
extended  underneath  the  stage  for  a  cold 
air  return. 

Underneath  the  stage  now  on  the  right 
is  a  blower.  I  want  to  use  the  blower, 
which  I  can  step  down  in  speed,  in  connec- 
tion with  the  furnace,  by  drawing  the  hot 
air  from  the  furnace  and  sending  it  into  the 
auditorium.  And  in  the  summer  time  to  be 
used  with  an  air  washer.  Can  I  use  the 
same  pipes  in  the  summer  for  cooling  and 
ventilation  that  I  use  in  the  winter  for  heat- 
ing. 

What  about  lighting  ?  The  present  bowl 
and  chain  type  must  come  out.  What  can 
I  put  in?  Would  proper  side  lighting  be 
sufficient? 

Any  suggestions  you  make  will  be  greatly 
appreciated.  I  am  enclosing  a  photo  of  the 
outside  of  my  theatre.  There  is  now  a  neon 
sign  (Liberty)  below  the  E  in  theatre, 
which  comes  to  the  top  of  the  window. 
There  is  also  a  2  x  8-foot  sign  of  wooden 
frame  on  top  of  the  marquee  facing  the 
street.  What  kind  of  changes  can  I  make 
here?  An  electric  letter  sign  would  do  a 
great  deal  toward  making  some  improve- 
ment. 

I  want  to  say  that  I  respect  and  value 


March  9,  1935 


Motion  Picture  Herald 


29 


highly  your  magazine.  It  keeps  me  well 
informed  and  is  worth  many  times  the 
price  of  the  subscription.  Thanking  you 
for  this  courtesy  in  my  behalf  in  favoring 
me  with  your  remodeling  aid  and  sugges- 
tions.—P.  A.  V. 

The  Answer: 

AFTER  GIVING  yOUr 

sketches  the  proper  study,  I  think  I  can 
give  you  suggestions  for  acoustical  correc- 
tion. Cover  all  walls  and  ceilings  with  the 
material  you  mentioned  in  your  inquiry. 
While  it  is  very  inexpensive,  it  will,  under 
the  circumstances,  give  satisfactory  results. 
By  using  different  patterns  in  the  method 
of  application  and  by  the  use  of  a  V- 
grooved  plane,  a  very  interesting  design 
may  be  obtained.  The  pilasters  on  the  side 
walls  can  be  easily  eliminated  by  furring 
out  the  wall  spaces  between  the  pilasters  to 
form  a  straight  wall  line.  This  will  pro- 
duce hollow  wall  spaces,  which  greatly  im- 
prove acoustic  conditions.  To  break  the 
monotony  of  this  straight  wall  surface,  pro- 
vide for  three  wall  panels  on  each  side  wall, 
these  panels  to  be  draped.  Bottom  of  these 
panels  should  be  4  feet,  6  inches  above  floor 
line,  and  the  top  30  inches  below  ceiling. 

You  can  build  flare  walls  on  each  side  of 
the  proscenium  arch.  I  suggest  that  you 
make  this  arch  32  feet  wide,  then  build  the 
flare  walls  on  a  30  degree  angle  with  the 
curtain  line.  Plan  in  center  of  each  flare 
a  5-foot  arch  leading  to  the  present  exits 
on  each  side  of  stage. 

To  show  a  larger  picture  on  the  screen, 
remove  the  present  arch  over  proscenium 
and  make  it  straight  across,  and  if  the 
present  construction  allows,  raise  this 
lintel  to  about  12  inches  below  ceiling. 

For  the  general  lighting  effects  in  the 
auditorium  I  advise  you  to  remove  all 
present  ceiling  lights  and  use  wall  brackets 
only.  These  brackets  can  be  placed  in  cen- 
ter of  spaces  between  wall  panels,  so  if  you 
decide  on  using  the  panels,  four  brackets 
will  be  required  for  each  side  wall.  They 
should  be  at  least  4  feet  high  and  made  out 
of  flashed  opal  glass  with  varicolored  lamps. 
A  beautiful  effect  may  be  obtained  at  a  low 
cost. 

To  beautify  the  foyer,  it  will  have  to  be 
entirely  rearranged.  I  suggest  you  remove 
the  last  row  of  auditorium  seats,  and  if 
you  do  not  want  to  reduce  the  seating  capa- 
city, you  can  place  them  in  front,  as  there 
is  plenty  of  space  for  them.  Build  a  wall 
between  the  auditorium  and  foyer  in  place 
of  a  standee  rail.  Provide  for  doors  in  this 
wall  at  the  head  of  each  aisle  to  keep  out 
the  street  noises.  These  doors  should  have 
solid  panels.  The  top  of  this  wall  should 
be  30  inches  above  the  projection  room 
floor,  making  an  offset  on  the  auditorium 
side.  Remove  benches  and  advertising 
room,  run  rest  room  wall  to  foyer  wall  and 
build  office  on  other  side  of  foyer  near  en 
trance  doors. 

Build  or  purchase  a  new  ticket  booth 
Use  architectural  glass  or  tile  for  lower 
part,  and  plate  glass  set  in  aluminum  bars 
for  upper  section.  For  the  foyer  you  can 
use  a  good  grade  of  linoleum — it  will  prove 
serviceable.    Use  carpets  for  aisles. 

Why  not  liven  up  the  side  walls  of  the 


AIR  COOLING  AND  CONDITIONING 

MR.  THEATRE  OWNER:  WE  REPEAT!  NOW  IS  THE  TIME  TO  ACT 


Our  previous  ads  stressed  the  fact  that  in  1934  we  equipped  fifteen  (15)  theatres  in 
the  Chicago  Area  with  Cooling  Plants.  From  present  indications,  and  from  theatre  jobs 
already  booked,  it  appears  that  we  will  far  exceed  this  total  in  1935. 

Why  not  follow  suit  and  profit  by  the  experience  of  those  successful  Theatre  Operators 
who  have  placed  their  cooling  problems  in  our  hands  with  complete  assurance  that  their 
needs  will  be  properly  engineered  and  carried  out  with  all  guesswork  eliminated. 

Let  us  make  a  survey  of  your  requirements  and  give  you  an  unbiased  opinion  of  the 
system  best  suited  for  your  purpose.  This  entails  no  obligation  whatever.  We  are  an 
organization  with  over  thirty  years  of  experience.  After  all,  there  is  no  substitute  for 
Experience. 

WITTENMEIER   MACHINERY  COMPANY 

Air  Conditioning  Engineers  and  Contractors 
C02-FRE0N— METHYL  CHLORIDE-STEAM  EJECTOR— WATER  VAPOR 
850  No.  Spaulding  Avenue  103  Park  Avenue 

Chicago  Illinois  New  York,  N.  Y. 

AMERICAN  REFRIGERATING  CO.  WITTENMEIER  MACH'Y  OF  CANADA.  Limited 


Detroit,  Michigan 
H.  J.  KELLY 
New  Orleans,  La. 


Hamilton,  Ontario 
WITTENMEIER  MACHINERY  CO. 
Columbus,  Ohio 


More  than  100  theatre  installations  throughout  the  country. 
Wittenmeier  Continuously  since  1897 


[1 


REMODELING 
SERVICE 

Covering  every  phase 
of  the  theatre  —  its 
architecture  and  equip- 
ment. Merely  write  to 

BETTER  THEATRES 

1790  Broadway  New  York 


A  SAVING  OF  50% 

We  have  on  hand  375  sets  of  our  1934 
edition  of  "The  Easy  Method  Ledger 
System." 

These  are  our  regular  $10.00  sets  con- 
sisting of  two  books — Easy  Method 
Film  Invoice  Record  and  Easy  Method 
Ledger.  Each  set  covers  a  two-year 
period.  Full  instructions  in  each  book. 
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Send  remittance  with  order. 

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Seymour  Indiana 


30 


Better  Theatres  Section 


March  9,  1935 


lobby  by  installing  poster  frames,  extending 
from  doors  to  front  and  painting  the  spaces 
above  and  below  these  frames? 

If  you  want  to  place  the  furnace  under 
stage  you  should  make  this  room  fireproof. 
I  can  not  think  of  any  reason  why  you  can 
not  use  pipes  from  furnace  in  summer  for 
cooling.  (I  assume  it  to  be  a  hot  air  fur- 
nace and  the  pipes  to  be  air  ducts).  How- 
ever, it  may  be  better  to  build  new  ducts 
in  the  space  behind  flare  walls  and  build 
grilles  of  sufficient  area  in  the  middle  of 
these  walls  above  exit  arches,  about  8  feet, 
6  inches  above  floor  line.  Also  provide  new 
ducts  with  grilles  at  floor  line  to  exhaust 
foul  air.  I  advise  you  to  consult  a  heating 
contractor. 

To  improve  the  looks  of  the  marquee, 
install  electric  signs  to  front  and  sides.  The 
front  sign  can  have  the  name  of  the  theatre 
and  the  sides  can  have  two  or  three  rows  of 
changeable  program  letters. 

• 

The  Question: 

AS  A  SUBSCRIBER^  We  wish 

to  give  you  some  information  about  a  build- 
ing we  desire  to  convert  into  a  small  thea- 
tre, and  have  you  answer  some  questions 
we  need  help  on. 

Inside  building  dimensions  are  78  feet 
long,  28  feet  wide,  and  21  feet  high.  We 
desire  to  build  a  balcony  for  negroes,  which 
will  necessitate,  two  stairways  being  built, 
each  leading  from  the  street,  and  each  Sy^ 
feet  wide.  State  requirements  are  that  at 
least  two  33^-foot  aisles  are  necessary  on 
the  main  floor,  and  not  over  13  seats  be- 
tween aisles.  No  stage  is  desired,  so  screen 
can  go  as  near  the  rear  wall  as  possible. 


Please  tell  us  the  maximum  number  of 
seats  that  can  be  placed  on  main  floor  and 
in  balcony,  and  the  slope  the  main  floor 
should  have.  Please  also  advise  the  best 
seating  arrangement  for  each  floor.  What 
foyer  and  cross-aisle  dimensions  would  you 
suggest  ?  We  have  in  mind  not  over  a 
depth  of  4  feet  for  the  lobby.  Too,  what 
is  the  best  side  for  a  two-projector  booth, 
the  booth  to  be  situated  at  the  top  of  the 
balcony  ?  Your  answers  and  suggestions 
will  be  gratefully  received. — M.  C.  D. 

The  Answer: 

THE  INSIDE  width  of  your 
theatre  being  28  feet,  it  is  exactly  right  for 
thirteen  20-inch  wide  seats  in  a  row,  with 
one  aisle  3  feet,  6  inches  on  each  side.  As 
you  do  not  require  any  stage,  you  should 
allow  for  lobby,  cross-aisle  and  horn  space, 
and  for  space  between  screen  and  first  row 
of  seats  at  least  28  feet.  There  will  be  left 
50  feet,  or  space  for  20  rows  of  seats,  mak- 
ing the  lower  floor  seating  capacity  260 
seats. 

According  to  the  ceiling  height,  I  doubt 
if  you  will  be  able  to  obtain  more  than  nine 
rows  in  the  balcony,  or  a  seating  capacity  of 
117  seats. 

For  the  floor  slope  I  suggest  that  the  first 
25  feet  near  the  rear  wall  be  left  level. 
From  this  point  to  the  cross-aisle  a  slope 
from  30  inches  to  36  inches  will  be  suffi- 
cient. 

To  establish  the  maximum  seating  capa- 
city, I  did  not  figure  for  foyer  space,  but 
used  the  cross-aisle  for  this  purpose.  You 
will  therefore  have  to  plan  for  a  wall  sep- 
arating auditorium  from  lobby,  with  doors 
at  the  head  of  each  aisle.    Make  the  lobby 


at  least  6  feet  deep,  as  you  will  have  two 
sets  of  doors.  A  two-machine  projection 
room  should  not  be  less  than  10  feet  deep, 
and  ]  8  feet  wide. 


The  Question: 

WE  NOTE  in  the  last  issue 
of  your  "Planning  the  Theatre"  depart- 
ment, where  you  recommended  to  one  man 
that  plate  glass  be  installed  between  the 
foyer  and  the  auditorium  of  his  house  in 
order  that  persons  standing  might  see  the 
picture.  For  sometime,  we  have  been 
thinking  about  this  very  idea,  but  have  done 
nothing  about  it. 

From  your  experience,  do  you  find  the 
results  satisfactory  when  persons  are  able 
to  see  the  picture  and  not  hear  the  sound? 
Do  insurance  laws  allow  three  sets  of  doors 
such  as  lobby  (or  main)  doors,  foyer  doors 
and  aisle  doors? — F.  R.  L. 

The  Answer: 

IN  MANY  theatres  there 
are  no  doors  provided  at  the  heads  of  the 
aisles  in  the  partition  separating  the  audi- 
torium from  the  foyer,  therefore  the  sound 
will  penetrate  into  the  foyer.  My  conten- 
tion is  that  by  placing  plate  glass  openings 
in  this  partition,  the  patrons  waiting  for 
seats  will  refrain  from  loud  talking  if  they 
are  able  to  hear  the  sound  and  see  a  part 
of  the  picture.  Even  if  the  sound  could  not 
be  heard,  they  would  have  some  kind  of 
amusement,  and  waiting  would  be  less  tire- 
some. I  never  have  heard  of  any  insurance 
laws  prohibiting  three  sets  of  doors.  Every 
properly  planned  theatre  should  have  three 
sets  of  doors. 


Your  Spring  Cleaning  and  Paint  Job 


cloudy  and  white  when  exposed  to  damp- 
ness, whether  as  the  result  of  being  wiped 
with  a  moist  rag,  or  of  an  atmosphere  of 
high  humidity. 

LACQUER 

Lacquers,  sometimes  called  cellulose 
paint,  are  coming  into  more  general  use 
each  year.  These  paints  consist  of  the 
finest  grade  pigments  intimately  mixed  with 
cellulose  nitrate  which  has  been  dissolved 
in  a  solvent.  There  are  a  great  many 
solvents  in  use  today.  Some  of  them  are 
acetone,  amyl  acetate  and  ethyl  lactate. 
Solvents  of  this  type  are  very  expensive, 
and  frequently  they  are  diluted  with  cheap- 
er chemicals,  such  as  benzol,  alcohol  or 
ether.  Lacquers  dry  very  quickly  with  a 
pleasing  lustre,  and  with  a  hard,  tough, 
durable  surface.  Lacquer  is  one  of  the 
most  durable  finishes  that  can  be  applied 
as  a  paint.  It  is  not  affected  by  steam, 
moisture,  moderate  heat,  or  cold.  The 
quick-drying  properties  make  it  ideal  for 
theatre  use.  Clear  lacquer  as  a  protective 
coating  may  be  applied  to  painted  wall 
surfaces,  after  which  such  surfaces  may  be 
washed  without  damage.  Clear  lacquer 
can  also  be  applied  to  wall  papers  also  for 
protection  and  to  facilitate  cleaning. 


(Continued  from  page  13) 

A  few  years  ago  there  was  some  objec- 
tion on  the  part  of  certain  painters  to  using 
lacquers,  but  of  late  this  resistance  has 
greatly  diminished.  All  lacquers  are  highly 
inflammable  while  in  the  liquid  state. 
Smoking  must  not  be  permitted  by  anyone 
in  the  vicinity  when  lacquer  is  being  ap- 
plied. 

Theatre  owners  and  managers  should 
consider  seriously  the  use  of  lacquer  as  a 
protective  coating  for  lobby  frames,  wall 
surfaces  and  box  offices,  or  any  surface  that 
is  frequently  touched  or  rubbed  against. 

PREPARING 
THESURFACE 

IN   THE   PREPARATION  of 

any  object  or  surface  for  paint  of  any 
kind,  it  should  be  made  clean,  dry  and 
smooth  (unless  it  is  a  texture  surface  de- 
liberately prepared  with  some  one  of  the 
plastic  paints,  in  which  case  the  surface 
should  be  dry  and  clean).  Much  of  the 
poor  paint  work  can  be  directly  traceable 
to  the  application  of  paint  on  dirty  sur- 
faces. The  surface  should  be  brushed  thor- 
oughly, and  if  necessary,  washed  with  a 
mild  soap  and  water  solution,  then  rinsed 
thoroughly  and  tried  before  applying  the 
paint.    All  fresh  or  new  plaster,  or  raw 


wood,  should  have  a  coat  of  sizing  or  filler 
before  painting. 

EFFECT    OF  MOISTURE 

Next,  as  a  cause  of  a  poor  paint  job,^ 
to  the  insufficient  preparation  of  the  sur- 
face to  be  painted,  is  moisture,  which  causes- 
the  breakdown  of  most  painted  surfaces. 
After  moisture  comes  poor  application  as 
a  cause  of  paint  failure  and  rapid  deteriora- 
tion. A  poor  or  cheaper  grade  of  paint 
properly  applied  on  a  carefully  prepared 
surface,  with  reasonable  care  and  mainte- 
nance, will  outlast  many  times  the  most 
expensive  finishes  carelessly  applied  on 
dirty,  oily,  or  damp  surfaces.  Admonish 
your  painters  to  take  a  little  more  time  and 
do  a  real  job,  instead  of  attempting  to  estab- 
lish a  speed  record,  and  you  will  save 
money. 

PAINTER'S  SKILL 

At  the  present  time  the  field  is  over- 
crowded with  incompetent  painters.  Many 
people  seem  to  think  that  anyone  can  use 
a  paint  brush,  but  I  assure  you  that  this 
is  not  the  case.  I  will  even  go  further  and 
state  that  every  man  who  is  willing  to  bid 
on  a  paint  job  is  not  always  a  painter. 
Theatres  seem  to  be  a  fertile  field  for  poor 


March  9,  1935 

painters  and  indifferent  paint  jobs.  In 
choosing  the  painter  or  contractor,  select 
one  who  really  knows  his  business,  a  master 
painter,  one  who  takes  pride  in  his  calling, 
not  one  who  is  painting  to  tide  himself 
over  hard  times. 

Springtime  is  paint-up  time !  Give  some 
real  intelligent  attention  to  the  painting 
job  and  you  will  get  long-lasting,  satis- 
factory results. 

NEW  PLASTER 

Plaster  walls  must  be  entirely  dry  before 
any  attempt  is  made  to  paint  over  it.  If 
it  is  new  plaster  the  wall  must  be  sized. 
Sizing  is  the  application  of  a  coat  of  water- 
resisting  varnish  reduced  by  a  thinner. 
Very  frequently  a  glue  sizing  is  used,  and 
this  being  a  cheap  substitute,  a  poor  job 
results.  To  use  glue  sizing  is  not  the 
best  practice.  After  sizing,  the  ground 
or  base  coat  of  paint  is  applied.  This  is 
followed  by  a  sufficient  number  of  coats 
in  various  colors  to  produce  the  effects 
desired.  Separate  coats  may  be  stippled 
by  brush  or  sponge  or  rag,  depending  upon 
the  style  of  the  wall.  Generally  the  best 
practice  is  to  use  the  fewest  number  of 
coats  of  paint  to  create  the  final  effect. 

WOODWORK 

In  finishing  woodwork  inside  the  the- 
atre, such  as  trim,  doors,  frames,  etc.,  the 
surface  must  be  clean  and  dry.  Enamels 
are  recommended  because  of  their  superior 
wearing  qualities.  For  new  wood,  a  prim- 
ing coat  of  oil  paint  is  first  applied,  then 
■one  or  two  coats  of  enamel  under-coating, 
after  which  the  surface  should  be  sand- 
papered smooth.  Then  apply  the  final  coat 
of  enamel.  The  technique  in  applying 
enamels  is  somewhat  different  from  that 
for  oil  paints.  Enamels  should  not  be 
""worked"  or  brushed  on,  as  is  customary 
with  oil  paints ;  they  should  be  "flowed  on," 
which  means  applied  with  as  few  brush 
•strokes  as  possible  to  obtain  complete  cov- 
erage. Good  enamels  "level  out"  well  and 
fill  in  all  brush  marks. 

METAL  SURFACES 

The  interior  iron  or  metal  surfaces  most 
frequently  found  in  theatres  are  radiators, 
grilles,  radiator  enclosures,  and  shields, 
pipes,  balustrades  of  steps,  exit  doors  and 
metal  trim;  and  less  frequently  an  exposed 
part  of  a  duct.  Again,  wash  these  sur- 
faces and  then  let  them  thoroughly  dry. 
Use  a  good  quality  priming  coat,  then 
follow  with  the  required  number  of  coats 
to  obtain  the  final  effect.  When  metallic 
paints  are  used,  a  final  protective  coat  of 
white  varnish  or  clear  lacquer  adds  greatly 
to  the  appearance  over  a  period  of  time. 

Contrary  to  a  general  belief,  radiators 
finished  in  a  bronze  paint  are  not  efficient. 
The  bronze  paint  absorbs  about  7%  of 
the  heating  capacity.  This  fact  is  worth 
considering.  Compared  with  the  heat  given 
off  by  a  bare  iron  radiator,  there  is  an 
increase  of  3%  to  5%  in  the  heat  from  a 
radiator  coated  in  oil,  zinc  and  lithopone 
paint  in  a  light  color. 

Of  the  outside  metal  surfaces,  the  one 
which  gives  the  most  trouble  is  galvanized 
iron.     There  are  special  priming  paints 


Motion  Picture  Herald 

manufactured  for  galvanized  iron,  but  none 
of  them  are  entirely  satisfactory.  The 
difficulty  seems  to  lie  in  a  film  of  oil  on 
all  new  galvanized  iron  which  prevents 
paint  from  adhering  to  it.  One  way  is 
to  let  it  weather  for  six  or  nine  months 
before  painting.  Another  method  is  to 
wash  the  galvanized  surface  with  plain, 
ordinary  cheap  vinegar  before  applying 
paint. 

The  structural  steel  of  fire  escapes,  water 
tank  supports,  tie  rods  of  marquees,  and 
supports  of  vertical  signs  should  be  painted 
first  with  red  lead.  If  it  is  a  repaint  job, 
all  rust  must  be  removed  by  using  a  steel 
brush  or  by  sandblasting,  then  apply  red 
lead  on  all  exposed  metal.  After  this  one 
— or  better  still,  two  coats — of  good  oil 
paint  should  be  applied. 

The  painting  of  exterior  iron  work  with 
asphaltum  paint  is  not  recommended.  It 
does  not  cover  particularly  well,  nor  does 
it  flow  easily  into  the  cracks  and  crevices, 
or  around  bolt  heads  and  nuts.  One  small 
spot  not  covered  permits  moisture  to  pen- 
etrate and  the  rust  works  right  under  the 
paint  film. 

SUPERVISING 
THE  JOB 

THE     PROPER     choice  of 

paint  is  a  most  important  consideration. 
It  is  a  greater  problem  now  than  ever 
before.  Little  or  no  first-class  painting 
has  been  done  in  theatres  for  the  last  few 
years,  making  it  doubly  hard  to  decide 
whether  we  can  possibly  afford  to  do  in 
a  first  class  manner  all  that  should  be 
done,  or  whether  it  would  be  better  to  do 
a  cheap  job  and  cover  a  lot  of  ground. 
In  brief,  the  problem  is  to  arrive  at  a 
sane  painting  program  which  will  enable 
us  to  spread  the  cost  over  a  period  of  time 
so  that  the  theatre  can  meet  the  bills.  It 
is  hard  for  anyone  not  familiar  with  a 
specific  theatre  to  give  definite  advice  for 
it  on  this  subject.  This  is  a  fact,  however : 
A  cheap  paint  job  is  always  the  most 
expensive  job  in  the  long  run.  I  heartily 
recommend  scheduling  the  painting  over  a 
sufficient  period  of  time,  even  a  year. 

The  execution  of  a  paint  job  does  not 
have  to  be  a  messy,  untidy  procedure.  In 
fact,  if  it  is,  you  can  say  that  the  painters 
are  not  good  painters  and  nine  times  out 
of  ten  you  will  be  right.  This  is  one  of 
the  signs  that  indicate  to  the  manager  that 
he  must  watch  the  job  closely.  An  earmark 
of  a  good  painter  is  the  care  he  takes  of 
his  brushes.  The  man  who  throws  his 
brushes  around  and  lets  them  get  hard  with 
paint  is  not  a  good  painter.  Brushes  are 
the  tools  of  the  painter's  trade  and  he  takes 
care  of  them  if  he  takes  pride  in  his  work. 
There  is  a  time  element  in  painting — the 
time  it  takes  to  mix  up  a  bucket  of  paint, 
the  time  required  to  apply  the  paint,  and 
the  time  necessary  for  the  paint  to  dry 
before  another  coat  can  be  applied.  Any 
effort  to  shorten  the  time  elements  beyond 
a  certain  minimum  limit  is  going  to  result 
in  an  inferior  job. 

Painting  never  impresses  one  as  a  par- 
ticularly strenuous  procedure  and  so  fre- 
quently we  happen  to  see  the  painter  just 
as  he  is  moving  a  ladder,  or  mixing  paint. 


31 


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April  7  issue: 

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A  HOUSING 
ACT  LOAN 


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132  S.  Clinton  St.        Chicago,  U.S.A. 


Why  Wagner  Silhouette 

Letters  STAND  OUT! 

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explains  why  they're  more  legible  at 
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read;  easy  to  change  and  space. 
Send  tor  our  free  bulletin.  It  tells 
how  to  make  your  marquee  a  real 
help  to  your  box  office. 

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32 


Better  Theatres  Section 


March  9,  1935 


or  filling  up  a  crack,  or  doing  any  one 
of  a  dozen  things  that  lead  one  to  believe 
he  is  delaying  the  job.  Well,  it's  just 
that  kind  of  work  and  all  those  things  are 
necessary  parts  of  painting.  Pick  your 
painters  as  men  whom  you  can  trust,  and 
then  have  confidence  in  them  and  don't 
try  to  rush  them.  The  chances  are  you 
will  get  a  better  job  in  the  end. 

SCAFFOLDS 

Just  as  a  word  of  caution :  Scaffolds 
should  be  safe.  Home-made  scaffolds  are 
terrible  hazards.  There  is  a  knack  in 
throwing  together  a  safe  scaffold  just  as 
there  is  in  anything  else  that  looks  easy  to 
do.  There  are  any  number  of  types  of 
patented  scaffolds  that  can  be  rented.  If 
the  scaffold  must  be  high  from  the  floor 
or  ground  it's  best  to  let  the  job  out  to 
a  contractor  and  make  sure  that  he  carries 
all  necessary  insurance. 

DROP-CLOTHS 

Drop-cloths  for  covering  carpets,  seats, 
furniture  and  bric-a-brac  should  be  clean. 
They  can  be  laundered.  Insist  that  an 
ample  number  oc  clean  drop-cloths  be  used. 
Many  times  the  upholstering  of  fine  furni- 
ture has  been  spoiled  or  soiled  by  covering 
with  dirty  cloths. 

SEASONAL 
CLEANING 

IT  IS  HARDLY  to  be  ex- 
pected that  every  theatre  manager  or  own- 
er will  be  able  to  do  all  of  the  painting 
necessary  this  spring.  Consequently  the 
spring  program  will  still  be  a  cleaning  pro- 
gram to  some  extent.  Cleaning  is  just  not 
a  hit  or  miss  procedure.  It  requires  some 
knowledge,  careful  thought  and  much  su- 
pervision. Here  are  some  thoughts  on 
more  or  less  special  cleaning,  of  the  kind 
done  only  once  or  twice  each  year. 

CALCIMINE 

Calcimined  surfaces  cannot  be  cleaned. 
It  is  a  cheap  substitute  for  oil  paint  and 
it  is  inexpensive.  Wash  all  the  old  calci- 
mine ofif  with  a  sponge  and  cold  water, 
then  retint  the  surface  with  fresh  calcimine. 

WASHING  WALLS 

In  cleaning  painted  walls  remember  that 
alkali  is  a  solvent  for  oil  paints.  Practically 
all  soaps  and  cleaning  compounds  have 
some  alkaline  ingredient.  Be  very  sure 
that  the  material  used  in  washing  down  a 
painted  surface,  which  is  not  to  be  immedi- 
ately repainted,  is  neutral,  or  has  very 
little  alkali  in  it.  Many  theatre  walls  have 
glossy,  stippled,  stenciled  or  glazed  finishes, 
or  any  combination  of  these  various  fin- 
ishes. Many  times  such  expensive  finishes 
have  been  protected  by  starching.  This  is 
a  process  of  applying  to  the  wall,  starch 
water  made  from  ordinary  laundry  starch 
dissolved  in  cold  water.  When  the  water 
evaporates  it  leaves  a  transparent  film  of 
starch,  which  protects  the  painted  surface 
from  dirt.  When  such  wall  surfaces  are 
washed,  the  starch  is  of  course  removed, 
and  with  it  the  dirt.  No  painted  surface 
should  be  washed  with  Avarm  or  hot  water ; 


tepid  water  is  the  warmest  that  can  be 
safely  used. 

LACQUER    FOR  PROTECTION 

Instead  of  starching  as  above  described, 
the  real  protection  for  painted  surfaces  is 
a  coat  of  clear  lacquer,  as  suggested  earlier 
in  this  article.  After  the  wall  is  thoroughly 
dry,  and  it  is  not  contemplated  to  protect 
it  with  either  starch  or  lacquer,  it  should 
be  wiped  down  with  a  clean  cloth  damp- 
ened with  boiled  linseed  oil.  This  will 
restore  some  of  the  gloss  and  add  life  to 
the  paint. 

MARBLE 

In  cleaning  marble  walls,  partitions  and 
columns,  wash  them  with  soft  water.  Hard 
water  may  be  made  soft  by  the  addition 
of  any  one  of  a  number  of  commercial 
water  softeners.  Marble  surfaces  should 
not  be  cleaned  with  any  cleaning  agent 
which  tends  to  form  crystals.  The  marble 
absorbs  the  water  in  which  such  an  agent 
has  been  dissolved,  and  as  the  water  evapo- 
rates, it  leaves  the  minute  crystals  of  the 
cleaning  agent  in  the  pores  of  the  marble. 
By  several  repetitions  of  this  process,  the 
crystallization  begins  to  exert  a  pressure 
on  the  marble,  and  disintegration  takes 
place.  I  know  of  an  incident  where  sev- 
eral very  valuable  marble  statues  were  ab- 
solutely ruined  because  of  the  crystallizing 
pressure  developed  by  using  the  wrong 
cleaning  agent. 

Discoloration  of  marble,  grease  spots, 
etc.,  may  often  be  removed  by  applying 
a  coat  of  bicarbonate  of  soda  mixed  with 
whiting  to  a  consistency  of  cream.  The 
application  should  be  permitted  to  remain 
on  the  marble  from  eighteen  to  twenty- 
four  hours  before  being  washed  off  with  a 
sponge  and  tepid  water. 

FABRICS 

Fabrics,  such  as  tapestries,  mohairs, 
plushes,  velours,  damasks  and  brocades, 
especially  when  used  as  wall  hangings  or 
ornamental  covers  for  pianos  or  other  fur- 
niture, should  be  cleaned  very  carefully. 
If  it  is  possible  within  the  cleaning  budget, 
send  them  out  to  a  really  first-class  clean- 
ing establishment.  Much  damage  can  be 
done  to  the  soft  woven  fabrics  with  even 
a  straw  whisk  broom.  Frequently  a  clean 
painter's  dust  brush  is  the  roughest  brush- 
ing they  can  stand  without  material  dam- 
age. Never  permit  anyone  to  shake  out, 
or  beat  a  tapestry  for  the  purpose  of  re- 
moving dirt  and  dust. 

LIGHTING  FIXTURES 

In  cleaning  chandeliers  and  lighting 
fixtures,  never  use  soap  and  water  except 
on  the  large  pieces  of  glass  that  can  be 
removed  from  the  fixture,  washed  and 
replaced.  Alcohol  is  much  better  as  a 
cleaning  agent  for  use  on  lighting  fixtures, 
especially  crystal  fixtures.  While  cleaning 
the  crystal  fixtures  of  the  theatre,  the  wires 
holding  the  crystals  should  be  checked  care- 
fully. Frequently  crystals  of  substantial 
size  are  suspended  by  wire,  which  corrodes 
or  rusts  easily,  and  by  the  constant  but 
slight  movement  of  the  crystal  it  becomes 


very  weak  and  might  break,  causing  the 
crystal  to  fall  and  strike  some  patron. 
Renew  the  wires  where  necessary  at  the 
time  the  fixture  is  cleaned. 

Gold  leaf,  whether  on  picture  frames 
or  furniture,  in  dull  or  burnished  finish, 
should  never  be  washed,  not  even  dustec 
with  a  damp  cloth.  Dust  such  articles  fre- 
quently with  a  soft  painter's  dust  brush  or 
a  clean  piece  of  cheese  cloth. 

REDUCING  DIRT 

WITH  FILTERS 

NOW  THAT  SPRING  clean- 
ing has  been  covered  in  more  or  less  detail, 
let's  give  some  thought  to  a  reason  for 
it — dirt. 

Dirt  comes  into  the  theatre  in  three 
main  ways.  It  is  carried  or  tracked  in 
by  the  patrons.  This  kind  of  dirt  might 
be  classed  as  heavy  dirt.  By  thoroughly 
cleaning  the  floors,  floor  coverings  and  mats 
the  great  bulk  of  it  is  removed.  This  is 
the  dirt  that  the  theatre  cleaning  staff 
works  on  every  day. 

Then  there  is  the  dirt  that  enters  the 
theatre  by  infiltration,  through  all  cracks 
and  crevices  and  open  doors.  This  is  gen- 
erally very  finely  divided  particles  which 
float  in  the  air  and  is  carried  by  the  air 
currents,  finally  coming  to  rest  on  mould- 
ings, ornamental  plaster,  drapes,  etc.,  high 
up  from  the  floor. 

And  lastly  there  is  the  dirt  which  is 
brought  in  through  the  ventilating  system, 
which  draws  in  large  quantities  of  air  from 
the  outside  and  systematically  distributes 
it  all  over  the  theatre.  This  dirt  is  carried 
to  such  high  points  as  walls,  organ  grilles, 
lighting  troughs,  plaster  ornaments,  pro- 
scenium draperies,  etc.,  that  it  becomes  the 
most  expensive  dirt  to  remove  from  the 
theatre.  This  dirt  does  not  remain  in  out- 
of-the-Avay  places ;  much  of  it  falls  on  the 
screen,  on  floors,  seats  and  furniture. 

Air  washers  can  remove  some  dirt  from 
the  air,  but  they  can't  compete  with  air- 
filters  as  we  know  them  today  as  a  means 
of  air  cleaning.  Air  washers  at  best  remove 
only  about  60%  of  the  dirt  entrained  in 
the  air,  while  the  present-day  air-filter  will 
do  the  job  with  a  thoroughness  from  96%' 
to  98%  complete. 

The  dry  air-filters  on  the  market  today 
are  not  the  clumsy,  oily,  messy  things  to 
handle  that  the  earlier  viscous-cell  filters 
were.  The  modern  filter  is  one  in  which 
the  air  is  drawn  through  screens  made  of 
felt,  cellulose,  cloth,  spun  glass,  etc.  When 
the  filtering  medium  becomes  dirty,  it  is 
removed  and  thrown  away  and  a  new  one 
installed.  The  cost  of  installing  such  fil- 
ters is  reasonable  and  their  cost  of  operation 
is  in  line. 

Forget  for  a  moment  that  filters  are 
generally  considered  as  part  of  ventilating 
equipment,  and  consider  them  as  an  in- 
vestment to  reduce  the  theatre  cleaning 
bill.  Savings  in  wear  and  tear  on  orna- 
mental plaster  surfaces,  proscenium  dra- 
peries, lighting  fixtures,  painted  surfaces 
and  many  other  elements  by  the  use  of 
dry  air-filters,  will  justify  careful  consider- 
ation of  them,  especially  for  all  theatres 
located  in  cities. 


March  9,  1935 


Motion  Picture  Herald 


33 


ALPHABETICAL  LIST  OF  ADVERTISERS 


A 

Adler  Signs,  Inc.,  Ben   26 

Allied  Seating  Company   27 

B 

Baldor  Electric  Company   21 

Bausch  and  Lomb  Optical  Co   22 

Best  Devices  Company   24 

c 

Chicago  Expansion  Bolt  Co   31 

Cincinnati  Time  Recorder  Co.,  The   22 

Coxsackie  Manufacturing  Corp   26 

D 

Da-Lite  Screen  Company   22 

DeVry,  Inc.,  Herman  A   19 

E 

Easy  Method  Ledger  System.   29 

Enterprise  Optical  Mfg.  Co  Fourth  Cover 

F 

Fish-Schurman  Corporation    21 

Formica  Insulation  Company                        .  3 

G 

Garver  Electric  Company   26 

General  Scientific  Corporation   21 

General  Register  Corporation   29 

H 

Hall  &  Connolly,  Inc   19 

Heywood-Wakefield  Company  Second  Cover 


I 

International  Projector  Corporation.  .  Third  Cover 
International  Register  Corp   27 

K 

Kliegl  Brothers,  Inc   23 

M 

Mellaphone  Corporation   24 

Motion  Picture  Machine  Co   23 

N 

National  Carbon  Company,  Inc   23 

P 

Projection  Optics  Company,  Inc   25 

Projector  Improvement  Co.,  Inc   19 

R 

Rosco  Film  Cement   24 

s 

Sanozone  Company    31 

Silent  American  Ticket  Machine  Company.  .  .  31 

SOS  Corporation   26 

Strong  Electric  Corporation   25 

T 

Trimm  Radio  Manufacturing  Co   24 

u 

U.  S.  Air  Conditioning  Corp   25 

w 

Wagner  Sign  Service   31 

Wittenmeier  Machinery  Company   29 

Wright-DeCoster,  Inc   23 


Among  Contributors  to  This  Issue: 


^  The  series  on  remodeling.  New  Theatres 
FROM  Old,  which  begins  in  this  issue  with  a  dis- 
cussion of  fronts,  has  been  designed  to  cover  each 
major  division  of  the  theatre  as  a  unit,  with  each 
one  considered  with  respect  to  the  materials  and 
methods  of  remodeling  architecturally,  to  the 
lighting  arrangements,  and  to  the  mechanical 
facilities  and  equipment.  Beginning  with  the 
discussion  of  the  lobby  and  main  foyer  in  the 
April  7th  issue,  the  mechanical  facilities  and 
equipment  will  be  treated  separately ,  since  it  is 
only  within  the  theatre  that  they  attain  their 
significance.  Similarly,  the  auditorium  and  the 
lounge  or  restroom  areas  will  be  discussed  in 
the  May  and  June  issues.  Eugene  Clute,  who 
has  contributed  that  portion  concerned  with 
architectural  methods  and  materials,  is  the  author 
of  articles  in  leading  publications  and  of  several 
books  on  architecture,  and  was  formerly  editor 
of  Pencil  Points  and  The  American  Architect. 
He  will  be  remembered  by  Better  Teatres 


readers  for  his  series  of  last  fall.  New  Methods 
in  Modern  Remodeling. 

^  J.  T.  Knight,  Jr.  [your  spring  clean- 
ing AND  PAINT  job]  is  a  regular  contributor  to 
Better  Theatres  on  the  physical  operation, 
maintenance,  and  personnel  problems  of  theatres. 
He  also  conducts  Maintenance  Tabs  as  a  service 
department.  He  is  associated  with  Paramount 
as  engineer  in  charge  of  maintenance. 

^  Robert  O.  Boller  [modernism:  its 
meaning  in  practical  remodeling]  has  long 
been  prominent  as  a  theatre  architect,  having  de- 
signed scores  of  successful  houses.  He  maintains 
offices  in  Kansas  City.  His  article  in  this  issue 
is  the  first  of  a  group  on  modern  trends  in  theatre 
planning  and  decoration. 

^  Leo  T.  Parker  [ordinances:  late  court 
Decisions]  is  a  Cincinnati  attorney-at-law  and 
a  regular  contributor  to  Better  Theatres. 


34 


Better  Theatres  Section 


March  9,  1935 


Modernism:  Its  Meaning  in  Practical  Remodeling 


selves  hailed  by  Europeans  as  shining  ex- 
amples of  the  new  architecture!  A  few 
homes  in  the  moderne  manner  are  scattered 
throughout  the  United  States,  and  were  es- 
pecially featured  in  the  Century  of 
Progress.  The  Chicago  exposition,  what- 
ever you  may  have  thought  of  its  unusual 
construction,  assuredly  gave  food  for 
thought,  and  has  evoked  an  enormous 
amount  of  discussion  among  the  millions 
who  visited  this  unique  display  of  buildings. 

To  date  we  have  had  comparatively  few 
attempts  at  moderne  design  in  the  theatrical 
world.  Possibly  the  most  outstanding  the- 
atre interior  of  note  was  Joseph  Urban's 
brilliant  execution  of  the  Ziegfeld  theatre 
in  New  York  City.  This  interior  bordered 
closely  on  the  Futuristic. 

For  five  years  the  motion  picture  busi- 
ness has  hidden  its  head  in  the  sand,  hop- 
ing that  no  one  would  notice  the  deteriora- 
tion of  its  real  estate  and  obsolescence  of 
its  equipment.  Some  owners  honestly 
couldn't  afford  repairs  and  replacements, 
others  rode  along  on  the  general  cry  of 
"hard  times"  to  a  rundown  property  con- 
dition which  has  proven  the  most  expensive 
kind  of  economy.  Motion  picture  theatre 
architects,  along  with  other  members  of 
the  building  industry,  have  been  in  a  state 
of  hibernation  during  these  quiet  years 
when  exhibitors  were  demanding  little  of 
their  time  or  service. 

But  this  period  of  quiet  and  reflection 
during  the  years  of  the  depression  has 
helped  many  of  us  to  study  more  deeply 
into  various  theories  of  motion  picture  the- 
atre design.  While  sporadic  attempts  at 
moderne  have  been  witnessed  here  and 
there  throughout  the  showhouses  of  the 
country,  the  year  1935  finds  us  practically 
starting  from  scratch.  As  buildings  suffer- 
ing from  lack  of  attention  are  renovated 
and  new  theatres  constructed,  we  will 
doubtless  see  more  and  more  of  the  new 
type  of  design. 

But,  you  may  say,  why  use  moderne  at 
all? 

As  we  have  previously  pointed  out,  war 
ridden  Europe  has  for  many  years  been 
forced  to  rigid  economy  by  the  military 
and  economic  struggles  through  which  she 
has  passed.  The  days  of  the  Louis's  are 
past,  no  longer  is  lavish  ornament  in  the 
luxurious  palace  of  the  very  rich,  or  wanton 
waste  of  public  funds  by  royalty  permissible 
or  possible.  Since  the  war  our  daily  papers 
have  recounted  the  struggles  whereby  the 
working  classes  of  one  country  after  an- 
other have  forcibly  gained  the  upper  hand. 
Improvements  in  mechanical  comfort  have 
come  into  use  largely  since  the  Treaty  of 
Versailles,  and  Europe  has  gone  mad  over 
them.  Mechanisms  we  Americans  have 
grown  up  with  from  childhood  have  be- 
come idolized  toys  to  them ;  the  machine  is 
put  on  a  pedestal,  efficiency  is  made  a 
household  god,  and  functionalism  has 
proven  to  be  the  scale  in  which  every 
architectural  offering  is  weighed. 


{Continued  from  page  14) 

Instead  of  trying  to  escape  the  hum  of 
the  factory,  the  roar  of  turning  wheels  in 
the  street,  the  swish  of  the  elevator  in  its 
flight  skyward,  Europeans  glory  in  these 
things.  Steam  heat,  modern  plumbing, 
electricity — all  these  are  new  to  the  work- 
ing classes  of  that  continent. 

For  these  reasons,  moderne  in  Europe 
has  become  truly  a  working  class  architec- 
ture. Air,  light,  comfort,  and  mechanical 
eflEciency  represent  the  ultimate  goal  and 
demand  of  the  class  which  has  too  long 
been  ground  down  in  peasantry. 

MODERNE    IN  AMERICA 

America  has  no  such  historical  heritage. 
The  American  workman  accepts  his  motor 
car,  running  water,  electricity,  gas  heat 
and  countless  other  mechanical  conveni- 
ences in  his  home  and  place  of  business  as 
an  accomplished  fact  causing  no  excitement 
or  comment.  In  fact,  he  grumbles  very 
much  if  any  of  these  "necessities"  is  missing. 
Our  children  grow  up  in  homes  heated  by 
coal,  gas,  or  steam,  lighted  and  cleaned  by 
electricity,  their  food  is  prepared  in  airy 
factories  where  raw  products  are  cooked, 
canned,  and  labeled  without  the  touch  of 
human  hands.  Machine  made  clothing  is 
so  commonplace  that  hand  work  demands 
a  far  greater  price. 

Neither  does  an  American  feel  any  such 
economic  necessity  for  the  new  design  as 
does  Europe.  True,  we  are  only  begin- 
ning to  see  the  lifting  of  the  clouds  of  de- 
pression which  have  hung  gloomily  over 
the  business  world  for  several  years  past ; 
but  even  with  unemployment  and  financial 
stress  at  its  worst,  we  have  remained  the 
richest  and  most  comfortable  nation  in  the 
world. 

MODERNE    FOR  THEATRES 

To  owners  contemplating  the  building 
of  a  new  showhouse  during  the  next  few 
years,  let  me  present  these  arguments  for 
moderne.  Spanish,  French,  and  conven- 
tional designs  are  still  good,  and  should 
not  be  cast  into  the  discard.  But  living 
in  the  year  1935,  would  you  care  to  pur- 
chase and  ride  around  in  a  carriage  de- 
signed in  Queen  Victoria's  day,  mounted 
on  the  chassis  of  a  stream  lined  Packard  ? 
Hollywood,  not  Paris,  originates  styles  in 
clothing  for  the  American  woman  today. 
The  motion  picture  theatre,  not  the  Euro- 
pean factory  or  the  American  chain  store 
or  commercial  building,  should  set  the  gait 
in  up-to-date  architectural  design,  all  the 
way  from  New  York  City  down  to  Podunk 
Center.  The  economy  of  moderne  design 
will  also  commend  itself  to  the  theatre 
owner's  pocketbook  during  these  years  when 
every  dollar  must  be  made  to  count  for 
the  utmost. 

Some  designers  will  tell  you,  "Design 
your  theatre  so  that  it  will  be  in  style  for 
long  years  to  come."  With  this  advice  I 
agree  to  a  certain  extent,  but  considering 
that  in  motion  picture  theatre  work  ob- 


solescence and  changing  modes,  and  the 
very  nature  of  the  industry  itself  make  a 
general  renovation  desirable  every  ten  or 
fifteen  years  at  the  outside,  my  advice  to 
prospective  theatre  builders  would  be  to  use 
the  best  type  of  design  in  vogue  at  the 
time  they  build.  It  happens  that  for  the 
present  moment  moderne  is  the  thing,  and 
one  commendable  thing  about  this  partic- 
ular style  is  that  the  skeleton  of  a  show 
house  built  along  the  lines  of  this  new  de- 
sign will  readily  lend  itself  to  any  future 
style  when  and  if  the  time  comes  to  change. 

Thus  far,  I  believe  any  theatre  architect 
in  the  United  States  will  agree  with  me. 
But  from  this  point,  our  paths  may  diverge. 

The  proposition  I  propose  to  the  theatre 
owners  of  this  country  is  that  we  make 
of  moderne  motion  picture  theatre  archi- 
tecture, not  an  aping  or  copying  of  the 
working  class  architecture  of  Europe,  which 
is  an  imported  idea  with  no  relation  to  our 
daily  life  and  habits.  Let  us  rather  take 
the  simplicity  and  honesty  of  the  new  style 
and  blend  with  it  the  tradition  and  folk 
lore  of  our  own  native  land.  I  can  best 
illustrate  my  meaning  by  giving  a  concrete 
example. 

In  designing  the  Nebraska  State  Capitol, 
Bertram  Grosvenor  Goodhue  worked  into 
his  simple  but  massive  design  the  buffalo, 
arrowhead,  wagon  train,  sheaves  of  wheat, 
cornstalks  and  ears  of  corn  which  entwine 
themselves  about  the  early  history  of  the 
Nebraska  prairies.  He  might  have  left 
this  imposing  structure  entirely  undeco- 
rated,  to  please  the  rabid  functionalists  of 
our  European  neighbors,  or  he  might  have 
spoiled  it  with  the  super-sophistication  of 
moderne,  as  it  is  known  in  our  metropolitan 
centers.  But  he  chose  rather  to  build  into 
it  the  simple  things  of  everyday  life,  which 
awaken  the  kindliest  emotions  in  the  breasts 
of  those  who  pass  through  the  Capitol's 
halls. 

If  your  locality,  for  instance,  is  rich  in 
Indian  lore,  then  make  use  of  traditional 
tribal  signs  and  blanket  patterns,  blending 
these  with  the  new  style  to  make  your  the- 
atre a  building  truly  representative  of  your 
community,  yet  one  up-to-date  in  every  me- 
chanical particular.  The  tropical  vegeta- 
tion of  Florida,  California,  or  our  Southern 
States  is  far  more  appropriate  in  the  simple 
design  and  decoration  of  your  moderne 
theatre,  if  you  happen  to  be  situated  in 
these  regions,  than  trite  architectural  or- 
namentation such  as  the  lotus  flower,  olive 
branch,  or  acanthus  leaf  of  ancient  lands 
many  of  your  patrons  have  never  visited 
and  do  not  respond  to. 

The  only  tradition  we  of  the  theatrical 
world  should  refuse  to  encourage  is  the 
cogwheel  and  monkeywrench  tradition. 
When  the  efficiency  of  the  machine  and 
the  bareness  of  the  factory  intrude  them- 
selves too  obviously  into  the  motion  picture 
theatres  of  America,  it  will  be  high  time 
for  patrons  of  screen  drama  to  seek  re- 
laxation elsewhere. 


^^^^    ^^^^^    TRADE  MARt^^REG'D  fifi        "'"SS^^k  M  MM 


XRAOE    ^AIVK  REC'p 

IS  A\A\.    yvvON/IE  CA/VVHiR^X 

MADE    BY  THE   WORLD'S  OLDEST 
AND    LARGEST    /AAN  UFACTURERS' 
rANDARD  PROFESSIONAL2vv\OTION  PICTURE  EC^UIPMENT 


A  ^inm^  PROJECTOR 

FOR      EVERV     R  E       U  I  R  E /A  E  NT 

INTERNATIONAL  PROJECTOR  CORPORATION 

88-96  SOLD  ST.  NEW  YORK,  U.S.A. 


MOTION  PICTURE 


HER 


ONSOLIDATION  OF  EXHIBITORS  HERALD-WORLD  AND  MOTION  PICTURE  NEWS 


4,500,000  INDORSE  BILL 
TO  BAR  BLOCK  BOOKING 

MOLEY  ASKS  FILMS  SHOW 
BEST  SIDE  OF  SOCIETY 

Former  New  Deal  Leader  Explodes  So- 
called  Case  System  of  Determining 
Effect  of  Motion  Pictures  on  the  Child 


OP 


STUDIOS  PAY  $2,000,000 
FOR  STAGE  PLAY  RIGHTS 


Average  of  $43,000  a  Play  is  Paid  Out 
by  Hollywood  to  Broadway  Managers 
and  Playwrights  in  Two  Seasons     »  » 


)l  110  KJO  I  I  Entered  as  second-class  matter,  January  12,  1931,  at  the  Post  Office,  at  New  York,  hf.  Y.,  under  the  act  of  March  3.  1879.  Pub-  kAAQ  \  L  I  QTit^i 
'L.   I  to,  I  I    lished  Weekly  by  Quigley  Publishing  Co.,  Inc.,  at  1790  Broadway,  New  York.  Subscription,  $3.00  a  year.  Single  copies,  25  cents,  '^r^"'-      0|    '  ~  J3 


NAUGHTY  MARIETTA 

starring  JEANETTE  MacDONALD 
and  NELSON  EDDY  with  Frank 
Morgan,  Douglas  DUmhrille.  Music  by 
Victor  Herbert.  A  W.  S.  Van  Dyke 
Production.  Book  and  Lyrics  by  Rida 
Johnson  Young.  -Produced  by  Hunt 
Stromberg.  A  Metro-Goldwyn-Mayer 
Picture. 

RECKLESS 

starring  JEAN  HARLOW  and 
WILLIAM  POWELL  with  Franchot 
Tone,  May  Robson,  Ted  Healy,  Nat 
Pendleton,  Robert  Light.  Produced  by 
David  O.  Selznick.  Directed  by  Victor 
Fleming.  A  Metro-Goldwyn-Mayer 
Picture 


JUST  BREAK 
THE  NEWS 
TO  MOTHER! 


TO  HEADLINE  THE 


OF  YOUR  PROGRA 


An  uproarious  new  laugh-star 
sensation  .... 


Dii^covered  and  developed  to  con- 
tinue the  comedy  leadership  of 
Vitaphone  .... 


Sky-rocketed  to  fame  by  the  mil- 
lions who  go  to  the  movies  for 
the  fan  of  it! 


If  you've  never  seen  him,  ask  for 
a  screening  of  one  of  his  "Big  V 
Comedies"  .... 


Be  your  own  preview  audience 
....  test  him  on  yourself  .  .  «  . 


You'll  see  why  his  name  on  your 
front  is  going  to  mean  money  in 
your  cash-drawer! 


SHEMP  HOWARD  i.  VITAPHONE  SHORTS 


THEY'RE  CLEANING  UP  ALL 

Warner  Bros.'  "Gold  Diggers"  Are  Taking  the 


DICK  PO 

BRADY*  FRANK 
CAWTHORN,  4 


IVER  AMERICA! 

lation-TO  THE  MOVIES! 


THE  'PIANO'  AND  'BROADWAY 
LULLABY'  NUMBERS  WILL  CLICK  WITH 
ANY  AUDIENCE  ...  THEY  ARE 
SUFFICIENT  TO  SET  THIS  MUSICAL 
INTO  THE  MONEY  DIVISION 


i/VELL  •  ADOLPHE  MENJOU*  GLORIA  STUART  •ALICE 
VicHUGH«GLENDA  FARRELL«HUGH  HERBERT*WINi  SHAWOOE 

m.>mm  ^  The  story  and  the  most  superb  spectacles    11  I  |  C  Q  Y     R  E  D  1^  C  I  CY 

3THERS  •  yet  screened  directed  exclusively  by    D  IJDPT      P  C  WL IV  C  i.  E  I 


10  STARS 

UNITE  IN  MELODY  AND 

MERRIMENT  TO  GIVE 
AMERICA  ITS  FIRST 


"Mirth-Musical! 


// 


More  side-shaking  laughter  than  a  half-dozen  comedies. 
More  heart-exciting  tunes  than  any  musical  you  ever 
played.  Glittering  with  a  legion  of  delectable  damsels 
....  and  surprising  spectacles  that  drench  your 

screen  with  gorgeousness. 

I^k 


Already  the  nation  is 
singing  and  swaying 
to  these  tunes: 

"ACCORDING  TO  THE  MOONLIGHT" 
"IT'S  AN  OLD  SOUTHERN  CUSTOM" 
"HUNKADOLA"«"OH,l  DIDN'T  KNOW 
YOU'D  GET  THAT  WAY"  •  "I  WAS 
BORN  TOO  LATE"  •  "I  GOT  SHOES 
—YOU  GOT  SHOESfES" 

Hear  them  on  the  big 
broadcasts! 


ALICE  FAYE  •  JAMES  DUNN 
NED  SPARKS 

Lyda  Robert!  •  Cliff  Edwards  •  Arline  Judge 
Eleanor  Powell  •  Benny  Rubin  •  Emma  Dunn 

GEORGE  WHITE 

Entire  production  conceived,  produced  and  directed 
by  George  White 

Screen  play  by  Jack  Yellen  and  Patterson  McNutt  Based  on  a  story 
by  Sam  Hellman  and  Glodys  Lehman.  Songs  by  Jack  Yellen,  ClifF 
Friend,  Joseph  Meyer    Additionol  lyrics  by  Herb  Magidson 


i0f 


MOTION  PICTURE  HERALD 


Vol.  118,  No.  II 


OP 


March  16,  1935 


RED  ALARUM! 

MR.  WILLIAM  RANDOLPH  HEARST'S  morning  news- 
papers across  the  nation,  under  the  heading  "Mos- 
cow Films  Poison  U.  S.  Screens!"  have  cited  Motion 
Pichire  Herald's  recent  inquiry  and  special  article  on  the  scope 
of  the  Soviet  picture  in  the  United  States.  "Red  Octopus 
Grabs  Control  of  152  Theatres  to  Widen  Spread  of  Propa- 
ganda," says  the  secondary  headline  in  the  Chicago  Herald 
and  Examiner. 

"This  means  that  these  Communist  pictures  are  shown  to 
nearly  FIFTY  MILLION  PERSONS  A  YEAR— a  great  many  of 
them  children  of  an  impressionable  age  .  .  ."  the  article  in 
the  newspapers  continues. 

This  brings  a  study  in  contrasting  viewpoints.  The  editor  of 
Motion  'Picture  Herald  was  surprised  at  the  -findings,  in  that 
the  Russian  pictures  concerned  got  so  much  newspaper  criti- 
cal acclaim  and  so  little  showing.  After  all,  the  Soviet  film 
reaches  only  one  screen  in  one  hundred  and  most  of  those 
only  part  of  the  time.  If  the  Red  pictures  play  to  fifty  millions 
a  year,  then  the  American  total  of  box  office  admissions  must 
be  five  billions  a  year,  meaning  a  daily  attendance  of  a  hun- 
dred millions. 

It  seems  probable  that  the  Red  film  does  not  reach  so  far — 
and  that  the  gross  business  is  not  quite  so  colossal. 

Meanwhile,  one  is  not  so  readily  to  be  convinced  that  the 
"Red  Octopus"  has  really  "grabbed"  the  theatres  showing 
Soviet  films.  It  seems  much  more  probable  that  a  number  of 
exhibitors,  without  too  much  feeling  of  citizenship  responsibility 
or  concern  for  the  screen  as  an  institution,  have  found  special 
opportunity  to  serve  some  minority  audiences  with  the  pabulum 
they  like. 

It  Is  probable  that  no  Red  picture  has  made  an  American 
convert  to  the  Moscow  program.  It  is  obvious  that  many  of 
them  have  entertained  the  ready-made  Reds  Immensely. 

At  the  Reddest  theatre  In  New  York  the  audience  is  prac- 
tically entirely  alien. 

The  social  and  political  problem  presented  just  now  Is  more 
important  In  principle  than  In  performance. 

»     »  » 

Writing  in  The  Film  Daily,  Mr.  Don  Carle  Gillette  says:  "The 
Hearst  papers  quote  fantastically  conceived  figures  from  an- 
other trade  paper  puporting  to  show  that  'Red'  propaganda 
Is  being  disseminated  on  a  gigantic  scale  in  this  country 
through  the  medium  of  Soviet  films.  Seems  like  some  statis- 
tician* made  a  sucker  out  of  the  Hearst  editors." 

Mr.  Gillette  quotes  The  'Film  Daily  Year  Book  "that  only  19  Soviet 
pictures  were  brought  into  the  United  States  during  the  whole  of  1934." 
Motion  Pictrire  Herald's  figures  from  Amkino  account  for  only  13  pictures. 


To  help  bashful  Mr.  Gillette,  let  us  state  that  it  was  not 
just  "another  trade  paper" — it  was  the  journal  of  the  industry. 
Motion  Picture  Herald.  Let  us  also  observe  that  an  ability  to 
read  is  an  important  qualification  for  writing.  There  is  as  in- 
dicated above  a  considerable  variance  between  the  figures 
which  The  Herald  presented  and  those  which  the  Hearst  edi- 
torial writer  contrived.  That  could  only  be  discovered  by  read- 
ing either  The  Herald  or  the  editorial. 

We  are  going  to  buy  Mr.  Gillette  the  new  edition  of  Motion 
Picture  Almanac. 

»     »  » 

POPULAR  SCIENCE 

SPEAKING  of  suckers,  "another  trade  paper"  picks  up 
without  credit  to  the  Associated  Press  an  item  from  San 
Marino,  California,  acclaiming  a  discovery  by  Dr.  L. 
Bendikson  of  the  Huntington  Library  that  "film  negatives  can 
be  preserved  65  years  or  longer"  because  of  "a  tiny  piece  of 
film  found  In  a  souvenir  pamphlet  of  the  Franco-Prussian 
War.  .  .  ." 

The  Prussians  marched  into  Paris  in  March,  1871.  Motion  pic- 
ture film  was  invented  and  brought  into  production  In  1889. 
The  facts  are  rather  well  known  to  those  familiar  with  the 
industry  and  a  concern  up  at  Rochester  in  New  York,  known 
as  the  Eastman  Kodak  Company. 

The  microscopic  images  of  German  pigeon  post  photog- 
raphy and  their  use  in  war  are  well  known  and  constitute  part 
of  the  background  of  motion  picture  evolution. 

»     »  » 

LOOKING  over  some  of  the  governmental  budgets  and 
balances  in  this  land  of  ours  leads  to  the  suggestion  that 
.the  accountants  will  have  to  reach  Into  the  realm  of  pho- 
tography for  a  new  color.  Infra-red. 

»     »  » 

CAMERA!  •  • 

GENERAL  HUGH  JOHNSON,  who  stands  better  with 
us  since  he  verified  the  editor's  forecasts  and  fore- 
bodings about  the  Blue  Eagle,  has  become  a  columnist 
for  United  Feature  Syndicate,  which  is  In  somewise  allied  with 
the  Scripps-Howard  interests.  Interviewed  by  the  New  York 
Times,  the  General  asserted  that  he  would  write  his  own  copy, 
and,  says  the  Times,  "He  will  write  lying  on  his  stomach.  He 
finds  that  easier,  he  said." 

General  Johnson  uses  a  portable  typewriter. 

The  motion  picture  rights  ought  to  be  as  good  as  the  copy. 


MOTION  PICTURE  HERALD  MARTIN  QUIGLEY.  Editor-in-Chief  and  Publisher 

Incorporating  Exhibitor's  Herald,  founded  1915;  Motion  Picture  News,  founded  1913;  Moving  Picture  World,  founded  1907;  Motography,  founded  1909;  The  Film  Index, 
founded  1906.  Published  every  Thursday  by  Quigley  Publishing  Connpany,  1790  Broadway,  New  York  City.  Telephone  Circle  7-3100.  Cable  address  "Quigpubco,  New  York. 
Martin  Quigley,  Editor-in-Chief  and  Publisher;  Colvin  Brown,  Vice-President  and  General  Manager;  Terry  Ramsaye,  Editor;  Ernest  A.  Rovelstad,  Managing  Editor;  Chicago 
Bureau,  407  South  Dearborn  Street,  Edwin  S.  Clifford,  manager;  Hollywood  Bureau,  Postal  Union  Life  Building.  Victor  M.  Shapiro,  manager;  London  Bureau,  Remo  hlouse.  310 
Regent  Street,  London  W  I,  Bruce  Allan,  cable  Quigpubco  London;  Berlin  Bureau,  Berlln-Templehof,  Kaiserin-Augustastrasse  28,  Joachim  K.  Rutenberg,  representative;  Pans 
Bureau,  19,  Rije  de  la  Cour-des-Noues,  Paris  20e,  France,  Pierre  Autre,  representative,  cable  Aut.-e-Lacifral-20  Paris;  Rome  Bureau,  Viale  Gorizia,  Rome,  Italy,  Vittorio  Malpassuti, 
representative,  Italcable,  Malpassuti,  Rome;  Sydney  Bureau,  600  George  Street,  Sydney,  Australia,  Cliff  Holt,  representative;  Mexico  City  Bureau,  Apartado  269,  Mexico  City, 
Mexico  James  Lockhart,  representative;  Prague  Bureau,  Na  Slupi  8,  Prague  II,  Czechoslovakia,  Harry  Knopf,  representative;  Cape  Town  Bureau,  10  St.  George's  Villas,  Green 
Point  Cape  Town,  South  Africa,  H.  Hanson,  representative;  Budapest  Bureau,  3,  Kaplar  -u,  Budapest.  Hungary,  Endre  Hevesi,  representative;  Buenos  Aires  Bureau,  Cuenca  52, 
Buenos  Aires,  Argentina,  N.  Bruski,  representative.  Member  Audit  Bureau  of  Circulations. '  Ail  contents  copyright  1935  by  Quigley  Publishing  Company.  Address  all  corre- 
spondence to  the  New  York  Office.  Better  Theatres,  devoted  to  the  construction,  equipment  and  operation  of  theatres,  is  published  every  fourth  week  as  section  2  of  Motion 
Picture  Herald.      Other  Quigley  Publications:  Motion  Picture  Daily,  the  Motion  Picture   Mmanac,  published  annually,  and  the  Chicagoan. 


8 


MOTION    PICTURE  HERALD 


March    16,  1935 


THIS  WEEK--- 


SOUND  QUALITY 

Inaugurated  by  MGM  is  a  new  releasing 
method,  three  separate  types  of  prints  on 
each  feature,  embodying  different  sound 
volumes  for  A,  B  and  C  houses,  conform- 
ing with  reproduction  requirements  in  va- 
rious classifications  of  theatre,  last  week 
declared  Hunt  Stromberg,  MGM  producer. 
The  purpose:  higher  quality  sound,  diversi- 
fied in  accordance  with  the  size  of  the 
theatre.  The  industry's  self  regulation  has 
achieved  higher  standards,  he  said.  .  .  . 

PUBLICITY  HOAXES 

The  Government  will  not  tolerate  kid- 
naping or  extortion  hoaxes  perpetrated  as 
publicity  projects,  Joseph  E.  P.  Dunn,  Hol- 
lywood director  of  the  Department  of  Jus- 
tice, warned  last  week.  Mr.  Dunn  pre- 
pared to  investigate  a  $10,000  extortion 
threat  Thelma  Todd  reported  she  had  re- 
ceived, and  at  the  same  time  issued  his 
stern  declaration  of  policy.  .  .  . 

PARK  BONDS 

Following  attempted  imposition  of  a  fee 
for  the  use  of  the  national  parks  by  film 
producers,  and  protest  from  Sol  Lesser  and 
others.  Secretary  of  the  Interior  Harold  L. 
Ickes  plans  to  require  a  bond  to  protect 
against  possible  damage,  $3,000  having 
been  the  repair  cost  cited  after  production 
of  "Sequoia."  Bonds  are  required  when 
producers  enlist  the  cooperation  of  the 
Army  and  Navy.  .  .  . 

OPERA  ON  SCREEN 

"Personally  I  feel  that  opera  will  be  the 
next  important  turn  for  the  screen,  not 
opera  as  we  know  it  on  the  Paris,  La  Scala 
or  Metropolitan  stages,  but  opera  told  In 
terms  of  the  screen,"  last  week  said  Ernst 
Lubitsch,  swinging  Into  action  as  supervisor 
of  all  Paramount  production,  and  promis- 
ing highly  diversified  product.  .  .  . 

SHORTS'  APPROVAL 

As  of  March  15,  the  production  Code's 
certification  of  approval  will  appear  In 
briefer  form  on  short  subjects.  The  of- 
ficial seal  of  the  Motion  Picture  Producers 
and  Distributors  of  America,  with  the  word 
"Approved,"  and  the  certificate  number, 
will  appear  on  one  Introductory  frame.  In- 
stead of  on  a  separate  frame  as  hereto- 
fore. .  .  . 

AUDITION  NIGHTS 

M.  and  P.  -  Publix  circuit  headquarters  In 
Boston  reports  grosses  raised  as  much  as 
200  per  cent  In  some  situations  as  a  result 
of  radio  audition  nights,  in  which  20  houses 
are  cooperating.  Audition  winners  are 
booked  at  the  de  luxe  houses,  effectively 
increasing  grosses,  the  circuit  declares.  .  .  . 


LIGHTMAN  ON  TOP 

With  the  closing  last  week  of  a  deal 
whereby  M.  A.  Lightman's  Maico  Theatres 
will  operate  Loew's  Palace  in  Memphis  in 
partnership  with  Paramount,  Mr.  Lightman 
has  achieved  an  ambition,  taking  the  domi- 
nant position  In  downtown  Memphis  away 
from  the  major  circuits.  Four  years  ago 
he  was  a  small  suburban  operator,  today 
he  has  40  houses  outside  Memphis,  six 
choice  neighborhood  theatres  in  the  city, 
and  four  of  the  important  downtown  situa- 
tions. .  .  . 

SERMONS'  SUBJECTS 

As  his  subjects  for  a  series  of  weekly 
sermons.  Rev.  R.  W.  Cooper,  Baptist  pas- 
tor at  Omaha,  has  selected  the  titles  of 
various  films  playing  and  to  play  at  local 
theatres.  The  titles:  "The  Right  to  Live," 
"Under  Pressure,"  "The  Man  Who  Re- 
claimed His  Head,"  "Life  Begins  at  8:40," 
"Gold  Diggers  of  1935."  Appropriate 
music  will  be  part  of  each  service.  .  .  . 

"CRIME  DOESN'T  PAY" 

Including  numerous  circuit  sales,  MGM 
claims  some  sort  of  record  for  Its  contracts 
on  "Burled  Loot,"  first  of  a  new  short  sub- 
ject series,  "Crime  Doesn't  Pay."  In  three 
weeks,  MGM  reports,  3,226  contracts  have 
been  written.  A  feature-size  press  book 
has  been  prepared  on  the  series.  .  .  . 


In  This  Issue 


Civic  associations  representing  4,500,000 


members  indorse  Pettengill  bill  to 

pro- 

hibit  block  booking 

Page 

9 

Moley  ask  industry  to  screen  best 

side 

of  society 

Page 

1  1 

Motion  picture  producers  pay  $2,000,000 

for  rights  to  stage  plays 

Page 

15 

Universal  and  Columbia  show  net  profits 

Page 

17 

Broadcasters'   claims   of  70,000,000 

lis- 

teners  are  challenged 

Page 

19 

FEATURES 

Editorial 

Page 

7 

The  Camera  Reports 

Page 

13 

The.  Cutting  Room 

Page 

35 

The  Hollywood  Scene 

Page 

30 

J.  C.  Jenkins — His  Colyum 

Page 

50 

Asides  and  Interludes 

Page 

25 

DEPARTMENTS 

What  the  Picture  Did  for  Me 

Page 

57 

Showmen's  Reviews 

Page 

38 

Managers'  Round  Table 

Page 

65 

Technological 

Page 

47 

Short  Features  on  Broadway 

Page 

56 

Chicago  Notes 

Page 

56 

The  Release  Chart 

Page 

73 

Box  Office  Receipts 

Page 

51 

Classified  Advertising 

Page 

78 

EUROPE'S  THEATRES 

With  the  exception  of  Germany,  theatre 
business  in  eastern  and  central  Europe  is 
in  a  bad  way,  last  week  declared  Gus 
Schaefer,  Paramount  general  manager 
there,  arriving  in  New  York.  He  noted 
signs  of  improvement  in  Holland,  and  ex- 
pects other  countries  to  follow.  Paramount 
has  no  intention  of  withdrawing  from  Ger- 
many, he  said.  He  sees  countries  under  his 
jurisdiction  passing  through  the  financial 
crisis  experienced  In  this  country  two  years 
ago.  ... 

ALLIED  SEALS 

Ready  for  mailing  to  members  In  good 
standing,  from  headquarters  in  Washing- 
ton, are  the  new  seals  of  Allied  States  As- 
sociation, to  be  hung  or  pasted  in  the  box 
office.  The  property  of  Allied,  the  seals 
are  leased  to  exhibitors  only  so  long  as 
they  remain  members  In  good  standing. 
The  purpose,  says  Allied,  is  to  capitalize 
on  the  public  goodwill  Allied  has  been 
building.  ... 

PRAGUE  OWNERS 

Some  300  Prague  theatre  owners  have 
determined  to  set  up  their  own  film  ex- 
change and  an  independent  association, 
a  blow  to  the  Association  of  Motion  Pic- 
ture Owners,  which  thus  would  lose  many 
members,  the  greater  portion  of  its  power. 
Various  branches  of  the  Czechoslovak  film 
Industry  recently  met  to  protest  the  exor- 
bitant fees  charged  by  Tobis-Klangfilm  for 
sound  reproducer  use.  .  .  . 

PRESS  AGENTS 

Some  sort  of  record  is  being  established 
by  Cliff  Work,  managing  the  RKO  Golden 
Gate  In  San  Francisco.  Since  Emil  Euman 
resigned  last  month  as  publicity  represent- 
ative. Bob  Harvey,  Jack  Cartwrlght,  and 
now  Ken  McGaffey  have  held  the  job.  The 
local  press  agents  ask  "Who's  next?"  .  .  . 

AIRDOME'S  PASSING 

The  Star  Lite,  Tampa's  alrdome  theatre, 
down  in  sunny  Florida,  which  has  been 
more  or  less  in  operation  (weather  per- 
mitting) for  the  last  two  years,  finally 
folded  last  week,  and  workmen  began  tear- 
ing down  the  high  board  fence  over  which 
the  operator  once  hoped  to  stretch  a  can- 
vas top — to  keep  out  the  rain.  .  .  . 

AD  SHORTS 

Planned  to  run  in  theatres  with  or  fol- 
lowing the  newsreel  is  a  series  of  short  sub- 
jects produced  as  advertising  material  for 
the  General  Baking  Company.  Batten, 
Barton,  Durstine  and  Osborn,  Inc.,  advertis- 
ing agency,  has  arranged  with  Screen 
Broadcasts,  Inc.,  to  handle  distribution.  .  .  . 


March    16.    19  3  5 


MOTION    PICTURE  HERALD 


9 


4,500,000  BACK  MEASURE 
TO  PROHIBIT  BLOCK  SALES 


Full  Text  of  Bill  to 
Bar  Block  Booking 


Following  is  the  complete  text  of 
the  soc ailed  Pettengill  bill  (H.  R. 
6472)  introduced  by  Congressman 
Pettengill  and  referred  to  the  com- 
mittee on  interstate  commerce: 

A  Bill  to  prohibit,  and  to  prevent  the  trade 
practices  known  as  "compulsory  block-booking" 
and  "blind  selling"  in  the  leasing  of  motion- 
picture  films  in  interstate  and  foreign  commerce. 

Be  it  enacted  by  the  Senate  and  Hoxise  of 
Representatives  of  the  United  States  of  America 
in  Congress  assembled,  That  the  methods  of 
distribution  of  motion-picture  films  in  commerce 
whereby  (a)  exhibitors  are  required  to  lease 
all  or  a  specified  number  of  an  offered  group 
of  films  in  order  to  obtain  any  individual  desired 
film  or  films  in  the  group,  a  trade  practice 
sometimes  known  as  "compulsory  block-book- 
ing," and  (b)  films  are  leased  before  they  are 
produced  and  without  opportunity  for  the  ex- 
hibitor to  ascertain  the  content  of  such  films, 
a  trade  practice  sometimes  known  as  "blind 
selling,"  are  hereby  declared  to  be  contrary 
to  public  policy  in  that  such  practices  inter- 
fere with  the  free  and  informed  selection  of 
films  on  the  part  of  exhibitors  and  to  prevent 
the  people  of  the  several  states  and  the  local 
communities  thereof  from  influencing  such 
selection  in  the  best  interests  of  the  public, 
and  tend  to  create  a  monopoly  in  the  pro- 
duction, distribution,  and  exhibition  of  films. 
The  Congress  finds  and  declares  that  such 
methods  and  practices  adversely  affect  and 
constitute  a  burden  upon  commerce,  and  it 
is  the  purpose  of  this  Act  to  prohibit  and 
to  prevent  such  methods  and  practices  in 
commerce. 

Sec.  2.  For  the  purpose  of  this  Act,  unless 
the  context  otherwise  requires — 

-l  The  term  "motion  picture  film"  or  "film" 
'  •  means  all  motion  picture  films  (whether 
copyrighted  or  uncopyrighted) ,  including  posi- 
tive and  negative  prints,  and  copies  or  repro- 
ductions of  such  prints,  which  films  contain  pho- 
toplays or  other  subjects  and  are  produced  for 
public  exhibition :  Provided,  That  the  term  shall 
not  include  films  commonly  known  as  "news 
reels"  or  other  films  containing  picturization  of 
news  events. 

Q  The  term  "to  lease"  includes  the  making 
^'  of  a  license  agreement,  contract,  or  any 
type  of  agreement  whereby  a  film,  the  distribu- 
tion of  which  is  controlled  by  one  of  the  par- 
ties, is  to  be  supplied  to  and  exhibited  in  a  the- 
atre owned,  controlled,  or  operated  by  the  other 
party. 

3 The  term  "person"  includes  an  individual, 
•  partnership,  association,  joint-stock  com- 
pany, trust,  or  corporation. 

A  The  term  "distributor"  includes  any  per- 
'  son  who  engages  or  contracts  to  engage 
in  the  distribution  of  motion  picture  films. 

5 The  term  "exhibitor"  includes  any  person 
■  who  engages  or  contracts  to  engage  in 
the  exhibition  of  motion  picture  films. 

6 The  term  "commerce"  means  commerce 
•  between  any  state,  territory,  or  the  Dis- 
trict of  Columbia  and  any  place  outside  thereof  ; 

(Continued  on  following  page,  column  1) 


Pettengill  Bill,  Drawn  by  Research  Council  with  Aid  of 
Allied  States  Exhibitors,  Would  Bar  Reduced  Price 
for  Quantity  Rentals,  Require  Synopses  of  Features; 
Several  Civic  Societies  Indorse  Proposal 

The  Motion  Picture  Research  Council  returned  this  week  after  a  long  absence  to 
the  scene  of  its  warrings  against  the  motion  picture  industry  with  the  presentation  of 
its  anti-block  booking  bill  in  the  House  of  Representatives  at  Washington  by  Congress- 
man Pettengill  of  Indiana.  The  bill,  which  places  a  complete  prohibition  on  all  block 
booking  and  blind  selling  by  distributors,  was  drawn  by  the  Council's  directorate.  It 
also  represents  the  views  of  Allied  States  Association  of  Motion  Picture  Exhibitors, 
which  long  has  been  campaigning  in  the  halls  of  Congress  for  abolition  of  block  book- 
ing. In  addition  to  Allied,  a  half  dozen  other  national  organizations  are  reported 
to  have  put  their  stamp  of  approval  on  the  measure.  These  organizations,  repre- 
senting nearly  4,500,000  persons,  are : 


Motion  Picture  Research  Council 

Allied  States  Association 

National  Congress  of  Parents  and  Teach- 
ers, 1,463,000  members 

Woman's  Christian  Temperance  Union, 
1,000,000  nnennbers 

Young  Men's  Christian  Association,  857,- 
000  members 

Young    Women's    Christian  Association, 
430,000  members 

National  Education  Association,  220,000 
members 

National  Council  of  Women  for  Home 
Missions 

Other  organizations  supporting  the  abol- 
ition of  block  booking  but  which  have  not 
yet  had  time  to  pass  on  the  Pettengill 
measure,  include  the  American  Federation 
of  Teachers,  the  National  Catholic  Welfare 
Council  and  a  number  of  church  organiza- 
tions of  all  denominations. 

According  to  Ruth  Marvin  of  the  Re- 
search Council,  the  American  Association 
of  University  Women  also  has  subscribed 
to  the  bill,  but  verification  of  this  could 
not  be  obtained  from  the  association. 

Congressman  Pettengill  hopes  to  obtain 
hearings  on  the  bill  before  the  interstate 
commerce  committee  within  the  next  month. 

Council  Renews  Attack 

Introduction  last  week  of  the  Research 
Council-Pettengill  bill  marks  the  first  tan- 
gible evidence  of  the  Council's  intention  to 
continue  its  fight  against  the  film  industry 
since  the  death  of  Rev.  William  Harrison 
Short,  its  former  executive  director,  this  win- 
ter. Since  Mr.  Short's  death,  the  Council 
had  maintained  strict  secrecy  with  regard  to 
its  future  plans,  and  its  directors  have  not 
yet  decided  who  shall  be  nominated  to  fill 
Mr.  Short's  position.  Miss  Ruth  Marvin, 
temporary  executive  director,  announced 
that  a  meeting  of  the  board  is  to  be  held 
Saturday  to  map  plans  for  the  organiza- 
tion's continuance. 

The  history  of  the  present  bill  against 
block  booking  goes  back  to  the  summer  of 
last  year  when  Allied  started  making  over- 


tures to  the  Council  with  respect  to  its  own 
campaign  against  policies  of  the  affiliated  cir- 
cuit theatres  and  major  distributors.  At 
that  time  the  Council  was  considering  a 
block  booking  bill  and  Abram  F.  Myers, 
general  counsel  for  Allied,  suggested  the 
Council  cooperate  in  drawing  up  a  bill 
which  would  best  serve  the  interests  of  each 
group.  With  much  publicity  fanfare,  Mr. 
Short  announced  that  Allied  had  joined 
the  Council's  "cause."  This  was  about  the 
same  time  that  Mr.  Short  announced  that  35 
national  organizations  had  pledged  active 
support  of  his  program  at  a  meeting  in 
New  York,  which  subsequently  was  denied 
by  practically  all  the  organizations. 

Drafted  by  Distinguished  Group 

Allied,  through  Mr.  Myers,  last  week  an- 
nounced it  had  had  a  finger  in  the  drawing 
up  of  the  Pettengill  measure.  In  the  ex- 
hibitor association's  weekly  bulletin,  it  was 
stated  that  the  bill  was  drafted  "by  a  distin- 
guished and  influential  group  of  public 
spirited  people  with  the  aid  of  the  Legisla- 
tive Drafting  Service  of  Columbia  and  the 
advice  of  the  general  counsel  of  Allied." 

Mr.  Short  had  declared  last  summer  that 
he  intended  "cooperating  with  that  fine  ex- 
hibitor organization"  in  the  drawing  of  a 
block  booking  bill,  because  "that  group  is 
the  only  exhibitor  group  in  the  industry 
which  has  any  sense  of  fair  play."  At  the 
time  Mr.  Short  was  talking  "off  the  record." 
Each  time  he  was  questioned  thereafter  as 
to  the  progress  of  the  Council's  and  Allied's 
block  booking  bill  he  had  replied  that  there 
would  "be  an  announcement"  about  it  before 
the  next  session  of  Congress.  After  Mr. 
Short's  death  it  was  reported  the  Council 
and  the  National  Education  Association  had 
drafted  a  block  booking  bill  for  early  pres- 
entation in  Congress,  but  it  did  not  make  its 
appearance  until  last  week. 

The  Petengill  measure  would  prohibit  the 
offering  of  films  in  a  block  of  two  or  more 
at  a  designated  price  for  the  entire  block 
and  requiring  the  exhibitor  to  lease  all  or 
none,  or  to  offer  films  in  a  block  at  one 
price  or  individually  at  higher  prices  which 

(Continued  on  following  page,  column  3) 


10 


MOTION    PICTURE  HERALD 


March     16,  1935 


TEXT  OF  BLOCK  SALE  BILL 


(Continued  from  preceding  page) 

or  between  points  within  the  same  state,  terri- 
tory, or  the  District  of  Columbia,  but  through 
any  place  outside  thereof ;  or  within  any  terri- 
tory or  the  District  of  Columbia. 

For  the  purposes  of  this  Act  (but  in  no  wise 
limiting  the  definition  of  commerce)  a  transac- 
tion in  respect  of  any  film  shall  be  considered 
to  be  in  commerce  if  the  film  is  part  of  that 
current  of  commerce  usual  in  the  motion  picture 
industry  whereby  films  are  produced  in  one 
state,  leased  for  exhibition  in  other  states,  and 
distributed  to  them  through  local  exchanges  in 
the  several  states,  the  films  circulating  from  the 
exchanges  and  between  the  various  exhibitors. 
Films  normally  in  such  current  of  commerce 
shall  not  be  considered  out  of  such  commerce 
through  resort  being  had  to  any  means  or  device 
intended  to  remove  transactions  in  respect 
thereto  from  the  provisions  of  this  Act.  For  the 
purpose  of  this  paragraph,  the  word  "state" 
includes  territory,  the  District  of  Columbia,  and 
foreign  country. 

Sec.  3.  (1)  It  shall  be  unlawful  for  any 
distributor  of  motion  picture  films  in  com- 
merce to  lease  or  offer  to  lease  for  public 
exhibition  films  in  a  block  or  group  of  two 
or  more  films  at  a  designated  lump-sum 
price  for  the  entire  block  or  group  only  and 
to  require  the  exhibitor  to  lease  all  such 
films  or  permit  him  to  lease  none;  or  to 
lease  or  offer  to  lease  for  public  exhibition 
films  in  a  block  or  group  of  two  or  more 
at  a  designated  lump-sum  price  for  the  entire 
block  or  group  and  at  separate  and  several 
prices  for  separate  and  several  films,  or  for 
a  number  or  numbers  thereof  less  than  the 
total  number,  which  total  or  lump-sum  price 
and  separate  and  several  prices  shall  bear 
to  each  other  such  relation  (a)  as  to  operate 
as  an  unreasonable  restraint  upon  the  freedom 
of  an  exhibitor  to  select  and  lease  for  use  and 
exhibition  only  such  film  or  films  of  such  block 
or  group  as  he  may  desire  and  prefer  to  procure 
for  exhibition,  or  (b)  as  tends  to  require  an 
exhibitor  to  lease  such  entire  block  or  group  or 
forego  the  lease  of  any  number  or  numbers 
thereof,  or  (c)  that  the  effect  of  the  lease  or 
offer  to  lease  of  such  films  may  be  substantially 
to  lessen  competition  or  tend  to  create  a  mo- 
nopoly in  the  production,  distribution,  and  ex- 
hibition of  films ;  or  to  lease  or  offer  to  lease 
for  public  exhibition  films  in  any  other  manner 
or  by  any  other  means  the  effect  of  which  would 
be  to  defeat  the  purpose  of  this  Act. 

(2)  It  shall  be  unlawful  for  any  person  know- 
ingly to  transport  or  cause  to  be  transported  in 
commerce  any  motion  picture  film  which  is 
leased,  or  intended  to  be  leased,  in  violation  of 
subdivision  (1)  of  this  section. 

Sec.  4.  It  shall  be  unlawful  for  any  dis- 
tributor of  motion  picture  films  in  commerce 
to  lease  or  offer  to  lease  for  public  exhibition 
any  motion  picture  film  over  two  thousand 
feet  in  length  unless  such  distributor  shall 
furnish  the  exhibitor  at  or  before  the  time 
of  making  such  lease  or  offer  to  lease  a  com- 
plete and  true  synopsis  of  the  contents  of 
such  film.  Such  synopsis  shall  be  made  a 
part  of  the  lease  and  shall  include  (a)  an  out- 
line of  the  story,  incidents,  and  scenes  depicted 
or  to  be  depicted,  and  (b)  a  statement  describ- 
ing the  manner  of  treatment  of  dialogues  con- 
cerning and  scenes  depicting  vice,  crime,  or  sug- 
gestive of  sexual  passion.  It  is  the  purpose  of 
this  section  to  make  available  to  the  exhibitor 
sufficient  information  concerning  the  contents 
of  the  film  and  the  manner  of  treatment  to 
enable  him  to  determine  whether  he  desires  to 
select  the  film  for  exhibition  and  later  to  deter- 
mine whether  the  film  is  fairly  described  by 
the  synopsis. 

If  a  motion  picture  film  which  has  been  leased 
in  commerce  is  substantially  different  from  the 
synopsis  hereinabove  required,  whether  in  re- 


spect of  the  outline  or  the  manner  of  treatment, 
the  exhibitor  may  cancel  the  lease  as  to  such 
film  without  liability  for  breach  of  contract  and 
may  recover  all  damages  suffered  by  him  be- 
cause of  such  difference,  or  he  may  retain  the 
lease  and  recover  damages  as  for  a  breach  of 
warranty. 

Sec.  5.  (1)  Every  person  who  violates  sec- 
tion 3,  or  who  fails  to  furnish  the  synopsis 
required  by  section  4,  or  knowingly  makes 
any  false  statement  in  such  synopsis,  shall 
be  deemed  guilty  of  a  misdemeanor  and,  on 
conviction  thereof,  shall  be  punished  by  a 
fine  of  not  exceeding  $5,000  or  by  imprison- 
ment for  not  exceeding  one  year,  or  by  both 
such  fine  and  imprisonment  in  the  discretion 
of  the  court. 

(2)  The  several  district  courts  of  the  United 
States  are  hereby  invested  with  jurisdiction  to 
prevent  and  restrain  violations  of  this  Act,  and 
it  shall  be  the  duty  of  the  several  district  attor- 
neys of  the  United  States,  in  their  respective 
districts,  under  the  direction  of  the  Attorney 
General,  to  institute  proceedings  in  equity  to 
prevent  and  restrain  such  violations.  Such  pro- 
ceedings may  be  by  way  of  petition  setting  forth 
the  case  and  praying  that  such  violation  shall 
be  enjoined  or  otherwise  prohibited.  When  the 
parties  complained  of  shall  have  been  duly  noti- 
fied of  such  petition,  the  court  shall  proceed, 
as  soon  as  may  be,  to  the  hearing  and  determi- 
nation of  the  case ;  and  pending  such  petition, 
and  before  final  decree,  the  court  may  at  any 
time  make  such  temporary  restraining  order  or 
prohibition  as  shall  be  deemed  just  in  the  prem- 
ises. Whenever  it  shall  appear  to  the  court 
before  which  any  such  proceeding  may  be  pend- 
ing that  the  ends  of  justice  require  that  other 
parties  should  be  brought  before  the  court,  the 
court  may  cause  them  to  be  summoned  whether 
they  reside  in  the  district  in  which  the  court  is 
held  or  not,  and  subpenas  to  that  end  may  be 
served  in  any  district  by  the  marshal  thereof. 

Sec.  6.  If  any  provision  of  this  Act  is  de- 
clared unconstitutional  or  the  applicability 
thereof  to  any  person  or  circumstances  is  held 
invalid,  the  validity  of  the  remainder  of  the  Act 
and  the  applicability  of  such  provision  to  other 
persons  and  circumstances  shall  not  be  affected 
thereby. 

Sec.  7.  This  Act  shall  become  effective  12 
months  after  its  enactment. 


Chic  Groups  Back 
Block  Booking  Bill 

{Continued  from  preceding  page) 

"operate  as  an  unreasonable  restraint  upon 
the  freedom  of  an  exhibitor  to  select  and 
lease  for  use  and  exhibition  only  such  film 
or  films  of  such  block  or  group  as  he  may 
desire  or  prefer  to  procure  for  exhibition, 
or  as  tends  to  require  an  exhibitor  to  lease 
such  entire  block  or  group  or  forego  the 
lease  of  any  number  or  numbers  thereof,  or 
that  the  effect  of  the  lease  or  offer  to  lease 
of  such  films  may  be  substantially  to  lessen 
competition  or  tend  to  create  monopoly." 

In  effect  the  bill,  it  appears,  would  force 
a  distributor  to  put  retail  prices  on  all 
films,  even  Including  short  subjects,  regard- 
less of  the  number  eventually  purchased. 
Even  should  the  exhibitor  express  a  willing- 
ness to  purchase  film  en  bloc,  if  the  dis- 
tributor makes  a  lower  price  for  quantity 
purchases  he  apparently  would  risk  a  fine 
of  $5,000  and  possible  imprisonment. 

It  would  be  unlawful  to  transport  in  com- 
merce any  film  leased  or  intended  to  be 
leased  in  violation  of  the  foregoing  pro- 
visions. 

Synopsis  Required 

The  bill  further  would  require  the  fur- 
nishing by  the  distributor  to  the  exhibitor 
of  an  accurate  synopsis  of  all  pictures  more 
than  2,000  feet  in  length,  at  the  time  of  the 
offering  of  the  films,  which  would  be  made 
a  part  of  the  lease.  In  the  event  the  com- 
pleted picture  differs  substantially  from  the 
synopsis  the  exhibitor  might,  according  to 
the  bill,  cancel  the  lease  without  liability  for 
breach  of  contract  and  recover  all  damages 
suffered  by  him  because  of  such  differences, 
or  might  restrain  the  lease  and  recover 
damages  as  for  a  breach  of  warranty. 

"This  is  not  a  censorship  bill.  It  simply 
permits  the  exhibitor  to  select  his  pictures," 
said  Mr.  Pettengill  in  explaining  the  meas- 
ure. The  bill  would  not,  he  said,  become 
effective  until  12  months  after  its  enactment. 


J^C^UO  F^fCftCh  Bill         Ambiguous  Features  Eliminated 

Hits  U.  S.  Films 


A  new  loss  of  business  in  France  faces 
American  film  interests  if  a  measure  adapted 
last  week  by  the  finance  commission  of  the 
Chamber  of  Deputies  passes  that  legislative 
body.  The  bill  provides  for  a  decrease  of 
taxes  for  exhibitors  who  show  French  pic- 
tures. The  proportion  of  French  to  other 
output  which  must  be  shown  to  gain  the  tax 
reduction  for  exhibitors,  is  to  be  fixed  in 
a  decree  now  in  preparation. 

If  the  measure  passes,  exhibitors  are  ex- 
pected to  reduce  sharply  the  number  of 
American  pictures  played,  the  total  of  which 
already  has  been  drastically  cut  by  the  im- 
position of  quotas. 

American  interests  in  Paris  contend  that 
the  measure  proposed  constitutes  active  dis- 
crimination, since  they  already  have  been 
obliged  to  spend  30,000,000  francs  annually 
for  dubbing  and  in  an  effort  to  make  Ameri- 
can films  conform  to  the  French  govern- 
ment standards. 


The  Pettengill-Research  Council  measure 
differs  but  little  from  most  anti-block  book- 
ing bills  which  have  been  presented  from 
time  to  time  at  Washington.  The  chief  dif- 
ference is  that  many  complicated  and  am- 
biguous features  of  former  measures  have 
been  eliminated. 

In  this  week's  Allied  bulletin,  the  Petten- 
gill measure  was  analyzed  for  the  benefit  of 
the  organization's  leaders  in  the  field. 

"Many  features  of  former  anti-block  book- 
ing bills  which  furnished  the  spokesmen  for 
the  Big  Eight  with  talking  points — however 
weak — have  been  eliminated,"  the  bulletin 
said.  "The  bill  declares  that  compulsory 
block  booking  is  contrary  to  public  policy 
and  forbids  it  or  any  device  or  subterfuge 
under  which  it  might  be  continued.  .  .  .  The 
cumbersome  arbitrament  of  the  Federal 
Trade  Commission  in  cases  of  disputes  be- 
tween distributors  and  exhibitors,  as  pro- 
vided in  the  Brookhart  and  Patman  bills, 
has  been  dropped.  The  prices  of  films  will 
not  be  fixed  by  any  Government  agency, 
hence  troublesome  questions  of  constitu- 
tional law  are  avoided." 


March     16.  1935 


MOTION    PICTURE  HERALD 


MOLEY  TELLS  INDUSTRY  IT  CAN  HELP 
BY  PORTRAYING  THE  BEST  IN  SOCIETY 


Former  New  Deal  Leader 
Explodes  "Case  History" 
Method  of  Criticizing  Effect 
of  Motion  Pictures  on  Youth 

"The  constructive  thing  that  the  motion 
picture  can  do  is  to  seek  to  portray  the  fac- 
tors that  are  true  to  the  best  that  exists  in 
society,"  was  the  advice  of  Raymond  S. 
Moley,  former  prominent  New  Dealer  in 
Washington  and  now  editor  of  Today,  ad- 
dressing the  Motion  Picture  Club's  forum 
in  New  York  Monday. 

Professor  Moley,  friendly  to  the  industry 
and  approving  of  the  labors  of  Will  H.  Hays 
in  its  behalf,  delivered  a  lightsome  lecture 
in  which  he  took  the  "New  Psychology" 
apart  and  dissected  the  technique  of  the 
"case  history"  method  of  studying  the  effect 
of  the  motion  picture  on  the  young. 

The  speaker  made  no  direct  mention 
of  the  works  of  the  Motion  Picture  Re- 
search Council  and  its  publication,  "Our 
Movie  Made  Children,"  but  his  discourse 
was  directed  mostly  at  adverse  criticism 
of  their  methods  and  findings.  His  ap- 
pearance had  first  been  announced  for  the 
presentation  of  a  discussion  of  the  New 
Deal,  but  somebody  changed  the  subject — 
the  New  Deal  sector  currently  being  occu- 
pied considerably  by  Senator  Huey  Long, 
General  Hugh  Johnson  and  Father  Charles 
E.  Coughlin. 

"When  I  was  in  college  our  psychologists 
told  us'' — thirty  years  ago,  Mr.  Moley  said — 
that  there  were  three  things  in  the  human 
mind:  the  intellect,  the  will  and  the  emo- 
tions. The  new  psychologist  said  no,  there 
isn't  any  such  three-fold  division.  There 
is  a  manifold  division.  And  a  human  mind 
is  made  up  of  a  lot  of  impulses  or  instincts, 
and  if  you  can  name  these  instincts — let 
us  name  ten  of  them  or  four — you  can  tell 
what  a  man  is  after.  And  if  you  are  trying 
to  control  him,  you  can  control  him  through 
knowing  what  he  is  after. 

Great  for  Politics,  But — 

"That  looked  good  to  a  lot  of  people  in 
this  country.  I  grew  very  much  interested 
in  it  because  my  primary  concern  is  that  of 
politics,  and  I  though  what  a  grand  thing 
it  would  be  if  you  could  know  just  what 
everybody  wanted  and  give  it  to  them ;  you 
could  elect  almost  anybody  in  that  way. 

"A  lot  of  us  went  to  work  in  the  Univer- 
sities on  that  study.  We  got  into  trouble. 

"I  would  say  this  new  thing  came  out 
with  a  Professor  MacDougall,  who  was 
brought  over  here  to  Harvard  from  Scot- 
land. MacDougall  had  a  very  definite  list, 
of,  I  think,  twelve  impulses  in  the  human 
mind  that  dominated  everything  that  was 
done. 

"The  greatest  follower  of  MacDougall 
was  a  man  named  Carlton  Parker.  He  made 
a  list  of  emotions. 

"The  news  carried  a  story  in  the  last 
month  that  Mr.  MacDougall  fell  into  the 
hands  of  three  psychologists  from  Broadway 


who  so  convinced  him  of  the  scientific  value 
of  certain  gold  mines  that  Mr.  MacDougall 
gave  them  $20,000.  And  he  was  a  Scotch- 
man, too. 

"I  think  the  psychology  that  they  prob- 
ably used  was  perfectly  authentic.  The 
trouble  was  he  was  never  able  to  find  the 
psychologists  again,  nor  his  money. 

"So  we  have  the  story  of  this  great  Mas- 
ter of  the  human  mind  having  been  taken  for 
a  ride.  And  on  the  front  page  of  The  Times 
they  were  mean  ■  enough  to  print  the  story, 
and  then  say  that  he  is  the  author  of  a  long 
list  of  so-and-so  books  on  psychology." 

Professor  Moley  said  that  in  those  days  he 
had  been  tremendously  interested  in  the  new 
development,  but  had  become  mystified  when 
everyone  came  out  with  a  different  list  of 
emotions.  In  about  1922,  Mr.  Moley  said, 
two  books  appeared. 

"One  book  made  fun  of  it  all  by  making 
a  list  of  all  of  the  lists.  It  had  16  pages  of 
emotions,  closely  typed,  all  of  which  reduced 
the  thing  to  an  absurdity. 

"And  then  John  Dewey  came  along  and 
said,  'There  isn't  any  such  thing.  You  can't 
divide  them  up ;  it  is  all  one  human  mind.' 
And  so  far  as  I  can  see,  after  reading  John 
Dewey's  'Human  Nature  and  Conduct,'  in 
1922  we  were  right  back  where  we  started, 

Now  the  Case  Study  System 

"Now,  on  the  basis  of  this  New  Psy- 
chology we  are  having  a  vast  amount  of 
pseudo-scientific  literature,  and  the  way  it  is 
done  is  by  means  of  combining  this  psycho- 
logical study  with  what  is  known  as  case 
studies. 

"What  happens  is  that  you  try  to  find  out 
what  is  wrong  with  a  boy,  and  you  study 
him.  You  talk  to  him  and  write  down  what 
he  says,  and  then  you  study  his  past  career 
and  you  find  out  whether  he  is  in  the  habit 
of  killing  cats,  pulling  their  tails  out,  or 
blinding  birds,  and  so  on,  whatever  a  child 
does.  It  would  not  look  very  good  for  any- 
body to  have  this  kind  of  a  study  made  of 
his  past.  And  inferences  are  drawn,  and  it 
is  shown  in  the  last  analysis,  that  the  prob- 
lem of  this  boy  is  'X'.  Then  they  add  to- 
gether a  great  many  case  studies ;  and  the 
number  of  cases  they  study  all  depends  on 
how  large  the  appropriation  made  by  the 
particular  fund  is.  It  may  be  one  hundred, 
or  four  hundred,  and  it  depends  on  how  fast 
they  work.  Then,  on  the  basis  of  a  lot  of 
case  studies  there  is  a  final  chapter  written, 
which  draws  up  conclusions  as  to  what  these 
things  have  meant.  And  so  far  as  I  have 
been  able  to  discover  the  conclusions  have 
very  little  to  do  with  the  cases.  When  you 
get  through  the  reading  of  these  cases  you 
will  set  down  about  what  you  would  have 
set  down  in  the  beginning. 

"I  remember  in  the  New  York  State 
Crime  Commission  I  was  Research  Advisor 
for  them,  and  one  of  the  sub-committees  had 
a  great  many  of  these  studies.  And  when 
we  came  to  the  end  of  all  the  case  studies, 
then  one  of  the  members  of  the  Commission 
said,  'Obviously,  what  is  needed  is  more 
boys'  clubs,'  and  that  would  be  put  down  as 
a  recommendation.  I  am  for  boys'  clubs. 
I  think  it  is  a  swell  idea.   The  trouble  was 


More  Factors  in  Film  Situation 
Tend  to  Elimination  of  Crime 
Than  to  Other  Side,  Motion 
Picture  Club  Is  Told  at  Forum 

it  did  not  necessarily  have  anything  to  do 
with  the  research. 

"But  the  research  presumably  was  impor- 
tant in  the  information  that  it  gave  about 
boys.  On  the  basis  of  that — and  here  is  the 
important  thing;  and  this  is  why  I  feel 
rather  deeply  about  it — studies  are  made 
of  the  motion  picture,  in  which  questions  are 
asked  of  children  as  to  where  they  get  this 
idea,  or  that,  and  then  these  answers  are 
compiled,  and  an  indictment  of  the  motion 
picture  is  made.  In  other  words,  some  one 
has  asked  a  boy  in  the  juvenile  court:  'Do 
you  go  to  motion  pictures,'  this  boy  having 
been  caught  stealing,  or  something.  'Yes.' 
Did  you  ever  commit  a  crime  after  you  had 
seen  a  movie'  'Yes.'  Down  in  the  investi- 
gator's notebook  that  goes. 

Reductio  Ad  Absurdum 

"One  could  go  to  any  Sunday  School  and 
ask  the  boys  whether  they  had  ever  been  to 
Sunday  School  after  having  been  to  a  movie, 
and  the  answer  would  be  the  same.  .  .  . 

"I  think  that  is  a  very  important  fact  to 
be  remembered  in  present  criticisms  of  the 
motion  picture  industry.  I  think  that  is  only 
fair.  I  am  not  trying  to  say  that  all  is  sweet 
and  beautiful  about  this  industry,  any  more 
than  any  other  industry,  but  I  am  simply,  in 
the  interest  of  fairness,  calling  attention  to 
the  danger  of  accepting  a  thing  that  looks 
like  science  when  the  thing,  is  not  scientific 
at  all. 

A  Few  Questions 

"Now,  all  of  this  comes  down  to  two  or 
three  questions,  and  that  is  the  extent  to 
which  the  motion  picture  can  be  expected 
to  conform  to  the  hit-or-miss  requirements 
of  people  who  are  speaking  not  from  the 
point  of  view  of  scientific  conclusions.  Also 
there's  the  question  of  whether  the  motion 
picture  must  be  subjected  to  a  requirement 
that  practically  no  other  form  of  art  is  re- 
quired to  be  subjected  to. 

"That  is  the  defensive  position.  The  of- 
fensive position,  the  constructive  thing  that 
the  motion  picture  industry  can  do,  is  to  seek 
to  portray,  insofar  as  possible,  dramatic 
motives  that  have  to  do  with  serious  and 
earnest  efforts  on  the  part  of  law-enforce- 
ment officials  who  are  doing  their  jobs  and 
are  not,  as  Mr.  Van  Dine  and  Mr.  Doyle 
said,  a  lot  of  stupid  and  incompetent  idiots — 
that  just  is  not  fair,  and  it  is  not  so — but 
to  portray,  insofar  as  possible,  with  the 
greatest  observance  of  scientific  detail,  the 
factors  in  the  creation  of  this  art  that  are 
true  to  the  best  technique  and  knowledge 
that  exists  in  society  for  the  suppression  of 
crime. 

"It  is  apparent  to  me  that  the  overwhelm- 
ing evidence  is  present  that  there  are  more 
factors  in  the  motion  picture  situation  that 
tend  to  the  repression  and  elimination  of 
crime  than  to  the  other  side.  I  know  some- 

(Contiiuied  on  following  page,  column  3) 


12 


MOTION    PICTURE  HERALD 


March    16.  1935 


ACCEPT  PARAMOUNT    Moky  Commends 
PLAN,  CREDITORS  URGED     industry  s  Jims 


General  Creditors'  Committee 
Advises  the  Forwarding  of 
Acceptances  in  Court  Form 

The  Paramount  Publix  general  creditors' 
committee  last  week  recommended  to  all 
merchandise  and  other  creditors  whom  it 
represents  that  the  corporation's  plan  of  re- 
organization be  accepted.  The  committee 
represents  more  than  $3,000,000  in  claims. 

In  a  letter  dated  February  28,  over  the 
signature  of  R.  E.  Anderson,  chairman  of 
the  committee  and  treasurer  of  Electrical 
Research  Products,  Inc.,  the  committee 
served  notice  upon  general  creditors  of 
Paramount  who  favor  the  plan  to  exer- 
cise immediately  their  acceptances  in  the 
form  approved  by  the  court  and  forward 
them  either  to  the  committee  direct  for  fil- 
ing, or  to  the  New  York  Trust  Company, 
as  agent  for  the  special  master  designated 
by  the  court  to  receive  the  acceptances. 

The  committee  is  composed  of  Mr.  An- 
derson, Martin  Quigley,  president  of  QuiG- 
LEY  Publications,  and  E.  C.  A.  Bullock, 
of  Rapp  &  Rapp. 

Cites  Court  Approval 

The  letter  of  recommendation  stated  that 
"the  slate  for  the  board  of  directors  of  the 
reorganized  company  as  proposed  in  the 
plan  has  been  determined  by  consultation  and 
negotiation  among  the  various  committees 
representing  the  principal  groups  of  credi- 
tors and  stockholders,  and  stands  approved." 

The  letter  further  explained  that  most  of 
the  creditors  who  have  been  represented  by 
the  committee  have  filed  with  it  a  power  of 
attorney  under  which  authority  is  given  the 
committee  chairman  and  its  counsel  to  exer- 
cise the  voting  power  on  behalf  of  such 
creditors.  However,  it  was  stated,  those 
who  favor  the  plan  of  reorganization  should 
now  vote  thereon  by  means  of  the  form  of 
acceptance  approved  by  the  court. 

With  approval  of  the  Paramount  plan  by 
the  creditors'  committee,  the  only  remain- 
ing organized  group  which  has  not  assented 
to  the  plan  is  the  Munger  debenture  com- 
mittee. Erpi,  with  its  claim  against  Para- 
mount of  $1,200,000,  is  the  largest  single 
creditor  represented  by  the  creditors'  com- 
mittee. The  Munger  group  represents  ap- 
proximately $800,000  of  Paramount  deben- 
tures under  powers  of  attorney  rather  than 
under  certificates  of  deposit. 

The  Committees  Give  Assents 

Assents  to  the  plan  already  have  been 
given  by  the  Vanderlip  debenture  committee, 
the  Paramount  Broadway  bond  committee 
and  the  stockholders'  committee.  Other 
large  creditors,  such  as  Allied  Owners'  Cor- 
poration, the  bank  group  and  the  large  se- 
curity holding  interests  within  the  socalled 
Fortington  group,  have  approved  the  plan 
and  will  file  individual  assents  with  the  New 
York  Trust  Company  in  advance  of  the 
next  scheduled  court  hearing  on  April  4  for 
final  confirmation  of  the  plan.  The  Forting- 
ton group  with  total  claims  of  $15,000,000, 
is  withholding  deposit  of  bond  holdings  to 
insure  election  of  its  nominees  to  the  board. 

During  the  week  the  comedy  tilt  of  attor- 


neys over  the  Paramount  board  of  directors 
continued,  with  Attorney  Louis  M.  Levy 
offering  to  join  forces  with  Morris  L.  Ernst 
of  the  Vanderlip  committee  in  putting  over 
the  Ernst  movement  to  have  representatives 
of  Hollywood's  creative  talent  on  the  reor- 
ganized company's  directorate.  Mr.  Ernst, 
who  first  announced  the  idea,  would  like  to 
see  Marc  Connelly  or  George  S.  Kaufman 
on  the  board,  and  he  suggested  to  both  the 
Screen  Writers'  and  Screen  Actors'  Guilds 
that  they  draw  up  panels  of  25  actors  and 
writers  as  nominees  for  the  board.  Mr.  Levy 
suggested  last  week  that  Adolphe  Menjou 
and  Clark  Gable  would  be  suitable  directors 
of  the  new  company.  Gable  is  under  con- 
tract to  Metro-Goldwyn-Mayer. 

"We  don't  know  that  Gable  will  serve," 
said  Mr.  Levy.  "We  hope  he  will  consent. 
If  he  wants  to  stop  being  an  actor  and  get 
into  the  executive  class  all  those  obstacles 
(meaning  contractual  obligations  and  sal- 
ary) could  be  taken  care  of." 

Definite  indications  were  obtained  from 
a  spokesman  for  the  Screen  Writers'  and 
Screen  Actors'  Guilds  that  neither  would 
carry  out  Mr.  Ernst's  suggestion  of  sub- 
mitting a  panel  of  board  candidates. 

"In  the  first  place,"  the  spokesman  said, 
"we  have  no  idea  who  would  be  a  proper 
candidate,  and  whoever  it  is  should  be  a 
New  York  man." 

Mr.  Levy,  in  a  letter  to  Federal  Judge 
Alfred  C.  Coxe  in  New  York  last  week, 
said  that  unless  men  of  the  caliber,  disin- 
terestedness, "proven  ability  and  unques- 
tioned integrity"  of  George  J.  Schaefer, 
Charles  E.  Richardson,  Percy  H.  Johnston, 
Charles  A.  McCuUoch  and  Gerald  Brooks 
are  named  to  the  board,  the  efforts  of  these 
five  will  be  frustrated. 

$26,127,000  Claims  Under  Advisement 

Special  Master  John  E.  Joyce  last  week 
took  under  advisement  two  petitions  for 
allowance  of  $26,127,000  of  claims  against 
Paramount,  to  permit  holders  of  the  claims 
to  vote  specific  amounts  on  the  plan  of  re- 
organization. The  petitions  were  filed  by 
Paramount  Publix  and  by  counsel  for  the 
Paramount  trustees,  the  trustees  asking  for 
final  allowance  of  the  bondholders'  claim 
aggregating  $25,157,000  plus  interest,  while 
Paramount's  petition  asked  the  provisional 
allowance  of  those  claims  and  17  additional 
claims  aggregating  $950,000. 

Judge  Coxe  issued  an  order  directing 
Jesse  L.  Lasky  to  file  a  verified  bill  of  par- 
ticulars before  February  18  in  connection 
with  his  claim  against  Paramount  of  $282,- 
000,  plus  an  indeterminate  amount  for  al- 
leged breach  of  contract. 

In  New  Orleans  no  opposition  developed 
last  week  at  a  hearing  in  United  States  dis- 
trict court  on  the  Saenger  reorganization 
plan,  which  was  taken  under  advisement. 


MPPDA  Meeting  March  25 

The  annual  meeting  of  the  Motion  Pic- 
ture Producers  and  Distributors  of  America 
is  scheduled  for  March  25.  Will  H.  Hays 
will  make  the  annual  report.  Reports  of 
department  heads  also  will  be  presented. 


(Continued  from  preceding  page) 

thing  of  the  efforts  that  have  been  made 
for  the  industry  by  General  Hays  and  his 
organization.  They  have  been  intelligently 
conceived  and  sincerely  executed.  His  vision 
has  recognized  the  vast  potentialities  and 
the  influence  over  the  American  public  that 
the  motion  picture  possesses,  and  has  sought 
to  utilize  this  in  a  wholesome  way.  He  has 
also  recognized  what  we  all  must  recognize, 
that  the  artistic  presentation  of  life  on  the 
screen  is  badly  marred  if  propaganda,  even 
for  a  great  moral  end,  is  unduly  stressed. 

"Those  who  hold  to  the  principles  of  art 
do  so  in  the  light  of  a  great  faith.  They  be- 
lieve in  the  essential  soundness  of  a  portrayal 
of  life,  and  they  believe  that  the  greater  the 
art  the  more  fundamental  and  widespread  its 
application.  If  the  thing  portrayed  is  a  tiny 
corner  of  life,  even  a  sordid  and  unusual 
part  of  life,  it  can  be  made  art  if  the  princi- 
ples of  its  presentation  suggest  broader  im- 
plications that  attach  to  life  as  a  whole.  If, 
however,  it  is  merely  a  pathological  exhibit, 
like  the  pictures  in  a  medical  textbook,  it 
is  not  art  at  all,  but  something  else,  although 
that  something  else  may  be  necessary.  It  is 
some  such  guiding  principle  as  this  which, 
if  followed,  will  tend  to  ultimate  enrichment 
of  human  life  through  the  development  of  it. 

"I  feel  that  Mr.  Hays  has  got  this  signifi- 
cance, and  in  his  efforts  toward  the  improve- 
ment of  the  motion  picture  has  performed  a 
difficult  task  in  an  intelligent  and  sincere 
manner. 

Industry  Recognizes  Responsibility 

"I  would  not  think  that  the  blame  for  the 
continued  existence  of  crime  in  the  modern 
vi'orld  ought  to  be  placed  upon  the  factors 
through  which  crime  is  portrayed  to  the 
public.  Their  motive  is  infinitely  more 
deeply  seated  and  permanent  than  that. 

"/  believe  the  constant  warfare  against 
crime  is  a  responsibility  that  rests  upon  all 
of  us  in  varying  degrees,  however,  and  the 
motion  picture  has  a  definite  responsibility 
among  other  agencies  that  portray  life.  I 
think  that  the  motion  picture  industry  is 
recognizing  this  responsibility. 

"Fairness,  however,  demands  that  the  pub- 
lic and  that  those  who  lead  public  opinion 
avoid  the  condemning  of  the  motion  picture 
too  severely  for  not  doing  what  in  the  na- 
ture of  things  it  cannot  be  expected  to  do. 
Rather  it  is  wise  to  commend  the  construc- 
tive things  it  is  doing." 


Francis  Walton,  editor  of  the  New  Out- 
look, said  the  industry  "has  taken  it  unduly 
on  the  chin"  for  the  attention  paid  to  crime 
by  motion  pictures. 

"Some  pictures  have  featured  some  of  the 
big  shots  of  crime,"  he  said,  "but  so  have  the 
newspapers." 

Martin  Weyrauch,  managing  editor  of  the 
Brooklyn  Eagle,  declared  that  if  motion  pic- 
tures and  the  radio  had  existed  at  the  time 
of  the  writing  of  the  Constitution  the  same 
guarantee  of  freedom  of  expression  which  it 
gives  to  newspapers  would  have  been  spe- 
cifically granted  to  the  newer  medium  of 
communication,  because  "the  intent  of  the 
Constitution  was  to  guarantee  freedom  of 
speech  to  all  agencies  of  criticism." 


March     16,  1935 


MOTION    PICTU  RE  HERALD 


13 


THE  CAMERA  CEPCCTS 


iiiiiiiiiiiii 


SIGNED.  (Below)  June 
M artel,  stage  actress, 
who  has  been  given  a 
Warner  contract.  Her  first 
important  role  is  in  "Trav- 
eling Saleslady." 


SIGNED.  (Below)  Olivia 
de  Haviland,  in  both 
stage  and  screen  produc- 
tion of  "A  Midsummer 
Night's  Dream,"  and  now 
signed  by  Warners. 


GUESTS  AT  FILM  CONFERENCE  LUNCHEON.  Leading  personalities  in 
a  variety  of  activities  who  were  entertained  by  the  National  Board  of 
Review.  Rear:  Doctor  Kirchwey,  Walter  Connolly,  Herbert  Brownell,  George 
Bancroft,  Burt  Gillett,  Otto  Harbach.  Front:  Gladys  Swarthout,  Adele 
Ronson,  Mrs.  Oliver  Harrlman,  Helen  Westley,  Irene  Rich,  Blanche  Sweet. 


k 


-  c 


IN  AMERICA  IN  PERSON.  Olive  Brook,  once  of  Hollywood's 
most  prominent  workers  and  now  similarly  holding  forth  in  Eng- 
land, as  he  arrived  in  New  York  on  the  S.  S.  Manhattan  with  Mrs. 
Brook.  His  latest  picture  is  "The  Dictator,"  GB  production,  in 
which  he  has  the  title  role. 


GREAT  LITTLE  STAR  MEETS  BIG  THEATRE  MAN.  Shirley  Tem- 
ple turning  her  personality  full  upon  W.  G.  Van  Schmus,  manag- 
ing director  of  Radio  City  Music  Hall,  when  he  came  to  Movie- 
tone City  during  his  recent  sojourn  on  the  Coast.  The  little  Fox 
star's  new  production  Is  "Heaven's  Gate." 


14 


MOTION    PICTURE  HERALD 


March     16,  1935 


SCREENWARD.  (Bel  ow)  Helen  Gaha- 
gan,  stage  star,  bidding  au  revoir  to 
Broadway,  entrained  for  Hollywood, 
where  she  will  make  "She,"  from  the  H. 
Rider  Haggard  novel,  for  RKO  Radio. 


FIRST  1935  PLAQUE.  Harry 
W.  Crull,  manager  of  Loew's 
Valencia,  Jamaica,  L.  I.,  receiv- 
ing the  Quigley  Award  for 
January  at  West  Point,  from 
Colonel  Walter  K.  Wilson,  act- 
ing superintendent  of  the  acad- 
emy, in  the  presence  of  Lieut. 
Col.  Robert  L.  Eichelberger, 
adjutant,  and  Lieut.  M.  P. 
Echols.  Heading  the  honor 
guard  are  Cadets  Thomas  J. 
Ghent  and  Wlllard  G.  Root. 
The  winning  campaign  was  on 
Warners'  "Flirtation  Walk." 


HEFTY  LOUIE.  Full  name:  Louis  Charninsky.  Height,  5 
feet,  10  Inches;  weight,  200  pounds  (at  least);  hair,  dark 
and  elusive;  eyes,  observing;  occupation,  manager  of  the 
Capitol  theatre  in  Dallas,  Tex.;  habits,  thinking  up  box 
office  exploitation  schemes  and  stunts  like  this. 


BACK  FOR  MORE.  Hugh 
O'Connell,  Broadway-Hol- 
lywood commuter  who 
has  returned  to  the  Coast 
for  another  at  Universal, 


IN  CLASSIC.  Charlotte 
Henry,  to  whom  Mono- 
gram has  assigned  a  role 
In  "The  Hoosier  School- 
master." 


FAMOUS  FLIER  IN  AIR  THRILLER.  Wiley  Post,  round-the-world  pilot,  with 
co-workers  on  Columbia's  "Air  Fury,"  in  which  he  appears. 

Rear:  Norman  Deeming,  assistant  director;  J.  Griffin  Jay,  author;  Robert  Allen,  featured 
player;  Al  Becker,  property  man  (extreme  right).  Front:  Al  Rogell,  director;  Ben  Pivar, 
associate  producer;  Mr.  Posl"  and  his  manager,  Mr.  Pa.ksr;  Henry  Freulich,  chief  camera- 
man; George  Kelly,  ass'stant  cameraman. 


March    16,    19  3  5  MOTION    PICTURE    HERALD  15 


FILM  PRODUCERS  PAY  $2,000,000 
IN  TWO  SEASONS  FOR  STAGE  PLAYS 


Average  of  $43,621  Spent  for 
Screen  Rights  to  Each  of  33 
Outstanding  Plays;  Greatest 
Return  Likely  from  Hollywood 

By  FRED  AYER 

The  motion  picture  industry  has  spent 
upwards  of  $2,000,000  during  the  1933- 
34  and  current  1934-35  seasons  in  ac- 
quiring film  rights  to  Broadway  plays. 
Hollywood  has  spent  $1,439,500  for  screen 
rights  to  33  outstanding  productions,  an 
average  of  $43,621  a  play. 

There  have  been  many  plays  bought  by 
Hollywood  on  which  figures  are  not  ob- 
tainable, but  the  33  listed  are  considered 
almost  unanimously  by  critics  and  box 
offices  alike  to  have  been  hits  during  their 
time  behind  the  footlights. 

Broadway  impresarios,  authors  and  per- 
formers look  to  Hollywood  for  their  great- 
est financial  rewards.  Some  of  the  less 
biased  Broadway  managers  have  said  from 
time  to  time  that  because  of  this  fact 
many  plays  are  badly  produced,  poorly 
cast  and,  generally,  make  their  appearance 
in  a  slipshod  manner,  with  the  sole  hope 
of  pleasing  not  the  Broadway  audience  but 
Hollywood  producers,  the  managers  credit- 
ing them  with  more  money  than  judgment. 

A  listing  of  plays  on  which  prices  paid 
during  the  past  two  seasons  were  obtainable 
appears  elsewhere  on  this  page. 

"Personal  Appearance,"  the  highly  suc- 
cessful satire  on  Hollywood  written  by  Law- 
rence Riley  and  under  the  banner  of  the 
astute  Brock  Pemberton,  has  been  reported 
the  subject  of  numerous  ofifers  from  film 
companies,  and  quoted  all  the  way  from 
$35,000  to  more  than  $100,000.  This,  how- 
ever, was  before  the  film  companies  got 
together  and  decided  they  do  not  relish  the 
lampooning  of  a  star  on  a  personal  appear- 
ance tour.  Nevertheless,  Moss  Hart  and 
George  S.  Kaufman,  who  wrote  and  pro- 
duced "Once  in  a  Lifetime,"  a  bitter  satire 
on  Hollywood,  sold  their  play  to  Universal, 
which  turned  it  into  a  highly  successful 
motion  picture.  Mr.  Pemberton,  however, 
is  not  especially  concerned  over  the  present 
thumbs-down  attitude  toward  his  play.  He 
figures  the  maximurn  film  of¥er  would  ap- 
proximate $100,000,  and  that  he  can  make 
that  much  additional  revenue  from  the  road 
rights  to  his  property  if  he  does  not  have 
to  compete  with  a  motion  picture  version. 
A  few  seasons  back  Mr.  Pemberton  realized 
a  profit  in  Philadelphia  alone  of  $30,000  on 
"Strictly  Dishonorable." 

MPPDA  Denies  Ban 

Another  current  production  on  which 
"hot  bidding"  has  been  reported  is  the  Pot- 
ter &  Haight  "Post  Road."  On  this,  too, 
prices  have  soared  to  $100,000,  but  the 
Motion  Picture  Producers  and  Distributors 
of  America,  George  Haight  said  this  week, 
appears  to  have  banned  the  play  for  its 
iiembers  on  account  of  the  kidnaping  situa- 


tion involved.  Mr.  Haight  said  three  com- 
panies have  submitted  bids  and  then  sud- 
dently  dropped  negotiations.  The  Hays  of- 
fice denied  putting  any  official  ban  on  the 
play. 

Of  the  entire  list  of  33  productions,  only 
four  were  musicals — "As  Thousands  Cheer," 
"Murder  at  the  Vanities,"  "Anything  Goes" 
and  "Roberta."  "As  Thousands  Cheer" 
was  bought  by  MGM  for  $25,000.  The 
Sam  Harris  office  had  asked  $75,000  for  it 
and  an  error  in  wire  transmission  quoted 
$25,000  to  MGM,  this  figure  being  imme- 
diately accepted.  Telegraph  company  offi- 
cials admitted  the  error,  according  to  Max 
Siegel,  Mr.  Harris'  representative,  and  a 
suit  for  damages  was  threatened.  The  tele- 
graph company,  however,  pointed  out  a 
clause  on  each  blank  protecting  itself  in  such 
contingencies  and  the  deal  was  closed  for 
$25,000,  with  the  stipulation  that  any  ma- 
terial not  used  by  MGM  was  to  revert  to 
Mr.  Harris. 

Among  those  plays   already  bought  by 

Hollywood  only  "Accent  on  Youth"  and 

"Anything    Goes !"    are    continuing  their 

Broadway  runs.  "Merrily  We  Roll  Along," 

"The   Distaff   Side,"   "Gold   Eagle  Guy," 

"Page  Miss  Glory"  and  "The  Farmer  Takes 

a    Wife"    terminated    their  engagements 

within  the  past  six  weeks. 

*  * 

Grossed  $11,121  in  Seventh  Week 

During  the  early  weeks  of  the  run  of 
Crosby  Gaige's  "Accent  on  Youth,"  which 
stars  Constance  Cummings  and  Nicholas 
Hannen,  large  blocks  of  seats,  and  occa- 
sionally the  entire  house,  were  sold  at  con- 
siderably reduced  prices  to  "bring  'em  in" 
and  spread  word-of-mouth  advertising. 
Lower  priced  seats  also  were  sold  in  cut- 
rate  ticket  agencies  until  the  play  had  re- 
ceived such  a  build-up  it  no  longer  needed 
this  artificial  respiration.  Ordinarily  a  man- 
ager, looking  at  a  first  week's  gross  such 
as  that  made  by  "Accent  on  Youth,"  would 
have  withdrawn  the  production.  Not  Mr. 
Gaige,  however.  He  kept  it  on  the  boards 
and  each  week  his  grosses  mounted  until,  in 
its  seventh  week,  it  grossed  $11,121,  as  com- 
pared with  $2,704  the  first  week.   He  sold 

the  play  to  Paramount  for  $60,000. 

*  *  * 

Brock  Pemberton  has  arranged  with 
Warner  Bros,  to  produce  a  new  play  en- 
titled "Ceiling  Zero,"  by  Frank  W.  Wead. 
As  usual,  Antoinette  Perry  will  direct  i" 
association  with  Mr.  Pemberton. 

*  >b  A 

Sam  Goldwyn  will  be  associated  next 
autumn  with  Vinton  Freedley  in  the  pro- 
duction of  a  musical  show  starring  Eddie 
Cantor.  Cole  Porter  has  been  engaged 
to  write  the  music  and  the  book  will  be 

by  Howard  Lindsay  and  Russel  Crouse. 

*  *  * 

Mary  Pickford  has  completed  a  play  and 

thinks  a  nice  title  would  be  "Demi-Widow." 

*  *  * 

"Petticoat  Fever,"  the  new  Aldrich  &  de 
Liagre  comedy,  starring  Dennis  King,  looks 
like  a  good  picture  bet.  They  are  asking 
$60,000,  it  is  reported,  for  the  screen  rights. 


What  They  Paid 
For  Film  Rights 


Following  is  a  list  of  stage  plays 
and  the  prices  paid  for  the  screen 
rights  by  film  companies: 

Play  Price  Company 
Ah.  Wilder- 
ness  $75,000  MGM 

No  More 

Ladies  ...  50,000  MGM 
Men  in  White.  47,500  MGM 
The  Shining 

Hour    47,500  MGM 

All  Good 

Americans  .   18,000  MGM 
The  Wind  and 

the  Rain  .  .  15,000  MGM 
Merrily  We 

Roll  Along,  75,000  MGM 
The  Distaff 

Side    35,000  MGM 

As  Thousands 

Cheer   25,000  MGM 

Gold  Eagle 

Guy    40,000  MGM 

Dinner  at 

Eight   110,000  MGM 

Sailor  Beware! .  76,000  Paramount 
Double  Door.  .  57,500  Paramount 
Her  Master's 

Voice    37,500  Paramount 

Murder  at  the 

Vanities   .  .  .  35,000  Paramount 
The  Pursuit  of 

Happiness   .  32,000  Paramount 
She  Loves  Me 

Not   60,000  Paramount 

The  Milky  Way  40,000  Paramount 
Anything 

Goes!    85,000  Paramount 

Accent  on 

Youth    60,000  Paramount 

Small  Miracle  .  45,000  Paramount 
Wednesday's 

Child    25,000  RKO  Radio 

By  Your  Leave  22,000  RKO  Radio 
A  Hat,  A  Coat, 

A  Glove  .   .   17,000   RKO  Radio 

Roberta    65,000   RKO  Radio 

Kill  That  Story!    7,500  RKO  Radio 
The  Gay 

Divorce  ....  -20,000  RKO  Radio 
The  Dark  Tower  35,000  Warner-F.N. 
Big  Hearted 

Herbert  .  .  .  35,000  Warner-F.N. 
Heat  Lightning  20,000  Warner-F.N. 
Dr.  Monica  ..  10,000  Warner-F.N. 
Page  Miss 

Glory    72,000  Warner-F.N. 

The  Farmer 

Takes  a  Wife  65,000  Fox 


16 


MOTION    PICTURE  HERALD 


March     16,  1935 


EDDIE  CANTOR  TURNS 
ADVERTISING  EXPERT 


In  "Advertising  Age"  interview 
Comedian  Points  Out  What  Is 
Wrong  and  How  to  Remedy  It 

Eddie  Cantor  is  about  to  go  in  for  a 
career  as  an  advertising  expert,  ac- 
cording to  an  interview  in  "Adver- 
tising Age,"  issue  of  March  2,  which 
says: 

If  Barnum  were  alive  today  and  if  he 
was  correctly  quoted  on  the  subject  of  the 
public's  gullibility,  he  could  find  a  hot  argu- 
ment with  Eddie  Cantor,  master  showman 
of  these  times  and  head  salesman  for  Pebeco. 

Mr.  Cantor  is  positive  the  public  doesn't 
like  to  be  fooled  and  that  advertisers  who 
set  out  to  kid  the  consumer  quickly  end  up 
by  kidding  themselves.  The  difference  of 
opinion  between  the  past  and  present  leaders 
in  the  amusement  world  came  to  light  today 
in  an  interview  with  Mr.  Cantor. 

Pebeco  Sales  Up  80  Per  Cent 

The  meeting  with  Advertising  Age  was  oc- 
casioned by  the  fact  that  Pebeco  sales  are  re- 
ported to  have  increased  over  80  per  cent  since 
the  Cantor-written  campaign  was  begun  less 
than  a  month  ago.  This  amazing  result  has 
given  rise  to  several  rumors,  the  most  insistent 
being  that  Mr.  Cantor  would  apply  the  Pebeco 
principles  to  a  group  of  non-competitive 
products. 

This  was  denied  by  Mr.  Cantor,  but  he  told 
Advertising  Age  of  plans  to  center  his  interests 
in  the  advertising  field  in  the  near  future.  He 
will  be  in  position,  he  said,  to  announce  details 
within  30  to  60  days. 

Though  heretofore  compelled  by  family  re- 
sponsibilities (there  are  five  Cantorettes,  as 
everyone  knows)  to  devote  his  talents  to  the 
most  profitable  opportunities  available,  Mr. 
Cantor  has  taken  more  than  an  amateur's  in- 
terest in  advertising  all  his  life.  He  has  fre- 
quently acquiesced  to  requests  to  give  advertis- 
ing advice  on  a  fee  basis  and  has  passed  adver- 
tising ideas  along  just  for  the  satisfaction 
of  seeing  them  successfully  applied. 

Will  Gratify  an  Ambition 

Now  that  his  personal  circumstances  permit 
it,  he  proposes  to  gratify  a  life-long  ambition 
to  make  a  career  of  creative  advertising  work. 
Consequently,  he  speaks  with  the  assurance 
born  of  experience  when  he  says  that  Barnum, 
if  correctly  quoted,  was  wrong.  What  with 
Mr.  Barnum's  success  and  all,  Mr.  Cantor  is 
inclined  to  think  the  late  showman  was  mis- 
quoted and  that  the  public  likes  to  be  entertained. 

"The  greatest  fault  of  advertising  today," 
said  Mr.  Cantor,  "is  its  insincerity.  The  next 
is  lack  of  showmanship.  Given  these  two  quali- 
ties and  an  honest  value  and  advertising  cannot 
fail  to  sell  merchandise  at  a  profit. 

Ignore  Sincerity  Factor 

"In  my  contacts  with  some  professional  ad- 
vertising men  I  have  been  dumbfounded  at  the 
way  they  ponder  headlines,  type  faces,  illustra- 
tion and  so  on,  while  they  ignore  the  factor  of 
sincerity,  which  is  many  times  more  important 
than  all  these  details  put  together.  I  would 
rather  back  a  sincere  advertisement,  though  it 
be  ungrammatical  as  to  text  and  cockeyed  as 
to  layout,  than  put  my  money  on  a  perfect  ex- 
ample of  advertising  art  which  lacks  the  vital 
spark  of  sincerity." 

To  illustrate  the  ease  of  writing  effective  copy 


once  one  is  of  a  mind  to  be  sincere  about  it, 
Mr.  Cantor  recalled  the  reaction  to  a  series  of 
sketches  included  in  a  radio  program  about  two 
years  ago  at  the  suggestion  of  President  Roose- 
velt, the  idea  being  to  encourage  business  men 
to  bear  down  on  their  advertising  and  selling. 

Retailers  Took  Suggestion 

In  one  bit  of  dialogue  a  merchant  asked  Mr. 
Cantor  to  cast  his  eye  over  a  bicycle  advertise- 
ment in  which  the  claim  was  made  that  the 
product  had  formerly  sold  for  $35  and  was  re- 
duced to  $25. 

"Did  you  sell  any  at  |35?"  asked  Mr.  Cantor. 

"No,"  the  retailer  confessed.  "The  public 
wouldn't  pay  it."  "Then  why  not  say  so,"  the 
famous  comedian-advertising  man  suggested. 
"Simply  say  you  tried  to  get  $35  for  this  item 
because  you  thought  it  was  worth  it,  but  now 
you  find  you  can't  sell  at  that  figure  you  will 
be  glad  to  take  $25." 

Many  retailers  promptly  adopted  this  sug- 
gestion, as  well  as  others  made  by  Mr.  Cantor 
in  the  radio  series  to  impress  business  men  with 
the  wisdom  of  going  to  extremes  to  get  truth- 
fulness into  their  copy.  He  received  hundreds 
of  letters  enclosing  examples  of  advertisements 
based  on  his  copy  philosophy  and  reporting  ex- 
cellent sales  results. 

It  is  Mr.  Cantor's  theory  that  the  public  was 
trained  to  expect  entertainment  as  a  part  of  the 
selling  process  long  before  the  advent  of  modern 
mediums  of  advertising.  He  believes  it  is  de- 
sirable to  give  the  consumer  the  entertainment 
he  likes  and  expects  and  that  there  is  no  reason 
for  being  apologetic  about  it. 

Pop  Goes  a  Slogan 

"The  medicine  pitchman  frankly  promised  his 
prospects  a  good  show  and  fulfilled  the  prom- 
ise," said  Mr.  Cantor.  "There  is  no  evidence 
that  his  customers  thought  any  less  of  the  snake- 
oil  compound  because  they  enjoyed  the  banjo- 
ist's  music  and  wriggles  of  the  harem  queen. 

"Modern  advertising  tends  to  attract  prospects 
with  a  spectacular  lobby  display  and  to  fill  them 
with  resentment  once  they  are  inside  because 
there  is  nothing  entertaining  or  amusing  about 
the  show." 

To  prove  his  point  that  an  effective  measure 
of  entertainment  can  be  incorporated  even  in  a 
short  slogan,  Mr.  Cantor  cracked  off  with, 
"Every  Knox  is  a  boost."  He  said  that  the 
hat  company  could  have  this  for  the  taking. 


Cantor  Radio  Consultant 

Eddie  Cantor  and  his  business  manager, 
Ben  Holtzman,  this  week  announced  they 
plan  to  open  the  Eddie  Cantor,  Radio  Con- 
sultant offices.  As  "radio  consultant,"  the 
comedian  will  act  as  a  program  advisor 
rather  than  as  a  producer,  it  was  said. 


Jewish  Guild  Services 

Eddie  Cantor,  president  of  the  Jewish 
Theatrical  Guild  of  America,  announced 
Wednesday  that  the  annual  memorial  ser- 
vices of  the  Guild  will  be  held  on  Sunday, 
March  17,  at  Temple  Ansche  Chesed,  New 
York. 


NRA  Loses  in  Kentucky 

Federal  Judge  Charles  I.  Dawson,  Louis- 
ville, held  that  Congress  is  wholly  without 
power  to  regulate  wages,  hours,  or  practices 
of  strictly  local  business  concerns,  and  in- 
structed the  March  federal  grand  jury  not 
to  return  any  indictments  for  alleged  NRA 
code  violations,  unless  it  appears  that  in- 
terstate commerce  is  involved. 


Franklin  Awarded 
$7,000  in  Action 
Against  Columbia 

The  suit  of  Sidney  Franklin,  Brooklyn- 
born  bullfighter,  for  damages  against  Colum- 
bia Pictures  Corporation,  for  libel  and 
slander  resulting  from  situations  and  dia- 
logue in  a  short  subject  titled  "Throwing 
the  Bull,"  was  ended  in  New  York  last 
week,  when  Franklin  was  awarded  $7,000. 
Mr.  Franklin  had  sued  for  $300,000  dam- 
ages. Supreme  Court  Justice  John  F.  Carew, 
who  heard  the  suit,  granted  an  injunction 
against  further  distribution  of  the  picture. 

Franklin  contended  that  he  had  been 
libelled  and  slandered  by  references  to  him 
in  the  film  as  a  "bull-thrower,"  and  that  he 
had  not  consented  to  the  use  of  his  name 
and  picture  in  the  subject. 

The  picture,  which  described  bull-fighting 
in  various  countries,  contained  a  sequence 
in  which  Franklin  was  introduced  by  the 
narrator  with  the  words,  "Now  folks,  meet 
Sidney  Franklin,  the  greatest  bull-thrower 
— I  mean,  bull-fighter — ever  born  under  the 
sunny  skies  of  Brooklyn." 

It  was  Franklin's  contention  that  when 
he  posed  for  the  newsreel  shots  from  which 
that  part  of  the  Columbia  subject  was  made, 
he  stipulated  they  were  not  to  be  used  in  any 
other  way. 


Loew  J  to  Have  20 
Houses  in  Chicago 

David  Bernstein,  executive  vice-president 
and  treasurer  of  Loew's,  announced  this 
week  that  the  company  will  have  a  total  of 
20  houses  in  Chicago,  a  number  of  them  to 
be  newly-built. 

Mr.  Bernstein  was  in  Chicago  Wednes- 
day going  over  the  situation  with  Louis  K. 
Sidney  and  Thomas  Lamb,  theatre  archi- 
tect. He  said  he  already  had  effected  deals 
for  a  number  of  sites. 

It  is  said  the  Loew  invasion  will  not 
affect  Warner  and  Balaban  &  Katz  theatre 
situations,  the  building  and  acquisition  pro- 
gram being  confined  to  territories  largely 
occupied  by  Essaness  and  Schoenstadt  units. 

Allied  of  New  Jersey  unofficially  declared 
it  would  not  do  business  with  MGM  next 
season  unless  its  preferred  playing  time  plan 
is  changed. 


Rules  Bank  Night 
Legal  in  Kansas 

Bank  nights  have  been  ruled  legal  in 
Kansas  by  the  attorney  general,  Clarence 
V.  Beck,  who,  hov/ever,  makes  certain  stipu- 
lations, among  them  that  participants  in  the 
practice  must  be  permitted  to  register  with- 
out purchasing  an  admission  ticket,  that  the 
winning  number  must  be  announced  outside 
the  theatre  as  well  as  inside  and  that  the  per- 
son having  the  winning  number  must  be  per- 
mitted to  enter  the  theatre  and  claim  his 
prize  without  buying  a  ticket. 


March     16,  1935 


MOTION    PICTURE  HERALD 


17 


UNIVERSAL  EARNS  FIRST  PROFIT  SINCE 
1931;  COLUMBIA  MAKES  RECORD  NET 


Columbia  Earns  $919,000  in  Six  Months 
Working  Assets  Higher  by  $2,000,000 

The  consolidated  balance  sheet  of  Columbia  Pictures  Corporation  on  Dec.  29,  1934, 
compared  as  follows: 


ASSETS 


December 
1934 

CASH    $  748,525 

ACCOUNTS  RECEIVABLE    878,772(a) 

INVENTORIES    5,510,417 


TOTAL  CURRENT  ASSETS   $7,137,715 


(a)  Includes  advances  to  outside  producers. 

branches  


$ 


Investments  in  foreign 

Cash  in  trust  

Investments,  Insurance 

Deposits   

Prepayments   

Land,  Buildings,  Equipment   2,326,972 

Less  Reserve  for  Depreciation   1,007,516 

Land,  Buildings,  Equipment,  Net   1,319,456 


28,016(b) 
53,682 
67,660 
4,352 
243,994 


TOTAL  ASSETS   $8,854,879 


December 

1933 
$  653,424 
756,510(a) 
3,709,857 

$5,170,389 


$  198,179 
78,131 
53,153 
5,340 
174,884 
2,124,644 
842,458 
1,282,186 

$6,911,664 


December 

1932 
$  930,157 
1,129,322 
2,748,574 

$4,740,253 


$  83,886 


34,345 
42,661 
136,435 
2,037,786 
653,780 
1,384,006 

$6,389,436 


(b)  After  deducting-  c£ish  remitteince  of  $1SI,606  to  New  York  by  foreign  branches  subsequent  to 
November  24,  1934. 


LIABILITIES  AND  CAPITAL 

Notes  Payable   

Accounts  Payable  and  Accrued  Expenses.... 

Mortgage  Payable  within  1  Year  

Due  to   Outside   Producers   and   Owners  of 

Royalty  Rights   

Reserves  for  Federal  Taxes  

Dividends  Payable  January  2,  1935  

Purchase  Contr.  Payments   


December 

1934 
$  153,560 

814,920 
25,000 

57,093 
325,000 
43,398 


December 

1933 
$  133,421 
653,505 


December 

1932 
$  290,011 
584,949 


46,387 
133,128 

9,068 


136,437 
63,391 

59,068 


TOTAL  CURRENT  LIABILITIES   $1,418,973 

Mortgage  Payable  after  1  Year   $  150,000 

Deposits  Payable    54,800 

Deferred  Income    259,420 

Funds  Withheld  from  Producers   53,682 

Reserve  for  Contingencies      201,564 

Stock  Dividends  Payable    55,372 

Capital : 

Preferred  Stock  (c)    517,830 

Common  Stock  (d)    2,163,921 

Capital  Surplus    75,825 

Earned  Surplus    3,903,488 


$  975,509 

$  209,067 
50,000 

172,579 
78,131 

411,815 


$1,133,856 
$  218,136 
22»,559 
488,876 


TOTAL  LIABILITIES    $8,854,879 


521,309 
2,069,196 
60,448 
2,363,610 

$6,911,664 


525,225 
2,069,196 
66,327 
1,644,472 

$6,374,647 


(c)  Preferred  stock,  cumulative  $3.00  per  share  is  redeemable  at  or  entitled  in  liquidation  to  $47.50  per 
share;  authorized,  25,000  shares,  outstanding  1934,  17,261  shares. 

(d)  Common  stock,  300,000  shares  authorized,  173,593  outstemding  on  December  29,  1934. 

STATE  OF  OPERATIONS 

Consolidated  statement  of  operations  and  earned  surplus  account  of  Columbia 
Pictures  for  the  six  months  ended  Dec.  29,  1934,  compared  as  follows: 

26     Weeks  Ended 

December        December  December 

29,                    30,  24, 

1934                 1933  1932 

Operating  Income                                                 $3,128,737          $2,888,790  $2,903,274 

Total  Income                                                         3,235,355            2,923,564  2,938,949 

Amortization,  Expenses,  Federal  Taxes                2,316,171            2,519,002  2,505,164 

Net  Income                                                                919,184              404,563  373,785 

Earned  Surplus                                                      3,151,128           2,363,610  1,644,472 

Surplus                                                                   4,070,312           3,768,173  2,018,257 

Deduct: 

Dividends  on  Preferred  Stock   25,891 

Dividends  on  Common  Stock   140,913 


Universal's  Earning  for  Fiscal 
Year  Totals  $238,791;  Co- 
lumbia Nets  $919,184  for  Six 
Months  Ended  December  29 

Universal  Pictures  Corporation  this 
week  reported  its  first  profit  since  1931, 
earning  for  the  fiscal  year  ended  Oct.  27, 
1934,  a  total  of  $238,791,  after  providing 
for  federal  income  taxes  and  making  pro- 
vision for  a  non-recurring  loss  of  $178,295 
in  settlement  of  notes  receivable  from  a 
company  receivership. 

This  compares  with  a  net  loss  of  $1,016,893 
in  1933,  and  $1,250,283  in  1932.  The  last 
profit,  in  1931,  was  $615,786.  In  the  interim, 
Universal,  like  most  other  corporations  in 
the  business^  had  reacted  to  the  effects  of  the 
depression. 

Columbia  Pictures  Corporation  likewise 
announced  profitable  operations  last  year, 
and  a  continuance  of  profit  is  expected  this 
year  for  both. 

Columbia's  earnings  of  $919,184  for  the 
six  months  ended  Dec.  29,  1934,  made  a 
record  showing,  comparing  with  $404,563 
earned  in  the  same  period  in  1933  and  $373,- 
785  in  the  last  half  of  1932. 

The  net  profit  for  the  last  six  months  of 
1934  was  equivalent  to  $5.15  a  share  on 
173,593  shares  of  common  stock  outstand- 
ing, after  deducting  preferred  dividends 
amounting  to  $25,891.  This  compares  with 
$2.25  a  share  on  167,885  shares  of  common 
in  the  six  months  ended  Dec.  30,  1933,  and 
$2.07  paid  on  the  same  number  of  shares 
in  the  last  half  of  1932. 

Columbia's  liquid  position  is  nearly  $2,- 
000,000  better  than  at  the  same  time  in  1933 
and  1932,  current  and  working  assets  ap- 
proximating $7,137,715  on  Dec.  29,  1934; 
$5,170,389  in  1933  and  $4,470,253  at  the 
close  of  1932.  Cash  on  hand  at  this  time  is 
$748,525,  some  $100,000  more  than  the  pre- 
vious year.  Principally  contributing  to  the 
betterment  of  the  company's  position  was 
the  increase  in  value  of  film  and  story  in- 
ventories by  some  $2,000,000,  to  $5,510,417. 


Earned  Surplus  at  December  29,  1934   $3,903,488 


Approval  of  RKO 
Allowances  Given 

Federal  Judge  William  Bondy  in  New 
York  Monday  approved  an  allowance  of 
$35,000  for  Irving  Trust  Company,  as  equity 
receiver  for  Radio-Keith-Orpheum  Corpo- 
ration, and  $80,000  for  William  J.  Donovan, 
counsel  for  the  receivers.  Irving  Trust  had 
asked  $100,000  and  Mr.  Donovan  $125,000. 

Consideration  of  new  season  production 
plans  and  transactions  of  routine  business 
occupied  the  regular  quarterly  meeting  of 
the  board  of  RKO  Radio  Pictures  in  New 
York  Tuesday.  J.  R.  McDonough,  president, 
and  B.  B.  Kahane,  vice-president,  who  at- 
tended, returned  to  Hollywood. 

RKO  this  week  disposed  of  its  last  Van- 
couver, B.  C,  interests  with  sale  of  the  Van- 
couver Theatre  and  Orpheum  Office  Build- 
ing to  an  English  Syndicate  for  a  reported 
«7t;n  nnn 


18 


MOTION    PICTURE  HERALD 


March     16,  193b 


Giannini  Joins 
Coast  Tax  Fight 

Dr.  A.  H.  Giannini,  head  of  the  Giannini 
banking  interests,  last  week  issued  a  state- 
ment warning  the  California  state  govern- 
ment that  the  film  industry  would  be  forced 
to  move  from  the  state  if  proposed  tax  legis- 
lation is  passed,  thus  joining  industry 
leaders  in  their  protests. 

"I  know  it  to  be  a  fact  that  Arizona, 
Texas,  Florida,  Connecticut  and  New  York 
are  making  strong  bids  for  this  ripe  plum  of 
which  we  boast  as  our  state's  leading  indus- 
try," Dr.  Giannini  said. 

Agitation  over  the  matter  was  started  sev- 
eral days  ago  in  Miami,  when  Joseph  M. 
Schenck,  president  of  United  Artists,  pro- 
posed that  Florida  raise  $10,000,000  by  pop- 
ular subscription  for  film  studios,  the  fund 
to  be  repaid  in  rentals.  Adding  emphasis  to 
his  threat,  Mr.  Schenck  this  week  ordered 
construction  work  halted  on  a  $250,000  proj- 
ect at  United  Artists'  studios. 

A  survey  of  the  possibilities  for  produc- 
tion in  Florida  was  urged  upon  the  industry 
in  New  York  on  Monday,  when  Mr. 
Schenck  returned  from  Miami.  Mr.  Schenck 
announced  his  intention  to  request  Will  H. 
Hays  to  call  a  meeting  of  producers  so  that 
a  committee  might  be  appointed  to  study 
Florida  conditions. 

Upton  Sinclair,  Democratic  nominee  for 
the  governorship  of  California  at  the  last 
election,  announced  this  week  that  if  the  in- 
dustry moves  to  Florida  he  will  follow  it. 

"My  compliments  to  the  screen  million- 
aires," Mr.  Sinclair  said.  "Please  tell  them 
that  if  they  go  to  Florida,  I'll  go,  too.  Please 
tell  them  that  I  can  have  an  EPIC  move- 
ment builded  there  before  they  can  finish 
their  studios.  Please  tell  them  that  if  they 
move  their  companies  out  of  Hollywood,  I'll 
have  men  in  the  Florida  legislature  to  pass 
tax  laws  on  them  before  they  can  complete 
one  picture." 

Florida  Governor  Would 
Aid  Producer  Move  to  State 

Governor  David  Sholtz  of  Florida  has  de- 
clared his  willingness  to  sponsor  any  legis- 
lation desired  by  California  producers  as  a 
condition  of  their  moving  their  studios  to 
Florida. 

Koenig  Assisting  Levine 

In  Mascot  Studio  Organizing 

Benjamin  Koenig,  Kansas  City  code  board 
secretary,  has  obtained  a  temporary  leave  of 
absence  to  work  with  Nat  Levine  in  the 
organization  of  the  new  Mascot  studios  in 
Hollywood.  The  local  boards  have  asked 
the  Code  Authority  to  permit  Benjamin  J. 
Miller,  Mr.  Koenig's  associate,  to  occupy 
the  secretarial  post. 

Wallace  MacDonald,  former  screen  actor, 
now  a  writer,  has  been  named  story  editor 
of  Mascot.  Morris  Goodman,  vice-president 
of  Mascot  in  charge  of  foreign  sales,  is  in 
Hollywood  for  conferences  with  Mr.  Levine. 

George  Brennan  Dead 

George  Brennan,  for  many  years  operator 
of  the  Orpheum  in  Jersey  City,  committed 
suicide  Tuesday  when  he  jumped  from  his 
room  at  the  Martinique  hotel  in  New  York. 
He  was  70  years  old. 


Comerford  Making 
Rapid  Recovery 

M.  E.  Comerford,  head  of  Comerford  The- 
atres of  Pennsylvania,  who  has  been  seri- 
ously ill  in  a  Washington  hospital,  this  week 
was  reported  by  his  physicians  to  be  recov- 
ering rapidly. 

It  was  revealed  that  Mr.  Comerford  daily 
receives  flowers  from  the  White  House  con- 
servatories. He  has  been  at  the  hospital 
since  February  15. 

Hays  Office  Denies 
Moral  Issue  Raised 
On  'G'Men  'Films 

Will  H.  Hays,  president  of  the  Motion 

Picture  Producers  and  Distributors  of 
America,  conferred  in  Washington  ten  days 
ago  with  Attorney  General  Homer  S.  Cum- 
mings  on  production  in  Hollywood  of  films 
depicting  the  activities  of  the  Department 
of  Justice  agents  in  connection  with  the 
tracking  down  of  criminals.  Contrary  to 
published  reports  that  Mr.  Cummings  had 
told  Mr.  Hays  he  would  forbid  produc- 
tion of  any  pictures  in  which  the  "G-men" 
were  shown  as  "marcelled  matinee  idols" 
cavorting  with  platinum  blonde  sirens,  the 
Hays  office  this  week  denied  that  any  ques- 
tion of  sex  or  morals  had  entered  into  the 
discussion  between  Mr.  Hays  and  the  at- 
torney general. 

The  conferences  were  devoted  exclusive- 
ly to  details  of  such  productions,  it  was  said, 
and  Mr.  Hays  promised  Mr.  Cummings  that 
the  industry  would  pay  special  attention  to 
accuracy. 

The  Department  of  Justice,  under  direc- 
tion of  J.  Edgar  Hoover,  was  reported  to 
be  sending  special  technical  "advisors"  to 
Hollywood  to  see  that  picturizations  of  de- 
partmental workings  in  no  way  will  reflect 
upon  the  Government's  agents. 

Among  pictures  dealing  with  the  depart- 
ment's activities  now  in  work  or  shortly  to 
start  production  are  "G  Men,"  Warner 
Bros. ;  "Let  'Em  Have  It,"  Edward  Small- 
Reliance ;  "Public  Hero  No.  1."  MGM ; 
"Federal  Dick,"  Paramount,  and  an  un- 
titled Universal  picture. 

Published  stories  that  the  attorney  gen- 
eral's office  had  rejected  manuscripts  deal- 
ing with  the  Department  of  Justice  as  being 
inaccurate  and  filled  with  "sex-tinted"  pas- 
sages also  were  denied  by  the  Government, 
and  the  erroneous  press  stories  were  laid  di- 
rectly at  the  door  of  imaginative  publicity 
men. 

Johnston  Reelected 
Monogram  President 

The  board  of  directors  of  Monogram  Pic- 
tures this  week  reelected  W.  Ray  Johnston 
as  president.  Other  officers  reelected  were : 
Trem  Carr,  vice-president  in  charge  of  pro- 
duction; Jack  S.  Jossey,  vice-president  for 
exchanges;  J.  P.  Friedhoff,  secretary-treas- 
urer. The  entire  board  of  directors  was 
continued  without  change. 

Monogram  franchise  holders  in  the  east 
conferred  in  New  York  this  week  with  Mr. 
Johnston  and  Edward  Golden,  general  sales 
managers. 


Schenck- Fox  Plan 
To  Settle  Claim 

Fox  Metropolitan  bondholders  are  offered 
75  cents  on  the  dollar  on  their  $12,460,000 
claim  under  the  reorganization  plan  devel- 
oped by  Fox  Theatres  and  Joseph  M. 
Schenck,  it  was  disclosed  this  week.  Ac- 
cording to  the  terms  of  settlement  creditors 
would  receive  20  cents  on  each  dollar  in  cash 
and  55  cents  on  the  dollar  in  new  bonds  of 
the  reorganized  company,  to  be  secured  by 
the  86  leaseholds  and  fee  properties  com- 
prising the  Fox  Metropolitan  circuit,  operat- 
ing in  New  York. 

The  plan  is  said  to  be  regarded  as  accept- 
able to  the  Fox  Met  bondholders'  committee. 
It  is  now  in  the  final  stages  of  completion. 

Strengthening  of  the  offer  is  regarded  as 
dispelling  some  of  the  competitive  bids  for 
the  circuit  which  were  definitely  indicated  up 
to  a  week  ago.  The  possibility  of  competi- 
tive bids  still  remains,  but  present  indica- 
tions are  they  will  not  develop  before  the 
Schenck-Fox  Theatres  plan  has  been  pre- 
sented for  court  approval. 

The  plan  proposes  that  Mr.  Schenck  be 
elected  president  of  the  circuit  and  that 
Skouras  and  Randforce  be  given  a  long-term 
operating  contract.  The  present  contract 
could  be  canceled  May  1,  1936. 

Rosenblatt  Calls  Session 
On  Projectionist  Scale 

As  a  result  of  the  failure  of  the  NRA 
fact-finding  committee  to  agree  on  a  basic 
wage  scale  for  projectionists  in  the  New 
York  territory  and  with  reports  prevalent 
that  Local  306  is  planning  to  restore  pickets. 
Compliance  Director  Sol  A.  Rosenblatt,  in 
New  York,  announced  he  would  begin  a 
series  of  conferences. 

Since  the  public  hearing  before  Mr.  Ro- 
senblatt in  Washington  two  months  ago,  no 
progress  has  been  made  by  circuit  and  inde- 
pendent exhibitor  heads  and  representatives 
of  the  I.  A.  T.  S.  E.  on  the  two  operators' 
schedules  submitted,  one  by  Charles  L. 
O'Reilly  of  the  New  York  Theatre  Owners' 
Chamber  of  Commerce  and  the  other  by  the 
I.  A.  T.  S.  E. 

Howard  S.  Cullman,  operating  receiver 
for  the  Roxy  theatre,  New  York,  was  ap- 
pointed a  member  of  the  Regional  Labor 
Board  covering  New  York,  New  Jersey 
and  Connecticut. 


National  Screen  Gets 
Extension  in  Warner  Suit 

National  Screen  Service  has  been  granted 
a  20-day  extension  in  connection  with  the 
filing  of  its  reply  to  the  Warner-First  Na- 
tional $1,000,000  damage  and  injunction 
suit  now  pending  in  the  New  York  state 
supreme  court.  The  date  for  filing  the 
answer  is  now  March  19. 

Crocker  To  Contact 
Hearst  Papers  in  Field 

Herb  Crooker,  of  the  advertising  and  pub- 
licity staff  of  S.  Charles  Einfeld  at  the  War- 
ner home  office,  plans  to  leave  New  York 
Sunday  for  a  three-week  tour  through  the 
East  and  Middlewest  to  contact  editors  of 
Hearst  newspapers. 


March    16,  1935 


MOTION    PICTURE  HERALD 


19 


CLAIM  OF  70  MILLION  LISTENERS 
TO  RADIO  PROGRAMS  CHALLENGED 


Columbia  System  Reports  21,- 
455,799  Radio  Homes,  with 
25  Million  Sets;  Obsolete  In- 
struments   Not  Discounted 

Radio  this  week  claimed  to  have  an  audi- 
ence of  listeners  in  the  United  States  as 
large  as  the  motion  picture's  audience  of 
some  70,000,000  persons. 

The  claim  which,  analysis  indicates,  is 
iiighly  inflated,  was  advanced  by  Columbia 
Broadcasting  System,  William  S.  Paley, 
president,  in  conjunction  with  Dr.  Daniel 
Starch,  research  expert,  and  McGraw-Hill 
Publishing  Company,  and  was  arrived  at  in 
a  nationwide  survey  from  which  the  follow- 


ing conclusions  were  drawn : 

Radio  Homes  in  U.  S   21,455,799 

Homes  with  2  Sets  or  More ...  2,295,770 

Automobile  Radios  .....  1 ,800,000 


TOTAL  RADIO  SETS   25,551,569 


Home  Radio  Listeners  (Aver- 
aging 3.3  Persons  to  a  Home)  70,804, 1 37 

Number  of  Radios  Purchased 

in  1934    4,084,000 

Thus    CBS    says   there   are  21,455,799 


families  owning  radios  throughout  the  coun- 
try out  of  a  possible  30,919,300  famiUes,  in- 
dicating family  ownership  of  radios  by  69.4 
per  cent,  as  follows :  • 

U.  S.  HOMES  OWNING  RADIOS 


By  Income  Levels* 

No.  of 

Incomes  Radio  Families 


Over  $10,000   751,000 

$5,000  to  $10,000                  .  2,286,000 

$3,000  to  $5,000   3,590,000 

$2,000  to  $3,000                   .  .  6.477,000 

$1,000  to  $2,000                     .  5,747,000 

Under  $1,000                    .....  2,604,000 


*  SIwTvn  to  the  nearest  thousand  in  each  sub-group. 

By  Size  of  Community* 

No.  of 

Population  Radio  Families 


Cities  Over  250,000    6,767,000 

25.000  to  250,000   ....  4,695,000 

1,000  to  25.000      5,413,000 

Towns  Under  1,000    850.000 

Farms      .  ..  3,730,000 


*  Shctvn  to  the  nearest  thousand  in-  each  sub-group. 


Claiming  that  there  are  two  radio  receiv- 
ing sets  for  each  telephone  receiver  in  the 
country,  Columbia  Broadcasting  and  its  co- 
sponsors  conducting  the  survey  explained : 

"These  figures  are  contained  in  what  is 
believed  to  be  the  most  comprehensive  radio 
survey  ever  undertaken.  The  sui'vey  re- 
quired a  year  of  investigation  by  a  na- 
tionwide field  staff  which  made  125,000 
house-to-house  interviews  in  321  com- 
munities, covering  cities,  small  towns  and 
farms  in  every  state  and  studying  every 
type  of  family  in  the  various  income  brack- 


RADIO  HOMES 
BY  STATES 

Following  is  a  breakdown  by  states  of  the  number 
and  percentage  of  radio-equipped  homes  in  each,  as 
given  in  the  Columbia  Broadcasting  System's  survey. 


No.  o£  Radio  Percent 

State  Families  Homes  Ownership 

Alabama    602,200  216,979  36.0 

Arizona    111,500  53,518  48.0 

Arkansas    446,700  122,989  27.5 

California    1,759,400  1,369,365  77.8 

Colorado    '  270,800  186,598  68.9 

Connecticut    403,700  339,845  84.2 

Delaware    60,500  45,898  75.9 

Dist.  of  Columbia  127,400  121,787  95.6 

Florida    403,800  200,674  49.7 

Georgia    661,600  260,011  39.3 

Idaho    109,300  74,284  68.0 

Illinois    2,019,500  1,647,283  81.6 

Indiana    869,500  597,696  68.7 

Iowa    637,200  459,988  72.2 

Kansas    488,500  319,714  65.4 

Kentucky    617,900  300,877  48.7 

Louisiana    503,700  258,420  51.3 

Maine    201,000  136,840  68.1 

Maryland    397,900  318,877  80.1 

Massachusetts       .  1,057,300  903,467  85.5 

Michigan    1,242,200  919,946  74.1 

Minnesota    619,500  441,164  71.2 

Mississippi  478,400  113,989  23.8 

Missouri    943,300  649,040  68.8 

Montana    137,900  86,011  62.4 

Nebraska    348,700  244,503  70.1 

Nevada    26,900  16,370  60.9 

New   Hampshire..  120,500  94,186  78.2 

New  Jersey    1,032,000  895,884  86.8 

New  Mexico    101,600  43,394  42.7 

New  York    3,264,700  2,928,870  89.7 

North    Carolina    .  673,700  266,924  39.6 

North  Dakota   .  .  .  146,400  84,138  57.5 

Ohio    1,752,800  1,336,547  76.3 

Oklahoma    589,300  291,595  49.5 

Oregon      .-   275,000  211,103  76.8 

Pennsylvania      ...  2,285,100  1,913,349  83.7 

Rhode   Island    .   .  171,900  148,961  86.7 

Sout'i  Carolina  372,300  142,706  38.3 

South  Dakota     .  164.000  103,342  63.0 

Tennessee    622,300  312,491  50.2 

Texas    .  .   1,445,900  733,128  50.7 

Utah    118,200  84,293  71.3 

Vermont    90.300  61,274  67.9 

Virginia    531,700  301,894  56.8 

Washington    4.34  600  333,236  76.7 

West  Virginia  .  388,300  239,227  61.6 

Wisconsin    732,900  489,602  66.8 

Wyoming    59,500  33,522  56.3 


U.  S.  TOTAL  .  .  30,919,300        21,455,799  69.4 


ets.  Calls  were  properly  proportioned  as  to 
income  levels,  time  zones  and  small  geo- 
graphic sections.  They  were  actual  inter- 
views (not  phone  calls  nor  questionnaires) 
with  members  of  families."  From  this  proj- 
ect, which  Columbia  describes  as  "the  largest 
(the  only)  study  of  its  kind,"  emerged  the 
radio  set  ownership  and  audience  figures 
of  the  nation. 

Thus  visits  made  to  125,000  families — 4 
per  cent  of  the  nation's  total  of  30,919,000 
families — were  the  basis  for  determining 
radio  set  ownership  and  radio  audience  size 
for  the  whole  country. 

Totals  Questioned 

There  was  no  further  explanation,  and 
immediately  private  researchers  in  that  field 
questioned  the  accuracy  of  the  conclusions. 
They  accepted  the  figures  crediting  auto- 
mobilists  and  dual-radio  owners  in  the  home 
with  the  ownership  of  some  4,095,770  sets, 
as  stated,  but,  they  declared,  the  21,455,000 
sets  said  to  be  in  21,455,000  homes  include 
all  sets  manufactured  during  the  past  eight 
years,  and  do  not  give  effect  to  the  millions 
of  obsolete  sets  which  were  junked  or  have 
outlived  their  usefulness. 

It  was  agreed  that  the  survey  was  prob- 


Actual  Operating  Sets  Called 
Ten  Millions,  Total  Radio  Aud- 
ience Closer  to  33,000,000; 
4  Million  Sets  Sold  in  Year 

ably  correct  in  that  part  which  indicated 
radio  sales  of  4,084,000  sets  in  1934,  as  com- 
pared with  3,806,000  sales  in  1933,  but  con- 
cluded that  the  total  number  of  operating 
receivers  now  installed  in  homes  would  be 
closer  to  10,000,000  then  to  the  21,000,000 
figure  claimed  by  Columbia,  which  would 
make  the  total  radio  audience  nearer 
33,000,000  than  Columbia's  claim  of  70,000,- 
000.  And  at  that  it  was  presumed  that  each 
member  of  the  average-size  family  of  3.3 
persons  is  listening  to  a  broadcast  at  the 
same  time. 

One  year  ago  this  month  Columbia 
Broadcasting  and  McGraw-Hill  announced 
the  results  of  a  similar  survey — although 
Columbia  says  the  current  investigation 
was  "the  ONLY  one.'^  At  that  time  it  was 
said  that  only  18,000,000  radio  sets  were 
in  use  in  the  United  States — in  homes  and 
in  automobiles.  Therefore,  dismissing  4,- 
000,000  of  this  total  as  representing  in- 
stallations in  automobiles  and  In  homes  hav- 
ing two  receivers,  the  total  number  of 
single  installations  in  homes  would  be  only 
14,000,000.  Adding  to  this  Columbia's 
claim  of  4,000.000  sets  of  all  kinds  sold 
during  1934.  the  total  of  18,000,000  is  still 
3,500,000  short  of  the  21,500,000  home 
Installations  now  claimed.  Besides,  at  least 
2,000.000  old  radios  have  been  taken  out 
of  service  during  the  year. 

Columbia  Broadcasting  System  last  month 
effected  a  general  upward  revision  of  pro-' 
gram  time  rates  charged  advertisers.  This 
action  followed  an  upward  revision  of  rates 
effected  by  National  Broadcasting  Cor- 
poration, Columbia's  chief  competitor,  three 
weeks  before.  The  revisions  by  Columbia 
represent  a  general  program  cost  of  3.1  per 
cent,  but  the  increase  in  time  rates  for  indi- 
vidual CBS  stations  represents  in  many  in- 
stances a  stepping  up  of  charges  as  much 
as  25  per  cent. 

In  explanation  of  the  increase,  the  cor- 
poration said,  last  month:  "This  advance 
is  more  than  offset  by  the  steady  growth  in 
number  of  radio  homes — the  current  total 
in  this  country  being  20,000,000 — which  con- 
tinues to  make  each  contract  for  radio  time 
an  equity  worth  more  to  the  advertiser  with 
each  succeeding  month."  This  would  mean 
a  claim  that  the  total  number  of  radios  in 
homes  has  jumped  some  3,751,569  sets  in 
a  few  days  since  the  rate  increase  was  an- 
nounced. 

Further  questioning  of  Columbia's  claims 
of  a  70,000,000  listening  audience  came  this 
week  from  private  radio  researchers  who 
pointed  out  that  never  at  any  time  are  more 
than  50  per  cent  of  all  sets  in  actual  opera- 
tion at  one  time,  and  these  ar^  divided 
among  all  programs  on  the  air. 

Too,  more  than  half  the  sets  actually  in 
use  are  said  to  be  more  than  five  years  old. 


WHEREVER  YOU  ARE  . .  ANYWHERE 


A  XHEAiTRIi  NEAR  YOU  BREAKING 

PLAYING   ''ROBERTA''.  •  Never  in 

poured  in! . . .  Broken  records  pile  upon  broken  records! 
^   WHOLE  COUNTRY  UPSIDE  DOWN! . . .  It  s  the  first  picture 

Baltimore,  shatters  all  precedent  and  holds  picture  for  third  week  I 
.  In  Los  Angeles  they  opened  the  Hillstreet  at  7  A.  M.  Friday 
the  picture  running  day  and  date  at  Warners  Hollywood  .  .  • 
'smashes  all  records  as  far  back  as  records  show".  .  .  Boyd, 
history  of  house.".  .  .  Held  over  at  Fox  Theatre,  Detroit— 
the  picture  the  longest  playing  time  of  any  attraction  since 
of  run— and  continuing  . . .  Hundreds  wait  in  the  rain  to 
"Looks  like  a  five-week  run/'  is  the  word  from  Music 
largest  business  since  193L"  wires  R.  K.  Kehrberg,  Iowa 
ness . . ,  played  to  37,000  admissions  in  seven  days 
ing  day  than  on  "Gay  Divorcee."... and  at  Radio 

and  still  the  records 


RHO-RADIO  PICTURETith 

THREE  or  THE  NATION'S  FAVORITES 

n 


THE  GOLDEN  GIRL  WITH  THE  SILVER  SONG 


lND 


I 


DANCING    STARS  OF 


DIVORC 


JEROME  KERN'S  DAZZLING  MUSICAL  ROMANCE  SURPASSING 
ON  THE  SCREEN  ITS  MIGHTY  STAGE  SUCCESS ...  wilh  RANDOLPH 
^:COTT  V  HEUN  WESTLEY  *  VICTOR  VARCONI  *  CLAIRE  DODD 

Fr  om  the  play  "Roberta."  Book  and  lyrics  by  Olto  Harbach. 

.       !"C?--'-i  bv  WTLltAM  A   SEITFR      A  PANDHO  S  BtRMXN  PnnniirTtOKj 


1 


IN  THE  UNITED  STATES  .  .  THERE'S 
RECORDS  .  .  IT'S  THE  THEATRE 


the  history  of  show  business  has  su€h  a  flood  of  frenzied  wires 
.  .  .  %ldovers  tumble  over  holdovers!  .  .  .  IT'S  TURNED  THE 

held  over  at  Keith's,  Syracuse,  in  fifteen  years  •  .  .  Izzy  Rappaport,  Hippodrome, 
. .  San  Francisco  breaks  all  existing  records  at  the  Golden  Gate  —  expects  five  weeks 
and  again  at  7  A.  M.  Saturday,  running  straight  through  until  midnight  Sunday— with 
Brandeis  Theatre,  Omaha,  tops  "Little  Women"  gross  to  new  high  ...  Palace,  Akron, 
Philadelphia,  "played  to  best  day's  gross  since  1930,  and  ran  first  midnight  show  in 
first  picture  to  hold  over  in  three  years  .  .  .  Maine  and  New  Hampshire  Circuit  gives 
they've  been  in  business  . . .  Cleveland  reports  holdout  of  crowds  one  hour  after  start 
get  into  the  Orpheum,  St.  Louis  .  .  .  "Biggest  in  years,"  says  Keith's,  Washington  .  .  . 
Box,  Seattle  .  .  .  An  absolute  smash  at  Oklahoma  City  and  Tulsa  .  .  .  "Opened  to 
Theatre,  Sheldon,  la. . . .  Des  Moines  goes  into  second  week  to  double  average  busi- 
in  Dayton . . .  Mainstreet  Theatre,  Kansas  City  played  to  2,500  more  admissions  open- 
City  Music  Hall,  the  biggest  week-end  business  since  the  world's  largest  theatre  opened. 


roll  in! 


THAT  S  WHY  WE  CONTINUE  TO  SAY 

KEEP  TIME  OPEN  FOR 
EXTENDED  RUNS! 


•  A  Afe  »  Jj  vm  i 


**Were  Gene  Sitatton^ Porter  alive  today  sh0  would  thrill  t& 
Radio's  picturiEation  of  the  famous  novel  in  which  her  char- 
acters are  re-created  »  •  .  Should  send  grosses  zooming*** 

•^n/lotion  Picture  Daily 

Aimed  straight  at  the  heart .  •  •  with  special  sock  for  women 
.  .  .  prospects  for  prosperous  returns,**         -^Variety  {Daily) 

**Pk  box-office  knockout ...  a  far  better  picture  than  */\nne  of 
Green  Gables*  m**  Holly  wood  Reporter 

**The  kind  of  a  picture  whose  presentation  should  be  a  plea- 
sure to  audiences,  **  —  IHotion  Picture  Herald 


24 


MOTION    PICTURE  HERALD 


March     16,  1935 


AWAIT  DEFINITE  PLAN 
ON  U.  S.  FILM  LIBRARY 


Captain  Bradley  Asks  Industry 
Withhold  Offers  Pending 
Completion  of  Building  in  July 

The  story  behind  the  establishment  at 
Wasliington  of  a  national  film  library,  for 
which  are  to  be  collected  motion  pictures 
and  sound  recordings  indicative  of  phases 
of  history  and  development  of  the  United 
States,  goes  back  a  dozen  years  to  the  time 
when  representative  industry  leaders  made 
such  a  suggestion  to  Will  H.  Hays  while  he 
was  postmaster  general  under  President 
Harding-.  Mr.  Hays  later  sponsored  the  idea, 
as  president  of  the  Motion  Picture  Producers 
and  Distributors  of  America,  before  Presi- 
dents Harding  and  Coolidge. 

He  had  been  authorized  by  the  MPPDA 
to  offer  the  Government  such  valuable  films 
of  historical  character  as  it  might  desire  to 
include  in  such  a  collection,  but  the  Coolidge 
and  Hoover  administrations  did  not  act.  Im- 
mediately following  the  inauguration  of 
President  Roosevelt,  in  March,  1933,  the 
offer  was  renewed.  Upon  acceptance  last 
year,  the  archives  bill  was  written,  with  pro- 
visions for  incorporating  a  national  film 
library  in  the  new  National  Archives  Build- 
ing, a  structure  in  the  new  "Government 
Group"  between  Pennsylvania  and  Constitu- 
tions, now  nearing  completion. 

The  act  will  not  only  permit  collection  of 
films,  but  also  gives  the  archivist  the  power 
to  make  them,  if  it  is  deemed  desirable. 
Framed  with  an  eye  to  scientific  develop- 
ment in  the  future,  the  archivist  is  author- 
ized to  collect  historical  material,  not  only 
of  a  written  character  but  also  in  the  form 
of  still  and  motion  pictures  and  sound  re- 
cordings, on  disc  or  film,  by  television  or 
such  other  means  as  may  be  developed. 
There  were  no  limitations  placed  on  the 
sources  of  material. 

Films  to  be  collected  by  the  Government 
will  be  stored  in  eight  fireproof  vaults  hav- 
ing a  capacity  of  5,000,000  feet..  Twenty 
more  vaults  will  hold  12,000,000  more  feet. 

Bradley  to  Supervise 

Such  a  grouping  of  films  is  believed  to  be 
the  first  attempt  of  any  nation  centrally  to 
collect  and  store  this  type  of  material  for 
historical  purposes. 

The  film  and  record  collections  will  be 
under  the  supervision  of  Captain  John  G. 
Bradley,  once  associated  with  the  film  and 
theatrical  industries  as  a  writer,  producer 
and  critic.  His  department  will  be  inider 
the  administration  of  Robert  D.  W.  Connor, 
federal  archivist. 

So  far,  Captain  Bradley  explained,  there 
has  been  no  discussion  of  the  type  of  pic- 
tures which  will  be  acceptable,  but  generally 
speaking  only  those  with  a  bona  fide  his- 
torical value  will  be  collected.  In  all  prob- 
ability, he  said,  theatrical  films  of  the  nature 
of  "The  Birth  of  a  Nation"  and  "The  Iron 
Horse"  probably  will  find  a  place  in  the 
Government  vaults,  but  the  major  source  of 
material  will,  of  necessity,  be  technical  pic- 
tures and  newsreels.  In  any  event  there  will 


be  no  prohibition  against  theatrical  motion 
pictures  of  a  suitable  historical  nature. 

A  flood  of  offers  already  have  been  re- 
ceived from  the  industry,  the  chief  of  the 
division  of  motion  pictures  and  sound  re- 
cordings said.  Many  of  these  are  of  films 
which  cannot  be  accommodated,  featuring 
stars  of  the  past,  although  to  some  extent 
they  reflect  the  life  of  their  day.  The  archi- 
vist would  not  reveal  the  identity  of  those 
pictures  already  offered. 

Captain  Bradley  is  anxious  that  producers 
withhold  their  offers  until  a  definite  pro- 
gram can  be  developed.  He  explained  that 
because  of  the  limited  capacity  of  the  vaults 
the  collection  will  be  highly  selective. 

The  pictures  to  be  accepted  will  be  passed 
upon  by  a  committee  later  to  be  created  by 
the  Government,  through  the  archivist. 

Authorized  to  Produce  Films 

Under  the  law,  the  archivist  has  the  au- 
thority to  requisition  any  historical  material 
which  may  be  in  the  possession  of  other 
Government  agencies.  This  will  make  it  pos- 
sible for  the  Archives  to  take  over  war  pic- 
tures made  by  the  Army  and  Navy,  films 
produced  by  the  Department  of  Agriculture 
and  other  agencies,  pictures  prepared  by  out- 
side sources  for  various  Government  depart- 
ments, and  pictures  made  by  the  theatrical 
industry  for  commercial  use  in  theatres,  but 
which  contain  suitable  historical  material. 

In  addition,  the  archivist  is  empowered  to 
accept  gifts  from  any  private  parties,  or  he 
may  produce  films  himself. 

In  connection  with  motion  pictures,  the 
National  Archives  will  have  three  functions 
— the  gathering  of  material,  as  alread}'  ex- 
plained ;  their  preservation,  and  their  use 
for  historical  study.  The  last  named  is  pro- 
vided for  by  the  projection  room  to  be  in- 
cluded in  the  building,  which  will  seat  about 
200. 

A  number  of  outside  agencies,  including 
the  producers,  the  Carnegie  Institute,  East- 
man Kodak,  duPont  and  others  are  co- 
operating with  the  National  Bureau  of 
Standards  in  seeking  means  of  preserving 
film  stock.  A  number  of  universities  also 
are  engaged  in  this  research. 

"We  are  seeking  to  preserve  this  material, 
not  for  two  or  three  years,  but  for  two  or 
three  centuries,"  Captain  Bradley  explained. 
"It  is  an  important  problem,  the  solution  of 
which  will  be  valuable  to  the  motion  picture 
industry  as  well  as  to  us." 

The  Archives  Building  is  expected  to  be 
completed  about  July  1,  after  which  date  a 
definite  program  of  activity  will  be  laid 
down. 

Newspapers  in  general  reacted  favorably 
to  the  plan. 

"The  project  appeals  to  the  imagination," 
said  the  Atlanta  Journal. 


Demand  Closing 
On  Good  Friday 

Unless  motion  picture  theatres  in  Toronto 
are  closed  on  Good  Friday  Roman  Catholics 
in  that  city  will  be  instructed  to  boycott 
them  during  the  week  following  Easter. 


Readjustment  Due 
To  Legion  Greatest 
InIndustry:Zanuck 

Hollywood  in  less  than  a  year  has  com- 
pletely readjusted  itself  to  new  conditions 
arising;-  out  of  the  drive  of  the  Legion  of 
Decency,  in  the  opinion  of  Darryl  Zanuck, 
production  chief  of  20th  Century  Pictures, 
whose  product  is  released  through  United 
Artists.  The  readjustment,  declared  Mr. 
Zanuck,  is  even  more  notable  since  it  was 
accomplished  in  the  face  of  extreme  censor- 
ship, brought  about  by  the  clean  pictures 
campaign  of  the  Legion,  and  constitutes  the 
most  drastic  realignment  through  which  the 
industry  has  ever  passed. 

"The  switch  to  talking  pictures  some  five 
years  ago  was  more  chaotic  while  it  lasted," 
he  said,  "but  it  was  a  mechanical  change  and 
depended  more  than  anything  else  on  the 
perfection  of  mechanical  devices.  .  .  .  The 
present  change  is  more  difficult  because  it 
was  psychological.  It  required  no  mere 
adaptation  to  physical  and  mechanical  ap- 
pliances, but  an  entirely  new  way  of 
thinking." 

The  speaking  stage  and  printed  literature 
had  paved  the  way  for  the  motion  picture's 
sophisticated  form  of  expression,  said  Mr. 
Zanuck,  and  s'ome  producers  overstepped  the 
bounds.  "While  the  stage  and  book  went  on 
in  their  accustomed  tenor  of  thought  and 
expression,  we  were  required  to  take  their 
output — upon  which  we  depend  for  the  great- 
er part  of  our  material — and  adapt  it  to  a 
new  condition,"  he  declared. 

The  industry,  in  Mr.  Zanuck's  opinion, 
was  aided  in  its  effort  to  change  the  public 
attitude  toward  screen  entertainment  by  the 
work  of  those  who  were  conducting  the 
campaign.  "Without  their  sympathetic  and 
energetic  efforts,  we  could  not  have  suc- 
ceeded," said  the  producer.  The  greatest 
problem  forced  on  production  was  solved  by 
the  advance  treatment  of  screen  plays,  he 
said. 

"Certain  individuals  among  members  of 
censorship  boards  had  a  habit  of  censoring 
purely  for  the  sake  of  exercising  their  au- 
thority, and  in  order  to  prevent  the  elimina- 
tion of  vital  scenes  which  were  not  inher- 
enly  censorable,  we  had  found  it  necessary 
to  put  into  the  picture  certain  scenes  which 
might  be  censorable.  By  agreeing  to  elimi- 
nate these  scenes  we  would  therefore  satisfy 
the  individual  censor's  passion  for  censor- 
ing, thus  saving  our  stories  from  mutilation. 

"Today,  however,  this  is  all  taken  care  of 
in  advance.  If  a  situation  arises  which  may 
at  any  time  be  considered  censorable,  we 
weigh  it  during  preparation  of  the  scenario." 

Because  of  the  care  necessarily  exercised 
in  advance  of  actual  filming,  the  new  condi- 
tions have  not  weakened,  but  rather  strength- 
ened the  screen  drama,  in  Mr.  Zanuck's 
opinion.  He  contends  today's  films  are  the 
best  in  the  history  of  Hollywood. 


Majestic's  Executives  to  Meet 

Franchise  holders  of  Majestic  Pictures 
Corporation  will  convene  in  Chicago  in  two 
weeks  to  discuss  production  budgets  and 
sales  policies  for  1935-36.  Herman  Gluck- 
man,  president  will  preside. 


March     I  6 


9  3  b 


MOTION    PICTURE  hlERALD 


25 


ASIDES  Sk  INTEI^LLDES 

 By  JAMES  CUNNINGHAM  


lllllllii 


Buster  Collier,  Jr.,  the  perennial  juvenile  of 
stage  and  screen,  was  explaining  to  two  Eng- 
lish exhibitors  in  London  some  of  the  reasons 
why  American  motion  picture  companies,  with 
their  policies  of  aggressive  showmanship  and 
exploitation,  are  more  successful  than  their 
British  brothers,  who  follow  more  conservative 
lines. 

"Why  in  one  sign  on  Broadway  they  in- 
stalled 150,000  electric  bulbs,"  Buster  informed 
them. 

"That's   really   remarkable,"   exclaimed  one 
of  the  Londoners,  "but  isn't  it  conspicuous?" 
V 

Red  Kann  has  given  us  permission  to 
invade  his  Motion  Picture  Daily  columns 
for  the  story  about  Samuel  Goldwyn's  ex- 
tremely enthusiastic  account  of  the  next 
"colossal"  Goldwyn  musical  revue. 

"It's  to  be  called  'The  Goldwyn  Follies,'  " 
Sam  explained  with  a  flush  of  pride. 

"Are  you  sure  it  won't  be  "Goldwyn's 
Folly?'"  he  was  asked. 

"No,  I'm  sure,"  he  assured  the  reporter. 
"The  title  will  positively  be  registered." 
V 

Hy  Goldstein's  suggested  theme-song  for  a 
nezvly  promoted  "yes-man" :  "Pardon  My  Sud- 
den Assent." 

V 

The  1935  financial  statement  of  Fox  Fihii 
Corporation  will  carry  the  cost  item:  One  (1) 
Skunk,  $5,000. 

On  location  near  Bakersfield,  Cal.,  the  cos- 
tume tent  of  the  Ketti  Gallian- Warner  Baxter 
unit  was  invaded  by  a  livewire  skunk  who  was 
making  his  last  stand  against  a  pack  of_  dogs. 
An  entire  set  of  costumes  had  to  be  duplicated, 
and  work  was  delayed  for  a  day.  The  incident 
took  much  of  the  dashing  romance  away  from 
"The  Gaucho  Lover." 

V 

Jack  Moffitt  in  Kansas  City  tells  us  that 
Gene  Fowler,  "Mighty  Barnum"  author, 
once  tasted  the  dangers  of  travel  while  edit- 
ing a  New  York  newspaper.  It  was  the 
custom  of  the  publisher  to  tell  certain  vet- 
erans of  the  staff  they  had  been  working 
too  hard  and  to  suggest  that  they  take  a 
trip  around  the  world  at  his  expense.  Then, 
when  they  were  in  India,  or  Java,  a  cable 
would  inform  them  they  were  "canned." 
From  that  distance  their  screams  did  not 
trouble  the  publisher. 

One  day  the  inevitable  happened.  Gene 
was  sent  globe  trotting.  When  he  was  two 
days  at  sea.  off  the  Newfoundland  banks. 
Gene  reversed  the  process  and  himself  sent  a 
cablegram  to  the  pubUsher.   It  read: 

"AM  !  FAR  ENOUGH  NOW?" 

V 

It's  a  wife's  second  nature,  ive'vc  akvays  un- 
derstood, to  take  charge  of  all  her  husband's 
zvinnings;  so  it  must  be  a  terrible  strain  on  the 
women  zvhose  husbands'  names  are  called  as 
the  zuinners  of  "bank  night"  money  in  our 
motion  i)icture  theatres. 

V 

Kentucky-colonel  C.  R.  Stoflet,  managing 
the  Margie  Grand  theatre,  at  Harlan,  Ken- 
tucky, calls  our  attention  to  the  billing  of  his 
Lyric  competitor : 

BIOGRAPHY  OF  A  BACHELOR  GIRL 
DIONNE  QUINTUPLETS 
V 

IVe  hasten  to  correct  the  impression  made  by 
our  recent  reportorial  reviezu  of  the  Soviet  nw- 
tioii  picture  in  America,  in  zvhich  zt'e  described 
Matty  Radin,  independent  circuit  e.vhibitor,  zvho 
sometimes  shozvs  Soz'iet  films,  as  "a  Tammany 
Hall  Democrat  of  the  old  school." 

"I  am  of  the  Democratic  Party  of  the  Wil- 
son-Roosevelt progressive    league    type,"  Mr. 
Radin  admonished  us.  And  so  be  it. 


DOCTOR  HEREWARD  HUBERT 
LIVINGSTON  CARRINGTON,  a 
psychic  of  one  kind  or  another,  is  going  to 
make  a  motion  picture  of  a  soul,  so  he  says; 
and,  to  prove  that  they  can  be  photographed 
he  claims  he  already  has  still  pictures  of 
the  souls  of  a  horned  frog,  a  grasshopper,  a 
one-day-old  chicken  and  a  white  rat.  Big 
game  only  from  now  on  is  the  Doctor's 
motto. 

To  take  a  soul  picture,  explains  Dr.  Car- 
rington,  the  person  must  be  placed  in  an 
airproof  jar  (pickle  par,  preferably).  A 
vapor  suspension  of  water  or  oil  is  intro- 
duced. Electrical  apparatus  around  the  jar 
eliminates  outside  electrical  interference. 
■Within  the  bottle  is  a  small  guillotine,  and 
under  the  guillotine  is  the  subject.  An  elec- 
trical current  is  set  up  within  the  bottle. 
The  guillotine  knife  drops  and  a  picture  is 
taken  at  the  moment  life  passes.  Within  a 
period  of  15  seconds  after  death  a  misty 
cloud  or  fog,  in  the  shape  of  the  person,  is 
recorded  on  the  photographic  plate,  sus- 
pended above  the  body.  "And  that,"  con- 
tinued the  Doctor,  "is  the  soul." 

"Of  course,"  he  added,  humanitarianly, 
"we  would  not  care  to  execute  a  human  be- 
ing merely  for  experimental  purposes." 

It's  been  done  before.  Doc,  in  Hollywood, 
dozens  of  times.  (See  MOTION  PIC- 
TURE ALMANAC:  "Soul  of  a  Woman," 
Associated  Photoplays,  1922;  "Souls  for 
Sables,"  Tiffany,  1925;  "Souls  in  Bondage," 
Lubin,  1915;  "Soul  of  a  Child,"  Pathe,  1925; 
"Soul  and  Body " — Peacock  Films  shot  both 
at  one  time.  Doc,  in  1922;  "Soul  of  Man," 
Producers'  Security,  1922;  "Soul  Without 
Windows,"  World  Film,  1918;  "Soul 
Adrift,"  "Soul  Enslaved,"  "Soul  Fire,"  "Soul 
Harvest,"  "Soul  Market,"  "Soul  Master," 
"Soul  Mate,"  etcetera,  et  al,  ad  infinitum.) 

Our  money  will  stay  on  Walt  Disney  doing 
"Mickey  Mouse"  coming  out  of  his  bottle 
of  India  ink. 

Regardless  of  whether  the  Doctor  suc- 
ceeds in  getting  anybody  into  the  bottle,  he 
is  already  an  accomplished  author,  and 
quite  versatile,  having  written  "The  Physi- 
cal Phenomena  of  Spiritualism,"  "Ventrilo- 
quism Self  Taught,"  "Eusapia  Palladino  and 
Her  Phenomena,"  "Bridge  SimpHfied,"  "Vi- 
tality, Fasting  and  Nutrition,"  "Side-Show 
and  Animal  Tricks,"  "Death — Its  Causes 
and  Phenomena,"  "Chemistry  for  Begin- 
ners," "Yoga  Philosophy,"  "Astronomy  for 
Beginners,"  "Boy's  Book  of  Magic." 

V 

The  postman  brought  in  this  morning's  mail 
the  following  record  from  F.  M.  Westfall,  who 
operates  the  Haven,  at  Olean,  New  York : 
This  morning  I  was  approached  by  a  nnan  of 
about  40  years  of  age.  The  man  inquired  if  I 
were  the  manager  of  the  theatre  and  I  re- 
plied that  I  was.  He  then  asked  if  I  had  been 
manager  two  years  ago,  and  I  replied  that 
1  had  not.  It  seems  that  some  two  years  ago 
he  had  been  in  the  habit  of  buying  a  ticket, 
seeing  the  performance  through,  and  then 
when  another  patron  entered  the  auditorium 
he  would  ask  them  for  his  ticket  stub  in 
order  that  he  might  go  out  and  get  some 
candy  in  the  lobby,  inasmuch  as  he  had  lost 
his  own  stub.  On  receipt  of  the  stub,  he 
would  go  to  the  cashier,  claim  that  he  had 
seen  the  performance  elsewhere,  and  de- 
mand the  return  of  his  admission. 

He  stated  that  since  that  time  he  had 
been  going  to  church  and  that  the  Lord  had 
cleansed  his  soul  and  now  he  was  eager  to 
make  amends  for  his  former  bad  deeds,  and 
confess  to  the  manager  whom  he  had 
wronged  two  years  ago,  in  order  that  his 
conscience  might  be  cleared. 


From  out  of  Al  Boasberg's  gag  bag  we  pull 
the  yarn  about  the  writer  who  had  done  a  story 
which  a  certain  producer  already  had  made  into 
a  terrific  success.  The  writer  thought  it  would 
be  a  nice  gesture  to  have  the  original  manu- 
script bound  in  leather  and  sent  to  the  pro- 
ducer as  a  gift.  The  producer  received  it  one 
morning  and  immediately  got  the  writer  out  of 
bed.  "Tom,  it's  terrific,"  the  producer  raved 
on  the  phone.  "I  never  read  a  better  story  and 
I  can't  wait  to  do  it." 

V 

Al  Sherman  of  Broadway,  a  publicist,  free- 
lance zwiter  and  editorial  representative  of  the 
New  York  Morning  Telegraph,  all  in  one, 
whose  braggadocio  is  tzvice  the  sise  of  his 
stature,  zvas  frothmgly  indignant  this  zveek 
zvhen  his  English  literary  agent,  the  London 
General  Press,  reported  to  him  by  mail  that 
they  had  accepted  five  giuneas — some  $31 — 
from  the  London  Daily  Mail,  for  one  of  his 
long  motion  picture  articles,  a  story  for  "fans" 
about  the  noted  Richard  Bennett. 

"It's  preposterous,"  Al  told  us  at  Times 
Square. 

And  then  came  the  anszver  to  the  cable  he 
sent  asking  for  an  e.vplanation.  It  seems  that 
the  Daily  Mail  had  purchased  five  lims  of  the 
article — exactly  30  zuords — and  sent  the  rest 
back. 

Al  nozv  tells  Broadivayites  that  he's  the  high- 
est paid  zwiter  in  the  country,  rating  $1.03  a 
zvord,  as  against  the  late  Cal  Coolidge's  price  of 
fl.OO  a  zt'ord.  "Tzvo  zveeks  on  the  Nezv  York 
Times,"  he  sighed,  "and  I'd  build  a  new  Radio 
City." 

V 

Now  a  month  old,  but  still  chuckly,  is 
Milton  Berle's  description  of  the  musical 
comedy,  "Saluta,"  in  which  he  appeared  on 
Broadway.  It  was  so  terrible,  he  explained, 
that  they  had  to  rewrite  the  second  act  even 
before  Cain's  storehouse  for  "flops"  would 
take  it. 

V 

Ronald  Colnian  and  Dick  Barthelmess  have 
each  had  thrilling  experiences  in  the  air.  Ronald 
lias  looped-the-loop  23  times,  done  the  barrel- 
roll,  innumerable  tail-spins  and  leaf-falls,  all  in 
his  one  and  only  trip  into  the  atmosphere. 
Army  officers  out  California  zvay  zvere  taking 
him  over  the  Pacific  to  see  the  Hazmiian 
Islands.  They  made  sure  he'd  never  forget  his 
first  flight.    He  hasn't. 

Dick  flezv  from  Norfolk,  Virginia,  lo  Wash- 
ington in  an  army  plane  zvith  an  officer  zvho 
died  at  the  controls  just  before  the  ship  hit  the 
zvater  at  the  nation's  capital. 

V 

Not  infrequently  our  own  Hollywood  movie 
colony  exhibits  quaint  streaks  of  provincial- 
ism, but  its  flights  are  seldom  as  amusing  as 
the  one  Bud  Johnston  relates  in  Rob  Wag- 
ner's Script,  about  San  Diego  in  the  same 
state  of  California.  When  San  Diego  was 
laid  out,  streets  running  across  town  were 
named  First  Street,  Second  Street,  Third 
Street,  etc.,  up  to  Tenth  Street.  But  as  the 
town  expanded,  the  city  council  decided  San 
Diego  should  have  a  Fifth  Avenue.  So  they 
changed  Fifth  Street  to  Fifth  Avenue.  The 
city  roster  then  read:  First  Street,  Second 
Street,  Third  Street,  Fourth  Street,  Fifth 
Avenue,  Sixth  Street,  and  so  on.  Citizens 
razzed  the  city  council,  demanded  a  change. 
But  the  council  stuck  to  its  point.  The  city 
must  have  a  Fifth  Avenue.  What  to  do 
about  it?  At  considerable  expense  to  the 
city,  they  changed  all  the  other  streets  to 
avenues. 


26 


MOTION    PICTURE  HERALD 


March     16.  1935 


HOW  HOLLYWOOD— OR 
AN  OCCIDENTAL  DEATH 

A  United  Press  dispatch  from 
Shanghai  this  week  said,  under  the 
heading:  "Film  Fans  Mourn;  Beauti- 
ful Chinese  Movie  Actress  is  Dead": 

Wailing  and  tearing  their  clothes, 
thousands  of  Chinese  cinema  fans 
stood  in  front  of  the  home  of  the  late 
Yuan  Lin-yu  Saturday,  mourning  the 
death  of  the  beautiful  film  actress. 

Police  had  difficulty  controlling  the 
crowds  which  assembled  to  lament  the 
tragic  end  of  a  girl  who  was  second 
only  to  the  glamorous  "Butterfly" 
Woo  in  the  estimation  of  native  film- 
goers. 

Yuan  Lin-yu  died  from  an  overdose 
of  veronal,  taken  after  a  gay  party. 
Her  husband  recently  charged  her 
with  adultery,  naming  a  leading  tea 
merchant  in  the  action. 


Or  tea  and  a  bitter  yen,  so  to  speak. 

R.  F.  Ho  ft  Dies; 
Film  Financier 

Richard  F.  Hoyt,  financier  identified  in 
recent  years  with  numerous  motion  picture 
industry  transactions,  died  last  week  in  Doc- 
tors' Hospital,  New  York.    He  was  46. 

Mr.  Hoyt  was  a  partner  of  the  important 
Wall  Street  brokerage  house  of  flayden, 
Stone  and  Company,  for  some  years  until 
his  resignation  in  1933,  at  which  time  he 
became  vice-president  of  Haystone  Securi- 
ties Corporation.  Mr.  Hoyt's  connection 
with  film  financing  was  chiefly  in  the  theatre 
field.  The  most  notable  transaction  was  the 
group  known  as  the  Richard  Hoyt  Syndi- 
cate, which  obtained  control  of  West  Coast 
Theatres  about  six  years  ago,  and  later  sold 
it  to  William  Fox  and  the  companies  he 
operated  at  that  time. 

Educated  at  Harvard,  Mr.  Hoyt  joined 
Hayden,  Stone  in  1910,  was  with  the 
Wright-Martin  Aircraft  Corporation  in 
1918,  and  became  a  partner  in  Hayden, 
Stone  in  1919. 

S.  0.  S.  Contests 
Equipment  Levy 


Six  Committees 
Set  for  AM  PA 
''Naked  Truth'' 

The  Associated  Motion  Picture  Adver- 
tisers in  New  York  this  week  completed  the 
organization  of  the  personnel  structure 
which  will  handle  the  annual  "Naked  Truth" 
dinner  and  dance  at  the  Hotel  Astor  on 
April  27th,  with  the  appointment  of  six 
main  committees,  as  follows : 
Executive 

Paul  Benjamin,  National  Screen  Service, 
chairman;  Marvin  Kirsch,  Film  Daily,  vice- 
chairman  ;  Rodney  Bush,  Paramount :  Ray- 
mond Gallagher,  Motion  Picture  Herald ; 
James  P.  Cunningham,  Motion  Picture  Her- 
ald; Ralph  E.  Lund,  RKO  ;  Rutgers  Neilson, 
RKO;  Monroe  Greenthal,  United  Artists; 
Alexander  Gottlieb,  Columbia;  Edward  F. 
McNamee,  National  Screen  Service ;  Walter 
F.  Eberhardt,  Western  Electric ;  Edward  F. 
Finney,  Monogram;  Bert  Adler,  Tower 
Publications ;  Paul  Gulick,  Universal ;  Jack 
Harrower,  Film  Daily. 

Silas  F.  Seadler,  MGM ;  S.  Barret  Mc- 
Cormick,  RKO;  Gordon  White,  Educa- 
tional ;  Vincent  Trotta,  Paramount ;  Thomas 
Hamlin,  Film  Curb;  Charles  E.  Lewis, 
Showmen's  Trade  Review;  S.  Charles  Ein- 
feld,  Warners ;  John  C.  Flinn,  Code  Au- 
thority; Al  Friedlander,  First  Division; 
Paul  Greenhalgh,  Emanuel  Publications ; 
Hap  Hadley ;  Lester  Thompson,  Advertis- 
ing Advisory  Council:  A.  S.  Rittenberg, 
Mentone  Productions;  Lou  Rvdell,  Variety; 
El  ias  E.  Sugarman,  Billboard;  A.  P.  Wax- 
man,  Gaumont  British. 
Entertainment 

Monte  Proser,  chairman ;  Don  Hancock, 
Arnold  Van  Leer,  Irwin  Zeltner,  Morris 
Kinzler,  Josef  Zimanich,  MolHe  Sternberg, 
Hazel  Flynn,  Tess  Michaels,  Patricia  Reis, 
Bessie  Mack,  Mabel  Drew. 
Dinner 

Marvin  Kirsch,  Paul  Benjamin. 
Tickets 

Paul  Benjamin. 
Reception 

Bert  Adler,  James  P.  Cunningham,  Ben 
Atwell,  Phil  De  Angelis,  Tess  Michaels. 
Hortense  Schorr. 
Souvenir  Program 

Milton  Silver,  editor;  Paul  Benjamin, 
business  manager ;  Editorial :  James  P.  Cun- 
ningham, Rodney  Bush,  Edward  McNamee, 
Herbert  S.  Berg,  Melvin  H.  Heymann,  Lou 
Goldberg,  Bert  Adler,  Jack  H.  S.  Fuld, 
Ted  Sullivan. 
Advertising 

Milton  Silver,  chairman ;  Silas  F.  Seadler, 
Ralph  E.  Lund. 
Publicity 


Stallings  Tells 
Yale  Students  of 
Film  Propaganda 

Laurence  Stallings,  editor  of  Fox  Movie- 
tone News,  described  to  Yale  University  stu- 
dents last  week  the  use  of  propaganda  in  mo- 
tion pictures,  outlining  the  high  development 
of  this  medium  in  countries  under  dictator- 
ships such  as  Italy,  Germany  and  Russia. 

Premier  Benito  Mussolini,  Mr.  Stallings 
said,  probably  utilizes  the  greatest  amount 
of  propaganda  film,  but  government  control 
of  motion  pictures  undoubtedly  reached  its 
apex  in  Russia. 

In  Russia,  Mr.  Stallings  explained,  films 
are  classified  as  documentary,  art  and  play 
films.  If  it  is  a  motion  picture  to  encourage 
the  cultivation  of  rice,  he  said,  the  first  step 
would  be  the  documentary  film,  which  would 
show  every  step,  from  planting  the  rice  to 
placing  a  steaming  bowl  on  the  table. 

The  art  film  would  follow,  giving  a  series 
of  pictures  on  rice  culture,  taken  not  for  their 
utilitarian  value,  but  for  their  art  value — 
pictures  taken  at  sunset,  pictures  of  the  har- 
vest. 

"Then,"  said  Mr.  Stallings,  "there  is  the 
play  film.  I  need  not  go  into  this.  She  is 
working  in  the  rice  fields  and  her  eyes  are 
like  a  fawn's,  while  he  is  a  crested  buck. 
You  who  draw  sustenance  from  Hollywood 
are  even  now  three  reels  ahead  of  me." 

Mr.  Stallings  was  scheduled  to  give  a  lec- 
ture on  "The  American  Newsreel"  this  week 
at  Yale. 

Allied  Convenes  in 
Atlanta  May 21  -23 

Allied  States  Association  of  Motion  Pic- 
ture Exhibitors  has  its  convention  May 
21-23  in  Atlanta,  at  the  Robert  Fulton  Hotel, 
coincident  with  the  convention  of  the  Geor- 
gia-Tennessee-Florida-Alabama Association. 

Allied  announced  that  in  territories  where 
there  is  no  Allied  unit  the  newly-formed  ex- 
ecutive committee  has  fixed  3  cents  a  seat  as 
annual  dues  for  individual  members. 

About  150  members  of  Allied  Theatre 
Owners  of  Iowa  and  Nebraska  attended  the 
mid-year  two-day  convention  at  the  Hotel 
Savery  in  Des  Moines.  Leo  F.  Wolcott, 
president,  said  opposition  to  three  bills  be- 
fore the  legislature  was  being  pressed.  One 
bill  covers  fire  prevention  regulations  in  the- 
atres and  the  other  is  a  two-men-in-a-booth 
bill.  The  third  provides  for  an  increase  from 
2  to  10  per  cent  in  the  amusement  tax. 

New  Jersey  Allied  will  hold  its  annual 
convention  in  Atlantic  City  in  May. 

Cleveland  Exhibitors 
Discuss  Price  Adjustment 

The  Cleveland  Motion  Picture  Exhibitors 
Association  has  called  an  open  meeting  for 
this  week,  to  which  non-members  were  in- 
vited, for  a  general  discussion  of  admission 
price  stabilization  in  the  Cleveland  area.  It 
was  planned  also  to  consider  means  of  ex- 
pressing opposition  to  a  proposed  daylight 
saving  measure. 


The  Sales  on  Sound  Corporation,  New 
York  equipment  manufacturer,  is  preparing 
to  appeal  to  the  board  of  tax  appeals  at 
Washington  from  the  ruling  of  the  Depart- 
ment of  Internal  Revenue  that  the  S.O.S. 
Company  shall  pay  a  manufacturers'  sales 
tax  of  five  per  cent  on  sound  equipment,  the 
tax  being  retroactive  to  1932.  The  assess- 
ment includes  tax,  penalty  and  interest  for 
the  period  covered. 

The  action  of  the  department  has  been 
taken  despite  a  liberal  attitude  indicated  in 
a  communication  from  Deputy  Commissioner 
D.  F.  Bliss  to  the  Entertainment  Apparatus 
Manufacturers    Association,  Inc. 


Melvin  H.  Heymann,  chairman ;  Dave 
Davidson,  Martin  Starr,  Irwin  Zeltner,  Jack 
Harrower,  James  P.  Cunningham,  Milton 
Weiss,  Herbert  S.  Berg,  Charles  A.  Leon- 
ard, Tess  Michaels,  Hortense  Schorr. 

Army  Takes  Over 
Texas  Post  Theatre 

The  Army  authorities  at  Fort  Sam  Hous- 
ton, in  San  Antonio,  Texas,  have  taken 
over  the  new  $100,000  War  Department  the- 
atre at  the  post.  Colonel  R.  L.  Collins  and 
Major  General  James  F.  McKinley,  adju- 
tant general  of  the  army,  officiated. 


March     16.  1935 


MOTION    PICTURE  HERALD 


27 


RENTERS  ACT  TO  BAR  BOOKINGS 
TO  THEATRES  IN  CAUMONT  DEALS 


Gaumont  Buys  Into  Hyams  and 
Union  Circuits;  Associated 
Purchases  Eight  Houses; 
Distributors'  Society  Protests 

By  BRUCE  ALLAN 

London  Correspondent 

The  Kinematograph  Renters'  Society 
caused  a  Wardour  Street  sensation,  when, 
after  news  of  spectacular  theatre  deals  by 
Gaumont  British  and  Associated  British 
Pictures,  it  issued  a  letter  to  its  members 
instructing  them  that  they  should  refuse 
to  accept  bookings  from  GB  for  the  H.  &  G. 
Kinemas,  Inc.,  and  Union  Cinema  Co.,  Ltd., 
until  the  exact  nature  of  the  Gaumont  deal 
with  these  circuits  was  revealed. 

In  a  hectic  week  Gaumont  had  bought 
into  the  Hyams  and  Union  circuits,  in  each 
case  with  Arthur  Jarrat  added  to  the  board 
to  book  the  theatres. 

ABP  made  an  offer  to  the  shareholders  of 
General  Theatre  Corporation  in  competi- 
tion with  a  reconstruction  plan,  which  would 
continue  the  Gaumont  management  of  the 
General  circuit.  It  also  bought  the  Astorias 
at  Brighton  and  Margate,  built  by  the  late 
E.  E.  Lyons,  the  two  Carlton  London  neigh- 
borhood houses  owned  by  the  Claverings, 
and  the  four  London  halls  of  the  Dawes- 
Beard  concern. 

Many  other  deals,  some  of  them  big  ones, 
undoubtedly  are  pending  on  the  part  of 
both  companies.  At  the  moment,  Gaumont 
by  its  Union  investment  obtains  booking 
control  of  more  than  40  theatres,  to  which 
30  others  are  to  be  added.  Its  H&G  deal 
puts  in  its  hands  the  booking  of  the  eight 
Hyams  supers,  valued  at  $7,500,000  and  in- 
cluding the  Trocadero  at  Elephant  and  Cas- 
tle, the  Troxy,  Commercial  Road,  the  Metro- 
pole,  Victoria  and  the  Regals  at  Edmonton 
and  West  Norwood. 

Associated,  if  the  General  deal  goes  its 
way,  will  control  over  50  theatres  more — 
which  GB  will  lose. 

More  to  the  point  than  a  comparison 
between  these  groups  Is  a  calculation  of 
their  joint  strength.  G-B,  either  directly 
or  through  Provincial  Cinematograph  Thea- 
tres, Ltd.,  will  have  booking  control  of  be- 
tween 300  and  400  theatres,  ABP,  with 
the  General  group,  will  be  well  over  the 
200  mark.  However  the  General  decision 
goes,  G-B  and  ABP  together  govern  the 
booking  of  more  than  500  theatres,'  in- 
cluding a  big  percentage  of  British  supers. 

The  coupling  of  two  organizations  actually 
in  keen  competition  may  seem  beside  the 
point,  but  in  fact  the  aims  of  Gaumont  and 
Associated  are  identical  and  the  rapid 
growth  of  both  circuits  at  the  present  mo- 
ment is  due  to  the  same  first  cause.  The 
outcome  may  well  be  the  establishment  of  a 
firm  grip  upon  booking  by  means  of  an 
understanding  between  them ;  the  oppor- 
tunity has  been  found  in  the  difficulty  which 
independent  theatres  or  small  circuits  find 
in  obtaining  films  at  reasonable  prices. 

A  commonplace  in  all  discussions  of  trade 


problems,  though  it  rarely  finds  expression 
in  print,  is  that  American  distributors  here 
for  some  years  have  been  doing  their  level 
best  to  kill  the  goose  which  has  laid  the 
golden  eggs  of  their  British  profits,  with 
percentage  demands  ranging  as  high  as  50 
per  cent  of  gross  receipts. 

Independents  Seek  Alliances 

Faced  with  demands  of  this  type,  inde- 
pendent theatre  enterprises  have  looked  for 
a  way  out  and  have  found  it  by  allying 
themselves,  for  booking  purposes,  with  the 
strength  of  a  circuit.  This  is  undoubtedly 
the  explanation  of  the  H&G  and  Union  deals 
with  GB,  the  significant  feature  of  which  is 
that,  although  GB  is  declared  to  have  ac- 
quired "substantial  interest"  in  both  con- 
cerns, the  management  remains  in  the  hands 
of  the  old  proprietary. 

Now,  it  has  been  a  settled  KRS  policy  for 
a  very  long  time  to  refuse  to  recognize 
"booking  circuits."  No  one  must  book  for  a 
hall  unless  he  has  a  "substantial  business 
interest"  in  it.  GB  has  been  asked  by  the 
Society  to  provide  details  of  its  purchases 
in  H&G  and  Union. 

This  may  mean  a  lot  or  it  may  mean  very 
little.  The  KRS  may  merely  be  formally 
complying"  with  the  terms  of  its  own  reso- 
lution, with  the  intention  of  accepting  GB's 
explanation.  It  may,  on  the  other  hand,  in- 
tend to  make  a  serious  stand  against  the 
alignment  of  independent  halls  and  small 
circuits  with  the  big  groups. 

Definition  Still  Awaited 

No  one  has  yet  defined  a  "substantial  in- 
terest," and  the  KRS  can,  if  it  likes,  decide 
that  it  means  a  majority  holding.  In  that 
case,  the  GB  deals  would  be  ruled  out  while 
the  recent  purchases  of  ABP  presumably 
would  be  in  order. 

A  curious  but  quite  coincidental  feature  is 
that  GB  has  not  for  some  time  been  a  mem- 
ber of  the  KRS,  while  ABP,  through  its 
renting  subsidiary,  Wardour  Films,  is  rep- 
resented on  the  Council,  and  its  principal, 
John  Maxwell,  is  president  for  the  current 
year. 

The  Maxwell-Ostrer  rivalry  therefore  is 
reflected,  though  accidentally,  even  in  this 
political  problem  as  well  as  in  the  theatre 
field,  where  it  has  taken  an  acute  form  in 
the  fight  for  control  of  General  Theatre 
Corporation  already  reported. 

Here  the  issue  is  still  uncertain,  the  posi- 
tion being  that  ABP  has  made  an  offer  to 
the  preference  shareholders,  based  on  an 
exchange  of  General  for  ABP  script,  which 
some  of  the  holders  regard  as  an  advance 
on  the  official  reconstruction  plan  for  a  re- 
duction of  capital  combined  with  a  new  man- 
agement contract  with  GB. 

When  the  several-times  postponed  meet- 
ing takes  place  it  will  be  an  extraordinary 
meeting  of  preference  shareholders  to  decide 
between  the  two  plans,  but  there  is  enor- 
mous activity  behind  the  scenes  and  it  is  a 
fairly  safe  bet  that  the  destination  of  the  50 
General  theatres  will  have  been  settled  be- 
fore the  day. 

If  GB  insists  on  its  right  to  book  the 


Americans'  Percentage  De- 
mands Ranging  Up  to  50  Per 
Cent,  Bring  Independent 
Theatres  to  Circuit  Alliances 

Hyams  and  Union  theatres  and  makes  con- 
tracts for  the  circuit  as  a  whole  depend  on 
inclusion  of  these  halls,  there  will  be  a  defi- 
nite possibility  of  breakaways  from  the  KRS, 
but  by  no  means  a  certainty  of  such  action. 
If  KRS  succeeds  in  maintaining  a  united 
front,  we  may  have  the  spectacle  of  over 
300  British  theatres,  including  a  big  per- 
centage of  London  "West  End"  theatres, 
being  deprived  of  all  films  save  those  of 
their  own  production.  Things  are  scarcely 
likely  to  come  to  that  pass. 

V 

Good  Cheer  on  Taxation 

It  is  more  cheerful  reading  to  learn  that 
the  deputation  from  the  Cinematograph  Ex- 
hibitors' Association,  which  waited  upon  the 
Chancellor  of  the  Exchequer  last  week,  was 
delighted  with  his  reception  of  its  argu- 
ment in  favor  of  a  restoration  of  the  pre- 
crisis  Entertainment  Tax  scale. 

Neville  Chamberlain  received  the  deputa- 
tion personally,  and  showed  a  great  interest 
in  the  details  of  the  trade's  case  as  stated 
in  a  preliminary  letter  by  Simon  Rowson 
and  verbally  by  Thomas  Ormiston,  M.  P. 

There  seems  a  real  possibility  that  the 
budget  will  remove  the  tax  from  the  six- 
penny (12  cents)  and  cheaper  seats. 

V 

Setback  of  Building  Restriction 

CEA's  organized  opposition  to  building 
projects  for  new  theatres  which  it  thinks 
"redundant,"  has  been  heavily  checked  in 
the  West  Country.  The  general  purposes 
committee  of  the  Cornwall  County  Council 
has  declined  to  receive  a  deputation  from 
local  exhibitors,  and  the  opinion  was  ex- 
pressed by  its  chairman  that  the  Council 
had  no  power  to  protect  existing  businesses 
by  deciding  how  many  cinemas  there  should 
be  in  any  area.  If  it  had  such  power,  it 
would  be  inequitable  to  use  it,  he  said. 

The  decision  means  that  new  theatres 
planned  at  Truro,  Redruth,  Penzance  and 
St.  Austell,  all  of  which  the  CEA  regards 
as  "redundant,"  will  get  their  permits  if 
their  plans  are  in  order. 

V 

One  of  the  first  studios  in  England  to 
be  planned  on  American  lines,  the  Stoll  es- 
tablishment at  Cricklewood,  London,  is  to 
be  the  scene  of  large-scale  production  again, 
Sir  Oswald  Stoll  having  engaged  Gunter 
Stapenhorst,  from  Ufa,  as  production  super- 
visor on  a  new  program  of  five  supers  a 
year  for  world  distribution.  The  studios  will 
lie  enlarged  and  modernized. 

Stoll  Film  Co.,  with  Jeffery  Bernerd  as 
managing  director,  was  the  first  British  unit 
to  go  out  for  production  and  distribution  on 
a  52-weeks  basis.  It  broke  into  America  as 
long  as  10  years  ago,  but  failed  to  over- 
come the  special  difficulties  of  that  period 
and  later  ceased  production. 


28 


MOTION    PICTURE  HERALD 


March     16,  1935 


Industry  Circles 
Expect  NRJ  to 
Remain  in  Effect 

The  sharp  cleavage  in  Congress  over  the 
future  of  the  National  Recovery  Act  and 
the  trade  codes  created  by  it  has  failed  to 
alter  the  conviction  of  code  observers  in  the 
industry  that  the  NRA  will  be  continued  in 
some  form  after  July  1.  Opinion  in  distri- 
bution circles  is  that  Congress  will  continue 
the  NRA  somehow,  and,  therefore,  it  is  un- 
necessary now  to  discuss  with  exhibitors 
the  desirability  of  continuing  independently 
the  regulatory  structure  established  for  the 
industry. 

At  Washington,  the  Senate  finance  com- 
mittee was  continuing  hearings  to  determine 
the  future  of  the  NRA,  with  Donald  Rich- 
berg,  coordinator  of  recovery  activities',  lead- 
ing Administration  forces  in  the  fight  for 
extending  the  Act.  Mr.  Richberg,  however, 
urged  wide  code  changes.  He  said  there  is 
grave  doubt  whether  code  authorities  have 
the  right  to  force  contributions  for  adminis- 
tration costs. 

MPTOA  Leaders  to  Meet  Rosenblatt 

Criticism  that  the  investigation  of  the 
Recovery  Act  threatens  to  become  a  white- 
wash was  voiced  last  week  by  senators  op- 
posed to  the  NRA  after  Senator  Harrison, 
chairman  of  the  committee,  over  the  opposi- 
tion of  Senator  King  of  Utah,  secured  ap- 
proval of  a  schedule  of  witnesses  to  be  called. 
In  the  list,  Clarence  Darrow  is  the  only  per- 
son not  connected  with  the  NRA. 

The  NRA  this  week  approved  film  code 
labor  amendments  for  players. 

Exhibitor  leaders  representing  the  Motion 
Picture  Theatre  Owners  of  America  will 
confer  in  Washington  within  a  few  weeks 
with  Compliance  Director  Sol  A.  Rosenblatt 
with  respect  to  proposed  changes  in  the  film 
code.  Headed  by  Ed  Kuykendall,  president^ 
they  will  interview  Mr.  Rosenblatt  as  a  com- 
mittee of  five,  agreed  upon  at  the  MPTOA 
convention  at  New  Orleans. 

Board  Approves  Budget 

The  National  Industrial  Recovery  Board 
last  week  approved  the  budget  submitted  by 
the  motion  picture  Code  Authority  and  the 
bases  of  assessment  for  exhibitors  and  pro- 
ducers and  distributors.  William  P.  Farns- 
worth,  NRA  deputy  administrator  for  amuse- 
ments, this  week  was  named  an  Administra- 
tion member  of  the  Code  Authority,  without 
vote. 

Petition  by  Fox  West  Coast  for  a  rehear- 
ing on  the  Los  Angeles  clearance  and  zoning 
schedule  resulted  in  John  C.  Flinn,  execu- 
tive secretary  of  the  Code  Authority,  going 
to  the  Coast.  He  planned  to  call  a  meeting 
of  the  Los  Angeles  board  on  Tuesday  to  dis- 
cuss the  FWC  complaints,  returning  to  New 
York  March  18  to  report.  The  schedule  will 
go  into  effect  March  31,  regardless. 

New  Haven  was  awaiting  the  outcome  of 
the  Los  Angeles'  situation  because  distribu- 
tors will  not  accede  to  adoption  of  a  clear- 
ance plan  based  on  admission  prices.  Kansas 
City  and  Milwaukee  are  next  in  line  for 
settlement  of  the  clearance  problem,  but  they, 
too,  will  await  the  Los  Angeles  decision. 


Van  Schmus  Reports  No 
Progress  on  Rivoli  Deal 

No  further  progress  has  been  made  in 
negotiations  between  the  Music  Hall  in  New 
York  and  United  Artists,  for  acquisition  of 
the  Rivoli  on  Broadway  by  the  Music  Hall 
operators,  in  connection  with  a  United 
Artists'  franchise  for  the  Music  Hall,  ac- 
cording to  W.  G.  Van  Schmus,  managing 
director  of  the  Radio  City  theatre,  on  his 
return  last  week  from  the  Coast. 

Mr.  V an  Schmus  said,  'T  found  Holly- 
wood working  hard,  seriously  and  sincerely. 
What  I  saw  encouraged  me  greatly  on  the 
outlook  for  the  coming  months.  There  are 
some  excellent  pictures  on  the  way." 


GB  Sales  Position 

L.  J.  Schlaifer  this  week  announced  his 
resignation  as  sales  manager  of  GB  Pictures, 
the  resignation  to  take  immediate  effect.  Mr. 
Schlaifer  for  years  was  western  district 
manager  for  United  Artists.  The  office  of 
A.  P.  Waxman,  advertising  and  publicity 
head,  said  no  successor  had  been  appointed. 
George  Weeks  is  the  GB  general  sales  man- 
ager. 

In  Hollywood,  Michael  Balcon,  produc- 
tion chief  from  London,  and  Arthur  A.  Lee, 
GB  vice-president,  said  they  are  prepared 
to  enter  upon  a  reciprocal  agreement  for 
American  stars  in  exchange  for  such  players 
as  Madeleine  Carroll,  Jessie  Matthews  and 
Conrad  Veidt. 

GB  plans  to  release  16  features  in  the 
American  market  next  season,  Mr.  Balcon 
said.  The  company  will  make  24  and  will 
distribute  14  additional  in  England  from  out- 
side producers. 

GB  will  hold  a  national  sales  convention 
late  in  April  in  Atlantic  City  or  Chicago. 


Tri' Ergon  Verdict 
''Gratifies '  Sarnoff 

"The  decisions  rendered  by  the  United 
States  supreme  court  on  the  so  called  fly- 
wheel patent  suits  are,  of  course,  gratify- 
ing," David  Sarnoff,  president  of  the  Radio 
Corporation  of  America,  said  this'  week. 

"The  supreme  court's  decisions  afford  sub- 
stantial relief  from  additional  litigation,  not 
only  to  the  Radio  Corporation,  but  also  to 
the  whole  motion  picture  industry,  which 
makes  extensive  use  of  the  apparatus  to 
which  the  patent  relates.  The  industry  is 
now  assured  that  it  can  continue  to  use  the 
recording  and  reproducing-  equipment  that 
has  been  furnished  it  by  RCA  without  lia- 
bility for  infringement  of  this  patent." 

Mr.  Sarnoff  said  he  is  equally  pleased 
with  the  supreme  court's  decision  on  the 
double  print  patent,  which  likewise  relieves 
the  industry  of  problems  and  difficulties  in- 
volved in  the  litigation  that  has  been  pend- 
ing on  this  patent. 

It  is  considered  unlikely  that  William 
Fox,  who  controls  the  Tri-Ergon  patents  in 
question,  will  avail  himself  of  his  last  legal 
resort  in  his  effort  to  establish  the  validity 
of  the  patents  through  a  petition  to  the  su- 
preme court  for  a  rehearing  of  the  case.  He 
lias  until  March  29  to  decide. 


Universal  City 
Celebrating  20 
Years  of  Films 

On  Friday  of  this  week,  March  15th,  will 
be  fittingly  celebrated  at  Universal  City, 
Calif.,  the  20th  anniversary  of  the  oldest 
motion  picture  plant  on  the  Coast,  Carl 
Laemmle's  Universal  studio,  opened  by  him 
with  a  golden  key  in  1915  and  still  his  mo- 
tion picture  production  domain. 

In  all,  more  than  2,250  feature  films  have 
been  made  at  the  Universal  plant,  and  many 
stars  of  today  and  yesterday  had  their  screen 
beginnings  there.  President  Laemmle  has 
invited  all  those  who  have  worked  at  the 
studio  during  those  20  years  to  be  his  guests 
at  a  special  luncheon,  and  all  those  who 
were  in  his  employ  in  1915  to  attend  a  re- 
ception. 

When  Universal's  production  center  moved 
from  Fort  Lee,  N.  J.,  in  1913,  it  occupied 
quarters  at  Gower  street,  in  Hollywood. 
Then  came  expansion  and  Isadore  Bernstein, 
general  manager  of  the  Universal  studio, 
purchased  the  Taylor  estate  and  began  build- 
ing a  studio,  layed  out  as  a  city,  and  con- 
taining the  first  electric  light  stage  and  first 
structural  steel  stage,  constructed  for  "Phan- 
tom of  the  Opera."  The  residential  section, 
in  October,  1914,  had  500  inhabitants,  in- 
cluding 75  Indians,  players  and  workers. 

Today,  with  modern  transit  facilities,  there 
are  only  19  inhabitants  of  Universal  City, 
which  is  located  five  miles  from  Hollywood 
and  13  miles  from  Los  Angeles.  The  studio 
today  has  its  own  fire  department,  a  police 
force  of  40,  hospital,  stables,  electric  light 
plant  and  water  power  system,  an  artificial 
lake  back  in  the  hills,  10  miles  of  roads,  350 
telephones,  eight  projection  rooms,  a  gym- 
nasium, nurseries  and  school  rooms.  The 
studio  employs  45  contract  players,  14  direc- 
tors, 24  scenarists,  13  producers  and  asso- 
ciate producers.  The  statistics  of  today  offer 
an  interesting  contrast  with  yesterday. 

The  players  who  have  trod  the  stages  of 
Universal  City's  sets  included  the  late  Lon 
Chaney  and  today's  Margaret  Sullavan,  the 
directors  included  Hobart  Henley  and  Frank 
Borzage.  Irving  Thalberg  was  once  man- 
ager of  Universal  City,  as  was  William 
Sistron.  The  list  of  pictures  is  long  and 
memory-laden,  running  from  Lon  Chaney's 
famous  "Hunchback  of  Notre  Dame"  down 
through  the  years  to  "Sutter's  Gold,"  on  the 
current  season's  schedule. 

Mr.  Laemmle  has  continued  as  president 
of  Universal,  and  since  1907,  Robert  H. 
Cochrane  has  been  vice-president.  Mr. 
Laemmle  again  this  week  denied  Universal 
has  been  sold. 


Filnn  Daily  Year  Book 
Appears  in  I  7th  Edition 

The  17th  edition  of  the  Film  Daily  Year 
Book,  annually  edited  under  the  supervision 
of  Jack  Alicoate,  publisher  of  Film  Daily, 
was  published  last  week.  The  volume  has 
1,088  pages,  and  its  contents  is  broken  down 
into  six  major  groups.  The  largest  section 
is  devoted  to  production  with  a  listing  of 
14,573  features  released  since  1915,  and  in- 
formation concerning  those  involved  in  the 
production. 


March     16,  1935 


MOTION    PICTURE  HERALD 


29 


CILLMORE  ASKS  LECITIAAATE  STAGE 
CIRCUIT  TO  EMPLOY  750  PL^YERS 


Equity  President  Charges  Waste 
and  Do-Nothing  Attitude 
Pernnitted  Theatre  to  Lose 
Road,  Playwrights,  Houses 

Waste  and  inefficienc}'  resulting  from 
lack  of  foresight  as  to  changing  conditions, 
competition  and  price  levels,  are  directly 
responsible  for  the  moribund  state  of  the 
legitimate  theatre  since  1930,  in  the  view 
of  Frank  Gillmore,  president  of  Actors' 
Equity  Association.  The  theatre,  Mr.  Gill- 
more  said,  never  has  been  able  to  coordinate 
its  component  parts,  to  gather  and  weigh 
estimates  of  conditions  and  probabilities, 
and  to  make  common  plans  to  meet  pre- 
dictable contingencies. 

Recognizes  Experimental  Nature 

"While  I  am  not  condoning  waste,  and  I 
believe  there  is  far  more  than  there  is  any 
need  for,"  Mr.  Gillmore  said,  "it  is  still 
true  that  a  certain  amount  of  what  might 
generally  be  considered  waste  is  due  to  the 
experimental  nature  of  the  theatre.  We  all 
know  of  the  musical  productions  in  which 
expensive  sets  and  costumes  are  junked  be- 
cause the  scenes  for  which  they  were  cre- 
ated were  eliminatd  or  so  changed  that  they 
no  longer  were  available.  Waste,  yes.  But 
to  tie  the  producer  to  the  idea,  or  set  of 
ideas,  with  which  he  first  approached  the 
production  would  probably  be  still  more  un- 
economic in  the  long  run." 

Mr.  Gillmore's  principal  charge  of  ineffi- 
ciency concerns  the  lack  of  foresight  of 
producing  managers.  There  Is  little  evi- 
dence, he  declared,  that  beyond  keeping 
a  production  or  two  ahead  of  the  current 
play  the  producers,  or  any  considerable 
number  of  them,  ever  make  any  real  plans 
for  the  theatre.  The  problem  of  making 
future  audiences,  or  even  of  keeping  those 
they  have  does  not  appear  to  have  oc- 
curred to  them,  Mr.  Gillmore  said. 

"They  sat  still  and  let  the  road  slip  from 
between  their  fingers  and  they  still  are  sit- 
ting there  waiting  for  it  to  come  back," 
he  charged. 

"As  recently  as  ten  years  ago,  when  there 
was  still  a  road,  although  even  then  it  was 
shrinking  fast,  there  were  men  in  the  the- 
atre who  had  made  considerable  fortunes 
from  building  and  operating  theatres  or 
from  making  productions.  It  would  have 
l)een  a  simple  matter  for  them,  or  some  of 
them,  to  form  a  committee  to  investigate 
conditions  and  to  make  such  plans  for  com- 
mon action  as  those  investigations  might 
have  warranted." 

Urged  Action  I  I  Years  Ago 

Mr.  Gillmore  scoffed  at  the  suggestion 
that  their  lack  of  action  might  have  been 
just  a  matter  of  oversight  by  busy  men. 
Eleven  years  ago,  he  recalled.  Equity 
brought  the  matter  to  the  attention  of  the 
Producing  Managers'  Association,  then  the 
representative  of  producing  interests,  and 


fairly  begged  its  members  to  take  action 
before  it  would  be  too  late. 

"But  these  producers,  opportunists  and 
individualists,  were  too  wrapped  up  in  cur- 
rent activities  or  in  the  rivalries  of  the  mo- 
ment to  pay  much  heed  to  the  future,  or 
even  to  consider  the  advisability  of  insur- 
ance against  possible  hard  times." 

Thus  the  one  night  stands,  the  split  week 
towns  and  even  the  week  stands  were  per- 
mitted to  fall  away  almost  unnoticed,  with 
apparently  no  thought  that  the  theatres  they 
neglected  then  might  not  be  available  later 
when  they  might  be  wanted. 

Mr.  Gillmore  said  that  an  example  of  the 
type  of  thinking  which  produced  this  situa- 
tion was  the  willingness,  expressed  in  action 
over  and  over  again,  to  spend  $1,000,000  or 
more  for  erection  of  a  theatre  without  giv- 
ing thought  as  to  who  would  occupy  it,  or 
making  any  special  effort  to  develop  good- 
will and  mutual  interest. 

Playwrights  Disappeared 

There  was  not  even  an  attempt  to  insure 
a  flow  of  material,  which  is  the  lifeblood 
of  the  theatre,  he  said.  Not  only  were  play- 
wrights not  encouraged,  but  so  many  ob- 
stacles were  put  in  their  way,  so  many 
needless  handicaps  created,  that  many  per- 
sons with  a  definite  gift  for  that  work 
drifted  out  of  it,  either  into  motion  pic- 
tures or  into  other  forms  of  literary  en- 
deavor. 

Five  years  ago  Equity  suggested  the  pos- 
sibility of  subsidizing  a  small  group  of 
dramatists  who  showed  definite  ability  and, 
by  assuring  them  of  an  income  of  $4,000 
or  $5,000  a  year,  guarantee  the  writing  of 
two  plays  by  each  in  a  year.  With  ten 
such  playwrights,  each  receiving  $4,000  an- 
nually, the  maximum  costs  would  not  have 
exceeded  $40,000'  and  20  plays,  possibly 
more,  would  have  been  produced.  If  frcMii 
these  20  there  had  come  but  one  success, 
the  original  investment  would  have  been 
met  and  a  handsome  profit  realized  in  ad- 
dition. 

"But  the  managers,  whatever  they  might 
have  thought  of  the  plan,  did  nothing," 
Mr.  Gillmore  went  on,  "and  the  drift  of  the 
ablest  theatre  writers  to  Hollywood,  which 
this  plan  had  been  devised  to  halt,  con- 
tinued at  an  accelerated  pace.  Many  able 
writers,  who  had  something  to  say  and 
were  competent  craftsmen,  have  been  lost 
to  the  legitimate  theatre  and  have  turned 
their  attention  to  the  pleasant  Inconsequen- 
tialities  of  the  motion  picture  industry,  to 
their  own  great  financial  profit — and  to  the 
Irreparable  loss  of  the  theatre.  And  many 
of  them  were  men  who  would  have  pre- 
ferred to  work  In  the  theatre.  If  any  reason- 
able basis  for  remaining  had  been  offered 
them." 

Mr.  Gillmore  said  that  what  applies  to  the 
dramatists  also  is  true  of  the  actors,  and  he 
insisted  that  many  known  to  him  personally 
would  have  been  happy  to  remain  in  the  legiti- 
mate theatre,  even  at  less  money  than  they  re- 
ceived from  motion  picture  work,  if  they  had 


Says  Twenty  Circuits  Could  Be 
Formed,  Three  or  Four  Cities 
in  Each,  with  Units  Starting 
New  Play  Every  Few  Weeks 

been  offered  sufficient  employment  to  assure 
them  of  a  livelihood. 

Thus  it  was  that  in  December,  1934,  there 
were  in  New  York  City  only  30  or  so  produc- 
tions, 27  in  all  the  rest  of  the  country. 

Mr.  Gillmore  declared  that,  badly  battered 
as  the  theatre  may  be,  its  people  still  have  re- 
sources if  they  are  prepared  to  use  them.  He 
suggested  that  all  the  forces  of  the  theatre 
gather  around  a  council  table  to  decide  just 
what  each  has  to  contribute,  is  willing  to  con- 
tribute— to  a  common  endeavor. 

As  an  initial  effort,  Mr.  Gillmore  recom- 
mended these  groups  consider  inauguration 
of  a  series  of  small  related  groups  or  cir- 
cuits of  theatres,  in  cities  of  like  popula- 
tion, reasonably  close  together  and,  at 
the  moment,  not  served  by  the  legitimate 
theatre. 

In  each  of  these  cities  on  a  certain  night, 
different  companies  would  open  simultaneously, 
each  in  a  different  play.  At  the  end  of  the  week 
each  company  would  progress  to  another  city 
on  the  circuit.  At  the  end  of  a  few  weeks  it 
would  return  to  its  starting  point  with  a  new 
play  and  this  would  then  be  sent  around  the 
circuit. 

There  is  space  for  at  least  20  such  circuits, 
embracing  three  or  four  cities  each,  without 
dislocating  any  of  the  present  touring  territory, 
he  pointed  out.  Employment  could  be  provided 
for  750  actors,  350  stage  hands,  musicians  and  a 
great  number  of  workers  allied  to  the  theatre, 
Mr.  Gillmore  said.  And  the  public  would  get 
good  plays  at  reasonable  prices. 


Federal  ylid  for 
Actors  May  Go  On 

If,  as  and  when  the  Federal  Emergency 
Relief  Administration  receives  further  funds, 
it  will  continue  its  sponsorship  of  theatrical 
activities  by  relief  administrations  in  those 
states  where  unemployed  actors  are  a  prob- 
lem, according  to  Washington  officials  of 
the  organization. 

There  is,  however,  no  consideration  be- 
ing given  any  suggestion  for  establishment 
of  a  nationwide  federal  project  of  this  na- 
ture. 

Relief  administration  officials  have  re- 
ceived a  number  of  suggestions  and  have 
conferred  with  Frank  Gillmore,  head  of 
Equity ;  Deputy  Administrator  William  P. 
Farnswortli  of  the  National  Recovery  Ad- 
ministration, and  others,  to  find  out  what 
projects  can  be  adopted  by  the  states. 

So  far  as  can  be  learned,  there  are  now 
about  twenty  12-person  companies  operating 
out  of  New  York  on  CCC  routes,  and  five 
from  Boston.  There  are  300  to  400  extras 
in  CCC  camps  in  the  Chicago  area,  some 
in  Los  Angeles,  and  a  few  in  San  Francisco 
and  Detroit. 


30 


MOTION    PICTURE  HERALD 


March    16,  1935 


THE  HOLLYWOOD  SCENE 


By  VICTOR  M.  SHAPIRO 
Hollywood  Correspondent 

FOR  the  first  time  in  many  months,  the 
S.  R.  O.  sign  is  being  tacked  over  box 
office  windows  along  the  local  theatre 
rialto.  This  business  spurt  is  almost  en- 
tirely due  to  studio  previews',  which,  de- 
signed to  get  audience  reaction,  are  now 
getting  audience  receipts  and  promoting 
more  business  than  even  the  larger  houses 
can  handle. 

Since  the  fading  into  oblivion  of  the  gala 
Hollywood  premiere  of  silk  top  hats  at  five 
dollars  a  hat,  top  rank  film  folk  have  taken 
to  previews  in  large  and  impressive  num- 
bers, and  find  it  a  trifle  less  of  a  strain 
on  the  pocket  book.  Exhibitors  also  have 
been  quick  to  capitalize  on  these  gratis  per- 
sonal appearances  of  stars  and  directors  and 
have  educated  their  neighborhood  trade  to 
expect  them. 

Competition  is  keen  among  local  show- 
men to  annex  the  good  pictures  for  preview- 
ing, each  trying  to  outdo  the  other  in  show- 
manship. Studios  reserve  from  50  to  600 
seats  for  the  press  and  production  personnel. 
The  company  selects  the  house  according  to 
its'  class  of  clientele  for  reactions. 

Autograph  seekers  do  not  stop  at  the  curb 
line  now,  but  purchase  admissions,  and  there 
are  one  or  two  previews  every  night,  some- 
times as  many  as  six. 

The  showmen  say  that  on  preview  nights 
their  houses  are  sold  out  as  early  as  7 :30 
in  the  evening. 

V 

Color  and  "Becky  Sharp" 

The  final  scenes  of  "Becky  Sharp"  are  now 
before  the  camera.  Soon  Technicolor's  new 
three-color  process  will  have  its  first  major  test. 

From  a  production  point  of  view,  this 
picture  has  proved  as  easy  to  nnake  in  tech- 
nicolor as  it  would  have  been  in  black  and 
white.  Most  of  the  early  problems  were 
conquered.  No  longer,  for  instance,  are 
excessively  hot  lights  needed  to  film  color. 
On  the  contrary,  on  the  "Becky  Sharp"  set 
less  lighting  was  required,  and  light  strain 
on  the  cast  was  not  as  great  as  on  ordinary 
sets.  Further,  it  was  definitely  established 
that  the  director.  In  this  case  Rouben 
Mamoullan,  was  able  to  work  more  quickly, 
as  less  time  was  needed  to  set  lighting 
arrangements. 

Whether  the  public  will  demand  color  here- 
after, remains  to  be  seen.  They  liked  color's 
forward  step  in  "La  Cucaracha,"  which,  it  is 
claimed,  has  played  to  more  persons  in  this 
country  than  any  black  and  white  short.  One 
thing  is  certain :  the  technicians  have  eliminated 
the  "microbes";  no  longer  does  the  jumpy  blur 
obtrude  as  it  did  in  early  pictures,  and  colors 
are  toned  down,  and  more  faithfully  repro- 
duced, particularly  the  crimsons. 

V 

News  Flashes 

With  grand  operas  and  operettas  pointing  to 
become  the  dominating  cycle  of  motion  picture 
production  in  the  near  future,  Paramount  scored 
a  scoop  last  week  in  the  purchasing  of  Victor 
Herbert's  life  story  along  with  more  than  500 


of  the  composers'  comixisitions,  preparatory  to 
an  all-star  musical  for  next  season's  program. 

*  it:  * 

William  Wright,  former  production  execu- 
tive at  Paramount,  has  joined  the  MGM  pro- 
duction forces  and  will  serve  as  an  assistant 

to  David  O.  Selznick. 

^    ^  ^ 

Clean  Fan  Copy  Urged 

J.  J.  McCarthy  and  Lupton  Wilkinson,  suc- 
cessor to  Jack  Lewis  as  director  of  public  rela- 
tions at  the  local  Hays  office,  addressed  a  full 
meeting  of  studio  publicity  executives  and  de- 
clared that  while  motion  picture  advertising  has 
been  cleansed  it  was  time  for  them  to  cooperate 
for  the  elimination  of  copy  that  gives  a  dis- 
torted idea  of  Hollywood  and  picture  folk. 

Mr.  Wilkinson  pointed  out  that  if  clean  pic- 
tures and  clean  advertising  have  paid  dividends 
at  the  box  office  it  follows  that  wholesome 
material  will  also  pay  dividends  for  the 
columns,  fan  magazines  and  other  media  that 

derive  circulation  from  copy  about  Hollywood. 

^    ^  ^ 

Following  a  preview  of  "Sequoia"  before 
more  than  300  state  and  county  forest  rangers 
in  Sacramento  last  week,  Merritt  B.  Pratt, 
state  Forester,  wired  the  MGM  studios  that 
in  their  opinion  it  was  the  finest  film  of  its  kind 
ever  made. 

*  *  * 

A  new  set  of  officers  to  direct  the  des- 
tiny of  the  Wampas  for  the  ensuing  year 
were  elected  last  week:  Oliver  Garver  was 
elected  president;  Maxwell  Shane,  vice- 
president;  LIndsley  Parsons,  secretary;  Wil- 
son Heller,  treasurer.  Those  elected  to 
serve  on  the  board  of  directors  are:  LeRoy 
Johnston,  Fred  Stanley,  Mark  Larkin,  Thorn- 
ton Sargent,  Sam  W.  B.  Cohn  and  Al  Par- 
menter. 

*  *  * 

Michael  Balcon  and  Arthur  Lee,  guiding 
forces  of  Gaumont-British,  arrived  in  town  last 
week  to  look  over  Hollywood  production,  sign 
American  players  and  make  arrangements  with 
Hollywood  producers  for  an  interchange  of 
stars  and  players. 

H=    *  ^ 

Henry  Duffy,  who  has  been  reckoned  one  of 
the  leading  legitimate  stage  producers  on  the 
coast  for  the  past  ten  years,  operating  theatres 
in  Oakland,  San  Francisco  and  Los  Angeles 
has  signed  a  long  term  contract  to  act  as  as- 
sociate producer  for  20th  Century  productions 

and  special  advisor  to'Darryl  Zanuck. 

*  *  * 

Universal  has  established  a  television  and 
radio  department  wherein  all  stock  players  will 
be  trained  for  broadcasting  and  will  partici- 
pate in  a  series  of  exploitation  broadcasts. 

Six  Films  Start,  Eight  Finished 

Six  new  productions  started  in  the  week. 
Eight  were  finished.  Warner  put  three  fea- 
tures in  work ;  Fox,  MGM  and  Chesterfield 
each  contributed  one. 

Eight  studios — Fox,  Columbia,  Radio,  War- 
ner, Roach,  Monogram,  Universal  and  MGM, 
each  with  one — account  for  the  completed  quota. 

The  three  started  at  Warner  are  "The  Far- 
rell  Case,"  "Men  on  Her  Mind"  and  "Stranded." 

Fox's  new  production,  "Man  Proposes,"  pre- 
sents James  Dunn,  Mae  Clarke,  Neil  Hamil- 
ton, Russell  Hopton,  Dorothy  Christy,  Dell 
Henderson,  Joseph  Crehan,  John  Sheehan,  Sid- 
ney Toler,  Warren  Hymer,  Stanley  Fields,  Ray- 


S.  R.  O.  SIGN  UP  AT  THEATRES 
THREE  -  COLOR  PROCESS  TESTED 
POINTING  TO  OPERA  FILM  CYCLE 
OLIVER   GARVER   HEADS  WAMPAS 

mond  Hatton,  Jack  LaRue,  Madge  Bellamy, 
Frank  Melton  and  Joe  Sauers. 

At  MGM  work  began  on  "Age  of  Indiscre- 
tion." The  cast  will  present  Paul  Lukas,  May 
Robson,  Madge  Evans,  Helen  Vinson,  David 
Jack  Holt  and  Ralph  Forbes. 

Chesterfield  started  "Circumstantial  Evi- 
dence," with  Shirley  Grey,  Chick  Chandler, 
Claude  King,  Lee  Moran,  Dorothy  Revier, 
Arthur  Vinton  and  Robert  Elliott. 

Fox  completed  shooting  on  "It's  a  Small 
World."  Spencer  Tracy,  Wendy  Barrie,  Ray- 
mond Walburn,  Virginia  Sale,  Astrid  Allwyn, 
Irving  Bacon,  Nick  Foran,  Charles  Sellon, 
Frank  McGlynn,  Sr.  and  Jr.,  Edward  Brady 
and  Harold  Minjir  compose  the  cast. 

"Eight  Bells"  was  transferred  to  the  cut- 
ting rooms  at  Columbia.  It  will  feature  Ann 
Sothern,  Ralph  Bellamy,  John  Buckler,  Frank- 
lyn  Pangborn,  John  Darrow,  Addison  Richards 
and  Charles  King. 

At  Radio,  active  work  was  completed  on 
"The  Informer."  It  presents  Victor  McLaglen, 
Heather  Angel,  Preston  Foster,  Margot  Gra- 
hame,  Wallace  Ford,  J.  M.  Kerrigan,  Joe 
Sauers,  Una  O'Connor,  Donald  Meek,  Maude 
Eburne,  J.  Farrell  MacDonald  and  Pat  Somer- 
set. 

Roach  Completes  Feature 

A  full  length  feature,  "Vagabond  Lady,"  was 
completed  at  Roach  Studios.  In  it  are  Robert 
Young,  Evelyn  Venable,  Reginald  Denny,  Ber- 
ton  Churchill,  Forrester  Harvey,  Frank  Craven, 
Ferdinand  Gottschalk  and  Dan  Crimmins. 

Monogram  completed  "The  Hoosier  School- 
master." The  complete  cast  lists  Norman  Fos- 
ter, Charlotte  Henry,  Dorothy  Libaire,  Sarah 
Paden,  Otis  Harlan,  Russell  Simpson,  William 
V.  Mong,  Fred  Kohler,  Jr.,  Tommy  Bupp, 
Wallace  Reid,  Jr.,  George  Hayes  and  Joe 
Bernard. 

Active  shooting  was  completed  at  MGM 
on  "Mystery  in  Room  309,"  formerly  titled 
"Order  Please."  The  cast  includes  Franchot 
Tone,  Una  Merkel,  Steffi  Duna,  Harvey 
Stephens,  Jenry  Kolker,  Charles  Starrett,  Louise 
Henry,  Harold  Huber,  Walter  Walker,  Leila 
Bennett  and  Wilbur  Mack. 

"The  Bride  of  Frankenstein,"  sequel  to  the 
"Frankenstein"  thriller,  was  finished  at  Uni- 
versal. The  extensive  cast  includes  Korloff, 
Colin  Clive,  Valerie  Hobson,  Elsa  Lancaster, 
Ernest  Thesiger,  E.  E.  Clive,  Una  O'Connor, 
Douglas  Walton,  Gavin  Gordon,  Dwight 
Frye,  Neil  Fitzgerald,  Lucien  Prival,  Harry 
Northrup,  Grace  Cunard,  Joseph  North  and 
Helen  Gibson. 

Warner  finished  "The  Case  of  the  Curious 
Bride." 


Ask  Assessment  Review 

The  Middleton  Theatre  Company  of  St. 
Louis  has  petitioned  the  board  of  tax  ap- 
peals in  Washington  for  a  reconsideration 
of  a  1929  income  tax  claim  and  penalty  of 
$6,011,  $4,007  as  tax  due  and  |2,003  for 
alleged  fraud. 


Receiver  Asks  Discharge 

Ben  L.  Hiedingsfeld,  receiver  for  the  Shu- 
bert  and  Cox  theatres  in  Cincinnati,  has 
asked  that  he  be  discharged,  following  filing 
of  his  final  report,  showing  balance  on  hand 
of  $746.53,  after  repayment  of  $6,413.50 
borrowed  for  taxes.  RKO  has  leased  the 
Shubert. 


READ  ALL 
ABOUT  IT 


1^ 


A! 


VoLXCIV   No.  32,252 


SATURDAY,  ! 


RUGGLES"  ONE  OF  BEST 


NJ.  DAILY  NEWS  GIVES 
'WGGlES"FOVR  STARS! 


By  KATE  CAMERON. 

(N.Y.  DaUy  New)) 


"Ruggles  of  Red  Gap,"  a  Paramount  production,  story  by  Harry 
Leon  Wilson,  screen  play  by  Walter  De  Leon  and  Harlan  Thompson, 
adaptation  by  Humphrey  Pearson,  directed  by  Leo  McCarey  and  pre- 
sented at  the  New  York  Paramount  Theatre. 


Ruggles 

Mrs.  Effie  Froud 


THE  CAST 

..  ChaHes  Laughton 
Mary  Boland 

tebert  troud   Charlie  Ruggles 

Mrs.  Judson   ZaSu  Pitcs 

Hon.  Geo-  Bassingwell     ...Roland  Young 
Sam   


Neil   Kenner   Leila  Hyams 

Ma  Pettingill    Maude  Eburne 

Charles  B.  Jackson        Lucien  Littlefield 

Jeff  Tuttle   James  Burke 

Mrs.  Chas.  B.  Jackson  ..  .  Leota  Lorraine 
Del  Henderson 


Laughton  as  "Riiggle 


Harry  Leon  Wilson's  wife  sued  him  for  a  divorce  in  1928  because  he 
lacked  a  sense  of  humor!  And  he  is  the  same  Harry  Leon  Wilson  who 
wrote  the  stories  about  Red  Gap  that  had  the  whole  country  laughing 
a  generation  ago.  Something  must 
have  gone  wrong  with  that  sense  of 
humor,  if  his  wife  really  believe 
that  he  had  none,  since  his  Red  Gap 
days,  for  "Ruggles  of  Red  Gap"  is 
as  funny  now  as  he  was  when  Wil- 
son first  created  him. 

Paramount  presented  their  new- 
est version  of  "Ruggles"  last  night 
with  Charles  Laughton  in  the  title 
role,  and  although  the  Wilson  clas- 
sic had  been  used  twice  before  as 
a  subject  for  silent  films,  the  talk- 
ing picture  version  is  one  of  the 
funniest  to  hit  the  screen  in  many 
months 

Laughton's  Acting  Perfect. 

Laughton's  representation  of  the 
gentleman's  man  who,  through  cir- 
cumstances over  which  he  had  not 
control,  was  transferred  from  the 
service  of  the  Earl  of  Bassingwell, 
whose  father  was  valeted  by  Rug- 
les'  father,  to  the  employ  of 
Egbert  Froud,  a  self-made  man  of 
the  wild  and  wooly  West,  is  a  joy 
to  behold  and  something  not  to  be 
missed. 

From  the  moment  Ruggles  is 
shown  faultlessly  serving  his  help- 
less master  in  a  Parisian  hotel,  at 
the  beginning  of  the  picture,  until, 
having  been  moved  like  a  pawn  in 
one  long  jump  from  France  to  a 
small  town  in  the  Northwestern 
part  of  the  United  States  to  serve 
the  newly  rich  and  vulgar  Frouds, 
the  servant  becomes  a  man,  Laugh- 
ton's  acting  is  perfect.  His  evolu- 
tion from  the  correct  English  ser- 
vant to  an  American  business  man 
IS  one  long  series  of  laughs.  There 
is  an  undercurrent  of  pathos  in 
these  situations  that  touches  the 


PARAMOUNT,NEWYORK 

"RUGGLES"  packs 
house  daily  to  top 
business  of  the  year ! 


I*osTvrir7aM  nriiiiaiii. 

The  supporting  cast  glistens 
with  the  names  of  brilliant 


Ruggles  of  Red  Gap 
Delightful  Comedy ! 

TORONTO,  Feb.  22-  As  invigor- 
ating as  a  spring  tonic,  the  comedy, 
"Ruggles  of  Red  Gap,"  the  feature 
picture  opening  yesterday  at  the 
Uptown  Theatre,  keeps  the  audience 
in  a  continuous  gale  of  laughter. 
Charles  Laughton,  as  an  English 
butler-valet,  is  priceless,  upholding 
the  traditional  dignity  of  English 
butlers  in  the  service  of  nobility  and 
equally  amusing  when  flung  into  the 
"lap  of  the  gods"  of  Red' Gap  society 
—  the  "one-horse"  town  of  the 
American  middle  West. 

The  play  is  based  on  Harry  Leon 
Wilson's  book,  and  Mary  Boland 
and  Charlie  Ruggles  plays  the  part 
of  the  nouveau  riche,  who  in  a  poker 
game  in  Paris  win  Ruggles,  butler 
of  Roland  Young,  an  honest-to- 
goodness  Earl.  Ruggle's  adventures 
in  Red  Gap,  where  he  loses  his  iden- 
tity as  a  butler-valet  and  is  mis- 
taken for  a  Colonel  of  the  Britisl 
Army,  are  responsible  for  one  long, 


UPTOWN,  TORONTO 

"RUGGLES"  is  Canada's 
smash  hit  of  the  seasoni 


V.' n  aTTiexvxiggTesibiJnTy^atTegrF^ 
less  funny,  defying  his  socially  am- 
I vj  f  r  iaa^^ — avr  1  r i  n 


CHARLES  LAUGHTON 
BRILLIANT  AS 
"RUGGLES" 

Able  Comics  Support 
Star  in  Fine  Film 

By  BLAND  JOHANESON. 

(N.Y.  Daily  yiirror) 


Two  good-time  Charlies  hit  a  close  one 
in  "Ruggles  of  Red  Gap" 

"RUGGLES    OF    RED    GAP,"  at 

the  Paramount. 
The  tops!  Don't  miss  it, 
A    Paramount    film.    Directed  by 

Leo  McCarey. 

THE  CAST. 

Ruggles   Charles  Laughton 

Mrs.  Effie  Froud    Mary  Boland 

Egbert  Froud  Charlie  Ruggles 

Mrs.  Judson   Zasu  Pitts 

Hon.  George  Bassingwell  Roland  Young 

Neil  Kenner    Leila  Hyams 

Ma  Pettinghill  Maude  Eburne 

Baby    Ricard  Cezon 

Charles  Belknap  Jackson    Lucien  Littlefield 

Jeff  Tuttle  James  Burke 

Mrs.  Charles  Belknap  Jackson  Leota  Lorraine 
Sam    Del  Henderson 

CHARLES  LAUGHTON,  loaded 
down  with  medals  as  a  dramatic 
actor,  plays  the  rowdy  comedy  role 
of  Ruggles  in  this  great  film  adap- 
tation of  the  Harry  Leon  Wilson 
story. 


He  gives  the  performance  of  his 
life.  It  is  a  performance  you 
mustn't  miss,  a  flawless  exhibition 
of  inspirational  and  technical  act- 
ing. I 

He  makes  you  rock  with  mirth 
and  bay  with  sympathy,  for  the 
story  has  pathos  as  well  as  humor. 
And  it  has  its  climax  in  one  of  the 
most  stirring  and  novel  scenes  ever 
filmed,  a  scene  best  left  as  a  sur- 
prise. 

IN  "RUGGLES  OF  RED  GAP" 
Laughton  appears  as  a  perfect  but- 
ler. His  sobriety  and  pomp  so  charm 
Miss  Mary  Boland,  a  tourist  in  Eu- 
rope, that  she  determines  to  take 
him  back  to  Red  Gap  to  awe  the 
pioneer  citizens.  Her  husband, 
Charlie  Ruggles,  wins  the  perfect 
butler  in  a  poker  game. 

Unable  to  subscribe  to  the  for- 
mality of  their  social  difference,  the 
new  master  quickly  makes  the  but- 
ler a  playmate.  This  causes  a  sad 
confusion  in  Red  Gap.  The  butler 
ultimately  absorbs  the  American 
spirit  of  independence  and  equality, 
after  a  series  of  wildly  hilarious 
misadventures  in  Red  Gap. 

THE  INCOMPARABLE  Laugh- 
ton is  supported  in  his  m^d  esca- 
pades by  a  cast  of  unusually  suc- 
cessful comedians.  It  includes  Rol- 
and Young,  Ruggles  and  Miss  Bo- 
land, Zasu  Pitts,  Maude  Eburne, 
Lucien  Littlefield,  Del  Henderson. 
Leila  Hyams  is  the  pretty  girl  in 
the  story,  and  a  gay  one. 

Laughton  is  so  very  good,  it  is 
spectacular  that  each  detail  of  the 
production  matches  his  excellence. 
He  has  great  support,  a  clever 
script,  brisk  and  spirited  direction, 
an  amusing  background  and  an  ex- 
hilarating story. 


LAUGHTON  ACHIEVES  NEW 
HONORS  IN  COMEDY  ROLE 

DENVER,  Feb.  21— The  third  film  version  of  Harry  Leon  Wilson's 
"Ruggles  of  Red  Gap"  reached  the  screen  of  the  Denham  theatre  Wednes- 
day to  the  accompaniment  of  a  round  burst  of  laughs.  The  comedy  and 
humorous  situations  of  that  beloved  and  distinctive  American  story  that 
never  will  grow  old  have  lost  none  of  their  sparkle  on  the  retelling  on 
the  screen. 


This  first  talking  version  (there'll 
probably  be  more  in  years  to  come) 
is  distinguished  by  the  appearance 
of  Charles  Laughton  in  the  role  of 
the  English  butler  who  found  Amer- 
ica to  his  liking 
because  it  is  a 
land  of  oppor- 
tunity. This 
role.  Laugh- 
ton's  first  since 
"The  Barretts 
of  Wimpole 
Street,"  gives 
the  able  actor 
his  first  oppor- 
tunity to  dis- 
play his  ability 
at  handling 
light  comedy 
situations,  as 
di  stinguished 
from  the  lusty 
Rablaisian  sort 
found  in  "The 
Henry  VIII."  In 


Charle.s  Laughton 

Private  Life  of 
vimvof  this  char- 


acterization and  the  other,  it  is  safe 
to  say  that  Laughton  emerges  as  a 
polyphased  star  whose  career  is 
unique  among  present-day  figures. 

Laughton  is  surrounded  by  an 
able  cast,  each  member  of  which  is 
noted  for  able  comedy  characteriza- 
tions. Charle  Ruggles,  Mary  Bo- 
land, Roland  Young  and  Zasu 
Pitts  make  up  the  supporting  com- 
pany with  Leila  Hyams  appearing 
in  dazzling  manner  in  a  few  of  the 
sequences.   Only  Miss  Pitts  falls 


DENHAM,  DENVER 
"RUGGLES"  does  big- 
gest business  in  over' 
six  months! 


ing  laugns. 

The  story  itself  is  well  told  and 
easy  to  follow.  A^_few-iTicid^::::^jTave|^ 


PA  R  A  MO  UN  T 


U  R  E 


1 


VRCH  2,  1935 


THREE  CENTS 


MOVIES  EVER  PRODUCED 

Ruggles  of  Red  Gap"  is 
Top  Comedy  of  This  Year 


:ory  of  Engligh  Valet  Imported  to  Wild  Western  Town 
Is  Filled  With  Laughs— it's  at  the  Broad. 

3LUMBUS,  March  2 — This  is  going  to  be  a  rave  review.  It  probably 
ill  include  a  half-dozen  weaker  synonyms  for  the  word  "swell"  in 
scribing  "Ruggles  of  Red  Gap."  And  if  it  makes  you  drop  whatever 
u're  doing  at  the  moment  and  hurry  to  Loew's  Broad,  it  will  have  accom- 

ished  its  purpose.   

"Ruggles  of  Red  Gap"  is  recalled 
thousands  of  readers  and  play- 
ers with  reminiscent  chuckles.  It 
ould  delight  its  old  friends  in  its 
esent  flicker  form,  should 
i  V  e  those  unfamiliar  with 
  the  story 


Bit  of  0.  K. 


larles  Laughton 


an 

hour  of  hearty 
laughter. 

It  is,  without 
question,  the 
best  adult  cin- 
ema comedy  of 
1935  so  far.  I 
am  quite  confi- 
dent that  I  will 
be  able  to  repeat 
that  line  on  De- 
cember 31. 

Although  its 
principal  virtue 
is  turning  a 
grand  farce  into 
a  grand  photo- 
play, it  is  also  a 
personal  tri- 
umph for 
Charles  Laugh- 
ton,  an  idol  of 
mine  since  he 
first  flashed  on 
the  screen. 


/fR.  LAUGHTON,  with  shrewd 
-I  brilliance,  plays  the  role  of 
uggles,  the  conventional  English 
»let  imported  to  Red  Gap,  a  small 
estern  town,  in  1908.  It  is  a  dif- 
:ult  part  for  the  movies,  calling 
ir  a  grown  man  to  be  somewhat 
himsical,  somewhat  "cute."  It 
•uld  have  soured  so  easily  but  it 
;ver  does  under  Laughton's  mas- 
irful  shading  of  every  situation. 
His  comedy  scenes  are  polished  to 
srfection.  His  reciting  of  Lin- 
)ln's  Gettysburg  Address  is  a  cin- 
na  classic  which  will  make  you 
•emble  with  its  beauty.  His  final 
ideout  is  a  bit  of  rare  human 
armth  rarely  encountered  on  the 
:reen. 

When  you  recall  that  this  fellow 
the  same  actor  who  portrayed  the 
n\  father  in  the  "Barretts  of  Wim- 


BROAD,  COLUMBUS 

Biggest  gross  of  the 
/ear  with  "RUGGLES" 


01  "ine  I'rivate  juiie,  me 
'Payment  Deferred," 


Laughton  Amazing  in 
''Ruggles  of  Red  Gap" 

MIAMI  BEACH,  February  25— 
Charles  Laughton's  command  of 
histrionics  is  phenomenal.  Appar- 
ently he's  a  master  of  any  mood.  He 
can  creep  into  any  character,  look 
around,  understand  not  only  the 
person  he  portrays  but  the  signifi- 
cant relation  of  the  role  to  the  total 
production — and  then  produce  ex- 
actly the  necessary  impression.  His 
cinema  roles  have  revealed  an  amaz- 
ing versatility  of  characterization. 


Charlie  Kiiggics  loses  his  handle-barn 

This  latest  portrait,  carefully 
drawn  in  comedy  lines,  but  never 
caricatured,  is  as  different  from  his 
"Henry  the  Eighth"  as  Henry  was 
from  sadistic  Daddy  Barrett  in  "The 
Barretts  of  Wimpole  Street." 
There's  no  questioning  of  his 
dominance  of  the  picture,  by  virtue 
of  his  supreme  gift  for  portraying 
quiet  rich  humor  as  well  as  the  extra 
footage  his  part.  This — even  in  the 
presence  of  a  battery  of  such  ace 
comics  as  Charlie  Ruggles,  Mary 
Boland,  Roland  Young  and  Zasu 
Pitts.  Ever  since  he  played  that 
brief  but  hilarious  skit  in  "If  I  had 
a  Million,"  Laughton  has  wanted  to 
do  another  comedy  role.  Here  it  is, 
the  title  role  of  Ruggles,  a  gentle- 
man's gentleman,  who  gradually 
breaks  through  his  cocoon  of  tradi- 
tions under  the  warming  influence 
of  free-'n-easy  Westerners  and 
emerges  a  free  man  —  and  does 
Laughton  go  to  town  with  it! 


COLONY,  MIAMI  BEACH 
"RUGGLES"  opened  to 
biggest  gross  in  the 
history  of  the  theatre! 


lasi  iSiiUL  or  i^narne  jvuggJca  peep- 
ing through  a  door  at  the  shy  ro- 


CHARLES  LAUGHTON  IS 
LEAD  IN  GREAT  FILM! 

By  MAt  TINEE 

(Chicago  Tribune) 

"Ruggles  of  Red  Gap"  Produced  by  Paramount 

Directed  by  Leo  McCarey         Presented  at  the  Roosevelt  Theater 

THE  CAST. 

Ruggles   Charles  Laughton   Earl  of  Burnstead  Roland  Young 

Mrs.  Effie  Froud    Mary  Boland   Nell  Kennct  Leila  Hyams 

ligbcrt  Froud  Charlie  Ruggles   "Ma"  Petcinghill   Maude  Eburoe 

Mrs.  Judson   Zasu  Pitts    Charles   Belknap-Jackson. ...Lucien  Littlefield 

Mrs.  Charles  Belknap-Jackson  Leoia  Lorraine 


Crowds  jamming  the  lobby  of  the  Roosevelt  Theatre  at  the  opening  of 
"Ruggles  of  Red  Gap" 


Good  Morning! 

One  of  the  best  pictures  that's 
ever  come  to  this  man's  town  is  over 
at  the  Roosevelt! 

"Ruggles  of  Red  Gap"  is  the 
name.  Adapted  from  Harry  Leon 
Wilson's  beguiling  yarn  of  some 
years  back. 

This  is  the  first  film  in  which 
Charles  Laughton  has  played  a 
straight  comedy  part.  It's  the  one 
which  lured  him  away  from  the 
"David  Copperfield"  lot  and  the  role 
of  Micawber.  It's  grand  entertain- 
ment built  on  sound  psychology.  A 
remarkable  thing  about  the  piece 
is  that  all  of  the  characters  are  in- 
trinsically, nice  people. 

Sir  James  Barrie  placed  his  im- 
peccable butler  "The  Admirable 
Crichton"  on  a  desert  isle — and  re- 
vealed what  changes  in  environment 
may  do  to  a  man.  Mr.  Wilson  pro- 
jects his  son  of  a  gentleman's  gen- 
tleman from  the  stuffy  atmosphere 
of  a  London  ancestral  home  to  the 
heart  breezes  of  Red  Gap,  Washing- 

The  scene  in  which  Ruggles  re- 
cites Lincoln's  Gettysburg  Address 
just  rips  you  to  pieces.  There  he 
stands,  this  fat,  wistful  English- 
man, amid  a  crowd  of  Americans — 


ROOSEVELT,  CHICAGO 
"RUGGLES"  smashes 
through  to  top  business 
in  this  house  of  hits! 


what  LiTncoTn  saia  at  Gettys- 
burg. ' 


Chas.  Laughton  Stars 
in^'Ruggles  of  RedGap'' 

CINCINNATI,  Feb.  23-The sin- 
ister characters  of  Hollywood  ap- 
pear to  have  been  granted  a  general 
amnesty.  Over  at  the  Palace  the 
menacing  Edward  G.  Robinson  is 
playing  a  succulent  comedy  role  in 
"The  Whole  Town's  Talking"  while 
at  Capitol  one  finds  the  erstwhile 
brutish  Charles  Laughton  dallying 
in  similarly  toothsome  bit  of  tom- 
foolery in  "Ruggles  of  Red  Gap." 

At  the  first  glance  the  rotound 
Laughton  appears  to  have  stumbled 
onto  a  very  unpromising  role,  but 
once  one  sees  the  spirit  and  zest  with 
which  he  enters  i«to  the  misgivings 
fade.  It  is  really  farce  heavily  laden 
with  hokum,  but  Laughton,  Roland 
Young,  Charles  Ruggles,  Mary  Bo- 
land and  Zasu  Pitts  make  it  seem 
more  important  and  funny  than  it 
really  is. 

"Ruggles"  is  worth  one  look  and 
the  opening  episode,  in  which  Roland 
Young    informs    his    butler,  Mri 


CAPITOL,  CINCINNATI 

"RUGGLES"  does  two 
top-weeks'  business  in 
one  week! 


n  ^mim  ui  uraw  pOKtir  Liie  evening 
before  and  had  changed  hands.  i6 
worth  se\ 


w  n 


34 

Dual  Feature  Tilt 
Features  Luncheon 
Of  National  Board 

Hot  words  marked  the  closing  session  of 
the  eleventh  annual  conference  of  the  Na- 
tional Board  of  Review  in  New  York  on 
Saturday  when,  at  the  annual  luncheon, 
William  A.  Lewin,  chairman  of  the  motion 
picture  division  of  the  National  Council  of 
Teachers'  of  English,  attacked  double  bill- 
ing, and  Edward  A.  Golden,  general  sales 
manager  of  Monogram  Pictures,  made  an 
unscheduled  speech  in  defense  of  the  prac- 
tice, charging  that  Mr.  Lewin  was  unwar- 
rantedly  "mixing  an  economic  with  a  moral 
issue." 

"Dr.  Lewin's  statements,"  said  Mr.  Golden, 
"strike  at  the  very  vitals  of  independent  pro- 
duction. Abolish  double  featuring  and  you  abol- 
ish the  independent  and  all  that  his  existence 
means  to  competition  and  growth  within  the 
industry."  Dr.  Lewin  had  referred  to  exhibi- 
tors who  practice  twin  billing  as  "the  most 
pernicious  race  of  vermin  the  Lord  ever  suf- 
fered on  the  face  of  the  earth." 

The  National  Board's  conference  opened  on 
Thursday  at  the  Hotel  Pennsylvania,  with  Dr. 
Frederic  M.  Thrasher,  associate  professor  of 
education  at  New  York  University,  presiding. 
Several  hundred  delegates  were  on  hand 
throughout  the  meetings.  At  the  opening  ses- 
sion the  chief  topic  was  "What  Are  the  Movies 
Up  Against?"  and  the  majority  of  delegates 
decried  censorship  and  interference  by  minor- 
ity groups.  Speakers  included  Howard  S.  Cull- 
man, operating  receiver  for  the  Roxy  theatre 
in  New  York,  who  spoke  on  "Popular  Art  and 
Profits" ;  Margaret  G.  Maygora,  chairman  of 
the  motion  picture  division  of  the  Long  Island 
Federation  of  Women's  Clubs,  who  talked 
about  "Legal  Censorship" ;  Dr.  Worth  M. 
Tippy,  e-xecutive  secretary  of  the  Federal  Coun- 
cil of  Churches  of  Christ  in  America,  whose 
talk  was  titled  "Indirect  Censorship,"  and  Dr. 
Francis  D.  Tyson,  University  of  Pittsburgh,  on 
"Organized  Minorities  and  the  Masses." 

On  Friday  the  morning  session  was  devoted 
to  three-minute  talks  by  speakers  who  after- 
ward conducted  open  forums  on  their  subjects. 
Among  these  were  talks  on  "Theatre  Contact 
and  Cooperation,"  by  Mort  Blumenstock,  direc- 
tor of  advertising  of  Warner  Theatres ;  "Mo- 
tion Picture  Legislation,"  by  James  P.  Cun- 
ningham, news  editor  of  Motion  Picture 
Herald;  "The  Church  Interest  in  Community 
Motion  Picture  Activity,"  by  Mrs.  James  F. 
Looram,  chairman,  motion  picture  bureau  of 
the  International  Federation  of  Catholic  Alum- 
nae ;  "Reviewing  or  Judging  Films,"  Walter 
Spearman,  president  of  the  Charlotte,  N.  C, 
Better  Films  Committee ;  "Special  Film  Show- 
ings," Mrs.  James  A.  Craig,  Jacksonville,  Fla. 

Saturday  brought  the  conference  to  a  close 
with  a  talk  by  Mayor  Fiorello  H.  LaGuardia 
of  New  York,  who  urged  legislation  providing 
special    sections    for    unaccompanied  children. 

Approximately  1,500  attended  the  annual 
luncheon.  Speakers  included,  in  addition  to 
Mayor  LaGuardia,  Howard  Dietz,  advertising 
and  publicity  director  of  Metro-Goldwyn- 
Mayer ;  Herbert  Brownell,  New  York  state 
assemblyman ;  the  Rev.  Thomas  L.  Harris,  of 
the  Philadelphia  Catholic  archdiocese;  LeRoy 
E.  Bowman,  director  of  leadership  training  of 
the  United  Parents'  Association,  and  John  Col- 
lier, United  States  Commissioner  of  Indian 
affairs  and  an  officer  of  the  National  Board. 
Dr.  George  W.  Kirchwey,  chairman  of  the 
board,  acted  as  toastmaster. 

Also  at  the  speakers'  table  were  Gladys 
Swarthout,  Irene  Rich,  George  Bancroft,  Wal- 
ter Connolly,  Blanche  Sweet,  Rudv  Vallee  and 
Otto  Harbach. 


MOTION    PICTURE  HERALD 

Ontario  Club  Sees  Films 
Produced  for  "Lower  Types" 

Motion  pictures  are  produced  with  a 
tendency  to  cater  to  lower  types  of  people, 
recently  declared  Rev.  W.  H.  Robarts,  rec- 
tor of  Christ  Church,  at  a  meeting  of  the 
Lions  Club  of  Petrolia,  Ontario,  Canada. 
Jack  Sullivan,  another  speaker,  contended 
there  has  been  a  great  improvement  in  the 
quality  of  film  product  in  the  past  seven 
months. 

J.  W.  Kelly,  Bell  Telephone  Company 
branch  manager,  declared  that  75  per  cent 
of  the  pictures  shown  in  Petrolia  are  not 
fit  for  children  to  see.  Another  member, 
H.  W.  Dowling,  said,  "There  should  be  no 
discrimination  between  adults  and  children. 
If  a  film  isn't  decent  for  children  to  see,  it 
isn't  decent  for  adults." 

Flint  Exhibitors 
Agree  on  Dual  Ban 

Exhibitors  in  Flint,  Mich.,  have  agreed 
to  put  their  double  billing  ban  into  effect 
on  April  1,  the  agreement  calling  for  use 
of  one  twin  bill  program  weekly.  Exhibitors, 
however,  may  also  show  a  "guest"  picture 
on  one  program  each  week,  but  no  double 
bills  may  be  shown  on  Sundays. 

Filing  of  an  appeal  by  the  six  major 
distributor  defendants  in  the  Perelman 
double  feature  suit  in  Philadelphia  from  the 
federal  court's  decision  finding  contract  re- 
strictions on  dual  billing  illegal,  is  being 
delayed  pending  preparation  of  the  decree  in 
the  case. 

Van  Dyke,  Stromberg  on 
Dais  at  AMPA  Luncheon 

Guests  of  the  New  York  Associated  Mo- 
tion Picture  Advertisers  at  their  luncheon 
on  Thursday  at  the  Motion  Picture  Club  on 
Broadway  were  to  include  W.  S.  Van  Dyke, 
MGM  director ;  Hunt  Stromberg,  Metro 
producer ;  Irene  Dunne,  Radio  star ;  Ben 
Bernie ;  Rochelle  Hudson,  Fox  player ;  Den- 
nis King,  "Pinky  Tomlin,"  song  writer ; 
William  A.  Brady,  stage  producer;  Sylvia 
Froos,  John  Fogarty,  Vi  Bradley  and  Leon 
Novarro.  Others  to  be  on  the  dais  were 
Arthur  Tracy,  Patsy  Flick,  Frances  Good- 
rich and  Albert  Hackett,  Edwin  Marin, 
Maria  Rasputin,  Hi  Mayer. 


Crosby  Aids  Missionaries 

Bing  Crosby  has  given  to  charity  $10,000 
worth  of  singing.  He  made  four  records  for 
the  Catholic  Missionary  Society,  the  sale 
of  which  will  raise  funds  for  missionary 
work.  The  records  are  "Holy  Night," 
"Adeste  Fidelis"  and  two  other  sacred 
songs.  The  Decca  record  company,  Georgie 
Stoll  and  his  orchestra,  and  Recordings, 
Inc.,  also  donated  their  services. 


Locke  Is  Lubitsch  Assistant 

Eric  Locke,  one-time  production  manager 
and  assistant  director  for  Ernst  Lubitsch, 
and  more  recently  a  company  business  man- 
ager at  Paramount,  has  been  made  produc- 
tion assistant  to  Mr.  Lubitsch  as  managing 
director  of  Paramount  production.  Chand- 
ler Sprague  continues  as  story  aide. 

On  "Photoplay"  Sales  Staff 

Ernest  Shomo,  formerly  of  the  Chicago 
staff  of  Physical  Culture  Magazine,  has  been 
appointed  to  the  sales  staff  in  Chicago  of 
Photoplay  Magazine. 


March     16,  1935 


Mayer  IV arns  of 
Danger  to  Studios 

In  Merriam  Bills 

While  the  House  of  Representatives  at 
Washington  last  week  was  digesting  the  pro- 
visions of  the  Pettengill  anti-block  booking 
bill,  the  flood  of  tax  bills  in  state  legisla- 
tures throughout  the  country  continued. 

In  California  Governor  Merriam  was  a  guest 
of  the  Los  Angeles  Chamber  of  Commerce  at 
a  luncheon  at  which  Louis  B.  Mayer  and  others 
pointed  out  the  danger  to  the  industry  of  many 
of  the  pending  bills.  Answering  protests  of 
independents,  Senator  Keough  said  that  if  un- 
affiliated theatre  men  can  show  they  come  un- 
der the  provisions  of  the  measure  he  will  amend 
his  bill  setting  a  license  fee  for  each  unit  oper- 
ated by  a  chain  organization  outside  the  county 
where  it  has  its  headquarters. 

A  bill  in  the  Georgia  legislature  would  bring 
the  entire  industry  in  that  state  under  jurisdic- 
tion of  the  state  public  service  commission. 

In  Illinois  a  state  censorship  bill  was  intro- 
duced. A  state  board  of  five  members  would 
abolish  all  city  censor  boards. 

Surprise  bills  to  impose  a  4  per  cent  tax  on 
gross  business  of  film  houses  in  Kansas  and  a 
10  per  cent  tax  on  admissions  were  defeated. 
A  Senate  bill  to  legalize  Sunday  shows  was 
killed  in  committee.  The  legislature  adjourned 
without  passing  any  adverse  film  legislation, 
while  two  bills,  one  allowing  sale  of  films  be- 
fore censor  approval,  the  other  prohibiting  en- 
durance contests,  were  passed  in  the  industry's 
favor. 

Out-of-state  corporations  doing  business  in 
Louisiana,  but  having  a  net  income  of  less  than 
$3,000  from  sources  within  the  state,  do  not 
have  to  pay  taxes  under  a  new  income  tax  law. 

In  Maryland  a  bill  to  double  license  fees  for 
theatres  also  specifies  an  additional  tax  on 
circuits. 

Representative  Thomas  A.  Dorgan's  bill  to 
prevent  attendance  by  persons  under  20  years 
of  age  at  theatres  in  buildings  where  liquor  is 
sold  was  defeated  in  the  Massachusetts  House. 

In  Missouri  a  heavy  tax  on  theatre  admis- 
sions was  believed  to  have  been  circumvented 
in  the  House  by  preliminary  passage  of  a  2 
per  cent  sales  levy. 

A  bill  has  been  introduced  in  the  New  York 
Assembly  making  it  a  misdemeanor  to  fail  to 
give  a  benefit  performance  in  a  theatre  at  the 
time  and  place  printed  on  a  ticket  without  re- 
funding moneys  paid  therefor.  Another  bill 
would  permit  children  between  5  and  16  to  at- 
tend specially  censored  pictures,  during  certain 
restricted  hours,  without  escort  provided  a  seat 
is  obtainable  for  each  child  and  the  theatre 
maintains  a  matron  for  each  group  of  75  chil- 
dren.   Theatres  would  pay  $10  annually. 

Business  concerns  in  New  York  City  last 
week  were  warned  by  Comptroller  Frank  J. 
Taylor  that,  despite  the  fact  the  city  recently 
passed  a  2  per  cent  sales  tax,  the  tax  of  one- 
tenth  of  1  per  cent  on  gross  receipts  is  still 
in  effect  and  the  first  payment  is  due  Friday. 

Another  censor  bill  in  Ohio  would  tax  the 
first  reel  $5  and  each  additional  reel  $3.  The 
present  fee  is  $1.  A  drive  is  being  conducted 
by  the  Ohio  Independent  Theatre  Owners  in 
behalf  of  a  ban  on  designated  playdates.  Two 
other  bills,  one  calling  for  restoration  of  the 
10  per  cent  ticket  tax  and  the  other  requiring 
an  operator  for  each  projection  machine,  are 
being  fought. 

Regular  film  shows  will  be  permitted  on  Sun- 
days after  3  P.  M.  in  Oregon  if  a  bill  now 
up  before  the  legislature  is  passed. 

A  film  measure  that  came  out  of  committee 
in  Pennsylvania  would  place  a  10  per  cent  tax 
on  admissions. 

The  South  Carolina  House  defeated  a  state 
censorship  measure. 


March     16,  1935 


MOTION    PICTURE  HERALD 


35 


THE  CUTTING  ROOM 


Advance  outlines  of  productions  nearing 
completion  as  seen  by  Gus  McCarthy  of 
Motion  Picture  Herald's  Hollywood  Bureau 


MARK  OF  THE  VAMPIRE 

MGM 

The  production  trend  is  taking  an  experi- 
mental swing  back  towards  shocker-shudder 
pictures.  "Mark  of  the  Vampire"  is  one  of  the 
few  now  in  work.  As  the  title  graphically  in- 
dicates, the  production's  major  entertainment 
is  that  which  first  results  in  chills  and  thrills, 
the  scary  elements  being  contrasted  with  love 
interest  and  comedy  that  comes  in  situations, 
action  and  dialogue. 

The  story  is  based  on  a  novel,  "Vampires  of 
Prague,"  authored  b)'  Guy  Endore,  a  specialist 
in  this  character  of  writing,  and  Bernard  Schu- 
bert. The  screen  play  is  by  Sainuel  Kraft  and 
John  Balderstone.  Tod  Browning,  who  made 
practically  all  the  Lon  Chancy  thrillers,  is 
directing. 

The  locale  is  Central  Europe.  As  the  story 
unfolds,  with  one  horror  murder  and  attack 
following  another,  the  populace  cling  to  an  old 
superstition  and  wear  sprigs  of  wolf-claw  herb 
to  insure  immunity.  The  belief  persisting  that 
persons  who  have  been  dead  for  years  return 
in  the  form  of  vampires  to  wreak  devilish  cruel- 
ties, results  in  a  series  of  weird  and  eerie 
situations  that  culminate  in  a  surprising  but  re- 
vealing climax. 

The  cast  selected  is  of  unusual  value  for  this 
kind  of  attraction.  It  presents  Lionel  Barry- 
more  in  one  of  the  rarest  roles  of  his  career, 
as  the  one  who  eventually  solves  the  riddle. 
No  description  is  necessary  as  to  who  and  what 
Bela  ("Dracula")  Lugosi  is.  The  romantic 
theme  is  carried  by  Elizabeth  Allen,  recently  in 
"Copperfield,"  and  Henry  Wadsworth.  The 
veteran  character  players,  Lionel  Atwill  (now 
in  "The  Devil  in  Woman")  and  Jean  Hersholt, 
are  presented,  and  a  newcomer,  Carol  Borland, 
makes  her  debut  on  the  screen.  Others  who 
will  be  seen  are  Donald  Meek,  Jessie  Ralph, 
Ivan  Simpson,  Leila  Bennett,  June  Gittelson, 
Holmes  Herbert  and  Michael  Visaroff. 


IT'S  A  SMALL  WORLD 

fox 

In  title  significance,  story  content,  personnel 
and  other  credits  of  this  production,  there  is 
much  readily  discernible  showmanship  merit  to 
back  up  the  feature's  entertainment  worth.  The 
predominating  commercial  and  entertainment 
assets  are  unusual  comedy  and  love  interest. 
Characters  all  being  human  and  the  situations 
such  as  might  happen  to  anyone,  the  locale  a 
southern  hick  town,  it's  the  yarn  of  an  auto 
crash  which  leads  its  participants,  a  glib  young 
lawyer  and  a  headstrong  girl,  through  a  series 
of  excitng  comical  adventures  that  lead  to 
understanding  romance. 

Adapted  from  the  original  story,  "Highway 
Robbery,"  the  screen  play  is  by  Sam  Hellman 
and  Gladys  Lehman,  both  of  whom  are  credited 
with  many  successful  features,  the  last  of  which 
"The  County  Chairman,"  they  did  in  collabora- 
tion. Similarly,  the  director,  Irving  Cummings, 
has  made  many  outstanding  attractions,  his 
latest  credit  being  "The  White  Parade." 

More  than  usual  potential  interest  attaches 
itself  to  the  cast.  In  the  lead  roles  it  teams 
Spencer  Tracy,  last  seen  in  "Marie  Galante," 
with  a  newcoming  screen  personality,  Wendy 
Barrie,  an  English  miss  who  was  featured  in 
"Henry  VIII."  The  next  most  important  role, 
that  of  the  small   town   super-monopolist,  is 


played  by  Raymond  Walbiirn,  remembered  for 
his  performance  as  the  veteran  tout  in  "Broad- 
way Bill."  Also  to  be  seen  are  two  players 
whose  current  work  has  created  a  good  audi- 
ence impression ;  Charles  Sellon,  the  surprise 
of  "Bright  Eyes,"  and  Astrid  AUwyn,  who 
contributed  an  effective  bit  to  "One  More 
Spring."  Others  to  be  seen  are  Irving  Bacon, 
in  "Pursuit  of  Happiness"  and  "Lady  for  a 
Day" ;  Nick  Foran,  the  cop  in  "One  More 
Spring" ;  Frank  McGlynn,  famed  for  his  por- 
trayal of  "Abraham  Lincoln,"  and  his  son, 
Frank  Jr.,  Virginia  Sale  and  Bill  Gillis. 

Unique  comedy  being  the  feature's  prime 
motivating  factor,  that  seems  to  be  the  quality 
to  concentrate  upon,  in  addition  to  cast  names. 


MYSTERY  IN  ROOM  309 
(Formerly  "Order  Please") 
MGM 

All  the  action  in  this  production  takes  place 
within  the  walls  of  a  ritzy  metropolitan  hotel. 
The  story  is  a  combination  of  comedy,  mys- 
tery, drama  and  giddy  romance.  It  is  about 
a  lonely,  wealthy  young  farmer  bachelor  who 
came  to  New  York  in  search  of  a  brunette 
wife.  He  found  that  a  wisecracking  blonde 
phone  operator  preferred  him.  Stumbling 
across  a  murder,  he  is  forced  against  his  in- 
clinations to  turn  amateur  detective,  and  with 
the  aid  and  hindrance  of  the  blonde  he  solves 
the  crime  and  finds  the  killer  before  he  can 
proceed  along  the  road  to  romance. 

The  feature  is  adapted  by  Frank  Davis  from 
a  stage  play  written  by  Edward  C.  Carpenter. 
It  is  being  directed  by  Jack  Conway,  whose 
versatility  is  attested  by  such  recent  produc- 
tions as  "Viva  Villa,"  "The  Gay  Bride,"  and 
"Girl  from  Missouri." 

A  cast  of  better  than  standard  interprets  the 
yarn.  Franchot  Tone,  now  in  "Lives  of  a 
Bengal  Lancer,"  is  the  leading  player,  with 
Una  Merkel  as  the  flip  phone  girl  who  gets  him 
into  and  out  of  so  much  excitement.  As  is 
typical  with  this  type  of  comedy  mystery  stories, 
practically  everyone  in  the  cast  is  a  suspect. 
Suspicion  falls  chiefly  upon  Conrad  Nagel,  with 
Steffi  Duna,  currently  in  the  sensational  "La 
Cucaracha,"  being  involved  in  the  mystery  and 
intrigue  and  functioning  as  the  third  angle  to 
the  Tone-Merkel  aff^air.  Listed  among  the 
supporting  players  are  Harvey  Stephens,  Charles 
Starrett,  Henry  Kolker,  Louise  Henry,  Harold 
Huber,  Judith  Voselli,  Walter  Walker,  Leila 
Bennett,  Wilbur  Mack  and  Tom  Dugan._ 

As  the  production  gives  a  glamorous  insight 
into  the  lives  of  colorful  characters  as  they 
meet  in  a  large  hotel,  the  picture  should  be 
productive  of  a  brand  of  showmanship  fully 
capitalizing  the  worth  of  story  and  cast  values. 

THE  INFORMER 

Radio 

Essentially  this  is  a  melodrama  of  treachery. 
The  scene  is  Dublin;  the  time  and  occasion  be- 
ing the  later  years  of  the  "troubles"  which 
culminated  the  century's  prolonged  spasmodic 
uprisings  against  British  authority  and  just 
prior  to  creation  of  the  Irish  Free  State.  Di- 
rectly it  deals  with  times  and  conditions  when 
the  activities  of  the  Black  and  Tans  and  the 
epic  struggle  of  the  Irish  people  to  unify  them- 
selves concentrated  sympathetic  world  attention 


upon  the  country.  That  atmosphere,  plus  the 
value  of  the  story  content,  reveals  the  unusual 
potential  entertainment  and  showmanship  as- 
sets. It  concerns  a  man  who  sold  out  his 
comrades — put  a  popular  leader  on  the  spot — 
for  a  pittance,  added  to  the  shame  by  falsely 
accusing  another,  only  to  confess  his  treason 
and  be  kindly  forgiven  in  characteristic  racial 
fashion  by  those  he  harmed  most  before  meeting 
a  justified  death. 

The  production  is  adapted  from  a  book  of 
the  same  title  written  by  Liam  O' Flaherty, 
noted  Irish  author  who  lived  and  experienced 
the  things  of  which  he  writes.  The  screen 
play  is  by  Dudley  Nichols,  currently  credited 
with  "Life  Begins  at  40"  and  "Mystery 
Woman."  It  is  being  directed  by  John  Ford, 
remembered  for  such  pictures  as  "Arrowsmith," 
"Pilgrimage,"  "The  Lost  Patrol"  and  "World 
Moves  On." 

Substantiating  story  quality  and  production 
credit  merit  is  a  cast  of  more  than  ordinary 
worth  from  a  straght  name  value  standpoint. 
Victor  McLaglen  is  the  traitorous  informer. 
In  support  will  be  seen  Heather  Angel  as  his 
soul  broken  sweetheart ;  Preston  Foster,  com- 
mandant of  the  revolutionary  army,  who  bares 
McLaglen's  treachery ;  Wallace  Ford  as  the 
betrayed  soldier;  Margot  Grahame,  a  promising 
newcomer,  as  his  sister,  and  Una  O'Connor  as 
Ford's  mother.  Among  others  in  the  cast  are 
J.  M.  Kerrigan,  Joe  Sauers,  James  Murray, 
Donald  Meek,  Maude  Eburne. 


VAGABOND  LADY 

MGM-Hal  Roach 

When  two  men  are  in  love  with  the  same 
woman,  the  situation  is  intriguing  as  an  enter- 
tainment premise.  When  the  men  are  brothers, 
it  is  even  more  so.  When  one  is  a  happy-go- 
lucky  carefree  rover  and  the  other  a  dignified 
settled  fixture  with  a  good  deal  of  pride  in 
himself,  his  family  and  its  reputation,  but  with 
little  tolerance  for  his  gadabout  kin,  there's  an 
even  more  attractive  prospect.  With  that  con- 
dition for  a  motivating  plot  it  is  not  difficult 
to  understand  that  this  production  is  a  comedy 
romance  drama.  That  classification  is  fur- 
ther amplified  when  one  considers  that  its  pro- 
ducer has  devoted  the  greater  part  of  his  pro- 
duction efforts  to  the  making  of  comedy  features 
both  short  and  long,  and  again  is  emphasized 
in  the  choice  of  the  director,  Sam  Taylor,  whose 
more  recent  contribution  is  "The  Cat's  Paw." 

The  original  story  and  screen  play  are  by 
Frank  Butler,  who  numbers  among  his  previ- 
ous credits  "College  Humor,"  "Girl  without  a 
Room"  and  "Way  to  Love."  Here  again,  the 
character  of  those  pictures  being  remembered, 
comedy  looms  as  the  outstanding  showmanship 
and  entertainment  ingredient. 

As  the  cast  is  examined,  the  romantic  element 
is  quickly  noticed.  The  three  who  form  the 
odd  triangle  are  Robert  Young,  currenty  in 
"Band  Plays  On"  and  soon  to  be  seen  in 
"West  Point  of  the  Air,"  Evelyn  Venable,  last 
in  "Mrs.  Wiggs  of  the  Cabbage  Patch,"  and 
Reginald  Denny.  With  that  trio  taking  care 
of  the  romantic  and  dramatic  love  interest, 
comedians  again  assume  importance,  as  the 
principal  members  of  the  support  are  Berton 
Churchill,  Ferdinand  Gottschalk,  Arthur  Hoyt, 
Forrester  Harvey,  Frank  Graven  and  Herman 
Bing.  These  screen  veterans  have  all  scored 
their  biggest  success  in  comedy  roles. 


OFFICE 


has  proven  his  right  to  the  title  again! 

Within  the  past  year,  Will  Rogers  gave  you  "David 
Harum,"  "Handy  Andy,"  "Judge  Priest,"  "The 
County  Chairman."  Now,  critics  announce,  comes  the 
best  of  them  all.  Your  receipts  will  sustain  their  verdict. 


BEGINS 


with 


Los  Angeles  Examiner:  The  most  hilarious  Will  Rogers 
picture.  Kept  the  preview  audience  laughing  so  continually 
that  the  dialogue  was  often  missed. 

The  Exhibitor:  Probably  one  of  the  best  of  the  Rogers 
series  from  the  dough  and  entertainment  standpoint.  Will  be 
the  usual  clean-up. 

Showmen's  Round  Table:  Rogers  in  his  best  picture.  Will 
draw  youngsters  and  adults,  pleasing  universally.  Rogers' 
popularity  a  sure  draw. 

Motion  Picture  Daily:  Rib-rocking,  heart-socking  entertain- 
ment loaded  with  laughter.  Should  flood  showmen's  coffers 
with  plenty  of  do-re-me. 

Variety  Daily:  Top-notch,  laugh-getting  entertainment  that 
has  everything  to  please  Rogers  fans  and  those  who  have  yet 
to  become  addicts  of  the  Oklahoma  sage. 


ROCHELLE  HUDSON 
RICHARD  CROMWELL 
GEORGE  BARBIER 

JANE  D  ARWEiL 
SLIM  SUMMERVILLE 
STERLING  HOLLOW  AY 

Produced  by  Sol  M.  Wurtzel 
Directed  by  George  Marshall 


Suggested  by  the  book  by  Walter  B.  Pitkin. 
Screen  play  by  Lamar  Trotti. 


i0f 


P.  S.  Hollywood 
buzzing  with  tal 
that  "Georgi 
White's  1  93 
Scandals"  is  th( 
most  oppeali  n 
musical  Georg 
ever  model 


38 


MOTION    PICTUKh  HERALD 


March     16,  1935 


SHOWMEN*^  REVIEWS 


This  department  deals  with  new  product 

fronn  the  point  of  view  of  the  exhibitor  |||||''P'| 
who  is  to  purvey  it  to  his  own  public  llllliiilii/l 


Private  Worlds 

( Paramount-W  anger) 
Drama 

This  is  the  kind  of  picture  which  real  show- 
men continually  hope  for  but  seldom  get.  "Pri- 
vate Worlds"  is  a  drama  of  life— real,  human, 
heart-touching.  It  is  frank,  delicate  and  cer- 
tainly daring.  Courage  was  required  to  attempt 
its  production.  Courage  is  the  quality  most  re- 
quired in  its  exploitation.  In  every  way  it  calls 
for  tactful  selling  that  challenges  any  one's 
abilities  to  put  over  an  unusual  attraction  in  a 
manner  to  attract  the  greatest  number.^  The 
rewards  awaiting  those  who  have  the  skill,  in- 
genuity and  desire  to  tackle  such  a  proposition 
are  most  surely  worth  the  effort. 

The  background  for  the  story  is  a  psycho- 
pathic hospital — an  insane  asylum — a  locale 
which,  save  for  comedy  purposes,  has  been 
rigidly  ignored.  Ordinarily  such  a  setting  is 
not  a  pleasant  contemplation.  But  when  such 
a  spot  and  such  an  atmosphere  are  the  locales 
of  one  of  the  most  impressively  powerful  stories 
ever  brought  to  the  screen,  some  little  realiza- 
tion of  its  unique  appeal  should  be  quickly  evi- 
dent. 

Motivated  by  a  quality  that  creates  emotional 
impact,  the  story,  always  human  and  under- 
standable, deals  with  lives  that  burn  with  fear, 
are  brilliant  with  romance  and  beautiful  with 
love.  It  concerns  the  hospital's  officials,  doctors, 
attendants  and  patients.  Doctors  Jane  Everest 
and  Alex  MacGregor  are  a  pair  of  psychiatrists, 
whose  lives  are  devoted  to  curing  the  mentally 
ill  by  enlightened  modern  methods.  Alex  as- 
pires to  the  institution's  superintendency.  He 
is  disappointed  to  the  point  of  rebellion  when 
a  foreigner.  Dr.  Charles  Monet,  is  chosen.  Dr. 
Jane,  sympathetic  with  him,  believes  she  has 
a  duty  to  the  institution  and  its  patients,  which 
demands  that  she  accept  any  post  to  which 
Monet  may  assign  her.  Conflict  of  jealousy 
and  disappointment  being  at  once  precipitated, 
many  sequences  are  devoted  to  showing  the 
problems  which  must  be  overcome,  one  out- 
standing being  a  terrific  fight  with  lunatic 
Jerry.  To  assuage  his  frustrated  ambitions, 
MacGregor  takes  up  with  Monet's  sister, 
Claire,  a  woman  who  it  is  later  revealed  is  a 
not  too  savory  character.  Not  only  are  his  in- 
discretions another  problem  to  Dr.  Jane,  but 
wife,  Sally,  learns  of  them.  Following  an 
experience  with  the  insane  girl,  Carrie,  Sally's 
mind  cracks  and  she  is  seriously  injured  in  a 
fall.  Together,  Doctors  Monet  and  Jane  per- 
form an  operation  that  save  the  woman  phy- 
sically and  mentally.  Dr.  Monet,  learning  that 
his  sister  has  been  the  direct  cause,  orders  her 
from  his  house.  MacGregor,  the  near  tragedy 
opening  his  eyes,  returns  to  his  wife.  In  the 
climax,  Monet  being  told  that  Jane  is  prepar- 
ing to  leave  the  hospital,  goes  to  her,  confesses 
that  the  knowledge  he  has  gained  from  a,sso- 
ciation  has  awakened  real  love  and  that  to- 
gether as  man  and  wife  they  can  best  serve 
humanity. 

Because  "Private  Worlds"  is  so  superbly 
portrayed  and  intelligently  directed,  it  merits  the 
highest  praise.  Fundamentally,  as  it  reveals  a 
deeper,  truer  understanding  of  the  devotion  and 
willingness  to  sacrifice  that  lies  within  a  wo- 
man's heart,  it  is  a  woman's  picture.  Whether 
it  proves  the  box  office  attraction  which  its 
entertainment  and  personnel  values  merit,  is 


strictly  up  to  those  who  play  it.  The  producers 
have  done  their  part  faithfully  and  courageously. 
At  this  time,  it  does  not  seem  otherwise  but 
that  "Private  Worlds"  will  be  one  of  the  in- 
dustry's most  talked  about  pictures  of  this  or 
any  other  year.  As  such,  even  though  it  boasts 
of  a  current  outstanding  name  as  its  star,  it 
seems  that  the  picture  itself  is  the  factor  which 
should  be  concentrated  upon,  not  in  the  usual 
prosaic  ways,  but  via  methods  that  dare  to  be 
as  different  as  the  attraction  is.  Approach  the 
subject  with  the  idea  of  creating  the  greatest 
possible  amount  of  word-of-mouth  advertising, 
thus  arousing  the  maximum  amount  of  advance 
interest  with  a  campaign  that  is  both  dignified 
and  sincere  in  getting  patrons  to  believe  that 
this  is  the  kind  of  picture  they  never  have  seen 
before.- — McCarthy,  Hollywood. 

Distributed  by  Paramount.  Produced  by  Walter 
Wanger.  Directed  by  Gregory  La  Cava.  Original  by 
Phyllis  Bottorae.  Screen  play  and  adaptation  by  Lynn 
Starling.  Photographed  by  Leon  Shamroy.  Film 
editor,  Aubrey  Scotto.  P.  C.  A.  Certificate  No.  644. 
Running  time,  when  seen  in  Hollywood,  84  minutes. 
Release  date.  March  22,  1935.  Adult  audience  classi- 
fication. 

C.A.ST 

Jane  Everest    Claudette  Colbert 

Charles  Monet    Charles  Boyer 

Sally  MacGregor    Joan  Bennett 

Alex  MacGregor    Joel  McCrea 

Claire    Helen  Vinson 

Matron    Esther  Dale 

Dr.   Arnold    Sam  Hinds 

Carrie    Jean  Rouverol 

Tom  Hirst    Sam  Godfrey 

Bertha  Hirst    Dora  Clemant 

Dr.  Harding    Theodore  von  Eltz 

Dr.  Barnes    Stanley  Andrews 

Jerry    Big  Boy  Williams 

Boy-in-car    Maurice  Murphy 

McLean  (male  nurse)    Irving  Bacon 

Arab    Nick  Shaid 

Dawson    Monte  Vandergrift 

Clarkson    Arnold  Gray 

Johnson    Julian  Madison 

Johnson's  father    Harry  Bradley 

Carrie's  nurse    Eleanore  King 


Wild 


erness 


Mai 


( Ambassador -Conn  ) 
Melodrama 

This  is  an  action  melodrama  of  the  north 
woods.  As  thrills,  excitement  and  movement  are 
sought  for  and  attained,  romantic  love  interest 
is  merely  a  secondary  feature,  as  is  formula 
comedy  contrast.  The  story,  presented  against 
a  beautiful  outdoor  snow-woods  background, 
retains  much  of  the  silent  technique  wherein  mo- 
tion, rather  than  dialogue,  interprets  the  plot. 
Through  this,  and  other  popular  appeal  values, 
dramatic  suspense  fulfills  a  function  that  quickly 
creates  and  continually  holds  mass  interest. 

Kermit  Maynard  essays  a  dual  role.  Trapper 
Ranee  prepares  a  welcome  for  his  Northwest 
Mounted  Police  corporal  brother,  Keith  at  a 
snowbound  trading  post.  Keith,  on  the  way, 
comes  upon  Lobo,  who  has  killed  and  robbed 
a  pair  of  trappers  of  their  furs.  Though 
wounded,  the  officer  is  taking  the  trio  in  when 
he  falls  exhausted.  Devilish  Lobo  conceives  the 
idea  of  tying  him  to  a  tree  and  letting  wolves 
finish  the  job  of  exterminating  him.  Found  by 
his  brother.  Ranee,  he  dies  in  Lobo's  cabin  be- 
fore he  can  name  his  assailants. 

Though  the  Northwest  Police  undertake  the 
job  of  running  down  the  killers.  Ranee  takes 
a  hand  in  the  chase.  Much  that  is  melodramatic 
ensues,  while  romance  crops  up  between  Lila, 
Lobo's  step-daughter,  and  Ranee.  Finally  forc- 
ing a  confession  from  one  of  the  gang  that 


Lobo  is  the  killer,  Ranee  sets  out  to  get  him. 
In  the  meantime,  Lobo  has  robbed  gold  pros- 
pectors and,  seeking  to  make  his  escape,  he  is 
aided  by  Ranee,  who  via  dog  team  takes  him 
to  the  place  where  his  brother  had  been  tied  to 
the  tree,  so  that  the  fate  he  planned  for  the 
Mounty  may  be  his.  Officers,  however,  come  up 
and  prevent  Ranee  from  committing  murder. 
With  Lobo  out  of  the  way,  the  path  is  cleared 
for  romance  between  Ranee  and  Lila. 

The  story  is  by  James  Oliver  Curwood,  an- 
other sales  asset. — McCarthy,  Hollywood. 

Produced  and  distributed  by  Ambassador.  Produced 
by  Maurice  Conn.  Directed  by  Forrest  Sheldon.  Pho- 
tographed by  Arthur  Reed.  Sound  engineer,  Corson 
Jowett.  From  the  story  by  James  Oliver  Curwood. 
Set  designer,  Louis  Rachmil.  Film  editor.  Jack  Eng- 
lish. Story  adaptation,  Ben  Cohen,  Robert  Dillon. 
Running  time,  when  seen  in  Hollywood.  58  minutes. 
Release  date,  March  13,  1935.  General  audience  classi- 
fication. 

CAST 

Ranee  Raine    Kermit  Maynard 

Keith  Raine    Kermit  Maynard 

Lobo  McBain    Fred  Kohler 

Jules    Paul  Hurst 

Lila    Doris  Brook 

Mora    Syd.  Saylor 

Jacques   Richard  Coirtis 

Mailman    Nelson  McDowell 

Inspector    Kernan  Cripps 


West  Point  of  the  Air 

(MGM) 

Romance  and  Drama 

Two  stories  are  told  in  this  picture.  One 
minutely  details  the  growth  and  development 
of  the  U.  S.  Army  flying  corps  from  its  es- 
tablishment to  today.  The  other,  pursuing  a 
father-son  affection  admiration  vein,  is  em- 
bellished with  a  romantic  love  interest  con- 
trast. From  a  straight  spectacular  viewpoint, 
it  is  both  interesting  and  educationally  enter- 
taining as  it  traces  the  flying  history  of  the 
Army  from  the  early  Jenny  ship  days  to  the 
present  super-air  fighting  speedsters  and 
monsters ;  the  training  methods  whereby  the 
fledgling  fliers  earn  their  wings,  and  the 
gigantic  formation  air  parades  which  feature 
one  sensational  mass  parachute  jump.  On  the 
theatric  side,  story  values,  while  adequate,  are 
merely  a  substantiating  element  which  pro- 
vide a  reason  for  the  aerial  features. 

The  locale  is  Randolph  Field.  In  the  be- 
ginning, Captain  Carter  is  the  commanding  of- 
ficer and  Big  Mike  is  one  of  the  first  Army 
fliers.  Both  have  children.  Little  Mike  being 
the  playmate  of  Phil  and  childhood  sweetheart 
of  Skip,  Carter's  children.  Years  pass ;  both 
boys  go  to  West  Point,  where,  during  his  Cadet 
days.  Little  Mike  becomes  infatuated  with  Dale. 
Graduated,  they  return  to  Randolph,  with  Dare 
following,  to  start  their  flying  career.  Carry- 
ing on  his  liaison  with  Dale,  much  to  Big 
Mike's  and  Skip's  amazement.  Little  Mike 
cracks  up  his  ship  and  severely  injures  his  pal 
Phil. 

Losing  his  nerve  and  wanting  to  quit.  Big 
Mike  forces  him  to  take  his  test,  which  results 
in  a  hair-raising  bit  of  flying  that  causes  Big 
Mike  to  go  up  and  be  dropped  into  the  boy's 
plane.  Bringing  it  down  safely,  minus  landing 
gear,  Mike  wallops  his  officer-son  and  is  court- 
martialed.  Now  a  broken  hearted  commercial 
flier,  he  is  disillusioned  in  his  son,  who  has  de- 
termined to  quit  the  service  and  go  away  with 
Dare. 

However,  Skip  takes  a  hand  and  he  pumps 


March     16,  IVio 


MOTION    PICTURE  HERALD 


39 


new  courage  and  understanding  into  the  boy. 
The  pair  seeing  Big  Mike  flying  a  rickety 
crate  that  momentarily  threatens  to  fall  apart, 
Little  Alike  leaps  into  a  plane  intent  upon  emu- 
lating his  father's  earlier  stunt  of  rescuing  him 
from  the  plane.  The  old  plane  falls  apart  in 
flames  and  Little  Mike,  landing  his  ship  on  the 
lake  into  which  it  has  fallen,  swims  under  water 
through  a  lake  of  fire  to  rescue  his  father.  Out 
of  this  heroic  act  comes  a  real  understanding. 
Little  Mike  gets  a  grip  on  himself,  Big  Mike 
is  reinstated  and  the  childhood  lovers  are  re- 
united. 

The  cast  boasts  plenty  of  name  value,  and 
the  production  values  as  they  refer  to  aviation 
training  and  sensational  flying  stuft  have  more 
than  their  share  of  sensationalism,  both  cam- 
paign assets. — McCarthy,  Hollywood. 

Produced  and  distributed  by  Metro-Goldwyn-Mayer. 
Produced  by  Monta  Bell.  Directed  by  Richard  Rosson. 
Original  story  by  John  Monk  Saunders.  Screen  play 
by  Frank  Wead  and  Arthur  J.  Beckhard.  Photo- 
graphed by  Clyde  De  Vinna.  A'Verial  photography  by 
Charles  A.  Marshall  and  Elmer  Dyer.  Running  time, 
when  seen  in  Hollywood,  88  minutes.  Release  date, 
March  22,  1935.  General  audience  classification. 
CAST 

Big  Mike    Wallace  Beery 

Little  Mike    Robert  Young 

Skip    Maureen  O'Sullivan 

Captain  Carter   Lewis  Stone 

Joe  Bags    James  Gleason 

Dare    Rosalind  Russell 

Phil    Russell  Hardie 

Pettis    Henry  Wadsworth 

Pippinger    Robert  Livingston 

Jaskarelli    Robert  Taylor 

Captain  Cannon    Frank  Conroy 


Fugitive  Lady 

(  Columbia) 


Drama 

This  production  combines  romance  and  drama 
against  a  background  of  modern  action,  inter- 
spersed with  the  arrest  and  conviction  of  an 
innocent  girl,  a  mistaken  identity  situation  as  a 
result  of  a  fatal  train  wreck,  and  the  cropping 
up  of  a  past  which  very  nearly  causes  the  col- 
lapse of  a  fast-developing  romance. 

Neil  Hamilton,  Florence  Rice  and  Donald 
Cook  are  the  familiar  but  not  outstanding  lead- 
ing names  in  the  cast,  indicating  that  the  ex- 
hibitor is  in  the  position  of  relying  on  the  story 
elements  which  appear  most  likely  to  attract 
patronage.  The  idea  of  the  innocent  girl 
who  accidently  has  happiness  within  her 
grasp,  only  to  find  herself  in  danger  of  losing 
everything,  and  finally  is  willing  to  sacrifice  her 
liberty  in  order  to  save  the  man  she  loves,  pre- 
sents a  theme  which  might  well  be  made  at- 
tractive to  the  feminine  portion  of  the  patron- 
age, especially. 

Miss  Rice  loses  her  job  in  Los  Angeles, 
agrees  to  marry  the  persistent  Donald  Cook. 
As  they  motor  off  they  are  stopped  by  the  po- 
lice. Cook  makes  his  escape,  while  Miss  Rice, 
who  did  not  know  of  Cook's  occupation,  is  sen- 
tenced to  prison.  En  route  with  a  matron,  the 
train  is  wrecked.  Miss  Rice  is  found  with_  a 
letter  in  her  hand,  indicating  her  to  be  the  wife 
of  wealthy  young  Hamilton,  in  San  Fraiicisco. 
A  previous  sequence  had  pictured  Hamilton's 
estranged  wife  about  to  visit  her  mother-in-law, 
whom  she  had  never  seen,  at  the  latter's  re- 
quest, for  a  reconciliation.  The  wife  is  killed 
and  Miss  Rice  regains  consciousness  at  Ham- 
ilton's home.  Hamilton,  when  she  tells  him 
all  the  circumstances,  believes  her,  and  forces 
her  to  stay.  They  fall  in  love,  but  she,  fearing 
that  when  she  is  discovered,  Hamilton  and  his 
mother  will  get  into  trouble,  insists  she  must 
leave.  The  brother  of  Hamilton's  dead  wife  is 
expected,  complicating  the  situation. 

At  a  party  Cook  and  two  of  his  fellow-crooks 
appear  as  waiters,  planning  to  rob  the  library 
safe.  Hamilton  decides  to  leave  immediately 
with  Miss  Rice,  arranging  to  meet  her  in  the 
library.  She  gets  there  first,  finds  Cook,  armed, 
in  the  process  of  clearing  out  the  safe,  and  to 
protect  Hamilton,  when  he  comes  in,  makes  it 
appear  she  has  been  in  league  with  Cook.  De- 
tectives trailing  Miss  Rice  arrive,  and,  although 
Clara  Blandick,  as  Hamilton's  aunt,  explains 
Miss  Rice's  effort  to  leave  with  Cook,  she  is 


■itill  a  fugitive,  until  Cook  confesses  she  was 
innocent  of  the  crime  for  which  she  was  origi- 
nally sentenced.  Thus  the  way  is  cleared  for 
romance. 

It  looks  to  be  reasonably  entertaining  mate- 
rial, for  a  midweek  position. — Aaronson,  New 
York. 

Produced  and  distributed  by  Columbia.  Story  and 
screen  play,  Herbert  Asbury  and  Fred  Niblo,  Jr. 
Director.  Albert  Rogell.  Assistant  Director,  Morley 
Lightfoot.  Cameraman.  Al  Sieglcr.  Sound  engineer, 
George  Cooper.  Film  editor,  John  Rawlins.  P.  C.  A. 
Certificate  No.  3.TO.  Running  time,  68  minutes.  Re- 
lease date,  October  25,  1934.  General  audience  classifi- 
cation. 

CAST 

Donald  Brooks   Neil  Hamilton 

Ann  Duncan   Florence  Rice 

Jack   Howard   '  Donald  Cook 

Aunt    Margaret  Clara  Blandick 

Mrs.   Brooks  Nella  Walker 

Steve  Rogers  William  Demarest 

Rudy  Davis   Wade  Boteler 

Joe  Nelson  Ernest  Wood 

Sylvia  Brooks  Rita  Le  Roy 

Mrs.    aifford   Rita  Gould 


Sangen  Till  Heine 

(Scandinavian  Talking  Pictures) 
Comedy  Drama  with  Music 

A  Swedish  dialogue  picture,  light  and  enter- 
taining fare  with  more  than  a  little  excellent 
vocalization,  this  importation  should  be  worth 
the  selling  effort  for  any  exhibitor  whose  pat- 
ronage is  made  up  to  any  appreciable  extent  of 
persons  of  Scandinavian  extraction.  The  value 
of  the  film  for  the  average  American  audience 
is  considerably  less,  as  it  is  entirely  in  the 
Swedish  language,  with  no  English  subtitles 
or  superimposed  translations  of  dialogue. 

It  is  not  too  difficult,  however,  to  follow  the 
trend  of  the  story,  which  is  simple  and  enter- 
taining. A  young  actor  and  a  member  of  the 
chorus  at  a  different  theatre  are  in  love.  To 
the  second  house  comes,  for  a  limited  engage- 
ment, a  famous  singer.  He  is  attracted  to  the 
girl,  much  to  the  annoyance  of  her  fiance,  who 
becomes  increasingly  bitter  as  the  wealthy 
singer  showers  the  girl  with  his  attentions, 
sending  her  flowers,  meeting  her  often,  taking 
her  to  smart  night  clubs.  In  consequence,  she 
and  her  fiance  are  eternally  quarreling.  The 
girl,  although  she  still  is  really  in  love  with  the 
boy,  cannot  bring  herself  to  resist  the  attentions 
of  the  older  and  famous  man,  and  cannot  fore- 
go the  things  he  gives  her,  the  places  he  takes 
her. 

But  eventually  the  older  man  realizes  that 
while  the  girl  likes  his  company  and  is  flattered 
by  his  attentions,  he  is  in  the  position  of  smash- 
ing young  and  formerly  happy  romance.  He 
invites  the  girl  and  the  boy  separately  to  his 
operatic  performance,  arranging  that  they  shall 
sit  in  the  same  box.  Under  the  influence  of  the 
opera  and  the  star's  voice,  the  two  are  recon- 
ciled, and  later  in  his  dressing  room  the  singer 
sorrowfully  sends  them  away — with  his  blessing. 
— Aaronson,  New  York. 

Produced  by  Scensk  Filmindustry.  Distributed  in 
United  States  by  Scandivanian  Talking  Pictures. 
Director,  Ivar  Joxannon.  Special  musical  scenes,  Jules 
Sylvain.  Running  time,  75  minutes.  General  audience 
classification. 

CAST 

Martin  Osman  Ake  Jensen 

■Sickan  Carilson  Nini  Teerlade. 


The  Crimson  Trail 

(Universal) 
Western 

Buck  Jones,  perennial  western  star  with  a 
real  following,  is  the  exhibitor's  best  bet  in  the 
selling  of  this  film,  which  has  its  full  quota  of 
hard  riding,  quick  shooting,  incidental  romance, 
the  righting  of  wrongs,  and  a  couple  of  bare- 
fist  scraps  in  which  the  punches  are  not  pulled. 

In  outline,  it  is  much  like  most  western 
stories,  including  the  cowboy  who  is  accused  of 
everything  up  to  and  inclusive  of  cattle  rustling, 
and,  largely  because  a  certain  girl  is  involved, 
sets  out  to  prove  that  he  is  not  a  bad  man  at 
all,  but  merely  the  victim  of  unfortunate  cir- 


cumstances and  treachery.  I 'oily  .\\m  Vounj,, 
a  seeming  newcomer  among  western  feminine 
stars,  is  sufficiently  attractive  and  active  to 
t;ikc  care  of  the  role.  The  comi>etent  Ward 
i'.ond  is  thQ  villain  of  tiiis  particular  piece.  Sil- 
ver, Jones'  handsome  white  horse,  is,  as  always, 
a  joy  to  watch  in  or  out  of  action. 

When  neighboring  rancher  Carl  Stockdale 
is  shot  by  Bond,  foreman  of  the  ranch  owned 
by  Jones'  uncle,  Charles  French,  Stockdale  ac- 
cuses French  of  instigating  the  job,  and  Jones 
is  in  the  position  of  conniving,  a  situation  he 
does  not  relish,  since  Stockdale's  daughter, 
Miss  Young,  appears  to  agree  with  her  father. 
Jones,  therefore,  sets  about  vindicating  himself 
and  uncovering  the  truth  of  Bond's  activities 
and  his  uncle's  possible  connection  with  the 
rustling  and  murder  in  which  Bond  is  engaged. 

lie  trails  Bond  and  his  gang  to  their  moun- 
tain hideout,  and  overhears  enough  so  that  Bond 
decides  to  do  away  with  him  when  the  gang 
captures  him.  An  insane  hanger-on  of  Bond's 
is  delegated  to  do  the  job,  but  Jones  makes  good 
his  escape,  and  rides  to  save  Miss  Young  from 
amorous  Bond  and  to  rescue  her  injured  father 
from  the  men,  off  to  raid  French's  ranch. 
French  surrenders,  insists  on  being  taken  to 
Stockdale's  bedside  to  deny  his  guilt,  while 
Jones  rides  after  Bond,  who  has  kidnaped  Miss 
Young.  When  he  catches  up  with  them,  his 
fight  with  Bond  is  a  worthy  fistic  encounter, 
timed  to  end  with  the  arrival  of  the  boys  from 
the  Stockdale  ranch. 

With  a  full  portion  and  more  of  the  action 
that  western  fans  want,  this  may  well  be  played 
in  the  weekend  position. — Aaronson,  New 
York. 

Produced  and  distributed  by  Universal.  Directed 
liy  AI  Raboch.  Story  by  Wilson  West.  Screen  play 
by  Jack  Natteford.  Photographed  by  John  Hickson. 
P.  C.  A.  Certificate  No.  559.  Running  time,  58  min- 
utes. Release  date,  February  18,  1935.  General  audi- 
ence classification. 

CAST 

Billy  Carter   Buck  Jones 

Ivitty   Bellaire  Polly   Ann  Young 

Jim   Bellaire  Carl  Stockdale 

Frank    Carter  Charles  French 

Luke   Long  Ward  Bond 

Loco   John  Bleiffer 

Cal   Bob  Kortman 

Jack  Bud  Osborne 

Tom   Charles  Brindley 

Shorty   Hank  Potts 

Pete   George  Sowards 

Paul   Paul  Fix 

Red   Bob  Walker 

Silver   Silver 


Living  on  Velvet 

(First  National) 
Drama 

A  rather  novel  triangular  situation,  a  reason- 
ably rapid  tempo,  an  exciting  sequence  or  two, 
romance  and  drama,  and  three  outstanding  lead- 
ing names  combine  to  make  a  picture  with  in- 
gredients of  appeal  to  both  men  and  women, 
especially  women.  The  somewhat  unusual  the- 
matic idea,  clearly  indicated  in  the  title,  is  that 
of  a  once  wealthy  young  man  who,  miracu- 
lously escaping  death  in  an  air  crash  which  kills 
father,  mother  and  sister,  considers  the  rest  of 
his  life  a  gift,  all  velvet.  He  lives  accordingly, 
until  a  woman  and  attendant  complications 
come  into  his  life,  and  provide  the  film's  struc- 
ture. 

The  three  names,  and  they  are  worth  real 
selling,  are  of  those  of  Kay  Francis,  George 
Brent  and  Warren  William.  Brent  is  the  young 
man  "living  on  velvet,"  Miss  Francis  the  apex 
of  the  triangle,  and  William,  descriptively  nick- 
named "Gibraltar"  for  his  rock-like  stability, 
Brent's  best  friend,  engaged  to  Miss  Francis, 
and  the  point  about  which  the  trials  and  tribu- 
lations of  the  other  two  ebb  and  flow. 

The  title,  and  all  its  implications,  the  three 
leading  player  names  and  the  dramatic,  ro- 
mantic developments  appear  adaptable  to  ready 
selling,  with  extra  devising  worthwhile  to  draw 
the  masculine  patronage.  The  dialogue  is  often 
sparklingly  alive,  the  situations  often  engag- 
ingly amusing. 

When  Brent  escapes  the  crash  in  which  his 
family  is  killed,  he  disappears,  apparently  court- 
ing death  in  the  air  in  various  parts  of  the 


...a  to 

IflM 


Uow  >s  "  .  .,er  time  t  W" 


seen  t^''^'  .Lgi^e  is  o^ii 


to 


tbis  f^'^'lj  time- 


this  ad 


m 


/Msf  g  ^«  have 

KNOW 

'  ^here's  ofi. 

««scrf5^  it 


I 


WUCH  nv^^  i  B  o  r 


42 


MOTION    PICTURE  HERALD 


March     16,  1935 


world,  until  he  upsets  Army  air  maneuvers  and 
is  taken  out  of  a  serious  situation  by  old  friend 
William,  whom  he  unwillingly  accompanies  to 
a  party.  There  he  meets  Miss  Francis,  the 
two  immediately  fall  in  love,  and  only  later 
Brent  learns  she  is  engaged  to  William.  He 
leaves.  Miss  Francis  explains  the  situation  and 
William,  always  the  Gibraltar,  eventually  finds 
the  intoxicated  Brent  and  brings  him  back  to 
Miss  Francis.  Against  Brent's  own  advice,  the 
two  are  married,  William  gives  them  a  house 
in  New  Jersey,  and  arranges  that  several  thou- 
sand dollars  are  paid  for  worthless  stock  held 
by  Brent. 

Miss  Francis  wages  her  fight  to  bring  Brent 
out  of  his  barricade  of  self-imposed  disillusion- 
ment, but  finally  gives  up,  leaving  him,  to  return 
to  her  ajjnt's  home  in  the  city,  while  he  pursues 
his  ambitious  plans  to  develop  an  air  service 
from  the  suburbs  to  the  city.  Miss  Francis,  with 
the  ever-faithful  William  as  escort,  proceeds  to 
lead  the  gay  life,  in  a  sequence  which  is  the  only 
unconvincing  aspect  of  the  story.  Brent  is  hurt 
in  a  wild  automobile  ride,  and  on  recovering  is 
a  changed  man,  indicating  that  Miss  Francis' 
battle  is  won,  and  that  he  no  longer  considers 
he  is  "living  on  velvet." 

Blending  drama,  romance  and  an  unusual 
story  aspect  in  theme,  the  film  looks  readily 
adaptable  to  selling  in  almost  any  position  on 
the  week's  program. — Aaronson,  New  York. 

Produced  and  distributed  by  First  National.  Direc- 
tor, Frank  Borzage.  Storw  and  screen  play  by  Jerry 
Wald  and  Julius  Epstein.  Photography  by  Sid  Hickox. 
Film  editor,  William  Holmes,  Art  director,  Robert 
Haas.  Gowns  by  Orry-Kelly.  Vitaphone  Orchestra 
Conductor,  Leo  F.  Forbstein.  P.  C.  A.  Certificate 
No.  573.  Running  time,  80  minutes.  Release  date, 
March  2,  1935.  General  audience  classification. 
CAST 

Amy    Prentis  Kay  Francis 

Terry   Parker   ...George  Brent 

Walter  ("Gibraltar")   Pritcham  Warren  William 

Major  at  Flying  Field  Russell  Hicks 

Mrs.  Parker  Maude  Turner  Gordon 

Mr.  Parker   Sam  Hinds 

Cynthia    Parker  Martha  Merrill 

Aunt  Martha   Helen  Lowe  1 

Thornton   Henry    O  Neill 

Counter  Man   Edgar  Kennedy 


It's  a  Bet 

(BIP-ABP) 
Comedy  Drama 

This  is  the  lightest  of  fare,  and  to  say  so  is  to 
compliment  the  direction  of  Alexander  Esway 
and  the  cooperation  of  this  cast  in  putting  on 
the  screen  a  series  of  really  laughable  incidents 
which  are  more  important  than  a  slight,  but 
adequate,  story. 

Selling  points,  over  and  above  real  laughter 
value,  are  the  exteriors  of  charming  English 
countryside  and  the  names  of  Helen  Chandler, 
Gene  Gerrard  and  Allen  Vincent.  The  plot 
offers  its  own  opportunities  for  exploitation  on 
teaser  lines. 

Rollo  Briggs,  a  newspaper  reporter,  loses 
his  job,  and  to  raise  the  wind,  wagers  with  a 
wealthy  friend  that  he  can  disappear  complete- 
ly for  a  month.  The  friend  ofifers  a  big  reward 
for  discovery  of  the  missing  man  and  also  uses 
the  opportunity  to  woo  Rollo's  girl.  Then  come 
motor  chases,  dashes  through  police  cordons,  and 
a  very  close  shave  in  a  fairground  in  which  the 
disguised  Rollo  has  obtained  a  job  on  a  merry- 
go-round.  Another  girl  aids  the  fugitive  and 
consoles  him  when  he  wins  the  prize  and  loses 
his  fiancee. — Allan,  London. 

Produced  by  British  International  Pictures  and  dis- 
tributed by  Associated  British  Picture  Corporation. 
Directed  by  Alexander  Esway.  From  the  novel, 
"Hide  and  I'll  Find  You,"  by  Marcus  Magill.  Adap- 
tion and  dialogue.  L.  Du  Gard  Peach.  Photography. 
Brian  Langley.  Running  time,  75  mins.  "G." 
CAST 

Rollo    Gene  Gerrard 

Clare    Helen  Chandler 

Anne   Judy  Kelly 

Norman    Allen  Vincent 

Harry    Dudley  Rolph 

Geoffrey    Raymond  Raikes 

Miss  Parsons    Nadine  March 

Maudie    Polly  Ward 

Mrs.  Plaice    Charlotte  Parry 

Circus   director   _  Alf  Goddard 

Mayor    Jimmy  Godden 

Tramp    Frank  Stanmore 

Fare  man    Ronald  A.  Shiner 

Circuit  lady    Ellen  Pollock 

Lady  Allway    Violet  Farebrother 


Strictly  Illegal 

(Gaumont  British  -  Joe  Rock) 
Farce  Comedy 

This  is  the  first  efi^ort  of  Leslie  Fuller  Pro- 
ductions, a  new  production  unit  in  which  Joe 
Rock  is  producer,  Ralph  Ceder,  director,  and 
the  star,  Leslie  Fuller,  a  comedian  who  has  been 
a  big  box-office  success  in  England  for  years. 

Liitiating  a  policy  of  bigger  pictures  for 
I'uUer,  "Strictly  Illegal"  ofifers  a  climax  which 
should  find  favor  with  American  audiences, 
when  most  of  the  cast  chase  one  another  spirit- 
edly through  the  corridors  and  out  of  the  win- 
dows of  a  speeding  train.  Entertainment  values 
otherwise  depend  upon  farcical  situations 
created  by  a  bookmaker's  masquerade  as  a 
clergyman  and  the  considerable  burlesque  quali- 
ties of  Fuller  himself. 

Fuller,  thinking  that  he  has  killed  a  cop, 
steals  the  parson's  clothes  in  the  train  and  then 
has  to  take  his  place  as  the  guest  of  a  titled 
lady.  He  discovers  that  his  own  wife  has  be- 
come a  maid  in  the  house  and  his  efJorts  to 
find  her  bedroom,  complicated  by  a  similar  de- 
sire on  the  part  of  a  secret  admirer  to  discover 
the  abiding  place  of  the  daughter  of  the  house, 
leads  to  the  usual  misunderstandings — and  to  a 
very  good  piece  of  spoof  sleep-walking  by 
Fuller.  The  outraged  parson  and  the  police 
appear,  and  the  hostess's  jewels  disappear,  a 
third  parson  arrives  to  denounce  the  second  as 
an  impostor,  and  everybody  makes  for  the  rail- 
way station  and  for  the  chase,  ending  happily, 
on  the  roof  of  the  train. 

With  the  assets  of  Ralph  Ceder's  reputation 
as  director  and  the  considerable  value  of  the 
climax  the  exhibitor  has  something  with  which 
to  balance  the  fact  that  Fuller  is  unknown  in 
America  and  retains  a  rather  marked  British 
accent.  He  is  an  instinctive  comedian. — Allan, 
London. 

Produced  by  Joe  Rock  for  Leslie  Fuller  Productions 
and  distributed  by  Gaumont  British.  Directed  by 
Ralph  Ceder.  From  the  play  "The  Naughty  Age,"  by 
Con  West  and  Herbert  Sargent.  Adaptation,  Sydney 
Courtenay.  Camera,  Desmond  Dickinson.  Sound, 
Lance  Comfort.  Running  time,  70  minutes.  "G." 
CAST 

Bill   Leslie  Fuller 

Bert   Georgie  Harris 

Bill's  Wife  Betty  Astell 

Lady   Percival   Cissy  Fitzgerald 

The  Girl   Glennis  Lorimer 

The  Boy   Mickey  Brantford 

Tlie   Colonel   Ernest  Sefton 

The  Cop  Alf  Goddard 

The  Reverend   T.  Arthur  Ellis 

Another  Reverend   Humberstone  Wright 


Rainbow  Valley 

(  Monogram  ) 
Western 

This  western,  on  the  whole,  rates  as  satisfac- 
tory material  of  its  kind. 

The  selling  will  revolve  about  the  name  of 
John  Wayne,  with  the  emphasis  directed  at  the 
youngsters  and  those  adults  who  have  demon- 
strated a  fondness  for  the  screen  cowboys,  and 
their  hard  riding,  hard  fighting,  quick  shooting 
maneuvers. 

The  romance  is  here,  in  its  accustomed  place, 
as  the  young  rider  takes  upon  himself  the  task 
of  ridding  the  western  valley  of  its  bandits,  who 
are  making  life  unbearable  for  respectable 
miners.  Lucille  Brown  has  the  feminine  lead, 
while  Buffalo  Bill,  Jr.,  and  George  Hayes,  two 
standbys  of  the  western,  are  among  the  sup- 
porting players. 

Wayne,  out  of  prison,  hits  Rainbow  Valley 
and  assists  Hayes,  elderly  mail  carrier  in  a  bat- 
tered car,  who  is  being  attacked  by  a  few  of  the 
bandit  gang.  When  he  encounters  one  of  the 
attackers  later  in  the  town  street,  he  beats  him 
soundly,  and  is  requested  by  the  disturbed  citi- 
zens to  take  over  direction  of  the  construction 
of  a  road  which  will  link  the  town  with  the 
county  seat,  a  project  continuously  halted  by 
the  gang. 

He  takes  over  the  job,  the  while  beset  by  the 
antipathy  of  Miss  Brown,  postmistress  who  had 
been  annoyed  by  his  actions  toward  Leroy 
Mason,  actually  the  bandit  leader.   Mason  had 


obtained  her  job  for  her.  With  the  assistance 
of  Hayes,  he  first  beats  ofif  the  gang,  then  traps 
them,  and  finally  blows  them  up  and  completes 
the  all  important  road  by  using  the  bandits' 
own  dynamite,  completing  the  film  in  the  ex- 
pected fashion  with  A-Iiss  Brown. — Aaronson, 
New  York. 

Produced  and  distributed  by  Monogram.  Directed 
by  R.  N.  Bradbury.  Story  and  screen  play  by  Linds- 
ley  Parsons.  Edited  by  Carl  Pierson.  Photography, 
William  Hyer.  Technical  director,  E.  R.  Hickson. 
Recorded  by  Dave  Stoner.  Release  date,  March  15, 
1935.  Running  time,  52  minutes.  General  audience 
classification. 

CAST 

John   John  Wayne 

Eleanor   Lucille  Brown 

Rogers   Leroy  Mason 

George   Hale  George  Hayes 

Gait   Buffalo  Bill,  Jr. 

Spike   Bert  Dillard 

Powell   Lloyd  Ingraham 


Soviet  Russia  Today 

(  Amkino) 
Pictorial  Record 

A  secondary  title,  if  there  were  one,  on  this 
compilation  of  what  is  virtually  a  glorified 
newsreel  type  of  record,  might  well  be  "Selling 
Soviet  Russia  and  the  Communist  State,"  for 
that  is  precisely  what  the  film  does,  or  attempts 
to  do.  It  is,  in  a  word,  unquestionably  a  prop- 
aganda effort,  taken  out  of  the  category  of  pic- 
torial data  of  real  and  general  value  on  the 
country  by  reason  of  the  obvious  selection  of 
material  which  went  into  the  making  of  the 
whole  film. 

Numerous  subordinate  producing  organiza- 
tions within  the  state-owned  Russian  industry 
are  credited  with  the  various  portions  of  the 
picture,  and  numerous  editors  and  directors. 
Many  of  the  scenes  and  sequences  have  been 
encountered  in  the  imported  Russian  pictures 
preceding  this  one,  but  as  a  whole  the  film  can 
be  construed  only  as  picturing  for  American 
consumption  that  which  is  outstanding  in  the 
Russian  effort. 

There  are  a  few  subtitles  in  English,  while 
the  accompanying  dialogue  explanation,  in  Eng- 
lish, tells  in  glowing  terms  of  the  effort  made 
by  the  Russian  state  to  abolish  illiteracy,  re- 
habilitate criminals  by  putting  them  to  work, 
establish  workers'  clubs  and  model  apartment 
houses,  give  to  the  Goldi  tribes  of  northeastern 
Russia  the  benefit  of  the  cultural  and  economic 
advances  of  the  Soviet  state. 

Much  footage  is  devoted  to  the  undoubted 
achievement  which  was  the  building  of  a  canal 
between  Moscow  and  the  White  Sea,  in  such 
fashion  as  to  make  of  Moscow  a  seaport.  Oc- 
casional bits  of  photography  are  good,  but_  it 
appears  an  unshakable  part  of  the  Russian 
screen  technique  to  dwell  interminably  and 
repetitively  on  a  scene,  or  group  of  shots,  in 
order  to  bring  out  a  point,  create  an  impres- 
sion.— Aaronson,  New  York. 

Produced  by  various  Russian  organizations.  Dis- 
tributed in  the  United  States  by  Amkino.  Release 
date.  March  3.  1935.  Running  time,  67  minutes.  Gen- 
eral audience  classification. 


Dandy  Dick 


(Associated  British  Pictures) 
Farce-comedy 

Here  is  farce,  from  a  Pinero  stage  original, 
with  considerable  humor  of  incident  and  an 
amusing  characterization  of  a  perplexed  clergy- 
man by  Will  Hay,  famous  English  variety  and 
radio  topliner.  It  is  essentially  British  in  niate- 
rial  and  setting,  but  directed  by  an  American, 
William  Beaudine.  The  material  deserved  inore 
ambitious  treatment  than  it  has  received;  signs 
of  speedy  production  are  very  obvious  in  crowd 
scenes  and  race-course  sequences. 

The  clergyman  of  a  country  parish  is  trying 
to  raise  £1,000  to  rebuild  the  church  steeple. 
A  bazaar  and  fair  provide  very  little  cash,  but 
do  bring  a  thrill  when  the  parson,  on  a  pleasure 
flight,  is  hooked  out  of  the  plane  by  his  para- 
chute and  lands  on  the  steeple.  Tempted  by  his 


March     16,  1935 

sister,  a  raceliorse  owner,  tlie  parson  books  a 
bet  of  £250  to  £25  on  her  runner  in  a  steeple- 
chase in  order  that  he  may  collect  other  dona- 
tions which  are  depenilent  on  his  own  contribu- 
tion. Trying  to  give  a  "tonic"  to  the  horse,  he 
is  seized  by  the  local  cop,  but  escapes  in  time 
to  see  the  horse  win. 

There  is  a  subsidiary  love  interest,  but  the 
tilni  stands  or  falls  on  Will  Hay's  picture  of  the 
unworldly  clergyman,  and  this  is  excellent, 
though  scarcely  adequately  supported  by  the 
rest  of  the  cast.  The  flight  episode  is  well  han- 
dled and  incidents  in  the  stable,  culminating  in 
a  fire  caused  by  the  parson,  will  get  laughs. 

The  selling  values  are  the  originality  of  the 
story  and  the  personality  of  Will  Hay. — Allan, 
London. 

Produced  by  British  International  Pictures  and 
distributed  by  Associated  British  Pictures.  Directed 
by  William  IJeaudine.  From  the  play  by  Sir  Arthur 
Pinero.  Adaptation  by  the  director,  Clifford  Grey, 
Will  Hay  and  Frank  Miller.  Camera,  Jack  Parker. 
Running-  time.  70  minutes.  "G." 

CAST 

Rev.  Richard  Jedd  r   Will  Hay 

Pamela    Nancy  Burns 

Tony    Edmond  Knight 

Sir  William  Mardon   Davy  Burnaby 

Georgian    Mignin  O'Doherty 

Charlie    Syd  Crossley 

Bale   ,   Robert  Nainby 

Freddie    John  Singer 


Oh!  Daddy 

(  Gaumont-British  ) 
Farce  Comedy 

Typical  stage  material,  very  largely  treated 
on  stage  lines,  here  is  entertainment  for  those 
who  can  appreciate  an  ultra-British  flavor  in 
comedy.  The  story  is  a  good  one  and  the  cast, 
with  much  the  same  qualification,  is  excellent. 
The  production  values  are  indifTerent  in  cabaret 
sequences,  but  the  entertainment  appeal  does  not 
rest  on  them,  but  on  Leslie  Henson,  Frances 
Day,  Alfred  Drayton  and  J.  Robertson  Hare, 
all  given  good  material  by  the  author,  Austin 
Melford. 

The  story  shows  Lord  Pye,  a  British  coun- 
try gentleman,  persuaded  by  Samson,  his  sanc- 
timonious uncle,  to  head  a  Purity  League  and 
getting  in  a  bad  mix  when,  having  missed  a 
meeting  of  the  League,  he  decides  to  investi- 
gate the  gay  life  of  London  for  himself.  He 
becomes  involved  with  a  cabaret  dancer  who 
is  actually  his  own  stepdaughter,  her  occupation 
has  been  concealed  by  Lady  Pye.  Family  pres- 
sure thereupon  results  in  expulsion  of  Samson 
and  abolition  of  Purity  from  the  Pye  home. 

The  dialogue  is  bright  and  the  situations  are 
well  contrived.  Frances  Day  has  some  attrac- 
tive song  numbers. — Allan,  London. 

Produced  and  distributed  by  Gaumont-British.  Di- 
rected by  Graham  Cutts  and  Austin  Melford.  Scena- 
rio,    Michael     Powell.     Camera,     Mutz  Greenbaum. 
Sound,  Charles  Frend.    Running  time,  75  mins.  "G." 
CAST 

Lord  Pye    Leslie  Henson 

Benita  de  LVs    Frances  Day 

Rupert  Boddy    J.  Robertson  Hare 

Jimmy  Ellison    Barry  Mackay 

Lady  Pye    Marie  Lohr 

Uncle  Samson    Alfred  Drayton 

Count  Duval    Tony  de  Lungo 

Phyllis  Pye    Daphne  Courtney 

Chums 

(Educational) 
Good  Novelty 

The  strange  aspects  of  occasional  compan- 
ionship among  supposedly  age-old  enemies  of 
the  animal  kingdom  usually  makes  generally 
appealing  short  subject  material.  This  is  no 
exception,  with  a  large  and  handsome  dog  act- 
ing as  the  "best  pal"  of  a  monkey,  an  owl 
and  numerous  kittens.  A  nonsense  sequence 
concludes  the  subject,  with  amusing  shots  of 
a  snail  "race,"  and  a  cock  fight,  umpired  by  a 
puppy.  Children  especially  may  be  expected  to 
enjoy  this  subject. — Running  time,  9  minutes. 

A  Trip  Thru  a  Hollywood  Studio 

(Vitaphone  ) 
Interesting,  But  — 

A  more  or  less  detailed  trip  through  a  Holly- 
wood studio  is  the  audience's  portion  in  this 


MOTION    PICTURE  HERALD 

number.  With  a  verbal  explanation  of  what  is 
seen,  this  contains  elements  of  general  interest, 
but  it  would  seem  rather  less  than  wise  to  tell 
the  motion  picture  audience  exactly  '"how  the 
wheels  go  'round."  Granting  that  they  know 
too  much  already  of  the  technical  phases  of 
making  pictures,  there  appears  little  justifica- 
tion for  further  impressing  them  with  the  "man- 
ufactured" aspect  of  what  they  prefer  to  see 
on  the  screen  as  authenticity. — Running  time,  9 
minutes. 

Air  Thrills 

(  Columbia  ) 
Real  Thrills 

The  title  of  this  World  of  Sport  number  em- 
bodies no  overstatement,  since  there  is  enough 
in  this  subject  to  raise  the  hair  on  the  heads  of 
most  members  of  the  audience.  The  camera  is 
on  deck  as  the  daredevil  stunt  fliers  shift  from 
plane  to  speeding  automobile ;  clamber  about, 
on,  across  and  under  a  racing  plane  in  mid- 
air ;  leap  from  a  speedboat  on  the  lake  to  a 
ropeladder  dangling  from  a  dirigible,  climb- 
ing dangerously  to  safety.  If  the  audience  likes 
speed  and  thrill,  this  has  it. — Running  time,  10 
minutes. 

His  First  Flame 

(Vitaphone) 
Laughable  Monnents 

There  are  several  really  laughable  sequences 
in  this,  chiefly  by  reason  of  the  appearance  of 
the  distinctively-styled  and  amusing  comedian, 
Shemp  Howard,  as  a  fireman  who  invents  a 
fire  extinguishing  powder,  and  marries  Daphne 
Pollard  of  the  unstable  legs  merely  to  spite 
his  fireman-enemy.  He  arranges  that  his  wife 
shall  set  fire  to  one  room  in  their  home  in  order 
that  he  may  prove  to  his  skeptical  chief  the 
value  of  his  powder.  His  enemy  replaces  the 
powder  with  the  flashlight  variety,  the  house 
is  consumed,  and  Miss  Pollard  has  to  rescue 
her  heroic  husband.  Considerable  slapstick,  but 
amusing. — Running  time,  20  minutes. 


See,  See  Senorita 

(Vitaphone) 
Fair 

A  fair  conglomeration  of  Spanish  dances  and 
songs,  featuring  Tito  Guizar  and  Armida,  as 
supposedly  recorded  by  the  amateur  camera  of 
an  American  couple  who  have  toured  Spain  and 
are  showing  the  results  to  a  group  of  friends 
at  their  home.  Interspersed  are  the  comedy 
antics  of  the  man  and  wife,  as  the  husband  is 
seen  flirting  with  first  one  and  then  another 
senorita.  The  wife  is  in  tears  and  about  to 
start  for  her  divorce,  when  a  closing  sequence 
shows  her  doing  a  bit  of  flirting  on  her  own 
account.  A  fairly  entertaining  subject. — Run- 
ning time,  20  minutes. 


Tracking  the  Explorers 

(Fox) 
Very  Good 

Highly  interesting,  well  photographed,  of 
general  appeal  is  this  number  of  the  Adven- 
tures of  a  Newsreel  Cameraman  series,  flashing 
bits  from  the  highlights  of  various  notable  ex- 
peditions to  the  far  corners  of  the  globe,  where 
the  news  camera  was  an  important  part  of  the 
equipment.  Alaska  with  Father  Hubbard, 
North  and  South  Poles  with  Admiral  Byrd, 
India  with  Commander  Dyott,  Africa  with  the 
Martin  Johnsons  are  included  in  the  often 
thrilling,  well  paced  subject. — Running  time,  10 
minutes. 


Originals  for  Cartoon  Dolls 

Charles  Mintz,  creator  of  the  "Scrappy" 
cartoons  released  by  Columbia,  will  make  a 
series  of  original  drawings  of  the  characters 
in  the  cartoon  for  the  Alexander  Doll  Com- 
pany, recently  granted  a  license  for  manu- 
facture of  character  dolls. 


43 

Universal  Hurdles 
Non-Aryan  Plea 

By  ENDRE  HEVESI 

Budapest  Corresjfomlciit 

When  the  Hitler  regime  began  in  Ger- 
many, Universal  decreased  its  Berlin  pro- 
duction and  Joe  Pasternak  made  his  head- 
quarters in  Budapest,  using  Hunnis  Stu- 
dios for  the  German  language  productions 
starring  Francisca  Gaal.  Two  of  these 
Francy  Gaal  pictures  made  in  Hungary 
were  granted  admission  to  Germany,  but 
the  third,  "Spring  Parade,"  was  not  ad- 
mitted on  the  plea  that  some  of  the  mem- 
bers of  the  management  and  the  cast  were 
non-Aryan.  The  Hungarian  government 
tried  to  use  its  influence  to  make  the  Nazi 
authorities  change  their  minds,  since  it 
would  be  a  fatal  blow  for  production  in 
Hungary  if  German-language  films  made 
here  would  be  censored  on  the  grounds  of 
the  Aryan  attitude  in  Germany.  Had  the 
German  authorities  stuck  to  their  first  at- 
titude, Universal  certainly  would  have  been 
compelled  to  cease  activities  in  Budapest, 
since  an  expensive  German-language  pic- 
ture cannot  pay  its  way  unless  it  earns 
money  in  Germany.  However,  the  joint 
efforts  of  the  Hungarian  government  and 
of  Universal's  European  management  have 
overcome  the  difficulties  and  German 
authorities  will  put  no  more  obstacles  in  the 
way  of  "Spring  Parade"  importation. 

Plan  Other  Films 

Max  Friedland,  Universal's  general  man- 
ager for  the  European  continent,  told  this 
correspondent  recently  in  Budapest : 

"We  have  managed  to  make  an  agree- 
ment with  the  German  authorities  following 
which  "Spring  Parade,"  Francy  Gaal's  Ger- 
man-language picture  made  in  Budapest, 
will  be  shown  in  Germany.  So  there  is  no 
reason  why  we  should  not  continue  shoot- 
ing German-language  pictures  in  Budapest." 

Francy  Gaal's  new  picture,  ''Peter,"  also 
made  in  Budapest  after  the  completion  of 
"Spring  Parade,"  had  its  world  premiere  in 
Vienna.  Universal  has  made  another  Francy 
Gaal  film  in  Budapest,  "Kleine  Mutti" 
(Little  Mummy). 

To  Develop  Production 

"We  mean  to  develop  production  in 
Europe  in  the  future  and  shall  star  others 
besides  Francisca  Gaal,"  Mr.  Friedland 
said.  "I  have  made  a  contract  with  Gitta 
Alpar,  the  singer  who  is  in  the  greatest 
vogue  on  the  Continent  at  present.  She  will 
be  starred  in  two  Universal  pictures.  The 
Gitta  Alpar  films  will  be  made  in  German 
and  English  versions,  but  we  shall  shoot  her 
song  numbers  in  French,  Italian  and  Span- 
ish as  well,  so  as  to  increase  the  value  of 
tiie  films  in  these  countries.  Gitta  Alpar 
has  just  finished  her  first  German  picture 
in  Budapest.  This  is  'Ball  at  the  Savoy,' 
the  Paul  Abraham  musical.  This  was  made 
by  an  independent  Hungarian  producer,  but 
Universal  has  bought  the  rights  of  the  pic- 
ture for  the  English  language  territory,  for 
France,  Belgium,  Spain  and  the  Far  East. 

"In  April  we  shall  probably  start  shoot- 
ing another  picture  with  a  young  actress 
discovered  by  Joe  Pasternak  in  the  lead. 
She  is  Miss  Clara  Fodor,  and  we  have  great 
hopes  of  her  too." 


COLUMBIA  PICTURES 

" — -  ■-— -^--i    — ir  riiiiiifinirriinrrirMiiwiiniidiiitiii^^^^^   ■■■■■■immmiaimL-j  L-mmi-ij  _i_lj_u_iiij  —     ■  ■■     ■  _  ,  i  ■■  ,  ,r.>r.—.    ■  ■  ■■  ■ 


Awarded  to  Columbia 
for  the  "best  pic- 
ture   of  the  yeqr 


^  WVMO^  AWARD! 
^.O^-^^  ^CTURE   ARTS  AND 


rded  to  Grace  Moore 
for  "conspicuous  achieve- 
Smentin  raising  the  standard 
lof  cinema  entertainment^ 


Gtark 


Glaudetle 


GABLE  •  COLBERT 


in 


11 


"IT  HAPPENED  ONE  NIGHT 

w/fA  WALTER  CONNOLLY  and  ROSCOE  KARNS 

from  tAc  Cosmopolitan  Magatinit  Story  by  Samuel  Hopkins  Adams 
Screen  play  by  ROBERT  RISKIN 

A    FRANK   CAPRA  Production 

★ 


MOORE 


in 


"ONE  NIGHT  OF  LOVE" 

With  TULLIO  CARMINATI   •  LVLE  TALBOT 

MONA  BARRIE 

Story  by  DOROTHY  SPEARE  and  CHARLES  BEAHAN 
Screen  play  by  S.  K.  LAUREN 
JAMES  GOW  •  EDMUND  NORTH 

Directed   by   VICTOR  SCHERTZINGER 


46 


MOTION    PICTURE  HERALD 


March     16,  1935 


INCORPORATED  . . . 


Tlic  East  Bakersfield  Amusement  Company 
has  been  incoriwrated  at  Bakersfield,  Cal.,  with 
capital  stock  of  $25,000,  by  G.  VV.  Page,  Edith 
Page  and  Mary  Banducci. 

The  West  Coast  Amusement  Company  has 
been  incorporated  at  San  Francisco  with  capital 
stock  of  $15,000,  by  Mike  Krekos,  George 
Krekos  and  Louis  Krekos. 

Incorporated  at  Albany  were:  United  The- 
atre Owners,  Inc.,  Martha  J.  Hoffman,  Hen- 
rietta Zeichner  and  F.  Augusta  Weissmann, 
directors  and  subscribers,  and  Prisoners  of 
War,  Inc.,  Murray  A.  Schechtman,  Jane  E. 
Cross  and  Helene  M.  Hart,  directors  and  sub- 
scribers. 

New  incorporations  at  Boston:  Majco 
Amusement  Co.,  Boston,  250  shares  no  par. 
President  and  treasurer,  Mark  E.  Gallagher, 
Jr.,  19  Milk  street,  and  Mary  M.  Desmond  and 
Anne  A.  Hickey.  Majestic  Amusements,  Inc., 
Boston,  1,000  no  par  shares.  President  ind 
treasurer,  Mark  E.  Gallagher  Jr.,  and  Mary 
M.  Desmond  and  Grace  Burke. 

Fox  Film  Distributing  Corporation  has  been 
formed  at  Dover,  Del.,  listing  capital  of  $1,000. 
Incorporators  are  David  H.  Jackman,  Edward 
S.  Williams  and  Charles  N.  Caldwell,  all  of 
New  York.  The  company  has  been  organized 
to  handle  Fox  Film  business  in  Louisiana. 

St.  Cloud  Theatre  Corporation,  to  conduct 
theatres,  opera  houses,  amusement  parks  ;  capi- 
tal, $100,000 ;  incorporators,  M.  C.  Swearer, 
M.  E.  Pinder.  A.  G.  Foulk,  Wilmington. 

Saenger  Theatres  Corporation,  to  conduct  and 
carry  on  the  business  of  theatrical  properties ; 
capital,  148,000  shares,  no  par  value ;  incorpo- 
rators, D.  O.  Newman,  Walter  Lenz,  L.  H. 
Herman,  Wilmington. 

Saenger  Realty  Corporation,  to  conduct 
places  of  amusement ;  capital,  2,000  shares,  no 
par  value;  incorporators,  L.  H.  Herman,  Wal- 
ter Lenz,  D.  O.  Newman,  Wilmington. 

Screen  Broadcasts,  Inc.,  to  carry  on  the  busi- 
ness of  radio  broadcasting  and  motion  picture 
producing;  capital,  $10,000;  incorporators, 
Charles  E.  Seidner,  Leo  T.  Wagner,  J.  L. 
Mulhall,  Chester,  Pa. 

J.  E.  Rose,  Inc.,  to  operate  theatres,  play 
houses,  amusement  parks,  dancing  pavilions ; 
capital,  500  shares,  no  par  value ;  incorporators, 

C.  M.  Johnston,  J.  B.  Ullman,  C.  V.  Diedel. 
Washington,  D.  C. 

Arthur  Hopkins  Productions,  Inc,  to  operate 
theatres  and  other  places  of  amusement ;  capital, 
100  shares,  no  par  value ;  incorporators,  How- 
ard E.  Reinheimer,  Anne  Glatterman,  Hilda 
Goldman,  New  York. 

Film  Treatizor  Corporation,  to  deal  in  chemi- 
cals used  for  cleaning  motion  picture  films ; 
capital,  $50,000 ;  incorporators,  L.  H.  Herman, 

D.  O.  Newman,  Walter  Lenz,  Wilmington. 
Colorado  Orpheum  Corporation,  to  do  a  gen- 
eral theatrical  and  amusement  business ;  capital, 
$200,000;  incorporators,  William  F.  Whitman, 
Jackson  Heights,  Long  Island;  Kenneth  B. 
Umbreit,  New  York ;  John  F.  Lebor,  Hartsdale, 
N.  Y. 

Buckley  Radio  Laboratory,  Inc.,  to  deal  in 
broadcasting  devices ;  capital,  $400,000 ;  incor- 
porators, M.  S.  Cook,  A.  L.  Raughley,  J.  M. 
Townsend,  Dover. 

City  Broadcasting  Corporation,  to  deal  in 
broadcasting  devices ;  capital,  25,000  shares,  no 
par  value;  incorporators,  B.  R.  Jones,  W.  T. 
Hobson,  Walter  Lenz,  Wilmington. 

State  Broadcasting  Corporation,  to  do  a  gen- 
eral broadcasting  business ;  capital,  25,000 
shares,  no  par  value;  incorporators,  B.  R. 
Jones,  W.  T.  Hobson,  Walter  Lenz,  Wilming- 
ton. 

Radio  City  Amusement  Corporation,  to 
operate  theatres  and  other  places  of  amuse- 
ment, listing  capital  of  $250,000.  M.  M.  Lucey, 
H.  I.  Brown  and  L.  S.  Dorsey,  Wilmington, 
are  the  incorporators. 

Perfect  Theatres,  Inc.,  to  operate  theatres. 


opera  houses,  etc.,  listing  capital  stock  of  100 
shares,  no  par  value.  Edward  S.  Williams, 
David  H.  Jackman  and  C.  N.  Caldwell,  Jr., 
New  York  City,  are  the  incorporators. 

Atfam  Theatre  Corporation,  to  carry  on  the 
business  of  theatrical  proprietors,  listing  capital 
stock  of  200  shares,  no  par  value.  Y.  F.  Free- 
man. M.  F.  Gowthorpe.  W.  B.  Cokell,  New 
York  City,  are  the  incorporators. 

Southern  Attractions,  Incorporated,  to  carry 
on  the  business  of  a  booking  agency  for  en- 
tertainments, listing  capital  stock  of  10  shares, 
no  par  value.  Walter  Lenz,  W.  T.  Hobson 
and  B.  R.  Jones,  Wilmington,  are  the  in- 
corporators. 

Dur  Productions,  Inc.,  to  produce  and  pre- 
sent plays  and  opera,  listing  capital  of  $100,000. 
M.  M.  Lucey,  H.  I.  Brown  and  L.  S.  Dorsey, 
Wilmington,  are  the  incorporators. 

Moultrie  Theatres.  Inc.,  to  carry  on  the 
business  of  theatrical  proprietors,  listing  capital 
of  $50,000.  J.  L.  D.  Powell,  C.  H.  Powell,  J.  O. 
Gibson,  Moultrie,  Ga.,  are  the  incorporators. 

Theatre  Equipment  Supply  Company,  to  deal 
in  theatre  supplies  of  all  kinds.  Julian  H.  Reis, 
Phillip  Goldstein,  Lester  Strasburger,  Wash- 
ington, D.  C,  are  the  incorporators. 

Eureka  Files  Answer 

In  U.S.  "Ecstasy"  Action 

Eureka  Productions,  Inc..  last  week  filed 
in  the  United  States  district  court  in  New 
York  an  answer  to  the  government's  action 
to  exclude  "Ecstasy,"  Czechoslovakian  film, 
which  Eureka  sought  to  exhibit  in  this  coun- 
try. The  treasury  department  ruled  against 
its  importation  some  time  ago. 

A  copy  of  the  answer,  filed  by  the  com- 
pany's attorney,  Henry  Pearlman,  has  been 
served  on  Martin  Conboy,  United  States 
district  attorney,  who  is  handling  the  case. 
Eureka  denies  that  the  film  is  obscene  or 
subject  to  confiscation  or  destruction. 


Move  Washington  Offices 

RKO  Distributing  Corporation,  First 
Division  Exchanges,  Gold  Medal  Films  and 
Trio  Productions  have  moved  into  quarters 
in  the  new  film  exchange  building  in  Wash- 
ington. 


Sov-Am  to  Produce  in  English 

Sov-Am  Film  Corporation,  producer  of 
Yiddish  talking  films,  plans  to  enter  the 
English  field  during  1935.  Five  features  in 
English  are  included  among  the  eight 
scheduled. 


RKO  in  Venezuela 

Robert  H.  Hawkinson  of  RKO's  home  of- 
fice has  concluded  a  deal  for  the  entire 
company  lineup  with  Luis  H.  Muro,  Cara- 
cas, Venezuela. 


London  Plant  Installs  W.  E. 

Western  Electric  recording  equipment  has 
been  installed  in  the  Warner  studio,  Ted- 
dington,  London,  where  about  26  pictures 
will  be  made  this  year. 


Takes  Spanish  Film 

Criterion  Films,  headed  by  M.  D.  Strong, 
has  acquired  eastern  distribution  rights  to 
"Campanas  de  Amor"  ("Bells  of  Love,") 
Spanish-language  feature  nearing  comple- 
tion. 


Protest  Spanish  Censorship 

General  protest  was  aroused  in  Madrid, 
Spain,  at  the  introduction  into  Parliament 
of  a  bill  which  would  authorize  censorship 
of  films,  newspapers,  radio  and  magazines. 


THEATRE  NEWS 


It  is  reported  that  a  New  York  group, 
headed  by  S.  A.  Lynch,  is  planning  to  invade 
the  Detroit  first  run  field.  Representatives  were 
understood  looking  over  the  RKO  Downtown 
and  Broadway-Capitol,  both  closed  for  some 
time,  and  the  Madison,  which  may  be  leased 
from  George  W.  Trendle. 

Harry  Brandt,  New  York  circuit  head,  is 
reported  negotiating  for  six  local  houses,  tht 
Beacon,  Tivoli,  Times,  Columbus,  Arena  and 
Ideal.  All  but  the  Beacon  are  operated  by 
Consolidated  Amusements. 

Thomas  E.  Orr,  heading  Amusement  Enter- 
press,  Inc.,  Albertville,  Ala.,  operating  five 
Alabama  houses,  plans  a  new  theatre  at  Fort 
Payne,  Ala.,  involving  a  cost  of  $25,000. 

Mr.  and  Mrs.  Charles  H.  Barron,  operat- 
ing two  theatres  in  Pratt,  Kan.,  have  acquired 
an  interest  in  the  Novelty  theatre  at  Anthony, 
Kan. 

Springer  and  Cocalis,  New  York  circuit, 
plans  a  750-seat  house  at  Westchester  Square, 
in  the  Bronx,  a  600-seat  house  in  downtown 
Manhattan,  and  has  taken  over  the  Shubert- 
Teller  in  Brooklyn,  formerly  a  legitimate 
theatre. 

Paschal  Texas  Theatres,  of  Dallas,  last 
week  opened  the  Rialto  in  Denison,  Texas, 
after  a  complete  remodeling.  John  T.  Floor  is 
manager  of  the  Rialto. 

Two  new  theatres  have  been  opened  in  Al- 
bion, Mich.  They  are  the  Gem,  by  Glenn 
Gardner,  of  Stanton,  and  the  Censor,  which 
has  been  closed  for  five  years,  by  George  A. 
Bohm.  McArthur  Theatre  Equipment  Com- 
pany equipped  the  Gem. 

It  is  planned  to  open  the  Princess  in  Kendall- 
ville,  Ind.,  by  the  Hudson  Amusement  Com- 
pany, Robert  L.  Hudson,  president.  Both  the 
Princess  and  the  Strand,  also  owned  by  Hud- 
son, will  be  under  the  supervision  of  Frank 
Templin,  with  Robert  Haskins,  Strand  man- 
ager, taking  over  management  of  the  Princess. 

Gibraltar  Enterprises,  Inc.,  Denver,  has 
added  two  houses  to  the  circuit,  the  Rialto,  at 
Loveland,  Colo.,  and  the  Rex,  at  Gillette,  re- 
named the  Fiesta,  after  renovation.  The  houses 
were  bought  from  J.  J.  Goodstein  and  J.  T. 
Morgan,  respectively. 

Sparks  circuit  has  acquired  the  Little  the- 
atre building  in  Miami,  Fla.,  and  will  convert 
it  into  a  picture  theatre. 

The  Imperial,  the  newest  theatre  in  Charlotte, 
N.  C,  was  opened  last  week.  C.  Ervine  Stone, 
of  Greensboro ,  is  manager.  The  house  is 
owned  by  North  Carolina  Theatres,  Inc. 

Regal  Theatres  is  planning  a  1,200-seat  the- 
atre in  Colorado  Springs,  Colo.,  with  work  to 
start  shortly.  The  theatre  will  increase  the 
holdings  of  the  Cooper  group,  headed  by  Joe 
Cooper,  to  40  theatres. 

Adam  A.  Adams  has  taken  over  the  Park 
Lane,  Palisades  Park,  N.  J.  Skouras  had  op- 
erated the  house  for  a  time. 

Harmon  Brokate  and  A.  C.  Fisher  plan  a 
$10,000  theatre  at  Port  Clinton,  Ohio. 

The  Sam  Brown  circuit  plans  a  2,000-seat 
house  near  the  University  of  Detroit. 

Marshall  Riskel  has  opened  a  new  theatre  at 
Elmcreek,  Neb.,  and  Owen  Frederick  has 
opened  the  Cairo  at  Cairo,  Neb. 

Springer  and  Cocalis,  New  York  circuit, 
plans  acquisition  of  two  theatres  on  42nd  street, 
in  the  Times  Square  area. 

Ben  Knoble  will  reopen  the  Liberty,  at 
Poughkeepsie,  N.  Y.,  on  March  IS. 

Martin  Block  is  remodeling  the  Lyric,  New- 
ark, N.  J.,  at  a  cost  of  $15,000. 

Harry  Friedman  has  reoponed  the  Academy 
at  Newburgh,  N.  Y.,  which  has  been  dark  for 
two  years,  Publix  having  been  the  last  opera- 
tor. 


March     16,  1935 


MOTION    PICTURE  HERALD 


47 


TECHN€L€GICAL 


TALKS  WITH  MANAGERS  ON  PROJECTION 

The  Fourth  of  a  Series 
By    F.    H.  RICHARDSON 

A  REVIVED  PROJECTION  SOCIETY 


You  are  a  theatre  manager.  You  manage 
a  theatre  that  is  selling  to  the  public  certain 
things,  one  of  which  is  a  visual  effect  upon 
the  screen.  We  have  already  talked  about 
the  necessity  of  being  able  to  determine 
whether  or  no  there  is  a  really  competent 
man  in  charge  of  projection  in  the  theatre 
you  manage.  That  is  of  course  of  paramount 
importance,  yet  in  too  many  cases  the  selec- 
tion of  projectionists  is  conducted  by  guess 
work. 

Managers  look  at  the  screen  many  times 
a  day.  How  has  that  screen  been  selected? 
Were  the  projectionists  consulted?  Do  they 
know  what  type  of  surface  is  best  suited  to 
their  respective  auditoriums  ? 

Do  you,  as  a  manager,  know  what  the 
optical  result  of  wrong  selection  will  be? 
Did  you  examine  the  screen  backing  to 
ascertain  its  probable  ability  to  "stand  up?" 
Just  what  do  you  know  about  the  various 
screen  surfaces  ? 

Having  purchased  the  screen  and  had  it 
installed,  what  would  you  conclude  as  to 
its  "drop-off"  in  reflection  powers  in  90 
days  in  smoke-ridden  cities,  or  in  twice  that 
time  in  clear  mountain  air,  and  zvhat  means 
would  you  provide  for  testing  it?  After  a 
limited  time,  according  to  atmospheric  con- 
ditions, a  surface  may  look  quite  all  right, 
viewed  as  a  whole,  but  it  will  inevitably 
have  lost  in  reflection  power,  which  means 
one  of  two  things :  Either  the  picture  is 
not  as  bright  as  it  once  was,  or  if  it  is, 
additional  electric  power  is  being  used  up 
(wasted)  in  producing  additional  illumina- 
ton. 

It  is  amazing  how  many  theatre  managers 
apparently  have  no  conception  of  how  a 
screen  surface  that  looks  white  may  be  sadly 
lacking  in  reflection  power  because  of  evenly 
distributed  discoloration  set  up  by  deposits 
of  dust  and  other  minute  particles  carried 
by  the  air,  and  by  gasses. 

People  patronize  motion  picture  theatres 
to  be  entertained.  Some  of  them  are  "pic- 
ture fans"  who  attend  regularly,  regardless 
of  how  dissapointing  the  entertainment  may 
be.  Others  attend  when  a  favorite  star  is 
booked.  Then  there  is  a  large  group  of  peo- 
ple who  can  take  their  screen  entertainment 
or  leave  it  and  who  are  highly  critical,  of  the 
picture  and  of  the  theatre.  How  well  are 
you,  as  a  manager,  able  to  examine  the  re- 
sults on  your  screen  and  determine  whether 
or  not  they  are  the  best  that  may  be  ob- 
tained from  the  class  of  prints  you  receive? 

Managers  should  consistently  watch  the 
screen  from  both  the  front  and  rear  seat. 
Glare  spots,  unless  very  bad,  affect  some 


eyes  but  little,  whereas  they  are  exceedingly 
unpleasant  to  other  eyes.  Such  matters  truly 
affect  box  office  receipts. 

This  year  the  American  Projection  So- 
ciety celebrates  its  20th  anniversary.  It  is 
a  source  of  much  satisfaction  to  me  to  see 
this  splendid  organization  awakening  into 
vigorous  life  after  the  slump  into  which  it 
fell.  The  founders  of  the  A.P.S.  have  every 
reason  to  feel  pride  in  their  creation  (some 
time  during  the  present  year  it  is  my  in- 
tention to  name  them  in  a  historical  sketch 
of  the  organization).  A  list  of  the  men 
who  have  been  active  in  the  Society  would 
constitute  a  projectionists'  Roll  of  Honor. 
It  is  safe  to  say  that  every  progressive  pro- 
jectionist in  the  United  States  has  at  one 
time  or  another  had  contact  with  or  has 
been  influenced  by  the  work  of  the  Society. 
It  proudly  lists  these  marks  of  merit  in  its 
official  Bulletin: 

The  American  Projection  Society,  organ- 
ized in  1913  as  the  Candle  Club,  is  the  oldest 
technical  organization  in  the  motion  picture 
industry. 

The  Society  sponsored  the  first  publica- 
tion devoted  exclusively  to  the  projection- 
ist— The  American  Projectionist. 

The  Society  was  the  first  organization 
ever  to  sponsor  an  educational  session  for 
projectionists. 

Thomas  A.  Edison  accepted  honorary 
membership  in  the  Society,  December  12, 
1924. 

And  to  quote,  "One  of  our  distinguished 
members,  F.  H.  Richardson,  coined  and  es- 
tablished the  term  or  title  that  has  all  but 
displaced  the  odious  and  obnoxious  'opera- 
tor'— namely,  projectionist." 

I  was  of  course  aware  that  the  Society 
intended  doing  something  to  mark  the 
twentieth  year  of  its  life,  but  took  it  for 
granted  it  would  be  done  as  per  usual,  with 
a  big  dinner.  However,  it  now  is  apparent 
the  Society  has  something  much  more  elab- 
orate and  original  than  this  in  mind.  As  I 
now  understand  it  a  series  of  events  are 
being  planned  that  will  last  through  the 
entire  year.  They  will  consist  of  lectures, 
special  meetings  and  various  social  and  edu- 
cational functions,  with  the  possibility  of  at 
least  one  rather  big  affair  later  on. 

The  Society  has  already  sponsored  a  lec- 
ture on  spot  lighting  effects.  This  occurred 
in  a  New  York  theatre  with  Otto  Kafka  as 
chief  speaker.  Between  300  and  400  projec- 
tionists were  present.  Mr.  Kafka  was  presi- 
den  of  the  A.P.S.  for  four  terms.  Then  on 


February  23d  the  Society  gave  an  enjoyable 
dance. 

Still  later,  Wally  Byrne,  president  of  the 
Society,  arranged  a  meeting  at  Society  head- 
quarters. There  P.  A.  McGuire  of  the  In- 
ternational Projector  Corporation,  made  a 
very  effective  talk  on  prejection  progress 
through  education,  and  I  was  also  good  for 
a  few  words — more  or  less.  However,  the 
star  of  the  evening  was  John  Kurlisch,  who 
lectured  on  the  Super-Sumplex  mechanism. 
It  was  by  far  the  most  lucid,  thoroughly 
understandable  and  thoroughly  educational 
talk  I  have  ever  heard  given  by  anyone 
on  any  piece  of  equipment.  Mr.  Kurlisch 
has  been  with  the  International  Projector 
Corporation  for  more  than  20  years  and  has 
been  service  man  so  long  that  I  cannot  re- 
member when  he  began  the  job. 

The  Society  has  adopted  what  seems  to  me 
to  be  a  sound  policy.  In  future  any  projec- 
tionist, whether  a  member  or  not,  will  be 
welcome  to  attend  its  lectures,  but  only  pro- 
jectionists of  well  proven  ability  and  sterling 
character  will  be  admitted  to  membership, 
which  in  my  opinion  is  exactly  as  it  should 
be. 

May  I  suggest  to  Joseph  Basson,  George 
Edwards  and  all  other  old-time  A.P.S.  lead- 
ers, that  they  return  to  the  A.P.S.  and  give 
Wally  Byrne  and  his  officers  all  possible 
aid  in  rebuilding  the  Society  on  the  sound 
basis  upon  which  it  originally  rested?  Mr. 
Byrne  and  others  have  worked  very  hard. 
They  need  and  should  have  the  help  of  all 
serious-minded  men  in  projection. — F.  H. 
Richardson. 


Rudulph  On  the  Air 

Gerald  K.  Rudulph,  known  in  the  motion 
picture  industry  as  a  publicist  and  former 
advertising  director  of  RCA  Photophone,  is 
now  appearing  nightly  over  Station  WGR, 
Buffalo,  at  6:45,  in  a  program  of  news  dis- 
cussions, known  as  "Me  and  the  Mike."  Mr. 
Rudulph  is  publicity  and  advertising  man- 
ager for  Schreiber  Brewing  Company  in 
that  town. 


Seeks  Release  of  French  Films 

Marcel  Sprecher,  general  secretary  of 
Union  Syndicate  des  Distributeurs  des  Films 
en  France,  who  recently  brought  the  French 
film,  "Itto"  to  this  country,  is  seeking  dis- 
tribution here  for  two  other  French  films, 
"Pension  Mimosas"  and  "Le  Grand  Jeu," 
both  directed  by  Jacques  Feyder.  Mr. 
Sprecher  received  the  trade  and  daily  press 
at  the  Hotel  Pierre  in  New  York  last  week. 


SAMUEL  GOLDWYN  presents 

GARY  COOPER 

out  Standing  box-office  star  of  the  current  season  and 

ANNA  STEN 

portraying  a   new  and  exciting  characterisation  in 


Released  thru. 


UNITED  ARTISTS 


50 


MOTION    PICTURE  HERALD 


March     16,  1935 


m  J.  C,  JCNriNS-HlS  COLYUM  IE 


Alamo,  Texas 

Dear  Herald: 

There  it  goes.  Doggone  the  luck  any- 
how. It  was  our  intention  to  have  given 
you  a  shark  story  this'  time.  In  fact,  we  be- 
Heve  we  promised  you  one  last  week,  but 
somehow  something  had  to  interfere,  just 
as  it  always  does,  and  now  we  have  to  dis- 
appoint you  again.  Maybe  it  was  because 
of  that  blizzard  the  boys  had  up  home  which 
made  the  mercury  take  a  nosedive  down 
here  and  froze  the  garden  truck  and  some 
of  the  fruit  and  put  a  crimp  in  tlie  coun- 
try's business  that  will  take  some  time  to 
recover.  They  have  been  telling  us  that  it 
never  freezes  down  here,  but  of  course,  the 
late  freeze  was  "very  unusual."  Well,  we 
got  froze  up.  That  is  why  we  didn't  go  and 
catch  some  sharks. 

V 

We  were  down  to  San  Juan  to  get  the 
Herald  of  Mr.  Plath  of  the  San  Juan  thea- 
tre, who  always  furnishes  us  with  that 
household  necessity,  and  looking  it  over  we 
ran  across  this,  "Mr.  George  Bernard  Shaw 
in  a  London  interview  demands  sex  in  pic- 
tures and  says,  T  am  old  and  I  know  what 
I  am  talking  about.'  "  In  commenting  on 
this  statement  the  editor  of  the  Herald 
said,  "Mr.  Shaw  is  wrong.  He  is  old  and 
knows  what  he  is  remembering  about."  But, 
Mr.  Ramsaye,  how  is  it  that  you  know  that 
he  is  remembering? 

V 

An  Orchid  to  You 

In  that  same  issue  of  the  Herald  we  noted 
a  picture  of  a  number  of  celebrities,  among 
them  being  several  senators,  vice-president 
Garner  and  A-Mike  Vogel  of  the  "Round 
Table"  department  of  the  Herald,  and  if 
you  will  keep  it  quiet,  so  Mike  won't  get  to 
hear  of  it,  we  would  like  to  suggest  that 
Mike  is  the  best  looking  one  of  the  bunch. 
But  say,  you  people  down  there  in  New 
York,  you  better  lock  your  henhouses. 
V 

Two  strangers  met  on  the  street  the  other 
day  and  one  old  fellow  said  to  the  other, 
"say,  what  is  your  name?"  and  the  second 
replied,  "My  name  is  Gossage."  And  the 
other  said,  "Yes,  I  know,  but  what  was  your 
name  before  you  came  to  Texas?" 
V 

We  are  going  to  try  and  get  a  job  'fronn 
the  Government  carrying  water  to  water 
the  trees  on  that  "Shelterbelt"  they  are 
going  to  build  to  "bring  rain".  It  seems 
that  the  "Brain  Trust"  hadn't  anything  to 
do  until  the  teacher  dismissed  the  school 
for  recess,  so  they  thought  of  this  plan  to 
get  some  water. 

V 

Our  neighbor  has  a  pamphlet  issued  by 
the  "Utopia  Society"  of  Hollywood  f what- 
ever kind  of  a  society  that  is)  in  which  they 
demand  that  the  government  issue  new  dated 
money  and  distribute  it  among  the  people. 
They  don't  seem  to  want  old  money,  what 
they  want  is  new  money,  and,  we  presume, 
plenty  of  it.  A  little  old  money  would  please 
us,  and  if  we  had  that  old  quarter  we  spent 
for  firecrackers  on  the  Fourth  of  July  sev- 
eral years  ago  we'd  be  pretty  well  satisfied. 


You  can  leave  it  to  Hollywood  to  want 
something  every  time,  provided  they  don't 
have  to  work  for  it. 

V 

The  other  night  they  turned  on  the  radio 
and  we  heard  a  professional  crooner  sing 
"My  love  for  you,  dear  heart,  grows  strong- 
er every  day."  Then  we  took  another  dose 
of  salhepatica  and  went  to  bed. 

V 

The  other  night  Bert  Boswell  of  the  Plaza 
theatre  at  Donna  invited  us  down  to  his 
theatre  to  see  Eddie  Cantor  in  "Kid  Mil- 
lions" and  that  night  we  had  some  more 


BEST  SELLERS 
AND  RENTERS 

Best  Sellers  and  Best  Renters  of  the 
past  month  in  fiction  literature,  listed 
below,  received  their  ranking  from  an 
actual  count  of  sales  by  Baker  and 
Taylor  Company,  New  York,  in  the 
case  of  the  best  sellers,  while  the  best 
renters  were  based  upon  nationwide 
reports. 

TEN  BEST  SELLERS 
(January  21  to  February  18) 

1.  A  House  Divided,  by  Pearl  S. 

Buck. 

2.  Heaven's  My  Destination,  by 

Thornton  Wilder. 

3.  Woman  in  Love,  by  Kathleen 

Norris. 

4.  Good-bye,  Mr.  Chips,  by  James 

Hilton. 

5.  Appointment  in  Samarra,  by 

John  O'Hara. 

6.  Lamb  in  His  Bosom,  by  Caroline 

Miller. 

7.  Lost  Horizon,  by  James  Hilton. 

8.  American    Family,    by  Faith 

Neumann. 

9.  Hornets'  Nest,  by  Helen  Ash- 

ton. 

10.  Romany,  by  Eleanir  Smith. 

TEN  BEST  RENTERS 
(January  to  February) 

L  Heaven's  My  Destination,  by 
Thornton  Wilder. 

2.  So   Red   the   Rose,   by  Stark 

Young. 

3.  The    Forty    Days    of  Musa 

Dagh,  by  Franz  Werfel. 

4.  Lost  Horizon,  by  James  Hilton. 

5.  Appointment  in  Samarra,  by 

John  O'Hara. 

6.  Lamb  in  His  Bosom,  by  Caroline 

Miller. 

7.  Mary   Peters,   by   Mary  Ellen 

Chase. 

8.  American    Family,    by  Faith 

Baldwin. 

9.  Woman  in  Love,  by  Kathleen 

Norris. 

10.  Lust  for  Life,  by  Irving  Stone. 


luck,  we  didn't  feel  well  enough  to  go,  so 
we  sent  our  wife  and  the  gang  down  to  see 
it  and  they  reported  it  a  splendid  picture. 
If  Eddie  knew  how  badly  we  wanted  to  see 
his  picture  and  couldn't  do  it,  he'd  send  us 
a  motto  of  "Home  Sweet  Home"  to  nail 
over  our  henhouse  door. 

V 

These  Texas  Longhorns  think  they're  right 
And  you  cannot  keep  them  still, 

For  they  will  fight  with  all  their  might 
For  that  Townsend  Pension  Bill. 

It  ^natters  not  how  dry  they  felt, 
Since  they  will  not  complain; 

For  when  we  get  that  "Shelterbelt" 
They'll  all  get  soaked  with  rain. 
V 

There  are  a  whole  lot  more  things  that 
perhaps  we  ought  to  say  but  can't  think 
of  right  now,  which  will  no  doubt  be  a  re- 
lief to  the  public  but  will  be  tough  on  Ernie 
to  fill  this  space  out,  but  if  your  carburetor 
wasn't  working,  your  ignition  out  of  time 
and  you  had  a  flat  tire  you  wouldn't  write 
much  either,  wouldja? 

COLONEL  J.  C.  JENKINS 
The  herald's  Vagabond  Colyumnist 


Cummins  Does  Not  Own  Eureka 

In  the  March  9  issue  of  Motion  Picture 
Herald,  referring  to  the  action  of  the 
United  .  States  Government  regarding  the 
motion  picture,  "Ecstasy,"  it  was  said  that 
Eureka  Productions,  which  imported  the 
film,  is  the  "property"  of  Samuel  Cummins. 
Jacques  A.  Koerpel,  president  of  Eureka, 
pointed  out  this  week  that  Mr.  Cummins 
"originally  had  a  small  interest  in  the  com- 
pany and  at  this  writing  he  has  none  what- 
ever." 


Sherman  Opens  Broadway  Office 

Al  Sherman,  motion  picture  publicist  and 
free  lance  magazine  writer,  opened  indepen- 
dent headquarters  this  week  on  the  fifth  floor 
at  1562  Broadway,  New  York. 

Mr.  Sherman  has  been  signed  by  Arch  Mayer 
and  Irvin  Shapiro  of  DuWorld  Pictures,  and 
T.  and  I.  Kaplan,  of  the  Fifth  Avenue  Play- 
house, to  handle  the  campaign  on  "La  Dame 
Aux  Camelias,"  ("Camille")  opening  March  19. 
Sid  Weiss  will  be  associated  with  Mr.  Sher- 
man in  the  campaign. 


Tieups  on  "Gold  Diggers" 

The  Warner  home  office  advertising  and 
publicity  department,  headed  by  S.  Charles 
Einfeld,  has  completed  seven  national  mer- 
chandising tieups  on  the  new  "Gold  Dig- 
gers of  1935."  The  arrangements  are  with 
Lux,  Masonite  Presdwood  Company,  Pacific 
Knitting  Mills,  Max  Factor  Make-Up, 
Mojud  Hosiery,  Buick  and  Du  Art. 


Wolff  Forms  Warwick  Firm 

Jerome  H.  Wolff,  former  sales  manager 
and  director  of  publicity,  for  Raspin  Pro- 
ductions, has  formed  Warwick  Film  Enter- 
prises, with  New  York  offices  in  the  RKO 
Building.  The  firm  will  represent  producers 
in  distribution  of  product  in  this  country 
and  the  foreign  market. 


March     16,  1935 


MOTION    PICTURE  HERALD 


5! 


THEATRE  RECEIPTS 


The  total  of  theatre  receipts  for  the  calendar  week  ended  March  9,  1935,  from 
109  theatres  in  18  major  cities  of  the  country,  reached  $1,024,150,  a  decrease  of 
$1  17,167  from  the  total  for  the  preceding  calendar  week,  ended  March  2,  when  I  10 
theatres  in  18  major  cities  aggregated  $1,141,317. 

(.Copyright,  1935:   Reproduction  of  material  from  this  departmtnt  without  credit  to  Motion  Picture  Herald  expressly  forbidden) 


Theatres 

Boston 

Boston    3,246 

Fcnwaj-    1,382 


25c -50c 
30c -50c 


Memorial                 2,907  25c -65c 

Loew's   State    ...  3,537  25c-55c 

Metropolitan            4,332  35c-65c 

Paramount               1,793  25c-50c 


Current  Week 


Picture 


■'Mystery  Women"  (Fox). 


Gross 


12,000 


'One  More  Spring"  (Fox)  and...  2,500 
"Lottery  Lover"  (Fox) 


••The  Little  Colonel"  (Fox)   16,000 

"Wiole  Town's  Talking"  (Col.)..  9,000 
and  "Society  Doctor"  (MGM) 

. .  25,000 


"Living  on  Velvet"  (F.  N.)  

"One  More  Spring"  (Fox)  and   5,000 

"Lottery    Lover"  (Fox) 


Previous  Week 

Picture  Gross 

"Night  Life  of  the  Gods"  (Univ.)  13,000 

"All  the  Kings  Horses"  (Para.)..  5,000 
and  "The  White  Cockatoo"  (W.  B.) 

"The  Good  Fairy"   (Univ.)   21,000 

"After  OflFice  Hours"  (MGM)  and  14,500 
"The  Best  Man  Wins"  (Col.) 

"Sweet  Music"  (W.  B.)    35,000 

"All  the  Kings  Horses"  (Para.)..  8,500 
and  "The  White  Cockatoo"  (W.B.) 


High  and  Low  Gross 

(Tabulation  covers  period  from  Jantuury,  ItM.) 
(Dates  are  1934  unless  otherwise  sptxi&eA.) 

High  12-29  "West  of  Pecos"   23,000 

Low  2-2-35  "One  Exciting  Adventure"..  8.500 
High  1-6  "Lady  Killer"  ) 

and  "Girl  Without  a  Room"  1  12,000 
Low   3-9-35   "One  More   Spring"   and  ( 

"Lottery  Lover"  ]  2,500 

High  2-16-35  "White  Lies"   28,000 

Low  1-19-35  "Evergreen"   7.000 

High  4-7  "Riptide"    22.000 

Low  3-9-35  "Whole  Town's  Talking"  1 

and  "Society  Doctor"       ]  9,000 

High  1-27  "All  of  Me"   39,000 

Low  1-19-35  "The  County  Chairman"....  21,000 
High  1-6  "Lady  Killer"  ) 

and  "Girl  Without  a  Room"  J  12,000 
Low  2-2-35  "Maybe  It's  Love"  and  ) 

"Murder  in  the  Clouds"    1  4,200 


BufFalo 

Buffalo                  3,509  30c-S5c 

Century                  3,000  25c 

Great  Lakes  ....  3,000  2Sc-40c 

Hippodrome            2,100  25c-«)c 

Lafayette                3,300  2Sc 

Chicago 

Apollo                   1.400  25c-50c 

Chicago                  4,000  25c-68c 

Garrick                    900  25c-40c 

Oriental                  3,940  25c-40c 

Palace                    2,509  25c-50c 

Roosevelt               1,591  2Sc-50c 

State- Lake            2,776  20c-3Sc 

United  Artists...  1,700  30c-60c 

Cleveland 

Allen                      3,308  20c-40c 

Circle                     1,875  20c-30c 

Hippodrome   3,800  30c-42c 

RKO  Palace  ....  3,100  30c-60c 

State                     3,400  30c-42c 

Stillman                   1,900  20c-40c 


"Living  on  Velvet"  (F.  N.)   13,500      "Sweet  Music"  (W.  B.). 


"Murder  in  the  Qouds"  (F.  N.).. 
and  "Lottery  Lover"  (Fox) 


5,000      "Helldorado"  (Fox)  and... 
"Mystery  Woman"  (Fox) 


■'The  Scarlet  Pimpernel"  (U.A.)..  7,400 


"Woman  in  Red"  (F.  N.)  and...  6,100 
'Maybe  It's  Love"  (F.  N.) 

•The  Iron  Duke"  (GB  Pictures)  8,000 
and  "Transient  Lady"  (Univ.) 


'One   More   Spring"   (Fox)   8,000 

'Rumba"   (Para.)    44,000 

^'After  OfiEice  Hours"    (MGM)....  6,000 

^'Bordertown"    (W.    B.)   15,000 

'Murder  on  A  Honeymoon"  (Radio)  30,CO0 

■'Ruggles  of  Red  Gap"  (Para.)....  23,000 

"The  Silver  Streak"  (Radio)   13,000 

•David   Copperfield"    (MGM)   12,000 

(4th  week) 


"The  Iron  Duke"  (GB  Pictures)..  6,100 
(9  days) 

"Lightning  Strikes  Twice"  (Radio)  5,000 

"The  Little  Colonel"  (Fox)   8,700 

(2nd  week) 

"While  the  Patient  Slept"   (F.N.)  12,500 

"Biography  of  A  Bachelor  Girl"..  9,500 
(MGM) 

"Society  Doctor"  (MGM)   3,500 


"After  Office  Hours"  (MGM). 
(8  days) 

"aive  of  India"  (U.  A.)  


"The  Whole  Town's  Talking" 
(Col.) 


"The  County  Chairman"  (Fox). 

(2nd  week) 
"After  Office   Hours"  (MGM)... 


'Baboona"  (Fox)  

(2nd  week) 
"The  Band  Plays  On"  (MGM). 


"Transient  Lady"  (Univ.). 
"Sweet  Music"  (W.  B.).. 
"Helldorado"  (Fox)   


"David  Copperfield"  (MGM). 
(3rd  week) 


"The  Good  Fairy"  (Univ.). 
"That's  Gratitude"  (Col.)... 


"The  Little  Colonel"  (Fox). 

(1st  week) 
"Woman  in  Red"  (F.  N.).. 


"After  Oflfice  Hours"  (MGM).. 
"Wings  in  the  Dark"  (Para.). 


18,100 
5,900 


8,300 


7,800 
10,200 


5,000 
43,000 

3,000 
15,000 
22,000 
10,000 
11,000 

12,000 

4,100 
5,500 
16,000 

13,500 
16,000 
5,100 


High  1-6  "Design  for  Living"  

Low  12-29  "Music  in  the  Air"  

High  4-21  "The  Lost  Patrol"  and 

"Three  on  a  Honeymoon" 
Low  12-29  "I  Am  a  Thief"  and 

"Side  Streets" 

High  9-29  "Belle  of  the  Nineties"  

Low  12-22  "Gentlemen  Are  Born"  and 

"Marie  Galante" 
High  5-19  "The  House  of  Rothschild" 

Low  7-28  "Here  Comes  the  Navy  

High  3-10  "It  Happened  One  Night" 

and  "Before  Midnight" 
Low  11-17  "Jane  Eyre"  and 

"Young  and  Beautiful" 


26,000 
5.000 

8,100 

4,000 
18,800 

3,800 
18,000 
4,800 

16,700 

4,200 


High  9-8  "The  Cat's  Paw"  

Low  11-24  "The  Captain  Hates  the  Sea" 

High  8-11  "She  Loves  Me  Not"  

Low  5-26  "Thirty  Day  Princess"  

High  2-23-35  "Baboona"  

Low  10-27  "Kansas  City  Princess"  

High  1-5-35  "Big  Hearted  Herbert".... 

Low  6-16  "Registered  Nurse  

High  3-9-35  "Murder  on  a  Honeymoon" 

Low  12-1  "Kentucky  Kernels"  

High  1-5-35  "Forsaking  All  Others".... 

Low  8-18  "Paris  Interlude"  

High  9-8  "The  Most  Precious  Thing  in 

Life"  

Low   5-2-35  "Helldorado"   

High  5-5  "House  of  Rothschild"  

Low  4-28  "Looking  for  Trouble"  


High  10-27  "Six-Day  Bike  Rider" 
Low  12-15  "Silver  Streak"   


16,000 
5,000 
66,000 
19,000 
8,500 
4,000 
25,000 
12.000 
30,000 
8,000 
27,000 
6,000 

19.000 
11,000 
30,000 
10,000 


7,008 
1,400 


High  4-7  "Wonder  Bar"   20,000 

Low  3-17  "Journal  of  a  Crime"   2,900 

High  11-10  "Desirable"    28,000 

Low  5-19  "Where  Sinners  Meet"   4.000 

High  1-12-35  "Forsaking  All  Others"..  28,000 

Low  12-29  "Private  Life  of  Don  Juan"..  3,500 

High  9-15  "Chained"   10,000 

Low  1-12-35  "Our  Daily  Bread"   2,000 


Denver 

Aladdin    1,500  25c-50c 

Denham    1,500  2Sc-S0c 

Denver    2,500  25c-50c 

Orpheum    2,600  25c-S0c 

Paramount    2.000  25c-40c 


'The  Scarlet  Pimpernel"  (U.  A.)..  6,000 

'Ruggles  of  Red  Gap"  (Para.)....  4,000 

(2nd  week) 

"Sweet  Music"  (W.  B.)   6,50f> 

"Carnivar'    (Col.)    4,500 

"Society  Doctor"   (MGM)    600 

(3  days) 

"I've  Been  Around"  (Univ.)  and  900 
"Notorious  Gentleman"  (Univ.)  (4  days) 


"Woman  in  Red"  (F.  N.)   2,000 

"Ruggles  of  Red  Gap"  (Para.)....  9,000 

(1st  week) 

"The  Little  Colonel"  (Fox)   6,000 

"The  Mystery  of  Edwin  Drood"..  5,000 
(Univ.) 

"Red  Hot  Tires"  (F.  N.)  and....  700 
"Maybe  It's  Love"  (F.  N.)  (3  days) 

"Society  Doctor"  (MGM)   1,000 

(4  days) 


High  5-5  "House  of  Rothschild"   9,000 

Low  8-11  "I  Give  My  Love"   1,200 

High  9-29  "Belle  of  the  Nineties"   16,500 

Low  4-7  "She  Made  Her  Bed"   800 

High  1-13  "Roman  Scandals"    17,500 

Low  9-29  "British  Agent"   4,000 

High  2-17  "Hi  Nellie"    19,500 

Low  12-29  "Hat,  Coat  and  Glove"   1,000 

High  1-13  "Dinner  at  Eight"   5,500 

Low  6-9  "Uncertain  Lady"   400 


Hollywood 

Chinese                    2,500  30c-55c 

Pantages                 3,000  2Sc-40c 

W.  B.  HoUywood  3,000  25c-65c 


"One   More   Spring"   (Fox)   6,900 

(6  days) 

"Night  Life  of  the  Gods"  (Univ.)  3,200 

"Living  On  Velvet"  (F.  N.)   9,000 

(6  days) 


"Clive  of  India'' 

(6  days) 

"The  Good  Fairy 
(2nd  week) 


(U.  A.)   10,700 

'  (Univ.)   4,200 


'Sweet  Music"  (W.  B.)   9,000 

(6  days) 


High  4-14  "House  of  Rothschild"   25,171 

Low  12-29  "Music  in  the  Air"   4,292 

High  12-8  "Imitation  of  Life"   12,200 

Low  3-3  "Fugitive  Lovers"  and  I 

"The  Poor  Rich"  f  1.500 

High  9-8  "Dames"    25.000 

Low  12-29  "Sweet  Adeline"   6,300 


MOTION    PICTURE  HERALD 


March     16,  1935 


tTHCATCC  CECEIPTS— CCNT'Dl 


Theatres 


Current  Week 


Previous  Week 


Picture 


Gross 


Picture 


Gross 


Indianapolis  ' 

ApoUo                    1,100  2Sc-40c 

Circle                     2,800  25c-40c 

Indiana                   3,133  2Sc-40c 

Lyric                      2,000  2Sc-40c 

Palace                    3.000  25c-40c 

Kansas  City 

Mainstreet               3,049  15c-40c 

Midland                  4,000  15c-40c 

Newman                 1,800  2Sc-40c 

Tower                    2,200  2Sc 

Uptown                  2,000  25c- 40c 

Los  Angeles 

Filmarte                   800  40c-55c 

Four  Star                 900  30c-SSc 

Loew's  State         2,416  30c-S5c 

Paramount              3,596  30c-5Sc 

RKO                      2,700  25c-6Sc 

United  Artists...  2,100  25c-5Sc 

W.  B.  Downtown  3.400  25c-40c 

Minneapolis 

Century                  1.650  25c-40c 

Lyric                      1,238  20c-25c 

Palace                      900  15c-25c 

RKO  Orpheum...  2,900  25c-40c 

State                      2,300  25c-40c 

Time                        30O  20c-25c 

World                       400  25c-75c 

Montreal 

Capitol                   2,547  25c-60c 

Imperial                  1,914  25c-40c 

Loew's                    3,115  30c-60c 

Princess                  2,272  30c-65c 

New  York 

Astor                     1,012  2Sc-75c 

Capitol                   4,700  3Sc-$1.65 

Mayfair                  2,300  35c-65c 

Palace                    2,500  25c-75c 

Paramount              3,700  35c-99c 

Rialto                     2,200  2Sc-65c 

RivoU                     2,200  40c-99c 

RKO  Music  Hall  5,945  35c-$1.65 

Roxy                      6,200  2Sc-55c 

Strand                    3,000  25c-55c 


"Sweet    Music"    (W.   B.)   4,5CO 

"Carnival"  (Col.)    1,200 

O  days) 

"The  Scarlet  Pimpernel"  (U.A.)..  1,500 

(4  days-Return  Engagement) 

"Living  on  Velvet"  (F.  N.)   4,500 

"While  the  Patient  Slept"  (F.  N.)  6,000 

Vanessa:  Her  Love  Story"  (MGM)  5,000 


"Roberta"    (Radio)    16.000 

"V^anessa:   Her   Love  Story"   8,100 

(MGM) 

■Ruggles  of  Red  Gap"  (Para.)....  8,500 

"The  Secret  Bride"  (W.  B.)   7,500 

"One  More  Spring"'   (Fox)   3,700 

"Unfinished   Symphony"    2,200 

(GB  Pictures)  (2nd  week) 

"Sequoia"  (MGM)    7,000 

"One  More  Spring"   (Fox)   8,000 

(6  days) 

"Rumba"   (Para.)    19,500 

"Living  on  Velvet"  (F.N.)   7,700 

(6  days) 

"Society  Doctor"  (MGM)  and....  3,600 
"Evensong"  (GB  Pictures) 

"Red  Hot  Tires"  (F.  N.)  and....  9.200 
"Murder  on  a  Honeymoon"  (Radio) 


"One  More  Spring"   (Fox)   4.7(X) 

"Rocky  Mountain  Mystery"  (Para.)  1,500 

"Secret  of  the  Chateau"  (Univ.)..  2,000 

"Living  on  Velvet"   (F.   N.)   6,000 

"Sweet  Music"  (W.  B.)   3,50£) 

(5  days) 

"The  Little  Colonel"  (Fox)   2,000 

(2  davs) 

"Carnival"  (Col.)    700 

(3  days) 

"The  Iron  Duke"  (GB  Pictures)..  3,500 
(2nd  week) 

"David  Copperfield"  (MGM)    12.000 

"Mystery   Woman"    (Fox)   3,500 

"The  Night  Is  Young"  (MGM)  and  9,500 
"The  Winning  Ticket"  (MGM) 

"Olive  of  India"   (U.A.)   and   10,500 

"Carnival"  (Col.) 

"Great  Hotel  Murder"  (Fox)   8,000 

"Biography  of  a  Bachelor  Girl'"..  27,000 
(MGM) 

"Red  Hot  Tires"  (F.  N.)   5,900 

"The  Scarlet  Pimpernel"  (U.A.)..  11.000 

"Rumba"   (Para.)   18,000 

(6  days-2nd  week) 

"\Vhile  the  Patient  Slept"  (F.N.)  7,900 

"Folies  Bergere"  (U.  A.)   25,000 

(2nd  week) 

"Whole  Town's  Talking"'   (Col.)..  72,500 

"Murder  on  a  Honeymoon"    (Radio)  27,000 

"Sweet  Music"  (W.  B.)   21,0'30 

(2nd  week) 


"One  More  Spring""  (Fox)   2,250 

(2nd  week) 

"The  Scarlet  Pimpernel"  (U.A.)..  5,000 

"Woman  in  Red'"  (F.  N.)   12,000 

"Murder  On  A  Honeymoon"   6,500 

(Radio) 

"After  OfTice  Hours"   (MGM)....  4,000 

"Woman  in  Red'"   (F.    N.)   8,400 

(25c -40c) 

"After  Office  Hours"    (MGM)....  16,700 

•Devil  Dogs  of  the  Air"  (W.B.)..  6,C00 
(7  days) 

"All  the  King's  Horses"  (Para.)..  2,800 

(4  days) 

"The  Good  Fairy"  (Univ.)   6,500 

(2nd  week) 

"Evergreen"  (GB  Pictures)   3,400 

(2nd  week) 

"The  Unfinished  Symphony"   2,250 

(GB  Pictures)  (6  days-lst  week) 

"The  Iron  Duke"  (GB  Pictures)..  3,100 
(2nd  week) 

"Qive  of  India"  (U.  A.)   11,550 

(6  days) 

"The  Whole  Town's  Talking"....  20,000 
(Col.) 

"Sweet   Music"   (W.   B.)   8,500 

(6  days) 

"High  School  Girl"  (Foy)  and....  2,728 
"Sudan"  (Foy)  (6  days) 

"Carnival"  (Col.)  and   6,900 

"Maybe  It's  Love"  (F.  N.) 
(6  days) 


"Biography  of  A  Bachelor  Girl"..  4,500 
(MGM) 

"Charlie  Chan  in  Paris"  (Fox)....  1,500 

"Two  Heads  on  a  Pillow""  (Liberty)  2,500 

"The  Whole  Town's  Talking"....  5,500 
(Col.) 

"The  Gilded  Lily"  (Para.)   6,000 


"The  First  World  War"  (Fox)....  1,500 

(2nd  week) 

"The  Iron  Duke"  (GB  Pictures)..  3,500 

(1st  week) 


"The  Iron  Duke"  (GB  Pictures)..  10,500 
"Jeannette"'    5,000 


'The  County  Chairman"  (Fox)   9,000 

and  "Lottery  Lover"  (Fox) 

"The  Private  Life  of  Don  Juan"  7,500 
(U.A.)  and  "Runaway  Queen"  (U.A.) 


"Grand  Old  Girl"   (Radio)   3,000 

(4  days) 

"Sequoia"   (MGM)    34,000 

"The  Marines  Are  Coming"    6,800 

(Mascot) 

"The   Good   Fairy"    (Univ.)   9,000 

"Rumba"   (Para.)    38,000 

(1st  week) 

"Car  99"  (Para.)   12,000 

"Folies  Bergere"  (U.A.)   34,000 

(1st  week) 

"One   More  Spring"   (Fo.x)   75,000 

"Night  Life  of  the  Gods"  (Univ.)  34,000 

"Sweet  Music"  (W.  B.)   32,189 

(1st  week) 


High  and  Low  Gross 

(Tabulation  covers  period  from  Janu£try,  1934.) 
(Dates  are  1934  unless  otherwise  specifi«L) 

High  2-23-35  "One  More  Spring"   7,500 

Low  2-9-35  "Baboona"   2,000 

High  12-15  "Lady  By  Choice"   8,500 

Low  1-19-35  "The  President  Vanishes"  1 

and  "Enter  Madame"       }  2,000 

High  3-2-35  "Woman  in  Red"   12,000 

Low  1-12-35  "Little  Women"   1.500 

High  12-22  "Murder  in  the  Clouds"....  11,000 
Low  7-28  "Half  a  Sinner"  and  \ 

"Embarrassing  Moments"    J  2,000 

High  2-3  "Sons  of  the  Desert"   12,500 

Low  12-12  "The  Gay  Bride"   2,750 

High  6-23  "Glamour"   23,000 

Low  1-12-35  "I  Sell  Anything"   2,000 

High  4-7  "Riptide"    21,400 

Low  12-22  "Private  Life  of  Don  Juan"  4,000 

High  9-29  "Belle  of  the  Nineties"   14,000 

Low  8-25  "Ladies  Should  Listen"  and  I 

"Call  It  Luck"  (  3,600 

High  1-12-35  "Broadway  BiU"   14,000 

Low  5-5  "Let's  Fall  in  Love"   4,006 

High  10-27  "Judge  Priest"   9,200 

Low  1-27  "Good  Bye  Again"   1,700 

High  4-14  "Moon  Over  Morocco"   7,600 

Low  6-30  "Island  of  Doom"   160 

High  3-3  "Devil  Tiger"   7,800 

Low  12-15  "Have  a  Heart"   2,509 

High  4-7  "Riptide"    28.500 

Low  12-29  "Music  in  the  Air"   4,206 

High  9-1  "Now  and  Forever"   29,998 

Low  12-22  "One  Hour  Late"   12,500 

High  3-31   "Little  Women"   15,500 

Low  1-27  "Let's  Fall  in  Love"   1,800 

High  1-20  "I'm  No  Angel"   13.000 

Low  5-12  "Sorrell  and  Son"   2,500 

High  9-8  "Dames"    20.000 

Low  12-29  "White  Lies"  and  ) 

"The  Last  Wilderness"       (  4.900 

High  10-20  "Barretts  of  Wimpole 

Street"    6,500 

Low  9-29  "The  Cat's  Paw"   2.500 

High  11-3  "Our  Daily  Bread"   2,000 

Low  1-27  "Jimmy  and  Sally"   500 

High  1-5-35  "Romance  in  the  Rain"....  3.000 

Low  3-9-35  "Secret  of  the  Chateau"....  2,000 

High  12-1  "One  Night  of  Love"   6,800 

Low  8-25  "The  Lady  is  Willing"   2,700 

High  8-18  "She  Loves  Me  Not"   7,000 

Low  7-28  "Here  Comes  the  Navy"   5.000 

High  10-20  "Girl  of  the  Umberlost" . . . .  3,500 

Low  12-8  "Cimarron"    1,000 

High  4-14  "Private  Life  of  Henry  VIII"  4,000 

Low  7-7  "Sweden,  Land  of  the  Vikings"  2,000 

High  2-24  "Queen  Christina"   13,500 

Low  12-22  "Great  Expectations"  and  i 

"Wake  Up  and  Dream"      (  3,500 
High  6-23  "Wine,  Women  and  Song"  ) 

and  "Pride  of  the  Legion"  J  6,500 

Low  3-3   "Fanny"    1,500 

High  12-8  "Six  Day  Bike  Rider"   14,500 

Low  7-21  "Fog  Over  Frisco"  and  ) 

"Affairs  of  a  Gentleman"     f  4,500 
High  1-5-35  "Kid  Millions"  and  1 

"Fugitive  Lady"  f  10,500 

Low  8-4  "House  of  Rothschild"  and  j 

"Most  Precious  Thing  in  Life"  )  4,500 


High  3-31  "House  of  Rothschild"   23,600 

Low  2-23-35  "Little  Men"   6,000 

High  10-6  "Barretts  of  Wimpole  Street"  65,860 

Low  12-29  "The  Band  Plays  On"   4,500 

High  1-27  "Sixteen  Fathoms  Deep"   15,300 

Low  6-2  "Unknown  Soldier  Speaks"   1,250 

High  7-21  "Of  Human  Bondage"   16,200 

Low  12-22  "Babbitt"    6,500 

High  8-25  "Cleopatra"    72,000 

Low  8-11  "Elmer  and  Elsie"   10,500 

High  4-7  "The  Lost  Patrol"   32,800 

Low  5-12  "Success  at  Any  Price"   7,700 

High  11-17  "Kid  Millions"   51.000 

Low  2-23-35  "The  Right  to  Live'-   15,000 

High  1-5-35  "The  Little  Minister"   110,000 

Low  1-19-35  "Evergreen"   52,000 

High  12-1  "Imitation  of  Life",   44,000 

Low  6-30  "Affairs  of  a  Gentleman"   13,700 

High  3-10  "Wonder  Bar"   43,861 

Low  1-20  "Easy  to  Love"   9,271 


March     16,  1935 


MOTION    PICTURE  HERALD 


53 


fTHCATCE  RCCCIPTS—CCNT'DJ 


Theatres 


Current  Week 


Previous  Week 


Oklahoma  City 

Capitol    1.200 

Liberty    l.SOO 

Midwett    l.SOO 

Warner    1,900 

Omaha 

Brandei*    1,200 

Omaha    2,200 

Orpheum   3,000 

Paramount    2,500 

Philadelphia 

Aldine    1,200 

Arcadia    600 

Boyd   2,400 

Earle   2.000 

Foot  3.000 

Karlton    1,000 

Keith'  2,000 

Locust    1,300 

Sunley   3,700 

Stanton    1.700 

Portland,  Ore. 

Broadway    1,912 

Mayfair    1,700 

Oriental    2,040 

Orpheum    1,700 

Paramount   3,008 

United  Artiits...  945 

San  Francisco 

Fox   4,600 

Golden    Gate   2,800 

Orpheum   3,000 

Paramount   2,670 

St.  Francis    1,400 

United  Artists...  1,200 
Warfield   2,700 

Seattle 

Blue  Mouse    9S0 

Vifth  Avenue  ...  2,500 

Liberty    1,800 

Music  Box    950 

Music  Hall   2,275 

Orpheum   2,450 

Paramount   3,050 


10c-41c 
10c-36c 

10c-56c 
10c-56c 

25c-40c 

25c-40c 
25c-40c 

35c-55c 


35c-55c 
2Sc-50c 
35c -55c 

25c-55c 
40c-65c 
2Sc-40c 
30c- 50c 
5 5c -65c 
3Sc-S5c 
30c- 50c 


25c -40c 
25c-40c 


Picture 


Gross  Picture 


Gross 


"Wings  in  the  Dark"  (Para.)   3,700 

"Home  on  the  Range"  (Para.)...  2,600 
(4  days) 

'The  President  Vanishes"  (Para.)  400 
(3  days) 

'One  More  Spring"   (Fox)   3,400 

"The    Good    Fairy''    (Univ.)   2,800 

"Roberta"  (Radio)    8,200 

"After  Office  Hours"  (MGM)   5,500 

"The  Little  Colonel"  (Fox)  and..  10,200' 
"Rocky  Mountain  Mystery"  (Para.) 

"The  Right  to  Live"  (W.B.)   5,500 

(3  days) 

"Under  Pressure"  (Fox)  and   1,800 

"Enter  Madame"  (Para.)  (4  days) 
(2Sc-35c) 

"Folies  Bergere"  (U.  A.)   13,500 

(6  days) 

"Wings  in  the  Dark"   (Para.)....  2,300 
(6  days) 

"Vanessa:   Her  Love   Story"   8,000 

(MGM)   (6  days) 

"The  Best  Man  Wins"  (Col.)   14,000 

(25c-50c)  (6  days) 

"The  Little  Colonel"  (Fox)   21,000 

(6  days-2nd  week) 

"The  (iood  Fairy"   (Univ.)   2,900 

(6  days) 

"Devil  Dogs  of  the  Air"  (W.B.)..  3,500 
(6  days) 

"The  Iron  Duke"  (GB  Pictures)..  4,800 

(8  days-2nd  week) 

"Whole  Town's  Talking"   (Col.)..  11,000 

(6  days) 

"Mystery_  of  Edwin  Drood"   5,600 

(Univ.)  (6  days) 


"Gold  Diggers  of  1935"  (W.B.)....  8,000 


"Under  Pressure"   (Fox)   and   2,500 

"White  Lies"  (Col.) 


25c-40c      "The  Mighty  Barnum"  (U.A.).. 


2,000 


25c-40c  "Murder  on  A  Honeymoon"  (Radio)  5,000 
25c-40c      "Ruggles  of  Red  Gap"  (Para.)....  8,500 


25c-40c     "Vanessa:  Her  Love  Story''   4,500 

(MGM) 

lSc-40c      "Beyond  Bengal"  (Showmen's)   and  8,750 
"While  the  Patient  Slept"  (W.B.) 

2Sc-40c      "Notorious   Gentleman''   (Univ.)...  12,500 
(2nd  week) 

1Sc-40g      "Whole  Town's  Talking"  (Col.)...  8,000 

2Sc-40c      "Vanessa:   Her  Love  Story"   10,000 

(MGM)  and  "Car  99"  (Para.) 

15c-55c      "The  Little  Colonel"   (Fox)   7,000 

lSc-5Sc      "The  Private  Life  of  Don  Juan"..  4,000 
(U.  A.) 

2Sc-65c      "Sweet  Music"  (W.  B.)   24,500 

25c-55c       "Sweet  Music"  (W.  B.)   3,100 

25c-S5c      "The  Gilded  Lily"  (Para.)   6,900 

(2nd  week) 

15c-50c      "Broadway  Bill"   (Col.)   5,5ft3 

(5th  week) 

25c-55c      "The  Good  Fairy"   (Univ.)   3,200 

(2nd  week) 

25c-55c      "The  Scarlet  Pimpernel"  (U.A.)..  5,103 

25c-50c      "Living  on  Velvet"  (F.  N.)   5,400 

2Sc-35c      "Society  Doctor"   (MGM)   and....  5,200 
"Under  Pressure"  (Fox) 


'Anne  of  Green  Gables"  (Radio) . .  2,600 


"Hat,  Coat  and  Glove"  (Radio) . . 

(4  days)  • 
"Their  Big  Moment"  (Radio)... 

(3  days) 

'Sweet  Music"  (W.  B.)  


2,200 

aoo 

3,900 


'Living  on  Velvet"  (F.  N.)   3,400 


"The  Whole  Town's  Talking"  (Col.)  4,000 
and  "Maybe  It's  Love"  (F.  N.) 
(8  days) 

"Devil  Dogs  of  the  Air"  (W.B.)..  7,800 

(8  days) 

"Biography   of   A   Bachelor   Girl"  7,000 
(MGM)  and  "Secret  of  the  Chateau" 
(Univ.) 

"Charlie  Chan  in  Paris"  (Fox)...  5,200 

(3  days) 

"The  Night  Is  Young"  (MGM)..  2,000 
and  "Helldorado"  (Fox)  (4  days) 
(25c -35c) 


"The  Scarlet  Pimpernel"  (U.A.)..  6,000 

(6  days-3rd  week) 

'Lives  of  A  Bengal  Lancer"   2,700 

(Para.)  (6  days) 

"After  Office  Hours"   (MGM)....  14,000 


"I  Am  A  Thief"  (W.   B.)   14,000 

(6  days) 

'The  Little  Colonel"  (Fox)   25,000 

(6  days-lst  week) 

"Gigolette"  (Radio)    2,200 

(6  days) 

"David  Copperfield"  (MGM)   3,300 

(5  days -2nd  week) 

"The   Iron   Duke"    (GB   Pictures)  4,000 

(6  days-lst  week) 

"Sweet  Music"  (W.  B.)   13,000 


"Sequoia"  (MGM) 
(8  days) 


7,500 


Edwin  Drood"   4,500 


'Mystery  of 
(Univ.) 


"The  Little  Colonel"  (Fox)   3.500 

"The  Marines  Are  Coming"  (Mascot)  4,000 

"The  Good  Fairy"  (Univ.)   5,000 

"One  More  Spring"   (Fox)   8,600 

"The  Scarlet  Pimpernel"  (U.A.)...  5,000 


"Woman  in  Red"  (F.  N.)  and....  10,500 
"Little  Men"  (Mascot) 

"Notorious  Gentleman"  (Univ.)   12,500 

(1st  week) 

"The  Good  Fairy"  (Univ.)  and....  4,500 
"Mystery  Man"  (Mono.)  (2nd  week) 

"Living  on  Velvet"  (W.B.)  and..  8,500 
"All  the  King's  Horses"  (Para.) 

"Devil  Dogs  of  the  Air"  (W.B.)..  6,500 
(2nd  week) 

"Clive  of  India"  (U.  A.)   5,500 

(3rd  week) 

"The  Little  Colonel"   (Fox)   28,000 


"Devil  Dogs  of  the  Air"  (W.B.).»,  3,700 

(2nd  week) 

"David  Copperfield"  (MGM)   3,400 

(4  days-2nd  week) 

"The  Gilded  Lily"  (Para.)   3,200 

(3  days-lst  week) 

"Broadwiiy  Bill"  (Col.)    5,800 

(4th  week) 

"The  Good  Fairy"   (Univ.)   3,650 

(1st  week) 

"Sweet  Music"  (W.  B.)   4,200 

"Murder  on   A  Honeymoon"   5^400 

(Radio) 


High  and  Low  Gross 

(Tabulation  cavers  period  from  January,  U34.) 
(Data*  are  I*M  unless  otherwlaa  ^McliiadL) 


High  1-6  "Goinjf  Hollywood"   4,10Q 

Low  9-8  "You  Belong  to  Me"   80O 

High  8-11  "Great  Flirtation"  and  1 

"I  Give  My  Love"             )  3,700 

Low  10-27  "Crime  Without  Passion"....  409 

High  12-29  "Bright  Eyes"   9>M 

Low  S-36  "Merry  Wires  of  Reno"   2.000 

High  1-5-35  "Forsakinn  All  Others"....  13.000 

Low  3-9-35  "The  Good  Fairy"   2,800 


High  1-12-35  "The  Little  Minister"   9,100 

Low  2-16-35  "Babbitt"  and  ) 

"Murder  in  the  Clouds"    (  3.000 


High  3-10  "Easy  to  Love"   17,350 

Low  12-29  "Babes  in  Toyland"  and  1 

"Home  on  the  Range          (  5,000 

High  2-16-35  "The   Secret   Bride"   13,200 

Low  2-24  "Six  of  a  Kind"  and  I 

"Good  Dame"                       (  5,250 


High  5-S  "House  of  Rothschild"  

Low  6-9  "Sorrdl  and  Son"  

High  1-6  "Duck  Soup"  

Low  1-27  "Women  In  His  Life"  

High  1-6  "Little  Women"  

Low  2-23-35  "The  Night  Is  Young".... 
(5  days) 

High  4-7  "Harold  Teen'*  

Low  7-21  "CocJceyed  Cavaliers"  

High  12-29  "Bright  Eyes"  

Low  7-2S  "She  Was  a  Lady"  

High  11-3  "One  Night  of  Love"  

Low  11-24  "Wednesday's  Child"  

High  3-3  "Carolina"   

Low  1-S-3S  "Sweet  Adeline"  

High  10-6  "Caravan"   

Low  11-17  "The  Scarlet  Letter"  

High  1-5-35  "Broadway  Bill"  

Low  12-29  "Behold  My  Wife"  

High  3-31  "The  Lost  Patrol"  

Low  1-5-35  "Man  Who  Reclaimed  His 
Head"   


High  4-7  "Wonder  Bar"   

Low  7-14  "The  Circus  Qown"  and 

"I  Give  My  Love" 
High  3-2-35  "The  Little  Olonel"... 
Low  1-19-35  "Behold  My  Wife"  and 

"Defense  Rests" 
High  5-26  "Merry  Wives  of  Reno"... 
Low  10-6  "The  Human  Side"  and 
"Hat,  Coat  and  Glove" 

High  12-1  "Kentucky  Kernels"  

Low  11-10  "Wednesday's  Child"  

High  3-24  "David  Harum"  and 

"Once  to  Every  Woman 
Low  6-30  "Now  I'll  Tell"  and 

"Springtime  for  Henry" 
High  4-28  "House  of  Rothschild"... 
Low  8-4  "Paris  Interlude"  


High  3-3  "Son  of  Kong"  

Low  8-18  "Sin  of  Nora  Moran"  and  1 

"Along  Came  Sally"  J 

High  3-3  "It  Happened  One  Night"  

Low  7-7  "Cockeyed  Cavaliers"  

High  6-9  "Sing  and  Uke  It"  

Low  6-30  "Aflfairs  of  a  Gentleman"  ) 

and  "Orders  is  Orders"  j 

High  9-29  "BeUe  of  the  Nineties"  

Low  1-20  "Four  Girls  in  a  Boat"  and  I 

"Fugitive  Lovers"  J 
High  1-19-35  "The  County  Chairman".. 
Low  4-14  "Registered  Nurse"  and  } 

"Murder  in  Trinidad"  J 

High  1-6  "Roman  Scandals"  

Low  3-9  "Private  Life  of  Don  Juan"  

High  12-29  "Bright  Eyes"  

Low  3-31  "Gambling  Lady"  


High  2-17  "Roman  Scandals".. 
Low  7-7  "Tomorrow's  Children" 

High  4-14  "Riptide"  

Low  3-24  "Fashions  of  1934".. 


"Biography  of  A  Bachelor  Girl". 
(MGM)  and  "Rocky  Mountain 
Mvstery"  (Para.) 


5,600 


High 
Low 

High 
Low 

High 
Low 
High 
Low 

High 
Low 


2-16-35  "Broadway  Bill"  (2d  week) 
10-6  "Jane  Eyre"  and  I 
"King  Kelly  of  U.  S.  A."  f 

4-  14  "Spitfire"   

1-  26-35  ''Man  Who  Reclaimed  His 

Head"   

5-  26  "Wild  Cargo"   

2-  2-35  "Enchanted  April"  (6  days) 
12-1  "Kentucky  Kernels"  

4-21  "Two  Alone"  and  ) 
"I  Believed  in  You"  ) 

1-27  "Fugitive  Lovers"  

12-8  "Peck's  Bad  Boy"  and  ) 
.  "Menace"  f 


23,000 
4,000 
6J00 
400 

30,000 

6,500 

40,000 

11.000 

28.500 
7,000 
8,500 
2.200 
8,000 
1,500 
8,500 
2,500 

22,000 
7,500 
9.000 

2,000 


13,000 

3,900 

4,000 

1,600 
4,800 

1,500 
t.000 

3.500 

12,000 
4,000 

9,aoo 

3,700 


14,000 

4,500 
20.500 
10,200 
19,500 

5.000 
19,000 

8.000 
11.000 

3.500 
15,000 

4,000 
29,000 
15.500 

7,500 
2.550 
12,750 
3,500 


7,100 

3,100 
6.500 

2,850 
11,500 
3,900 
8,400 

3,750 
8,500 

3,300 


\0 


-tl^^o^«5.^  cv<-^^"^  V'^  \^ 


-to^.?^  V^^^^ 


"Lost  City"  $14,683 
First  Week  at  Globe 
Surpasses  Previous 
Week  By  $12,000. 


\ 


i 


"red  meat  and 
duck  soup." 

M.  P.  Daily 


'i. 


'I 


PRODUCED  AND  DISTRIBUTED 


BY 


L  PimDUCTIONS  .Kc. 


56 


MOTION    PICTURE  HERALD 


March     16,  1935 


TRAVELERS 


George  Arliss  arfived  in  New  York  en  route 
to  London  to  continue  work  for  GB. 

Charles  Morla  flew  from  New  York  to  Haiti 
and  Porto  Rico  to  arrange  for  distribution 
of  Monogram  Pictures. 

Jack  Buchanan,  British  and  Dominions  star, 
arrived  from  London. 

Claude  Rains  sailed  from  London,  having 
completed  "The  Clairvoyant"  for  GB. 

Sylvia  Sidney,  Kitty  Carlisle  and  Claud- 
ETTE  CoLRERT,  Paramount  players,  arrived  in 
New  York,  Miss  Carlisle  from  Boston,  the 
others  from  Hollywood. 

Edna  Ferber,  writer,  returned  from  Europe. 

Radio  players  arriving  in  New  York  included : 
Irene  Dunne,  from  Hollywood ;  Molly 
Lamont,  British  star  just  signed,  from  Lon- 
don; Frankie  Thomas  and  Margot  Gra- 
HAME,  both  from  Hollywood. 

Shemp  Howard,  Vitaphone  player,  left  New 
York  for  the  coast. 

Louis  Hayward,  English  actor,  signed  with 
Metro  and  left  Broadway  for  the  coast. 

Maritza  Gervay,  Hungarian  player,  arrived 
at  Metro's  Culver  City  studio. 

Philip  Barry,  playwright,  arrived  on  the 
coast  to  write  for  MGM. 

"Pinky"  Tomlin,  Metro  song  writer,  arrived 
in  New  York  for  Capitol  theatre  appear- 
ances. 

Messmore  Kendall,  director  of  Loew's,  Inc., 
and  owner  of  the  Capitol  theatre  building  on 
Broadway,  returned  to  New  York  from 
Hollywood. 

Hugh  Herbert,  First  National  player,  arrived 

on  Broadway  from  Burbank. 
Gus  ScHAEFEE,  eastern  European  Paramount 

manager,  arrived  in  New  York. 
Francis    Goodrich    and    Albert  Hackett, 

Metro  scenarists,  arrived  in  New  York  from 

the  coast. 

Willard  McKay,  Universal  general  counsel, 
was  in  Hollywood  in  connection  with  the 
transfer  of  rights  of  "Great  Ziegfeld"  to 
Metro. 

Hunt  Stromberg,  MGM  producer,  arrived  in 
New  York  from  Culver  City. 

Leo  Spitz  returned  to  Chicago  from  New 
York,  where  he  talked  with  Chase  attorneys 
in  behalf  of  Skouras  Brothers  on  their  new 
ten-year  Fox  West  Coast  operating  contract. 

Jack  Miller,  Chicago  exhibitor  leader,  re- 
turned home  from  New  York. 

Gar  O'Neill,  of  Erpi  and  Audio,  returned  to 
New  York  from  Kentucky. 

Rudolph  Berger,  Washington  manager  for 
Metro,  returned  from  Florida. 

Jack  Fuld  was  in  New  Haven  for  United 
Artists  exploiting  "Scarlet  Pimpernel." 

Edwin  Marin  arrived  in  New  York  from  Hol- 
lywood. 

W.  G.  Van  Schmus,  director  of  the  Music 
Hall  theatre,  returned  from  California. 

Halsey  Raines,  Metro's  home  office  publicist, 
returned  from  New  Orleans. 

Tom  Gerety,  MGM  short  subject  executive, 
sailed  for  a  southern  cruise. 

Charles  C.  Pettijohn  was  back  in  New  York 
from  a  legislative  tour. 

Sailing  on  a  southern  cruise  aboard  the  La- 
fayette were:  Inez  Wallace,  critic  of  the 
Cleveland  Plain  Dealer;  Andrew  Smith, 
Warners;  Harry  Shaw,  Poli  Circuit;  Hugo 
Mayer. 

Al  and  Henry  Nasser,  California  circuit  op- 
erators, were  in  New  York. 

Paul  Perry  left  for  Hollywood. 

Rochelle  Hudson,  Fox  player,  arrived  in 
New  York  from  Movietone  City. 

S.  A.  Lynch  returned  to  New  York  from  the 
south. 

Whitney  Bourne,  player,  returned  to  New 
York  from  Florida. 

Frank  Morgan  was  in  New  York  from  Hol- 
lywood. 

John  C.  Flinn,  Code  Authority  secretary,  flew 
from  New  York  to  Hollywood. 


Morton  Spring  returned  to  New  York  from 
a  flight  to  West  Indies. 

J.  J.  Schubert,  Jr.,  was  back  on  Broadway 
from  the  20th  Century  Studio. 

Albert  Lewin,  Metro  associate  producer,  re- 
turned to  Culver  City  from  Broadway. 

Reginald  Baker,  of  Associated  Talking  Pic- 
tures, returns  to  New  York  from  Hollywood 
next  week. 

Harry  H.  Thomas,  First  Division  president, 
was  back  in  New  York  from  Detroit. 

Mike  Rosenberg,  Fox  West  Coast  partner  in 
16  theatres,  returned  to  Los  Angeles  after 
conferences  with  Spyros  Skouras  on  policy 
changes. 

Gary  Cooper  arrived  in  New  York  from  Palm 
Beach. 

Abram  F.  Myers,  chairman  of  Allied  States, 

sailed  for  the  West  Indies. 
Ralph  Rolan  and  Dan  Longwell,  of  "March 

of   Time,"   returned    to    New   York  from 

Dallas. 

Robert     Ritchie,     Jeanette  MacDonald's 

manager,  sailed  for  Europe. 
Abe  Leff  and  Louis  Meyers  returned  to  New 

York  from  Miami. 
William  Scully  returned  to  Broadway  from 

Miami. 

E.  C.  Grainger,  Fox  sales  executive,  returned 
to  New  York  from  a  sales  tour. 

Al  Altman,  of  Metro's  home  office,  left  for 
St.  Petersburg,  Fla. 

Frank  Farley,  Paramount  talent  scout  in 
Paris,  arrived  in  New  York. 

Benita  Hume,  English  actress,  arrived  in  New 
York  and  left  for  Miami. 

Harry  Buxbaum  sails  for  Liverpool  March 
21st  en  route  to  South  Africa. 

Noel  Coward  left  for  China,  via  San  Fran- 
cisco. 

Jack  Cohn,  Columbia  vice-president,  was  in 

Miami  from  New  York. 
Arthur  Loew  returned  to  Broadway  from  the 

coast. 

Alice  Faye  flew  from  New  York  to  Fox's 
Movietone  City,  studio. 

Irving  Mandel,  Monogram  franchise  holder, 
was  in  New  York  from  Chicago. 

J.  J.  McCarthy,  director  of  the  Advertising 
Advisory  Council,  is  due  back  in  New  York 
from  the  coast. 

Stanley  Shuford,  of  Warners,  was  in  Ber- 
muda. 

Captain  Richard  Norton,  British  and  Domin- 
ions producer,  was  to  sail  for  London. 


SHORT  PRODUa 
PLAYING  BROADWAY 


Week  of  March  9 


MAYFAIR 

Hill  Billys   Universal 

Father  Knows  Best  Universal 

Rain  Song   Majestic 

MUSIC  HALL 

Tracking  Explorers   Fox 

Japanese  Lantern  RKO  Radio 

PARAMOUNT 

Hark,  Ye,  Hark  Paramount 

Song  of  the  Birds.  ........  Paramount 

Nerve  Control   Paramount 

RIALTO 

Air  Thrills   Columbia 

RIVOLI 

Mickey's  Band  Concert. ...  United  Artists 
Chums   Educational 

ROXY 

Two-Gun  Mickey   United  Artists 

The  Little  Big  Top  Educational 

STRAND 

See,  See,  Senorita  Vitaphone 

Hail,  Columbia   Vitaphone 


WABASH  AVENUE 


CHICAeO 

Chicago  Amusement  Publicists  Association 
staged  another  of  its  popular  luncheons  at  the 
Congress  last  week.  Among  the  speakers  and 
guests  were  Mrs.  Richard  M.  McClure,  Shain- 
del  Kalisch,  Charles  Freeman,  and  a  newcomer 
in  our  midst  and  in  the  Association's  ranks, 
Terry  Turner,  who  for  fourteen  years  headed 
the  advertising  and  publicity  branches  of  Loew 
theatres. 

V 

The  occasion  was  further  heightened  by  the 
presence  of  Ludwig  Sussman  of  the  Adelphi 
theatre,  who  brought  with  him  T.  E.  Boswell, 
president  of  the  Rogers  Park-Clark  Street 
Business  Men's  Association,  and  George  Spey- 
er,  a  leader  in  civic  and  cultural  movements 
in  that  community.  These  three  put  on  a  "build- 
er upper"  act  for  one  other  that  rocked  the 
room  with  laughter,  but  all  was  forgiven  when 
Mr.  Speyer  was  persuaded  to  sing,  which  he 
did  both  gallantly  and  well  despite  the  absence 
of  any  accompaniment. 

V 

Walter  Immerman  and  his  wife  decided  to 
extend  their  jaunt  to  the  MPTOA  convention 
in  New  Orleans  and  are  taking  a  three  weeks 
cruise  through  the  South  Seas.  Jack  Miller 
also  decided  to  make  it  a  vacation. 

V 

Sam  Clark,  district  publicity  and  advertis- 
ing director  for  Warner  Bros.,  has  left  these 
parts  to  take  a  bigger  desk  in  New  York  in 
charge  of  newspaper  publicity  and  promotion 
under  S.  Charles  Einfeld. 

V 

Funeral  services  were  held  last  Tuesday  for 
Mrs.  Elizabeth  Van  Zandt  Sobler,  wife  of  Al 
Sobler,  who  passed  away  at  Woodlawn  hospital 
at  the  age  of  32.  The  Soblers  have  two  daugh- 
ters. Mrs.  Sobler  starred  in  "Chu  Chin  Chow" 
and  other  plays  before  her  marriage.  Mr. 
Sobler  is  promotion  manager  of  the  Medinah 
Club  and  interested  with  Jack  Rose  in  theatres 
in  Indiana. 

V 

James  Coston  of  Warner  theatres  is  off  on 
a  two  weeks  business  trip  to  the  Coast. 
V 

Henri  Ellman  last  week  closed  with  Bryan 
Foy  for  three  features,  "Tomorrow's  Children," 
"High  School  Girls"  and  "Sudan,"  for  Illinois, 
Wisconsin,  Indiana,  Michigan  and  Missouri. 
V 

Aaron  Saperstein  heads  Allied  Theatres  of 
Illinois  for  his  sixth  consecutive  term  as  a  re- 
sult of  the  recent  election.  Others  elected  are 
E.  W.  Haferkamp,  vice-president ;  Harry  Lask- 
er,  secretary ;  Sidney  Selig,  treasurer  and  Harry 
Nepo,  sergeant  at  arms.  The  board  also  in- 
cludes Joseph  Stern,  Ludwig  Sussman,  Van 
Nomikis,  Sinuel  Roberts,  Ben  Bartlestein,  Nate 
Wolf,  Charles  Nelson,  Jack  Rose,  Walter 
Babitz,  Verne  Langdon  and  Ben  Lasker.  Louis 
Abramson  remains  recording  secretary. 
V 

Bank  night  and  Screeno  are  gaining  vogue 
along  with  premiums  at  local  houses.  Bank 
night  made  its  debut  recently  at  the  Essaness 
North  Center  theatre. 

HOLQUIST 


Leaves  Detroit  Circuit 

Ben  Wachnansky  has  resigned  as  general 
manager  of  the  Jacob  Schreiber  theatres  in 
Detroit,  and  will  devote  his  titne  to  opera- 
tion of  the  Bijou,  in  which  he  is  a  partner 
with  P.  C.  Schram. 


Universal  Re-Signs  Jones 

Universal  has  signed  Buck  Jones  to  a  new 
contract  calling  for  one  serial  and  eight 
western  features,  starting  April  15.  He 
has  two  more  scheduled  under  his  present 
contract. 


March     16,  1935 


MOTION    PICTURE  HERALD 


57 


WHAT  THE  DICTUCE 
DID  E€D  ME 


Columbia 


BEFORE  MIDNIGHT:  Ralph  Bellamy— An  average 
program  mystery  picture  with  a  different  twist.  Played 
on  Saturday  to  about  average  business.  Pleased. 
Running  time,  60  minutes.  Played  March  2. — H.  M. 
Johnson,  Avon  Theatre,  Avon  Park,  Fla.  General  and 
small  town  patronage. 

BEST  MAN  WINS,  THE:  Edmund  Lowe,  Jack 
Holt — Fair  entertainment.  Very  good  photography  of 
deep  sea  diving. — Leon  C.  Bolduc,  Majestic  Theatre, 
Conway,  N.  H.    General  patronage. 

BROADWAY  BILL:  Warner  Baxter,  Myrna  Loy— 
Boy,  oh  boy!  What  a  picture!  Entertainment  every 
minute.— Leon  C.  Bolduc.  Majestic  Theatre,  Conway, 
N.  H.    General  patronage. 

BROADWAY  BIIX:  Warner  Baxter,  Myrna  Loy 
—The  most  thrilling  race  picture  ever  shown.  The 
audience  reaction  resembled  a  real  track  race,  shout- 
ing, standing  up  and  pounding  one  another.  Not  one 
word  of  criticism;  pleased  everybody.  Running  time, 
102  minutes.  Played  February  4-5.— Mrs.  N.  Monte 
Gill,  Strand  Theatre,  Montpelier,  Vt.  General  patron- 
age. 

CAPTAIN  HATES  THE  SEA.  THE:  Walter  Con- 
nolly, Victor  McLaglen — Very  poor  entertainment.  No 
plot.  Our  patrons  did  not  like  it.— Leon  C.  Bolduc, 
Majestic  Theatre,  Conway,  N.  H.    General  patronage. 

CARNIVAL:  Lee  Tracy,  Sally  Eilers,  Jimmy  Dur- 
ante—Fair  program  picture.  Little  Dickie  Walters 
very  cute.— Leon  C.  Bolduc,  Majestic  Theatre,  Con- 
way, N.  H.    General  patronage. 

CARNIVAL:  Lee  Tracy,  Jimmy  Durante— A  very 
good  picture.  Durante  was  very  good  and  that's  un- 
usual.—Sammie  Jackson,  Jackson  Theatre,  Flomaton, 
Ala.    Small  town  patronage. 

FIGHTING  RANGER,  THE:  Buck  Jones,  Doro- 
thy Revier— If  your  trade  goes  for  westerns,  this  one 
will  please.  Played  February  27-28.— Harold  C.  Alli- 
son, Baldwin  Theatre,  Baldwin,  Mich.  Small  town 
patronage. 

FOG:  Donald  Cook,  Mary  Brian— A  fair  mystery 
picture  that  seemed  to  please  the  Bargain  Night 
crowd.  Business  average.  Played  February  19.— H. 
M.  Johnson,  Avon  Theatre,  Avon  Park,  Fla.  General 
and  small  town  patronage. 

FUGITIVE  LADY:  Florence  Rice,  Neil  Hamilton— 
A  very  fine  program  picture.  Did  not  draw  any  busi- 
ness to  speak  of  but  pleased  all  we  did  get. — Bert 
Silver,  Silver  Family  Theatre,  Greenville,  Mich.  Town 
and  country  patronage. 

I'LL  FIX  IT:  Jack  Holt,  Mona  Barrie,  Winnie 
Lightner — Fair  comedy  drama. — Leon  C.  Bolduc,  Ma- 
jestic Theatre,  Conway,  N.  H.    General  patronage. 

JEALOUSY:  Nancy  Carroll— Good  little  program 
picture.— Leon  C.  Bolduc,  Majestic  Theatre,  Conway, 
N.  H.    General  patronage. 

LADY  BY  CHOICE:  May  Robson,  Carole  Lombard 
— Very  good  work  by  May  Robson.  Very  fine  enter- 
tainment.—Leon  C.  Bolduc,  Majestic  Theatre,  Conway, 
N.  H.    General  patronage. 

LADY  BY  CHOICE:  May  Robson,  Carole  Lombard 
— A  very  pleasing  program  picture  that  failed  to  draw. 
Not  the  picture  that  "Lady  for  a  Day"  was.  Pleased. 
Business  below  average.  Running  time,  85  minutes. 
Played  February  13-14.— H.  M.  Johnson,  Avon  Thea- 
tre, Avon  Park,  Fla.  General  and  small  town  patron- 
age. 

ONE  NIGHT  OF  LOVE:  Grace  Moore,  Tullio  Car- 
minati— Wonderful  singing  by  Miss  Moore,  but  the 
picture  is  too  high  class  for  the  average  small  town. 
The  few  who  understand  and  appreciate  better  music 
enjoyed  the  picture.  Not  over  1  per  cent  of  the  peo- 
ple in  small  towns  either  like  or  appreciate  grand 
opera  and  I  hope  there  won't  be  many  of  this  type. 
Running  time,  82  minutes.  Played  January  23-24.— 
A.  E.  Christian,  Wayne  Theatre,  Monticello,  Ky. 
Small  town  patronage. 

PRESCOTT  KID,  THE:  Tim  McCoy— The  usual 
western  fans  were  satisfied.  Business  normal.  Played 
February  23.— C.  W.  Mills,  Arcade  Theatre,  Sodus, 
N.  Y.    Family  patronage. 

WHIRLPOOL:  Jack  Holt,  Jean  Arthur,  Lila  Lee— 
A  swell  picture  that  will  please  any  audience.  You 
can  always  count  on  Jack  Holt  to  deliver  when  you 
advertise  his  pictures.  This  one  especially  pleased  on 
a  weekend  showing  and  business  was  better  than 
average,  against  a  basketball  tournament  just  across 
the  street.  Played  March  1-2.— B.  A.  McConnell, 
Emerson  Theatre,  Hartford,  Ark.  Small  town  patron- 
age. 

WHITE  LIES:  Fay  Wray,  Victor  Jory— The  audi- 


N  this,  the  exhibitors'  own  de- 
partment, the  theatremen  of  the 
nation  serve  one  another  with 
information  on  the  box  office  per- 
formance of  product  for  their  mu- 
tual benefit.  It  is  a  service  of  the 
exhibitor  for  the  exhibitor.  Address 
all  communications 


What  the  Picture  Did  for  Me 

MOTION  PICTURE  HERALD 
1 790  Broadway,  New  York 


ence  response  to  this  program  picture  was  satisfactory 
but  I  consider  the  picture  below  average. — J.  W. 
Noah,  New  Liberty  and  Ideal  Theatres,  Fort  Worth, 
Texas.     General  patronage. 


First  National 


BABBITT:  Aline  McMahon,  Guy  Kibbee— Good 
team.  Not  as  good  as  "Big  Hearted  Herbert."— 
Leon  C.  Bolduc,  Majestic  Theatre,  Conway,  N.  H. 
General  patronage. 

BABBITT;  Guy  Kibbee,  Aline  MacMahon— Another 
good  one  with  this  team  of  funsters,  but  not  quite 
tiie  hit  with  our  patrons  that  was  "Big  Hearted  Her- 
bert." Still  it  pulled  and  it  pleased,  so  that's  that. 
Running  time,  74  minutes.  Played  February  15-16.— 
iL  R.  Harrington,  Avalon  Theatre,  Clatskanie,  Ore. 
Small  town  and  rural  patronage. 

BABBITT:  Aline  MacMahon,  Guy  Kibbee— Another 
wow  of  a  picture  by  this  company  that  seems  to  make 
them  all  good  nowadays.  Funny,  clean  and  entertain- 
ing. What  more  do  you  want  for  a  good  show  ? 
Played  February  26-27.— Bert  Silver,  Silver  Family 
Theatre,  Greenville,  Mich.  City  and  country  patron- 
age. 

FLIRTATION  WALK:  Ruby  Keeler,  Dick  Powell— 
Very  fine  musical.  Pleased  everyone.  West  Point 
scenes  splendid. — Leon  C.  Bolduc,  Majestic  Theatre, 
Conway,  N.  H.     General  patronage. 

FLIRTATION  WALK:  Dick  Powell,  Ruby  Keeler, 
Pat  O'Brien — A  splendid  picture  to  good  business. 
Powell,  Keeler  and  O'Brien  all  good.  One  of  the 
best  musicals  to  date  and  at  the  height  of  the  musical 
cycle  would  have  outgrossed  any  musical  for  us.  The 
West  Point  atmosphere  helps  to  put  this  one  over. 
Play  it  up  big;  you  won't  be  disappointed.  Running 
time,  97  minutes.  Played  February  18-19. — ^A.  E. 
Christian,  Wayne  Theatre,  Monticello,  Ky.  Small 
town  patronage. 

FLIRTATION  WALK:  Dick  Powell,  Pat  O'Brien, 
Ruby  Keeler — A  very  fine  picture  late  in  playing.  No 
doubt  produced  with  cooperation  of  the  arrny  and  for 
that  reason  the  audiences  made  one  criticism  that 
there  was  too  much  drilling  and  countermarching. 
Pat  O'Brien  the  best  we  have  had  him  in,  and  Ruby 
Keeler  comes  through  with  a  nice  performance.  War- 
ners know  how  to  produce  musicals. — A.  E.  Hancock, 
Columbia  Theatre,  Columbia  City,  Ind.  General  pat- 
ronage. 

iFLIRTATION  WALK:  Dick  Powell,  Ruby  Keeler— 
One  of  the  finest  entertainments  we  ever  played. 
Everything  in  this  picture  to  satisfy  any  audience. 
Singing  great.  The  whole  story  very  entertaining 
and  a  wonderful  background,  and  Dick  Powell  cer- 
tainly made  us  natives  take  notice  of  him  as  an  actor 
as  well  as  a  singer.  All  the  cast  was  fine.  100  per 
cent  entertainment.  Played  February  24-25.— Bert 
Silver,  Silver  Family  Theatre,  Greenville,  Mich.  City 
and  country  patronge. 

FLIRTATION  WALK:  Dick  Powell,  Ruby  Keeler, 
Pat  O'Brien — A  wonderful  production.  Many  said  it 
the  best  they  had  seen  for  a  long  time. — L.  G.  Tewks- 
bury.  Opera  House,  Stonington,  Maine.  Small  town 
patronage. 

GENTLEMEN  ARE  BORN:  Franchot  Tone,  Jean 
Muir,  Margaret  Lindsay,  Ann  Dvorak — Failed  to  draw 
but  was  a  good  picture  and  those  who  came  com- 
mented favorably.  Nobody  in  the  cast  to  draw  them 
in.  However,  it  was  a  good  cast  at  that  and  good 
performances.  Just  one  of  those  pictures  that  do  not 
bring  them  in.  Running  time,  75  minutes.  Played 
February  4-5.— A.  E.  Christian,  Wayne  Theatre,  Mon- 
ticello, Ky.    Small  town  patronage. 


I  SELL  ANYTHING:  Pat  O'Brien,  Ann  Dvorak- 
Splendid  entertainment.  Funny  and  clean,  and  satis- 
fied a  good  crowd.  Pat  O'Brien  is  certainly  getting  a 
following  in  this  town.  Played  February  22. — Bert 
Silver,  Silver  Family  Theatre,  Greenville,  Mich. 
Town  and  country  patronage. 

RED  HOT  TIRES:  Lyle  Talbot,  Mary  Astor— This 
makes  an  excellent  Friday-Saturday  picture,  has 
plenty  of  action,  and  some  real  crash-up  scenes  that  I 
think  were  from  the  Indianapolis  races.  Running 
time,  61  minutes. — Fred  E.  Pennell,  "The  Cozy"  Thea- 
tre, Decatur,  Mich.    General  patronage. 


Fox 


BABOONA:  Mr.  and  Mrs.  Martin  Johnson — A  very 
fine  animal  picture.  Everyone  raved  about  it.  Played 
it  one  day  and  to  a  full  house  against  all  kinds  of 
competition.  Nearly  a  two-day  picture.  Running  time, 
72  minutes.  Played  February  28.— Warner  McLaugh- 
lin, Empire  Theatre,  Port  Henry,  N.  Y.  Small  town 
patronage. 

BABY  TAKE  A  BOW:  Shirley  Temple,  James 
Dunn,  Oaire  Trevor — This  was  a  great  picture  and 
did  a  very  remarkable  business;  in  fact,  when  we 
play  Shirley  Temple,  we  always  do  a  good  business. 
I  hope  she  stays  this  way.  Recording  good  and  print 
perfect.  The  Detroit  exchange  always  has  good  prints. 
Running  time,  73  minutes.  Played  March  1-2. — Albert 
Hefferan,  Owl  Theatre,  Grand  Rapids,  Mich.  Mostly 
children  patronage. 

BACHELOR  OF  ARTS:  Tom  Brown,  Anita  Louise 
— College  story  hampered  by  weak  plot  and  a  director 
who  kept  his  hero  a  kiddish  sap  all  the  way.  Not 
grown-up  enough  for  adult  patronage.  Played  Feb- 
ruary 24-25.— P.  G.  Estee,  S.  T.  Theatre,  Parker,  S.  D. 
Small  town  patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn,  Jane 
Darwell,  Judith  Allen,  Lois  Wilson — This  is  without 
doubt  the  best  Shirley  Temple  picture  to  date.  Busi- 
ness very  satisfactory.  Played  February  22-23-24. — E. 
H.  Malone,  Community  "Theatre,  Hammond,  Wis. 
General  patronage. 

CHARLIE  CHAN  IN  PARIS:  Warner  Oland— A 
very  good  mystery  story.  About  the  best  Charlie 
Chan  picture  so  far.  Everyone  liked  it.  Running  time, 
70  minutes.  Played  February  23. — Warner  McLaugh- 
lin, Empire  Theatre,  Port  Henry,  N.  Y.  Small  town 
patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— Same 
as  usual.  Will  Rogers  always  pleases,  but  strange  as 
it  seems.  I  receive  more  remarks  concerning  the  act- 
ing of  Stepin  Fetchit.  I  wish  Fox  would  leave  Will 
cut  loose  with  more  of  his  wisecracks,  his  own  orig- 
inal ones.  Too  much  time  lost  with  the  other  charac- 
ters. If  you  played  "Judge  Priest"  you  will  find  this 
picture  to  be  on  the  same  par.  Very  good.  Running 
time,  80  minutes.— Fred  E.  Pennell,  "The  Cozy"  Thea- 
tre, Decatur,  Mich.   General  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— As 
usual,  everybody  liked  this  Rogers  picture.  If  we 
could  get  some  decent  weather  this  winter.  Fox  would 
lift  the  mortgage  off  the  old  homestead,  but  with 
snow  drifts  and  icy  roads  every  show  night  we  are 
just  getting  by. — L.  G.  Tewksbury,  Opera  House, 
Stonington,  Maine.    Small  town  patronage. 

DAVID  HARUM:  Will  Rogers— Good  Rogers  pic- 
ture.— Sammie  Jackson,  Jackson  Theatre,  Flomaton, 
Ala.    Small  town  and  rural  patronage. 

FIRST  WORLD  WAR,  THE:  The  most  compre- 
hensive pictured  document  of  the  great  world  conflict 
yet.  Not  the  least  of  the  credit  for  the  success  of 
this  vast  compilation  must  go  to  the  announcer,  Pedro 
de  Cordoba.  He  does  a  grand  job  in  his  explanatory 
remarks.  This  is  a  natural  for  a  tieup  with  the 
American  Legion  which  is  what  we  did  with  very  sat- 
isfactory results  all  around.  Running  time,  76  min- 
utes. Played  February  13-14.— M.  R.  Harrington,  Ava- 
lon Theatre,  Clatskanie,  Ore.  Small  town  and  rural 
patronage. 

HELLDORADO:  Richard  Arlen,  Madge  Evans— Not 
much  to  it,  but  will  get  by  on  week-end  date.  You 
will  only  be  fooling  your  customers  if  you  advertise 
as  a  big  picture.  Running  time,  75  minutes.  Played 
February  15-16.— A.  E.  Christian,  Wayne  Theatre, 
Monticello,  Ky.    Small  town  patronage. 

HELLDORADO:  Richard  Arlen,  Madge  Evans- 
Something  different  that  clicked  decidedly  well  for 
us.  Henry  Walthall,  the  great  old  trouper,  turned 
in  a  nice  performance  in  a  role  that  was  pathetically 
funny  at  times.  Fine  for  week-end  change.  Played 
February  22-23. — M.  R.  Harrington,  Avalon  Theatre, 
Clatskanie,  Ore.    Small  town  and  rural  patronage. 

HELL  IN  THE  HEAVENS:  Warner  Baxter,  Con- 
chita  Montenegro — This  is  a    fine  picture;    lit  for  a 


58 


MOTION    PICTURE  HERALD 


March    16,  1935 


Sunday  date.  Business  Rood.  Dayed  January  2-3.— 
E.  H.'  Malonc,  Community  Theatre,  Hammond,  Wis. 
General  patronage. 

JUDGE  PRIEST:  Will  Rogers— Everybody  likes 
Will  Rogers,  so  everyone  was  pleased  with  this  pic- 
ture.—Leon  C.  Bolduc,  Majestic  Theatre,  Conway, 
N.  H.    General  patronage. 

LOTTERY  LOVER:  Lew  Ayres,  "Pat"  Paterson— 
In  spin-  of  a  good  cast  and  story,  this  failed  to  rise 
above  a  fair  program  offering.  Drew  the  poorest  mid- 
week business  we  have  ever  had  and  the  satisfaction 
to  those  who  did  come  out  was  just  about  nothing 
minus.  Running  time,  82  minutes.  Played  February 
6-7.— M.  R.  Harrington,  Avalon  Theatre,  Qatskanie, 
Ore.  Small  town  and  rural  patronage. 

LOVE  TIME:  ''Pat"  Paterson,  Nils  Asther— This  is 
only  fair  entertainment.  I  would  not  advise  any  ex- 
hibitor to  play  it.  No  good  at  Box  Office.  Played 
January  12-13.— E.  H.  Malone,  Community  Tlieatre, 
Hammond,  Wis.  General  patronage. 

MARIE  GALANTE:  Spencer  Tracy,  Ketti  Gallian— 
This  is  a  fine  show.  Everyone  well  satisfied.  Busi- 
ness above  average.  Played  January  23-24.— E  H. 
Malone,  Community  Theatre,  Hammond,  Wis.  Gen- 
eral patronage. 

MR.  SKITCH:  Will  Rogers.  Zazu  Pitts— Old  but 
good.— Sammie  Jackson.  Jackson  Theatre,  Flomaton, 
Ala.    Small  town  patronage. 

365  NIGHTS  IN  HOLLYWOOD:  Alice  Faye,  James 
Dunn— A  nice  little  program  picture  with  some  good 
comedy,  plenty  of  pep,  some  singing  by  Alice  Faye, 
who  is  about  as  popular  with  my  patrons  as  Jean 
Harlow.  Mitchell  and  Durant  furnish  some  laughs 
with  their  antics.  Running  time,  81  minutes.  Played 
February  11-12.— A.  E.  Christian,  Wayne  Theatre, 
Monticello,   Ky.     Small   town  patronage. 

365  NIGHTS  IN  HOLLYWOOD:  Alice  Faye,  James 
Dunn — Gever  comedy  drama  of  Hollywood  and  a  fake 
dramatic  school.  Pleased.  Played  February  22-23.— P. 
G.  Estee.  S.  T.  Theatre,  Parker,  S.  D.  Small  town 
patronage. 

UNDER  PRESSURE:  Edmund  Lowe,  Victor  Mc- 
Laglen — More  action  than  the  usual  western.  Men 
liked  it,  but  women  did  not  seem  to  care  so  much 
for  it.  It  certainly  gives  you  an  idea  of  how  they 
dig  tunnels  under  rivers.  Be  sure  and  run  it  on  your 
"western"  night. — L.  G.  Tewksbury,  Opera  House. 
Stonington,  Maine.    Small  town  patronage. 

WHEN  A  MAN'S  A  MAN:  George  O'Brien— An 
out  of  the  ordinary  western  with  excellent  cast  and  a 
story  by  Harold  Bell  Wright  everyone  has  read.  If 
you  ever  play  a  western  on  Sunday  here's  one. — C. 
L.  Niles.  Xiles  Theatre,  Anamosa,  Iowa.  Small  town 
patronage. 

WHITE  PARADE,  THE:  John  Boles,  Loretta 
Young — This  is  a  real  picture,  one  you  can  afford  to 
push.  Jane  Darwell  almost  stole  the  picture  and  if 
she  doesn't  go  far  we  are  no  judge  of  what  i>eople 
want.  She  is  on  the  Marie  Dressier  type  and  if 
properly  handled  should  make  a  big  hit.  Running 
time,  80  minutes.  Played  February  6-7. — A.  E.  Christ- 
ian, Wayne  Theatre,  Monticello,  Ky.  Small  town 
patronage. 

WHITE  PARADE,  THE:  Loretta  Young,  John 
Boles — As  near  one  hundred  per  cent  as  anyone  can 
ask.  We  had  well  pleased  patrons,  and  they  came  in 
a  pouring  rain  at  that.  "There's  comedy,  romance, 
pathos  in  this  tale  laid  within  a  hospital  and  concern- 
ing itself  mostly  with  the  student  nurses  and  their 
activities.  This  might  sound  as  if  the  picture  were 
"dry,"  but  it  is  far  from  that.  Play  it  and  please 
your  patrons  and  your  purse.  Played  March  3-4. — P. 
G.  Estee,  S.  T.  Theatre,  Parker,  S.  D.  Small  town 
patronage. 

WHITE  PARADE,  THE:  John  Boles,  Loretta 
Young — This  is  one  fine  picture.  Play  it.  Excellent 
business.  Played  January  26-27. — E.  H.  Malone,  Com- 
munity Theatre,  Hammond,  Wis.    General  patronage. 


GB  Pictures 


EVERGREEN:  Jessie  Matthews,  Sonnie  Hale— Too 
much  cannot  be  said  in  praise  of  this  picture.  Good 
entertainment  and  catchy  music,  it  has  everything. 
However,  the  unknown  names  did  not  draw  what  the 
picture  deserved,  but  those  who  took  a  chance  felt 
well  repaid.  Played  February  18-19. — Mrs.  N.  Monte 
Gill,  Strand  Theatre,  Montpelier,  Vt.  General  patron- 
age. 


Mascot 


MARINES  ARE  COMING,  THE:  William  Haines— 
A  picture  for  the  masses.  The  class  business  won't 
like  it  but  the  good  old  bread  and  butter  crowd  will 
eat  it  up.  It's  the  old  Haines,  and  in  a  picture  as 
good  as  when  Metro  used  to  star  him.  Pleased  about 
85  per  cent.  Business  above  average.  Running  time. 
70  minutes.  Played  March  1. — H.  M.  Johnson,  Avon 
Theatre.  Avon  Park,  Fla.  General  and  small  town 
patronage. 


Running  time,  nine  reels.  Played  February  14-16.— A. 
F.  Aflelt,  Iosco  Theatre,  Oscoda,  Mich.  Small  town 
patronage. 

BAND  PLAYS  ON,  THE:  Robert  Young.  Stuart 
Erwin — Good  entertainment  for  the  whole  family. — 
Leon  C.  Bolduc,  Majestic  Theatre,  Conway,  N.  H. 
General  patronage. 

BAND  PLAYS  ON,  THE:  Robert  Young,  Stuart 
Erwin— Just  another  football  picture  that  pleased  those 
who  came,  and  there  weren't  many.  Business  below 
average.  Running  time,  85  minutes.  Played  February 
26.— H.  M.  Johnson,  Avon  Theatre,  Avon  Park,  Fla. 
General  and  small  town  patronage. 

BIOGRAPHY  OF  A  BACHELOR  GIRL;  Ann  Hard- 
ing, Robert  Montgomery — Fair  adult  entertainment. 
Metro  should  give  better  stories  than  this  one  to 
Harding  and  Montgomery.— Leo  C.  Bolduc,  Majestic 
Theatre,  Conway,  N.  H.    General  patronage. 

BIOGRAPHY  OF  A  BACHELOR  GIRL;  Ann  Hard- 
ing, Robert  Montgomery — Here  is  a  great  disappoint- 
ment. Some  reviews  were  good,  but  picture  is  too 
long  and  too  much  dialogue.  Shelve  it  if  you  can. 
Played  to  worst  business  in  our  history.  Running 
time,  84  minutes.  Played  February  25-26. — Warner 
McLaughlin,  Empire  Theatre,  Port  Henry,  N.  V. 
Small  town  patronage. 

DAVID  COPPERFIEUJ:  W.  C.  Fields,  Freddie 
Bartholomew,  Frank  Lawton,  Edna  May  Oliver — A 
mighty  masterpiece  of  the  screen.  Fields  at  his  best 
as  Micawber.  This  picture  should  go  far  in  winning 
outstanding  rewards  for  the  best  production  of  1935. 
Everyone  liked  it.  It  is  a  picture  you  wiil  be  proud 
to  present.  Average  business.  Running  time,  13  reels. 
Played  February  1/-19. — A.  F.  Affelt,  Iosco  Theatre, 
Uscoaa.   .u.cn.    .small   town  patronage. 

EVELYN  PRENTICE:  Myrna  Loy,  William  Powell, 
Una  Merkel — Good  picture  of  its  type.  Myrna  Loy 
is  liked  and  we  will  always  give  three  cheers  for  Una 
Merkel.  She  supplies  the  comedy  that  is  always  need- 
ed with  these  pictures  of  the  criminal  lawyer  and  the 
inevitable  trial  that  goes  with  them. — A.  E.  Hancock, 
Columbia  Theatre,  Columbia  City,  Ida.  General  pat- 
ronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford,  Clark 
Gable,  Robert  Montgomery — A  romantic  comedy,  based 
on  Broadway  stage  success.  Outstanding  in  every  re- 
spect. Played  February  10-12. — A.  F.  Affelt,  Iosco 
Theatre,  Oscoda,  Mich.    Small  town  patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford,  Clark 
Gable,  Robert  Montgomery — Very  pleasing  comedy 
romance.  Stars  perfectly  cast.  Entertainment  for  the 
masses. — Leon  C.  Bolduc,  Majestic  Theatre,  Conway, 
N.   H.   General  patronage. 

GAY  BRIDE,  THE:  Carole  Lombard,  Chester  Mor- 
ris— Lively  and  gay  entertainment.  Lombard  very 
good. — Leon  C.  Bolduc,  Majestic  Theatre,  Conway, 
N.  H.    General  patronage. 

HAVE  A  HEART:  Jean  Parker,  James  Dunn— A 
simple^  little  story,  well  acted  and  obviously  produced 
with  little  expense,  but  it  pleased  our  patrons  perfect- 
I3-,  which  the  more  expensive  and  elaborate  films  very 
often  do  not.  Fifteen  years  of  experience  as  an  ex- 
hibitor compels  us  to  believe  that  there  is  very  little 
relation  between  the  cost  of  a  production  and  the 
satisfaction  it  gives  our  audience.  Running  time,  82 
minutes.  Played  March  1-2.— G.  A.  Van  Fradenburg, 
The  Valley  Theatre,  Manassa,  Col.  Farming  com- 
munity patronage. 

METRO  GOLDWYN  MAYER  PICTURES:  I  am 

reporting  on  Metro  pictures  in  a  group  because  I 
have  failed  to  pick  a  poor  Metro  picture  in  the  last 
three  years.  There  have  been  a  few  which  have  not 
been  up  to  standard  at  the  box  office,  but  they  were 
all  good  pictures.  Excellent  direction,  marvelous  pho- 
tography, good  recording.  What  more  can  an  ex- 
hibitor ask  for?— E.  H.  Malone,  Community  Theatre. 
Hammond,  Wis.    General  patronage. 

MERRY  WIDOW,  THE:  Maurice  Chevalier,  Jean- 
ette  MacDonald — Several  exhibitors  reporting  in  this 
department  claim  that  this  picture  is  over  the  heads 


MGM 


BAND  PLAYS  ON,  THE:  Robert  Young,  Stuart 
Erwin,  Betty  Furness — The  Ail-American  college 
romance  well  done_  in  a  down  to  earth  educational  as 
well    as    entertaining   production.     Average  business. 


FREE! 

TO   YOUR  KIDDIE  PATRONS 

A  TRIP  TO  HOLLYWOOD 

AND 

THOUSANDS  OF  OTHER  PRIZES 
Cash  Prizes  to  You,  Too,  Mr.  Exhibitor 

PLUS  A  NATIONAL  RADIO  HOOK-UP 

(EDWIN  C.  HILL  HOUR)  AND  THOUSANDS 
OF  WINDOW  DISPLAYS  AND  NEWS- 
PAPERS INVITING  YOUNGSTERS  TO  YOUR 
THEATRE  TO  JOIN  THE  MOST  POPULAR 
KIDDIE  KLUB  IN  YEARS,  AND  ENTER 
THIS  CONTEST. 

DON'T  DISAPPOINT  THE  KIDDIES 

Frankie  Darro  Movie  Stamp  Club 

630  Ninth  Avenue,  N.  Y.  C. 


of  small  town  audiences,  but  I  can't  quite  agree  with 
them,  as  we  have  plenty  of  people  in  this  town  that 
appreciate  high  class  music,  just  as  much  as  they  do 
in  the  city,  and  is  this  picture  a  honey!  It's  a  good 
thing  that  the  audiences  of  some  exhibitors  writing 
in  these  columns  don't  see  the  remarks  they  make 
about  them.  Played  February  20-21.— B.  A.  McCon- 
nell,  Emerson  Theatre,  Hartford,  Ark.  Small  town 
patronage. 

MERRY  WIDOW,  THE:  Maurice  Chevalier.  Jean- 
ette  MacDonald — This  one  should  get  by  with  any 
type  of  audience.  The  plot  is  "goofy,"  but  this  seems 
to  be  quite  universal  for  this  type  of  show.  It  pres- 
ents a  lot  of  very  fine  dancing  scenes,  good  music 
and  a  bunch  of  gags  that  are  not  half  bad.  Running 
time,  100  minutes.  Played  February  22-23.— G.  A.  Van 
Fradenburg,  The  Valley  Theatre,  Manassa,  Col.  Farm- 
ing community  patronage. 

NIGHT  IS  YOUNG,  THE:  Ramon  Navarro— i^a- 
varro  and  Miss  Laye  very  good.  Pleasing  entertain- 
ment for  the  ladies  especially.  Very  fine  singing. — 
Leon  C.  Bolduc,  Majestic  Theatre,  Conway,  N.  H. 
General  patronage. 

PAINTED  VEIL:  Greta  Garbo— Good  story,  well 
played  by  all  the  cast.  Garbo  is_  not  the  draw  she 
used  to  be. — Leon  C.  Bolduck,  Majestic  Theatre,  Con- 
way, N.  H.    General  patronage. 

PAINTED  VEIL,  THE:  Greta  Garbo,  Herbert  Mar- 
shall. George  Brent — My  patrons  commented  favorably, 
but  Garbo  does  not  bring  them  in  like  she  once  did 
and  the  picture  did  not  draw-.  Running  time,  86  min- 
utes. Played  January  28-29. — A.  E.  Christian,  Wayne 
Theatre,  Monticello,  Ky.    Small  town  patronage. 

STUDENT  TOUR:  Charles  Butterworth  Jimmy  Du- 
rante— My  patrons  seemed  to  enjoy  this  picture  very 
much.  Although  Durante  was  the  star,  he  wasn't  so 
loud  as  usual  and  this  seemed  to  please.  The  rowing 
races  were  very  enjoyable  and  we  had  lots  of  nice 
compliments  on  the  show.  Running  time,  87  minutes. 
Played  February  13-14. — B.  A.  McConnell,  Emerson 
Theatre,  Hartford,  Ark.    Small  town  patronage. 

STUDENT  TOUR:  Cliarles  Butterworth  Jimmy  Du- 
rante— A  mighty  good  entertaining  picture.  Funny, 
clean  and  interesting.  Lots  of  good  comedy.  Gave 
good  satisfaction.  Played  February  28-31. — i?ert  Sil- 
ver. Silver  Family  Theatre,  Greenville,  Mich.  City 
and  country  patronage. 

WICKED  WOMAN,  A:  Mady  Christians— Good 
strong  drama.  Miss  Christians  very  good. — Leon  C. 
Bolduc,  Majestic  Theatre.  Conway,  N.  H.  General 
patronage. 

WICKED  WOMAN,  A:  Mady  Christians— A  pleas- 
ing surprise.  This  picture  is  very  entertaining  and 
pleased  95  per  cent.  Business  above  average.  This 
new  star  of  Metro's  will  bear  watching.  It  just 
occurs  to  me  that  they  may  be  grooming  her  for 
Garbo's  place — if,  when  and  how.  Running  time,  74 
minutes.  Played  February  22. — H.  !M,  Tohnson.  Avon 
Theatre.  Avon  Park,  Fla.  General  and  small  town 
patronage. 

WINNING  TICKET,  THE:  Leo  Carrollo.  Louise 
Fazenda — Not  heavy  but  a  good  Saturday  comedy  for 
a  change. — C.  L.  Niles,  Niles  Theatre,  Anamosa.  Iowa. 
Small  town  patronage. 


Monogram 


FLIRTING  WITH  DANGER:  Robert  Armstrong, 
Marion  Burns — Pretty  good  comedy  situations  provid- 
ing laughs,  which  is  something.  Running  time,  70 
minutes.  Played  February  13-14. — Mrs.  N.  Monte  Gill. 
Strand  Theatre,  Montpelier,  Vt.    General  patronage. 

GIRL  O'  MY  DREAMS:  Mary  Carlisle— This  some- 
what formula  story  of  college  life  appealed  to  our 
patrons  and  did  well  on  a  double  bill  with  "White 
Lies." — J.  W.  Noah,  New  Liberty  and  Ideal  Theatres. 
Fort  Worth,  Texas.    General  patronage. 

REDHEAD:  Bruce  Cabot,  Grace  Bradley— Nothing 
extra.  Just  fair. — Harold  C.  Allison,  Baldwin  Theatre, 
Baldwin,  Mich.    Small  town  patronage. 

REDHEAD:  Bruce  Cabot,  Grace  Bradley — Good  en- 
tertainment on  a  surprise  showing  that  pleased  the 
patrons.  Recording  very  poor,  but  we  have  never 
used  a  Monogram  but  did  not  sound  as  though  it  had 
been  made  in  a  barrel.  Grace  Bradley  should  go 
places  with  her  looks  and  charming  voice.  Running 
time,  76  minutes.  Played  February  23. — M.  R.  Har- 
rington, Avalon  Theatre,  Clatskanie,  Ore.  Small  town 
and  rural  patronage. 

SHOCK:  Ralph  Forbes.  Gwenllian  Gill,  Monroe 
Owsley — Good  picture.  Pleased. — Sammie  Jackson. 
Jackson  Theatre,  Flomaton,  Ala.  Small  town  and 
rural  patronage. 

SING  SING  NIGHTS:  Conway  Tearle.  Mary  Doran 
—This  is  a  good  entertaining  picture.  Story  interest- 
ing, well  acted  and  gave  good  satisfaction. — Bert  Sil- 
ver. Silver  Family  Theatre,  Greenville,  Mich.  Town 
and  country  patronage. 

STAR  PACKER,  THE:  John  Wayn^Just  another 
western  pic^ture.  Same  old  thrills,  blood-thunder  two- 
gunners.  You  could  cut  out  all  the  unnecessary  non- 
sense and  have  just  a  good  two-reeler.  Average  busi- 
ness. Running  time.  sLx  reels.  Played  Februarv  21- 
23.— A.  F.  AfTelt.  Iosco  Theatre.  Oscoda,  Mich. 

TEXAS  TERROR:  John  Wayne— While  this  is  as 
unoriginal  as  most  independently  produced  westerns,  it 
(.Continued  on  page  60) 


NOMINATED 


for  the 

BOX-OFFICE  CHAMPION 


o 


/  SHORT 
SUBJECTS! 


FACTS! 


Trial  engagements  in  32  first-run  key 
spots  of  "Buried  Loot"  establish 
M-G-M's  Crime  Doesn't  Pay  Series  as 
most  important  short  subject  idea  of 
years. 

Exhibitors  confirm  trade  opinion  by 
signing  3,226  contracts  in  first  three 
weeks  of  selling  to  trade.  Many  con- 
tracts sold  without  solicitation.  Based 
on  results  of  first  runs.  • 
Circuits  grabbing  this  sensatipnal  short 
include:  Schine,  Butterfield,  Comerford, 
Warners,  Loew's,  Poli,  Hall  (Dallas), 
Robb  <St  Rowley  (Texas),  Huffman 
(Denver),  Balaban  Katz,  Publix  of 
Salt  Lake,  Fox  West  Coast,  Fox  Ever- 
green (Seattle),  MacNeill  Naify 
(Frisco),  United  Artists  (Portlarul),  Con- 
solidated Amusement  (Honolulu),  etc. 
Trade  press  unanimous  in  praise. 
Publicity  where  shown  tops  space  given 
features.  Newspapers  run  editorials 
and  special  stories. 

Exploitation  unlimited.  Screenings  for 
public  officials,  judges,  police  etc.  bring 
tremendous  publicity. 
Special  campaign  book,  biggest  ever 
issued  on  short  subject,  contains  com- 
plete description  of  tried  and  proven 
campaigns.  Baltimore,  for  instance. 
Timeliness  because  of  nation-wide 
drive  on  crime  makes  it  a  natural  at 
box-office. 

Produced  like  a  feature  with  feature 
names  in  cast. 

Crime  Doesn't  Pay  Series  is  to  be  next 
season's  biggest  short  subject  topic. 
Start  now  with  "Buried  Loot." 


60 


MOTION    PICTURE  HERALD 


March     16,  1935 


-  INSTALL 

R£f!  VICTOR 

PHOTOPHONE  FOR 

•  A  Sound  Box-Office  Attraction 

•  Complete  Ownership 

•  A  Self-Liquidating  Investment 


PHOTOPHONE  DIVISION 

RCA  MANUFACTURING  CO.,  Inc. 

Camden,  N.  J. 

A  Radio  Corporation  of  America  Subsidiory 


is.  nevertheless,  entertaining  and  should  go  over  well 
enough  with  the  western  addicts.  I  have  noticed,  as 
other  exhibitors  have  reported,  that  the  hand-to-hand 
battles  in  the  average  western  of  today  are  less  con- 
vincing than  those  of  the  old  days.  The  actors  notice- 
ably pull  their  punches  and  seem  awkward  when  fight- 
ing. Many  of  the  westerns  are  also  sadly  lacking  in 
feminine  leads  who  are  really  attractive  and  talented. 

W.  Noah,  New  Liberty  and  Ideal  theatres,  Fort 
Worth,  Texas.    General  patronage. 

TRAIL  BEYOND,  THE:  John  Wayne— An  extra 
good  outdoor  picture  that  did  better  than  average 
Saturday  business.  Wayne  generally  popular  here  and 
given  this  kind  of  action  picture  helps.  Running  time, 
58  minutes.  Played  February  23.— H.  M.  Johnson, 
Avon  Theatre,  Avon  Park,  Fla.  General  and  small 
town  patronage. 


Paramount 


BEHOLD  MY  WIFE:  Sylvia  Sidney,  Gene  Ray- 
mond— Good  picture  that  pleased  and  drew  average 
Sunday-Monday  business.  Not  special,  but  in  sjjots 
where  Sylvia  Sidney  is  popular,  this  picture  is  worth 
the  best  place  on  the  week's  program.  Running  time, 
79  minutes.  Played  February  17-18.— H.  M.  Johnson, 
Avon  Theatre,  Avon  Park,  Fla.  General  and  small 
patronage. 

CAR  99:  Fred  MacMurray,  Ann  Sheridan,  Sir  Guy 
Standing,  Frank  Graven— Tale  of  the  Michigan  State 
Police,  with  plenty  of  comedy  and  a  romance  inter- 
spersed with  the  action.  Pleased  young  and  old. 
Played  March  1-2.— P.  G.  Estee,  S.  T.  Theatre,  Park- 
er, S.  D.    Small  town  patronage. 

CLEOPATRA:  Claudette  Colbert,  Warren  William, 
Henry  Wilcoxon— This  is  a  marvelous  production, 
but  no  good  at  the  box  office.  Very  poor  business. 
Played  February  9-10. — E.  H.  Malone,  Community 
Theatre,  Hammond,  Wis.    General  patronage. 

COLLEGE  RHYTHM:  Joe  Penner,  Jack  Oakie, 
Lanny  Ross,  Lyda  Roberti,  Helen  Mack,  Mary  Brian 
—The  best  one  from  Paramount  this  year.  It's  good 
for  extra  playing  time.  A  great  one  for  the  young 
folks  as  it  has  comedy,  music  and  dancing.  A  picture 
like  this  one  always  draws  better  for  us  than  the  so- 
called  classics.  It  is  a  pleasure  to  play  pictures  that 
are  good  enough  to  draw  strange  faces  to  your  thea- 
tre. "College  Rhythm"  is  an  attraction  that  will 
make  you  money.  Played  March  2-3. — Harold  C.  Alli- 
son. Baldwin  Theatre,  Baldwin,  Mich.  Small  town 
patronage. 

DOUBLE  DOOR:  Mary  Morris,  Evelyn  Venable— 
This  picture  was  not  as  bad  as  I  had  expected  after 
reading  some  reviews.  It  is  just  a  fair  program  pic- 
ture of  the  mystery  type,  but  it  appealed  to  me  be- 
cause of  the  absence  of  the  super  detective  from 
Scotland  Yard  who  appears  in  most  mysteries.  Fair 
audience  response. — J.  W.  Noah,  New  Liberty  and 
Ideal  theatres.  Fort  Worth,  Texas.   General  patronage. 

GILDED  LILY,  THE:  Oaudette  Colbert— Here  is  a 
picture  that  to  me  equaled  "It  Happened  One  Night" 
for  pure,  unadulterated  entertainment.  However, 
things  just  happened  around  town  so  that  we  didn't 
get  a  chance  on  the  second  night.  I  still  say  that 
it's  a  swell  picture  and  will  please  100  per  cent.  Busi- 
ness slightly  below  average.  By  the  way,  Clark  Gable 
will  have  to  watch  this  fellow  MacMurray.  He  is  a 
sure  winner.  Play  him  up.  Running  time,  80  min- 
utes. Played  February  24-25. — H.  M.  Johnson,  Avon 
Theatre,  Avon  Park,  Fla.  General  and  small  town 
patronage. 

GILDED  LILY,  THE:  Claudette  Colbert— And  what 
a  show.  Get  behind  this. — C.  L.  Niles,  Niles  Theatre, 
Anamosa,  Iowa.    Small  town  patronage. 

HERE  IS  MY  HEART:  Bing  Crosby— I  am  report- 
ing this  after  the  first  day's  run  and  don't  know  what 
it  will  do  tonight,  but  if  comment  means  anything, 
and  it  generally  does,  we  should  have  a  satisfactory 
second  night.  Pleases  the  Crosby  fans.  Business  about 
average.  My  only  suggestion  that  they  use  another 
leading  lady  with  Bing  next  time.  Running  time,  76 
minutes.  Played  March  3-4. — H.  M.  Johnson,  Avon 
Theatre,  Avon  Park,  Fla.  General  and  small  town 
patronage. 

IT'S  A  GIFT:  W.  C.  Fields,  Baby  LeRoy— Failed 
to  draw  and  too  much  Fields  for  most  of  my  fans. 
However,  it  was  funny  and  had  a  lot  of  laughs  for 
those  who  are  looking  for  an  overdose  of  comedy. 
Running  time,  68  minutes.  Played  February  13-14. — 
A.  E.  Christian,  Wayne  Theatre,  Monticello,  Ky. 
Small  town  patronage. 

IT'S  A  GIFT:  W.  C.  Fields,  Baby  LeRoy— Opinion 
divided  on  this.  Those  who  came  expecting  to  see  and 
hear  Baby  LeRoy  were  very  much  disappointed.  He 
was  advertised  as  having  a  considerable  part,  but 
hardly  showed  up  at  all.  Business  normal.  Played 
March  2.— C.  W.  Mills,  Arcade  Theatre,  Sodus,  N.  Y. 
Family  patronage. 

LIMEHOUSE  BLUES:  George  Raft,  Jean  Parker, 
Anna  May  Wong — Just  a  program  picture.  Jean 
Parker  terribly  miscast  and  can  you  imagine  her  type 
as  a  Limehouse  pickpocket.  My  patrons  do  not  care 
much  for  pictures  with  a  Chinese  atmosphere.  Played 
Febrary  8-9.— A.  E.  Christian,  Wayne  Theatre,  Mon- 
ticello, Ky.    Small  town  patronage. 

MRS.  WIGGS  OF  THE  CABBAGE  PATCH:  Paul- 
ine Lord,  W.  C.  Fields — The  biggest  midweek  busi- 
ness we  have  ever  enjoyed  and  the  patrons  ate  it  up. 
If  there  ever  was  a  small  town  picture  here  it  is,  and 
the  whole  family  can  come,  too.    May  not  be  Broad- 


way's idea  of  entertainment,  but  it's  got  Main  Street 
written  all  over  it.  Running  time,  73  minutes.  Played 
February  20-21.— M.  R.  Harrington,  Avalon  Theatre, 
Clatskanie,  Ore.    Small  town  and  rural  patronage. 

NOW  AND  FOREVER:  Shirley  Temple,  Gary 
Cooper — Old  but  owing  to  the  fact  that  it  is  one  nice 
picture  and  also  that  has  the  biggest  little  star 
in  the  cast,  this  one  did  the  business  and  greatly 
pleased.  You  can't  go  wrong.  If  you  have  not  played 
this  to  date,  grab  it  and  step  on  it.  Running  time, 
82  minutes.  Played  February  10-12.— M.  R.  Harring- 
ton, Avalon  Theatre,  Oatskanie,  Ore.  Small  town  and 
rural  patronage. 

OLD-IFASHIONED  WAY,  THE:  W.  C.  Fields, 
Baby  LeRoy — This  is  a  good  comedy  for  Fields'  fans 
and  gave  plenty  of  laughs.  My  patrons,  however,  do 
not  seem  to  go  for  him  in  a  big  way.  Outright  com- 
edies do  not  draw  well  here.  Running  time,  71  min- 
utes. Played  January  30-31. — A.  E.  Christian,  Wayne 
"Theatre,  Monticello,  Ky.   Small  town  patronage. 

ONE  HOUR  LATE:  Joe  Morrison— A  dandy  pro- 
gram picture  which  satisfied  them  all.  Joe  Morrison, 
the  new  star,  handles  his  part  in  the  picture  with 
ease.  A  corking  good  drama,  with  something  doing 
every  minute.  Average  business.  Running  time,  8 
reels.  Played  February  5-7.— A.  F.  AfTelt,  Iosco  Thea- 
tre, Oscoda,  Mich.    Small  town  patronage. 

PRESIDENT  VANISHES,  THE:  Edward  Arnold, 
Arthur  Byron — My  public  just  didn't  go  for  this  one 
and  I  can't  say  that  I  blame  them.  It  is  just  another 
picture  with  a  fantastic  title  and  it  takes  more  than 
that  to  get  them  in.  Another  of  Paramount's  mis- 
takes as  far  as  I  am  concerned.  Just  no  business  at 
all;  none  the  first  day,  less  the  second  and  that  is 
the  story  of  the  "President  Vanishes."  From  the  re- 
action I  gathered  later  it  was  generally  and  unanim- 
ously disliked.  I  knew  that  when  I  checked  up  the 
business. — A.  E.  Hancock,  Columbia  Theatre,  Columbia 
City,  Ind.    General  patronage. 

PURSUIT  OF  HAPPINESS,  THE:  Joan  Bennett, 
Francis  Lederer — It's  bundling  time  in  an  old  Ameri- 
can homestead.  Enough  belly-laughs  to  keep  you  in 
good  humor  for  a  week.  Average  business.  Running 
time,  8  reels.  Played  February  3-4.— A.  F.  Aflelt, 
Iosco  Theatre,  Oscoda,  Mich.   Small  town  patronage. 

ROCKY  MOUNTAIN  MYSTERY:  Randolph  Scott, 
Chic  Sale — Zane  Grey's  greatest  outdoor  picture  of  the 
vanishing  pioneer.  Well  done,  very  good  acting. 
Pleased  them  all.  Average  business.  Played  February 
8-9.— A.  F.  Affelt,  Iosco  Theatre,  Oscoda,  Mich.  Small 
town  patronage. 

SHE  LOVES  ME  NOT:  Bing  Crosby,  Miriam  Hop- 
kins— Guess  we  played  this  one  too  old,  for  something 
was  decidedly  wrong  as  it  failed  to  pull  them  in. 
Pleased  fairly  well  but  did  not  deserve  a  three-day 
run  any  way  you  look  at  it.  Running  time,  85  min- 
utes. Played  February  17-18-19.— M.  R.  Harrington, 
Avalon  Theatre,  Clatskanie,  Ore.  Small  town  and 
rural  patronage. 

SHE  LOVES  ME  NOT:  Bing  Crosby,  Miriam  Hop- 
kins— A  good  picture.  Crosby's  are  always  good. — 
Sammie  Jackson,  Jackson  Theatre,  Flomaton,  Ala. 
Small  town  patronage. 

AVAGON  WHEELS:  Randolph  Scott,  Gail  Patrick— 
This  picture  could  have  been  better  and  it  appeared 
that  it  was  cut  too  short.  It  does  not  follow  Zane 
Grey's  original  "Fighting  Caravan,"  and  is  nothing 
like  the  book.  More  money  should  have  gone  into  this 
picture,  but  my  patrons  seemed  to  enjoy  it.  Running 
time,  56  minutes.  Played  January  25-26. — A.  E. 
Christian,  Wayne  Theatre,  Monticello,  Ky.  Small  town 
patronage. 

WAGON  WHEELS:  Randolph  Scott— Just  what  it 
takes  to  keep  the  cashier  busy  and  the  patrons  smil- 
ing. The  youngster,  Billie  Lee,  just  about  walked 
away  with  the  picture.  Hoi)e  we  see  more  of  him. 
He's  great.  Running  time,  57  minutes.  Played  Feb- 
ruary 8-9. — M.  R.  Harrington,  Avalon  Theatre,  Clat- 
skanie, Ore.    Small  town  and  rural  patronage. 

WINGS  IN  THE  DARK:  Gary  Grant,  Myrna  Loy 
— A  very  good  story.  A  number  of  impossible  stunts, 
which  seem  too  far  advanced  in  regards  to  present 
flying  conditions.  Average  business.  Ruiming  time, 
seven  reels.  Played  February  21-23.— A.  F.  AfTelt, 
Iosco  Theatre,  Oscoda,  Mich.    Small  town  patronge. 

WINGS  IN  THE  DARK:  Myrna  Loy,  Gary  Grant 

— A  wonderful  picture  for  Saturday.  Action,  stars 
and  everything.  Not  strong  enough  for  Sunday.— C. 
L.  Niles,  Niles  Theatre,  Anamosa,  Iowa.  Small  town 
patronage. 

YOU  BELONG  TO  ME:  Lee  Tracy,  Helen  Mack, 
Helen  Morgan — This  is  a  picture  that  is  sure  to  please. 
Business  very  good.  Played  February  20-21. — E.  H. 
Malone,  Community  Theatre,  Hammond,  Wis.  Gen- 
eral patronage. 


RKO 


ANNE  OF  GREEN  GABLES:  Anne  Shirley,  Tom 
Brown — A  splendid  picture  for  the  family.  A  good 
story  well  told.— Leon  C.  Bolduc,  Majestic  Theatre, 
Conway,  N.  H.    General  patronage. 

CIMARRON:  Richard  Dix,  Irene  Ehinne— This  re- 
issue did  well  considering  the  fact  that  it  has  been 

^Continued  on  follozving  page,  column  1) 


March     16,  1935 


MOTION    PICTURE  HERALD 


61 


so  widely  played.  It  is  a  spleiulul  picture.— J.  W. 
Noah,  i\en-  Liberty  and  Ideal  Theatres,  Fort  Worth, 
Te.xas.    General  patronage. 

GAY  DIVORCEE,  THE:  Fred  Astaire.  Ginger  Rog- 
ers— Nothing  I  can  say  will  add  to  what  has  already 
been  said.  A  perfect  musical  and  swell  entertainment. 
Business  above  average.  Running  time,  107  minutes. 
Played  February  20-21.— H.  M.  Johnson,  Avon  Thea- 
tre, Avon  Park,  Fla.  General  and  small  town  patron- 
age. 

GAY  DIVORCEE,  THE:  Fred  Astaire.  Ginger  Rog- 
ers, Alice  Brady,  Edward  Everett  Horton,  Betty 
Grable — This  picture  in  my  own  words  is  13  reels  of 
nothing,  but  it  sure  is  a  picture  that  seems  to  please 
everybody.  It  is  a  picture  you'll  want  to  play.  Busi- 
ness very  good.  Played  February  16-17-18. — E.  H.  Ma- 
lone,  Community  Theatre,  Hammond,  Wis.  General 
patronage. 

GRAND  OLX)  GIRL:  May  Robson— Wonderful  pic- 
ture. If  you  can  tie  up  with  your  schools,  do  so.  May 
Robson  is  perfect  as  a  high  school  principal. — Leon  C. 
Bolduc.  Majestic  Theatre,  Conway,  N.  H.  General 
patronage. 

HIS  GREATEST  GAMBLE:  Richard  Dix,  Dorothy 
Wilson — The  usual  good  performance  of  Dix  was  mani- 
fest in  this  picture.  Richard  is  well  liked  with  my 
patrons  and  his  pictures  are  always  up  to  the  highest 
standard,  and  they  came  in  droves  to  see  him.  Run- 
ning time,  70^  minutes.  Played  February  15-16. — B. 
A.  McConnell,  Emerson  Thearte,  Hartford,  Ark.  Small 
town  patronage. 

HIS  GREATEST  GAMBLE:  Richard  Dix— Our 
patronage  enjoyed  this  film  but  Dix  is  more  appealing 
in  action  roles,  "Cimarron"  for  instance — J.  W.  Noah, 
.\ew  Liberty  and  Idea!  theatres.  Fort  Worth,  Texas. 
General  patronage. 

KENTUCKY  KERNELS:  Wheeler  and  Woolsey— 
One  of  the  best  from  this  team,  but  didn't  draw  at 
all.  Played  it  late,  but  should  have  done  better.  Run- 
ning time,  75  minutes.  Played  February  27-28. — H. 
M.  Johnson,  Avon  Theatre,  Avon  Park,  Fla.  Gen- 
eral and  small  town  patronage. 

RICHEST  GIRL  IN  THE  WORLD,  THE:  Miriam 
Hopkins,  Joel  McCrea — A  very  good  program  picture 
that  pleased.  Business  above  average.  No  kicks.  Run- 
ning time,  76  minutes.  Played  February  IS. — H.  M. 
Johnson,  Avon  Theatre,  Avon  Park,  Fla.  General 
and  small  town  patronage. 

ROMANCE  IN  MANHATTAN:  Ginger  Rogers, 
Francis  Lederer — Very,  very  good  entertainment.  Good 
family  fare. — Leon  C.  Bolduc,  Majestic  Theatre,  Con- 
way, N.  H.    General  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix— Good  west- 
ern that  seemed  to  please. — Leon  C.  Bolduc,  Majestic 
Theatre,  Conway,  N.  H.    General  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix— Gave  gen- 
eral satisfaction.  Proved  better  box  office  than  any 
show  since  early  Fall.  Played  February  16. — C.  W. 
Mills,  Arcade,  Sodus,  N.   Y.     Family  patronage. 

United  Artists 

OLIVE  OF  INDIA:  Ronald  Colman,  Loretta  Young 
—Wonderful  production  and  good  picture,  but  not 
"Little  Town."  I  am  new  in  the  picture  game,  but 
I  have  never  yet  made  anything  on  a  United  Artists 
picture.  I  play  all  major  productions  but  unless  U.  A. 
comes  down,  I  will  be  forced  to  discontinue  their 
product.  To  date  I  have  found  the  advantages  of 
playing  such  shows  are  as  follows:  To  witness  an 
unusually  good  production,  to  be  alone  with  one's 
wife,  and  not  to  be  bothered  by  the  local  "cops" 
parking  for  the  night.  Played  March  4-5.— James 
Justice,  Jr.,  Pickfair  Theatre,  Kernersville,  N.  C. 
Small   town  patronage. 

KID  MILLIONS:  Eddie  Cantor— Eddie  Cantor  al- 
ways pleases  my  crowd.  This  is  very  good.  Color 
scenes  very  beautiful.— Leon  C.  Bolduc,  Majestic  The- 
atre, Conway,  N.  H.   General  patronage. 

KID  MILLIONS:  Eddie  Cantor,  Ann  Sothern,  Ethel 
Merman,  Block  &  Sully — Producer  insisted  on  a  three- 
day  run  with  the  result  we  played  to  a  small  handful 
the  third  day.  The  first  two  days  were  much  below 
the  average  for  Eddie  Cantor.  Picture  not  as  good  as 
"Roman  Scandals."  Quite  silly  in  spots.  Running 
time,  92  minutes.  Played  February  17-18-19.— Warner 
McLaughlin,  Empire  Theatre,  Port  Henry,  N.  Y. 
Small  town  patronage. 

KID  MILLIONS:  Eddie  Cantor,  Ann  Sothern,  Ethel 
Merman,  Block  &  Sully — Entertainment  plus.  Give  it 
the  works.  It's  good.— John  A.  Milligan,  Broadway 
Theatre,  Schuylerville,  N.  Y.    Small  town  patronage. 

MIGHTY  BARNUM,  THE:  Wallace  Beery— A  very 
fine  picture.  Beery  very  good  as  Barnum. — Leon  C. 
Bolduc,  Majestic  Theatre,  Conway,  N.  H.  General 
patronage. 

MIGHTY  BARNUM:  Wallace  Beery,  Adolphe  Men- 
jou — When  you  exploit  this  with  the  time  worn  cir- 
cus adjectives  and  ballyhoo,  you're  in  for  a  lot  of 
trouble.  It's  not  colossal,  stupendous,  amazing  or  the 
greatest  show  on  earth.  It's  just  Wallace  Beery.  Not 
that  he's  not  plenty  O.K.,  but  you  never  get  away 
from  the  fact  that  it  is  always  Beery's  personality  and 
not  another  character.  Pulled,  but  the  reaction  of  pa- 
trons was  split.  Running  time,  105  minutes.  Played 
February  24-25-26.— M.  R.  Harrington,  Avalon  Thea- 
tre, Clatskanie,  Ore.   Small  town  and  rural  patronage. 

PRIVATE  LIFE  OF  DON  JUAN,  THE:  Douglas 
Fairbanks— Very  poor  picture.  No  entertainment  what- 
ever.   Keep  away  from  it.  if  you  can. — Leon  C.  Bol- 
(Continued    on    following  page) 


REMODELING  SERVICE 

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your  remodeling  problems  is 
always  available  without 
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62 

due,  Majestic  Theatre,  Conway,  N.  H.  General  pat- 
ronage. 

RUNAWAY  QUEEN:  Anna  Neagle— Very  poor  en- 
tertainment. Did  not  please.— Leon  C.  Bolduc,  Ma- 
jestic Theatre,  Conwajf,  N.  H.   General  patronage. 

WE  LIVE  AGAIN:  Anna  Sten,  Frederic  March— 
Wonderful  picture.  But  no  box  office  draw  in  small 
towns.— C.  L.  Niles,  Niles  Theatre,  Anamosa,  Iowa. 
Small  town  patronage. 

Universal 

GUN  JUSTICE:  Ken  Maynard— Good  western.— 
Sammie  Jackson,  Jackson  Theatre,  Flomaton,  Ala. 
Small  town  and  rural  patronage. 

IMITATION  OF  LIFE:  Claudette  Colbert,  Warren 
William — Here  is  a  great  picture  that  has  everything 
—stars,  story  and  production.  Belongs  on  your  best 
days. — C.  L.  Niles,  Niles  Theatre,  Anamosa,  Iowa. 
Small  town  patronage. 

IMITATION  OF  LIFE:  Qaudette  Colbert— Here  is 
a  picture  that  stands  out  in  a  class  by  itself.  This 
miglit  have  been  a  box  office  sensation  to  some  ex- 
hibitors, but  was  a  box-office  flop  for  me  despite  the 
extensive  ca:npaign  made  on  same.  Nevertheless  it 
deserves  top  honors  for  entertainment.  There  is  some 
fine  acting  by  every  player  in  the  picture.  If  you  can 
get  them  in,  they  will  be  satisfied.  Running  time,  110 
minutes. — Fred  E.  Pennell,  "The  Cozy"  Theatre,  De- 
catur, Mich.    General  patronage. 

MAN    WHO    RECLAIMED    HIS    HEAD,  THE: 

Gaude  Rains,  Joan  Bennett,  Lionel  Atwill — The  im- 
pressive acting  of  Claude  Rains  is  imforgettable. 
Story  absorbing  throughout.  Personally  thought  it 
outstanding.  However,  it  did  not  please  all,  many  say- 
ing it  was  too  horrible,  and  the  contents  of  the  bag 
carried  by  Rains  was  a  mystery  to  others,  which 
may  be  as  well.  It  is  something  different  in  the  line 
of  entertainment.  Running  time,  81  minutes.  Played 
February  20-21.— Mrs.  N.  Monte  Gill,  Strand  Theatre, 
Montpelier,  Vt.    General  patronage. 

MAN    WHO    RECLAIMED    HIS    HEAD,  THE: 

Claude  Rains,  Joan  Bennett— Unusual  offering  that 
gave  very  good  satisfaction  to  patrons  on  a  surprise 
preview.  Advertised  as  a  picture  they  might  not  care 
for  but  one  they  would  talk  about  after  seeing  it, 
worked  to  advantage.  Rains  gave  a  great  perform- 
ance, but  in  general  the  picture  has  limited  appeal. 
Running  time,  SO  minutes.  Played  February  2. — M. 
R.  Harrington,  Avalon  Theatre,  Clatskanie,  Ore.  Small 
town  and  rural  patronage. 

SECRET  OF  THE  CHATEAU:  Oaire  Dodd,  Clark 
Williams — Nothing  big  but  it  clicked  nicely  on  a  sur- 
prise preview  showing  and  kept  the  patrons  laughing 
plenty.  Running  time,  69  minutes.  Played  February 
16. — M.  R.  Harrington,  Avalon  Theatre,  Qatskanie, 
Ore.    Small  town  and  rural  patronage. 

STRAIGHT  FROM  THE  HEART:  Mary  Astor, 
Roger  Pryor,  Baby  Jane — Nothing  much  to  this  pic- 
ture. Will  do  as  a  fair  programmer. — Sammie  Jack- 
son, Jackson  Theatre,  Flomaton,  Ala.  Small  town  and 
rural  patronage. 

STRAIGHT  FROM  THE  HEART:  Baby  Jane, 
Roger  Pryor,  Mary  Astor — Only  a  programmer,  could 
be  worse,  could  be  lots  better.  Baby  Jane  does  all  the 
acting.  For  a  three-year-old  she  is  aces  high,  and  in 
another  couple  years  should  share  honors  with  Shirley 
Temple.  Picture  was  not  box  office  for  me.  Story 
weak.  Running  time,  70  minutes. — Fred  E.  Pennell, 
"The  Cozy"  Theatre,  Decatur,  Mich.  General  patron- 
age. 

THERE'S  ALWAYS  TOMORROW:  Binnie  Barnes, 
Frank  Morgan — Binnie  Barnes  lives  up  to  expecta- 
tions and  the  entire  production  pleased.  Not  a  Satur- 
day night  type  of  picture,  but  the  regular  Saturday 
nighters  didn't  show  up.  Business  normal.  PlayeS 
February  9.— C.  W.  Mills,  Arcade  Theatre,  Sodus,  N. 
Y.   Family  patronage. 


Custom  Built— Our  engineers  have  equipped 
4,000  theatres.  WRITE  TOD  AY  I 

U.  S.  AIR  CONDITIONING  CORP. 

2109  Kennedy  St.  N.  E.  Minneapolis,  Mjnn, 


MOTION    PICTURE  HERALD 


Warner  Bros. 

BORDERTOWN:  Paul  Muni,  Bette  Davis— A  fine 
pirture.  Muni  and  Davis  very  good. — Leon  C.  Bolduc, 
Majestic  Theatre,  Conway,  N.  H.    General  patronage. 

BORDERTOWN:  Paul  Muni,  Bette  Davis— A  good 
picture  and  fine  acting  by  both  Muni  and  Bette 
Davis.  Played  on  Friday  and  Saturday,  but  believe 
this  picture  would  be  better  for  other  days.  Not  quite 
the  action  I  expected  and  advertised.  A  good  picture 
for  those  who  like  real  acting.  Running  time,  90 
minutes.  Played  February  1-2. — A.  E.  Christian, 
Wayne  Theatre,  Monticeilo,  Ky.  Small  town  patron- 
age. 

CASE  OF  THE  HOWLING  DOG,  THE:  Warren 
William,  Mary  Astor — One  of  the  best  mystery  stories 
we  ever  played.  Great  acting  by  the  star  and  very  in- 
teresting picture.  Splendid  satisfaction. — Bert  Silver, 
Silver  Family  Theatre,  Greenville,  Mich.  Town  and 
country  patronage. 

SECRET  BRIDE,  THE:  Barbara  Stanwyck,  War- 
ren William — Very  good  picture  that  pleased.— Leon 
C.  Bolduc,  Majestic  Theatre,  Conway,  N.  H.  General 
patronage. 

SWEET  ADELINE:  Irene  Dunne — Lots  of  people 
did  not  like  this  picture.  Good  singing  by  Miss 
Dunne. — Leon  C.  Bolduc,  Majestic  Theatre,  Conway, 
N.  H.    General  patronage. 

Short  Features 
Celebrity 

QUEEN  OF  HEARTS,  THE:  ComiColor  Cartoon— 
A  cartoon  in  colors.  Just  fair. — Harold  C.  Allison, 
Baldwin  Theatre,  Baldwin,  Mich.  Small  town  patron- 
age. 

Columbia 

COUNSEL  ON  DE  FENCE:  Harry  Langdon— Good 
comedy.  Running  time,  2  reels. — Sammie  Jackson, 
Jackson  Theatre,  Flomaton,  Ala.  Small  town  and 
rural  patronage. 

ONE  TOO  MANY:  Leon  Errol— I  call  this  a  good 
one  and  it  got  the  laughs.  Leon  Errol  makes  the  fun- 
niest drunk  we  have  seen  and  it  kept  our  audience  in 
an  uproar.  It's  hard  to  get  a  good  two  reeler  and 
we  wish  they  were  all  as  good  as  this. — A.  E.  Christ- 
ian, Wayne  Theatre,  Monticeilo,  Ky.  Small  town 
patronage. 

SHOEMAKER  AND  THE  ELVES:  Color  Rhapso- 
dies— This  is  the  second  Color  Rhapsody  we  have  used 
and  they  are  as  good  as  the  best.  Running  time,  one 
reel. — A.  E.  Christian,  Wayne  Theatre,  Monticeilo, 
Ky.    Small  town  patronage. 

SHOEMAKER  AND  THE  ELVES:  Color  Rhapso- 
dies Series — A  very  fine  cartoon.  If  you  haven't  used 
it,  do  so  by  all  means.  Running  time,  1  reel. — Sammie 
Jackson,  Jackson  Theatre,  Flomaton,  Ala.  Small  town 
and  rural  patronage. 

Educational 

BILLBOARD  GIRL:  Bing  Crosby  Special— Bing 
Crosby  is  about  as  good  as  some  old  farmer  on  the 
screen.  My  audience  doesn't  like  him.  Running  time, 
3  reels. — E.  H.  Malone,  Community  Theatre,  Ham- 
mond, Wis.    General  patronage. 

BLACK  SHEPP,  THE:  Terry-Toons— A  good  black 
and  white  cartoon. — C.  L.  Niles,  Niles  Theatre,  Ana- 
mosa, Iowa.    Small  town  patronage. 

BOOSTING  DAD:  Frolics  of  Youth— Good.— Leon  C. 
Bolduc,  Majestic  Theatre,  Conway,  N.  H.  General 
patronage. 

GIMME  MY  QUARTERBACK:  Baby  Burlesks— 
Good  for  children  and  play  it  with  a  children's  feature 
and  it  will  go  over.  We  played  it  with  "Baby  Take 
A  Bow."  Good  print  and  very  funny.  Running  time, 
9  rninutes.— Albert  Hefferan,  Owl  Theatre,  Grand 
Rapids,   Mich.    Mostly  children  patronage. 

GIRL  FROM  PARADISE,  THE:  Musical  Comedy— 
A  very  good  musical  comedy.  Night  club  shots  of  N. 
T.  G.  and  girls  made  the  boys  sit  up  and  take  notice. 
— L.  G.  Tewksbury,  Opera  House,  Stonington,  Maine. 
Small  town  patronage. 

GOOD  LUCK— BEST  WISHES:  Musical  comedy- 
Musical  comedy  type  but  has  plenty  of  action.  Got 
the  laughs.  Running  time,  19  minutes.— M.  R.  Har- 
rington, Avalon  Theatre,  Clatskanie,  Ore.  Small  town 
and  rural  patronage. 

TWO'  LAME  DUCKS:  Coronet  Comedies— Good 
comedy  for  a  Friday-Saturday  booking.  Running 
time,  18  minutes.— Fred  E.  Pennell,  "The  Cozy"  Thea- 
tre,  Decatur,   Mich.     General  patronage. 

Fox 

COAST  OF  CATALONIA:  Magic  Carpet  Series- 
Very  good.— Leon  C.  Bolduc,  Majestic  Theatre,  Con- 
way, N.  H.    General  patronage. 

CROSSROADS  OF  THE  WORLD:  Magic  Carpet 
Series— Good.— Leon  C.  Bolduc,  Majestic  Theatre, 
Conway,  N.  H.    General  patronage. 


March     16,  193. 5 


MAN'S  MANIA  FOR  SPEED:  Adventures  of  the 
Newsreel  Cameraman — All  Adventures  of  Cameraman 
subjects  good. — Leon  C.  Bolduc,  Majestic  Theatre. 
Conway,  N.  H.   General  patronage. 

MGM 

BUM  VOYAGE:  Todd-Kelly— A  very  good  Todd  and 
Kelly.  Good  for  Saturday.— C.  L.  Niles,  Niles  Theatre, 
Anamosa,  Iowa.   Small  town  patronage. 

FATE'S  FATHEAD:  Charley  Chase— An  average 
Charles  Chase.  OK  for  Saturday  or  family  night. — C. 
L.  Niles,  Niles  Theatre,  Anamosa,  Iowa.  Small  town 
patronage. 

GOOFY  MOVIES:  Our  patrons  do  not  like  these. 
Number  nine  especially  weak. — C.  L.  Niles,  Niles  The- 
atre. Anamosa,  Iowa.    Small  town  patronage. 

IREXAND,  THE  EMERALD  ISLE:  FitzPatrick 
Traveltalks — The  class  of  the  colored  shorts  are  this 
series.  All  good.  This  one  excellent. — C.  L.  Niles, 
Niles  Theatre,  Anamosa,  Iowa.  Small  town  patron- 
age. 

RAINBOW  CANYON:  FitzPatrick  Traveltalk— 
Don't,  for  your  own  sake  and  your  patronage's, 
pass  this  one  up.  Received  more  comments  on  this 
than  any  short  ever  played.  Very  beautiful  subject, 
and  worthy  of  any  screen's  presentation.  Running 
time,  10  minutes. — Fred  E.  Pennell,  "The  Cozy"  Thea- 
tre, Decatur,  Mich.    General  patronage. 

Paramount 

BE  KIND  TO  ANIMALS:  Popeye  The  Sailor— 
Popeye's  bass  voice  which  did  so  much  to  popularize 
him  is  missing  in  this,  cartoon;  having  been  supplant- 
ed by  another.  Just  average  and  only  passable. — 
John  A.  Milligan,  Broadway  Theatre,  Schuylerville, 
N.  Y.   Small  town  patronage. 

LET'S  YOU  AND  HIM  FIGHT:  Popeye  The  Sailor 
— Good  Popeye.  Always  good.  Running  time,  1  reel. — 
Sammie  Jackson,  Jackson  Theatre,  Flomaton,  Ala. 
Small  town  and  rural  patronage. 

WHEN  MY  SHIP  COMES  IN:  Betty  Boop  Cartoon 
— A  good  Betty  Boop  cartoon;  a  whole  lot  of  truth  to 
this  cartoon. — L.  G.  Tewksbury,  Opera  House,  Ston- 
ington, Maine.    Small  town  patronage. 

RKO 

BIG  mouthpiece;  THE:  Chick  Chandler.— Fair. 

—Leon  C.  Bolduc,  Majestic  Theatre,  Conway,  N.  H. 
General  patronage. 

THIS  BAND  AGE:  Headliner  Series— A  very  ex- 
cellent musical  short  and  good  for  anybody's  Sunday. 
— C.  L.  Niles,  Niles  Theatre,  Anamosa,  Iowa.  Small 
town  patronage. 

United  Artists 

MAIL  PILOT,  THE:  Mickey  Mouse— Might  have 
been  okay  if  had  it  all,  but  was  between  40  and  SO 
strips  taken  out  of  print  I  received,  making  it  low 
class  rating.  Running  time,  8  minutes. — Fred  E.  Pen- 
nell, "The  Cozy"  Theatre,  Decatur,  Mich.  General 
patronage. 

TORTOISE  AND  THE  HARE:  Silly  Symphonies— 
A  knockout  Silly  Symphony.  Good  anywhere. — C.  L. 
Niles,  Niles  Theatre,  Anamosa,  Iowa.  Small  town 
patronage. 

Universal 

KNICKERBOCKER  KNIGHTS:  Mentone  Series— 
Another  good  vaudeville  short.  These  are  favorites 
with  our  patrons.  Running  time,  19  minutes. — M.  R. 
Harrington,  Avalon  Theatre,  Clatskanie,  Ore.  Small 
town  and  rural  patronage. 

TOYLAND  PREMIERE:  Cartune  Classics— An  ex- 
cellent colored  cartoon.  Give  preferred  time. — C.  L. 
Niles,  Niles  Theatre,  Anamosa,  Iowa.  Small  town 
patronage. 

Warner  Vitaphone 

MIRRORS:  Melody  Masters— Very  good  musical 
subject. — Leon  C.  Bolduc,  Majestic  Theatre,  Conway, 
N.  H.    General  patronage. 

MR.  AND  MRS.  IS  THE  NAME:  Merrie  Melodies 
— These  Warner  colored  cartoons  are  improving.  This 
one  is  excellent. — C.  L.  Niles,  Niles  Theatre,  Ana- 
mosa, law.    Small  town  patronage. 

WINNAH,  THE:  Arthur  and  Florence  Lake— A 
good  musical  from  Warner  with  plenty  of  comedy.— 
C.  L.  Niles,  Niles  Theatre,  Anamosa,  Iowa.  Small 
town  patronage. 

Miscellaneous 

ONCE  UPON  A  TIME:  All  in  Color  "Cartoon''— 
This  is  a  cartoon  loaned  free  of  charge  and  they  give 
you  advertising  free  and  pay  the  transportation  both 
ways.  This  is  a  great  picture  and  it  teaches  safety 
for  the  children.  Get  into  the  schools  and  it  will  make 
money  for  you.  Address  Metropolitan  Life  Ins.  Co., 
1  Madison  Avenue,  New  York,  N.  Y.  We  did  a 
great  business  on  it.  Hope  that  some  of  you  will  try 
it.  Running  time.  12  minutes. — Albert  Hefferan,  Owl 
Theatre,  Grand  Rapids,  Mich.    Mostly  children. 


I  MAY  BE  SHORT 

but 


I'm  powerful  ....  in 
names,  in  entertain- 
ment, in  box-office 
draw. 

I  make  people  laugh 
....  and  you  know 
that's  what  they 
come  for. 

I  snap  up  a  program 
....  keep  it  moving, 
peppy,  exciting. 

I  furnish  names  for  the 
marquee  that  rival 
yours  for  brilliancy. 

I  make  profits  for  the 
exhibitor. 

I  am  an  Educational 
Pictures  short  subject, 
and  I'll  give  you  a 
run  for  the  money 
any  time. 


E.  W.  Mammons  Presents 


ERNEST  TRUEX 


Distributed  in  U.S.A.  by 
Fox  Film  Corporation 


recording  the  historic  and  exciting  events  of  a 
momentous  year  in  motion  picture  industry  progress 

now  in  preparation 


March     16,  1935 


MOTION    PICTURE  HERALD 


65 


9.0^  No 

OF        \^  \ 

MOTIOnX?^}.: 
PICTURE 
HERAtD  f 


MANAGERS* 
ROUND  TARLE  CLUR 


international  association  of  showmen  meeting  weekly 
in  MOTION  PICTURE  HERALD  for  mutual  aid  and  progress 


OP 


BARGAIN  MANAGERS 

Letters  received  by  this  department  from  managers  pro- 
testing against  the  generally  unfair  break  given  theatremen 
are  not  always  confined  to  the  length  of  the  working  day  or 
the  absence  of  a  cfay  off  each  week.  There  are  also  pointed 
comments  on  the  question  of  managerial  remuneration  as 
compared  to  the  salaries  received  by  stage  hands,  projec- 
tionists and  other  protected  classes  of  theatre  employee. 

There  are  numerous  instances  where  the  manager's  salary  is 
less  than  others  on  the  weekly  house  payroll,  but  for  this  con- 
dition he  is  not  entirely  blameless. 

Let's  not  kid  ourselves  that  every  manager  is  doing  a  whale 
of  a  job  or,  for  that  matter,  is  trying  to.  It  may  be  said  there 
are  four  classes  of  theatremen:  First,  the  boy  who  has  plenty 
on  the  ball  and  shows  it.  Second,  the  bird  who  has  the  stuff, 
but  won't  work  at  it.  Third,  the  lad  who  isn't  tops  as  a  show- 
man but  breaks  his  arm  trying.  And  fourth,  the  chap  who 
doesn't  know  and  doesn't  try. 

Granted  that  if  the  manager  is  the  head  man,  that  if  he 
tells  the  help  what  to  do,  how  to  do  It  and  when,  that  if  he 
puts  on  his  own  campaigns,  takes  care  of  the  bookings,  prop- 
erly represents  the  theatre  in  his  community,  etc.,  etc.,  and 
etc. — ^then  he  Is  entitled  to  top  money.  But  of  course  the 
solution  Isn't  so  simple,  and  any  attempted  classification  of 
managers  Into  the  four  above  classes  would  be  far  from  our 
Idea  of  a  pleasant  day's  pastime. 

However,  there  Is  little  doubt  but  that  the  Industry  would 
benefit  were  some  such  move  encouraged.  There  Is  too  much 
hit  and  miss — too  much  fancy  chiselling  In  setting  salaries. 

There  is  no  such  thing  as  a  bargain  In  managers.  Able  show- 
men will  not  stay  bought  for  less  than  they  deserve.  A  man- 
ager whose  greatest  virtue  Is  that  he  will  work  for  peanuts  Is 
no  more  a  bargain  than  a  cheap  pair  of  pants — they  both  have 
a  tendency  to  shine  In  the  wrong  places. 

V    V  V 
ACCOMPLISHMENTS  OF  1935 

Month  after  month,  the  results  of  the  Quigley  Awards  point 
to  definite  conclusions  that  more  likely  than  not  enhance  the 
prestige  of  the  Competitions  in  the  business  of  the  motion 
picture.  The  seven  successful  promotions  among  1934  winners 
established  the  Quigley  project  as  a  reliable  source  of  proven 
manpower.  The  presentation  of  the  Grand  Awards  by  the 
Vice-President  of  the  United  States,  to  quote  Terry  Ramsaye, 
"conveyed  to  official  Washington  a  suggestion  that  the  motion 


picture  Is  an  industry  entitled  to  serious  consideration  for  other 
purposes  than  taxation  and  publicity-seeking  legislation". 

Yet  more  has  already  been  accomplished  in  the  first  two 
months  of  1935. 

FIRST,  the  unprecedented  cooperation  obtained  from  the 
executive  officers  of  the  United  States  Military  Academy  in 
the  presentation  at  West  Point  of  the  January  Silver  to 
Harry  Crull,  who  did  so  excellent  a  job  of  publicizing  "Flirta- 
tion Walk". 

"Such  a  picture,"  said  Col.  Wilson,  Acting  Superintendent, 
"is  beneficial  .  .  .  for  the  reason  that  the  more  the  citizens 
of  the  United  States  know  about  their  Academy,  the  more 
Interest  and  pride  they  will  take  In  its  accomplishments.  We 
are  deeply  appreciative  of  your  efforts.  ..." 

SECOND,  the  higher  quality  of  the  February  entries  as  com- 
pared with  those  of  last  June,  when  "Fuzzy"  Knight  won  his 
first  Award.  February  was  distinguished  not  only  by  the  first 
winner  to  repeat,  but  also  by  a  greater  number  of  top-line 
showmen  previously  unrepresented,  who  left  the  side  lines  and 
threw  themselves  vigorously  into  the  battle. 

THIRD,  the  gratifying  showing  made  by  managers  In  the 
metropolitan  neighborhoods  and  in  other  subsequent  runs, 
especially  Ed  Douglas,  the  "Bronze"  winner,  and  Cress  Smith 
who  took  down  a  "First".  With  little  enough  to  spend  and  in 
the  face  of  tough  big  city  opposition,  these  New  York  and 
Pittsburgh  showmen  gave  ample  proof  that  the  first-runs  do 
not  always  skim  every  drop  of  exploitation  cream. 

Thus  the  Awards  make  steady  progress  in  advancing  the 
industry's  prestige,  the  box  office  grosses,  the  fortunes  of 
participating  theatremen.  For  these  good  reasons,  the  Quigley 
project  has  well  earned  the  high  endorsement  of  those  it 
strives  to  serve. 

V    V    V  . 

This  week's  take-a-bow  department  features  Phil  Chakeres, 
president,  Chakeres- Warner  Corporation,  Springfield,  Ohio, 
who  regularly  sends  out  lists  of  current  showings  at  his  seven 
theatres  to  blind  persons  in  that  area.  Pictures  containing  more 
sound  than  action  are  emphasized  and  passes  are  enclosed. 
Secretary  of  local  welfare  association  states  this  courtesy  is 
considered  a  huge  treat  by  the  blind  as  attendance  at  the 
theatres  helps  to  break  up  the  monotony  of  their  long  days. 


66 


MOTION    PICTURE  HERALD 


March     16,  1935 


AWARD  CEREMONIES 
HELD  AT  WEST  POINT 


Harry  Crull,  January  Winner, 
Honored  at  Presentation  by 
Military  Academy  Officers 

by  A-MIKE  VOGEL 

In  a  colorful  ceremony  under  the  historic 
elms  of  West  Point  and  in  the  presence  of 
distinguished  ranking  officers,  special  cadet 
honor  guard  and  repres^entative  theatremen, 
on  March  6,  JNlanager  Harry  W.  Crull,  re- 
ceived the  Quigley  January  Silver  plaque 
from  Col.  Walter  K.  Wilson,  C.  A.  C,  Act- 
ing Superintendent  and  Executive  Officer 
of  the  United  States  Military  Academy.  (See 
photo  in  picture  section.) 

The  presentation  was  marked  by  the  high 
praise  of  Col.  Wilson  who  expressed  his  ap- 
preciation, as  follows,  of  CruU's'  efforts  on 
"Flirtation  Walk,"  the  campaign  which  won 
the  January  honors  for  the  Long  Island 
Round  Tabler  of  Loew's  Valencia,  Jamaica, 
in  Bill  Downs'  division. 

"Mr.  Crull,  I  extend  to  you  my  hearty 
congratulations  and  take  pleasure  in  pre- 
senting this  plaque.  The  reaction  to  the 
picture  'Flirtation  Walk'  was  very  favor- 
able. Such  a  picture,  which  portrays  the 
life  of  a  cadet,  is  beneficial  to  the  Mili- 
tary Academy  for  the  reason  that  the 
more  the  citizens  of  the  United  States 
know  about  their  Academy,  the  more  in- 
terest and  pride  will  they  take  in  its  ac- 
complishments. We  are  deeply  apprecia- 
tive of  your  efforts  in  helping  to  make 
this  picture  a  success." 

Congratulations  were  also  extended  to 
Crull  by  Lieut.  Col.  Robert  L.  Eichelberger, 
Adjutant,  United  States  Military  Academy, 
and  Lieut.  M.  P.  Echols,  Press  Relations 
Officer  and  technical  advisor  on  the  pro- 
duction of  "Flirtation  Walk."  Also  present, 
among  others,  were  Freddy  Jablons,  pub- 
licity chief,  Loew's  Valencia,  and  your 
Chairman. 

The  honor  guard  was  headed  by  Cadet 
Officer  of  the  Day,  Thos.  J.  Ghent,  Jr.,  of 
New  Jersey;  Cadet  Officer  of  the  Guard, 
Willard  G.  Root,  of  Michigan  and  the 
following  cadets :  R.  W.  Breaks,  of  In- 
diana; Benj.  M.  Warfield,  of  Florida;  John 
Heintges,  of  Kentucky,  and  Frank  Oliver, 
of  Georgia. 

Following  the  presentation,  Col.  Wilson 
conducted  the  visitors  through  the  Adminis- 
tration Building,  detailing  the  history  of 
various  historical  trophies  and  explaining 
the  mechanics  of  the  cadet  daily  routine. 

Lieut.  Echols  then  took  the  party  in  charge 
and  motored  the  theatremen  on  a  tour  of  the 
reservation  in  which  visits  were  made  at 
various  points  of  interest  including  the 
famed  "Flirtation  Walk"  from  which  the 
title  of  the  picture  was  taken. 

V 

The  suggestion  for  the  presentation  at 
West  Point  and  the  preliminary  arrange- 
ments are  credited  to  Freddy  Jablons,  whose 
invaluable  assistance  is  hereby  acknowl- 
edged. A  bow  also  to  Lieut.  Echols  for  his 
splendid  cooperation  and  to  Harry  Crull, 
who  left  a  sick  bed  to  be  on  hand. 


Press  Book  Coi  er  Becomes  Display 

Press  Sheet  Furnishes 
By-Product  Value 

That's  what  Bill  Yearsley  calls  it — "get- 
ting by-product  values  out  of  the  press 
sheet"  illustrating  what  he  did  recently  on 
"White  Cockatoo'  and  as  a  buildup  on  War- 
ner Bros.  Clue  Club  prize  tieup  with  Black 
Mask  magazine,  at  the  Strand,  Parkersburg, 
West  Va. 

Photo  above  is  of  40  by  60  frame  that 
contained  display  card  made  up  from  press 
book  cover.  Letters  were  two  inches  wide, 
which  Bill  filled  with  material  on  the  picture 
and  contest.  Idea  worked  out  well  as  this 
size  frame  is  right  height  for  close-up  read- 
ing of  newspaper  type,  and  Yearsley  is  sav- 
ing it  for  other  pictures  in  the  series. 

Make  1935  Yozir  Award  Year 

Merchants  Cooperate  with 
Taylor  on  "Pimpernel" 

Charles  B.  Taylor,  Great  Lakes  Theatre, 
Buffalo,  N.  Y.  secured  the  cooperation  of 
department  store  which  plugged  beauty 
hints  and  used  cut  of  Merle  Oberon  in 
"Scarlet  Pimpernel"  in  newspapers.  Men's 
clothing  store  also  featured  photo  of  Leslie 
Howard. 

Drug  stores  bally'd  a  sundae  with  special 
window  streamers  and  local  branch  libraries 
and  book  stores  distributed  bookmarks. 
Make  193  5  Your  Award  Year 

Store  Ties  In  on  "Folies" 

Local  department  store  tied  in  with 
George  Hoover,  Capitol,  Springfield,  Mass., 
Dn  "Folies  Bergere''  devoting  ads  to  hair- 
dress  and  fur  coats  illustrated  with  cuts  of 
Merle  Oberon.  Hotel  orchestras  plugged 
song  hits  with  announcements  that  they 
could  be  heard  in  the  picture  at  the  Capitol. 


Reporter  Stunt  Is 
Aces  for  Lawrence 

The  various  ways  in  which  managers  have 
used  the  questionnaire  slant  in  discerning 
the  picture  likes  and  dislikes  of  patrons  are 
now  added  to  by  Sid  Lawrence,  Avon, 
Watertown,  N.  Y.,  who  put  on  an  inquiring- 
reporter  street  gage  that  went  over  very  well. 

Carrying  smart  calling  cards  with  her 
name,  theatre,  and  the  title  "reporter,"  the 
attractive  Jean  Lawrence  works  the  Public 
Square,  approaching  various  people,  intro- 
ducing herself  via  the  card  and  asking  the 
questions  appearing  on  cardboard  question- 
naire, size  about  four  by  five,  reproduced 
below.  Every  fifth  person  queried  receives 
a  guest  ticket  for  one  admission.  While 
obtaining  the  answers,  Jean  puts  on  a  plug 
for  the  current  attraction  at  the  theatre. 

To  follow  up,  Sid  runs  a  trailer  reading: 
"Meet  the  Avon  Reporter  on  the  Public 
Square"  and  states  that  over  100  people  are 
contacted  each  day  the  stunt  is  put  on.  Lots 
of  valuable  dope  regarding  pictures,  prefer- 
ences and  prices  is  thus  secured.  Lawrence 
votes  this  angle  a  knockout  and  passes  it 
along  for  further  use.  In  addition  he  follows 
up  the  idea  by  mailing  postcards  to  certain 
lists  of  patrons  who  have  not  been  regular 
attendants,  copy  reading:  "The  Avon  Re- 
porter advises  you  have  not  attended  the 
theatre  in  some  time.  May  we  expect  you 
soon  ?"  Card  also  carries  title  and  date  of 
coming  attraction. 

Make  193  5  Your  Award  Year 

Baldridge's  Double  Truck 

There  can't  be  much  doubt  but  that  the 
citizens  of  Winchester,  Va.  knew  about  Tom 
Baldridge's  new  movie  season  at  the  Capitol 
recently,  what  with  double  truck  spread  with 
cuts  and  stories  of  stars  appearing  in  coming 
pictures  together  with  gossip  about  players. 

Make  193  5  Your  Award  Year 

Harman  'Analyzes'  Dance 
For  Half-Page  Spread 

A  half-page  art  and  feature  story  entitled 
"Analyzing  the  Rumba"  was  planted  in 
newspaper  by  Homer  Harman,  Shubert- 
Rialto,  St.  Louis,  Mo.  for  that  picture  with 
beauty  salon  paying  for  two  column  ad  lay- 
out on  new  coiffure  worn  by  Lombard. 

Tieup  with  Fleishmann  Yeast  brought 
streamers  for  grocery  windows.  Sticker 
carried  cut  of  Vallee  and  suggested  tuning 
in  on  the  Fleishmann  hour  and  then  seeing 
the  star  in  "Sweet  Music". 

Make  193  S  Your  Award  Year 


I  AVON  THEATRE  QUESTIONNAIRE 

I  >'AME  

T  ADDRESS  

I  PHONE  

T  Whet  Th«alreB   Do  Yon  Attend  

X   Do  Yoa  Libe  Stsfte  Show  

•f   What  Newspapers  Do  Yoa  Read  

I  What  Kiod  ol  Piclares  Do  Yoa  Preler  

I  When  Was  The  Last  Time  Yoa  Visited 

f  The  A  V  O  N  

T   Olher  Sni^gealions^  

Lawrence*s  Reporter  Stunt  Theatre  Questionnaire 


March     16,  1935 


MANAGERS'    ROUND  TABLE 


Stress  Laughton  Role 
In  'Ruggles' Advance 


KNIGHT,  DOUGLAS  WIN 
AWARDS  FOR  FEBRUARY 


As  Laughton's  role  in  "Ruggles  of  Red 
Gap"  is  entirely  different  from  any  he  has 
played  in  previous  pictures,  the  New  York 
Paramount  worked  out  an  ingenious  trailer 
idea  in  advance  of  the  date.  Slides  showing 
the  star  in  various  laff  scenes  from  the  pic- 
ture were  thrown  on  magnascope  screen, 
orchestra  playing  the  strain  of  "For  He's  a 
Jolly  Good  Fellow"  for  atmospheric  buildup. 

Special  advance  lobby,  travelling  marquee 
electric  sign,  and  20-foot  cutouts  in  arms 
over  entrance  were  also  used  ahead  and 
dramatization  was  broadcast  over  leading 
New  York  station.  Window  displays, 
processed  window  card  in  prominent  loca- 
tions, and  advertising  tieups  all  helped  to 
drum  up  extra  attention. 

Commendable  also  was  billboard  campaign 
that  included  200  28-sheet  stands,  500  eight- 
sheets,  and  thousands  of  ones,  window  and 
jumbo  cards.  Accompanying  photo  shows 
how  the  town  was  blanketed. 

Opening  night  was  in  the  nature  of  a 
premiere  with  celebs  on  hand,  arc  lights 
and  all  the  other  necessary  accessories. 
Electrically  illuminated  airplane  circling 
over  the  midtown  sector  for  the  evening  was 
also  reported  effective. 

Make  193  5  Your  Award  Year 

Nichols  Holds  Special 
"Broadway  Bill"  Screening 

An  advance  screening  for  critics  and  a 
selected  list  of  locals  was  held  by  Don  Ni- 
chols, Broadway,  Charlotte,  N.  C.  for 
"Broadway  Bill"  with  reported  expected 
word  of  mouth  publicity  received. 

Cut  of  Loy  and  Baxter  used  in  classified 
real  estate  ad  section  with  copy  "all  stars 
in  Hollywood  could  not  find  a  place  for  you 
to  live  as  quickly  as,  etc.  etc."  Through  tie- 
up  with  Postal  Telegraph,  no  cost  heralds 
were  distributed  and  car  cards  placed  in  all 
trolleys  during  run  of  picture. 

Make  193  J  Your  Award  Year 

Melville  Sells  Space 
For  Co-op  Page 

Publicist  Melville  Galliart,  Grand  Theatre, 
Dubuque,  Iowa  promoted  a  costless  cooper- 
ative ad  page,  by  going  out  and  selling  the 
advertising  himself  on  "Sweet  Adeline". 
Captioning  the  page  "we  toast  the  star  of 
the  town's  best  movie",  various  firms  tied 
in  their  products  in  a' promotional  way. 

Theatre  led  off  with  a  splurge  on  the 
picture  and  cuts  of  various  stars  in  cast 
were  spotted  in  merchants  ads. 

Make  193  J  Your  Award  Year 


Thus  Vtiramount  Blanketed  New  York 


West  Virginia  Warnerite  First 
To  Repeat;  Bronze  Plaque  to 
Loew    Brooklyn  Theatreman 

Since  the  beginning  of  the  Quigley 
Awards'  second  year,  one  question  has  been 
asked  time  and  again — "who  will  be  the 
first  1934  winner  to  repeat:"  And  now  with 
the  results  of  the  judges'  voting  for  Feb- 
ruary, the  query  has  been  aswered. 

Manager  R.  E.  "Fuzzy"  Knight,  Fair- 
mont, Fairmont;  West  Virginia,  is  the  white- 
haired  boy  and  he  showed  a  smart  pair  of 
heels  to  the  field  with  a  bang-up  campaign 
on  Warner's  "Devil  Dogs  of  the  Air"  that 
netted  him  the  Quigley  Silver  for  February. 
Knight  first  clicked  in  June  of  1934,  and  to 
him,  the  orchids  for  being  the  initial  two- 
time  winner. 

Next  over  the  finishing  line  was  Manager 
Edward  Douglas,  of  Loew's  Kings,  Brook- 
lyn, New  York,  who  takes  down  the  Quig- 
ley February  Bronze  for  a  swell  job  on 
MGM's  "Forsaking  All  Others."  Douglas 
did  a  whale  of  a  lot  of  fancy  exploitation  on 
his  neighborhood-house,  subsequent-run 
campaign  at  little  cost  and  earned  himself  a 
healthy  second. 

Then  grouped  at  the  tape  came  a  flock  of 
fast  finishing  showmen  which  necessitates 
awarding  three  First  Mentions  this  month. 
These  go  to  "Chic"  Evens,  Loew's  State, 
St.  Louis,  Mo.,  on  "Copperfield" ;  Ed  M. 
Hart,  Strand,  Plainfield,  N.  J.,  also  on 
"Copperfield,"  and  last  but  not  least,  Cress 
Smith,  Palace,  Pittsburgh,  Pa.,  who  in  a 
last  run  downtown  situation,  three  changes 
a  week,  caught  the  judges'  eyes  with  a  re- 
markable burst  of  speed  on  "Flirtation 
Walk"  which  Smith  put  on  for  the  well- 
known  peanuts. 

The  same  difficulty  was  found  in  selecting 
the  Honorable  Mention  winners,  so  much 
so,  that  it  was  almost  impossible  in  all  fair- 
ness to  award  less  than  the  number  chosen. 
Therefore,  15  entries  have  been  picked  for 
these  Sheepskins.  Their  names  and  thea- 
tres appear  with  the  Firsts,  in  the  column  to 
the  right. 

Cooperation  Acknowledged 

A  number  of  the  winners  included  those 
who  worked  on  the  campaigns,  which  are  as 
follows :  James  H.  Brownfield,  assistant  to 
"Fuzzy"  Kaiight;  Bob  Deitch,  Rudy  Kuehn's 
publicity  head ;  Clifford  Boyd,  assistant  to 
Herman  Bamberger;  Paul  Steinmuller, 
Marian  Gronaw  and  Harry  Maizlich,  co- 
operating with  A.  S.  Weider,  and  Lou 
Brown,  publicity  director,  Loew  Washington 
theatres,  who  worked  with  Gene  Ford. 

Loew  and  Warner  managers,  as  usual, 
were  in  the  thick  of  the  running  and  both 
chains  scored  high.  The  Mullin  and  Pinan- 
ski  crowd  was  heard  from,  as  were  Minne- 
sota Amusement  and  the  Blank  circuit, 
among  others.  Walter  Reade  was  represent- 
ed by  stout-hearted  Ed  Hart. 

And  as  far  as  situations  are  concerned, 
the  field  was  wide  open  with  de  luxe  opera- 
tions sharing  honors  with  neighborhood 
houses,  and  subsequent  runs.  Campaigns 
that  cost  chunks  of  dough  and  entries  put 
over  for  dimes  participated  in  the  Awards 
and  the  Mentions.   But  the  winners  showed 


Virst  IS/lentions 


H.  W.  Evens,  Manager 
State,  St.  Louis,  Mo. 

E.  M.  Hart,  Manager 
Strand,  Plainfield,  N.  J. 

Cress  Smith,  Manager 
Palace,  Pittsburgh,  Pa. 


Honorable  Mentions 


lots  of  one  thing — and  that  was  pu-lenty  on 
the  ball. 

The  third  lap  of  1935  is  the  next  to  be 
contested.  The  race  promises  to  be  as  swift, 
the  finish  as  close.  Will  the  March  winners 
again  be  repeaters  or  will  the  honors  go  to 
new  entries  ?   You  tell  us.  A-MIKE. 


Herman  Bamberger,  Manager 
Paramount,  North  Adams,  Mass. 

M.  C.  Burnett,  Manager 
Loew's,  Dayton,  Ohio 

Temple  De  Vilbiss,  Manager 
Colorado,  Pueblo,  Col. 

P.  D.  Egan,  Manager 
Palace,  Calgary,  Alberta 

Gene  Ford,  Manager 
Lou  Brown,  Adv.  Mgr. 
Fox,  Washington,  D.  C. 

G.  I.  Hunter,  Manager 
Peoples,  Chanute,  Kansas 

George  D.  Irwin,  Manager 
Lyceum,  Duluth,  Minn. 

Rudolph  Kuehn,  Manager 
Bob  Deitch,  Adv.  Mgr. 
Stanley,  Jersey  City,  N.  J. 

Jack  E.  Lykes,  Manager 
Stillman,  Cleveland,  Ohio 

E.  J.  Melniker,  Manager 
Grand,  Atlanta,  Ga. 

Herb  Morgan,  Adv.  Dir. 
Century,  Baltimore,  Md. 

Charles  Schlaifer,  Adv.  Dir. 
World,  Omaha,  Neb. 

S.  S.  Solomon,  Manager 
Regent,  Newark,  N.  J. 

W.  V.  Taylor,  Manager 
State,  Houston,  Texas 

A.  S.  Weider,  Manager 

New  Spreckels,  San  Diego,  Cal. 


68 


MOTION    PICTURE  HERALD 


March     16,  1935 


Trolley  Car  Sells  "Judge 
Priest"  for  Lawrence 

Sid  Lawrence  up  at  Shine's  Avon,  Water- 
town,  N.  Y.,  has  been  putting  on  various 
stunts  recently  among  which  was  24  sheet 
street  car  bally  of  Will  Rogers  in  "Judge 
Priest." 

On  "Barnum"  Sid  distributed  orchid  col- 
ored visiting  cards  with  copy  "There's  a 
sucker  born  every  minute  and  you're  one  if 
you  don't  see,  etc.,  etc."  Cards  are  also 
available  at  box  office  and  handed  to  patrons 
with  room  for  their  name  and  address  and 
information  to  the  ef¥ect  that  if  properly 
filled  in,  the  management  would  call  up  each 
week  and  advise  the  current  and  coming  at- 
tractions. 

Make  193  5  Your  Award  Year 

Salesman  Turns  Showman 

Walter  Price,  Gaumont  British  repre- 
sentative in  Memphis,  did  a  bit  of  promoting 
A.  P.  Waxman  reports  on  "My  Heart  Is 
Calling  You",  by  tieing  in  a  group  of  mer- 
chants on  a  series  of  broadcasts,  in  which 
store  advertising  was  plugged  together  with 
frequent  announcements  of  local  showing. 

Make  193  5  Your  Award  Year 

Yvonne,  Cecile,  Marie, 
Annette  and  Emelie 

The  Broadway  Trans-Lux  theatre  in  New 
York  City  used  a  novel  lobby  display  to 
exploit  the  Dionne  Quints.  Cutout  in  large 
standing  cardboard  easel  was  slit  using 
miniature  doll  likenesses  of  the  babes,  seated 
in  wicker  baskets  with  name  tags  attached. 

Harry  Kendrick,  Enright  Theatre,  Pitts- 
burgh, Pa.  tied  in  with  Sears  Roebuck  on 
their  Quint  doll  set  for  a  window  display. 
At  night,  window  was  illuminated  with 
nurse  out  front  distributing  imprinted 
diapers. 

And  in  Cleveland,  Ohio,  Julius  Lamm  at 
the  Uptown  secured  cooperation  of  Kresges 
who  devoted  a  window  to  display  of  layettes 
featuring  the  miniature  Dionne  dolls  dressed 
in  various  baby  garments  sold  by  the  store. 

Make  193  5  Your  Award  Year 

Weshner  'Views  with  Alarm' 
in  Herald  Copy 

Taking  up  the  cudgels  of  the  poor,  ma- 
ligned public,  Mike  Weshner,  Hawthorne 
Theatre,  Newark,  N.  J.  distributed  heralds 
quoting  reviews  on  "Wednesday's  Child" 
wherein  the  critic  said  "may  be  completely 
over  the  heads  of  the  average  audience". 

Mike's  smash  herald,  carrying  caption  "is 
this  picture  too  good  for  Newark?"  con- 
tinued with  copy  that  despite  scolding  he 
believed  his  audience  would  show  apprecia- 
tion of  finer  things  on  the  screen,  by  patron- 
ising the  picture. 

Make  193  5  Your  Award  Year 

Secures  Book  Window 
On  "Copperfield" 

Dick  Wright,  publicity  director  Warner 
Theatres  sends  along  the  "David  Copper- 
field"  campaign  put  over  by  Frank  Savage 
and  Frank  Langley  at  the  Warner  in 
Youngstown,  Ohio  in  which  they  tied  up 
the  largest  department  store  for  special  win- 
dow with  characters  dressed  in  costume. 
Cards  with  copy  "Now's  the  time  to  read 
David  Copperfield,  copies  available  in  book 
department,"  were  also  distributed  illustrated 
by  cut  of  David  and  W.  C.  Fields.  Store 


Lawrence's  "Rogers"  24  Sheet 


McBride's  "Copperfield"  Hack  Bally 


Newhall's  "Lily"  Sorority  Girls 


Black's  "Chairman"  Auto  Contest 


also  featured  display  of  pencils  as  used  by 
cast.  Papers  came  through  with  editorial 
breaks  and  photos  in  roto  sections. 

For  "Devil  Dogs"  officers  of  reserved 
corps  marched  to  theatre  in  uniform  and 
conducted  impressive  flag-raising  ceremony, 
hoisting  Old  Glory  to  roof  of  theatre. 


Old  Time  Hack  Ballys 
"Copperfield"  for  McBrlde 

An  old  fashioned  horse  drawn  hack  sim- 
ilar to  that  shown  in  "David  Copperfield" 
was  used  by  Ed  McBride,  Loew's  Theatre, 
Syracuse,  N.  Y.  (see  photo)  for  his  street 
bally  with  "all  roads  lead  to  Loew's"  banner 
tacked  on  back. 

Special  screening  was  held  for  public 
school  English  teachers,  by  which  Ed  se- 
cured permission  to  post  roto  sheets  on  all 
bulletin  boards.  Newspaper  cooperated  by 
featuring  wire  photo  contest  with  auto- 
graphed picture  of  Maureen  O'Sullavan  go- 
ing to  those  who  could  correctly  guess 
which  of  pictures  was  the  wired  photo. 

Make  19  i  5  Your  Award  Year 

Morgan  Arranges  "Sequoia" 
Zoo  Party  for  Kids 

Herb  Morgan,  publicist  Loew's  Theatre, 
Baltimore,  Md.,  arranged  for  newspaper  to 
sponsor  a  series  of  "Sequoia"  parties  at 
local  zoo  to  which  all  children  were  invited 
as  guests  of  paper  and  theatre. 

Children  were  conducted  through  zoo  by 
animal  experts  who  explained  history  and 
habits  of  various  types  of  animals.  One  of 
the  highlights  so  far  as  the  kids  were  con- 
cerned was  the  bathing  and  feeding  of  the 
monkeys  and  elephants  put  on  especially  for 
the  entertainment  of  the  visitors. 

Make  193  5  Your  Award  Year 

Newhall  Ties  Sorority 
Initiation  Into  "Lily" 

Initiated  girls  of  local  sorority  acted  as 
street  bally  for  Allen  B.  Newhall,  Babcock 
Theatre,  Wellsville,  N.  Y.  for  "Gilded  Lily". 
Each  girl  (see  photo)  had  to  parade  town 
with  window  cards  tied  to  their  backs  and 
hand  out  programs  on  theatre's  attractions. 

Allen  has  also  organized  a  band  consist- 
ing of  thirteen  instrumentalists  and  three 
vocalists,  who  present  regular  programs 
twice  a  month  at  theatre  and  band  also 
advertises  the  Babcock  at  other  engagements 
secured  by  Newhall. 

Make  193  5  Your  Award  Year 

McManus  Cracks  Tough 
Sheet  on  "Sequoia" 

Johnny  McManus,  Loew's  Midland  Kan- 
sas City,  Mo.,  reports  that  he  cracked  one  of 
the  leading  papers  for  a  500  line  ad  on  lost 
dogs  to  promote  classified  page.  Ad  showed 
large  picture  of  Jean  Parker  and  her  pooch. 

Every  boy  and  girl  organization  in  city, 
together  with  public  and  pa,rochial  schools 
carried  posters  on  bulletin  boards  with  pupils 
receiving  picture  pamphlets.  Prominent 
weekly  reviewer  gave  talks  before  various 
groups  mentioning  picture. 

Make  193  5  Your  Award  Year 

Black  Ties  In  "Chairman" 
Contest  with  Auto  Show 

The  only  outside  tieup  reported  at  the 
automobile  show  in  New  Haven,  Conn., 
was  engineered  by  Harry  Black  of  the 
Poli  Theatre  on  "County  Chairman"  where- 
by old  time  model  (see  photo)  carried  card 
offering  tickets  to  spectators  who  came  clos- 
est to  guessing  correct  number  of  miles  the 
car  would  run  on  one  gallon  of  gas. 

Small  cards  for  names  and  addresses  and 
"guesses"  were  distributed  both  at  the  show 
and  around  town.  Those  returned  were 
added  to  Harry's   mailing  list. 


March     16,  1935 


MANAGERS'    ROUND  TABLE 


69 


"Copperfield"  Front  Page  Break 

Milton  Gurrian,  assistant  to  Howard 
Waugh,  Kentucky  Warner  Theatres  zone 
chief,  forwards  newspaper  clipping  of  page 
one  editorial  break  on  "David  Copperfield" 
secured  by  Manager  Allan  Smith  at  the 
Savoy,  Princeton,  Ky.,  which  included  per- 
sonal endorsement  of  the  superintendent  of 
schools  and  the  captain  of  the  high  school 
football  team. 

Make  193  5  Your  Award  Year 

Reynolds  Uses  Beggars 
As  "Clive"  Street  Bally 

For  his  bally  on  "Clive"  Al  Reynolds  at 
the  Queen  Theatre  in  Austin,  Texas,  as- 
sembled ten  'beggars'  dressed  in  white  and 
with  turbans  (see  photo)  and  stationed  them 
on  principal  corners.  Each  beggar  carried 
small  box  inside  of  which  was  painted  the 
title. 

Special  screening  was  held  for  leading 
citizens  and  members  of  the  press.  Wait- 
resses in  cafes  wore  lapel  ribbons  plugging 
opening. 

Make  193  y  Your  Award  Year 

McGinnis  Builds  New  Front 

R.  V.  McGinnis,  New  Theatre,  Russell- 
ville,  Ark.,  constructed  a  new  front  for  his 
"David  Copperfield"  date.  Title  was  in 
green  with  red  edges,  flitter  used  on  the 
beaverboard  borders  and  one  sheets  spotted 
around  box  office. 

Make  193  5  Your  Award  Year 

Conducts  "About  Faces" 
Contest  for  Pictures 

As  part  of  the  promotional  stunt  in  con- 
nection with  contest  run  in  daily,  George 
Kraska,  Art  Cinema  Guild,  Boston,  Mass. 
uses  what  he  terms  an  "About  Faces"  puzzle. 
Faces  of  various  stars  in  picture  are  shown 
with  correct  number  of  blank  spaces  for 
their  names  which  are  to  be  filled  in.  On 
"Man  of  Aran"  center  of  puzzle  depicted 
Mickey  Mouse  holding  up  card  reading 
"What  production  won  the  international 
award  altho  none  of  the  cast  had  ever  had 
any  previous  acting  experience?" 

George  has  been  conducting  the  contest 
for  the  past  six  weeks  with  dififerent  faces 
and  clues  for  each  picture  offering  tickets 
to  those  solving  the  "About  Faces"  cross- 
word. 

Make  193  J  Your  Award  Year 

Busses  Stop  at  "Bordertown" 

Manager  Rudy  Kuehn  and  Bob  Deitch, 
publicist  at  the  Stanley  Theatre  in  Jersey 
City,  N.  J.  put  a  new  town  on  the  map  when 
they  pasted  cards  in  all  city  busses  reading 
"all  busses  stop  at  Bordertown".  This  gag 
was  part  of  teaser  campaign  on  that  picture. 
Make  193  5  Your  Award  Year 

Van  Meter  Dispenses  Free 
Drinks  for  "Sweet  Adeline" 

First,  Dwight  Van  Meter,  Aldine  Thea- 
tre, Wilmington,  Del.  dressed  his  entire  staff 
in  bowery  outfits  for  "Sweet  Adeline."  Then, 
as  patrons  approached  ticket  taker,  he'd 
doff  his  derby  and  with  courtly  gesture 
wave  them  into  lobby  where  bartender  (see 
photo)  with  handlebar  mustache  and  all  the 
trimmings  invited  guests  to  step  up  to  the 
bar  and  "have  one  on  the  house." 

Before  trailer  was  projected,  front  trav- 
eller opened  on  male  quartette  singing 
"Sweet  Adeline"  under  gas  lamppost.  Tie- 


Scholer's  "Adeline"  Bally  Couple 


Reynolds'  "Clive"  Street  Beggars 


Esberg's  "Spring"  and  Mattress  Window 


Van  Meter's  "Adeline"  Lobby  Bar 

up  was  effected  with  local  automobile  dealer 
for  1902  model  car  used  as  street  bally.  Drug 
stores  featured  sundaes  and  music  stores 
devoted  window  and  counter  displays'.  Mid- 
get pretzels  were  distributed  at  lunch 
counters  in  imprinted  glazine  bags  and 
thrown  from  bally  car  at  street  corners. 


Scholer  Has  Bowery  Couple 
Shop  for  "Adeline"  Clothes 

Joe  Scholer  gagged  up  his  "Adeline"  cam- 
paign at  the  Ohio  in  Sandusky,  Ohio  by 
tiaving  couple  dressed  in  old-fashioned  at- 
tire shop  at  various  stores  in  an  endeavor 
to  purchase  clothes  similar  to  ones  they 
were  wearing.  Couple  also  bally'd  date  (see 
photo)  with  tandem  bike. 

Joe  constructed  7  by  10  foot  set  piece  with 
paper  doilies,  placed  orchestrations  with 
l)ands  and  imprinted  paper  napkins  were 
distributed. 

Make  193  5  Your  Award  Year 

Patrons  Write  Patchen's  Ad 

For  the  reported  first  time  in  the  history 
of  the  Lincoln  Ad  Club,  a  theatre  was 
awarded  monthly  prize  for  E.  A.  Patchen's 
ad  on  "Imitation  of  Life"  at  the  Stuart  The- 
atre. Ad  was  composed  entirely  of  signed 
testimonials  from  women  who  had  attended 
special  screening. 

Make  193  J  Your  Award  Year 

Pollock  Promotes  Much 
On  Various  Dates 

Les  Pollock,  Loew's  Rochester,  N.  Y. 
held  a  special  preview  of  "Forsaking  All 
Others"  for  newsboys  with  event  and  pic- 
tures breaking  papers.  Photo  of  Gable  under 
caption  "latest  fashions"  with  picture  copy 
used  in  fashion  section  of  dailies  and  beauty 
parlor  featured  a  Crawford  permanent  with 
cut  of  star  in  ads. 

"Whoozit"  contest  was  run  on  "Broadway 
Bill"  in  addition  to  scrambled  letters  cross- 
word puzzle  with  cash  prizes  and  tickets 
awarded  winners.  Daily  chatter  column 
gave  picture  nice  break  and  week  prior 
syndicated  Hellinger  stories  carried  line 
recommending  the  columnists  first  movie 
story. 

Make  1935  Your  Award  Year 

Ice  Skating  Rink  Plugs 
"Copperfield"  at  Granada 

John  Newkirk  and  his  assistant  Carl 
Rogers  at  the  Granada  in  Cleveland,  Ohio 
tied  in  local  ice  skating  rink  for  "David 
Copperfield"  announcements  over  p.a.  sys- 
tem and  display  of  posters  in  foyer. 

English  teachers  encouraged  high  school 
pupils  to  enter  essay  contest  on  "Why  I 
Want  to  See,  etc.,  etc.,"  and  announcements 
were  posted  on  bulletin  boards. 

Beauty  salon  tied  in  by  featuring  a  Joan 
Crawford  permanent  on  their  "Forsaking 
All  Others"  date  using  cut  of  the  star  in  ads. 

Make  193  J  Your  Award  Year 

Ties  "One  More  Spring" 
To  Furniture  Store  Gag 

An  ingenious  tieup  was  engineered  for 
"One  More  Spring"  by  Manager  Arthur 
Esberg  at  the  Aztec  in  San  Antonio,  Tex. 
with  furniture  store  hooking  window  of 
mattresses  and  springs  (see  photo)  to  thea- 
tre copy  "they're  together  again  as  are  Janet 
Gaynor  and  Warner  Baxter  in  etc.,  etc." 
Merchant  paid  for  ad  in  Sunday  paper  and 
for  distribution  of  glossy  photos  of  the 
stars  with  store  mention  on  reverse  side  and 
the  together-again  gag. 

On  "Devil  Dogs"  the  Kelly  Field  Avia- 
tion School  cooperated  on  lobby  exhibit  of 
equipment  and  attendants  demonstrated  para- 
chute packing.  Equipment  was  hauled  to 
and  from  theatre  in  bannered  trucks. 


70 


MOTION    PICTURE  HERALD 


March     16,  1935 


RADIO  EXPLOITATION  TIEUPS 

VarioiLs  Tieins  Are  Suggested  and 
Explained  in  This  Final  Article 
on  Radio  in  Theatre  Advertising 

by  GENE  CURTIS 

Sfl/c's  Promotion  Director 
Famoiis  Players  -  Canadian  Corp. 


The  rapid  growth  of  radio  popularity  in 
the  past  few  years  has  opened  an  entirely 
new  field  for  theatre  exploitation.  In  addi- 
tion to  the  theatres'  own  programs,  there 
are  many  ways  in  which  a  manager  can  tie 
in  on  commercial  programs.  Very  often 
with  a  good  idea,  he  can  create  new  business 
for  radio  stations. 

For  instance,  a  theatre  manager  might 
induce  a  local  mechant,  particularly  shops 
appealing  to  women,  to  sponsor  a  Hollywood 
Gossip  program.  This  could  include  some 
reference  to  his  current  attraction  and  even 
a  theatre  credit  line.  Radio  stations  will  also 
sometimes  put  on  these  programs  as  a  sus- 
taining feature  in  exchange  for  the  ma- 
terial furnished  them. 

Women's  Hour  Favored 

It  is  possible  to  get  on  women's  hours 
by  furnishing  favorite  recipes  of  the  movie 
stars  playing  in  current  pictures,  or  by 
beauty  and  fashion  information  about  the 
stars.  Other  radio  advertisers  will  be  glad 
to  give  theatre  and  picture  publicity  if  fur- 
nished with  star  stills,  which  they  can  dis- 
tribute. A  similar  procedure  is  where  the- 
atre managers  give  a  certain  number  of 
guest  tickets  to  be  given  away  on  each 
broadcast  by  a  commercial  advertiser.  There 
are  many  programs  conducted  especially  for 
children  and  it  is  possible  to  get  in  on  these 
by  working  a  co-operative  coloring  contest 
or  something  of  this  nature. 

A  musical  memory  contest  is  good  with 
an  advertiser  using  either  records  or  an  or- 
chestra. Prizes  are  awarded  to  listeners  iden- 
tifying a  series  of  musical  selections,  includ- 
ing a  song  from  the  theatre's  current  or  com- 
ing attraction.  Some  stations  or  commercial 
program  sponsor  a  birthday  club,  with  greet- 
ings each  day  to  persons  having  birthdays, 
and  if  the  list  is  not  too  big,  guest  tickets  can 
be  given  as  birthday  presents. 

Another  stunt  which  is  sometimes  feas- 
ible, is  to  arrange  a  "telegram"  from  a  star 


Make  195  5  Yonr  Award  Year 


ELECTRICAL  DISPLAY.  Robb  Lawson,  U.A. 
publicity  chief  in  London,  is  responsible  for 
this  effective  "Mighty  Barnum"  display  at 
the  London  Pavilion  Theatre. 


to  a  radio  advertiser,  which  would  be  read 
on  their  program  and  would  naturally  refer 
to  the  picture  at  the  theatre.  Care  must 
be  taken  not  to  use  unauthorized  endorse- 
ments. To  make  these  wires  authentic,  the 
theatre  manager  can  write  or  wire  the 
studio  publicity  director  in  California  and 
advise  the  message  desired  from  the  star. 
These  wires  can  also  be  used  for  newspaper 
advertising,  window  displays,  and  other 
forms  of  publicity. 

A  Hollywood  opening  is  often  an  efifective 
ballyhoo  if  properly  worked.  Bright  lights 
are  placed  in  the  lobby  to  give  a  gala  at- 
mosphere and  the  broadcasting  is  done 
direct  from  a  mike  in  the  lobby.  It  is  neces- 
sary to  have  a  good  announcer  who  can 
keep  up  a  running  comment  so  that  interest 
will  not  lag.  He  should  be  provided  in 
advance  with  plenty  of  publicity  on  the  pic- 
ture, together  with  interesting  production 
stories,  biographies,  and  human  interest 
stories  about  the  stars.  It  is  advisable  to 
have  some  form  of  music  to  pep  up  the 
program  even  if  it  is  only  a  phonograph 
placed  away  from  the  microphone,  to  pro- 
vide a  lively  background  together  with  the 
noise  coming  from  the  crowds  in  the  the- 
atre lobby. 

Radio  Clubs  Successful 

In  the  presentation  of  radio  dramatiza- 
tions, some  theatres  have  formed  "Radio 
Clubs"  of  amateurs  who  would  like  t  obe 
radio  actors.  The  clubs  gather  in  the  the- 
atre or  some  other  place  for  regular  meet- 
ings and  rehearsals,  and  from  its  member- 
ship actors  are  chosen  to  present  the  dram- 
atizations on  the  air.  Another  plan  (which 
might  also  be  a  department  of  this  club) 
would  be  script-writing  with  the  authors 
writing  the  scripts  after  having  seen  the 
picture  in  the  theatre.  Prize  scould  be 
ofTered  for  the  best  scripts. 

Dramatizations  can  often  be  put  on  at  no 
cost  to  the  theatre  as  a  studio  feature,  or  a 
commercially  sponsored  program.  The  theatre 
has  done  a  large  share  in  such  a  co-opera- 
tive broadcast  by  furnishing  a  good  script 
which  would  otherwise  not  be  available  to 
the  sponsor. 

Radio  auditions  are  another  plan.  In  this 
case,  the  manager  co-operates  with  a  radio 
station,  or  with  a  newspaper  and  radio  sta- 
tion, on  the  theory  that  there  is  a  lot  of 
good  undiscovered  talent  in  the  local  city. 
Auditions  are  held,  and  about  seven  of  the 
best  talent  are  put  on  for  a  15  or  20-minute 
stage  presentation  in  the  theatre,  with  the 
winners  being  selected  by  applause  from  the 
audience.  It  is  best  to  use  a  public  address 
system  if  available,  to  bring  out  the  trye 
radio  qualities  of  the  contestant's  voice  or 
playing.  This  of  course  means  money  at 
the  box  office  because  the  friends  and  rela- 
tives of  the  contestants  will  buy  tickets  to 
help  applaud  their  favorites  into  winning. 
The  three  winners  are  then  put  on  the  air 


ui  the  next  of  a  regular  series  of  broadcasts, 
or  the  actual  contests  may  be  broadcast. 

Musical  pictures  offer  many  angles  of  ex- 
ploitation by  getting  orchestras  or  recorded 
programs  to  feature  the  music  from  the 
picture,  together  with  theatre  and  play  date 
credits  if  possible.  See  that  your  broadcast- 
ing orchestras  get  orchestrations  of  the 
numbers  from  the  music  publishers  or  from 
the  exchanges. 

Most  radio  stations  devote  a  certain 
amount  of  time  to  educational  programs  and 
theatres  can  get  in  on  these  when  playing 
pictures  like  "The  Little  Minister,"  "David 
Copperfield"  and  others  of  this  type. 

A  "scare"  program  is  good  for  a  "Frank- 
enstein" type  of  picture,  or  one  like  "Fugi- 
tive Lady,"  which  has  a  train  wreck  or  some 
other  disaster.  Start  the  program  in  the 
regular  manner  with  music,  and  in  the  mid- 
dle interrupt  with  a  very  excited  voice 
warning  all  radio  listeners  that  a  monster 
is  loose  in  the  city;  that  a  horrible  train 
wreck  has  just  taken  place;  or  that  the 
President  has  been  kidnapped,  if  playing 
"The  President  Vanishes."  Then  follow 
with  a  statement  that  this  did  not  actually 
happen  in  real  life,  but  does  happen  in  the 
picture  now  playing  your  theatre. 

Lobby  Tie-ups  Effective 

Chain  broadcasts  of  dramatizations,  mo- 
tion picture  music  or  motion  picture  stars 
offer  opportunities  for  a  manager  to  ar- 
range spot  announcements  before  and  after 
the  program,  with  references  to  the  picture 
or  the  star  now  playing  or  coming  to  your 
theatre. 

Spot  announcements  of  any  kind  can 
often  be  secured  for  passes  and  many  man- 
agers are  getting  very  good  radio  publicity 
through  personal  contacts  thus  established. 

For  theatre  managers  who  go  in  for  lobby 
exhibits,  a  wide  field  is  open  in  the  display 
of  "Smith's  Furniture"  or  "Jones'  Flowers" 
in  the  lobby,  with  the  radio  advertiser  giv- 
ing radio  and  newspaper  publicity  to  the 
exhibit  and  to  your  current  attraction. 

Make  193  5  Your  Award  Year 

Sheedy  Ties  In  Schools 

As  a  result  of  "David  Copperfield"  pre- 
view held  for  school  heads  by  Don  Sheedy, 
Fox  West  Coast  Theatre,  Trinidad,  Colo., 
superintendent  of  schools  granted  permis- 
sion for  students  to  leave  classes  half  hour 
earlier  to  see  the  picture.  Teachers  per- 
mitted students  to  report  on  same,  for  which 
credit  was  given. 


Make  19 i  5  Your  Award  Year 


THAT  STRAW  HAT.  Giant  straw  hat  set 
was  created  by  Benito  Del  Villar,  at  the 
Real  Theatre,  Santiago,  Chile,  for  stage 
prologue  on  "Bedtime  Story." 


March     16,  1935 


MANAGERS'    ROUND  TABLE 


71 


WHAT  TO  DO  ABOUT  SUNDAY  SHOWS 

Rowid  Tabler  Offers  Suggestions 
That  May  Aid  Interested  Members 
In  Opening  Closed  Sunday  Towns 


There  are  basically  two  methods  open  to 
the  theatre  manager  for  obtaining  the  right 
to  run  a  show  on  Sunday.  One  of  these — 
recourse  to  the  courts  of  the  city — has  met 
with  only  indifferent  success.  Chiefly  be- 
cause of  the  fact  that  where  a  statute  is  on 
the  books  of  the  town,  city  or  state,  prohib- 
iting Sunday  performances,  the  court  has  no 
choice  but  to  rule  against  the  defendant. 

In  the  past  year  hundreds  of  cases  of  this 
nature  brought  up  in  the  courts  have  re- 
sulted in  the  defeat  of  the  theatre  owners' 
efforts  to  open  on  Sunday  and  have  suc- 
ceeded only  in  delaying  unnecessarily  the 
opening  because  their  first  effort  had  the 
effect  of  solidifying  ministerial  opposition 
and  making  them  ready  and  eager  to  defeat 
any  further  moves  on  the  part  of  the  theatre 
managers. 

Method  Basically  the  Same 

While  no  one  combination  or  procedure 
will  succeed  in  every  given  situation,  the 
most  successful  method  of  opening  theatres 
on  Sunday  is  basically  the  same  for  hun- 
dreds of  communities.  The  first  move  in 
the  direction  of  opening  must  be  made  as 
quietly  as  possible.  Any  publicity  before  you 
have  definitely  prepared  the  way  will  imme- 
diately crystallize  opposition  and  make  the 
going  much  tougher.  The  average  theatre 
manager  or  owner  in  a  community  is  usually 
well  acquainted  with  the  various  members 
of  council  and  probably  with  the  District 
Attorney.  His  first  activity  should  be  in  the 
direction  of  council. 

It  should  be  his  purpose  to  carefully  sound 
out  each  member  of  council  as  to  his  views 
and  as  to  how  he  would  vote  should  the 
question  of  Sunday  openings  be  put  up  to 
the  mayor  and  acted  upon  in  council.  It 
may  take  a  lot  of  diplomacy  and  patience  to 
swing  the  doubtful  ones  and  to  solidify  your 
relations  with  the  more  liberal  councilmen. 

Make  193  5  Your  Award  Year 


HOSPITAL  STAFF.    Joe    Rinzler,  Biltmore 

Theatre,  Brooklyn,  N.  Y.,  dressed  his  staff 

in  hospital  uniforms  for  "White  Parade". 
Note  cabinet  with  medicines. 


by  JOE  FELDMAN 

Advertising  Director 

Warner  Theatres  Pittsburgh  Division 

But  all  the  time  you  spend  in  this  initial 
move  is  well  spent. 

Your  next  step  is  the  mayor.  You  will 
find  that  in  most  cases  as  long  as  the  mayor 
doesn't  have  to  personally  bear  the  brunt  of 
fighting  your  Sunday  battle,  he  will  be  in- 
clined to  favor  your  purpose.  If  he  feels 
that  he  can  count  on  an  affirmative  vote  in 
council,  it  is  very  unlikely  you  will  en- 
counter opposition  in  him.  Most  politicians, 
because  of  the  free  and  easy  methods  of 
politics,  are  likely  to  be  liberal  in  their  views 
as  long  as  they  feel  they  are  not  running 
into  any  concerted  public  opposition  that 
they  will  have  to  personally  stand  off. 

When  this  job  is  done,  yoiu'  next  contact 
is  with  the  merchants,  chamber  of  commerce 
and  any  other  trade  bodies  in  the  community. 
You  will  find  that  merchants  generally  are 
heartily  in  favor  of  Sunday  movies  because 
of  the  fact  that  they  like  to  keep  whatever 
money  is  being  spent  by  the  public  in  town 
rather  than  see  it  go  to  neighboring  com- 
munities. When  you  have  lined  up  this  sup- 
port, there  are  two  courses  open  to  you. 
One  is  to  announce  immediately  your  Sun- 
day opening,  advertising  it  in  a  dignified 
way.  Don't  set  your  opening  hour  any 
earlier  than  2  o'clock  and  be  sure  that  your 
booking  is  one  that  can  cause  no  possible 
criticism  on  the  grounds  of  morality. 

Some  "Do's"  and  "Don'ts" 

It  is  more  profitable  in  the  end  to  book 
a  picture  of  inferior  drawing  power  than 
to  try  to  cash  in  at  once  on  a  sexy  attrac- 
tion which  may  blow  up  all  of  your  carefully 
planned  moves  by  creating  public  opposi- 
tion. In  setting  your  times  for  the  Sunday 
shows,  it  is  also  very  essential  that  you  don't 
conflict  with  the  regular  church-going  hours. 

Your  first  announcement  of  a  Sunday 
opening  will  probably  cause  the  ministers 
of  the  city  to  band  together  to  fight  you. 
Chances  are  they  will  immediately  go  to 
council  and  demand  that  the  theatre  be 
closed  up.  Your  previous  work  with  coun- 
cil will  block  this  effort.  Being  defeated  in 
this  direction,  they  are  likely  to  go  to  the 
district  attorney  and  demand  that  you  be 
prosecuted.  Foreseeing  these  moves,  you  are 
prepared  to  make  up  a  petition  signed  by  a 
high  percentage  of  the  population  of  your 
community  in  good  standing  in  favor  of  an 
open  Sunday.  Present  this  to  council  so  that 
council  may  have  some  apparent  public  sup- 
port as  a  basis  for  voting  in  your  favor. 

If  there  is  a  statute  on  the  books  forbid- 
ding Sunday  shows,  council,  on  the  strength 
of  the  petition,  can  either  revoke  the  statute 
or  set  up  a  nominal  fine  if  none  is  specified 
in  the  statute.  Or  if  it  should  be  a  fine  so 
large  that  it  would  not  be  profitable  to  oper- 
ate on  Sunday,  reduce  the  size  of  this  fine  to 
a  nominal  sum  which  the  manager  will  then 
pay  regularly  every  Sunday  until  the  thing 
is  forgotten  about  and  the  district  attorney 
ceases  to  bring  charges  every  week. 


Should  council  be  reluctant  to  make  such 
a  move,  you  have  one  ace  in  the  hole.  If  the 
mayor  is  very  friendly  to  you  it  shouldn't 
be  difficult  for  you  to  persuade  him  that  he 
can  do  himself  no  harm  by  announcing  that 
he  will  enforce  to  the  letter  Sunday-closing 
laws  of  your  community  or  state,  which  is 
to  say,  close  down  everything  including  milk 
deliveries,  gasoline  stations,  newspaper  de- 
liveries, confectionery  stores,  ice  cream  par- 
lors, etc.  You  will  find  that  he  will  never 
have  to  go  to  the  extreme  of  actually  closing 
the  town.  Merchants  and  public  will  raise 
a  howl  to  the  heavens.  Pressure  by  the  pub- 
lic on  both  ministers  and  council  will  force 
the  issue.  This  method  several  months  ago 
succeeded  in  opening  the  cities  of  Johns- 
town, Pa.,  and  Washington,  Pa.,  in  spite  of 
the  fact  that  there  is  a  state  law  forbidding 
Sunday  shows. 

Suggests  Local  Tie-ins 

One  of  the  methods  of  opening  theatres 
on  Sunday  which  has  proved  virtually  sure 
fire  and  succeeded  in  opening  up  some  of  the 
toughest  towns  in  Pennsylvania  is  as  simple 
as  it  is  direct.  The  theatre  manager  ties  up 
with  the  most  powerful  organization  in  his 
community — either  religious  or  fraternal — 
the  American  Legion,  for  instance,  or  one 
of  the  big  churches  in  need  of  funds.  Under 
this  arrangement,  the  theatre  opens  under 
the  auspices  of  a  benefit  every  Sunday.  The 
organization  tied  in  with  the  theatre  receives 
a  percentage  of  the  gross,  usually  running 
25  per  cent.  If  you  tie  in  with  a  church 
organization,  it  is  very  unlikely  that  minis- 
ters will  oppose  because  of  the  fact  that  they 
are  very  hesitant  about  raising  a  row  against 
another  religious  body.  If  you  have  tied  up 
with  the  American  Legion,  you  will  find  that 
the  political  pressure  influential  members  of 
this  body  can  bring  to  bear  will  more  than 
likely  silence  opposition. 

Make  193  5  Your  Award  Year 


A  SAVING  OF  50% 

We  have  on  hand  375  sets  of  our  1934 
edition  of  "The  Easy  Method  Ledger 
System." 

These  are  our  regular  $10.00  sets  con- 
sisting of  two  books  —  Easy  Method 
Film  Invoice  Record  and  Easy  Method 
Ledger.  Each  set  covers  a  two-year 
period.    Full  instructions  in  each  book. 

Special  bargain  price  until  May  1st — 
$5.00.  We  can  not  split  sets  or  send 
on  approval. 

Send  remittance  with  order. 

Esisy  Method  Ledger  System 

Seymour  Indiana 


72 


MOTION    PICTURE  HERALD 


March     16,  1935 


STUNTS,  FRONTS  AND  OTHERWISE 


"Gables"  Model  House  and  Books 


Caldwell's  Ace  Window  on  "Time" 


13   Khythmaniacs  in 

Brockton 

Another  Giant  Front  from  Texas 


(Left)  HARLEY  FRYER,  City  Manager, 
Fox  Theatres,  Joplin,  Mo.,  forwards  photo 
of  the  excellent  lobby  display  on  "Anne 
of  Green  Gables"  at  the  Fox  Theatre. 
Giant  cutouts  of  the  book  fornned  the 
background  for  the  model  house  and  grass 
plot  in  the  foreground. 

(Right)  FRANK  LA  FALCE  and  BILL 
EWING  are  credited  for  this  aninnated 
lobby-stopper  display  at  the  Warner-Earle, 
in  Washington,  D.  C,  on  "Devil  Dogs." 
Blowups  were  illuminated,  propellor  re- 
volved, and  two  model  planes,  borrowed 
from  air  line,  were  suspended  at  the  top. 

AAA 

{Left)  WALLY  CALDWELL  employed 
every  angle  to  sell  his  opening  on  "The 
March  of  Time"  at  Loew's  Valentine,  To- 
ledo, in  this  effective  window  at  leading 
department  store.  Copies  of  the  magazine 
bordered  the  display  of  camera  and  radio, 
with  credits  in  neon  lighting. 

(Right)  BILL  TAYLOR  went  for  plenty 
of  class  on  this  street  stunt  to  convey  the 
atmosphere  of  his  "We  Live  Again"  date 
at  Loew's  State,  Houston,  Texas.  The  pul- 
chritudinous  damosel  was  clad  in  white  furs 
to  match  the  white  Russian  wolfhound, 
which  carried  theatre  card. 

AAA 

(Left)  J.  J.  CAHILL  overcame  his  super- 
stitions by  sending  out  13  boys  each  carry- 
ing one  letter  of  the  title  on  "College 
Rhythm"  to  bally  the  date  at  the  Brockton, 
Brockton,  Mass.  The  collegiates  worked  the 
main  streets  and  convened  at  the  theatre 
front  at  stated  intervals. 

(Right)  SAM  CLARK,  Chicago  Warner 
exploiteer.  moved  right  In  on  the  Mayor's 
safety  campaign  by  promoting  seven  cars 
to  help  publicize  the  drive  and  of  course 
to  bally  the  "Sweet  Music"  date  at  the 
Roosevelt  Theatre.  Stunt  ran  two  days 
ahead  and  during  the  run  of  picture. 

AAA 

{Left)  GLEN  RIGGINS  is  another  of 
those  Texans  who  goes  for  the  socko  fronts 
and  the  accompanying  photo  illustrates  the 
treatment  on  "Flirtation  Walk"  at  the 
Ellanay,  El  Paso.  Giant  cutout  heads  of 
the  stars  and  life-size  standees  stood  out  in 
decided  fashion. 

{Right)  RUT  NEILSEN  of  RKO  Radio 
sends  along  this  illustration  of  the  compo 
board  display  used  at  the  Fox  California, 
Stockton,  Cal.,  on  "Green  Gables".  Front 
was  entirely  transformed  tinth  cashier's 
booth  covered  by  open  window  and  prop 
trees  added  for  further  atmosphere. 


A  La  Falce  Lobby  on  "Devil  Dogs" 


The  Russian  Influence  in  Texas 


"Sweet  Music"  Sounds  Safety  Warning 


„  Anne  of  -ZL 
Green  Gables  i 

How  They  Do  It  in  California 


March     16,  1935 


MOTION    PICTURE  HERALD 


73 


T^iE  RELEASE  CHART 


productions  are  listed  according  to  the  names  of  distributors  in  order  that  the  exhibitor  may  have  a  short-cut  towards  such 
information  as  he  may  need,  as  well  as  information  on  pictures  that  are  coming.  Features  now  in  work  or  completed  for  release 
later  than  the  date  of  this  issue  are  listed  under  "Coming  Attractions."  Running  times  are  those  supplied  by  the  companies. 
Asterisk  indicates  running  time  as  made  known  by  West  Coast  studio  before  announcement  by  home  office  in  New  York.  Varia- 
tions also  may  be  due  to  local  censorship  deletions.  Dates  are  1934,  unless  otherwise  specified.  Letter  in  parentheses  after 
title_  denotes  audience  classification  of  production:  (A)  Adult,  (S)  General.  Numerals  following  audience  classification  are  pro- 
duction numbers. 


AMBASSADOR  PICTURES 


features  ^ime 

Fl,ht  "Trooper.  The  KernUMaynard- Barbara  Worth.  .Mi;.''Vl. .. 

Northern   Frontier  (G)  Kermit  Maynard-Eleanor  Hunt.. .Feb.  I, '35  57.IVIar.  V.'ss 

Coming  Attractions 

His  Fighting  Blood   Kermit  Maynard    July  i  '35 

Red  Blood  of  Courage  Kermit  Maynard    Apr  2o''35 

Sandy  of  the  Mounted  Kermit  Maynard   Sept.  I2!'35 

Timber  War   Kermit  Maynard    May  27  *35 

Trails  of  the  Wild  Kermit  Maynard   Aug.  6''35 

Wilderness  Mail   Kermit  Maynard   Mar  I3''35 


CHESTERFIELD 


Features 

Title  Star 

Curtain  Falls,  The  (A)  Henrietta  Crosman   Oct. 

Green  Eyes  (G)   Charles  Starrett-Shirley  Grey  June 

Sons  of  Steel  C.  Starrett  -  Polly  Ann  Young.. Dec. 

World  Accuses,  The  Dickie  Moore  -  Russell  Hopton  - 

Cora  Sue  Collins  Nov. 

Coming  Attractions 

circumstantial   Evidence   Chick  Chandler-Shirley  Gr«y  

Happiness  CCD..,  

Shot  In  the  Dark,  A  Charles  Starrett-Marlon  Shilling.  .Feb 


Running  Time 
Rel.  Date      Minutes  Reviewed 

I  67  Oct.  6 

15  67  Dec.  8 

15  


12. 


.63. 


15,'SS. 


.68. 


COLUMBIA 


15... 
8,'35 

20... 

15.... 
I5,'3S. 
I. '35 

21.... 
2G.... 


Features 

Title  Star  Rel. 

Against  the  Law  (A)  John  Mack  Brown-Sally  Blane. .  .  .Oct. 

Behind  the  Evidence  (G)  Norman  Foster-Sheila  Manners. .  .Jan. 

Best  Man  Wins,  The  (6)  Tim  McCoy-Shirley  Grey  July 

Beyond  the  Law  (G)  J.  Holt-Florence  RIce-E.  Lowe... Jan. 

Broadway  Bill  (G)  Warner  Baxter-Myrna  Loy  Dec. 

J.  Durante  -  Lee  Tracy  -  Sally 

Carnival   (G)    Filers  -  Florence  Rice  Feb. 

Death  Flies  East  (G)  Florence  Rice-Conrad  Nagtl  Feb. 

Fugitive  Lady  (A)   Neil   Hamilton-Florence  Rite..  Oet. 

(See  "In  the  Cutting  Room,"  Oct.  20.) 

Girl  in  Danger  (A)  Ralph  Bellamy-Shirley  Grey  Aug. 

I'll  Fix  It  Jack  Holt-Mona  Barrie  Oct. 

In  Spite  of  Danger  Marian  Marsh-Wallace  Ford  Mar. 

(See  "Devil's  Cargo"   "In  the  Cutting  Room,"  Jan.  26,'3S.) 

Jealousy  (G)   Nancy  Carrol  I -Donald  Cook  Nov. 

Lady  by  Choice  (G)  Carole  Lombard  •  May  Robson  - 

Walter  Connolly- Roger  Pryor..Oet. 

Law  Beyond  the  Range  Tim  McCoy-Blllie    Seward  Feb. 

Let's  Live  Tonight  Lilian  Harvey-Tulllo  Carmlnati. . Mar. 

(See  "Once  A  Gentleman"  "In  the  Cutting  Room,"  Dee.  29.) 

Man's  Game,  A  (G)  Tim  McCoy-Evelyn  Knapp   June 

Men  of  the  Night  (G)  Bruce  Cabot-Judith  Allen   Nov. 

Mills  of  the  Gods  (G)  May  Robson  -  Victor  Jory  -  Fay 

Wray   Dec. 

Preseott  Kid   Tim  McCoy-Sheila  Mannort  Nov. 

Square  Shooter  (G)   Tim  McCoy   Jan. 

That's  Gratitude  (A)  Frank  Craven-Shella  Manners  Oct. 

Voice  In  the  Night  (G)  Tim  McCoy-Blllie  Seward   Apr. 

Westerner,  The  (G)  Tim  McCoy-Marian   Shilling  Dec. 

White   Lies   (A)  Victor  Jory-Fay  Wray   Nov. 

Whole  Town's  Talking,  The  (G).Edw.  G.  Robinson-Jean  Arthur. ..Feb. 

Coming  Attractions 

Air  Fury   Ralph  Bellamy-Tala  Birell  

Black  Room  Mystery  ..Boris  Karloff   

Call  to  Arms  (G)  Willard  Mack-Ben  Lyon-Shlela 

Mannors-Wera  Engels   

(See  "In  the  Cutting  Room."  Nov.  3.) 

China  Roars   

Depths  Below   

Eight  Bells   Ann  Sothern-Ralph  Bellamy  

(See  "In  the  Cutting  Room,"  Feb.  23.'35.) 

Feather  in  Her  Hat,  A  

Fighting  Shadows  Tim  McCoy-Geneva  Mitchell  

Frisco  Fury   Jack  Holt  

Georgians   Ann  Sothern   

Girl   Friend,  The  Lupe  Velez-Jack  Haley   

Grand  Exit   

Hot  News   Richard  Cromwell-Blllie  Seward  

If  You  Could  Only  Cook  Claudette  Colbert   

I'll  Love  You  Always  Nancy  Carroll-George  Murphy  Mar.  20,'35. 

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 

Jim  Burke's  Boy  Florence  Rice-Jack  Holt  

Lady  Beware   

Maid  of  Honor  

On  Wings  of  Song  Grace  Moore-Leo  Carrillo  

Party  Wire   Jean  Arthur-Victor  Jory  

Revenge   Rider   Tim  McCoy-Billie  Seward  Mar.  I8,'35. 

(See  "Alias  John  Law"  "In  the  Cutting  Room,"  Dec.  8.) 
Stranger  in  His  House  Jack  Holt-Mona  Barrie   Mar.  29,'35. 

(See  "Gimpy"  "In  the  Cutting   Room,"  Mar.  2,'35.) 

Sure   Fire   Gene  Raymond-Ann  Sothern  

Swell  Head   Wallace  Ford-Barbara  Kent  


Running  Time 
Date      Minutes  Reviewed 

25  6L...Dee.  I 

20,'35  57.  Feb.  2.'35 

20  57....  Dee.  20 

5,'35  68. Jan.  5,'3S 

27  MO5....N0V.  10 

I0,'35  75.  Feb.  ?'<."<'! 

28/35...  -65. Mar.  9,'35 
2*. 


 61. 

. .  Dec. 

..  ..69.. 

..Nov. 

17 

 60.. 

. .  Dee. 

15 

,...*85.. 

..Oct. 

■ 

 58 

.58. 
.58. 


.Oet. 
.Dee. 


2« 
I 


19/35 


15  

8  

21.  '35.. 

6  

6  

10  

27    74.  Jan.  5/35 

22,  '35....*93.Jan.  26,'35 


. .67. Jan. 

.56  

.57.  Mar.  9/35 
.64....  Nov.  17 

.59  


DU  WORLD  PICTURES 


Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Blue  Light  (A)  5029  Leni  Riefenstahl   Oet.    15  90  

Cran«uebill«   5038  Doe.  15  

Girl  in  the  Case  5005   Jimmy  Savo-Eddle  Lambert- 
Dorothy  Darling   60  


Koeha,  Lubl  Szanule  5041  (Polish)   Nov. 

L'Agonie  des  Aigles  (A)  5032. Pierre  Renoir   Dae. 

Man  Who  Changed  His  Name, 

The  (A)  5036   Lyn  Harding   

Marie  5043   Annabella   Jan. 

Old  Bill  5038   Anatole  France  story  Feb. 

Viennese  Love  Seng  Maria  Jeritza   Feb. 


.72. 
..  .80  Dee. 


 65... Oet.  27 

I, '35  67  

I0.'35  70  

IS,'35  72  


Coming  Attractions 

Lady  »t  Camelias   Y.  Printemps-Plerre  Fresnay  Apr.  15/35. 

World  In  Revr't  .   Graham  McNamee   Mar.  I,'35. 


FIRST  DIVISION 


Chesterfield  and  Invincible 


Dlst'r 


Rel. 


(Releases  Monogram,  Liberty 

Features 

Title  Star 

Convention   Girl  Rose  Hobart 

Flirtation   Jeannette  Loff- 

Ben   Alexander  Nov. 

Hel  Tiki  (G)   (All  Native  Cast) ...  Principal   Feb. 

Little  Damozel   Anna  Neagle  Dec. 

Return  of  Chandu  Maria  Alba- 

Bela  Lugosi  Principal   Oct. 

Sunset  Range  (G)   Hoot  Gibson- 
Mary  Doran   May 


pictures   in  certain  territories.) 

Running  Time 
Date      Minutes  Reviewed 


Oct.  31. 


I ,'35.  86. Feb.  9.'35 


,'35.  .  . 55.  Mar. 


White  Heat   Virginia    Cherrill  Oct. 


9,'35 
I 


FIRST  NATIONAL 


20.... 

2,'35. 


F eatures 

Title  Star  Rel. 

Babbitt  (G)  869  Aline  MacMahon-Guy  Kibbee  Dec. 

Flirtation  Walk  (G)  752  Dick  Powell  -  Ruby  Keeler-Pat 

O'Brien   Dec. 

Gentlemen  Are  Born  (G)  872. .  Franchot  Tone-Jean   Muir  Nov. 

Gold  Diggers  of  1935  (G)  851.  Dick  Powell-Gloria  Stuart  Mar. 

Happiness  Ahead  (G)  854  Dick   Powell-J.   Hutchinson  Oct. 

I  Sell  Anything  (G)  873  Pat  O'Brien  -  Ann   Dvorak  •  C. 

Dodd   Oct. 

Living  On  Velvet  859  Kay  Francis  -  George  Brent  • 

Warren  William  Mar. 

(See  "In  the  Cutting  Room,"  Dec.  8.) 

Maybe  It's  Love  (G)  876  Gloria  Stuart-Ross  Alexander. ..  .Jan. 

Murder  in  the  Clouds  (G)  877.Lyle  Talbot-Ann  Dvorak   Dec. 

Red  Hot  Tires  (G)  878  Lyie  Talbot-Mary  Astor   Feb. 

Six  Day  Bike  Rider  (G)  864.. Joe  E.  Brown-Maxlna  Doyle  Oct. 

While  the  Patient  Slept  (G)  874Allne  MacMahon-Guy  Kibbee  Mar. 

Woman  in  Red,  The  (A)  863.. B.  Stanwyck-Gene  Raymond  Feb. 

(See  "Northshore"  "In  the  Cutting  Room,"   Dec.  8.) 

Coming  Attractions 

Alibi  Ike  Joe  E.  Brown   

Black  Fury  (A)  Paul  Muni-Karen  Moriey  

(See  "In  the  Cutting  Room,"  Jan.  I9,'35.) 

Captain  Blood   Robert  Donat-Jean  Muir  

Case  of  the  Curious  Bride  879.  Warren  William   Apr.  I3,'35. 

Ge  Into  Your  Dance  853  Al  Jolson-Ruby  Keeler  Apr.  20,'35. 

(See  "In  the  Cutting  Room,"  Jan.  I9,'35.) 
In  Caliente  856   Dolores  Del  Rio-Pat  O'Brien...;  

(See  "In  the  Cutting  Room,"  Feb.  2,'35.) 

Napoleon   Edw.  G.  Robinson-Bette  Davis  

Oil  for  the  Lamps  of  China  867. .  J.   Hutchinson-Pat  O'Brien  

Singer  of  tlaples  Enrico  Caruso,  Jr  

Traveling  Saleslady  870  Joan  Blondell   Apr.  6,'35., 

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 
Wanderlust  875   Aline  MacMahon-Guy  Kibbee  Apr.  27.'35. 

(See  "In  the  Cutting  Reom,"  Mar.  2,'35.) 


Running  Time 
Date      Minutes  Reviewed 
8  *75....Nov.  17 

I  97.... Nov.  10 

17  *75  Oct.  20 

I6,'35  95  

27  86  Sept.  22 


..70.... Oct.  20 
..80  


I2,'35  62  Nov.  24 

15  61. Jan.  5/35 

2,'35  66.  Mar.  9/35 

20  69  Nov.  10 

9,'35  61. Mar.  9,'35 

I6,'35  68  


FOX  FILMS 


Features 

Title  Star  Rel. 

Baboona  (G)  530  Mr.  &  Mrs.  Martin  Johnson  Feb. 

Bachelor  of  Arts  (G)  520  Tom  Brown-Anita  Louise  Nov. 

(See  "In  the  Cutting  Room,"  Nov.  3.) 

Bright  Eves  (G)  524  Shirley  Temple-James  Dunn  Dec. 

Charlie  Chan  In  Paris  (G)  526.  Warner  Oland   Feb. 

County  Chairman,  The  (G)  525.  Will  Rogers   Jan. 

Dude  Ranger.  The  (G)  507  George  O'Brien   Sept. 

Elinor  Norton  (A)  510  Claire  Trevor  -  Norman  Foster - 

Hugh  Williams-G.  Roland  Nov. 

First  World  War,  The  (A)  519  Nov. 

Gambling   (A~)   512   George  M.  Cohan   Nov. 

George  White's   1935  Scandals 

534   Alice  Faye- James  Dunn  Mar. 

(See  "In  the  Cutting  Room/'  Feb.  23/35.) 
Great  Hotel  Murder  (G)  522..  Edmund  Lowe-Victor  McLaglen.  .Mar. 

Helldorado  (G)  522  Richard  Arlen-Madge  Evans  Deo. 

Hell  In  the  Heavens  (A)  517.. Warner  Baxter-C.  Montenegro  Nov. 

Little  Colonel  (G)  531  Shirley  Temple-L.  Barrymore  Feb. 

Lottery  Lover  (G)  523  "Pat"  Paterson-Lew  Ayres   Jan. 

Love  Time  (G)  508  "Pat"  Paterson-Nlls  Asther  Sept. 

Marie  Galante  (A)  511  Spencer  Tracy-KettI  Galllan  Oet. 

Music  in  the  Air  (G)  513  Gloria  Swanson  -  John  Boles  - 

Douglass  Montgomery  Dee. 

Mystery  Woman  (G)  515  Mona  Barrie-Gllbert  Roland  Jan. 

One  More  Spring  (G)  529  Janet  Gaynor-Warner  Baxter  Feb. 

Peck's  Bad  Boy  (G>  516  Jackie  Cooper-Thomas  Melghan- 

Dorothy  Peterson-Jackie  Searl  .Oct. 

Pursued  (A)  502  Rosemary  Ames-Victor  Jory   Aug 

365   Nights  in   Hollywood  (G) 

514   Alice  Faye-James  Dunn  Oct. 

Under  Pressure  521  Edmund  Lowe-Victor  McLaglen.  .  .Jan. 

(Reviewed  under  the  title  "Man  Lock") 

When  a  Man's  a  Man  (G)  527.  George  O'Brien   Feb. 

White  Parade,  The  (G)  Sit. ..John  Boles-Loretta  Young  Nov. 

Coming  Attractions 

Dante's  Inferno   Claire  Trevor-Alice  Faye  

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Doubting  Thomas   Will  Rogers   

Gaucho  Lover  528  Warner  Baxter-KettI  Qilllaa  June     7, '35  

Heaven's  Gate  539  Shirley  Temple   

It's  a  Small  World  536  Spencer  Tracy-Wendy  Barrie  

Life  Begins  at  40  533  Will   Rogers   Mar.  22, '35  79. 

(See  "In  the  Cutting  Room,"  Jan.  26,'35.) 

Man  Proposes   James   Dunn-Mae  Clarke  

Redheads  on  Parade  S36  1.  Boles-Claire  Trevor-Alice  Fay  

Secret    Lives   Gilbert  Roland-Mona  Barrie  

Spring  Tonic  535  Lew  Ayres-Ctaire  Trevor  Mar.  IS.^SS  

(See  "Man  Eating  Tiger"  "In  the  Cutting  Room,"  Mar.  9,'35.) 
$10  Raise  537   Edward  Everett  Herton  

(See  "In  the  Cuttlnj  Room/'  Mar.  9,'35.) 


Running  Time 
Date      Minutes  Reviewed 

8/35  72. Jan.  26,'35 

23  74  

28  83  Dec.  IS 

I, '35.... '70.  Jan.  5/SS 

ll,'35  78. ...Dae.  f» 

21  65.... Sept.  21 

2  72.... Oet.  17 

23  78.... Nov.  17 

3  80...  Dee.  II 


8,'35  

1,'35  70.  Feb.  23/35 

21  74....  Dee.  IS 

9  80. ...Nov.  S 

22,'35  80.  Fob.  I6,'35 

4,'35  82.  Feb.  9/SS 

21  73.... Nw.  24 

26  88.... Nn.  24 

7  81....  Dec.  22 

18/35  69. Jan.  26,'35 

15/SS  90.  Feb.  9/35 

19  70....8e*t  • 

24    68. ...Nov.  24 


12.... 
25/35. 


..74....N«*.  17 
•65. Jin.  19/SS 


IS.'SS  68.  Mar.  2/35 

16  83.... Oet.  27 


74 


MOTION    PICTURE  HERALD 


March    16,  1935 


(THE  CCLCASE  CHACT—CCNT'D) 


GB  PICTURES 

Features 

Title 

Chu  Chin  Chow  (G)  3401 

Dictator,  The  (A)  

Evensong  (A)  3406  

Evergreen    (A)  3405  

Iron  Duke,  The  (G)  3407. 

Jack  Ahoy  (G)  3404  

Little  Friend  (A)  3403... 

Lover  Divine   

(Reviewed  under  the  title 
Man  Who  Knew  Too  Much,  The 

(G)   

Man  of  Aran  (A)   

My  Heart  Is  Calling  (G)  

My  Song  for  You  

Power   (A)  3402  

Princess  Charming  (G)  3408.. 


Running  Time 

Star  Rel.  Date      Minutes  Reviewed 

Anna  May  Wong-George  Robey...Oct.     15  95  Sept.  29 

Clive  Brook   95.  Feb.  16/35 

Evelyn  Laye   Dec.    15  82  Nov.  S 

Jessie   Matthews-Sonnie  Hale.... Dec. 

George  Arliss   Jan. 

Jack  Hulbert   Feb. 

Nova  Pilbeam-Matheson  Lang. ...Nov. 

Marta    Eggerth   Oct 

!   "Unfinished  Symphony") 

Peter  Lorre-Nova  Pilbeam  80  Dec.  29 

Robert  Flaherty   Dec  77  Oct.  27 

Jan  Kiepura   90. Feb.     2, '35 

Jan  Kiepura   Nov.  10 

Conrad  Veidt-Benita  Hume  Nov.     I  103  Oct.  13 

Evelyn  Laye-Henry  Wilcoxon  Jan.       '35  81  


31  98  June  23 

'35  90  Dec.  22 

8,'35  70.  Feb.  I6,'35 

18  88  Oct.  29 

13 


Running  Time 

..  „  Star  Rel.  Date       Minutes  Reviewed 

Mystery  in  Room  309  Franchot  Tone-Una   Merkel  ..Apr.  26,'35  

Naughty  Marietta  (G)   J.   MacDonald-Nelson   Eddy  Mar.  29,'35... .  l06.Mar.  2,'35 

No   More   Ladies  Joan  Crawford   

Reckless   Jean  Harlow-Wm.  Powell  Apr.  I9''35.'.'.'.'.'.'.'.'.. 

(See  "In  the  Cutting  Room,"  Feb.  16, '35.) 

Typee   Mala,  Lotus  Long  

Vagabond  Lady   Robert  Young-Evelyn  Venable  

West  Point  of  the  Air  Wallace  Beery-Robert  Young  Mar.  22,'35...  89 

(See  "In  the  Cutting  Room,"  Feb.  2,'35.) 

MONOGRAM  PICTURES  CORPORATION 


INVINCIBLE  PICTURES 

[Distributed  through  Chesterfield] 


Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Ghost   Walks,  Tho  John  Miljan-June  Collyer  Dec. 

One  in  a  Million  (G)  Dorothy  Wilson-C.  Starrett  Sept, 

Port  of  Lost  Dreams  (G)  Wm.  Boyd-Lola  Lane   Oct. 

Public  Opinion   Lois  Wilson-Shirley  Grey  Mar. 

Symphony  for  Living  Evelyn  Brent-AI  Shean  Jan. 

Comiriff  Attractions 

Death  from  a  Distance  ,  

Room  and  Board   


Features 

Title 

Flirting  With  Danger  (G)  3023 
Girl   of  the   Limberlost  (G) 

3001   

Girl  0'  My  Dreams  (G)  3015. 

Happy  Landing  (G)  3029  

Lawless  Frontier  (G)  3035  

Lost  in  the  Stratosphere  (G) 

3020   

Man  from  Utah,  The  (G)  2044 
Million  Dollar  Baby  (G)  


Running  Time 

Star  Rel.  Date  Minutes  Reviewed 
Robert  Armstrong-Marion  Burns. .Dec.     I  70  Nov.  17 


15  66  Nov.  24 

15  68.... Nov.  24 

I5.'35  66  

20,'35  75  


LIBERTY  PICTURES 


Monte  Carlo  Nights  (A)  2024. 
Mysterious    Mr.    Wong,  The 

(A)  3022   

'Neath  Arizona  Skies  (G)  3032 

Redhead   (A)  3012  

Sing  Sing  Nights  (A)  

Star  Packer,  The  (G)  2041... 
Successful  Failure,  A  (G)  3024 

Texas  Terror   

Tomorrow's  Youth  3021  


Running  Time 
Rel.  Date      Minutes  Reviewed 


.Leila  Hyams-Phillips  Holmes.. 

Hamilton. . 


.Oct.      8  70  July  21 


.Dec.  14. 


Features 

Title  Star 

No  Ransom  (A)  1004  

Once   to    Every    Bachelor  (A) 

1005   Marian  Nixon-Neil 

Two  Heads  on  a  Pillow  (A)  n       «.»  t, 

1006   Neil  Hamilton-Miriam  Jordan. ..  .Oct.     2  71  Oct.  13 

When  Strangers  Meet  1002  Richard  Cromwell-Arllno  Judge.  .  .July    20    74  

Coming  Attractions 

Dizzy  Dames   M.  Rambeau-Florine  McKinney  

I'll  Bet  You  ••  

Old  Homestead,  The   Mary  Carlisle-Lawrence  Gray   j,-;.-  

School  For  Girls  (A)  1007  Sidney  Fox-Paul  Kelly  Mar.  22,'35  l^-^"^-  „2' If 

Sweepstake  Annie  (G)  Marian  Nixon-Tom  Brown  81. Feb.  23,  3S 

Without  Children  (A)  1008  M.  Churchill-Bruce  Cabot  


Trail  Beyond,  The  (G)  3031.. 
Women  Must  Dress  (G)  


Marian  Marsh-Ralph  Morgan  Oct.  15  

Mary  Carlisle-Creighton  Chaney..Nov.  17  

Ray  Walker-Jacqueline  Wells  Sept.  I  

John  Wayne-Sheila  Terry  Nov.  22  

June  Collyer-William  Cagney. .  . .  Nov.  15  

John  Wayne   May  15  

Arline  Judge  -  Ray  Walker  - 

Jimmy  Fay   Jan.  I5,'35.. 

Mary  Brian-John  Darrow  May  20  

Bela  Lugosi-Wallace  Ford  Jan.  25,'35.. 

John  Wayne-Sheila  Terry  Dec.  5  

Bruce  Cabot-Grace  Bradley  Nov.  I  

Conway  Tearle-Mary  Doran  Dec.  15  

John  Wayne-Verna  Hillie  July  30  

.Wm.  Collier,  St.  -  Lucille 

Gleason   Oct.  15  

John  Wayne   Feb.  I, '35.. 

Dickie  Moore  -  Martha  Sleeper  - 

John  Miljan-Gloria  Shea  Sept.  15  

John  Wayne-Verna  Hillie  Oct.  22  

Minna  Gombell-Gavin  Gordon  Feb.  I,'35.. 


.86  Sept.  I 

.65.... Nov.  16 
.63... Aug.  4 
.54.  Feb.  2,'35 


.64.. 
.55.. 


.Oct.  27 


.65....  Dee.  29 
.62  


.68. Jan.  19/35 
.52....  Dec.  IS 
.76.... Sept.  22 
.60.  Feb.  2,'35 
.54  


.62. 
.51 . 


..Oct. 


.63  

.55.... Sept.  22 
.77. Jan.  26/35 


72.... May  10     Coming  Attractions 


MAJESTIC 


Features 

Title  Star 

Motive  for  Murder  Donald   Cook-Irene  Hervey  

(See  "Thunder  in  the  Streets"  "In  the  Cutting  Room,"  Mar.  9, '35.) 

Night  Alarm   (G)   505  Bruce  Cahot-Judith  Allen-H.  B.    (New  York) 

Warner  -  Fuzzy  Knight  Dec.  15  

Perfect  Clue,  The  (G)  512  David  Manners-Dorothy  LIbaire . . Mar.  10/35. 

She  Had  to  Choose  (G)  504... Larry  "Buster"  Crabbe  •  Isabel 

Jewell  •  Sally  Blane  Sept.  14  

Coming  Attractions 

Mutiny  Ahead   Neil  Hamilton-Kathleen  Burke  

(See  "In  the  Cutting  Room,"  Jan.  26,'35.) 


Running  Time 
Rel.  Date      Minutes  Reviewed 


.  .65  Sept. 

.*63  Dec. 


22 
I 


. ..65. 


.Aug.  II 


Cheers  of  the  Crowd  

Dawn   Rider,  The  John  Wayne   

Desert  Trail   John  Wayne-Mary  Kornman  Apr.  22/35  

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 

Great  God  Gold  (A)  Sidney  Blackmer-Gloria  Shea. ...Apr.    15/35  72. Mar.  9,'35 

Healer,  The   

Honeymoon  Limited   

Hoosier  Schoolmaster,  The  Charlotte  Henry-Norman  Foster  

(See  "In  the  Cutting   Room,"   Mar.  9,'35.) 

Keeper  of  the  Bees,  The  

Mystery  Man  (G)  Robert  Armstrong   Apr.   25,'35  62. Feb.  16/35 

Nut  Farm,  The  (G)  Wallace  Ford   Mar.  25,'35  65. Feb.  9/35 

Rainbow  Valley   John  Wayne-Lucille  Brown  Mar.  15/35  52  

Reckless  Romeos  3019  Robt.  Armstrong-Wm.  Cagney  

PARAMOUNT 

Features 

Title  Star 
All  the  King's  Horses  (G)  3430. 
Behold  My  Wife  (A)  3419..., 
Belle  of  the  Nineties  (A)  3353. 

Car  99   (G)  3432  

Cleopatra  (A)  3410   


MASCOT  PICTURES 


Features  Running  Time 

star  R°l-  Date      Minutes  Reviewed 

Crimson  Romance  (A)  Ben  Lyon-Sari  Maritza.  Oct.      I  67.... Oct  6 

In  Old  Santa  Fe  (G)  Ken  Maynard-Evalyn  Knapp  Nov.     5  63.... Nov.  24 

Little  Men  (G)   Erin  O'Brien-Moore-R.  Morgan.. Dec.    14  72  Dec.  22 

Lost  Jungle,  The  (G)  Clyde  Beatty   June    13  68  

Marines  Are  Coming,  The  William  Haines-Armida  ■■  ••  

Conrad  Nagel-Esther  Ralston.  .  .Nov.    20  70  Dec.  IS 

Young  and  Beautiful  (A)  William  Haines-Judith  Allen  Sept.    2  68  Sept.  • 

Coming  Attractions 

Behind  the  Green  Lights  Norman  Foster-Judith  Allen  


College  Rhythm  (G)  3417.... 

Enter  Madame  (A)  3414  

Father  Brown,  Detective  (G) 
3420   


5  

23  

4/35... 


Gilded  Lily,  The  (G)  3426... 
Here  Is  My  Heart  (G)  3423.. 
Home  on  the  Range  (G)  3421. 

It's  a  Gift  (G)  3418  

Limehouse  Blues  (A)  3415  

Lives  of  a  Bengal  Lancer  (G) 

3427   

Menace  (A)  3413   

Mrs.  Wiggs  of  the  Cabbage 

Patch   (G)  3407   


METRO-GOLD  WYN-MAYER 


Features 

Title 

After  Office  Hours  (G)... 
Babes  in  Toyland  (G)... 
Barretts  of  Wimpole  Street  (A). 

Band  Plays  On,  The  (G). 
Biography  of  a  Bachelor 

Girl  (A)   

Casino  Murder  Case  

(See   "In   the  Cutting  R 

Chained  (A)   

David  Copperfleld  (G)   


Death  on  the  Diamond  (G). 

Evelyn  Prentice  (A)  

Forsaking  All  Others  (A)... 


Gay  Bride,  The  (A). 
Have  a  Heart  (G)   


Merry  Widow,  The  (A)  ... 
Night  Is  Young,  The  (G). 
Painted  Veil,  The  (A)  


Sequoia  (G)   

Shadow  of  Doubt  (G)   

Society  Doctor   

(Reviewed  under  the  title 

Student    Tour  (G)   

Times  Square  Lady  (G)  

Vanessa:  Her  Love  Story  (A). 
What  Every  Woman  Knows  (G) 

Wicked  Woman  (A)   

Winning  Ticket,  The  (G)  


Star  Rel. 

C.   Bennett-Clark  Gable  Feb. 

Laurel  and  Hardy-C.  Henry  Nov. 

Norma  Shearer-Charles  Laugh- 

ton-Fredric   March   Sept. 

Robt.  Young-Betty  Furness  Dec. 

R.   Montgomery-Ann  Harding. ..  .Jan. 

Paul  Lukas   Mar. 

oom,"    Feb.  I6,'35.) 

Joan  Crawford-Clark  Gable  Aug. 

Frank  Lawton  -  Freddie  Bar- 
tholomew -  W.  C.   Fields  -  L. 
Barrymore-Edna  M.   Oliver. ..  .Jan. 

Robert  Young-Madge  Evans  Sept. 

William  Powetl-Myrna  Lay  Nov. 

Joan  Crawford  -  Clark  Gable  - 

Robert  Montgomery   Dec. 

Carole  Lombard-Chester  Morris.  ..  Dec. 
Jean  Parker  -  James  Dunn  - 

Stuart  Erwin  -  Una  Merkel  Sept. 

Maurice  Chevalier-J.  MacDonald  . .  Nov. 

Ramon  Novarro- Evelyn  Laye  Jan. 

Greta  Garbo-Herbert  Marshall- 
George  Brent   Nov. 

Jean  Parker- Russell  Hardie  Feb. 

Ricardo  Cortez-Virginia  Bruce... Feb. 

Chester  Morris-V.   Bruce  Jan. 

"Only  8  Hours") 

Charles  Butterworth-J.  Durante.  .Oct. 
Robert  Taylor-Virginia  Bruce. ...  Mar. 
Helen  Hayes-Robert  Montgomery.  .Mar. 

Helen  Hayes-Brian  Aherne  Oct. 

Mady  Christians-Chas.  Bickford  . .  Dec. 
Leo  Carrillo-L.  Fazenda  Feb. 


Running  Time 
Date      Minutes  Reviewed 

22/35  73.  Feb.  16/35 

30  79  Nov.  24 


21  

21  


..1 1 1....  Aug.  4 
...85  Dec.  29 


One  Hour  Late  (G)  3422  

President  Vanishes  (G)  3416. 
Pursuit  of  Happiness,  The 

(A)  3409   

Ready  for  Love  (G)  3412  

Rocky  Mountain  Mystery  3428 
(See  "Vanishing  Pioneer" 
Ruggles  of  Red  Gap  (G)  3431. 

Rumba  (A)  3429  

Wings  in  the  Dark  (G)  3424. 


Mary  Ellis-Carl  Brisson  Feb.  22,'35. 

Sylvia  Sidney-Gene  Raymond  Dec.  7  

.  Mae  West   Sept.  21  

Fred  MacMurray-Ann  Sheridan. .  .Mar.  1/35.. 
.  Claudette  Colbert  -  Henry  Wil- 

coxon-Warren  William   Oct. 

Joe  Penner-Lanny  Ross  Nov. 

,  Elissa  Landi-Cary  Grant  Jan. 

.Walter  Connolly-Paul  Lukas- 

Gertrude  Michael   Dec.  21  

, C.  Colbert-Fred  MacMurray  Jan.  25,'35. 

Bing  Crosby-Kitty  Carlisle  Dec.  25  

Jackie  Coogan- Randolph  Scott. ...  Dec.  21.... 

W.  C.  Fields-Baby  LeRoy  Nov.  30  

George  Raft-Jean  Parker  Nov.  9  

.Gary  Cooper- Franchot  Tone  ..Jan.  I8,'35. 

Paul  Cavanagh   Oct.  26  


Pauline  Lord  •  W.  C.  Fields  - 
Zasu  Pitts  -  Kent  Taylor  - 
Evelyn  Venable   Oct. 

Joe  Morrison-Helen  Twelvetrees . .  Dec. 

Arthur  Byron-Janet  Beecher  Jan. 


Running  Time 
Rel.  Date      Minutes  Reviewed 


*85.Feb.  23/35 
..79.  Feb.  23/35 

.  75  Aug.  2S 

.*75.Feb.  16/35 

101. ...Aug.  25 
.*83....Nov.  10 
..83. ...Nov.  8 


4,'35  84  Dec.  29 

15/35  84  

31  ♦74....sept.   I      Coming  Attractions 


Francis  Lederer-Joan  Bennett. ..  .Nov. 

Richard  Arlen-lda  Lupino  Oct. 

R.  Scott-Chas.  "Chic"  Sale  Feb. 

"In  the  Cutting  Room,"  Nov.  10.) 
Charles  Laughton-Mary-Boland- 

Charles  Ruggles-Zazu  Pitts  Mar. 

George  Raft-Carole  Lombard  Feb. 

Gary  Grant-Myrna  Loy  Feb. 


19.... 
14.... 
II, '35. 

16.... 

12  

8,'35. 


.*65....Dec.  I 
.♦80. Jan.  5/35 
..76....  Dec.  • 
..55  Mar.  2,'35 
..68....  Nov.  24 
..66. ...Dec.  ^22 

..89.  Jan.  5,'35 
..58.... Oct.  13 


.73.... Aug.  23 

.75....  Dec.  > 

.83. ...Nov.  24 

.Sept.  15 

.Oct.  6 


..72. 
.♦65. 
..63. 


8/35. 
15,'35. 
I, '35. 


.*90.Feb.  I6,'35 
.*70.Feb.  2,'35 
..75.Jan.  I9/S5 


l8,'35....l33.Jan.  19,'35 

14  72.... Sept.  29 

9  80.... Nov.  3 

28    84....  Dec.  S 

14  82.... Nov.  17 

7  82.... Oct.  27 

2  100  Sept.  8 

1 1, '35  82  Dec.  29 

23  86.... Nov.  10 

l.'35  72.... Nov.  17 

I5,'35  75.  Feb.  9,'35 

25,'35  68. Jan.  I2,'35 

5  87.... Nov.  10 

8,'35  69.  Mar.  2,'35 

1,'35  77.  Feb.  23,'35 

19  92  Oct.  13 

7  74....  Dec.  I 

8,'35  70. Jan.  19,'35 


Crusades,  The   Loretta  Young-Henry  Wilcoxon  

Devil  Is  a  Woman,  The  (A) . . . Marlene  Dietrich-Cesar  Romero. .Apr.    I9,'35  *90.Mar.  2,'35 

Four  Hours  To  Kill  Richard  Barthelmess   

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 

Glass  Key,  The  George  Raft   

Hold  'Em  Yale  Patricia  Ellis-Larry  Crabbe  

(See   "In   the  Cutting   Room,"    Feb.  16/35.) 
How  Am  I  Doin'?  Mae  West 


(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 
Love  in  Bloom  (G)  3434  Joe  Morrison-Dixie  Lee  Mar.  15/35. 


77.  Mar.  9,'35 
67.  Mar.  9,'35 


Coming  Attractions 


Age  of  Indiscretion  May  Robson-Madge  Evans  

Baby  Face  Harrington  Charles  Butterworth   Apr.    19, '35. 

(See  "Public  Enemy  No.  2"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

China  Seas   Wallace  Beery-Clark  Gable  

Flame  Within,  The  Ann  Harding  -  Franchot  Tone  - 

Merle  Oberon   ^  

Mark  of  the  Vampire  L.  Barrymore-Bela  Lugosi  Apr.  5,'35. 

Mutiny  on  the  Bounty  Clark   Gable-Charles  Laughton- 

Robcrt  Montgomery   


McFadden's  Flats  (G)  Betty  Furness-Richard  Cromwell.  .Apr.  22,'35 

Milky  Way,  The  Jack  Oakie-Adolphe  Menjou  

Mississippi  (G)  3433  Bing  Crosby-Joan  Bennett  Mar.  29,'35  'OO.Mar.  2,'35 

Once  in  a  Blue  Moon  3425  J.  Savo-Michael  Dalmatoff  Mar.  22,'35  

Paris   in   Spring  Tullio  Carminati-Mary  Ellis  

(See  "In  the  Cutting  Room,'^  Feb.  23,'35.) 

People  Will  Talk  Chas.  Ruggles-Mary  Boland  

(See  "In  the  Cutting   Room,"   Mar.  9, '35.) 

Private  Worlds  3435   C.  Colbert-J.  Bennett-C.  Beyer.. Mar.  22,'35  

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Stolen  Harmony   George  Raft-Ben  Bernie  Apr.  29,'35  

(See  "In  the  Cutting   Room,"   Feb.  2,'35.) 

PRINCIPAL 

Features  Running  Time 

Title'  Star  Rel.  Date      Minutes  Reviewed 

Little  Damozel  722   Anna  Neagle-James  Rennie  June    II  59  

Peck's  Bad  Boy  (G)  Jackie  Cooper-Thomas  Meighan- 

Dorothy  Peterson-Jackie  SearL.Oct.     19  ....70  Sept.  8 

Return  of  Chandu,  The  (G) 

300-312   Bela  Lugosl-Maria  Alba  Oct.      1  65  


March     16,  1935 


MOTION    PICTURE  HERALD 


75 


(THE  RELEASE  CHACT—CCNT'D) 


RKO  RADIO  PICTURES 


Features  „  , 

Title  Star  ""i; 

Age  of  Innocence.  The  (A)  503.  Irene  Dunne-John  Boles  Sept. 

Anne  of  Green  Gables  (G)  507.  Anne  Shirley-Tom  Brown  Nov. 

By  Your  Leave  (A)  509  Genevieve  Tobin-Frank  Morgan. .  .Nov. 

Captain  Hurricane  (G)  James  Bartoji-Helen  Westley  Mar. 

Dangerous  Corner  (A)  506  Melvyn  Douglas- Virginia  Bruce- 

Conrad  Nagel   Oct. 

Enchanted  April,  The  (A)  Ann  Harding-Frank  Morgan  Feb. 

Gay  Divorcee,  The  (G)  505  Fred  Astaire-Ginger  Rogers  Oct. 

Gigolette   Adrienne  Ames-Ralph  Bellamy. .. Feb. 

Grand  Old  Girl  (G)  519  May  Robson-Hale  Hamilton  Jan. 

Gridiron  Flash  (G)  511  Eddie  Quillan-Betty  Furness  Oct. 

Kentucky  Kernels  (G)  508  Wheeler  &  Woolsey  Nov. 

Lightning   Strikes   Twice  (G) 

517   Ben  Lyon-Pert  Kelton  Dec. 

Little  Minister  (G)  512  Katharine  Hepburn-John  Seal. ...Dec. 

Murder  on  a  Honeymoon  (G)..  Edna  May  Oliver-J.  Gleason  Feb. 

Red  Morning  (A)  515  Steffi   Duna-Regis  Toomey...  Dec 

(See  "Girl  of  the  Islands,"   "In  the  Cutting  Room,"  Sept. 
Roberta  (G)   Irene  Dunne  -  Fred  Astaire  - 

Ginger  Rogers   Mar. 

Romance  in  Manhattan  (G)  518.  Francis  Lederer-Ginger  Rogers.  .  .Jan. 

Silver  Streak,  The  (G)  513  Sally  Blane-Charles  Starrett  Dec. 

Wednesday's  Child  (G)  510...  Karen  Morley-Edward  Arnold  Oct. 

West  of  the  Pecos  (G)  516  Richard  Dix-Martha  Sleeper  Jan. 

Woman  in  the  Dark  (G)  Fay  Wray-Ralph  Bellamy  Nov. 

Coming  Attractions 

Becky  Sharp    Miriam  Hopkins   

(See  "in   the   Cutting   Room,"    Mar.   9, '35.) 

Break  of  Hearts  K.  Hepburn-Charles  Beyer  

Chasing  Yesterday   Anne  Shirley   

(See  "Syivestre  Bonnard"   "in  the  Cutting   Room,"   Mar.  2,35.) 

Don  of  Flanders  (G)  Frankie  Thomas-Helen  Parrish. . .  Mar.  22,'35  '72. Mar.    2,  35 

Laddie  (G)   John  Beal-Gloria  Stuart  Mar.  29,'35. . . .*82. Mar.    9, '35 

Informer,  The    Victor  McLaglen-Margot  Graham  

Nit  Wits,  The  Wheeler  and  Woolsey  

People's  Enemy   Preston  Foster-Melvyn  Douglas. .  .  Mar.  15,35  

Star  of  Midnight  William  Powell-Ginger  Rogers  

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 
Strangers  All   May  Robson   

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 
Village  Tale   Randolph  Scott-Kay  Johnson  

(See  "In  the  Cutting  Room,"   Mar.  2,'35.) 


Running  Time 
Date      Minutes  Reviewed 

14  82  Sept.  8 

23  79  Oct.  27 

9  "BO  Oct.  6 

I, '35  72.  Feb.    1 6/35 

5  67. Jan.  I8,'35 

l,'35  *78  Dec.  15 

19  •107. ...Oct.  13 

15,'35  

18,'35  72. Jan.  I2,'35 

26    64.  Jan.  26,'35 

2  75.... Oct.  27 

7  66. Mar.  2,'35 

28  110  Dec.  22 

22,'35  73'/2.Feb.  2,'35 

14  66  

29.) 

8,*35...  105'/2Feb.  23/35 

ll,'35  78  Dec.  I 

.    21  72  Dec.  8 

26  69  Sept.  29 

4,'35  69. Jan.  5,'35 

9  70  Dec.  8 


STATE  RIGHTS 


Features  „  ,  „  .  """E,' 

Title  Star  Disfr  Rel.  Date  M 

Are  You  a  Mason?  (A)  Sonnie    Hales  M.  J.  Kandel  Oct.  29.... 

Calling  Ail  Cars  (G)  Jack  LaRuo  Empire  Films  ....Jan. 

Cowboy  Holiday  (G)  Big  Boy  Williams. ..  Syndicate   Jan. 

Deserter,  The  (A)  Boris  Livanov   Garrison  Film   Oct. 

Dealers  in  Death  (A)  Topical  Films  ....Dec. 

Life  in  the  Congo  (G)  Kinematrade   Nov. 

Lost  City.  The  (G)  Wm.  Boyd  -  Claudia  . 

Dell   Regal   Pictures. ..  .Feb. 

Loyalties   Basil   Rathbone   Harold  Auten   Oct. 

Man  of  Courage  (G)  Eureka   Nov. 

Norah  O'Neale   Lester  Mathews   Oct. 

Maryjka   Ina  Benita   Principal  Film  ...Dec. 

Ticket  to  a  Crime  (G)  Halph  Graves   Syndicate   Dec. 

War  Is  a  Racket  (A)  Eureka  Prod  Dec. 

Woman  Condemned   Claudia  Dell   Marcy  Pictures. ..  .Apr. 


25,'35. 
I, '35. 
12.... 
13.... 
29.... 

I4,'35. 
24.... 
12.... 
24.... 


ng  Time 

nutes  Reviewed 

.85  Nov.  3 

.67. Jan.  26,'35 
.57. Jan.  26,'35 

105  Oct.  27 

.68  Dec.  22 

.60  Dec.  29 

.74.  Mar.  9,'35 


15.... 
8.... 
4.... 


..74  Nov. 

..95.... Nov. 

..66  Nov. 

.  .65  Dec. 

..67  Dec. 

.  .68  Dec. 

..66  


3 
24 
3 
15 
29 
29 


UNITED  ARTISTS 


Features 

Title 

Ciive  of  India  (G) . 
Folies  Bergere  (G). 
Kid  Millions  (G).. 


Last  Gentleman,  The  (G). 
Mighty  Barnum,  The  (G). 


Our  Daily  Bread  (G)  

Private  Life  of  Don  Juan,  The. 

Runaway  Queen   

Scarlet  Pimpernel,  The  (G)  

Transatlantic  Merry-Go-Round 
(A)   

We  Live  Again  (A)  


Star 

Ronald  Colman-Loretta  Young... 
Maurice  Chevalier- Merle  0 heron  . 
Eddie    Cantor  -  Ann    Sothern  - 

Ethel  Merman   

George  Arliss   

Wallace  Beery  -  Adolphe  Men- 

jou-Janet  Beecher-V.  Bruce..  . 

Karen  Morley-Tom  Keene  

Douglas  Fairbanks.  Sr.  -  Merle 

Oberon   

Anna  Neagle-Fernand  Graavey.  . 
Leslie  Howard-Merle  Oberon.... 

Gene    Raymond-Nancy  Carroll- 
Sydney  Howard-Jack  Benny... 
Anna  Sten-Fredric  March  


Running  Time 
Rel.  Date      Minutes  Reviewed 

.Jan.    25,'35  *90.Jan.  26,'35 

.Mar.    8,'35  *85.Feb.  23,'35 

.Dec.    28  •92  Oct.  27 

.Sept.  21  72  May  12 

.Dec.    25  '105  Dec.  I 

.Sept.  28  74  Aug.  18 


.Nov.  30.... 

Dec.  21  

Feb.    15, '35. 


.Sept.  22 


.95. Jan.  26,'35 


Nov.     2  92  Ntv.  17 

Nov.    16  *83  Sept.  29 


Coming  Attractions 


20.'35. 
6,'35. 


Brewster's  Millions   Jack  Buchanan-Llli  Damita  May 

Call  of  the  Wild,  The  C.  Gable-Loretta  Young  May 

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 
Cardinal  Richelieu   George  Arliss   Apr.   28, '35 

(See  "In  the  Cutting  Room."   Mar.  9,'35.) 

Congo  Raid   Leslie  Banks  -  Paul  Robeson  ■ 

Nina  Mae  MacKinney  

Les  Miserables   Fredric  March-C.  Laughton  Apr.   21, '35 

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Nell  Gwyn   (AJ  Anna  Neagle-Cedric  Hardwicke . . Apr. 

Thunder  in  the  East  Charles   Boyer-Merle  Oberon  May 

(Reviewed  under  the  title  "The  Battle") 
Wedding  Night,  The  (G)  Anna  Sten-Gary  Cooper  Mar. 


5,'35  75.  July  I4,'35 

I3,'35  75....  Dec.  I 


8,'35. 


*90.Feb.  23,'35 


UNIVERSAL 


star  Rel. 
.Cesar  Romero-Fay  Wray  Nov. 


Features 

Title 

Cheating  Cheaters  (G)  8022 
Embarrassing  Moments  (G) 

7023   Chester  Morris-Marian  Nixon..  ..July 

Crimson  Trail,  The  8083  Buck  Jones   Feb. 

Gift  of  Gab  (G)  8030  Edmund  Lowe  •  Gloria  Stuart - 

Alice  White  Sept. 

Good  Fairy,  The  (G)  8003  Margaret  Sullavan-H.  Marshall ..  Feb. 

Great  Expectations  (G)  8029.. Henry  Hull-Jane  Wyatt-Phlllips 

Holmes   Oct. 

Imitation  of  Life  (G)  7003  Claudette  Colbert-W.  William. ...  Nov. 

I've  Been  Around  (A)  8025  Chester  Morris   Dec. 

Man  Who  Reclaimed  His  Head 

(G)  8028   Claude  Rains-Joan  Bennett  Dee. 

Mystery  of  Edwin  Drood  8024. .Claude  Rains-Heather  Angel  Feb. 

(See  "In  the  Cutting  Room,"  Dec.  15.) 
Night  Life  of  the  Gods  (G) 

8008   Alan  Mowbray   Mar. 


Running  Time 
Date      Minutes  Reviewed 
S  67  Deo.  2t 

9  67  Oct.  6 

I8,'35  58  ;  


24  

18,-35.. 


*7l....8ept.  19 
.98.  Feb.  9,'35 


26. 
31. 


24.... 
4,'35. 


..Oct. 

20 

. .  Dec. 

•75.. 

. .  Dec. 

29 

*80.. 

. .  Dec. 

9 

1 1, '35  *75.Jan.    1 2. '35 


Star 

.Charles  Bickford-He 


en  Vinson ..  Jan. 


Barnes-Neil    Hamilton..  .Oct. 


Title 

Notorious  Gentleman,  A  8032 
One  Exciting  Adventure  (G) 

8027   Binnie 

Rendezvous  at  Midnight  (A) 

8031   Ralph  Bellamy   Feb. 

(See  "In  the  Cutting  Room,"  Nov.  17.) 

Secret  of  the  Chateau  (G)  8033. Claire  Dodd-Clark  Williams  Dec. 

Straight  from   the   Heart  (A) 

8036   Mary  Aster- Roger  Pryor-Baby 

Jane   Jan. 

Strange  Wives  (G)  8020  June  Clayworth- Roger  Pryor  Dec. 

Rocky  Rhodes  (G)  8001  Buck  Jones-Sheila  Terry  Sept. 

There's  Always  Tomorrow  (A) 

8035   Frank  Morgan-Elizabeth  Young- 
Lois  Wilson-Binnie  Barnes  Sept. 

Wake  Up  and  Dream  (G)  8021.  Russ  Columbo  -  June  Knight  Oct. 

When  a  Man  Sees  Red  (G)  8082.Buck  Jones   Nov. 


Running  Time 
Rel.  Date      Minutes  Reviewed 
21, '35  "75. Jan.  I9,'35 


-73.... Oct. 


1 1,'35. 
3.... 


14,'35... 

10  

24  


10... 
I . 


.Sept.  IS 


*68.Feb.  I6,'3S 

.75  Dee.  S 

.60. ...Dee.  22 


87... Nov.  17 
78.... Get.  20 


12  60. Jan.  26,'35 


Coming  Attractions 


Bride  of  Frankenstein  8009...  Boris  Karloff   Apr.  8,'35. 

(See  "In  the  Cutting  Room,"  Feb.  I6,'35.) 

Great  Ziegfeld,  The  8005  William  Powell-Fanny  Brice  

It  Happened  in  New  York  8023.  Lyie  Talbot-Heather  Angel  Mar.  I8,'35. 

(See  "In  the  Cutting  Room,"  Jan.  26, '35.) 

Life  Returns   (G)  Onslow  Stevens-Lois  Wilson  

Mister  Dynamite  8012  Edmund  Lowe-Esther  Ralston. ..  .Apr.    15, '35. 

(See   "In   the   Cutting   Room."   Mar.   9, '35.) 
Princess  O'Hara  8013  Jean  Parker-Chester  Morris  Mar.  25,'35. 

(See  "In  the  Cutting  Room,"  Jan.  26,'35) 

Sing  Me  a  Love  Song  8026  

Stone  of  Silver  Creek  8084....  Buck  Jones-Noel  Francis  Apr.    IS, '35. 

Transient  Lady  (G)  8019  Gene  Raymond-Henry  Hull  Mar.  4,'3S. 

Werewolf  of  London,  The  8015..  Henry  Hull   Apr.  29,'35. 

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 


WARNER  BROS. 

Features 

Title 

Bordertown  (A)  806  

Case  of  the  Howling  Dog,  The 

Church  Mouse  881  

Devil  Dogs  of  the  Air  (G)  816. 

Firebird,  The  (A)  825  

I  Am  a  Thief  (G)  826  

Right  to  Live  (A)  828  

St.  Louis  Kid,  The  (G)  817... 
(Reviewed  under  the  title. 

Secret  Bride,  The  (G)  81 1  

Sweet  Adeline  (G)  802  

Sweet  Music   (G)  805  

White  Cockatoo  (G)  827  


.*60.Jan.  I2,'35 


Star  Rel. 

Paul  Muni-Bette  Davis  Jan. 

Warren  William-Mary  Aster  Sept. 

Laura  La  Plante  Dec. 

James  Cagney-Pat  O'Brien  Feb. 

Verree  Teasdale-Ricardo  Cortez..Nov. 

Mary  Astor-Ricardo  Cortez  Nov. 

George  Brent-J.  Hutchinson  Jan. 

James  Cagney   Nov. 

"A  Perfect  Week-End") 
B.  Stanwyck-Warren  William ....  Dec. 

Irene  Dunne-Donald  Woods  Dec. 

Rudy  Valiee-Ann  Dvorak  Feb. 

Jean  Muir-Ricardo  Cortez  Jan. 


Running  Time 
Date      Minutes  Reviewed 

5,'35  90.  Feb.  2,'35 

22    75.... Sept  I 

15  

9,'35  86.  Feb.  9,'35 

3  ♦75. ...Oct.  13 

.64.... Nov.  17 
.66. Feb.  23,'35 
.67.... Oct.  20 


24.. 
26,'35... 
10  


22  64.  Feb.  9/35 

29  -82  Dec.  15 

23,'35  95.  Mar.  2,'S5 

I9,'35  70.  Jan.  26,'3S 


Coming  Attractions 

Broadway  Gondolier   Dick  Powell-Joan  Blondell  

Crashing  Society   Guy  Kibbee-Zasu  Pitts  

Dinky   Jackie  Cooper-Mary  Astor  

Florentine  Dagger,  The  829  Donald  Woods- Margaret  Lindsay.  .Mar.  30,'35. 

(See  "In  the  Cutting  Room,"  Jan.  26,'35) 

G  Men,  The   James  Cagney- Margaret  Lindsay  

Goose  and  the  Gander  Kay  Francis-George  Brent  

(See  "in  the  Cutting   Room."   Mar.  9,'35.) 

Green  Cat   Bette  Davis   

Haircut   George  Brent-Jean  Muir  

Irish  in  Us,  The  James  Cagney-Pat  O'Brien  

Living  Up  To  Lizzie  Aline  MacMahon   ^  

Men  on  IHer  Mind  Bette  Davis-Ian  Hunter  

Midsummer  Night's  Dream  All  Star   

Money  Man   Edw.  G.  Robinson-Bette  Davis  

Night  at  the  Ritz,  A  823  William  Gargan-Patricia  Ellis... Mar.  23,'35. 

(See  "King  of  the  Ritz,"  "In  the  Cuting  Room,"  Jan.  26,'35) 

Page  Miss  Glory  Marion  Davies   

Present  from  Margate,  A  Kay  Francis-Ian  Hunter  

Stranded   Kay  Francis-Geo.  Brent  

Women  Are  Bum  NewspapermenGlenda  Farrell   


OTHER  PRODUCT  (FOREIGN) 


Features 

Title  Star  D 

Bella  Donna  (A)  Mary  Ellis   

Broken  Melody,  The  John  Garrick- 

Merle  Oberon  

Chapayev  (AX   

Cornflower   Irene  Agai   

(Hungarian  Dialogue) 

Czar  Wants  to  Sleep  (A)..M.  Yanshin   

Death  at  Broadcasting 

House   Ian  Hunter   

Dirty  Work   (G)  Ralph  Lynn   

Forbidden  Territory,  The.. Gregory  Ratolf   

Doctor's  Orders   Leslie  Fuller   

Everything  for  the  Women.  Tiber   Von  Halmay. 

(Hungarian  Dialogue) 
Fathers  Knows  Best  Szoke  Szakall  

(Hungarian  Dialogue) 

Green  Pack   John  Stuart   

House  of  Greed  V.  Gardin  

Lady  in  Danger  (A)  Tom  Walls   

Lorna  Doone  (G)  John  Loder   

Madame  Bovary  (A)  Pierre  Renoir   

Marionettes   L.  Leonidoff   

Miracles   V.  Gardin   

Mister  Cinders   Clifford  Molllson  ... 

My  Wife  the  Miss  Irene  Agai  -  Paul 

(Hungarian  Dialogue)  Javor   

My  Song  Goes  Round  the 

World  (G)   John  Loder   

Old  Curiosity  Shop  Elaine  Benson   

One  Night   Ingert  Bluggren   

Phantom  Light,  The  (G).. Gordon  Harker   

Radio  Parade  of  1935  Will   Hay  -  Helen 

Chandler   

Rakoczi  March   Paul  Javor   

(Hungarian  Dialogue) 

Roadhouse  (G)   Violet  Loralne   

Shepherdess'  Sweetheart  ..(Greek  Feature)  ... 

Stella  Blolanti   (Greek  Feature)  ... 

Such  Is  Life  (Greek  Feature)  ... 

Ta  Galazia  Keria  (Greek  Feature)  ... 

Ten  Minute  Alibi  (A)  Phillips  Holmes  ... 

Three  Songs  About  Lenin..  

They  Are  Looking  Up  (G).  Cicely  Courtneldge  . 

Thunderstorm  (A)   A-  K.  Tarasova   

Triumph  of  Sherlock  Holme; 

The  (A)   Arthur  Wontner   

Waltz  Time  In  Vienna  Renate  Mueller  

Victor  and  Victoria  (G)...  Renate  Mueller   

Wandering  Jew,  The  (A) ..  Conrad  Veldt.. 


Running  Time 
ist'r                 Rel.  Date      Minutes  Reviewed 
Gaument-British  85. Jan.  5,'35 


 Oct.  30  

Amkino   Jan.  t2,'35.. 

Danubia  Pictures.  .Jan.  II, '35.. 

Amkino   Dec.  8  


68....  Dec.  I 
.95.  Jan.  26,'3S 
.80  

.88. ...Dee.  22 


ABFD   British  90. Jan.  11,'SS 

Gaumont-Brltish  80. Jan.  2S,'39 

Gaument-British  87  Ne*.  24 

British  Int'l   75. Jan.  S,'S5 

Danubia  Pictures .  .Oct.     10  84  

Danubia  Pictures  .  .Jan.    18,'35.  ..80  


British  Lion   Nw.  3 

Amkino   Aug.    II  74  

Gaument-British  63  Doe.  29 

ABFD   British  80. Feb.  2,'35 

John   Tapernoux.  . .Nov.    17  100  Dee.  8 

Amkino   May     5  83  

Amkino   Oct.     19  68  

British  Int'l   N«v.  "\k 

Danubia  Pictures.  .Aug.   26  79  


:  Oet.  20 

Assoc.  British  85.Fek.  2,'SS 

Scandinavian   80.  Feb.     9, '35 

Gaumont-Brltish  75.  Feb.  9,'3S 


Assoc.  British. . .  . 
Danubia  Pictures . 

Gaumont-Brltish.  . 
Frank  Norton  ..  . 
Frank  Norton  . .  . 
Frank  Norton 
Frank  Norton 


Nov.  12. 


.85. Jan. 
.89  


12, '39 


.Feb. 
.Oct. 
.Jan. 
Oct. 


I7.'35. 
15.... 
I9,'35. 
15. 


■ .75..., 
•118..., 
.115..., 
.119..., 
.85... 


Dee. 


British  Lion   .80.  Feb.  9/35 

Amkino   Nov.     8  -.64  Nev  17 

Gaumont-Brltish  .100.  Feb.     9 '35 

Amkino   Sept.  28  80  Oct.  6 

Gaument-British  87.  Mar.  9,'35 

Ufa   Dee.  I 

Ufa   Jan.    26,'35. .  .84.  Feb.  2,'35 

Olympic  Pictures  83. Jan.  I9,'3S 


76 


MOTION    PICTURE  HERALD 


March    16,  1935 


(THE  RELEASE  CHAI5T"C€NT'D) 


EILMS 

lAll  dates  are  1934  unless 
otherwise  stated^ 

CELEBRITY  PROD'TIONS 


Title  Rel-  Date 

COMICOLOR  CARTOONS 
Jack  and  the  Beanstalk 
The  Little  Red  Hen... 
The  Brave  Tin  Seldier 

Puss   in  Boots  

The  Queens  of  Hearts. 

Aladdin   

The  Headless  Horsemen 

The  Valiant  Tailor  

Don  Quixote   

Jack  Frost   

Little  Black  Sambo  

Bremen  Town  IVIusicians. . . 

Old  Mother  Hubbard  

Mary's  Little  Lamb  

COLUMBIA 


Min. 

Jan.    2  8.... 

Feb.  16  7.... 

Apr.    7  7  

May  17  1  rl.. 

June  25  7.... 

Aug.  10  7  

Oct.     I  I  rl.. 

Oct.  29  1  rl.. 

Nov.  28  8  

Dec.  24  8  

2I,'35..I  rl.. 
I7,'35..l  rl.. 
Mar.  I7,'35..l  rl.. 
Apr.  14/35. .  I  rl. . 


Jan. 
Feb. 


Title  Rel. 

BROADWAY  COMEDIES 
His  Bridal  Sweet  

Harry  Langdon 
His  Old  Flame  Jan. 

Charlie  Murray 
Horse  Collars   Jan. 

(3  Stooges) 
I'm  a  Father  Feb. 

Andy  Clyde 
In  the  Dog  House  Dec. 

Andy  Clyde 
It's  the  Cat's  Oct. 

Andy  Clyde 
Men  in  Black  Sept, 

(3  Stooges) 
One  Too  Many  Dec. 

Leon  Errol 
Perfectly  Mismated   Nov. 

Leon  Errol 
Restless  Knights   Feb. 

(3  Stooges) 
Shivers   Dec. 

Harry  Langdon 
Three  Little  Pigskins  Dec. 

(Stooge  Comedy) 

COLOR  RHAPSODIES 

1934-35 

A  Cat,  a  Bell  and  Mouse  

Babes  at  Sea  Dec. 

Holiday  Land   Nov. 

Make  Believe  Revue,  The.  .Mar. 
Shoemaker  and  the  Elves... Jam 

KRAZY  KAT  KARTOONS 

1934-35 

1.  The  Trapeze  Artist  Sept, 

2.  Katnips  of  1940  Oct. 

3.  Krazy's  Waterloo   Nov. 

4.  Birdman   Feb. 

5.  Hotcha  Melody   Mar. 

6.  Goofy  Gondolas   Dec. 

LAUGHING  WITH 

MEDBURY   

1934-35 

Laughing  with  Medbury 

in  the  Arctics  Sept. 

In  Maylesia   Oct. 

Among  the  Caccons  Nov. 

At  a  County  Fair  Dec. 

Medbury  in  Hollywood  Jan. 

In  the  Old  Days  Feb. 

LIFE'S  LAST  LAUGHS 

1934-35 

No.    I—  Sept. 

No.    2—  Oct. 

No.    3—  Nov. 

No.  4 —  Dec. 

No.  5 —  Jan. 

No.    6—  Feb. 

MUSICALS 
No.  7 — Tripping  Through 

the  Tropics   July 

SCRAPPY  CARTOONS 

Gloom  Chasers,  The  Jan. 

Happy  Butterfly   Dec. 

Scrappy's  Experiment   

Scrappy's  Ghost   

1934-35 

Concert  Kid   Nov. 

Gold  Getters   Mar. 

Graduation  Exercises   

SCREEN  SNAPSHOTS 


Date 


Min. 


25, '35, 
I0,'35. 
7,'35, 
I..., 
II..., 
28..., 
28..., 
20..., 
20,'35 
24... 
8... 


20.... 
20.... 
20.... 
20.... 
20.... 
20.... 
20.... 
20.... 
lO'/j.. 
20.... 
20.... 


12... 
9... 
22,'35 
20,'35 


I.... 
12.... 
16.... 

1,'35. 
I5,'35. 
21.... 


.7.... 
.7.... 
.7.... 
.7.... 


.7.... 
.7.... 
.7.... 
.7.... 
.7.... 
.7.... 


15  

20..., 
9..., 
7..., 

Il,'35. 

28,'35. 


15  

12.... 

9.... 

12  

4.'35. 

1,'35. 


10.... 
10.... 
10.... 

10.... 
10.... 

10,... 


10  

10  

10.... 
10.... 

10  

10,... 


27. 


.2  rli. 


I8,'35. 
20,... 


.7  

.7.... 


2.... 
I, '35. 


.7... 
.7... 


No. 
No. 
No. 
No. 

No. 
No. 


1—  . 

2—  . 

3—  . 


5—  , 

6—  

SPICE  OF  LIFE 
1934-35 

No. 
No. 
No. 
No. 
No. 
No. 


.Sept, 

.Oct. 

.Nov. 

.  Dec. 

.Jan. 

.Feb. 


29.... 

26  

23..., 

21  

I8,'35. 
22,'35. 


2—  , 

3—  . 


5—  . 

6—  . 


.Sept. 
.Sept. 
.  Dec. 
,  Dec. 
Jan. 
.Mar. 


10..., 
29.... 
13..., 
31,.., 
20,'35, 
I, '35, 


lO'/j. 
101/2. 
IO'/2. 
lO'/j. 
10, . . 
10. . , 


10... 
10... 
10... 
10... 
10... 
10... 


WORLD  OF  SPORT 

Anything  for  a  Thrill  

Decks  Awash   Aug. 

Helgh-Ho  the  Fox  June 

1934-35 

Air  Thrills   Mar. 

Good  Golfers  Start  Young. .  .Sept. 

Pardon  My  Grip  Feb. 

Pole  Thrills   Oct. 

Thrill   Flashes   Dec. 

When  Men  Fight  Jan. 


.  I  rl. 
.1  rl. 
.1  rl. 


I, '35. 
20.... 

I,'35. 
12.... 
12  

4,'35. 


10. . . 
10... 

10... 
10... 
10,,. 
10, . . 


DU  WORLD  PICTURES 

Title  Rel.  Date  Min. 

QUEST   OF  PERFECT 
WOMAN  SERIES 
(TOM  TERRIS) 

1.  Veiled  Dancer  of  Eloued.July   15  10  

2.  Vampire  of  Marrakesh, .  .Aug.    I  a 


Title  Rel.  Date  Min. 

SEMI-FEATURES 
AND  SHORTS 

Bride  of  Samoa  Mar.    1  26  

Chump   Nov.    I  15  

Frankie  and  Johnny  Oct.     I  8.... 

Charles  Laughton 

Mire  Unga   Aug.  15  9  

Prisoner   Sept.  15  18.... 

Retribution  of   Clyde  Bar- 
row and  Bonnie  Parker. . .July  10  20.... 

Stars  in  the  Making  Oct.     I  17  

Frank  Albertson 

Sword  of  the  Arab  Sept.  15  28  

Duncan  Renaldo 
Yokel  Dog  Makes  Good  Sept.  1  18.... 

EDUCATIONAL 

[Distributed  through  Fox  Films] 


Rel.  Date 


3. ...22. 
31.... 20. 
5, . ..21. 
28.. ..19. 

8,'35. 18. 
8,'35.18. 
17. ...20. 


6. 
26. . 
14., 
30., 


20.. 
..19.. 
..19.. 
..18.. 

II. ...21.. 
9. ...19.. 

2  16.. 

1,'35.2I .. 


Title 
SING  CROSBY 
SPECIALS 

1 —  I  Surrender  Dear  Aug. 

2 —  One    More    Chance  Aug. 

3 —  Billboard    Girl   Oct. 

4 —  Dream    House   Sept. 

CORONET  COMEDIES 

An  Ear  for  Music  Mar. 

Easy  Money   Feb. 

Hello,  Sailors   Aug. 

Rural    Romeos   Nov. 

Second   Hand   Husband  Oct. 

Super-Stupid   Sept. 

Two  Lame  Ducks  Nov. 

FROLICS  OF  YOUTH 

Boosting  Dad   Dec. 

Campus  Hoofer,  The  Nov. 

Educating  Papa   Nov. 

Little  Big  Top,  The  Feb. 

MARRIAGE  WOWS 

SERIES 

Domestic  Bliss-Ters   Oct. 

Dumb  Luck   Jan. 

How  Am  I  Doing?  .Jan. 

MUSICAL  COMEDIES 

Big  Business   .Dec. 

Girl  from  Paradise,  The...  Nov. 
Good  Luck — Best  Wishes. .  Aug. 

Nifty  Nurses    Oct. 

She's  My  Lilly   .Sept. 

SONG    HIT  STORIES 

Bounding  Main,  The  .Nov. 

Fireman's   Day  Off  .Apr. 

Gay  Old  Days  -Jan. 

House  Where  I  Was  Born, 

The   .Oct. 

Mountain   Melody    Aug. 

Old  Camp  Ground,  The. . ,  ■  Mar. 

Song  Plugger   , Jan. 

Time  on  Their  Hands  .Sept. 

Way  Down  Yonder  .Dec. 

STAR  PERSONALITY 

COMEDIES 

A    Nose  for   News  .Apr. 

Gentlemen  of  the  Bar  .Dec. 

Hayseed  Romance   .Mar. 

His  Lucky  Day  .Sept. 

Mr.  Widget    Jan. 

Object   Not   Matrimony   Mar. 

One-Run  Elmer   •  Feb. 

Palooka  From  Paducah  -Jan. 

TERRY-TOONS 

Black  Sheep,  The  -Oct. 

Bull  Fight,  The  -Feb. 

Busted    Blossoms   .Aug. 

Dog  Show,  The   Dec. 

Fireman  Save  My  Child. ...  Feb. 

First  Snow,  The    Jan. 

Five   Puplets   .May 

Flying   Oil   .Apr. 

Hot  Sands   .Nov. 

Jack's  Shack   Nov. 

Jail  Birds   .Sept. 

Magic  Fish,  The  .Oct. 

Mice  in  Council  .Aug. 

Modern  Red  Riding  Hood, 

A   May 

Moth  and  the  Spider,  The.. Mar. 

My  Lady's  Garden  -July 

Old  Dog  Tray   Mar. 

Peg  Leg  Pete,  the  Pirate.. Apr. 

South  Pole  or  Bust  .Dec. 

Tom  Tom  the  Piper's  Son.  . Nov. 

What  A  Night  Jan. 

iVhy  Mules  Leave  Home   Sept. 

TREASURE  CHEST 

Chums   Mar. 

Harlem  Harmony   Dec. 

Hollywood  Gad-About   Oct. 

Hollywood  Movie  Parade, 

The   Nov. 

Then  Came  the  Yawn  Aug. 

Your  Stars  for  1935  Oct. 

YOUNG  ROMANCE 

Moon  Over  Manhattan  Feb. 

Three  Cheers  for  Love  Dec. 

FIRST  DIVISION 

MARCH  OF  TIME 

No.  I   Feb.    I. '35.. 

No.  2   Mar.  8. '35.. 

(Technicolor) 

1.  In  a  Monastery  Garden.. Oct. 

2.  Mexican  Idyl   Oct. 


t.  Lieberstraum   Nov.  3. 


Min. 


12.. . .19... 
18, '35. 17... 
4,'35.20... 

7. ...19... 
23. ...21... 
24. ...21... 
19. ...20... 
7. ...22... 

16. ...10... 
I2,'35..l  rl. 
4,'35.l0... 

26.... 10... 
31. ...10... 
15,'35..1  rl. 
18,'35..9... 
14.,, ,11... 
7. ...II... 


5,'35.  .2  ris. 
28,...I8.... 

15. '35. 20  

21. ...20.... 

25,'35.2I  

1.'35. 18  

22,'35.19.... 
1 1, '35. 20.... 


5  6... 

8,'35..6... 

10  6... 

28  6  . .  . 

22, '35. .6. . . 
II, '35. .6... 
I7,'35..l  rl. 
5,'35..l  rl. 
2  6... 


30.. 
21 .. 
19.. 
24.. 


..6... 
..6... 
..6... 
..6... 


3,'35..l  rl. 
8.'35..l  rl. 

13  8... 

2I,'35..I  rl.. 
19,'35..l  rl., 

14  6..., 

16  6.... 

25,'35..6.. .. 
7  6.... 

1,'35..9,... 
21. ...10.... 
5  9.... 

2  9.... 

10  8.... 

19.. ..II.... 

I5,'35.I7.... 
14... .19.... 


2. 
16. 

3.  Fingal's  Cave   Nov.  13. 


5.  Dance  of  the  Hours  Dec.  15. 


I,'35. 


6.  Ava  Maria   Jan.  .  

Barcarolle   8. 

Countryside   Melodies  May   4, '35  

In  a  Mountain  Pass  

Irish   Melody   8. 

Italian  Caprice   8. 

Mediterranean  Songs   

October  Day   

Old  Faithful  Speaks  8. 


FOX  FILMS 


10. 


Title  Rel.  Date 

ADVENTURES  OF  THE 

NEWSREEL  CAMERAMAN 

Man's  Mania  for  Speed  

Marching  With  Science  9 

On  Foreign  Service   9 

Casting  for   Luck  10 

MAGIC  CARPET 

SERIES 

The  Coast  of  Catalonia  


Min. 


Title  Rel.  Date  Min. 

Picturesque  Portugal   9  

Crossroads  of  the  World  9.... 

Geneva-By-The-Lake   10.... 

MOVIE  TINTYPE  SERIES 
The  Heart  of  Valeska  Mar.   9  10  

MASTER  ART  PRODUCTS 

Title  Rel.  Date  Min. 

HUMAN  SIDE  OF  (Variable) 
THE  NEWS 
(EDWIN   C.  HILL) 

1.  Roosevelt  Family  In 

America   II.... 

2.  A  Visit  to  West  Point  10  

3.  Carrie  Jacobs  Bond  9  

MELODY  MAKERS 

Fields   and    McHugh  9.... 

ORGANLOGUES 
What's  In  a  Name  8.... 

RAIN  SONGS 
Irving  Kaufman-Lew  White  

SPECIAL 

Take  a  Letter  Please  

Eddie  Stanley- 
Evelyn  San 

METRO-GOLDWYN- 


Title 


MAYER 


Title  Rel. 
ALL-STAR  COMEDIES 

Caretaker's  Daughter   Mar. 

Movie  Daze   

Mrs.  Barnacle  Bill  Apr. 

CRIME  DOESN'T  PAY 
No.  I — Buried  Loot  


Date 


Min. 


10. ...10.... 

 19.... 

21. ...20.... 


.19. 


CHARLEY  CHASE 

Chases  of  Pimple  Street  Dec. 

Fate's   Fathead   Nov. 

I'll  Take  Vanilla   May 

It  Happened  One  Day  July 

Something  Simple   Sept. 

You  Said  a  Hatful  Oct. 

IRVIN  S.  COBB 

Ballad  of  Paducah  Jail  Oct. 

Nosed  Out   Sept. 

Speaking  of  Relations  

You  Brings  the  Ducks  Nov. 

FITZPATRICK 
TRAVEL  TALKS 

Africa,  Land  of  Contrast  

Citadels  of  the 

Mediterranean   

Colorful  Ports  of  Call  Jan. 

Cruising  in  the  South  Seas  

Glimpses  of  Erin  

Holland  in  Tulip  Time  Sept. 

Ireland,  The  Emerald  Isle..  Dec. 

Rainbow  Canyon   Feb. 

Switzerland,  The  Beautiful. Oct. 
Tibet,  Land  of  Isolation. ...  Mar. 
Zeeland,  The  Hidden 

Paradise   Jan. 

Zion,  Canyon  of  Color  Nov. 

GOOFY  MOVIES 


22.. 
17. , 

5.. 

7.. 

8. . 
13.. 

20.. 
15.. 

241! 


.20.... 

.18  

.19.... 
.19.... 
.18.... 
.19.... 

.19.... 
.18.... 
.19.... 
.16.... 


.9. 


13 


t  rl. 

9... 

 I  rl. 

 I  rl. 

15  9... 

8  8... 

2,'35..8... 

13  9... 

17  9... 


5,'35..7... 
10  8... 


No. 
No. 
No. 
No. 
No. 
No. 


No.  10 

HAPPY  HARMONIES 
(Harman-lsing) 

1 —  The  Discontented  Canary. Sept, 

2 —  Old  Pioneer   Sept. 

3 —  A   Tale  of  the  Vienna 
Woods   Oct. 

4 —  Bosco's  Parlor  Pranks. .. Nov. 

5 —  Toyland   Broadcast   Dec. 

6 —  Hey,  Hey,  Fever  Jan. 

7 —  When  the  Cat's  Away... Feb. 

8 —  The  Lost  Chick  

LAUREL  &  HARDY 

Fixer-Uppers   

Going  Bye-Bye   

Live  Ghosts   

Them  Thar  Hills   

Tit  for  Tat   Jan. 

MUSICAL  COMEDIES 

Music  in  Your  Hair  June 

Roamin'  Vandals   Apr. 

MUSICAL  REVUES 

Gentlemen  of  Polish  

Grandfather's  Clock   Oct. 

Spectacle  Maker,  The  Sept. 

Star  Night  at  the  Cotoanut 

Grove   Dee, 

What  Price  Jazz?  

ODDITIES 

Dartmouth  Days   Nov. 

Donkey  Baseball   

Motorcycle  Cossacks   Jan. 

Little   Feller   May 

Old  Shop   June 

Pichlanni  Troupe   Sept. 

Pro   Football   , 

Rugby   Dec. 

Strikes  and  Spares   Oct. 

Taking  Care  of  Baby  Aug. 

Trick  Golf   Mar. 

Vital  Victuals   Mar. 

(Color) 

Windy   

OUR  GANG 

Anniversary  Trouble   

Mama's  Little  Pirate  Nov. 

Shrimps  for  a  Day  

Mike   Fright   Aug. 

Wash-ee  Iron-ee   Sept. 

TODD-KELLY 

Bum  Voyage   Dec. 

Done  In  Oil  Nov. 

I'll  Be  Suing  You  June 

Maid  In  Hollywood  May 

One  Horse  Farmers  Sept, 

Opened  by  Mistake  Oct. 

Sing,  Sister,  SIngt  

Three  Chumps  Ahead  

Tin   Man,  The  

Treasure  Blues   


May    5  9... 

 8... 

 I  rl. 

8. ...10... 

6  9... 

3. ...10... 
 10... 


.Sept, 
.Oct. 
.Nov. 


I  9.... 

29  8.... 

27  9.... 

24  9  

22  8  

9. '35.. 9.... 
16,'35..9.... 
 10.... 


 21.... 

 21.... 

 21.... 

 2  rIs. 

5,'35.20  

2.. ..17.... 
28....I8.... 


 2  rIs. 

27. ...17.... 
22.. ..20.... 

I.... 21.... 
 18.... 


17. ...II. 

 8. 

I2,'35..9. 

28  8. 

23  9. 

22  9. 

 .9. 

5. ...10. 


20. 


.9. 


25  9. 

24  8. 


10... 


 20  

3. ...18.... 

 21  

25. ...18.... 
29.... 17.... 

15. ...20.... 
10. ...18.... 
23....I9.... 
19. ...20.... 

I. ...18.... 

6. ...19.... 

 21.... 

 2  ris. 

 16.... 

 19... 


Rel.  Date  Mtn. 
WILLIE  WHOPPER 

Cave  Man   7.... 

Good  Scout   7.... 

Insultin'  the  Sultan  Apr.  14  8  

Jungle  Jitters   7.... 

Raslin'  Round   

Reducing  Creme   May  19  8..., 

Robin  Hoed,  Jr  Mar.  10  8  

(Color) 

Viva  Willie   7  


MONOGRAM 

PORT  0'  CALL  SERIES 

10.  Dravldian  Glamour   Sept. 

11.  Adventure    Isle   Oct. 

12.  Queen  of  the  Indies  Nov. 

13.  A  Mediterranean  Mecca.  Dec. 


.10. 
.10. 
,10. 
.10. 


PARAMOUNT 

Title  Rel.  Date 

BETTY  BOOP 

CARTOONS 

Baby  Be  Good  Jan.  I8,'35. 

Betty  Beep's  Life  Guard... July  13  

Betty  Boop's  Life  Pal  Sept.  21  

Betty  Beep's  Prize  Show... Oct.  19  

Betty  Boop's  Rise  to  Fame. May  18  

Betty  Boop's  Trial  June  15  

Stop  That  Noise  Mar.  15, '35. 

Taking  the   Blame  Feb.  I5,'35. 

Keep  in  Style  Nov.  16  

There's  Something  About  a 

Soldier   Aug.  17  

When  My  Ship  Comes  In... Dec.  21  


Min. 


,7.... 

7.... 
,7.... 
,7.... 
.7.... 
.7.... 

I  rl.. 

I  ri.. 
.7.... 


II... 
.1  rl. 


.10. 


.10. 


.I*.. 


'35. 
'35. 


.10... 
.11... 


.10. 


35. 


COLOR  CLASSICS 

An  Elephant  Never  Forgets. Dec.  28  7... 

Little  Dutch  Mill   Oct.  26  7... 

poor  Cinderella   Aug.    3  7... 

Song  of  the  Birds  Mar.  l,'35..Irl. 

HEADLINERS 
Cab  Calloway's  Hl-De-Ho. .  .Aug.  24. . . 
Feminine  Rhythm   Feb.  8, '35 

Ina  Ray  Hutton  and  Her 

Melodears 

Club  Continental   Oct.  5... 

Leon  Belasco  &  Orchestra 

George  Givet  -  Vivian  Janis 

Grace  Barry 
Hark  Ye,   Hark  Mar.  25,'3S. 

Ben   Bernie-Grace  Barry 
Hollywood  Rhythm   Nov.  16. 

Gordon  and   Revel  -  Lyda 

Roberti  •  Jack  Oakie-Nor- 

man  Taurog-LeRoy  Prinz- 

Edith  and  Bill  Wllshire 
■  Ladies  That  Play  Dec.  7. 

Phil    Spitalny    and  His 

Musical  Ladies 

Melody  Magic   Mar.  22, 

Million  Dollar  Notes  Feb.  8, 

Red  Nichols  and  his  World 

Famous  Pennies 
Radio  Announcer's  Review.  .Sept.  14 
Rhythm  on  the  Roof  Oct.  26 

Anson  Weeks  &  Orchestra 

Society  Notes   Aug.  3 

Song   Writers  of  the  Gay 

Nineties   Mar.  1, 

Pat  Rooney 
Yacht  Club  Boys  Garden 

Party   Dec.  28. 

PARAMOUNT  PICTORIAL 
(NEW  SERIES) 
No.  3 — Bear    Facts  —  The. Oct.  12. 
Valley  of  Silence — Irving 
Mills 

No.  4 — Tub  Boat  Ahoy— Hot. Nov.    9  10... 

Dog — Mabel  Wayne 

No.  5 — Rose  of  Bulgaria — .Dec.    7  10... 

0.  Soglow — Coney  Island 

No.  6— Twilight  Melody  —.Jan.  4,'35.I0... 
Pets    from    the  Wild- 
Howard  Chandler  Christy 

No.  7 — Queen  of  the  Waters  I  rl. 

— Billy  Blue  Gum — Merl- 
cano 

Mo.  8 — Aubrey  Rainier — Old  I  rl. 

Madiera — Rube  Goldberg, 
World  Famous  Humorist. 

PARAMOUNT  VARIETIES 

No.    7—   Feb. 

No.    8—  Mar. 

No.  9 —   Mar. 

Baby  Blues  Oct. 

(Technicolor) 

Coo-Coo  News   Jan. 

Jungle  Antics   Feb. 

Madhouse  Movies  No.  I.... Aug. 

Manhattan  Rhythm   Mar. 

Monkey  Shines   Nov. 

Movie  Sideshow   Jan. 

Nerve  of  Some  Women,  The. Nov. 

Old  Kentucky  Hounds  Sept. 

Screen  Souvenirs  No.  I  Sept. 

Screen  Souvenirs  No.  2  Nov. 

Screen  Souvenirs  No.  3  Feb. 

Superstition  of  the  Black 

Cat   Aug.  10  

Superstition  of  the  Rabbit's 

Foot   Mar.  8,'35. 

Superstition  of  Three  on 

a  Match   Oct.  19.... 

Superstition  of  Walking 

Under  a  Ladder  Dee.  28  


.10.. 


.I*.... 


1,'35, 
l,'35, 
29,'35. 
5.... 

25,'35. 
22, '35. 
24.... 

8.'35. 
16.... 
1 1. '35. 

2.... 

7.... 
21.... 
30.... 

8,'35. 


10. 


10. 


.1  ri. 
.9... 


.1  rl. 
II... 
10... 
10... 
10... 
10... 


10... 
.1  ri. 
II... 
II... 


POPEYE  THE  SAILOR 

A  Dream  Walking  Sept 

Axe  Me  Another  Aug. 

Be  Kind  to  Animals  Feb. 

Beware  of  Bamaela  Bill. ..Jan. 

Dance  Contest   Nov. 

Pleased  to  Meet  Cha!  Mar. 

Shiver  Me  Timbers  July 

Shoein'  Hosses   June 

Strong  to  the  FInlch  June 

Two  Alarm  Fire  Oct. 

We  Aim  to  Please  Deo, 

SCREEN  SONGS 
Love  Thy  Neighbor.. 
Mary  Small 


.28... 
24..., 
22,'35. 
25,-35. 
23.... 
22,'35. 
27.... 

1  .... 
29.... 
26.... 
28.... 


.7... 
.7... 
.1  rt. 
.7... 


.1  ri. 
.7... 
.7... 
.7... 
.7... 
.7... 


.July  29  7. 


March     16,  1935 


MOTION    PICTURh  HhKALD 


77 


(THE  RELEASE  CHACT"C€NT'D) 


Title  Rel.  Date  MIn. 

PARAMOUNT  SOUND 
NEWS 
Two  Editions  Weekly 

GRANTLAND  RICE 
SPORTLIGHTS 
(NEW  SERIES) 

No.  I— Miles  Per  Hour  Auo.  3  10  

No.  2 — Springboard  Cham- 
pions  Aug.  31  10  

No.  3 — Water    Rodeo  Sept.  28  10  

No.  A — Keeping    Time  Oct.   26  II  

No.  5— Saddle    Champs  Nov.  30  II  

No.  6 — A  Sportilght  Cock- 
tail  Dec.  28  10  

No.  7 — King  of  the  Ever- 
glades  Jan.  25,'35.I0  

No.  8— Feline   Athletes  Feb.  22,'35. . I  rl.. 

TWO  REEL  COMEDIES 
Making  the  Rounds  July    6  21  

Pallette-Catlett 
New    Dealers,    The  Apr.    6  20  

Pallette-Catlett 
News  Hounds   June    I  20  

Pallette-Catlett 
No  More  Bridges   Mar.  16  21  

Leon  Errol 

Oil's  Well   May  4. ...22.... 

Chic  Sale 

Old  Bugler,  The  Jan.    5  20  

Chic  Sale 

Petting  Preferred   Apr.  27  10  

Pleased  to  Meet  Cha!  Mar.  22,'35  

Sporting  Sounds   Mar.  22,'35  

Up  and  Down  Mar.    2  21  

Franklyn  Pangborn 

PRINCIPAL 

Title  Rel.  Date  Min. 

Death  Day   Apr.  ID  17  

Glory  of  the  Kill  May  23. ...28.... 

Newslaugh— No.  2  Dec.  20,'33.  .9. . . . 

Wonders  of  the  Tropics  Dec.  13, '33. 32  

CONFLICTS  OF 

NATURE  SERIES 
Circle  of  Life  of  the  Ant 

Lion,    The  Feb.  14  7  

Farmer's  Friend   Oct.   II  7  

From  Cocoon  to  Butterfly. .  .Jan.  10  7  

Her  Majesty  the  Queen  Bee. Dec.    I, '33.. 6  

Insect  Clowns   Mar.   4  7  

Queen  of  the  Underworld. ..  Dec.  6, '33.. 7.... 

RKO  RADIO  PICTURES 


Rel.  Date 


Min. 


Title 

BLONDE  and  RED 

HEAD  SERIES 

Dancing  Millionaire   Dec.  14  19  

Hunger  Pains   Feb.  22,'35. 171/2 . . 

Ocean  Swells   Oct.   12  21  

Rough  Necking   Apr.  27  20  

Undie  World,  The   June  15  21  

CHICK  CHANDLER 

COMEDIES 

Big   Mouthpiece   Nov.    9  20  

Horse  Heir   Feb.    I,'35. 19'/2. . 

Raised  and  Called  Mar.  22,'35.20  

Unlucky  Strike   Aug.  31  201/2.. 

CHARLIE  CHAPIN 

SERIES  (Re-Issues) 

Behind  the  Screen  May  25  2rls. 

The  Adventure   July    5  2  rls. 

CLARK  &  McCULLOUGH 
SERIES 

Alibi  Bye  Bye  June 

Bedlam  of  Beards  Apr. 

Everything's  Ducky   Oct. 

Flying   Down  to  Zero  Apr. 

In  a  Pig's  Eye  Dec. 

In  the  Devil  Dog  House  Feb. 

Odor  in  the  Court  Aug. 


I4,'35 
13. . . 
19... 
I9.'35 
28. .. 

2.... 

2..., 


.21 '/2. 
.18... 
.21... 
.19... 

201/2 . 

21... 

2l'/2. 


CUBBY  THE  BEAR 

CARTOONS 

Cubby's  Stratosphere  Flight. Apr.  20  7. 

Fiddlin'  Fun   June  15  7. 


DUMBBELL  LETTERS 

No.    3   Aug.  17  4  

No.   4   Sept.  28  41/2.. 

No.    S   Oct.  26  5  


No.    6   Nov.  23  4'/2.. 


No. 
No. 
No. 
No. 


.Dec.  21  5  

.Jan.  4,'35..5i/2.. 

...Jan.  I8,'35..5  

...Feb.  I,'35..5.... 


EASY  ACES 
Pharaohland   Feb.  22, '35.  .9  

FOUR  STAR 

COMEDIES 

Fixing  the  Staw  Nov.    2. ...20.... 

Fuller  Gush  Man   Aug.  24  18  

How  to   Break  90 

at  Croquet   Jan.  4,'35.I5  

HEADLINER  SERIES 
No.  6— Well  Cured  Ham. ...June  22....I9.... 

HEADLINER  SERIES 

(1934-35) 

Na.  I — Songs  of  the  Colleges. Oct.    5  15  

Ne.  2 — Ferry  G«  Round ....  Nov.  23  20  

No.  3— This   Band   Age  Jan.  25.'35.2|i/2 . . 

No.  4 — Simp  Phoney  Concert.  Mar.  15, '35. 21  

EDGAR  KENNEDY 

COMEDIES 

Blasted   Event   June  29  19.. 

Brle-a-Brae   Jan.  I8,'35.I9.. 

Love  on  a  Ladder  Sept.  7....20'/2 

Poisoned  Ivory   Nov.  16  21... 

Wrong  Direction   Nov.  16  21... 

MUSICALS 

Everybody  Likes  Musle  Mar.    9  19'/?.. 

Henry  the  Ape  Jan.  26  2  rls. 

Bert  Lahr 


Title  Rel.    Date  Min. 

If  This  Isn't  Love  Sept.  28  2|i/2.. 

Spirit  of  1976   Feb.  I5,'35. 21(4. . 

MUSICOMEDIES  SERIES 

CRuth  Etting) 

An  Old  Spanish  Onion  Mar.  I,'35.20  

Bandits  and  Ballads  Dec.    7  18'/2.. 

Southern   Style   Sept.  14  20  

Ticket  Or  Leave  It  May  26,'35  

PATHE  NEWS 
Released  twice  a  week 

PATHE  REVIEWS  (1933-1934) 
Released  once  a  month 

PATHE  TOPICS 
Released  seven  times  a  year 

RAINBOW 

PARADE  CARTOONS 

Japanese  Lantern   

Parrotville  Old  Folks  Jan.  25,'35..7  

Spinning  Mice   

Sunshine  Makers,  The  Jan.  Il,'35..8  

SOGLOW'S   "THE  KING" 
CARTOONS 

Cactus  King   June   8  Irl.. 

SPECIALS 

Century  of  Progress  June  15  22.... 

Grand  National  Irish 

Sweekstakes  Race,  1934... Apr.    2  10  

La  Cucaracha   Aug.  31  20'/2.. 

Steffi  Duna-Don  Alvarado 

(Technicolor) 

TODDLE  TALE 
CARTOONS 

A  Little  Bird  Told  Me  Sept. 

VAGABOND  ADVENTURE 
SERIES 

Damascus   June   8  I  rl. 

Eyes  on   Russia   Aug.   9  II... 

Fakeers  of  the  East  Dec.    7  I81/2. 

Isle  of  Spice   Jan.  1 1,'35.  lO'A . 

Jamaica   

Red   Republic   Sept.  21  10... 


Title 


Rel. 


Date 

19.  .  . 


STATE  RIGHTS 

CARTOON  EXHIBITORS 

Off   All   Things  4. 

CENTRAL 

Child  of  Mother  India  30. 

Hindu   Holiday   9. 

MARY  WARNER 
Olympic  Winter  Sports 

Capital   S. 

METROPOLITAN  LIFE 
Once  Upon  a  Time  10. 


UNITED  ARTISTS 


Rel.  Date 


Min. 


..9.... 
..7.... 


Title 

MICKEY  MOUSE 

5.  Gulliver  Mickey   May  19.. 

6.  Mickey's  Steamroller. ...  June  15.. 

7.  Orphans'  Benefit   Aug.  II  9.... 

8.  Mickey  Plays  Papa  Sept.  29  

9.  The  Dognappers   Nov.  10  

10.  Two-Gun  Mickey   Dec.  25  8  

11.  Mickey's  Man  Friday. .  .Jan.  17, '35.. 7  

12.  Band  Concert   Feb.  23,'35  

SILLY  SYMPHONIES 

6.  The  Wise  Little  Hen. ..June   7  1  rl.. 

7.  The  Flying  Mouse  July  12  7  

8.  Peculiar  Penguins   Sept.  6  8.... 

9.  Goddess  of   Spring  Nov.  I  

10.  The  Golden  Touch  ;  


UNIVERSAL 


Rel.  Date 


Title 

CARTUNE  CLASSICS 

No.    I— Jolly  Little  Elves..  Oct.     I  9 

No.    2 — Toyland    Premiere. .  Dec.  10  9 


Min. 


GOING  PLACES 

with  LOWELL  THOMAS 

No.    2   Oct.    8  Irl.. 

No.   3   Nov.    5  1  rl. . 

No.   4   Dec.    3  1  rl.. 

No.    5   Dec.  31  I  rl. . 

No.    6   Jan.  I4,'35..9.... 

No.    7   Feb.  I8,'35.  .9. . .  . 

No.    S   Mar.  25,'35  

GOOFYTONE  NEWS 
No.    7   Apr.  30  9.... 


OSWALD  CARTOONS 

Do  a  Good  Deed   Mar.  25,'35. .  1  rl. 

Hill  Billys   Feb.    I, '35.  .9... 

Robinson  Crusoe  Isle  Jan.  7,'35..9... 

Sky  Larks   Oct.  22  8... 

Spring  In  the  Park  tTov.  12  7... 

Two  Little  Lambs  Mar.  1 1,'35. .  I  rl. 

Wax  Works,  The  June  25  i... 

William  Tell   July    9  6... 

STRANGER  THAN 
FICTION  SERIES 

No.    I — Novelty   Aug. 

No.    2— Novelty   Sept. 

No.   3— Novelty   Oct. 

No.   4— Novelty   Nov. 


No.    5— Novelty 


.  Dec. 


No.  6 — Novelty   Jan 

No.    7— Novelty   Mar. 

No.  8 — Novelty   Apr. 


27.... 
24.... 
22.... 
26.... 
17.... 
28,  "35. 
4,'35. 
I,'35. 


.9... 
10... 
.9.. 
.9... 
.9.. 
.«.. 
.8... 
.1  rl. 


UNIVERSAL  COMEDIES 

At  the  Mike  Oct.  10  20... 

(Mentone  No.  3-A) 
Demi  Tasse   Oct.    3  2  rls 

(Doane  Musical  No.  I) 
Desert    Harmonies  Apr.  I0,'35..2rls 

(Mentone  No.  12-A) 
Doln'  the  Town   Jan.  30,'35.I3... 

(Mentone  No.  9- A) 
Father  Knows  Best  Feb.  20,'35.  .2  rls 

Sterling  Holloway 
Gus  Van  and  His  Neighbors. .Sept.  19  18... 

(Mentone  No.  2-A) 


Henry's  Social  Splash  Dec. 

Henry  Armetta 
Here's  the  Gong  

(Mentone  No.  13-A) 

Hollywood  Trouble   .Jan. 

Just  We  Two  .Aug. 

Knickerbocker  Knights  ....Dec. 

Mentone 

Meet  the  Professor   Feb. 

(Mentone  No.  lO-A) 
Night  in  a  Night  Club,  A.. Sept. 

(Mentone  No.  I -A) 
Oh  What  a  Business  Nov. 

(Mentone  No.  5-A) 
Old  Age  Pension  Mar. 

Henry  Armetta 
Revue  a  la  Carte  Jan. 

Tom  Patricola 

(Mentone  No.  8) 
Sterling's  Rival  Romeo  Nov. 

Sterling  Holloway 
Telephone   Blues   Mar. 

(Mentone  No.  Il-A) 
Tid  Bits   Oct. 

(Doane  Musical  No.  2) 
Well,  By  George  Oct. 

(Mentone  No.  4-A) 

(Seorge  Price 
Whole  Show,  The  Dec. 

(Mentone  No.  7-A) 

James  Barton 
World's  Fair  and  Warmer.. Oct.  17. 


Min 

,21 . 


9,' 35. 20. 
8... .19. 
12  20. 

13, '35. 19. 

2. ...18. 

26  2  rls 

27,'35.  .2  rls 

I6,'35.I7... 

14  2  rls. 

13, '35, .2  rls 

24  2  rls 

31. ...20... 


26. 


.20... 


.22. 


7  5.  ..    VITAPHONE  SHORTS 


Title  Rel.  Date  Min. 

BIG  V  COMEDIES 

No.  20 — Daredevil  0' Dare. .  Aug.  II  19... 

Ben  Blue 
1934-35 

All  Sealed  Up  Sept.  15  19  

Ben  Blue 

Get  Rich  Quick  Apr.  20,'35.  .2  rls. 

Alien  Jenkins 
His  First  Flame  Mar.  9,'35  

Shemp  Howard 

Daphne  Pollard 
Oh  Sailor  Behave  Sept.29  17  

El  Brendel 

Old  Gray  Mayor,  The  Apr.  6,'35..2rls. 

Bob  Hope 

Smoked  Hams   Oct.  20  18.... 

Shemp  Howard 

Daphne  Pollard 
So  You  Won't  T-T-T-Talk.  Nov.    3. ...20.... 

Roscoe  Ates 

Out  of  Order  Nov.  17  19  

Ben  Blue 

Vacation  Daze   2  rls. 

Jenkins  &  Donnelly 
Dizzy  and  Daffy  Dec.  15  19  

Dizzy  and  Daffy  Dean 
Once  Over  Lightly  Jan.  I2,'35..2  rls. 

Roscoe  Ates 

Radio  Scout   Jan.  26, '35. 19  

El  Brendel 


.20... 

.20... 
.21... 

.19.. . 

.21... 
.20... 
.19... 


BROADWAY  BREVITIES 

No.  32— The  Policy  Girl...  Aug.  II.. 
Mitzi  Mayfair- Roscoe  Alls 
1934-1935 

Syncopated  City   Sept.  I.. 

Hal  LeRoy- Dorothy  Dare 
Paree,  Paree   Sept.  8.. 

Dorothy  Stone- Bob  Hope 
Good   Morning  Eve  Sept.  22.. 

Leon  Errol 

(Technicolor) 
No  Contest   Oct.    6. . 

Rutli  Etting 
Off  the  Beat  Oct.  18.. 

Morton  Downey 
The  Flame  Song  Oct.  27.. 

Bernice  Claire- 

J.  Harold  Murray 
Gem  of  the  Ocean  .Nov.  19  20... 

Jeanne  Aubert 
Gypsy  Sweetheart   Mar.  30,'35.  .2  rl 

Winifred  Shaw- 
Phil  Regan 

Hear  Ye!  Hear  Ye!   Dec.  22  2  rls. 

Vera  Van  and  the 

Yacht  Club  Boys 
See,  See,  Senorita   Jan.  I2,'35..2rls 

Tito  Guizar  Armida 
What,  No  Men?   Jan.  5,'35.2I... 

El  Brendel-Phll  Regan 

(Technicolor) 
Soft  Drinks  &  Sweet  Music  Dec.    8  20... 

George  Price-Sylvia  Frees 
Show  Kids   .Jan.  5,'35.20... 

Maglln  Kiddies 

Tad  Alexander 
Radio  Silly    Jan.    9,'35..2  rh 

Cross  &  Dunn 
Cherchez  La  Femme  .Feb.   2,'35..2  rh 

Jeanne  Aubert 
In  the  Spotlight   Feb.  22, '35.. 2  rli 

Hal  LeRoy  &  Dorothy  Lee 
Mr.  &   Mrs.  Melody  .Mar.  I6,'35  

llOmay  Bailey — Lee  Sims 
Shoestring  Follies  .Feb.  I6,'35..2rls 

Eddie  Peabody 
Singing  Silhouette,  The. . .  .  Mar.  I6,'35.  .2  rls. 

Olga  Baclanova 
Castle  of  Dreams,  The  Apr.   6,'35..2  rl 

Morton  Downey 
Cure  It  With  Music  Apr.  I3,'35..2  rls 

Fifl  D'Orsay 
In  This  Corner  Apr.  27,'35..2  rls 

Pick  and  Pat- Roscoe  Ails 


LOONEY  TUNES 

No.  II — Buddy's  Circus   Irl.. 

No.  12— Buddy  the  Detective  Irl.. 

No.  13— Viva  Buddy   I  rl.. 

(1934-1935) 

No.    I — Buddy's  Adventures   I  rl.. 

No.    2— Buddy  the  Dentist  I  rl.. 

No.  3 — Buddy  of  the 
Legion   7.... 


10. . . 
10... 


I  rl. 
I  rl. 


.1  rl. 

.  I  rl. 


Title  Rel.  Date  Min. 

No.  4 — Buddy's    Theatre  I  rl.. 

No.  5 — Buddy's    Pony  Ex- 
press  I  rl. . 

MELODY  MASTERS 
1934-1935 

Mirrors   Sept.   8,,,,  1 1  

Freddy  Rich  &  Orchestra 
Phil  Spitalny  and  His 

Musical  Queens   Oct.     6  10  

Richard  Himber  and  His 

Orchestra   Nov.    3  10,.., 

Don  Redman  and  His  Band,  Dec.  29  10  

Will  Osborne  and  His  Or- 
chestra  Dec.  I  

A  &  P  Gypsies  Jan.  26,'35. 

Harry  Horlick 

Charlie  Davis  and  Band  Feb.  I6,'35. 

Rimac's  Rhumba  Orchestra, Apr.  13, '35. 
Barney  Rapp  and  His  New 

Englanders   Mar.  16,'3S. 

Freddy    Martin    and  His 

Orchestra   May  1 1, '35, 

MERRIE  MELODIES 

1934-35  (In  Color) 

No.    I — Those  Beautiful  Dames  7... 

No.    2 — Pop  Goes  My  Heart  7... 

No.    3— Mr.  &  Mrs.  Is  the 

Name   7... 

No.    4 — Country  Boy   7... 

No,    5—1  Haven't  Got  a  Hat  1  rl, 

SEE  AMERICA  FIRST 

E.   M.  NEWMAN 

No.    I — Pilgrim  Days   Oct. 

No.  2 — Boston  Tea  Party. .Nov. 
No.  3 — Hail  Columbia  ...  Dec. 
No.  4 — Remember  the 

Alamo   Dec. 

No.    5 — Trail  of  the  49ers,  .Jan, 

No.  6 — Dixieland   Feb. 

No.  7 — Blue  and  the  Gray. Mar. 
No.  8 — The  Mormon  Trail.  Mar. 
No.  3 — Westward  Bound  ..Apr. 
Ne.  10 — Remember  the 

Maine   May 

PEPPER  POT 

1 934.35 

Little  Jack  Little  Sept. 

Radio  Reel  No.  1  Sept. 

Mr.  and  Mrs.  Jesse  Crawford  .Sept. 

Vaudeville  Reel  No.  I  Oct. 

Movie  Memories   Oct,   27  8. 

Songs  That  Live  Nov.  10  9. 

Gus  Edwards 
Two  Boobs  in  a  Balloon  

Edgar  Bergen 

Good   Badminton   Nov.  24  

Stuffy's  Errand  of  Mercy.,, Dec.  15,,.. 
Listening  In   Dec.  8  

Radio  Reel  No.  2 

Vaudeville  Reel  No.  2  Dec.  29.... 

Harry  Von  Tilzer   Jan.  5,'35. 

Chas.  Ahearn   Jan.  I9,'35. 

A  Trip  Thru  a  Hollywood 

Studio   Feb.  2,'35. 

We  Do  Our  Part  Feb.  9,'35. 

Radio  Reel  No.  3 

Vaudeville  Reel  No.  3  Feb.  I6,'35. 

Guess  Stars   Mar. 22,'35. 

Radio  Ramblers 

Billy  Hill   Mar.  I6,'35. 

Eggs  Marks  the  Spot  Mar.30,'35. 

Radio  Reel  No.  4 
Some  Bridge  Work  Apr.  I3,'35. 

E3sy  A  cos 

Vaudeville  Reel  No.  4  Apr.  27,'35. 


27.... 
17..., 
8.... 

20.... 
I9.'35. 

9,'35. 

2,'35. 
23,'35. 
I3,'35. 

4,'35. 


15... 
29... 
13... 
27... 
10... 


II... 
II... 
10... 

10... 
10... 
10... 
10... 

'.irl'. 

.  I  rl. 


.  1  rl . . 
.9.... 
10.  ,. 

10,... 
10.... 
10.... 

.8  

.  I  rl . . 

.  I  rl.. 
10.... 


.1  rl.. 
.1  rl.. 


SEI^IALS 

12  Episodes  Each  Unless  Otherwise  Specified 
Title  Rel.  Date  MIn. 

FIRST  DIVISION 

Young  Eagles   July    1  2  rls. 

Boy  Scouts 

MASCOT 


Burn  'Em  Up  Barnes  June 

Jack  Mulhail-Lola  Lane- 

Frankie  Darro 
Lost  Jungle.  The  June 

Clyde  Beatty 
Law  of  the  Wild  Sept. 

Rex,  Rin  Tin  Tin,  Jr. 

Ben  Turpin,  Bob  Custer 
Mystery  Mountain   Dec. 

Ken  Maynard-Verna  Hillie 
Phantom  Empire   Feb.  23, '35.  .2  rls. 

Gene  Autry-Frankie  Darro  (each) 


16  2  rls. 

(each) 

13  2  rls. 

(each) 
5  2  rls. 

(each) 

3  2  rls. 

(eaeh) 


PRINCIPAL 


Chandu  on  the  Magio  Island  

Bela  Lugosi-Maria  Alba 

Return  of  Chandu,  The  Oct.  I  

Bela  Lugosi-Maria  Alba  (Seven-reel  featur* 
followed  by  el|M 
two-reel  episodes) 


UNIVERSAL 


Call  of  the  Savage  Apr.  I5,'35.20  

Ntah  Beery,  Jr.  (each) 

Red  Rider.  The  July  16..., 20.... 

Buck  Jones  (eaeb) 

(15  episodes) 
Rustler's  of  Red  Dog  Jan.  2I,'35.20  

John  Mack  Brown  (eith) 

Tailspin  Tommy   Oct.  29  20  

Maurice  Murphy-  (each! 

Noah  Beery,  Jr. 
Vanishing  Shadow,  The  Apr.  23  20  

Onslow  Stevens-Ada  Ince  (each) 


78 


MOTION    PICTURE  HERALD 


March    16,  1935 


CLASSiriED 
ADVECTISINe 


the  greai 
national  medium 
for  showmen 


Ten  cents  per  word,  money-order  or  check  with  copy.  Count  initials,  box  nunnber  and  address.  Mininnum  insertion, 
$1.    Four  insertions  for  the  price  of  three.    Contract  rates  on  application.    No  borders  or  cuts.    Forms  close 
Mondays  at  5  P.M.    Publisher  reserves  right  to  reject  any  copy.   Address  correspondence,  copy  and  checks  to 
MOTION  PICTURE  HERALD,  Classified  Dept.,  1790  Broadway,  New  York  City 


USEO  ECLIPMENT 


UNUSUAL  BARGAINS  IN  USED  OPERA 
chairs,  sound  equipment  moving  picture  macliines, 
screens,  spotlights,  stereopticons,  etc.  Projection 
machines  repaired.  Catalog  H  free.  MOVIE  SUPPLY 
COMPANY,   Ltd.,   844   So.    Wabash   Ave.,  Chicago. 


BARGAINS  RECONDITIONED  ARCTIC  NU-AIR, 
Supreme,  American  Blowers,  noiseless  drives,  hy- 
draulic variable  speed  pulleys.  New  air  washers. 
Catalog  mailed.  SOUTHERN  FAN  CO.,  11  Elliott, 
Atlanta,  Ga. 


WISE  EXHIBITORS  KNOW  WHERE  TO  BUY 
those  good  guaranteed  rebuilt  Simplex  and  Powers 
projectors,  reflector  lamps,  rectifiers,  Mazda  equip- 
ment, sound  accessories,  parts,  supplies.  Quality  bar- 
gains always.  Free  catalog.  Play  safe  with  MONARCH 
THEATRE  SUPPLY  CO.,  Memphis,  Tenn.  Estab- 
lished 25  years. 


NOV  ECUIPMENT 


COMPETITORS  KICKING  ABOUT  THESE 
prices — sound  screens.  Beaded,  diffusive,  Ortho  Krome, 
regularly  75c,  now  29c  square  foot;  14"  reels  2000'; 
regularly  $1.50',  now  39c;  Weston  ammeters,  0/50 
scale  for  rectifiers,  generators,  arcs,  reguarly  $10.00, 
now  $2.25;  fireproof  approved  enclosed  rewinds,  regu- 
larly $75.00,  now  $29.75.  Cash  with  order.  S.  O.  S., 
1600  Broadway.  New  York. 


WANTED  T©  BUT 


HIGHEST  PRICES  PAID  SIMPLEX.  POWERS, 
arc  lamps,  rectifiers.  lenses,  portables.  Stocks 
liquidated.  Strictly  confidential.  BOX  532,  MOTION 
PICTURE  HERALD. 


ORGANS— WE  BUY  ALL  MAKES  OF  USED 
organs  for  cash.  DELOSH  BROTHERS,  3508-105th 
St.,  Corona,  L.  I. 


CI^USiiES  ANID 
SUi^l^LIES 


SIGN  PAINTERS'  BRUSHES  AND  SUPPLIES. 
Write  for  FREE  catalog.  DICK  BLICK  COMPANY, 
Box  43,  Galesburg,  Dlinois. 


GENEI^AL 
ECUIi^AiENT 


CINEMAPHONE  LEADS  FIELD  —  AMPLIFIERS, 
soundheads,  tweeters,  woofers,  perfect  results,  lowest 
prices.    S.  O'.  S.,  1600  Broadway,  New  York. 


NOW  AVAILABLE;  POWERS  SEMI-PORTABLE 
sound  projectors  at  bargain  prices.  Simplex,  Holmes, 
Acme.  DeVry — bought  and  sold.  Large  selection  of 
sound  Westerns,  comedies,  cartoons  in  perfect  condi- 
tion. Big  list.  ZENITH  THEATRE  SUPPLY  CO., 
Inc.,  308  W.  44th  St.,  New  York. 

NEW  REFLECTOR  ARC  LAMPS  OR  RECTI- 
fiers,  $49.50 — replace  inefficient  Mazdas,  old  fashioned 
straight  arcs.    S.  O.  S.,  1600  Broadway,  New  York. 

FIRE  PREVENTION:  BOOTH  CABINETS  TEN 
individual  compartments  for  1,000  ft.  reels,  you  should 
have  one  by  all  means,  $7.00.  Safety  bucket  tanks 
with  pails  $10.00.  CRO'WN.  311  West  44th  St.,  New 
York. 

SPECIAL  !-ONLY  WHILE  THEY  LAST.  PAIR 
first  class  rebuilt  Peerless  low  intensity  lamps  with 
new  handy  30  ampere  rectifiers,  $375.  One  year  guar- 
antee. MONARCH  THEATRE  SUPPLY  CO., 
Memphis,  Tenn. 

CARBON  SAVERS,  AT  YOUR  PRICE  $1.25  PAIR. 
Get  yours  while  they  last.  CROWN,  311  West  44th 
St.,  New  York. 

SUPPLIES,  EQUIPMENT,  REPAIR  PARTS  FROM 
307o  to  40%  off!  Lists,  catalogs  free.  TROUT 
THEATRE  EQUIPMENT  CO.,  Enid,  Okla. 

SENSATIONAL  BARGAINS :  REFLECTOR 
lamps.  $25.00;  rectifier  tubes,  $9.00.  Send  for  new 
literature.  WESTERN  MOTION  PICTURE  CO., 
Danville,  111. 


POINTING  SEI^VICE 


100  WINDOW  CARDS.  14  x  22,  3  COLORS,  $3.75; 
no  C.O.D.    BERLIN  PRINT,  Berlin,  Md. 


NEARGRAVURE— 125  LETTERHEADS,  125  EN- 
velopes,  $1.89  delivered.    SOLLIDAYS,  Knox,  Ind. 


ECUIP/HENT 
EXCHANGE 


IF  YOU  WANT  TO  REPLACE  ANY  TYPE  OF 
equipment  with  brand  new  material  we  will  be  glad 
to  make  an  allowance  on  your  old  equipment  and  a 
better  price  on  new  equipment.  Let  us  know  what  you 
need  and  what  you  want  to  exchange  and  we  will  send 
complete  details  on  our  proposition.  EQUIPMENT 
EXCHANGE,  care  of  MOTION  PICTURE  HERALD, 
1790  Broadway,  New  York  City. 


SCUNE)  ECLtll^AiENT 


FREQUENCY  FILM,  COPYRIGHTED  INSTRUC- 
tions,  9,000  cycle,  $1.50.  Buzz  and  chopper  track,  $2.50. 
Combination  of  both,  $3.00.  You're  practically  helpless 
without  them.    S.  O'.  S.,  1600  Broadway,  New  York. 


"WHEN  WILL  IT  WEAR  OUT?",  WRITES 
Brunker,  Wainwright,  Alberta.  "Two  years  old — no 
trouble."  Cinemaphone  is  real  sound,  real  cheap. 
S.  O.  S.,  1600  Broadway,  New  York. 


REPRESENTATIVES 


WANT  LIVE-WIRE  AGENTS  ANYWHERE  TO 
sell  nationally  advertised  sound  projection  equipment, 
portable  and  permanent  supplies,  parts,  etc.  BOX  531, 
MOTION  PICTURE  HERALD. 


TRAINING  SCIiCCLS 


LEARN  MODERN  THEATRE  MANAGEMENT. 
Catalog  free.  THEATRE  MANAGERS  INSTITUTE, 
315  Washington  St.,  Elmira,  New  York. 


THEATRES  EGR 
SALE 


BEST  SMALL  TOWN  THEATRE  IN  MARYLAND. 
Terms  if  desired.  BOX  528,  MOTION  PICTURE 
HERALD. 


UNUSUAL  OPPORTUNITY.  SETTLING  ESTATE. 
Good  paying  proposition.  Sale  only.  No  triflers.  BOX 
533,  MOTION  PICTURE  HERALD. 


THEATRE  FOR  SALE  OR  LEASE,  NEAR  NEW 
YORK.    BOX  530,  MOTION  PICTURE  HERALD. 


TEGHNIGAL 

BGGrS 


"RICHARDSON'S  HAND  BOOKS  OF  PROJEC- 
tion"  in  three  volumes.  Universally  accredited  as  the 
best  and  most  practical.  Aaron  Nadell's  "Projection 
Sound  Pictures."  Complete  information  on  sound 
equipment.  Both  text  books  complete  for  $12.80. 
QUIGLEY  BOOKSHOP,  1790  Broadway,  New  York. 


Day-after-Day 

EXCELLENCE 


EASTMAN  Super-Sensitive  ^^Pan" 
Negative  has  played  a  part  in  pro- 
ductions that  marked  veritable  milestones 
in  cinematic  progress.  Yet  its  success 
in  these  outstanding  pictures  is  based 
upon  the  same  dependability  it  offers 
cameramen  and  producers  every  day  in  the 
year.  Unfailing,  day-after-day  excellence  is 
the  quality  that  makes  this  film  the  natural 
choice  {or  the  screen's  greatest  ventures. 
Eastman  Kodak  Company,  Rochester, 
N.  Y.  (J.  E.  Brulatour,  Inc.,  Distributors, 
New  York,  Chicago,  Hollywood.) 


EASTMAN  Super-Sensitive 
Panchromatic  Negative 


ing  a  New  High  for  Dough! 


fUOTION  PICTURE 


A  CONSOLIDATION  OF  EXHIBITORS  HERALD-WORLD  AND  MOTION  PICTURE  NEWS 


Sales  Season  Advanced 
From  One  To  Two  Months 


Large  Companies  Launch  Preliminary 
Plans  for  Conventions,  Policies  and 
Product  for  1935-36;  Limit  Releases 
to  This  Season's  Total;  Twenty-one 
New  Independents 


» 


» 


Stage  Show  Bookings 
Up  40  To  60  Per  Cent 

300  to  350  Acts  Now  Weekly  Average 
of  Engagements;  Increased  Activity 
Chiefly  in  East,  but  Bookings  in 
Chicago  Area  Are  Almost  Doubled 


^EXT  WEEK:  "THE  FALLACY  OF  THE  ART  THEATRE 


jr^l       I  I  Q     Kir\     I  O    Entered  as  second-class  matter.  Januarv  12.  1931.  at  the  Post   Office,  at  Neiv  York,  N.  Y.,  under  the  act  of  March  3,  1879.  Pub-  LA  AD     U  ^  l-OJiJ:^ 


THERE'S  ONE 

THING  THEY'LL 
AGREE  ON- 


^^^^  ^^^^ 


e 


MAUGHTY  MARIETTA 

:arring  JEANETTE  MacDONALD  and 
lELSON  EDDY  with  Frank  Morgan, 
•ouglas  Dumbrille.  Music  by  Victor 
Lerbert.  A  W.  S.  Van  Dyke  Production, 
ook  and  Lyrics  by  Rida  Johnson  Young, 
reduced  by  Hunt  Stromberg.  A  Metro- 
Joldwyn-Mayer  Picture. 


RECKLESS 

starring  JEAN  HARLOW  and  WILLIAM 
POWELL  with  Franchot  Tone,  May 
Robson,  Ted  Healy,  Nat  Pendleton, 
Robert  Light.  Produced  by  David  O, 
Selznick.  Directed  by  Victor  Fleming. 
A  Metro-Goldwyn-Mayer  Picture. 


■^v  H 


NEXT  ATTftACTION/ 

JolfON 

KeeLeb 

GO  INTO 

youi^ 

DANCE^ 


MOTION  PICTURE  HERALD 


Vol.  118,  No.  12 


March  23,  1935 


"SHE  VS.  HE" 


"T 


HE  Broadway  theatre  faces  a  chaotic  world  with  Its 
head,  as  usual,  resting  contentedly  In  the  sand,"  reads 
the  headline  epitomizing  a  piece  by  Mr.  Brooks  Atkin- 
son on  the  subject  of  the  drama  in  the  New  York  Times. 
Without  any  special  Impatience,  Mr.  Atkinson  observes  that 
"the  Senator  from  Louisiana"  and  "the  priest  from  Detroit" 
have  "more  influence  on  public  opinion  than  all  the  plays  the 
stage  performs." 

In  terms  of  mass  numbers  probably  Mr.  Atkinson  Is  right. 
In  any  event  nothing  could  be  done  about  it  by  the  stage  no 
matter  how  hot  and  contemporary  it  might  become. 

Again,  let  us  insist.  It  is  not  the  function  of  either  the  stage 
or  screen  to  try  to  save  the  nation.  Dramas  of  purpose  sell 
only  to  the  purposeful,  and  that's  not  very  many.  "She  vs.  He" 
will  continue  to  be  the  basic  theme  for  entertainment  purposes, 
and  there  can  be  no  charge  of  bias,  because  the  screen  always 
shows  both  sides,  and  often  too  much  of  both. 

AAA 

MODELS'  SWEETHEARTS 

SPEAKING  of  "the  Senator  from  Louisiana,"  we  are  re- 
minded that  the  manikins  and  models  of  the  Professional 
Models  League  of  New  York  were  polled  the  other  day 
with  the  question: 

"Who  In  the  public  eye  today,  married  or  single,  would  you 
choose  as  your  ideal  sweetheart?" 

When  the  votes  were  counted  Senator  Huey  Long  led  all 
the  rest.  Second  was  the  Tarzanic  Mr.  Johnny  Weissmuller,  and 
third  was  Mr.  Clark  Gable,  the  same  whose  hometown  church 
at  Hopedale,  Ohio,  prayed  for  him  last  week. 


AAA 


FAME  IN  WAX 


WE  find  we  are  on  a  committee  to  elect  "six  out- 
standing motion  picture  personalities"  to  be  pre- 
sented life  size  in  wax  in  the  motion  picture  division 
of  the  Los  Angeles  Museum,  presided  over  by  Mr.  Earl  Thelsen, 
engineer  and  archeologlst  of  the  screen.   Our  nominations  are: 


Mary  Pickford 
Lon  Chaney 
William  S.  Hart 


Charles  Chaplin 
Rtidolph  Valentino 
Douglas  Fairbanks 


All  manner  of  good  and  important  names  crowd  into  mind 
when  the  chore  of  such  a  compilation  comes  along.  Conspicu- 
ously important  today  are  Will  Rogers,  Eddie  Cantor,  George 
Arliss  and  Wallace  Beery.  And,  too,  the  memory  of  Marie 
Dressier  Is  still  green.  But  if  the  wax  works  are  to  be  especially 
of  the  motion  picture  It  might  be  well  to  devote  them  to  per- 


sonalities more  peculiarly  of  screen  making  as  opposed  to  those 
who  have  transplanted  to  the  pictures  talent  revealed  and  de- 
veloped In  other  media.  Meanwhile  if  you  do  not  like  the  list, 
send  In  your  own. 

AAA 
LEST  WE  FORGET 

TWENTY  years  ago  this  week  Broadway  was  considerably 
thrilled  by  the  fact  that  a  picture  called  "The  Birth  of  a 
Nation,"  playing  at  the  Liberty  Theatre  at  a  two  dollar 
top,  was  promising  to  be  a  long  run  hit. 

Turning  back  the  pages  In  the  long  ranks  of  files  that  line 
the  halls  of  Quigley  Publications  office  to  the  thin  volumes  of 
the  days  when  we  were  young,  we  came  today  to  the  news 
story,  which  observed: 

No  picture  presented  in  New  York  has  been 
viewed  by  more  exacting  spectators,  and  few,  if  any, 
have  elicited  such  spontaneous  and  frequent  ap- 
plause. .  .  .  Mr,  Griffith — in  a  few  concise  sentences, 
delivered  clearly  and  with  dignity,  said  that  his  aim 
was  to  place  pictures  on  a  par  with  the  spoken  word 
as  a  medium  for  artistic  expression.  .  .  .  "The  Birth 
of  a  Nation"  looks  like  a  sensational  success. 


Right,  as  usual. 


AAA 


RICHARD  B.  HARRISON 


II  /^~^   ANGWAY  for  Richard  B.  Harrison,"  writes  P.P. A. 
I     ^    And  all  the  world  is  softly  saddened  at  the  passing 
V—*'^     of  that  kindly,  dusky  old  philosopher  who  played  the 
role  of  the  Lord  God  Jehovah  in  "The  Green  Pastures." 

Someway  it  seems  too  that  the  simple  sincerity  of  this  able 
negro  actor  has  conferred  dignity,  honor  and  respect  upon  the 
show  business.  His  success  is  a  token  of  contribution  to  tradi- 
tion In  behalf  of  the  show  world  of  a  character  which  It  sorely 
needs. 

In  part,  of  course,  the  role  made  the  man,  but  It  had  rare 
material  with  which  to  build. 

It  Is  of  Interest,  too,  to  observe  that  the  world  fame  that  Mr. 
Harrison  won,  of  a  quality  that  few  actors  indeed  have  enjoyed, 
was  made  by  some  sixteen  hundred-and-odd  stage  appear- 
ances, in  total  less  than  the  appearances  achieved  by  many  a 
screen  player  In  a  hit  production  in  two  weeks. 

Mr.  Harrison  did  It,  in  person. 

AAA 

LATEST  sound  gadget:  "The  silent  dog  whistle,"  pitched  so 
high  it's  above  the  range  of  the  human  ear,  but  audible 
at  long  ranges  to  dogs,  which  obviously  makes  even  the 
lowly  dachshund  super-human. 


MOTION  PICTURE  HERALD 


MARTIN  QUIGLEY,  Editor-in-Chief  and  Publisher 

Incorporating  Exhibitor's  Herald,  founded  1915;  Motion  Picture  News,  founded  1913;  Moving  Picture  World,  founded  1907;  Motography,  founded  1909;  The  Filnn  Index, 
founded  1906.  Published  every  Thursday  by  Quigley  Publishing  Company,  1790  Broadway,  New  York  City.  Telephone  Circle  7-3100.  Cable  address  "Quigpubco,  New  York." 
Martin  Quigley,  Editor-in-Chief  and  Publisher;  Colvin  Brown,  Vice-President  and  General  Manager;  Terry  Ramsaye,  Editor;  Ernest  A.  Rovelstad,  Managing  Editor;  Chicago 
Bureau,  407  South  Dearborn  Street,  Edwin  S.  Clifford,  manager:  Hollywood  Bureau,  Postal  Union  Life  Building,  Victor  M.  Shapiro,  manager;  London  Bureau,  Remo  House,  310 
Regent  Street,  London  W  I,  Bruce  Allan,  cable  Quigpubco  London;  Berlin  Bureau,  Berlin-Templehof,  Kaiserin-Augustastrasse  28,  Joachim  K.  Rutenberg,  representative;  Paris 
Bureau,  19,^  Rue  de  la  Cour-des-Noues,  Paris  20e,  France,  Pierre  Autre,  representative,  cable  Autre-Lacifral-20  Paris;  Rome  Bureau,  Viale  Gorizia,  Rome,  Italy,  Vittorio  Malpassuti, 
rep.-esentative,  Italcable,  Malpassuti,  Rome;  Sydney  Bureau,  600  George  Street,  Sydney,  Australia,  Cliff  Holt,  representative;  Mexico  City  Bureau,  Apartado  269,  Mexico  City, 
Mexico,  James  Lockhart,  representative;  Prague  Bureau,  Na  Slupi  8,  Prague  II,  Czechoslovakia,  Harry  Knopf,  representative;  Cape  Town  Bureau,  10  St.  George's  Villas,  Green 
Point,  Cape  Town,  South  Africa,  H.  Hanson,  representative;  Budapest  Bureau,  3,  Kaplar  -u,  Budapest,  Hungary,  Endre  Hevesi,  representative;  Buenos  Aires  Bureau,  Cuenca  52, 
Buenos  Aires,  Argentina,  N.  Bruski,  representative.  Member  Audit  Bureau  of  Circulations.  "  All  contents  copyright  1935  by  Quigley  Publishing  Company.  Address  all  corre- 
spondence to  the  New  York  Office.  Better  Theatres,  devoted  to  the  construction,  equipment  and  operation  of  theatres,  is  published  every  fourth  week  as  section  2  of  Motion 
Picture  Herald.    *  Other  Quigley  Publications:  Motion  Picture  Daily,  the  Motion  Picture  Mmanac,  published  annually,  and  the  Chicagoan. 


MOTION    PICTURE  HERALD 


March    23.  1935 


THIS  WEEK--- 


OP 


DAYLIGHT  SAVING 

Theatre  owners,  night  club  operators 
and  organized  labor  descended  in  con- 
centrated force  on  the  Cleveland  city 
council  to  protest  a  plan  to  inaugurate 
daylight  saving.  J.  N.  Unger,  represent- 
ing downtown  theatres,  and  Ernest 
Schwartz,  exhibitor  association  president, 
declared  daylight  saving  elsewhere  has 
caused  attendance  drops  of  20  to  30  per 
cent.  .  .  . 

CONSOLIDATED  NET 

Consolidated  Film  Industries,  Inc.,  for 
the  year  ended  December  31,  1934,  re- 
ports a  net  of  $917,160,  after  deprecia- 
tion. Interest,  federal  taxes  and  other 
charges,  equal  to  22  cents  a  share  on  the 
common  stock  after  provision  for  a  $2 
annual  preferred  dividend.  The  1933  net 
equaled  $909,388,  or  21  cents  per  com- 
mon share.  .  .  . 

"BEST"  PERFORMANCES 

Dissatisfied  with  the  actor  award  of  the 
Academy  of  Motion  Picture  Arts  and 
Sciences,  the  Buffalo  "Times,"  at  the  sug- 
gestion of  Mayor  George  J.  Zimmermann, 
polled  its  readers,  found  the  top  choice 
among  men  to  be  Robert  Donat  for  his 
work  In  "The  Count  of  Monte  Cristo," 
among  women  a  duplication  of  the 
Academy  award,  Claudette  Colbert,  for 
"It  Happened  One  Night."  .  .  . 

UNION  EMERGENCY 

To  aid  the  400  unemployed  of  New 
York's  Projectionist  Local  No.  306,  with 
total  membership  of  1,800,  the  supervising 
lATSE  has  ordered  all  employed  members 
to  work  four  days  a  week  instead  of  five, 
exercising  its  emergency  power.  Picketing 
of  local  houses  has  been  resumed  with 
the  end  of  the  NRA  fact-finding  commit- 
tee's unsuccessful  deliberations.  .  .  . 

"CLOTHATOON" 

In  "The  Calico  Dragon,"  new  Harmon- 
ising cartoon  subject,  produced  for  MSM 
in  natural  color,  all  of  the  characters,  back- 
grounds, other  scenic  effects  are  to  be  of 
cloth,  of  various  materials,  diversified 
colors.  A  blue  gingham  river,  a  calico 
horse,  a  Scotch  plaid  dog,  trees  of  yarn, 
bfrds  of  silk  are  in  the  novel  "clothatoon." 

HOUSE  MANAGER 

Returning  "home,"  S.  Barret  McCor- 
mick,  RKO  Radio  director  of  advertising 
and  publicity,  this  Friday  is  to  be  guest 
manager,  for  one  night,  of  the  Indianapolis 
Circle,  showing  RKO's  "Laddie."  Mr. 
McCormick  was  the  first  managing  di- 
rector of  the  Circle  15  years  ago.  .  .  . 


SOUTH'S  IMPROVEMENT 

A  general  Improvement  over  last  year, 
with  conditions  in  the  South  today  "all 
right,"  was  the  opinion  of  H.  F.  Kincey  of 
the  Kincey-Wilby  southern  circuit,  ex- 
pressed in  New  York  last  week.  He  is  in 
a  position  to  know,  since  the  circuit  oper- 
ates 53  houses  in  the  Carolinas,  25  in 
Alabama,  and  has  renovated  and  acquired 
theatres  recently.  .  .  . 

CENTRAL  CITY  PLAY 

Robert  Edmund  Jones,  noted  designer, 
at  work  on  the  Pioneer-RKO  color  version 
of  "Becky  Sharp,"  will  write,  direct  the 
annual  play  festival  at  Central  City,  Colo., 
centering  about  the  old  mining  camp  which 
was  once  Central  City.  Opening  will  be 
July  6,  the  play  to  run  several  weeks. 
Three  years  ago  the  festival  began,  show- 
ing, in  turn,  "Camille,"  "The  Merry 
Widow"  and  "Othello."  .  .  . 

CHILD  EXPERIMENT 

Planned  by  a  group  of  Boston  club- 
women is  sponsorship  for  juvenile  programs 
of  films  which  they  consider  unsuitable  for 
children,  the  showings  to  be  accompanied 
by  lectures  pointing  out  the  objectionable 
material.  The  experiment  is  designed  to 
bring  to  children  a  sense  of  entertainment 
values.  The  group  is  pressing  for  the  right 
to  preview  films  before  New  England  re- 
lease. .  .  . 


In  This  Issue 

New  sales  season  Is  advanced  from  one 

to  two  months;  Early  plans  detailed  Page  9 
Stage  show  bookings  Increase  40  to  60 

per  cent  in  two  years  Page  13 
It's  "Orgy  of  Blood-Letting"  In  current 

film  cycle,  says  writer  Page  16 
Originals   provide   material   for  40  per 

cent  of  product  Page  23 

Box  Office  Champions  for  February  Page  14 

FEATURES 

Editorial  Page  7 

The  Camera  Reports  Page  37 

The  Hollywood  Scene  Page  44 

J.  C.  Jenkins — hlis  Colyum  Page  58 

Productions  in  Work  Page  51 

Asides  and  Interludes  Page  31 

Code  Question  Box  Page  50 

DEPARTMENTS 

What  the  Picture  Did  for  Me  Page  61 

Showmen's  Reviews  Page  39 

Managers'  Round  Table  Page  65 

Technological  Page  47 

Short  Features  on  Broadway  Page  64 

Letters  from  Readers  Page  36 

The  Release  Chart  Page  73 

Box  Office  Receipts  Page  54 

Classified  Advertising  Page  78 


TRANS-LUX  STOCK 

New  York  Curb  Exchange  records  dis- 
close a  local  company  identified  as  "Af- 
filiates Equities"  has  disposed  of  a  block 
of  168,033  shares  of  Trans-Lux  Daylight 
Picture  Screen  Corporation  stock  to  an 
undisclosed  purchaser.  A.  M.  Andrews, 
former  director  of  Trans-Lux,  is  understood 
associated  with  the  seller.  .  .  . 

FRANK  JOYCE 

Frank  Joyce,  only  43,  died  this  week  in 
the  Good  Samaritan  Hospital,  Hollywood, 
after  a  year's  illness.  Born  in  Kansas  City, 
Kan.,  Mr.  Joyce  was  a  vaudeville  player 
as  a  young  man,  later  was  in  the  real  es- 
tate business,  then,  after  service  in  the 
navy  during  the  war,  was  engaged  in  the 
management  of  hotels  in  New  York  and  the 
south.  In  1928  he  joined  the  Joyce-Selz- 
nlck  talent  agency.  Surviving  are  his  wife, 
two  sons  and  a  sister.  .  .  . 

SUES  AMOS  'N'  ANDY 

Filed  in  New  York  supreme  court  this 
week  was  a  suit  against  Amos  'n'  Andy, 
black  face  perennials  of  the  radio  and  oc- 
casionally of  the  motion  picture,  by  Van 
Beuren,  which  charges  the  comedians 
broke  a  contract  in  1933  for  a  series  of 
short  films.  Damages  of  $181,995  are 
asked.  The  defendants  have  filed  counter 
charges.  ... 

PLAIN  TALK 

Explaining  action  of  the  Coast  Asso- 
ciation of  Motion  Picture  Producers  in 
denying  studio  credentials  to  a  representa- 
tive of  "Plain  Talk,"  Washington  maga- 
zine, Lupton  Wilkinson  of  the  MPPDA 
said,  "We  have  Instituted  .  .  .  regulations 
In  regard  to  our  pictures  and  advertising, 
and  it  is  our  privilege  to  extend  hospitali- 
ties of  our  business  only  to  those  publica- 
tions which  .  .  .  exercise  a  similar  regard 
for  such  values."  .  .  . 

ODD  CONTRACT 

An  unusual  contract  has  been  signed  by 
MGM  with  John  Emerson  and  his  wife, 
Anita  Loos,  whereby  Mr.  Emerson  will  be 
associate  producer  for  all  stories  written 
or  adapted  by  his  wife.  The  first  two  will 
be  "The  Studio  Girl"  and  "San  Francisco." 


TENNIS  AMATEURS 

A  two-thirds  vote  lacking,  the  Interna- 
tional Lawn  Tennis  Federation  last  week 
at  Paris  defeated  the  long-pending  British 
proposal  to  permit  amateurs  to  accept 
money  for  playing  tennis  roles  in  films,  a 
desperate  move  by  England  to  keep  its 
ace,   Fred   Perry,   in   the  amateur  ranks. 


March    23,  1935 


MOTION    PICTURE  HERALD 


9 


SALES  SEASON  ADVANCED 
BY  ONE  TO  TWO  MONTHS 

Early  Plans  for  1935-36  Indicate  Large  Companies 
Will  Limit  Number  of  Releases  to  Total  for  Current 
Season;  21  New  Producing  and  Distributing  Units 
May  Add  Product;  Conventions  Moved  Forward 


How  Their  Plans 
For  '35^'36  Stand 


Activity  in  distribution  quarters 
everywhere  in  preparation  for  the 
193  5-36  season  suggested  inquiry 
about  the  early  developments  and 
while  the  sales  officers  would  not 
speak  officially,  it  was  agreed  that 
policies  and  schedules  were  in  the 
making  and  that  some  preliminaries 
already  had  been  established, 
follows : 


as 


Atlantic  Pictures 

Out  of  the  old  World-Wide  Pictures  Cor- 
poration has  developed  Atlantic  Pictures  Cor- 
poration, headed  by  Robert  M.  Savini,  to  place 
on  the  independent  market  six  Howard  Hughes 
reissues. 

V 

British  and  Continental 

J.  C.  Barynstyn's  importing-exporting  Brit- 
ish and  Continental  Trading  Company  will 
have  available  12  features  to  be  produced  in 
Holland  by  Loet  C.  Barynstyn  Film  Produc- 
tions, the  Hague.  Three  have  been  completed. 
V 

Chesterfield 

New  season's  plans  have  not  yet  been  formu- 
lated by  Chesterfield  Pictures  Corporation, 
headed  by  George  Batcheller,  but  it  appears 
likely  that  the  company  will  not  deviate  from 
the  schedules  of  1933-34  and  1934-35,  both  of 
which  embraced  nine  productions. 

V 

Columbia 

Product,  convention  and  sales  policy  plans 
for  Columbia  Pictures  for  next  season  will  be 
discussed  in  another  week  or  two  when  Harry 
Cohn,  president,  arrives  in  New  York  to  talk 
with  Jack  Cohn,  vice-president,  and  the  home 
office  staff.  An  unofficial  report  set  48  as  the 
features  planned,  the  same  as  1933-34  and  1934- 
35.  Already  acquired  are  eight  Ken  Maynard 
westerns  to  be  made  by  Larry  Darmour. 

'v 

Conn  Productions 

Expansion  of  production  facilities  will  enable 
Maurice  Conn,  independent,  to  supply  two 
series  of  eight  features  each,  instead  of  the 
single  Kermit  Maynard  western  James  Oliver 
Curwood  stories  of  this  year.  Maynard  again 
will  be  starred,  and  Mr.  Conn  will  have  eight 
Peter  B.  Kyne  stories  with  Frankie  Darro. 
V 

Darmour 

Larry  Darmour  will  continue  in  production 
on  a  feature  scale  with  eight  westerns  with 
Ken  Maynard,  releasing  through  Columbia.  He 
has  finished  seven  out  of  12  for  Majestic  release 
this  season. 

V 

Eagle  Productions 

Harry  Hoyt  has  formed  Eagle  Productions 
with  headquarters  at  International  Studios  in 

(Continued  on  following  page) 


The  industry's  distribution  machinery  for  seUing  and  servicing  the  product  of  Hol- 
lywood to  theatres  stands  today,  on  the  eve  of  a  new  season,  unhampered  by  de- 
pressed business,  corporate  and  financial  reorganization,  theatre  decentralization, 
code  drafting  and  other  influences  which  so  seriously  interrupted  its  normal  func- 
tioning at  the  beginning  of  each  of  the  last  four  seasons.  With  the  return  to  order, 
most  distributors  are  preparing  to  advance  their  seasons  from  six  to  eight  weeks, 
commencing  open  selling  in  April  and  May,  instead  of  in  June,  July  and  even  later 
in  the  summer,  as  in  the  depression  years. 

MOST  COMPANIES  PLANNING  TO  LIMIT 
RELEASES  TO  THIS  SEASON'S  TOTALS 

Now,  some  42  distributors  are  indicating  that  the  new  season's  product  and  sales 
policies  are  already  matters  of  current  attention.  Preliminary  preparations  provide 
the  basis  for  the  following  observations : 

"i  Feature  production  schedules  of  nearly  all  eight  large  distributors  and  eight  prln- 
'  ■  cipal  Independents  will  be  numerically  limited  for  1935-36  to  the  totals  of  the  pres- 
ent season.  If  there  are  any  noticeable  revisions  of  totals,  they  will  probably  be 
downward.  Paramount,  for  one,  Is  engaged  In  such  a  consideration.  The  eight  large 
companies  this  season  scheduled   381  features. 

Q    Large  companies  already  are  engaged  quietly  in  selling  1935-36  product  even 
in  advance  of  completion  of  programs.    Fox  and  Universal  are  especially  active 
in  this  connection.  Universal  having  disposed  of  most  of  its  new  serials.    RKO  and 
Warner,  too,  are  said  to  be  selling  new  product  in  some  situations. 

O  Universal  is  the  first  to  set  a  date  for  a  sales  convention,  announcing  May  23rd. 
^  ■  Paramount  tentatively  has  set  the  same  date.  Columbia,  Fox  and  Monogram 
probably  will  decide  in  a  few  days.  United  Artists  is  expected  to  meet  in  May, 
RKO  in  early  June,  Metro  and  Warner  are  undecided. 

A    Indicating  both  the  extent  of  the  pre- seasonal  activity  and  the  reopening  of 
•  ■  finaiicial  channels  to  independent  production  is  the  formation  of  21  new  com- 
panies.   Nine  promised  65  features. 

C  Based  on  this  season's  schedules  of  467  features  from  14  of  the  largest  dlstrlbu- 
*^  ■  tors,  exhibitors  will  have  available  at  least  600  productions,  Independents  con- 
tributing an  estimated  150. 

Z.   Home  office  executives  started  two  weeks  ago  to  talk  with  their  studio  representa- 
tives  about  the  new  product.    Talent  and  story  representatives  were  busily 
searching-  for  fresh  material. 

"7  Preliminary  plans  indicate  that  the  trend  this  year  will  be  toward  single  na- 
'  ■  tional  conventions. 

21  NEW  UNITS  OF  PRODUCTION 
AND  DISTRIBUTION  ALSO  FACTORS 

Plans  of  the  large  distributors  to  limit  releases  to  this  season's  totals  would  result 
in  schedules  running  something  like  this :  Chesterfield,  9 ;  Columbia,  48 ;  Fox,  52 ; 
Gaumont-British,  16;  Invincible,  9;  Liberty,  12;  Majestic,  12;  Metro-Goldwyn- 
Mayer,  52;  Monogram,  28;  Paramount,  65;  RKO,  50;  United  Artists,  18;  Uni- 
versal, 36,  and  Warner- First  National,  60.  First  Division  is  a  new  distributional 
factor  carrying  product  of  its  own  and  likely  to  have  six  features  produced  by  a  pro- 
duction affiliate  and  another  dozen  imported  from  England,  as  well  as  product  of 
independent  producers  in  some  of  its  exchaiiges.  Monogram  and  United  Artists  are 
said  to  be  considering  increasing  their  schedules;  Paramount  probably  will  reduce. 
Among  others  to  be  considered  are  British  and  Continental,  Darmour  Productions, 
Walter  Futter,  Sol  Lesser,  Mascot,  Mayfair. 


10 


MOTION    PICTURE  HERALD 


March    23,  1935 


NEW  'MARCH  OF  TIME'  SALES  PLAN 


(Continued  from  frecedinci  pane) 

Hollywood,  where,  in  association  with  Arthur 
Beck,  Mr.  Hoyt  will  produce  eight  for  the 
new  year. 

V 

First  Division 

Relinquishment  of  the  Monogram  franchise 
in  New  York  and  Philadelphia,  revision  of  the 
"March  of  Time"  sales  structure  and  procedure, 
and  new  feature  plans  of  its  own  were  new 
developments  in  First  Division's  product  ma- 
chinery for  the  remainder  of  this  season  and 
next  year. 

Whether  the  withdrawal  of  Monogram  prod- 
uct from  First  Division  exchanges  in  New 
York  and  Philadelphia  will  have  any  bearing 
on  the  releasing  arrangements  in  other  ex- 
change cities  could  not  be  determined. 

Roy  E.  Larsen,  president  of  the  March 
of  Time,  news  magazine  reel,  announced  a 
new  plan  for  sales  and  promotion  of  that 
subject.  Developed  with  Mr.  Thomas,  the 
new  plan  calls  for  a  national  standardized 
price  policy  of  uniformly  equal  prices  in 
equal  sales  situations.  It  is  the  general 
understanding  that  March  of  Time  has 
experienced  considerable  difficulty  to  date 
with  theatres  on  account  of  high  rentals 
arbitrarily  set  down  for  the  first  two  re- 
leases. The  new  sales  plan  will  be  sup- 
ported by  extended  promotion  to  the 
public. 

"A  corps  of  auditors  have  just  compiled  a 
national  survey  of  all  theatres  as  well  as  sta- 
tistics on  national  magazine  sales,  territorial 
buying  habits  and  Department  of  Commerce 
retail  sales  surveys,"  Mr.  Larsen's  announce- 
ment explained.  "Examining  these  figures  in 
the  light  of  actual  experience  in  recent  weeks, 
the  sales  executives  of  both  companies  have 
prepared  this  new  price  schedule." 

Several  weeks  ago  a  group  of  First  Division 
and  March  of  Time  branch  managers  and  other 
sales  executives  gave  the  plan  its  first  practical 
workout  in  Michigan.  Many  refinements  and 
changes  resulted  when  this  experience  was  ex- 
amined. 

To  carry  out  this  and  other  new  plans,  Mr. 
Larsen  announced  the  formation  of  a  new  com- 
pany to  be  known  as  The  March  of  Time  Dis- 
tributors. This  will  take  over  the  distribution 
contract  between  March  of  Time,  Inc.,  which 
will  continue  as  the  producing  company,  and 
First  Division,  which  as  agent  for  the  new 
company  will  continue  to  handle  distribution. 
This  move,  Mr.  Larsen  explained,  is  brought 
about  by  the  growth  of  promotion,  servicing 
and  exploitation.  It  will  not  disrupt  actual  sell- 
ing or  servicing  of  film  through  First  Division. 

Officers  of  the  new  March  of  Time  Dis- 
tributors, with  headquarters  on  the  18th 
floor  of  the  RKO  Building  at  Radio  City, 
will  be  Roy  E.  Larson,  Harry  H.  Thomas 
and  Ralph  Rolan,  who  recently  was  brought 
from  Batten,  Barton,  Durstine  and  Osborne, 
advertising  agency,  to  become  vice-presi- 
dent in  charge  of  promotion  for  the  reel. 
Fred  McConnell,  Pat  Garyn  and  Richard 
Beck,  Jr.,  producers,  representatives  for 
March  of  Time's  reel  in  First  Division,  will 
go  to  the  new  distributing  company. 

Mr.  Thomas  said:  "First  Division  will  keep 
pace  with  March  of  Time  Distributors  by  clear- 
ing its  decks  for  next  season's  product.  We 


STUDENTS  BOYCOTT 
COLUMBUS  THEATRES 

The  Blue  Key,  honorary  service  fra- 
ternity of  the  University  of  Missouri, 
at  Columbus,  has  called  for  a  student 
boycott  of  local  motion  picture  thea- 
tres as  a  protest  against  "exorbitant 
admission  prices  and  low  quality  pic- 
tures." A  mass  meeting  was  held,  and 
the  boycott  was  to  last  one  week,  or 
longer  if  no  results  were  obtained.  The 
action  is  specifically  aimed  at  the  Hall 
and  Missouri  theatres,  operated  by  the 
College  Theatre  Company,  and  charg- 
ing 3  5  cents  top.  Five  students  were 
arrested  when  a  group  of  75  rushed 
the  Hall  Theatre. 


plan  to  realign  our  type  of  pictures.  Every  step 
will  be  taken  to  provide  all  our  own  exchanges 
and  our  franchise  holders  in  the  western  terri- 
tories with  identical  .  .  .  products  for  the 
coming  season." 

Time  Magazine,  Fortune  Magazine  and  the 
radio  will  continue  to  serve  as  the  basis  for 
promoting  the  subject  outside  of  the  trade,  to 
which  will  be  added  newspaper  and  other  media. 
By  withdrawing  each  subject  from  circulation 
at  the  end  of  four  weeks  it  is  planned  to  reap 
the  full  benefits  of  the  publication  ballyhoo 
within  this  short  period. 

The  actual  revision  in  rentals,  while  not 
explained  officially  by  either  March  of 
Time  or  First  Division,  includes  refunds  to 
exhibitors  on  all  contracts  taken  at  prices 
higher  than  the  new  scale  now  being 
whipped  into  shape.  It  was  realized,  after 
the  first  sales,  that  some  territories  are 
more  densely  populated  than  others,  and 
now,  where  an  exhibitor  has  been  paying, 
for  example,  less  than  $50  per  release  on 
a  six-picture  contract  and  his  experience 
with  the  first  four  subjects  shows  that  the 
price  Is  too  high,  he  may  cancel  and 
March  of  Time  promises  to  return  50  per 
cent  of  his  rental  price. 

Any  account  signing  for  six  releases  auto- 
matically gets  an  option  on  the  following  group 
of  12.  However,  if  March  of  Time  desires  to 
cancel  for  a  competitive  sale  to  another  exhibi- 
tor, the  company  agrees  to  pay  the  contract 
holder  half  of  the  rental  on  the  entire  first 
group  of  six.  There  will  also  be  a  credit  of  10 
per  cent  of  the  total  contract  for  accessories, 
this  applying  to  new  contracts  on  the  new  sell- 
ing basis. 

Participating  in  the  Detroit  conference  from 
which  the  new  plan  evolved  were  Charles  Still- 
man,  Richard  Beck,  Ralph  Rolan,  Fred  McCon- 
nell, William  Richardson  and  Daniel  Longwell, 
all  of  Time,  Inc.,  and  Mr.  Thomas,  Amos 
Hiatt,  Maurice  Lebensberger,  Henry  Ellman 
and  Dave  Thomas,  of  First  Division. 

March  of  Time  now  claims  700  theatre 
accounts  in  the  United  States  and  Canada, 
playing  in  32  out  of  37  cities  with  250,000 
population  or  over. 

Meanwhile  First  Division  was  proceeding 
with  its  own  feature  production  and  releasing 


plans  for  1935-36.  Returning  from  production 
conferences  in  Hollywood  were  company  execu- 
tives William  Fiske  and  John  C.  Curtis.  They 
were  expected  to  confer  immediately  with  Mr. 
Thomas  and  the  distribution  executives  to  set 
a  feature  schedule.  The  company  probably 
will  make  some  six  or  eight  features  of  its 
own,  and,  in  addition,  has  a  five-year  reciprocal 
distribution  arrangement  with  Associated  Brit- 
ish Film  of  England.  Reginald  Barker,  gen- 
eral manager  of  Associated,  now  in  this  coun- 
try, has  said  that  his  company  will  have  from 
20  to  24  features  next  season.  These  will  be 
First  Division's  principal  source  of  supply, 
which  will  also  embrace  product  from  several 
independent  producers.  First  Division  has  been 
releasing  product  of  Monogram,  Chesterfield, 
Invincible,  Liberty  Pictures  and  others. 

V 

Fox  Film 

Definite  plans  of  Fox  Film  for  1935-36  will 
be  determined  in  a  few  days,  now  that  Sidney 
R.  Kent,  president,  has  returned  from  Florida. 
There  are  no  indications  that  the  feature  sched- 
ule will  dif¥er  much  from  this  season's,  when 
52  productions  are  being  released,  compared 
with  50  in  1933-34. 

With  the  company  understood  to  have  started 
already  to  negotiate  sales  on  new  product,  in 
a  few  situations,  without  the  specifications  of 
titles,  stories,  stars  or  directors,  Fox  assured  its 
theatre  accounts  of  a  continuance  of  Will 
Rogers  releases.  Mr.  Rogers  was  signed  to  a 
new  contract  which  will  keep  him  on  the  Fox 
schedule  until  1938. 

V 

Franklin  Films 

William  Shapiro  will  start  producing,  through 
his  own  Franklin  Films,  having  scheduled 
three  features  for  1935-36,  with  negotiations 
for  distribution  through  a  large  company.  Mr. 
Shapiro  is  due  in  Hollywood  to  make  prepara- 
tions. He  will  star  Jackie  Boreno,  a  youngster 
and  a  new  comer,  who  has  appeared  on  the 
stage. 

V 

Futter 

Walter  Futter  has  decided  on  "Two  Years 
Before  the  Mast,"  Dana's  story  of  the  sea,  as 
the  first  feature  for  the  new  year,  to  star  Tom 
Keene. 

V 

GB  Pictures 

Gaumont  British  Pictures  will  send  to  the 
American  distribution  unit  16  features,  a  num- 
ber similar  to  the  1934-35  schedule.  Ten  were 
named  last  week,  as  follows:  "Thirty-nine 
Steps,"  by  John  Buchan;  "Soldiers  Three," 
by  Rudyard  Kipling;  "Pepys,"  from  the  biog- 
raphy of  Samuel  Pepys;  "Clairvoyant,"  with 
Claude  Rains  and  Fay  Wray ;  "Barcarolle," 
and  "Sam  and  Sallie,"  both  with  Jessie  Mat- 
thews; "The  Tunnel"  and  "King  of  the  Dia- 
mond," both  with  Conrad  Veidt ;  "Redemption." 
directed  by  Berthold  Viertel,  and  "The  Pass- 
ing of  the  Third  Floor,"  with  Nova  Piibeam. 

There  may  be  an  extension  of  the  schedule 
in  this  country. 

Arthur  A.  Lee,  vice-president  of  GB  in 
America,  returned  from  Hollywood,  where  he 
had  been  conferring  with  Michael  E.  Balcon, 
British  production  head.  Already  Mr.  Balcon 
has  signed  Noah  Beery  for  "King  of  the 
Damned,"  and  Maude  Howell,  who  will  appear 
in  the  next  two  George  Arliss  pictures  for  GB. 
Mr.  Arliss  will  probably  appear  as  "Pepys,_ 
to  be  followed  either  by  the  life  story  of  Cecil 
Rhodes,  or  an  original  by  J.  B.  Priestley.  Miss 


March    2  3.     19  3  5 


MOTION    PICTURE  HERALD 


INDEPENDENTS  SHOWING  ACTIVITY 


(Continued  from   preceding  page) 

Howell  is  en  route  to  London  and  Mr.  Beery 
will  sail  in  April. 

Mr.  Balcon  said  Friday,  at  a  luncheon  in 
Hollywood  by  Louis  B.  Mayer,  MGM,  that  if 
the  industry  decides  to  move  out  of  California 
as  a  result  of  the  adverse  tax  program,  "it  is 
welcomed  to  England."  He  said  that  to  meet 
the  competition  offered  by  Hollywood  produc- 
tions, "there  is  nothing  left  for  me  but  to  re- 
turn to  England  and  produce  pictures  with 
American  backgrounds." 

V 

Independent  Producing 

Eight  Nick  Carter  adventure  features  will 
be  added  next  season  to  the  state  rights  market 
by  the  new  Independent  Producing  and  Distrib- 
uting Corporation,  formed  in  New  York  by  L. 
L.  Hiller,  partner  years  ago  with  Jack  Wilk 
in  Hiller  and  Wilk,  and  Jack  Hayes,  producer 
of  the  "Baby  Burlesk"  two-reel  comedies,  re- 
leased by  Educational,  in  which  Shirley  Tem- 
ple made  her  first  screen  appearance.  Secretary 
and  treasurer  is  Sam  Wiesenthal,  who  at  one 
time  assisted  Carl  Laemmle,  Jr. 

Mr.  Hayes  said  the  company  was  considering 
an  additional  series  of  eight,  together  with 
some  short  subjects,  and  may  take  on  some 
British  features,  all  of  which  would  be  released 
through  an  affiliated  exchange  system  on  fran- 
chises. 

The  first  release  will  be  June  1,  with  Street 
and  Smith,  publishers  of  the  Nick  Carter 
stories,  participating  in  an  exploitation  cam- 
paign. Nick  Carter  Clubs,  of  which  there  are 
some  473,  will  be  tied  in. 

V 

Intercontinental  Distributing 

Formed  at  Albany,  New  York,  was  Inter- 
continental Distributing  Corporation,  chartered 
by  Ida  Schwartz,  Dorothy  Frank  and  Godfrey 
Julian  Jaffe.  Plans  were  not  divulged. 

V 

Invincible 

Feature  plans  for  1935-36  are  expected  to 
remain  the  same  numerically  as  the  past  two 
years,  when  nine  were  scheduled  each  season. 
V 

Kirkwood 

Ray  Kirkwood  Productions  will  make  its 
bow  with  eight  features  each  for  three  years 
starring  Lon  Chaney,  Jr.,  the  first,  "Riot 
Squad,"  set  for  May  1  release.  Commodore 
Pictures  will  release  the  product  on  the  state 
rights  market  and  production  will  be  centered 
at  the  old  Neilan  Studios  on  Glendale  boule- 
vard in  Hollywood. 

V 

Latin  Artists 

Ramon  Pereda  arrived  in  New  York  from 
Hollywood  to  make  three  features  of  Latin 
Artists'  Pictures  Corporation. 

V 

Lesser 

Sol  Lesser  was  proceeding  with  plans  to 
produce  what  he  described  as  the  first  "serious 
and  dignified"  screen  treatment  of  the  motion 
picture  business,  visualizing  the  accomplish- 
ments of  industry  pioneers.  He  said  that 
Rupert  Hughes,  Walter  Anthony  and  Edward 
F.  Cline  will  write  the  story. 

V 

Liberty 

With  11  out  of  12  of  the  1934-35  features 
completed.  Liberty  Pictures  was  forging  ahead 


THEY  HAVEN'T  NAMED 
ADOLF  HITLER  YET 

While  it  is  the  policy  of  Motion 
Picture  Herald  to  give  no  heed  to 
unsupported  and  unchecked  rumors, 
an  exception — in  support  of  the  pol- 
icy— is  made  in  this  case.  Enough 
have  been  collected  on  the  gossiped, 
rumored  and  reported  sale  of  Uni- 
versal Pictures  Corporation  to  make 
a  mess. 

The  rumor  mongers  of  the  last  six 
weeks  have,  had  it  that  Universal  was 
sold  to  each  of  the  following: 

John  Hay  Whitney; 
David  and  Myron  Selznick; 
William  Randolph  Hearst; 
Warner  Brothers; 

The  Selznicks  and  Whitney  to- 
gether; 

Fanchon  and  Marco; 

Philadelphia  Group,  No.  I,  headed 
by  Greenblatt  interests; 

Philadelphia  Group,  No.  2,  headed 
by  Wolf  interests; 

Philadelphia  Group,  No.  3,  headed 
by  Goldnnan  Interests; 

"March  of  Time"; 

Emanuel  Cohen; 

William  Fox; 

Hallgarten  &  Co.,  New  York  bank- 
ing interests; 

Benjamin  P.  Schulberg; 

The  Shuberts; 

Mervyn  Le  Roy's  new  son; 

The  Paley  interests; 

Metro-Goldwyn-Mayer; 

Samuel  Rossoff,  New  York  subway 
digger; 

Renwar,  Inc. 

The  collective  denial  of  each,  all 
and  several,  was  presented  in  these 
pages  two  weeks  ago. 


with  plans.  At  conferences  in  New  York  be- 
tween M.  H.  Hoffman,  president,  and  Budd 
Rogers,  general  sales  manager,  it  was  decided 
to  keep  next  year's  schedule  at  this  year's  nu- 
merical level  of  12.  Mr.  Hoffman  returned  to 
Hollywood  to  prepare  for  production  of  the 
final  release  on  the  current  schedule. 
V 

Majestic 

Majestic  Pictures'  franchise  holders  will  hold 
their  sales  convention  in  two  weeks  in  Chi- 
cago, probably  at  the  Drake  hotel,  and  pre- 
sided over  by  Herman  Gluckman,  president ;  E. 
H.  Goldstein,  vice  president  in  charge  of  dis- 
tribution, and  Larry  Darmour,  production  head. 

There  will  again  be  12  features.  However, 
arrangements  may  be  made  to  extend  this  to  18. 
The  executives  have  been  conferring  in  New- 
York  on  story  types  and  production  costs. 
V 

Mascot 

Nat  Levine's  Mascot  Pictures  has  about 
reached  the  half-way  mark  in  its  production 


schedule  of  14  features  for  1934-35,  and  still 
has  two  to  go  in  the  serial  group.  There  was 
no  indication  that  any  plans  had  been  made  for 
1935-36. 

V 

Mayfalr 

Incorporated  at  Albany  in  New  York  was 
the  new  Mayfair  Productions,  Inc.,  chartered 
bv  Harry  A.  Tifford,  M.  Horowitz  and  Mae 
Graff. 

V 

Melbert 

Melvin  Hirsch  formed  Melbert  Pictures  in 
New  York  to  distribute. 

V 

Metro-Goldwyn-Mayer 

Los  Angeles  is  being  considered  by  Metro- 
Goldwyn-Mayer  for  its  sales  convention,  al- 
though no  date  has  been  set.  Nor  has  any  defi- 
nite schedule  been  arrived  at,  although  home 
office  officials  expect  it  will  hover  around  the 
50  to  52  releases  of  previous  seasons. 

Hunt  Stromberg  again  will  make  eight ; 
"Ah  Wilderness,"  a  sequel  to  "The  Thin  Man," 
"Wife  versus  Secretary,"  "The  Distaft'  Side," 
and  four  others. 

Metro  will  have  as  an  outstanding  1935-36 
release  "The  Great  Ziegfeld,"  rights  to  which 
were  acquired  last  month  from  Universal. 

Hal   Hoach,   whose   product   goes  through 
MGM,  is  reported  to  be  considering  produc- 
tion of  features  in  the  East  for  1935-36. 
V 

Monogram 

W.  Ray  Johnston's  Monogram  Pictures  will 
continue  its  seasonal  schedule  of  28  features,  at 
least,  with  possibly  a  slight  increase.  Some  defi- 
nite indication  will  be  made  in  about  two  weeks, 
when  Hollywood  may  also  be  selected  as  the 
convention  city,  with  the  meeting  to  be  held 
late  in  April  or  early  May. 

Trem  Carr,  production  head,  approved  bud- 
gets for  "Keeper  of  the  Bees,"  "Hoosier  School- 
master" and  "The  Healer,"  now  being  produced. 

The  tentative  proposal  to  expand  the  produc- 
tion schedule  involves  three  specials  and  a  simi- 
lar number  of  other  features. 

Monogram  product  no  longer  will  be  dis- 
tributed in  New  York  and  Philadelphia  by 
Harry  Thomas's  First  Division  Exchanges. 
V 

Metropolis 

The  new  season's  releasing  schedules  will  in- 
clude French  pictures  produced  by  Marcel  Pag- 
nol  Pictures  in  Paris  as  well  as  all  Tobis- 
Paris  product,  both  lines  to  be  distributed  by 
the  new  Metropolis  Pictures  Corporation  in 
New  York,  headed  by  Martin  J.  Lewis,  for  six 
years  with  the  55th  Street  Playhouse  in  New 
York  and  previous  to  that  with  Fox  and  Euro- 
pean producing  companies.  Associated  with  Mr. 
Lewis  is  John  S.  Tapernoux,  French  film  im- 
porter. 

Titles  of  the  new  importations  will  be  in 
English,  starting  with  "Loving  Hands." 
V 

Murray 

Mae  Murray,  en  route  from  New  York  to 
Los  Angeles,  said  at  Kansas  City  that  she  and 
several  others  would  form  a  production  com- 
pany, and  distribute  through  a  large  distribu- 
tor. Miss  Murray  indicated  she  will  be  fea- 
tured in  a  series. 

V 

Paramount 

Paramount's  executives  are  said  to  be  debat- 
ing the  advisability  of  reducing  the  number  of 

{Continued  on  following  page) 


12 


MOTION    PICTURE  HERALD 


March    23,  1935 


NEW  COMPANIES  PREPARE  PRODUCT 


(Continued  from  preceding  page) 

feature  releases  for  1935-36,  which,  heretofore, 
has  averaged  65.  The  four-day  sales  convention 
probably  will  start  May  23  in  New  York,  at 
the  Waldorf-Astoria.  G.  B.  J.  Frawley,  of  the 
home  office,  is  already  at  work  on  arrangements. 

Adolph  Zukor,  president,  arrived  in  New 
York  Monday  from  Hollywood  where  he  has 
been  conferring  for  the  past  month  with  Ernst 
Lubitsch  and  Henry  Herzbrun. 

Harold  Lloyd  returns  to  the  Paramount  fold 
in  "Milky  Way,"  which  the  company  will 
finance  entirely  and  over  which  it  will  have 
full  supervision. 

Paramount  also  will  finance  Walter  Wanger 
on  all  his  future  productions  for  that  com- 
pany. Jay  Paley's  deal  with  Mr.  Wanger  to 
finance  two  pictures  has  expired. 

The  new  Paramount  schedule  also  will  in- 
clude a  special  based  on  the  life  of  Garibaldi, 
Italian  patriot,  the  story  for  which  will  be 
written  by  E.  Alexander  Powell,  war  corre- 
spondent and  authority  on  Garibaldi's  career. 

B.  P.  Schulberg  will  contribute  seven  to  the 
company's  1935-36  schedule,  and  he  will  limit 
the  budget  to  $250,000  a  picture. 

In  Hollywood  the  new  administration  was 
completing  studio  reorganization,  establishing  a 
basic  structure  of  13  departmental  executive 
heads  and  nine  associate  producers,  all  of  which, 
the  company  feels,  will  have  an  influence  on 
1935-36  product. 

Marking  the  first  production  peak  under  the 
new  regime,  the  new  season  activity  is  expected 
to  get  underway  March  25th  and  in  the  follow- 
ing eight  vv-eeks  some  17  features  will  be  placed 
in  work. 

V 

Premier  Pictures 

Sig  Neufeld  and  Leslie  Simmons  were  named 
as  executives  of  a  new  company  formed  to  pro- 
duce in  Hollywood  under  the  brand  of  Premier 
Pictures,  with  headquarters  at  the  Talisman 
Studios  and  a  schedule  of  nine  action  features, 
starting  March  25th  on  the  first. 

V 

Puritan 

Louis   A.   Solomon   is   president   and  Dave 
Gross  is  general   sales  manager  of  the  new 
Puritan  Pictures,  formed  in  New  York  to  pro- 
duce and  distribute,  on  the  independent  market. 
V 

Putnam 

George  Palmer  Putnam,  who  resigned  March 
1  as  eastern  story  editor  of  Paramount  Pic- 
tures, has  been  reported  considering  independent 
production  of  expedition  films. 

V 

RKO 

RKO  is  another  large  distributor  reputedly 
selling  1935-36  contracts  at  this  early  date.  The 
company  has  been  holding  considerable  new- 
product  discussions,  with  home  office  and  studio 
executive  personnel  doing  much  trans-continen- 
tal commuting. 

Although  the  exact  date  has  not  been  set,  the 
sales  meeting  will  be  held  in  June.  Ned  E. 
Depinet,  president  of  Radio  Pictures,  has  said 
that  the  1935-36  feature  schedule  will  remain 
about  the  same  as  this  season,  for  which  50 
pictures  were  announced  and  46  will  be  deliv- 
ered. New  York  and  Chicago  are  understood 
to  be  leading  for  the  convention,  with  one  large 
meeting  supplanting  regional  conferences  as  in 
the  past  few  years. 

Next  year's  features  probably  will  include 
several  produced  by  Robert  F.  Sisk,  former 
advertising  director  at  the  home  office  in  New 
York  and  now  assistant  at  the  studio  to  J.  R. 
McDonough.  Mr.  Sisk  is  said  to  be  slated  for 
a  production  position. 

Richard  Dix  again  will  contribute  two  to 


COURTROOM  FILM 
SWAYS  THE  JURY 

After  a  piry  in  New  York  Su- 
preme  Court  had  seen  motion  pictures 
indicating  that  Mrs.  Victoria  M.  Bo- 
gen  was  able  to  walk  without  the  aid 
of  a  cane,  it  returned  a  verdict  of 
$2  50  in  her  favor  in  her  $100,000 
negligence  suit.  Mrs.  Bogen,  wife  of 
Dr.  Jjilius  1.  Bogen,  editor  of  "The 
Journal  of  Commerce,"  sued  Myron 
B.  Levy  for  injuries  suffered  when  his 
car  struck  a  crosstown  bus  in  which 
she  was  riding.  She  claimed  she  had 
suffered  partial  paralysis  of  the  left 
side,  loss  of  the  sight  of  the  left  eye 
and  an  injury  to  her  leg  which  made 
the  use  of  a  cane  necessary.  Defense 
attorneys  rigged  a  screen  in  the  court- 
room showing  Mrs.  Bogen  walking 
with  the  cane  over  her  arm,  boarding 
a  crowded  subway  train  and  carrying 
bundles  in  her  left  arm.  Her  hus- 
band, suing  for  $15,000  for  loss  of 
services  and  expenses,  was  awarded 
$750. 


RKO's  schedule,  the  first  a  Dudley  Nichols 
original  story  with  an  Arizona  background. 

V 

Radio  Stars 

Meyer  S.  Marks,  who,  with  his  brother,  built 
the  Marbro  and  Granada  theatres  in  Chicago  in 
competition  with  Balaban  and  Katz,  has  formed 
Radio  Stars  Productions  to  produce  in  New 
York,  in  association  with  Arthur  Green  and 
Joseph  Rubinstein,  a  series  of  12  two-reel  come- 
dies based  on  the  radio  sketch,  "The  Rise  of 
the  Goldbergs,"  starring  Gertrude  Berg,  featured 
in  the  air  version. 

V 

S  and  L  Film 

Sov-Am  Film  Corporation  has  organized  a 
subsidiary,  S  and  L  Film  Exchange,  in  New 
York,  to  distribute  product  that  it  produces. 
"Bar  Mitzvah,"  all-Yiddish,  is  to  be  the  first. 
V 

ShafF  and  Kusell 

Four  features  will  be  produced  for  1935-36  by 
Monty  Shaff  and  Buddy  Kusell,  who  recently 
completed  "Dealers  in  Death"  for  Majestic. 
"Min  and  Bill"  will  be  the  first  of  the  new 
group,  two  to  be  made  in  the  east,  two  in 
Hollywood. 

V 

Silverman 

Joseph  Silverman,  pioneer  distributor  in 
Kansas  City  and  now  an  exchange  operator  in 
Oklahoma  City,  arrived  in  Hollywood  to  enter 
independent  production. 

V 

Standard  Capital 

At  Wilmington,  Del.,  Standard  Capital  Cor- 
poration was  formed  with  a  capitalization  of 
$1,500,000  to  finance  production.  Incorporators 
were :  J.  Cheever  Cowdin,  New  York  financier, 
president ;  Lawrence  W.  Fox,  Jr.,  vice-presi- 
dent;  Margaret  Sullivan  (not  the  actress),  sec- 
retary-treasurer. On  the  directorate  are : 
George    Armsby,    Garrettson    Dulin,  Daniel 


Sheaffer,  Samuel  W.  Atkins  and  J.  Russel 
Forgan. 

V 

United  Artists 

Because  of  the  peculiar  structure  of  United 
Artists,  with  its  many  production  affiliates,  the 
company  is  unable  to  make  more  than  a  tenta- 
tive estimate  of  a  feature  schedule  for  1935-36. 
There  probably  will  be  26  features  and  it  was 
indicated  that  the  sales  meeting  will  be  in  May, 
probably  in  Hollywood,  where  representatives 
of  the  company's  associated  London  producing 
companies  will  meet  with  the  domestic  personnel 
for  the  first  time. 

Darryl  Zanuck's  Twentieth  Century  Pictures 
will  contribute  "Ivanhoe,"  the  Walter  Scott 
classic,  as  a  special.  Upon  completion  of  "Call 
of  the  Wild,"  last  on  the  current  program,  Mr. 
Zanuck's  unit  will  recess  until  June  1st. 

Alexander  Korda  and  London  Films  are  ex- 
pected again  to  make  four  features  for  United 
Artists,  and  British  and"  Dominions  three. 

Samuel  Goldwyn  announced  six  from  his 
company  for  1935-36,  and  then  sailed  for 
Europe.  Eddie  Cantor  will  appear  in  Clarence 
Budington  Kelland's  "Dreamland,"  which  will 
be  published  serially  in  Saturday  Evening  Post. 
Merle  Oberon  will  appear  in  one  each  season 
for  the  next  two  years,  making  "Dark  Angel" 
as  the  first.  Ben  Hecht  and  Charles  Mac- 
Arthur  have  been  signed  by  Goldwyn  to  write 
"The  Barbary  Coast,"  to  be  directed  by  Howard 
Hawks.  Anna  Sten  will  star  in  one,  and 
Miriam  Hopkins  in  two,  probably  appearing 
first  in  "Barbary  Coast."  Rachel  Crothers  will 
write  the  second  Hopkins  vehicle.  Another  pos- 
sible Hopkins  production  is  "Hands  Across  the 
Table."  Mr.  Goldwyn's  schedule,  his  heaviest 
in  ten  years,  will  feature  his  first  "Goldwyn 
Follies,"  a  musical  revue. 

V 

Universal 

Carl  Laemmle's  Universal  company  made  the 
first  formal  announcement  of  a  sales  convention, 
setting  May  25th  as  the  date  and  Chicago  the 
place.  The  schedule  will  remain  the  same :  36 
features,  6  westerns,  4  serials.  Contracts  al- 
ready are  being  closed  for  new  product,  and 
most  of  the  1935-36  serials  have  been  sold. 

James  R.  Grainger,  general  manager  of  dis- 
tribution, arrived  at  Universal  City  for  final 
production  conferences  with  Mr.  Laemmle.  He 
will  be  at  the  studio  for  two  weeks  passing  on 
properties  already  in  hand  and  to  be  purchased. 
Mr.  Laemmle  promised  to  attend  the  convention, 
at  which  he  may  reveal  requested  exhibitor  re- 
action to  the  proposal  to  remake  "The  Hunch- 
back of  Notre  Dame"  at  a  cost  of  $600,000. 

Production  is  up  to  schedule  and  this  week 
the  studio  closed  for  a  fortnight. 

V 

Voe  Pictures 

Irving  Gertsman,  Gertrude  Aronstam  and 
Lillian  Weinstock  formed  Voe  Pictures  Corpo- 
ration at  Albany,  N.  Y. 

V 

Warv/ick 

Jerome  Wolf  was  reported  to  be  organizing 
Warwick  Film  Enterprises,  to  distribute  on  the 
independent  product. 

V 

Warner 

With  75  per  cent  of  this  season's  feature 
product  actually  completed  at  Burbank,  Warner 
Brothers,  like  Fox  and  RKO,  was  said  to  be 
giving  attention  already  to  the  sale  of  1935-36 
contracts  in  some  situations. 

The  company  is  not  expected  to  increase  its 
feature  schedule  next  season  from  the  60-picture 
schedule  of  this  year  and  last. 


March    23,  1935 


MOTION    PICTURE  HERALD 


13 


PRESENTATION  BOOKINGS  INCREASE 
40  TO  60  PER  CENT  IN  TWO  YEARS 


300  to  350  Acts  Getting  Work 
Weekly;  2,500  Performers 
Have  Had  to  Turn  to  Other 
Fields,  1,500  in  Radio  Alone 

Vaudeville  and  stage  presentation  shows 
in  motion  picture  houses  are  making  a 
strong  bid  for  a  comeback  spot  in  the  amuse- 
ment sun.  In  the  East  gains  in  employment 
of  talent  are  estimated  at  40  per  cent  over  two 
years  ago,  while  the  number  of  weeks  signed 
by  the  five  leading  stage  show  bookers — 
RKO,  Loew's,  Paramount  Publix,  Warner, 
and  Fanchon  &  Marco,  who,  with  William 
Morris  agency,  artists  representative,  made 
the  estimate — have  increased  in  some  in- 
stances as  much  as  60  per  cent. 

In  the  west,  however,  vaudeville  and 
unit  shows  still  appear  to  be  in  an  uncer- 
tain state.  This  is  particularly  true  of  the 
West  Coast,  where,  it  was  pointed  out, 
there  are  only  about  five  desirable  weeks 
of  playing  time.  These  are  San  Francisco, 
Los  Angeles,  Seattle,  Portland  and  Tacoma. 
Other  situations  In  that  territory  no  longer 
support  variety  entertainment. 

The  history  of  vaudeville  the  past  50  years 
has  been  one  of  ups  and  downs.  During  the 
old  music  hall  days,  this  entertainment  me- 
dium enjoyed  immense  success. 

From  1925  to  1929  vaudeville  regained 
some  prominence  dressed  up  as  "presenta- 
tions" or  unit  shows,  but  it  returned  to  its 
shell  when  the  talking  motion  picture  ar- 
rived and  the  film  theatres  dropped  the  added 
attraction — and  the  added  expense. 

Nat  Kalcheim  of  the  William  Morris  Agency, 
one  of  the  largest  of  talent  representatives, 
declared  this  week  that  the  chief  reasons  for  the 
return  of  vaudeville  to  popularity  in  1935  are 
a  lack  of  consistently  outstanding  motion  pic- 
ture fare  and  an  apparently  endless  sameness 
to  screen  stories.  Mr.  Kalcheim  said  the  con- 
sensus among  vaudeville  bookers  and  many 
theatre  men  today  is  that  the  public  wants  to 
see  more  new  faces  and  that  the  motion  picture 
industry  the  past  two  years  has  not  been  satis- 
fying their  demand. 

Another  important  contributor  cited  is  the 
radio,  this  being  especially  true  in  the  metro- 
politan areas  of  New  York  and  Chicago.  Al- 
most every  variety  bill  today  features  some 
radio  headliner,  and  condensed  versions  of  suc- 
cessful Broadway  musical  comedies  with  orig- 
inal casts  intact  have  done  much  to  keep  public 
interest  alive. 

The  greatest  Increase  In  stage  show  ac- 
tivity appears  around  Chicago,  where  unit 
show  business  has  almost  doubled.  Para- 
mount Publix  today  Is  booking  an  average 
of  15  theatres  there.  One  year  ago  10  of 
these  houses  had  no  regular  stage  presen- 
tations, and  the  same  situation  prevailed 
In  1932.  These  are  all  Balaban  &  Katz 
houses.  Paramount  also  books  four  weeks 
out  of  New  York,  Including  the  Metropoli- 
tan In  Boston,  the  Buffalo  In  Buffalo,  the 
Chicago  In  Chicago  and  the  Marbro  and 
Oriental,  also  of  that  city. 

Loew's  bookings  are  reported  to  have  main- 
tained a  fairly  even  average  of  15  weeks  the 


THREE  ACTS  SIGNED 
FOR  METRO  FILMS 

The  William  Morris  Agency  this 
week  announced  it  has  negotiated 
contracts  for  Ted  Lewis,  Ray  Bolger 
and  Eleanor  Powell  with  Metro- 
Gold  wyn-Mayer.  Mr.  Lewis,  con- 
chiding  his  concert  tour  in  mid  May, 
will  star  in  an  as  yet  untitled  feature. 
Miss  Powell  starts  work  this  week  on 
"Broadway  Melody  of  193  5".  Mr. 
Bolger,  currently  appearing  in  the 
Broadway  revue,  "Life  Begins  at 
8:40",  will  make  his  first  feature 
under  his  new  contract. 

The  Morris  Agency  also  announced 
that  Barbara  Blane  has  signed  a  long- 
term  contract  with  Fox  Film,  start- 
ing May  15.  Robert  Wildhack,  a 
dancer  also  appearing  in  "Life  Begins 
at  8:40",  has  left  for  the  MGM 
studios. 


last  two  years,  with  its  operations  centered  al- 
most exclusively  in  the  East.  Current  Loew 
stage  show  situations  are  New  York  City,  with 
five  weeks ;  Brooklyn,  three  weeks ;  and  Bal- 
timore, Boston,  Bridgeport,  Jersey  City,  New- 
ark, Pittsburgh  and  Washington. 

RKO  currently  is  averaging  15  weeks,  but 
a  year  ago  it  was  booking  only  10  houses,  with 
but  six  of  these  open  all  year.  This  circuit,  too, 
confined  its  activities  for  the  most  part  to  east- 
ern territory :  New  York,  three  situations ; 
Brooklyn,  two ;  New  Brunswick,  N.  J.,  Provi- 
dence, R.  I.,  and  Rochester,  N.  Y.,  one  each,  but 
also  one  each  in  Detroit  and  Minneapolis.  RKO 
also  books  for  six  weekend  houses. 

Warner  stage  bookings  show  a  large  gain 
over  last  year,  when  it  was  booking  three 
weeks.  Now  it  averages  15  weeks  in  New  Jer- 
sey, Pennsylvania  and  Delaware. 

Inactive  In  West 

Fanchon  &  Marco,  one  of  the  originators  of 
the  presentation  or  unit  show  for  film  theatres, 
is  reported  to  have  suffered  a  considerable  set- 
back in  this  field.  Operating  as  it  did  chiefly 
on  the  West  Coast  and  in  the  Middlewest,  to- 
day it  is  booking  only  five  houses  and  the  same 
was  true  a  year  ago ;  in  1931  F  &  M  was 
booking  20  to  30  weeks  regularly.  However, 
some  of  these  have  continued  the  stage  show 
policy  through  other  offices,  chiefly  independent 
and,  in  the  main,  for  weekend  show  purposes. 
F  &  M's  booking  calendar  shows  units  for  the 
Roxy  in  New  York,  the  Paramount  in  Los 
Angeles,  the  Fox  in  Philadelphia,  Fay's  in 
Providence  and  the  Plymouth  in  Worcester. 

Lidependent  booking  offices  are  reported  do- 
ing sporadic  business  in  Chicago,  Long  Beach, 
Los  Angeles  and  several  eastern  cities.  In  the 
East  considerable  business  is  done  by  such 
independents  as  Arthur  Fischer,  Eddie  Sher- 
man, Dow  &  Dow,  Harry  Bieben  and  Fally 
Marcus.  These  five  together  are  booking  about 
50  houses  today,  whereas  last  year  and  the 
year  before  they  were  not  booking  more  than  20. 

In  most  film  houses  operating  a  stage  show 
policy  today  the  bills  are  straight  vaudeville 
acts.  Efforts  are  being  made  to  revive  the  unit 
show  idea. 

Good  acts  today,  Mr.  Kalcheim  of  the  Mor- 


Stage  Show  Revival  Chiefly  in 
East;  European  Bookings  of 
American  Acts  Reported 
as  Higher  Than  Ever  Before 

ris  office  said,  are  getting  salaries  25  per  cent 
below  what  they  received  prior  to  1931. 

The  increase  in  stage  show  activity  has  not 
as  yet  been  sufficient  to  affect  appreciably  the 
vast  numbers  of  vaudeville  players  still  unem- 
ployed ;  300  to  350  acts  are  getting  work  weekly 
on  an  average  throughout  the  country. 

Former  variety  artists  have  turned  their 
talents  to  other  fields — radio,  night  clubs, 
beer  gardens,  home  entertainments.  It  is 
estimated  at  least  2,500  eastern  Individuals 
alone  have  found  It  necessary  to  seek  em- 
ployment outside  the  theatre.  Approxi- 
mately 500  acts,  comprising  1 ,500  persons, 
are  working  more  or  less  regularly  in  radio. 

The  new  unit  show  movement  will  not  be 
accelerated  to  any  noticeable  extent  before  the 
new  season,  bookers  agreed,  because  of  a 
marked  demand  for  specialty  performers. 

Successful  In  Kansas  City 

Typical  of  the  situation  outside  of  New 
York  is  that  at  Kansas  City,  where  vaudeville 
has  accomplished  a  fairly  successful  return  in 
the  downtown  first-runs,  but  has  fallen  on  lean 
days  in  the  territory  outside  of  Kansas  City, 
including  such  cities  as  Topeka,  Kan.,  and  Jef- 
ferson City,  Mo. 

At  the  Tower  in  Kansas  City  a  policy  of 
pictures  and  vaudeville  and  occasional  unit 
shows  was  instituted  at  an  all-time  low  price 
of  25  cents,  and  the  policy  is  reported  to  have 
been  successful  from  the  start.  At  the  RKO 
Mainstreet,  however,  where  combination  bills 
were  a  weekly  policy  for  years,  only  spot  book- 
ings of  name  acts  have  been  in  vogue  the  last 
year  or  so,  and  with  a  dearth  of  talent  of  this 
nature  available  for  the  road,  bookings  have 
been  few.  The  same  holds  true  of  other  mid- 
western  and  western  situations. 

Demand  Grows  In  Cincinnati 

Stage  shows  have  come  back  in  only  two 
key  spots  in  the  Cincinnati  trade  territory,  but 
increased  public  demand  was  reported. 

RKO  installed  a  combination  vaudeville  and 
picture  policy  in  the  Colonial  at  Dayton  sev- 
eral weeks  ago.  The  Shubert  in  Cincinnati, 
just  acquired,  opened  March  1  with  unit  shows 
and  pictures.  The  house  is  reported  to  be  play- 
ing to  excellent  houses. 

In  the  South  much  interest  is  being  evidenced 
in  the  experiment  of  the  E.  J.  Sparks  circuit, 
which  has  booked  a  stage  revue.  "Going 
Places,"  for  a  tour  of  the  complete  circuit. 
Heading  this  unit  are  Olsen  &  Johnson,  Gene 
Austin  and  Candy  and  Coco. 

Morris  Agency's  foreign  department  reported 
this  week  that  more  American  variety  acts  are 
being  booked  by  Europe  today  than  ever  before. 
In  the  past  year  150  acts  were  booked  by  Brit- 
ish and  Continental  theatres.  The  year  before 
100  were  booked. 

While  France  and  Germany  dropped  off  in 
their  bookings,  England  showed  a  marked  in- 
crease. The  Silver  Jubilee  of  the  King  and 
Queen,  which  takes  place  this  spring,  has  done 
much  to  increase  employment  of  vaudeville 
artists.  In  Germany,  however,  where  four  or 
five  American  acts  were  used  regularly  each 
month,  only  one  or  two  get  bookings  every  two 
months  today. 


14 


MOTION    PICTURE  HERALD 


March    23,  1935 


yOX  OFFICE 
CHAMPIONS 

for 

FEBRUARY 


THE  SCARLET  PIMPERNEL  United  Artists 


SWEET  MUSIC  Warner  Brothers 


With  four  places  represented,  seven  produc- 
^•jl  tions  are  ranked  as  February's  Champions  on 
the  basis  of  grosses  earned  during  that  month  at  the 
nation's  key  theatres.  Only  the  pictures  in  first  and 
second  place  won  exclusive  title  to  their  positions. 


(I)  David  Copperfield:  Produced  by  David  O.  Selznick.  Directed 
by  George  Cukor.  Based  on  the  novel  by  Charles  Dickens.  Adap- 
tation by  Hugh  Walpole.  Screen  play  by  Howard  Estabrook. 
Photographed  by  Oliver  T.  Marsh.  Musical  score  by  Herbert 
Stothart.  Art  director,  Cedric  Gibbons.  Associates,  Merrill  Pye 
and  Edwin  B.  Willis.  Wardrobe  by  Dolly  Tree.  Special  effects  by 
Slavko  Vorkapich.  Film  editor,  Robert  J.  Kern.  Cast:  W.  C. 
Fields,  Lionel  Barrymore,  Maureen  O'Sullivan,  Madge  Evans,  Edna 
May  Oliver,  Lewis  Stone,  Frank  Lawton,  Freddie  Bartholomew, 
Elizabeth  Allan,  Roland  Young,  Basil  Rathbone,  Elsa  Lanchester, 
Jean  Cadell,  Jessie  Ralph,  Lennox  Pawie,  Violet  Kemble-Cooper, 
Una  O'Connor,  John  Buckler,  Hugh  Williams,  Ivan  Simpson,  Her- 
bert Mundin,  Fay  Chaldecott.    Released  January  18,  1935. 


(2)  Lives  of  a  Bengal  Lancer:  Produced  by  Louis  D.  Lighton. 
Directed  by  Henry  Hathaway.  Original,  Francis  Yeats-Brown. 
Adaptation,  Grover  Jones  and  William  Slavens  McNutt.  Screen 
play  by  Waldemar  Young,  John  L.  Balderston  and  Achmed 
Abdullah.  Sound,  Harold  Lewis.  Art  directors,  Hans  Dreier  and 
Roland  Anderson.  Photographed  by  Charles  Lang.  Cast:  Gary 
Cooper,  Franchot  Tone,  Richard  Cromwell,  Sir  Guy  Standing,  C. 
Aubrey  Smith,  Monte  Blue,  Kathleen  Burke,  Colin  Tapley,  Douglas 
Dumbrille,  Akin  Tamlroff,  Jameson  Thomas,  Noble  Johnson,  Lums- 
den  Hare,  J.  Carroll  Naish,  Rollo  Lloyd,  Charles  Stevens,  Mischa 
Auer,  Myra  Kinch.  Released  January  18,  1935. 

(3)  The  Woman  in  Red:  Directed  by  Robert  Florey.  Screen 
play  by  Mary  McCall,  Jr.,  and  Peter  Milne.  Based  on  novel 
"North  Shore,"  by  Wallace  Irwin.  Dialogue  director,  Stanley 
Logan.  Photographed  by  Sol  Polito.  Film  editor,  Terry  Morse. 
Art  director,  Esdras  Hartley.  Gowns  by  Orry  Kelly.  Vitaphone 
orchestra  conducted  by  Leo  F.  Forbstein.  Cast:  Barbara  Stan- 
wyck, Gene  Raymond,  Genevieve  Tobin,  John  Eldredge,  Philip 
Reed,  Dorothy  Tree,  Russell  Hicks,  Nella  Walker,  Claude  Gilling- 
water,  Doris  Lloyd,  Hale  Hamilton.   Released  February  16,  1935. 


March    2  3,     19  3  5 


MOTION    PICTURE  HERALD 


15 


LIVESof  a  BENGAL  LANCER  Paramount 


THE  GILDED  LILY  Paramount 


(3)  The  Scarlet  Pimpernel:  Produced  by  London  Films.  Directed 
by  Harold  Young.  Camera,  Harold  Rosson.  Sound  ,  A.  W. 
Watkins.  Settings,  Vincent  Korda.  Novel  by  the  Baroness  Orczy. 
Adaptation,  dialogue,  etc.,  by  Lajos  Biros,  Sam  Berman,  Robert 
Sherwood  and  Arthur  Wimperis.  Cast:  Leslie  Howard,  Merle 
Oberon,  Raymond  Massey,  Nigel  Bruce,  Bramwell  Fletcher,  An- 
thony Bushell,  Joan  Gardner,  Walter  Rilla,  Mabel  Terry-Lewis, 
O.  B.  Clarence,  Ernest  Milton,  Edmund  Breon,  Melville  Cooper, 
Sib  McLaughlin,  Moreland  Graham,  John  Turnbull,  Gertrude 
Musgrove,  Allan  Jeayes,  Bromley  Davenport,  William  Freshman, 
Hindle  Edgar.   Released  February  15,  1935. 

(3)  Sweet  Music:  Directed  by  Alfred  E.  Green.  Original  story 
by  Jerry  Wald,  Carl  Erickson  and  Warren  Duff.  Photographed 
by  James  Van  Trees.  Film  editor,  Bert  Levy.  Art  director,  Robert 
Haas.  Music  and  lyrics  by  Warren  and  Dubin,  Fain  and  Kahal, 
and  Dixon  and  Wrubel.  Musical  arrangements  by  Ray  Heindorf. 
Dances  and  ensembles  directed  by  Bobby  Connolly.  Cast:  Rudy 
Vallee,  Ann  Dvorak,  Ned  Sparks,  Helen  Morgan,  Robert  Arm- 
strong, Allen  Jenkins,  Alice  White,  Joseph  Cawthorn,  Al  Shean, 
Phillip  Reed,  William  B.  Davidson,  Henry  O'Neill,  Addison  Rich- 


THE  WOMAN  IN  RED      First  National 


THE  GOOD  FAIRY  Universal 


ards,  Russell  Hicks,  Clay  Clement,  Rudy  Vallee's  Connecticut 
Yankees,  The  Frank  and  Milton  Britton  Comedy  Band.  Released 
February  23,  1935. 

(4)  The  Gilded  Lily:  Directed  by  Wesley  Ruggles.  Original  by 
Melville  Baker  and  Jack  KIrkland.  Screen  play  by  Claude  Binyon. 
Music  by  Arthur  Johnston.  Lyrics  by  Sam  Coslow.  Costumes  by 
Travis  Banton.  Jewels  designed  by  William  Howard  Hoeffer. 
Photographed  by  Victor  Mllner.  Cast:  Claudette  Colbert,  Fred 
MacMurray,  Ray  Mllland,  C.  Aubrey  Smith,  Luis  Alberni,  Edward 
Craven,  Donald  Meek,  Charles  Irwin,  Ferdinand  Munler,  Grace 
Bradley,  Michelette  Burani,  Claude  King,  James  T.  Quinn,  Edward 
Gargan,  George  Billings.  Released  January  25,  1935. 

(4)  The  Good  Fairy:  Directed  by  William  Wyler.  Play  by 
Ferenc  Molnar.  Screen  play  by  Preston  Sturges.  Photographed 
by  Norbert  Brodine.  Art  director,  Charles  B.  Hall.  Film  editor, 
Daniel  Mandell.  Sound,  Gilbert  Kurland.  Cast:  Margaret  Sulla- 
van,  Herbert  Marshall,  Frank  Morgan,  Reginald  Owen,  Alan  Hale, 
Beulah  Bondi,  Cesar  Romero,  Eric  Blore.  Released  Feb.  18,  1935. 


16 


MOTION    PICTURE  HERALD 


March    23,  1935 


YILM  ORGY  OF  BLOOD-LEniNC  NOW 


There  is  nothing  half  hearted  about  the 
cinema.  When  it  decides  to  have  a  cycle, 
it  indulges  in  a  full-throated  cycle.  When 
a  story  formula  is  discovered  that  is  suc- 
cessful and  obviates  thought  and  labor,  it  is 
embraced  with  such  ostentatious  affection 
that  the  public,  which  has  indicated  that  it 
is  not  as  stupid  as  Hollywood  has  always 
hoped,  quickly  gets  wise  and  tires  of  it.  A 
few  months  ago  the  No.  1  plot  motivation 
and  prime  dramatic  element  was  the  line, 
"I'm  going  to  have  a  baby."  To  producers, 
writers  and  directors  it  was  regarded  as  the 
supreme  triumph  of  heart  interest.  It  would 
tear  the  women  customers  apart,  they  felt. 
It  was  Drama — superb,  vigorous,  soul  rend- 
ing Drama.  Happily,  it  was  soon  laughed 
off  the  screen. 

Today  the  menace  of  tedium  looms  on 
two  flanks.  Today  the  plot  cycle  revolves 
about  the  Dillinger-Baby  Face  Nelson 
pivot.  Today  dramatic  situations  and 
problems  are  solved  by  the  simple  and  ex- 
pedient act  of  suicide. 

Of  the  gangster  films,  probably  little  or 
no  protest  will  be  forthcoming.  The  Gov- 
ernment and  the  Production  Code  Adminis- 
tration of  the  Hays  office  have  united  their 
several  interests  to  see  to  it  that  the  pro- 
ducers do  not  become  too  enthused  over  the 
gory  aspects  of  the  theme.  In  addition,  the 
pictures  will  be  spaced  over  a  period  of 
nine  months  or  even  a  year. 

The  suicide  onslought,  when  it  is  recog- 
nized, may  attract  more  attention.  Not  only 
is  self  destruction  viewed  with  distaste  by 
thinking  and  normal  people  but  when  it  is 
used  in  the  last  reel  to  clear  up  all  plot 
problems  and  gather  up  all  loose  threads  it 
quite  obviously  reveals  sloppy  and  unintel- 
ligent craftsmanship.  To  a  student  of  the 
cinema,  this  is  its  greatest  sin.  Where 
danger  lies,  however,  is  in  the  religious 
significance  of  the  act.  While  all  sects  have 
definite  views  on  the  matter,  the  Catholic 
Church,  the  eye  of  which  is  already  focused 
on  the  screen  through  the  Legion  of 
Decency,  has  particularly  strong  feelings 
regarding  the  morality  of  suicide.  While 
no  protest  has  been  suggested  by  this 
agency,  the  far-sighted  of  the  town  are 
speculating  over  the  possible  reaction  of  a 
body  so  closely  allied  to  secular  belief.  The 
Legion,  as  the  producers  have  discovered, 
has  a  hawk  eye. 

Recently  the  solution  has  been  used  in 
"The  Mystery  of  Edwin  Drood,"  "The 
Great  Hotel  Murder,"  "The  Secret  Bride" 
and  "Right  to  Live."  The  element  is  em- 
braced In  eleven  other  yarns  on  immediate 
schedule.  Just  as  the  screen  once  In- 
dulged in  a  plethora  of  sex,  now  it  Is  In 
the  throes  of  an  orgy  of  blood-letting.  It 
must,  It  seems,  have  a  violent  emotional 
outlet  somewhere. 

In  celluloid  as  in  literature,  blood  spilling 
is  regarded  in  a  peculiar  and  wholesome 
light.     Murder  mysteries  long  have  been 


But  Trend  to  Suicide  Expedience 
to  Solve  Plot  Runs  Danger  of 
Religious  Frowns,  Says  Writer 

by  DOUGLAS  W.  CHURCHILL 

popular  in  printed  form  and  of  late  they 
have  been  turned  to  quite  successfully  by 
the  screen.  There  has  never  been  any  up- 
rising against  homicide  in  fiction,  possibly 
because  so  many  of  us  are  in  favor  of  it  if 
only  the  right  people  were  involved.  H.  L. 
Mencken  once  offered  an  amusing  com- 
mentary on  it  when  asked  why  in  novels 
murder  was  considered  by  the  reformers  as 
more  moral  than  other  more  colorful  and 
pleasurable  forms  of  sin.  "Murder,"  he  re- 
plied, "is  more  moral  because  it  is  enjoyed 
by  only  one  person." 

Unless  public  taste  has  changed,  the 
gangster  films  will  be  accorded  an  enthusi- 
astic reception  just  as  they  were  three  or 
four  years  ago.  The  present  crop  differs 
in  that  the  stories  are  told  from  the  stand- 
point of  law  and  order  rather  than  from 
the  criminal's.  Relating  plots  from  this 
angle  requires  a  different  technique,  puts 


FILM  OF  193  5 
HAS  A  CREED 

William  G.  Stiegler,  dramatic  editor 
of  the  Cincinnati  "Times-Star,"  re- 
cently published  the  following,  which 
he  credits  as  "a  bulletin  aggressively 
devoted  to  reform,  purporting  to  be 
the  btain-child  of  an  exhibitor  from 
.Whitewater,  Wis.": 

I  will  not  dabble  in  nolitics. 

I  shall  never  offend  any  religious 
sect  or  favor  any  denomination. 

Advertising  shall  never  creep  into 
my  entertainment. 

I  shall  never  show  crime  without 
swift  punishment  therefor.  Lapses  of 
morality  will  not  be  exhibited  except 
where  there  is  no  alternative  and, 
when  shown,  the  folly  of  the  sin  shall 
be  clearly  expounded. 

I  will  aid  clean  thinking  and  edu- 
cation by  presenting  more  literary 
classics  the  coming  year  than  I  have 
previously  offered  in  all  the  years  of 
my  existence. 

If  this  policy  proves  a  financial 
loss,  I  alone  will  suffer  it. 

I  shall  not  apologize  for  my  exist- 
ence or  my  great  popularity. 

Tolerance  will  realize  I  am  neither 
a  church  nor  a  school;  my  mission  in 
life  is  entertainment.  Intolerance  will 
continue  to  find  fault  with  me. 

I  am  the  motion  picture  of  1935. 

To  which  Mr.  Stiegler  adds:  "But  if 
that  Utopian  creed  were  to  be  car- 
ried out,  some  of  the  ringleaders  of 
the  reformers  wotdd  find  themselves 
without  an  issue  or  a  publicity  pre- 
text." 


heavier  demands  upon  the  skill  and  in- 
genuity of  the  writers,  and  of  necessity  must 
completely  placate  the  Government  and  the 
censor  people. 

HpUywood's  problem  at  the  moment  is  to 
properly  balance  the  tales.  If  the  criminal 
and  his  acts  are  too  heavily  emphasized, 
then  the  political  censors  will  scream.  Yet 
his  evil  aspects  must  be  stressed  and  he  must 
be  a  vile  character  of  proven  offensiveness 
so  that  when  the  federal  men  and  their  ma- 
chine guns  move  in  on  him  they  will  not 
appear  in  the  light  of  Cossacks.  It  is  this 
delicate  blending  that  is  causing  the  studio 
lads  considerable  concern. 

The  "G-men"  refuse  to  be  pictured  as 
sissies  nor  will  they  allow  themselves  to  be 
portrayed  as  too  ruthless.  They  cannot  be 
shown  In  any  scene  with  the  criminal 
dominating  them,  nor  can  they  be  shot 
down  by  gangsters,  although  such  a 
condition   Is  a   matter  of  news  history. 

They  have  relented  in  one  phase  of  their 
objections  and  are  allowing  gun  battles  to 
be  shown  in  shadow.  They  would  rather 
not  be  involved  in  any  torrid  romantic  situa- 
tions but  they  know  this  would  be  asking 
too  much  of  the  screen.  At  any  rate,  the 
restrictions  they  have  placed  upon  Holly- 
wood have  given  the  town  a  great  deal  to 
think  about  and  as  a  probable  result  the 
films  will  be  much  better  than  those  of  the 
earlier  boom-boom  era  which  were  so  hap- 
pily received  at  the  box  office. 

Today  the  cycle  of  gangster  films  is 
limited  to  six,  but  the  figure  may  be  changed 
when  the  first  receipts  are  heard  from^. 
Warner  will  be  the  first  under  the  wire  with 
"The  G  Men,"  which  is  now  in  the  cutting 
room.  This  will  be  followed  by  efforts 
from  Universal,  RKO,  Edward  Small^ 
M-G-M  and  Paramount.  Of  course,  if  the 
optimism  now  surrounding  the  gangster 
theme  is  misplaced,  most  of  the  lots  will  be 
able  to  withdraw  without  any  great  loss. 

Improved  Quality  Vita! 
Amusement  Problem:  Sarnoff 

Stimulation  of  quality  in  the  production 
of  motion  pictures,  radio  broadcasting  and 
vaudeville  entertainment  is  the  most  impor- 
tant problem  confronting  the  amusement 
business  today,  David  Sarnoff,  president  of 
Radio  Corporation  of  America,  told  the 
Cheese  Club  in  New  York  Monday. 

M.  H.  Aylesworth,  National  Broadcast- 
ing Company  president  and  chairman  of 
RKO,  declared  the  city,  through  its  tax 
levies,  is  in  competition  with  the  entertain- 
ment industry. 

Free  FERA  Shows 
Banned  in  Massachusetts 

A  move  of  national  interest  was  brought 
to  light  in  Boston  this  week  with  the  revela- 
tion that  free  FERA  film  shows  have  beerr 
banned  throughout  Massachusetts. 


March    23,  1935 


MOTION    PICTURE  HERALD 


17 


Public  Hearings  on 
Block  Booking  Bill 
Expected  in  April 


Pettengill  Bill  Would  Place  Sales 
Machinery  in  Hands  of  the  Courts 

Publication  in  Motion  Picture  Herald  last  week  of  the  complete  text  of  Congress- 
man Pettengill's  H.  R.  Bill  No.  6472  to  prohibit  by  federal  statute  the  trade  practices 
known  as  "compulsory  block  booking"  and  "blind  selling,"  brought  forth  Monday 
an  analysis  of  the  bill's  significance  by  Charles  C.  Pettijohn,  general  counsel  of  the 
Film  Boards  of  Trade  and  leader  of  the  industry's  forces  fighting  adverse  legislation. 

Sponsoring  the  Pettengill  bill  in  Congress,  it  was  said  last  week,  are  Allied  States 
Association  of  Motion  Picture  Exhibitors,  Motion  Picture  Research  Council,  National 
Congress  of  Parents  and  Teachers,  Women's  Christian  Temperance  Union,  Young 
Men's  Christian  Association,  Young  Women's  Christian  Association,  National  Educa- 
tion Association,  National  Council  of  Women  for  Home  Missions. 

by  CHARLES  C.  PETTIJOHN 

Typical  of  that  type  of  freak  legislation  sometimes  introduced  in  Congress  by 
which  people  who  know  nothing  about  a  business  seek  to  regulate  it,  or  improve 
it,  is  the  House  Bill  No.  6472  introduced  by  Congressman  Pettengill  of  Indiana. 

Represented  by  its  sponsors  as  a  remedy  and  a  "cure-all"  which  will  give  the 
public  better  pictures,  arrange  the  programs  more  appropriately  and  bring  to  the 
public  only  that  type  of  photoplay  which  these  welfare  groups  believe  "fit  for 
the  public  to  see" — this  bill  is  now  waiting  action  of  the  House  Committee  on 
Interstate  and  Foreign  Commerce. 

The  sponsors  of  this  bill — some  well  meaning  and  others  just  busy  to  regulate 
somebody  else — evidently  do  not  know  or  do  not  care  about  the  mechanical 
problems  confronting  the  making  or  distribution  of  motion  pictures  requiring  quick 
and  efficient  distribution  to  more  than  14,000  theatres  In  the  United  States,  of 
approximately  25,000  miles  of  film  daily. 

They  probably  do  not  understand  that  this  bill  prohibits  the  wholesaling  of 
nnotion  picture  films  more  than  2,000  feet  in  length  and  compels  distributors  to 
retail  feature  photoplays  one  at  a  time.  How  such  prohibitions  will  benefit  the 
public  in  raising  the  quality  of  pictures  or  benefit  the  exhibitor  by  thus  increasing 
the  selling  and  distribution  costs,  the  bill  does  not  disclose.  This  measure  under- 
takes to  substitute  the  federal  courts  and  the  attorney  general's  office  for  the 
Federal  Trade  Commission,  in  the  passing  upon  motion  picture  disputes  growing 
out  of  exhibition  and  distribution  contracts. 

At  last  something  has  been  found  to  clutter  up  the  calendars  of  the  federal 
courts  with  a  type  of  litigation  to  take  the  place  of  bootlegging  cases.  Now  our 
federal  courts  and  "federal  snoopers"  are  to  run  down  cases  of  "film  bootlegging," 
to  find  out  If  films  have  been  sold  more  than  one  at  a  time.  With  hundreds  of 
thousands  of  film  contracts  annually  between  the  theatre  owners  and  the  movie 
distributors,  our  federal  courts  will  now  have  something  to  take  the  place  of  bootleg 
cases  and  keep  them  busy. 

This  bill,  in  the  Identical  language  taken  from  the  opinion  of  the  appellate  court 
of  the  United  States,  seeks  to  make  illegal  that  which  the  courts  have  already  found 
to  be  legal — namely,  the  right  of  motion  picture  distributors  to  wholesale  their 
procTuct  and  choose  their  customers.  There  is  just  as  much  sense  for  the  Govern- 
ment to  undertake  to  pass  upon  film  contracts  as  there  is  for  our  federal  courts 
to  interpret  the  styles  for  haircuts,  the  color  for  nail  polish,  or  the  contracts  to  be 
entered  into  by  insurance  companies,  automobile  dealers,  or  anybody  else. 

The  movies  have  been  doing  pretty  well  lately.  They  have  been  giving  us  some 
pretty  good  pictures.  Why  not  give  them  a  rest  from  the  many  types  of  freak 
legislation  that  have  been  shot  at  them  since  their  birth?  It  Is  almost  time  for  us 
to  begin  to  appreciate  some  of  the  good  things  the  movies  are  doing  and  stop 
"tinkering  with  their  carburetors  and  intake  valves." 


Public  hearings  on  block  booking  will  be 
sought  of  the  House  committee  on  inter- 
state and  foreign  commerce  in  April,  as 
soon  as  the  public  utilities  control  measure 
is  out  of  the  way,  according  to  Representa- 
tive Samuel  B.  Pettengill,  sponsor  of  H.  R. 
6472,  which  he  introduced  two  weeks  ago. 

Support  of  Mr.  Pettengill's  measure  by 
the  Federal  Council  of  Churches  of  Christ 
in  America  was  seen  by  the  Congressman 
in  a  request  received  for  several  thousand 
copies  of  the  bill,  which  will  be  distributed 
among  all  the  church  papers  of  the  Prot- 
estant faiths.  He  said  he  also  had  received 
a  number  of  communications  indicating 
Catholic  organizations'  approval  will  be 
given. 

Lowell  Indorses  Measure 

Dr.  A.  Lawrence  Lowell,  president-emeri- 
tus of  Harvard  University  and  honorary 
president  of  the  Motion  Picture  Research 
Council,  officially  indorsed  the  Pettengill 
measure  in  a  statement  issuing  from  the 
Council's  headquarters. 

"Being  unable  to  see  that  the  practices  of 
block  booking  and  blind  selling  have  any  object 
except  that  of  supporting  a  monopoly,  and 
obliging  exhibitors  to  use  films  which  for  moral 
or  other  reasons  they  do  not  desire  to  exhibit, 
I  am  wholly  in  favor  of  restraining  these 
practices,  so  far  as  they  come  into  state  com- 
merce," Dr.  Lowell  said. 

Paying  lyrical  tribute  to  the  part  played 
in  cultural  development  by  the  arts  and 
sciences,  including  the  motion  picture,  Rep- 
resentative William  L  Sirovich  of  New 
York  on  Monday  introduced  in  the  House 
in  Washington  a  resolution  to  create  a  new 
department  in  the  federal  organization  to 
be  headed  by  a  Cabinet  member  who  would 
be  known  as  Secretary  of  Science,  Art  and 
Literature. 

The  Senate  judiciary  committee  on  Monday 
reported  favorably  on  Senator  Black's  30-hour- 
week  bill. 

Legislation  which  would  prohibit  the  stage 
appearance  of  Hauptmann  case  jurors  and 
other  jurymen  was  introduced  by  Senator  Dulfy 
of  Wisconsin. 

Philadelphia  Exhibitors  Protest 

The  legislative  situation  in  the  field  was 
comparatively  quiet,  except  in  Pennsylvania. 
On  Monday  a  meeting  of  60  exhibitors  in 
Philadelphia  charged  the  major  circuits  with 
favoring  a  deal  on  the  proposed  10  per  cent 
sales  tax  in  return  for  Sunday  shows. 

David  Barrist,  member  of  the  Independent 
Exhibitors'  Protective  Association,  said  War- 
ners had  sponsored  a  drive  to  Tielp  the  Re- 
publican candidate  for  governor  at  the  last 
election,  with  the  result  that  when  a  Democrat 
won  there  was  a  feeling  in  the  present  admin- 
istration against  the  industry. 

Governor  Frank  R.  Merriam  of  California 
announced,  after  a  conference  with  Bud  Lollier 
of  Fox  West  Coast,  that  he  is  willing  to 
accept  a  substitute  for  the  proposed  one  per 
cent  admission  tax  exempting  the  first  20  cents. 
The  Assembly  amended  the  3  per  cent  sales  tax 
to  exclude  short  term  rentals  such  as  on  films. 

Maine — Sunday  situation  remains  acute. 
Petition  introduced  in  House  would  eliminate 
old  blue  laws.    Newspaper  running  straw  vote. 

Maryland — Censor  fees  would  be  increased 


from  $2  to  $3.50  for  each  1,000  feet  of  film 
and  from  $1  to  $2  for  each  print  under  terms 
of  bill  introduced  by  Senator  J.  David  Baihe. 
A  bill  for  a  10  per  cent  tax  on  all  amusement 
tickets  was  killed  in  committee. 

Missouri — Senator  John  P.  Shea  had  his 
censorship  bill  placed  on  the  informal  calendar. 
It  is  estimated  the  bill  would  cost  the  industry 
$300,000.  The  House  municipal  corporations 
committee  killed  a  bill  to  impose  a  special  tax 
of  one-tenth  of  a  mill  oer  foot  on  film  exhibited 
in  the  state.  The  old  age  pension  bill,  im- 
posing a  10  per  cent  tax  on  admissions,  was 


killed  in  committee.  A  bill  to  prohibit  standing 
in  theatres  was  killed.  The  House  passed  a 
sales  tax  bill  rate  of  2  per  cent. 

Nebraska — A  house  bill  to  tax  rentals  and 
equipment  10  per  cent  will  be  killed,  it  was  in- 
dicated after  a  hearing. 

New  York — The  Stephens  bill  providing  for 
segregation  of  children  in  film  theatres  and 
making  it  a  misdemeanor  for  anvone  to  aid 
a  child  in  obtaining  admission  to  a  theatre 
without  authorization  of  the  child's  parent  or 
guardian  and  making  censorship  of  films  for 

(Continued  on  following  page,  bottom  column  1) 


18 


MOTION    PICTURE  HERALD 


March    2j,  1935 


Depinet  Appears 
In  St.  Louis  Case; 
Trial  Due  April  2 

Ned  E.  Depinet,  president  of  RKO  Radio 
Distributing  Corporation,  arrived  in  St. 
Louis  by  airplane  from  New  York  on  Friday 
and  entered  a  formal  plea  of  "not  guilty" 
following  his  arraignment  in  connection  with 
the  federal  grand  jury  monopoly  indictment 
voted  against  him  and  four  others  several 
months  ago.  Mr.  Depinet  was  accompanied 
by  William  Mallard,  general  counsel  for 
RKO,  and  Bruce  Bromley,  of  Cravath,  de 
Gersdorf,  Swaine  &  Wood,  special  counsel. 

Paramount  and  Warner  made  arrange- 
ments with  the  attorney  general's  office  to 
enter  pleadings  for  George  J.  Schaefer, 
Harry  M.  Warner,  Herman  Starr  and 
Abel  Gary  Thomas,  who  were  indicted 
with  Mr.  Depinet,  at  the  time  the  case  goes 
to  trial,  tentatively  set  for  April  2.  Former 
Senator  Reed  of  Missouri  will  appear  as 
counsel  for  Warner  at  the  trial  and  Para- 
mount has  retained  William  R.  Gentry  and 
Samuel  W.  Fordyce,  both  of  St.  Louis,  as 
counsel. 

As  a  result  of  a  petition  to  the  depart- 
ment of  justice  by  the  Independent  Theatres' 
Protective  Association  of  Wisconsin,  re- 
questing an  investigation  of  producers  and 
producer-controlled  theatres,  the  department 
of  justice  this  week  notified  the  Wisconsin 
organization  that  a  representative  will  be 
sent  to  Milwaukee  shortly. 

The  New  Liberty,  second-run  at  Fort 
Worth,  Texas,  sought  a  federal  injunction 
against  distributors,  charging  a  boycott  at- 
tempt. Bonnie  Long,  Dallas  grievance  board 
secretary,  was  named  a  defendant. 


April  Hearing  on 
Block  Sales  Bill 

(Continued  from    preceding  page) 

children  optional  with  local  mayors  or  con- 
stituted authorities,  was  killed  by  the  Assembly 
committee  on  judiciary. 

North  Dakota— The  2  per  cent  admission 
tax  bill  was  before  Governor  Welford  for 
signature.  !*[ 

Ohio — A  bill  amending  the  state's  censorship 
law  to  increase  censor  fees  to  $5  for  the  first- 
reel  and  $3  for  each  succeeding  reel  was  passed 
by  the  House.  Under  the  present  statute  the 
charge  has  been  $1  a  reel. 

Oklahoma — Exhibitors  are  displaying  con- 
cern over  the  action  of  a  House  committee  in 
favorably  reporting  a  bill  legalizing  dog  racing. 

Oregon — The  legislature  adjourned  without 
action  on  the  Oleen  bill  for  a  tax  on  gross 
receipts  and  on  the  10  per  cent  admission  tax 
bill. 

Pennsylvania— The  right  to  sell  liquor  in 
theatres  and  other  places  of  amusement  would 
be  restored,  subject  to  licensing,  if  a  bill  intro- 
duced in  the  lower  house  is  adopted. 

Washington — Under  a  new  Washington 
state  theatre  tax,  patrons  are  obliged  to  pay 
one  cent  on  a  2S-cent  ticket,  two  cents  on  a 
40-cent  ticket,  three  cents  on  a  SO-cent  ticket 
and  five  cents  on  tickets  costing  $1  or  over. 

Wisconsin— The  Independent  Theatres  Pro- 
tective Association  has  introduced  a  bill  to 
outlaw  film  license  contracts  calling  for  pre- 
ferred playing  dates. 


Wilmington  Court  to  Hear 
Petition  of  Jenkins  Company 

The  United  States  district  court  at  Wilm- 
ington, Del.,  on  March  30  will  hear  matters 
contained  in  the  petitions  of  the  receivers  of 
Jenkins  Television  Corporation  asking  an 
order  authorizing  a  compromise  with  the 
receivers  of  the  DeForest  Radio  Company 
and  Wiley  R.  Reynolds  and  W.  R.  Rey- 
nolds and  Company,  by  the  payment  of  the 
creditors  of  Jenkins  in  full ;  the  payment  of 
$22,500  to  stockholders  of  Jenkins,  and  a 
release  from  any  liability  given  by  the  re- 
ceivers of  Jenkins  to  Reynolds  and  W.  R. 
Reynolds'  and  Company.  Clifford  V.  Ed- 
wards, New  York,  and  John  Biggs,  Jr.,  of 
Wilmington,  are  receivers  for  Jenkins  Tele- 
vision, and  Ralph  E.  Lumm,  Newark,  and 
Leslie  E.  Gordon,  Passaic,  of  DeForest 
Radio. 


Judge  Mack  Sets 
Fox  Metropolitan 
Hearing  on  May  1 

Federal  Judge  Julian  W.  Mack  in  New 
York  last  week  set  May  1  as  the  deadline 
for  the  provisional  hearing  on  the  new  Fox 
Metropolitan  Playhouses  reorganization  plan 
which  Milton  C.  Weisraan,  receiver  for  Fox 
Theatres  Corporation,  and  Joseph  M. 
Schenck,  United  Artists  head,  who  has  made 
a  private  bid  for  the  circuit,  have  been  pre- 
paring. 

The  plan  provides  for  75  cents  on  the  $1 
for  the  $12,460,700  of  bondholders'  claims, 
20  cents  of  which  will  be  in  cash  and  55 
cents  in  new  bonds.  It  also  provides  for  re- 
organization of  Fox  Met  rather  than  a  fore- 
closure and  sale.  Involved  also  is  a  cash 
outlay  of  $1,900,000  which  will  be  derived 
from  the  sale  of  stock  of  reorganized  Fox 
Met  to  Mr.  Schenck  and  Fox  Theatres. 
Mr.  Schenck  would  become  president  of  the 
new  company  and  Skouras  and  Randforce 
would  continue  as  operators  under  new  10- 
year  contracts. 

Saul  E.  Rogers,  representing  undisclosed 
interests,  will  not  submit  a  plan  of  reorgani- 
zation for  the  circuit  until  the  Schenck-Fox 
Theatres  plan  comes  up  for  hearing,  and 
then  only  in  the  event  the  terms  of  that  plan 
can  be  bettered  by  a  competitive  one,  it  was 
learned  this  week.  All  other  prospective 
bidders  appear  to  have  withdrawn  from  the 
field. 

Delay  in  signing  the  10-year  Fox  West 
Coast  operating  contract  by  Spyros  and 
Charles  Skouras;  Chase  National  Bank  and 
Sidney  R.  Kent,  is  holding  up  reorganiza- 
tion of  Fox  Midwest  and  Fox  Rocky  Moun- 
tain circuits.  Both  Skourases  have  predict- 
ed the  circuits  would  be  discharged  from 
bankruptcy  about  April  1,  but  indications 
now  are  that  June  1  will  be  the  earliest  pos- 
sible date.  Charles  Skouras  put  off  his  re- 
turn to  the  Coast  from  New  York  this  week, 
indicating  another  delay  in  the  signing  of 
the  agreement. 


Lucas  Heads  lATSE  Local 

W.  W.  Lucas  has  been  elected  president 
of  the  lATSE  Local  No.  439,  New  London, 
Conn.,  for  the  eighth  consecutive  term. 


Paramount' s  Bond 
Assents  Near  Total 

For  Plan  Approval 

Assents  of  bondholders  of  Paramount 
Publix  to  the  company's'  plan  of  reorganiza- 
tion on  Wednesday  had  reached  a  total  of 
$15,000,000,  or  $1,500,000  short  of  the  total 
necessary  to  allow  the  plan  to  receive  final 
approval.  In  addition,  a  two-thirds  assent 
vote  of  the  company's  general  creditors  and 
a  majority  vote  of  stockholders  must  be  re- 
corded before  the  reorganization  takes  place. 

The  Munger  debenture  committee,  repre- 
senting approximately  $800,000  of  Para- 
mount debentures,  last  week  approved  the 
plan  and  letters  giving  notice  of  its  assent 
were  being  prepared  for  mailing  to  deben- 
ture holders.  The  Munger  committee  is  the 
last  of  the  organized  Paramount  creditor 
groups  to  assent  to  the  plan,  the  Vanderlip 
debenture  committee,  the  stockholders'  pro- 
tective committee.  Paramount  Broadway 
bondholders  and  the  merchandise  creditors' 
committee  having  signified  their  assent  to 
the  plan  earlier. 

Employees  Urged  to  Accept 

There  is  a  total  of  $25,157,000  of  Paramount 
bonds  outstanding.  The  Vanderlip  committee 
represents  more  than  $13,100,000  of  the  out- 
standing bonds.  Paramount  employees  who  hold 
company  stock  are  being  urged  by  George  J. 
Schaefer,  general  manager,  immediately  to  file 
their  acceptances  of  the  plan,  but  Louis  M. 
Levy,  attorney,  said  to  represent  holders  of 
Paramount  stock,  on  Monday  said  he  had  writ- 
ten Mr.  Schaefer  that,  in  his  opinion,  the  plan 
should  be  opposed  by  stockholders  as  "unfair 
and  inequitable"  and  advised  the  Paramount 
executive  that  he  would  submit  a  new  board  of 
directors  which  would  include  Mr.  Schaefer, 
Charles  E.  Richardson  and  Percy  H.  Johnston 
as  the  only  members  of  the  proposed  board 
now  before  the  court.  Mr.  Levy  is  counsel  for 
professional  talent  and  advocates  a  place  on  the 
board  for  their  representatives. 

Reported  plans  of  H.  A.  Fortington,  Ameri- 
can representative  of  the  Royal  and  other  Brit- 
ish insurance  companies  and  a  nominee  for  the 
new  directorate,  to  resume  residence  in  Eng- 
land after  December  1,  are  creating  a  stir  in 
Paramount's  reorganization  circles,  where  there 
is  much  speculation  as  to  whether  Mr.  Forting- 
ton, if  the  plans  materialize,  would  withdraw 
from  the  board  at  this  time  or  at  the  time  of 
his  departure.  Spokesmen  for  Mr.  Fortington 
said  that  his  time  probably  would  be  divided 
between  England  and  the  United  States  and 
would  not,  therefore,  affect  his  board  mem- 
bership. 

Schulberg  to  Produce 

The  proposed  deal  whereby  B.  P.  Schulberg 
will  continue  to  produce  independently  for  Para- 
mount was  agreed  upon  in  principle  by  the  com- 
pany's creditor  representatives  to  whom  it  was 
submitted  last  week.  Mr.  Schulberg  is  sched- 
uled to  make  seven  features  for  Paramount 
next  season,  budgets  not  to  exceed  $250,000 
each,  with  half  the  money  to  be  supplied  by 
Paramount  and  the  other  half  by  Electrical 
Research  Products,  Inc.,  and  Ralph  A.  Kohn, 
former  Paramount  treasurer. 

Federal  Judge  Alfred  C.  Coxe  in  New  York 
last  week  approved  an  order  authorizing  the 
Paramount  trustees  to  permit  Paramount  Prop- 
erties, Inc.,  a  wholly-owned  Paramount  sub- 
sidiary, to  file  a  petition  for  reorganization  un- 
der Section  77-B  in  the  United  States  district 
court  for  the  southern  district  of  California. 
The  plan  provides  for  issuance  of  new  bonds 
totahng  $2,750,000  and  for  a  new  lease  on  Para- 
mount's Coast  studios. 


I  tell  you,  Suh, 


PARAMOUNT'S 


is  bound  to  be  a 


powahful  attraction. 


And  the  reasons,  Suh,  are 
on  the  following  pages—' 


PARAMOUNT'S 

MISSISSIPPI 


"Bing  sings  his  best 
in  "Mississippi. "' 
—Hollywood  Reporter 


^  -  ■ 


"  W.  C.  Fields  is  headed 
for  the  crown  of 
Comedy  King. '' 

— Louella  Parsons 


Idealizes  the  Beauty 
and  Romance  of  the 
Old  South. 


Hollywood  Reporter 


is  in  fhe  BAG. 

There^s 

BING  CROSBY 

Every  Crosby  picture — without  exception — has 
done  top  business.  Check  this  statement  against 
your  own  box-office  records. 

W.  C.  FIELDS 

Now  at  the  peak  of  his  popularity.  Audiences  love 
him.  They  burst  into  spontaneous  applause  when 
he  appears  on  the  screen  in  "David  Copperfield." 

JOAN  BENNETT 

By  her  past  performances  in  "Little  Women"  and 
"Pursuit  of  Happiness"  has  achieved  an  outstand- 
ing box-office  personality.  Lends  charm,  beauty 
and  talent  as  Crosby's  latest  leading  lady. 


Qaeenie  Smithas 
"Alabam,  "the  dancing 
Belle  of  the  Bayous. 


A    BRILLIANT  CAST 


Including  Queenie  Smith,  Broadway  musical 
star;  Gail  Patrick,  John  Miljan,  Fred  Kohler  and 
the  Five  Cabin  Kids — a  riotous  set  of  sepia  quin- 
tuplets. Edward  Sutherland's  direction  is  another 
factor  that  must  be  taken  into  consideration. 


300  national  plugs 
on   the  air  already. 


A  GREAT  MUSICAL  SCORE 

"Soon,"  "Down  by  the  River,"  "It's  Easy  to 
Remember" — Rodgers  and  Hart  compositions 
played  on  every  important  radio  program  and 
danced  to  in  every  ballroom.  Wait  till  your 
customers  hear  Bing  sing  these — and  Stephen 
Foster's  immortal  "Swanee  River." 


Romance,  comedy 
and  action  skillfully 
blended. 


A    GRAND    S  T  O R  Y 

Based  on  a  play  by  Booth  Tarkington.  Music, 
comedy,  romance,  duels  at  dawn,  river  badmen, 
young  love  and  old  animosities  share  the  screen 
with  dramatic  situations.  A  blending  of  elements 
that  audiences  demand  in  the  pictures  you  want 
them  to  like. 


•  ••and  that's  not  all: 


NATIONAL  TIE-UPS 


The  Press  Book  on  "Mississippi"  is  chockful  of 
national  tie-ups  that  put  window  displays,  radio 
programs,  cooperative  advertising,  right  in  your 
lap.  All  worthwhile,  practical  arrangements  that 
assist  you  in  selling  the  picture  to  your  public. 


STEADY  PUBLIC  BUILD-UP 

■  '-^:'..'.v/:sv? 


Showmanship  ideas 
that  smart  showmen 
translate  into  dollars 


"I 


Concentrated  public- 
ity designed  to  focus 
attention  on  your 
playdate. 


Audiences  everywhere  are  now  waiting  for  Bing 
Crosby's  next  picture.  Right  up  to  national 
release  date  radio,  fan  magazines  and  newspapers 
will  continue  to  pave  the  way  for  "Mississippi. 


'Add  all  these  togethuh,  Suh,  and  the  answer  is 

MISSISSIPPI 


"The  sort  of  pictuah,  Suh,  that's  as  refreshin'  to 
the  box-office  as  a  mint  julep  is  to  you,  Suh!" 


If  it's  a  Paramount  picture  •  •  *^t's  the  best  show  in  town 


March    23,  1935 


MOTIONPICTUREHERALD  23 


ORIGINALS  PROVIDE  40  PERCENT 

OF  FEATURES;  PLAYS,  12  PERCENT 


158  Original  Stories,  127  Books 
and  37  Plays  Acquired  by 
Producers  in  Half  Year 
Since  New  Season  Began 

The  motion  picture  industry  now  goes  to 
the  original  manuscript  for  49  per  cent  of 
its  feature  story  material,  to  the  published 
book  for  39  per  cent  and  to  the  play  of  the 
stage  for  12  per  cent. 

These  conclusions  are  drawn  from  the 
records  of  story  purchases  made  by  Holly- 
wood as  appearing  regularly  in  Motion 
Picture  Herald  for  the  last  six  months, 
when  there  were  acquired  by  all  companies 
158  originals,  127  books  and  novels  and  37 
plays,  a  total  of  322  for  the  period  begun 
September  1,  1934,  when  1934-35  show  sea- 
son started. 

At  midseason,  story  purchases  are  now 
being  made  at  a  rate  of  40  a  month.  In  the 
first  quarter  properties  were  purchased  at 
the  rate  of  75  in  September,  51  in  October 
and  64  in  November,  compared  with  44  in 
December,  47  in  January  and  41  in  Febru- 
ary. 

Governing  the  steady  development  of  the 
original  story  as  the  principal  channel  of 
film  material  are  two  factors :  ( 1 )  Availa- 
bility, more  than  ever  before,  of  well- 
known  writing  talent  for  studio  stafif  assign- 
ment, and  (2)  Uncertainty  of  publication 
of  a  steady  supply  of  usable  books.  Too,  ex- 
cept on  occasion,  producers  turn  away  from 
the  excessive  tariffs  charged  for  such  plays 
as  are  suitable  for  filming. 

At  least  two-thirds  of  the  purchases  made 
in  the  six  months  were  used  to  round  out 
feature  programs  for  this  season.  Produc- 
ers, as  is  customary,  had  completed  at  the 
beginning  of  the  sales  season  in  the  sum- 
mer only  portions  of  their  product  sched- 
ules so  that  timelier  subjects  and  new  story 
successes  might  be  added  as  they  developed. 
Some  110  purchases,  representing  the  re- 
maining third  of  the  total  acquisitions,  will 
be  applied  to  the  1935-36  season.  Purchases 
were  made  during  the  six  months  as  fol- 
lows : 


ORIG-  TO- 
MONTH       INALS  BOOKS  PLAYS  TALS 


SEPTEMBER  .. 

28 

40 

7 

75 

OCTOBER  ... 

25 

20 

6 

51 

NOVEMBER  .. 

39 

17 

8 

64 

DECEMBER  .. . 

19 

19 

6 

44 

JANUARY  ... 

26 

14 

7 

47 

FEBRUARY  ... 

21 

17 

3 

41 

TOTALS  FOR 

SIX  MONTHS 

158 

127 

37 

322 

Significant  was  the  fall-off  in  play  pur- 
chases from  the  average  of  six  to  eight  ac- 
quired monthly  from  September  to  Janu- 
ary, to  only  three  in  February.  The  large 
number  of  books  acquired  in  September  was 
attributable  to  the  increased  publishing  ac- 
tivity that  customarily  follows  the  summer. 

Metro-Goldwyn-Mayer  led  in  the  number 
of  acquisitions,  taking  title  to  some  61  prop- 
erties, half  of  them  originals,  22  books  and 


eight  plays.  Paramount  scored  50,  buying 
22  originals,  18  books  and  10  plays,  with 
Radio  and  Warner  nearly  tied  for  third 
place  with  34  and  32  purchases,  respec- 
tively. 

Fox  got  28  properties.  Universal  21,  and 
Columbia  19.  Purchases  by  other  companies 
for  the  six  months  were  made  as  follows : 
Ambassador  Pictures,  eight;  London  Films 
Reliance  (United  Artists),  five;  Monogram, 
seven;  Twentieth  Century  (United  Artists), 
six;  Reliance  (United  Artists),  five; 
Chesterfield,  King-Ajax  Productions  and 
Liberty,  four  each ;  Mascot,  three ;  Gold- 
wyn  (United 'Artists)  and  Select,  two  each, 
and  one  each  by  British  and  Dominions 
(United  Artists),  Burr  Productions,  Cameo, 
Grace  Pictures,  Krellberg,  Mindenburg  and 
Supreme  Pictures. 

41  Bought  In  February 

There  were  41  purchases  negotiated  in 
February,  as  follows : 

Total 
for 


Company      Originals  Books  Plays  Month 


CAMEO 

i 

1 

CHESTERFIELD  3 

3 

COLUMBIA  3 

2 

5 

FOX    2 

1 

3 

GAUMONT       .  . 

1 

1 

LONDON(U.A.)  . 

2 

2 

METRO  4 

3 

3  10 

PARAMOUNT  2 

2 

4 

RADIO 

1 

1 

20TH  CENTURY 

(U.  A.) 

2 

2 

UNIVERSAL  1 

2 

3 

WARNERS  6 

6 

TOTALS  FOR 

THE  MONTH  21 

17 

3  4! 

February  purchases  included  many  out- 
standing properties : 

Age  of  Indiscretion,  original,  by  Leon  Gor- 
don, purchased  by  MGM  for  direction  by 
Edward  Ludwig. 

Alice  Adams,  book,  by  Booth  Tarkington,  pur- 
chased by  Radio  for  Katharine  Hepburn. 

Amateur  Hour,  original,  purchased  by  Metro. 

Arctic  Wings,  original,  by  Richard  V.  Grace, 
purchased  by  Columbia. 

Ask  for  Mrs.  Foster,  original,  by  Josepli 
Santley,  purchased  by  Warners  as  a  possible 
vehicle  for  Aline  MacMahon.  Joseph  Santley 
and  Mary  McCall,  Jr.,  are  writing  the 
scenario. 

Baa  Baa  Black  Sheep,  original,  by  Arthur 

Herman,  purchased  by  Fox. 
Black  Room  Mystery,  original,  by  Arthur 

Strawn,  purchased  by  Columbia  for  Boris 

Karloff. 

Bride  Comes  Home,  book,  by  Elizabeth  Hold- 
ing, purchased  by  Paramount,  for  Claudette 
Colbert. 

Captain  of  the  Yard,  original,  by  John  Bright 
and  Robert  Tasker,  purchased  by  Warners 
as  a  possible  vehicle  for  Edward  G.  Robinson. 

Circumstantial  Evidence,  original,  by  Tom 
Terris,  purchased  by  Chesterfield,  which  as- 
signed adaptation  to  Ewart  Adamson. 

Claudius  the  God,  book,  by  Robert  Graves. 


Story  Purchases  Now  Being 
Made  at  Rate  of  40  a  Month, 
75  in  September;  MGM 
Takes  Title  to  61  Properties 

purchased  by  London  Films  (United  Artists), 
for  production  by  Alexander  Korda. 

Dark  Dame,  book,  by  Wilson  CoUison,  pur- 
chased by  Metro. 

Death  on  the  8:06,  book,  by  Philip  Wylie, 
purchased  by  Paramount. 

Every  Night  at  Eight,  original,  by  Gene 
Towne  and  Graham  Baker,  purchased  by 
Paramount,  for  production  by  Walter  Wan- 
ger. 

Far  off  Hills,  play,  by  Lennox  Robinson, 
purchased  by  Metro,  for  Maureen  O'Sullivan, 
Franchot  Tone,  Charles  Butterworth,  and 
direction  by  William  K.  Howard. 

Farrell  Case,  original,  by  Seton  L  Miller, 
purchased  by  Warners  for  James  Cagney. 

Gold  Eagle  Guy,  play,  purchased  by  Metro. 

Gorgeous  Hussy,  original,  by  Samuel  Hop- 
kins Adams,  purchased  by  Metro,  for  Jean 
Harlow,  production  by  David  O.  Selznick. 

Grand  Exit,  original,  by  Gene  Towne  and 
Graham  Baker,  purchased  by  Columbia. 

House  of  Trujillo,  book,  by  Anne  Cameron, 
purchased  by  Metro. 

I,  Claudius,  hook,  by  Robert  Graves,  pur- 
chased by  London  Films  (United  Artists), 
for  production  by  Alexander  Korda. 

I  Found  Stella  Parrish,  original,  by  John 
Monk  Saunders,  purchased  by  Warners  for 
Kay  Francis. 

IvANHOE,  book,  by  Sir  Walter  Scott,  purchased 
by  Twentieth  Century  (United  Artists). 

Kiss  AND  Wake  Up,  original,  by  Alan  Dwan, 
purchased  by  Fox  for  Edmund  Lowe  and 
Claire  Trevor. 

Leave  It  to  Us,  original,  by  Isabel  Dawn  and 
Boyce  Degaw,  purchased  by  Warners  for 
Joan  Blondell  and  Glendall  Farrell. 

Life  of  Dr.  Samuel  Alexander  Mudd,  book, 
by  Nettie  Mudd,  purchased  by  Twentieth 
Century,  which  will  release  it  through  United 
Artists  under  the  title  of  "Shark  Island." 

Lightning  Strikes  Twice,  original,  by  F. 
Tennyson  Jesse,  purchased  by  Paramount. 

Little  Annie  Rooney,  published  in  comic  strip 
form  by  Brandon  Walsh,  purchased  by  Fox  as 
a  possible  vehicle  for  Shirley  Temple. 

Littlest  Rebel,  play,  by  Edward  H.  Peple, 
purchased  by  Metro. 

Lost  Horizon,  book,  by  James  Hilton,  pur- 
chased by  Columbia. 

Maid  of  Honor,  book,  by  Katherine  Brush, 
purchased  by  Columbia,  which  assigned  S.  K. 
Lauren  to  adapt. 

Man  of  the  World,  original,  by  John  Farrow, 
purchased  by  Metro  for  Paul  Lukas. 

One  Thousand  and  Eleven  Fifth  Avenue, 
book,  by  Eric  Hatch,  purchased  by  Universal. 

Process  Servers,  original,  by  George  Bilson, 
purchased  by  Warners  for  Joan  Blondell. 

Public  Opinion,  original,  by  Karen  DeWolf, 
purchased  by  Chesterfield. 

Rich  Relations,  book,  by  Priscilla  Wayne, 
purchased  by  Cameo  Pictures. 

Room  and  Board,  original,  by  John  Krafift,  pur- 
chased by  Chesterfield. 

Soldiers  Three,  based  on  Rudyard  Kipling's 
adventures,  purchased  by  Gaumont. 

Storm  Over  Asia,  original,  by  Elliott  Gibbons 
and  LaClade  Christy,  purchased  by  Universal 
for  Chester  Morris. 

Untitled  book,  by  Wilson  Collison,  purchased 
by  Metro  for  Joan  Crawford. 

We  Are  Three,  book,  by  Marcel  Thibault, 
purchased  by  Universal. 


24 


MOTION    PICTURE  HERALD 


March    23,  1935 


Celebrating  Universal  City's  Twentieth 


#  Celebrities  of  past  and  pres- 
ent, directors,  technicians, 
studio  workers  were  there,  min- 
gling now  on  equal  terms,  as 
friends  and  co-workers  of  Carl 
Laemmie,  helping  him  mark  two 
decades  of  Universal  production 
at  Universal  City.  Opened  in 
1915  with  golden  key  by  Mr. 
Laemmie  himself,  the  Universal 
plant  this  month  became  half  as 
old  as  the  motion  picture  itself. 


MR.  LAEMMLE  GREETS  STUDIO  EMPLOYEES  WITH  COMPANY  20  YEARS 


CHARLES    MURRAY   AND    PHYLLIS  BROOKS 


Above 
CARL  LAEMMLE 

greets 
PRISCILLA  DEAN 

Right 
CARL  LAEMMLE 
with 

HENRY  ARMETTA 

and  with 
HENRY  McCRAE 


KING    BAGGOT    AND    KATHLEEN  CLIFFORD 


NOAH   BEERY,  JR.,  MRS.  WALLACE  REID  AND   LON   CHANEY,  JR. 


March    23,  1935 


MOTION    PICTURE  HERALD 


25 


Anniversary 


Above: 

IVA  SHEPARD 
FLORENCE  TURNER 
PAT  O'MALLEY 
PRISCILLA  DEAN 


JACK   LAWTON   AND   FRANCIS  FORD 


CRAUFORD   KENT,  JACK   LAWTON   AND  J.   P.  MacSOWAN 


26 


/ 


MOTION    PICTURE  HERALD 


March    23,  1935 


3  American  Films 
Are  Hits  of  Paris 


Managers'  Round  Table  Sponsors 
''Show  of  Showmanship''  April  1st 

Sponsored  by  Motion  Picture  Herald,  through  Managers'  Round  Table  Club 
In  cooperation  with  Motion  Picture  Club  of  New  York,  the  first  annual  "Show 
of  Showmanship",  an  exposition  of  motion  picture  theatre  advertising,  publicity 
and  exploitation,  is  announced  to  be  held  at  the  Motion  Picture  Club  for  four 
days,  starting  Monday,  April  first. 

The  "show"  will  take  the  form  of  representative  campaigns  that  have  been 
submitted  to  Managers'  Round  Table  Club  from  theatremen  in  the  United  States 
and  other  countries.  The  advertising  departments  of  producing  companies  also 
have  been  invited  to  participate.  Immediately  after  the  regular  luncheon  forum 
on  April  I,  the  "show"  will  be  officially  opened. 

There  will  be  no  charge  for  admission  to  the  exhibit,  which  will  be  attended  by 
exhibitors,  theatre  managers,  publicity  directors  and  advertising  agency  executives 
in  the  metropolitan  area.  Film  and  theatre  advertising  executives  asked  to  act  on 
the  general  committee  of  arrangements  include:  film  executives — P.  D.  Cochrane, 
Howard  Deitz,  S.  Charles  Einfeld,  Robert  M.  Sillham,  Hal  Home,  Charles  E. 
McCarthy,  S.  Barret  McCormick,  Herschel  Stuart,  A.  P.  Waxman;  theatre  adver- 
tising— Joseph  Bernhard,  Mort  Blumenstock,  Oscar  A.  Doob,  John  Dowd,  Charles 
C.  Moskowitz,  Sam  Rinzler,  George  Skouras,  Major  Leslie  Thompson  and  J.  R. 
Vogel.    Felix  Feist  and  Martin  Quigley  will  be  honorary  chairmen. 

Tom  Wiley  and  Arnold  Van  Leer  of  the  Motion  Picture  Club  are  working  with 
A-Mike  Vogel,  Chairman  of  the  Managers'  Round  Table  Club,  on  the  preliminary 
arrangements. 


Bowes  Resigns  as 
MGM  Executive 

Major  Edward  Bowes,  vice-president  of 
Metro-Goldwyn-Mayer  for  the  past  10  years, 
has  resigned  that  position  to  devote  all  of 
his  efforts  to  his  broadcasting  work  and 
management  of  the  Capitol  theatre  on  Broad- 
way. No  successor  has  been  appointed  as 
yet.  He  is  vice-president  and  managing 
director  of  the  Capitol. 

Major  Bowes  said:  "I  have  reached  a 
point  where  I  want  to  do  less  and  have 
therefore  resigned  the  I\IGM  vice-presiden- 
cy." He  denied  reports  that  WHN,  auxil- 
iary radio  station  in  Brooklyn,  of  which  he 
is  managing  director,  would  close. 

He  will  maintain  his  connection  with 
Loew's,  Inc.,  of  which  ^IGM  is  a  subsidiary 
since  the  Capitol  theatre  is  a  Loew  house. 
Major  Bowes,  in  association  with  others, 
built  the  Capitol  in  1919  and  has  operated 
it  since. 

Armand  Denis  and  Wife 
Start  African  Film  Trek 

Armand  Denis  and  his  wife.  Leila  Roose- 
velt, have  started  on  a  motion  picture  ex- 
pedition which  will  carry  them  across  the 
Sahara  desert  and  into  the  jungles  of 
Belgian  Congo.  The  expedition,  a  motor- 
ized caravan,  will  spend  10  months  in 
Africa,  planning  to  film  the  gorilla  in  its 
native  habitat.  One  full  length  sound  pic- 
ture will  be  made  for  the  Belgian  govern- 
ment, under  whose  auspices  the  expedition 
is  operating,  and  another  feature  will  be 
made  for  general  distribution.  Radio  contact 
from  car  to  car  is  provided.  Both  Mr.  Denis 
and  his  wife  are  explorers  of  experience. 
Mr.  Denis  made  "Goona-Goona,"  and  was 
production  manager  for  Frank  Buck's  "'Wild 
Cargo." 


Florida  Threat  Is 
Wo  Bluff:  Mayer 

Louis  B.  ]\Iayer  this  week  added  his  voice 
to  the  increasing  protests  against  the  exorbi- 
tant taxes  proposed  against  the  film  industry 
by  the  California  legislature  and  said  that 
the  talk  of  moving  the  production  branch 
from  California  to  Florida,  "lock,  stock  and 
barrel,  is  no  bluff." 

Like  Joseph  M.  Schenck,  who  two  weeks 
ago  forecast  an  exodus  of  the  industry  to 
Florida,  ^Ir.  ]\Iayer  said  in  San  Francisco 
on  Fridav  that  the  move  can  be  accomplished 
for  $10,(}bO,000,  and  can  be  done  within  the 
next  two  years,  if  the  program  of  taxation 
now  before  the  California  legislature  is  en- 
acted. 

"This  is  not  a  bluff.  It  is,  unfortunate- 
ly, a  stern  realit}^"  said  Mr.  Mayer.  "We 
don't  wish  to  leave  California,  but  the  trend 
is  against  us ;  the  trend  is  against  every  big 
business  at  the  present  time." 

Fred  Pelton,  MGM  studio  manager,  last 
week  left  Hollywood  for  Florida  to  inspect 
proposed  studio  sites,  on  the  authorization 
of  the  Motion  Picture  Producers'  Associa- 
tion. In  Florida  Mr.  Pelton  will  be  joined 
by  New  York  studio  representatives.  The 
group  may  also  consider  New  Jersey  as  a 
possible  location  for  studio  sites. 

Willard  ilcKay,  general  counsel  for  L^ni- 
versal,  who  returned  to  New  York  from 
Hollywood  last  week,  said  the  major  studios 
"mean  business"  about  withdrawing  from 
California  and  that  the  California  legislature 
"now  realizes  this  fact." 


Filmtone  Holders  to  Meet 

A  special  meeting  of  the  stockholders  of 
Filmtone  Corporation  will  be  held  next  Mon- 
day at  Wilmington,  Del.,  for  the  purpose  of 
voting  on  the  advisability  of  dissolving  the 
company. 


By  PIERRE  AUTRE 

Var'n  Correspondent 

Three  American  pictures  are  at  the  mo- 
ment breaking  all  receipts  records  in  the 
first  run  theatres  of  Paris.  The  French  ver- 
sion of  "The  Merry  Widow,"  under  its 
French  title,  "La  Veuve  Joyeuse,"  crowds 
the  MGM  Madeleine  Cinema  every  night. 
For  this  picture  the  Madeleine  has  changed 
its  policy.  The  usual  continuous  perform- 
ances from  10  a.  m.  to  2  a.  m.  has  been 
changed  to  continuous  performances  from 
2  to  7  p.  ni.,  and  a  special  evening  perform- 
ance at  9.15  p.  m.  with  reserved  seats.  Mid- 
night and  Sunday  morning  performances 
have  been  dropped. 

Produced  entirely  in  French  dialogue  in 
Hollywood,  the  film  has  reached  its  second 
month  at  the  Madeleine  and  is  expected  to 
stay  at  this  800-seat  theatre  for  a  long  time. 
Prices  are  $1  to  $1.60  in  the  evening  and 
Saturday  and  Sunday  afternoon  and  from 
80  cents  to  $1.20  on  weekday  afternoons. 

At  the  Theatre  de  L'Avenue  on  the 
Champs  Elysees,  "Gay  Divorcee"  has  been 
running  for  eight  weeks  and  its  success  does 
not  seem  to  diminish.  Prices  are  the  same 
as  the  Madeleine.  This  picture  is  shown  in 
its  original  American  version  with  French 
subtitles. 

A  triumphal  premiere  of  "One  Night  of 
Love"  was  held  recently  at  the  Cinema 
Edouard  VII,  where  "Little  Women"  was 
shown  for  six  months,  from  May  1  to  No- 
vember 30,  last  year.  The  members  of 
Parisian  society  who  attended  this  gala 
opening  were  enthusiastic  about  the  picture 
and  its  star,  Grace  Moore. 

"One  Night  of  Love"  is  distributed  in 
France  by  Osso,  which  has  just  signed  a 
two-year  contract  with  Columbia  for  exclu- 
sive distribution  in  France  and  Belgium  for 
the  entire  Columbia  lineup. 


SMPE  Section  Meets 
At  Vitaphone  Studio 

The  Atlantic  Coast  Section  of  the  Society 
of  Motion  Picture  Engineers  held  its  regu- 
lar monthly  meeting  in  the  new  re-recording 
building  at  the  Warner  Vitaphone  studio  in 
Brooklyn  on  Wednesday  evening.  P.  H. 
Evans,  chief  engineer  of  the  Vitaphone 
studio,  and  C.  K.  Wilson  presented  two 
short  papers,  on  "Present  Day  Re-Record- 
ing Practices"  and  "Facilities  for  Present 
Day  Re-Recording,"  in  which  the  two  de- 
scribed methods  of  photographicalty  re- 
recording  sound  on  film.  A  tour  of  the 
studio  then  presented  a  practical  demonstra- 
tion of  the  methods  outlined. 


Schulberg,  Jaffe  Agency 
Interest  Sold  to  Feldman 

The  Schulberg-Feldman- Jaffe  agency  on 
the  Coast  has  dissolved  following  disagree- 
ment between  Charles  Feldman  and  Sam 
Jaffe.  Ad  Schulberg  and  her  brother,  IMr. 
Jafife,  received  $70,000  from  Mr.  Feldman 
for  their  interest. 

Mr.  Jaffe  plans  to  join  B.  P.  Schulberg  as 
production  manager  of  his  independent  pro- 
ducing unit,  as  soon  as  Mr.  Schulberg  closes 
a  seven-picture  deal  which  is  being  consid- 
ered by  the  Paramount  trustees. 


at  Cl  WW  9  TO  ADD 

TO  THE  SENSATIONAL 
BOX-OFFICE  STORY  OF 


All  opening  records  smashed  to  bits.  May  run  for  six  weeks.  Keith's  Memorial,  Boston 
•  •  •  Biggest  opening  in  the  history  of  the  theatre.  Held  over.   Orpheum,  Minne- 
apolis •  •  •  All-time  opening  records  s^ash^.  Palace,  St.  Paul  •  ♦  •  New  all- 
lime  record  made  despite  passenger  conveyance  strike.  Will  run  indefi- 
nitely. Palace,  Canton  •  •  •  All  opening  recoids  shattered  in  face  of  heavy 
rain  Saturday  night.  Palace,  Memphis  •  •  •  Sets  new  record  for  first 
three  days.  Held  over.  Paramount,  Oakland  •  •  ♦  Breaks  all  open- 
ing records.  First  three  days  beats  full  week  of  '^Little  Women/j 
Paramount,  Steuben ville  •  •  •  Sensatipnal^anadian  premiere 
assures  holdover.  Imperial,  Toronto  ♦  Jli  First  three  days 
beat  '^Little  Women"  and  ^'Divorcee".   Paramount,  ^ 

f  WHk 

Atlanta  •  •  •  Second  weekend  biggest  for  any  holdover  W|B|| 
in  history  of  house.  Moves  to  Allen  for  run.  Hippo-  ^^Hft 
drome,  Cleveland  •  •  •  Reaches  highest  Sunday  gross  ^iHk 
of  house,  beating  "Little  Women"  and  "Divorcee"  first  ^V^K 
three  days,  Indiana,  Indianapolis  •  •  •  Second  weekend  beats 
weekend  business  of  any  holdover  in  history.  Fox,  Detroit  •  •  •  IB 
Sensational  weekend,  with  long  lines  waiting  all  day  Sunday.  1 
Orpheum,  Portland  •  •  •  Second  week  way  ahead  of  "Little  Women" 
and  "Divorcee."  Golden  Gate,  San  Francisco   •  •  •    Opened  to  biggest 
business  in  two  years.  California,  Stockton  •  •  •  Smacks  all-time  records  for 
opening  weekend.  Liberty,  Cumberland. 


IT'S  WRITING  BOX-OFFICE  HISTORY  WHEREVER  IT  PLAYS! 

.  .  .  Tor  instance,  just  a  few  of  the  high  spots:  Three  weeks.  Hippo- 
drome, Baltimore  — Three  weeks,  Orpheum,  New  Orleans  — Three  weeks, 
Mainstreet,  Kansas  City — Three  weeks,  Byrd,  Richmond — Three  weeks, 
Salem,  Salem,  Va.— Three  weeks.  Pantheon,  Toledo... MORE  REASONS 
WHY  WE  SAY  TO  THE  THOUSANDS  OF  THEATRES  YET  TO 
PLAY  ''ROBERTA''— KEEP  TIME  OPEN  FOR  EXTENDED  RUNS! 

RKO-RADIO  PICTURE 


e  of  the  six  best  sellers  of  all  time., 
re-created  in  all  its  thrilling  sentiment 
and  mighty  human  drama  •  •  •  The  pic 
tare  that  dares  to  be  simple  and  truel 


aiRECTBa  BY  GEO.  STEVENS      PAN  OR  O    S.    B  E  R  M  l\  N      P    R    O    B    V    C    T  I  O  N 


30 


MOTION    PICTU  RE  HERALD 


March    2  3  ,     19  3  5 


LOEWS  WILL  LAUNCH 
WORLD  BUILDING  PL^N 


Chicago  'Invasion'  Part  of  Move 
Against  Booking  Combina- 
tions; 4  Foreign  Cities  Picked 

Arthur  Loew,  first  vice-president  and  for- 
eign department  head  of  Metro-Goldwyn- 
Mayer,  announced  Tuesday  that  Loew's, 
Inc.,  plans  to  launch  a  worldwide  theatre 
building  campaign.  He  said  that  sites  for 
the  company's  first  four  additions  abroad 
already  have  been  acquired  and  construction 
plans  now  are  being  drawn. 

Mr.  Loew's  announcement  followed  a 
statennent  by  David  Bernstein,  vice-presi- 
dent and  treasurer  of  Loew's,  on  Saturday 
that  the  theatre  connpany  will  set  no  llnnit 
on  the  number  of  theatres  to  be  built  or 
acquired  in  the  Chicago  territory — a  move 
brought  about  because  of  MGM's  inabil- 
ity to  persuade  the  Essaness  and  Schoen- 
stadt  circuits  in  that  city  to  play  MGM 
product  on  percentage  plus  designated 
playdates. 

Mr.  Loew  amplified  Mr.  Bernstein's  an- 
nouncement by  saying  there  would  be  no 
limit  to  the  number  of  theatres  the  company 
will  build  throughout  the  world. 

"We  are  going  into  every  city  in  the  world 
where  there  is  a  booking  combination,"  Mr. 
Loew  said. 

Four  Foreign  Cities  Picked 

The  four  foreign  situations  already  se- 
lected are  Osaka  and  Tokyo,  Japan ;  Lima, 
Peru,  and  Santiago,  Chile.  Henry  Mosko- 
witz,  in  charge  of  the  Loew  construction 
department,  is  working  on  the  blueprints 
for  these  four  houses.  The  Lima  and  San- 
tiago houses  will  seat  1,500  and  will  cost 
$250,000  each.  The  two  theatres  in  Japan 
will  be  larger  and  more  expensive. 

The  move  by  Loew's  to  invade  the  foreign 
theatre  field  is  considered  largely  due  to  the 
fact  that  the  company  has  experienced  much 
success  with  recent  theatre  acquisitions  in 
Australia  and  several  cities  elsewhere 
abroad.  Loew's  within  the  past  few  months 
has  taken  over  two  theatres  and  built  a  third, 
giving  it  representation  in  Sydney,  Mel- 
bourne and  Brisbane,  and  some  time  ago  a 
theatre  was  built  in  Johannesburg,  South 
Africa,  in  opposition  to  the  Schlesinger  in- 
terests. 

Although  no  starting  date  was  given  for 
construction  of  the  four  theatres  in  Japan 
and  the  two  South  American  capitals,  Mr. 
Loew  and  Mr.  Moskowitz  plan  to  go  abroad 
early  in  the  autumn  when  building  is  ex- 
pected to  get  under  way. 

As  to  the  Chicago  situation,  Mr.  Bern- 
stein said  Loew's  has  taken  options  on  a 
number  of  sites  and  is  investigating  titles, 
mortgages  and  other  matters  relevant  to 
deals  now  in  negotiation. 

Silverman  Protests  MGM  Deal 

There  have  been  no  discussions  recently 
with  Chicago  exhibitor's  holding  out  on  the 
MGM  product  deals,  Edward  Silverman, 
president  of  Essaness,  which  operates  23  the- 
atres, said  in  New  York  Wednesday.  Mr. 


Silverman  said  he  might  confer  with  Felix 
Feist,  MGM  general  sales  manager,  but  his 
visit  was  not  for  that  purpose. 

"MGM's  deal  is  impossible,"  Mr.  Silver- 
man said.  "It's  like  building  theatres  next  to 
ours  and  we  just  cannot  agree  on  their 
terms.  We  have  dealt  with  MGM  every  year 
we  have  been  in  business  and  have  gotten 
along,  but  this  year  it's  impossible.'' 


Newsreels  Answer 
March  of  Time  on 
Pictures  of  Hitler 

The  March  of  Time  sent  to  the  press  from 
its  headquarters  in  Radio  City  Wednesday 
a  publicity  statement  under  the  name  of 
Maria  Sermolino  as  follows : 

"Unplanned,  unorganized,  unknown  to  movie 
audiences,  what  amounts  to  a  national  ban  on 
pictures  of  Adolf  Hitler  has  been  in  existence 
in  the  United  States  for  many  a  month.  The 
motion  picture  trade  is  well  aware  of  it,  yet 
no  one  will  admit  or  deny  it.  The  fact  remains 
that  but  for  rare  fleeting  glimpses,  the  screens 
of  this  country  have  not  shown  pictures  of 
Hitler,  nor  have  the  movie-theatre  loudspeakers 
resounded  with  his  voice  for  well  over  a  year. 

"In  its  current  release,  The  March  of  Time, 
contrary  to  movie  precedent,  devotes  ten  min- 
utes to  a  dramatic  presentation  of  how  Hitler, 
in  his  short  two  years  of  power,  has  become 
the  most  suspected,  the  most  distrusted  ruler 
in  the  world  today. 

"Rare,  Brief  Glimpses" 

"  'We  feel  that  Hitler  is  too  important  a  fig- 
ure to  be  ignored,'  Roy  Larsen,  president  of 
March  of  time,  explained.  'Whether  one  ap- 
proves or  disapproves  of  his  policies  is  beside 
the  point.  What  he  has  done  and  is  doing  to 
Germany,  to  Europe,  should  interest  every 
thinking  human  being.  Briefly,  tersely,  we  pre- 
sent the  salient  events  which  have  happened 
since  Hitler  first  stood  as  Reich- Chancellor 
beside  revered  Von  Hindenburg  up  to  the  pres- 
ent European  peace  proposal  which  has  put 
the  former  Austrian  corporal  on  the  spot. 

"  'But  for  exceptional,  rare,  brief  glimpses. 
Hitler  has  not  been  seen  on  U.  S.  cinema 
screens,  yet  he  is  the  topic  of  many  discussions, 
his  actions  are  internationally  significant.  Noth- 
ing can  give  so  clear  a  portrait  of  this,  or  any 
man,  as  talking  pictures.  Therefore,  in  the 
current  March  of  Time  we  present  the  public 
with  many  never-before-seen  pictures  of  Hitler 
as  an  actor,  as  a  diplomat,  as  leader  of  the 
Reich,  as  a  suspected,  distrustful  ruler  fearful 
of  the  armed  ring  which  is  slowly  encircling  his 
country.'  " 

Made  by  Movietone  Cameraman 

March  of  time  has  no  cameraman  in  Ber- 
lin. All  of  the  above  described  portraits  of 
Hitler — except  that  sequence,  made  in  the 
Fox  Movietone  studios  in  New  York,  show- 
ing Hitler  (re-enacted  by  an  impersonator) 
as  "a  suspected,  distrustful  ruler  fearful  of 
the  armed  ring,  etc.,  etc." — were  made  by 
the  Fox  Movietone  cameraman  in  Berlin. 

The  newsreel  managements,  when  asked 
as  to  the  alleged  ban  on  Hitler's  face  and 


voice  in  this  country,  were  vivid  in  their 
replies  to  the  March  of  Time  publicity  state- 
ment. 

"As  far  as  Pathe  News  is  concerned,  it's 
a  lie !"  said  Courtland  Smith,  editor.  "We 
have  a  ban  on  nothing  except  indecency. 
Anybody  who  claims  or  infers  there  exists 
such  a  ban  either  knows  nothing  or  is  talk- 
ing for  somebody  else.  Some  woman  who 
said  she  represented  March  of  Time  called 
our  office  and  asked  if  we  had  a  ban  on 
Hitler,  but  neither  myself  nor  Jack  Con- 
nolly was  in  and  a  clerk  told  her  that  only 
an  executive  could  answer  such  a  question. 
She  did  not  bother  to  call  back." 

Mr.  Smith  said  that  Pathe  repeatedly 
during  the  past  year  has  utilized  shots  of 
Hitler  whenever  the  occasion  demanded  and 
that,  to  the  best  of  his  knowledge,  all  other 
newsreels  had  done  likewise. 

Appeared  in  March  20  Release 

Fox  Movietone  used  many  of  the  Hitler 
sequences  contained  in  the  current  March 
of  Time  in  its  release  of  March  20.  Tru- 
man Talley,  producer  of  Fox  Movietone, 
expressed  some  surprise  at  the  March  of 
Time  statement  and  said  that  the  Fox  reel 
has  no  ban  on  Hitler  and  that  he  did  not 
believe  any  of  the  other  newsreels  had. 

"Of  course,"  Mr.  Talley  said,  "there  was 
a  time  when  the  reels  'laid  off'  Hitler  to 
some  extent."  That,  he  explained,  was  dur- 
ing the  time  the  anti-Semitic  issue  was  at 
its  height  in  Germany. 

It  was  indicated  by  all  managers  of  news- 
reel  companies  that  there  had  been  occa- 
sional protests  against  Hitler  on  the  part 
of  Jewish  motion  picture  exhibitors  "whose 
feelings  were  hurt,"  but  with  one  exception 
the  newsreels  appear  to  be  of  the  opinion 
that  what  the  exhibitor  chooses  to  delete 
under  such  circumstances  is  no  concern  of 
anyone  but  the  exhibitor  himself. 

William  P.  Montague  of  Paramount  News 
called  the  "Hitler  ban"  statement  "perfectly 
ridiculous." 

"The  Saar  celebration  was  shown  in  all 
the  reels  and  Hitler  himself  has  been  seen 
at  least  15  times  in  American  reels  during 
the  past  year,"  Mr.  Montague  said.  "That's 
almost  as  many  times  as  Mussolini." 

However,  there  was  one  newsreel  _editor 
who  requested  his  name  be  withheld  who 
confided  that  a  large  circuit  customer  of  the 
reel  had  demanded  the  company  eliminate 
all  reference  by  picture  or  spoken  word  to 
Hitler  under  threat  of  cancellation. 

Charles  E.  Ford,  editor  of  Universal 
Newsreel,  said  the  reel  had  used  pictures  of 
Hitler  during  the  Von  Hindenburg  funeral. 

"It's  a  publicity  stunt,"  said  M.  D.  Clo- 
fine,  referring  to  the  ban  story.  "Of  course 
we  don't  run  out-and-out  propaganda  and 
we  are  inclined  to  be  considerate  of  the 
susceptibilities  of  our  audiences,  but  we  have 
no  ban  on  Hitler.  We've  shown  plenty  of 
shots  of  him  during  the  past  year." 

Comerford  Gaining; 
Has  Passed  Crisis 

M.  E.  Comerford,  Pennsylvania  theatre 
operator,  who  has  been  a  patient  at  the 
Emergency  Hospital  in  Washington  since 
February  15,  has  passed  the  critical  stage  of 
his  illness,  according  to  his  physicians. 

"Mr.  Comerford  continues  to  show  im- 
provement and  his  condition  is  decidedly 
more  hopeful  than  at  any  time  since  he 
entered  the  hospital,"  the  hospital  bulletin 
stated.  However,  it  will  be  about  two  weeks 
before  he  can  leave  the  hospital. 


March    2  3,     19  3  5 


MOTION    PICTURE  HERALD 


31 


ASIDES  &  INTEI^LUDES 


IIHIIIiiiiil 


By  JAMES  CUNNINGHAM 


There  is  no  competition  like  competition  in 
press  agentry,  and  nothing  quite  so  compHcated. 

The  arrival  in  New  York  the  other  morn  of 
gold-laden  George  Arliss  from  Hollywood,  en 
route  to  London,  brought  out  regiments  of 
newspaper  reporters  in  two  divisions,  led  by 
press  agents  from  both  the  English  and  Ameri- 
can competitive  companies  for  which  he  makes 
motion  pictures. 

"Here  comes  'The  Iron  Duke !' "  bellowed 
the  press  agent  who  represents  Gaumont 
British,  in  that  moment  just  before  Mr.  Arliss 
stepped  from  the  train. 

"Here  comes  'Cardinal  Richelieu!'"  thun- 
dered the  United  Artists'  press  agent.  Then  the 
rival  publicists  glanced  daggers  at  each  other 
the  while  reporters  goggled  and  their  weaker, 
co-working  sob-sisters,  led  by  Ruth  McKenney, 
New  York  Post,  swooned  from  the  sheer 
fright  of  meeting  so  unexpectedly  the  reincarna- 
tion of  Jekyl  and  Hyde. 

V 

Service  and  courtesy  at  the  Center  The- 
atre at  Radio  City  know  practically  no 
bounds.  The  other  night  when  the  show  was 
over  and  the  lights  were  being  dimmed  an 
usher  noticed  a  resigned  and  solitary  matron 
seated  in  the  fifth  row  in  the  empty  house. 
He  approached  and  armounced  politely  that 
the  theatre  was  closing.  In  a  hesitant  voice 
the  lady  explained  her  problem.  She  had 
worn  new  shoes  and  had  been  short-sighted 
enough  to  remove  them  during  the  perform- 
ance because  they  hurt.  Now  she  couldn't 
get  them  on  again.  She  guessed  she  would 
just  have  to  sit  there  until  the  miracle  hap- 
pened. 

The  usher  notified  the  manager,  who  gave 
orders  to  keep  the  theatre  open.  Several 
attendants  wandered  down  to  the  fifth-row 
scene  of  action  to  keep  the  unfortunate  lady 
cheered  diu-ing  the  waiting  process.  After 
a  reasonable  interval  the  matron  leaned  down 
and  again  tried  the  unruly  shoes.  She 
emitted  a  low  sigh.  It  was  still  no  go. 

Suddenly  from  nowhere  appeared  a  gold- 
braided  page  with  a  shoe  horn.  In  a  trice, 
a  medium-size  trice,  the  shoes  were  on,  and 
the  lady,  overcome  with  appreciation,  was 
being  escorted  to  the  door. 

Then,  duty  done  and  conscience  free,  the 
manager,  assistant  managers,  ushers,  door- 
men and  pages  made  a  belated  exit. 
V 

Rita  Kaufman,  fashion  expert,  tells  us  that 
Darryl  Zanuck  spent  $35,000  on  wardrobe  and 
makeup  to  transform  ^Merle  Oberon  from  the 
doubtful  dress  distinction  of  British  women  to 
a  Zanuck  distinctive  beauty. 

V 

One  of  the  real  characters  of  Hollywood  is  a 
letter  carrier.  He  knows  everybody  in  Beverly 
Hills.  Knows  what  they're  doing  and  why.  His 
name  is  Wurtzel.  He's  a  brother  of  Sol  Wurt- 
zel,  big  producer  at  the  Fox  studio. 

V 

A  little  gal  of  14,  who  said  she  could 
"tap  dance,  Charleston,  sing,  cook,  keep 
house,  milk  and  care  for  cows,  feed  chickens, 
clean  yards,  wash  and  iron  clothes,  wash 
dishes,  act  as  maid,  write,  draw,  and  just 
most  anything,"  sent  from  her  backwoods 
home  town  of  Memphis  in  Missouri  an  ap- 
plication for  a  job  in  motion  pictures,  ad- 
dressed through  Postmaster  General  Jim 
Farley's  United  States  Post  Office  as  fol- 
lows: 

IN  CARE  OF 

THE  MOTION  PICTURE  COMPANY 
BROADWAY.  NEW  YORK 

Her  letter  started:  "Dear  Broadway." 
They  delivered  it  to  Motion  Picture  Herald. 


ERICH  VON  STROHEIM,  whose  career  as 
a  lavish  director  and  a  heel-clicking,  be- 
nionocled  actor,  was  finally  whittled  down  last 
year  to  a  small  part  in  Mascot's  "Crimson  Ro- 
mance," came  back  this  week  through  the  print- 
ing presses  of  Macaulay,  in  the  new  role  of 
novelist.  Mr.  Joseph  Breen,  meet  Herr  Erich 
Oswald  Hans  Carl  Maria  Von  Nordenwall 
Von  Stroheim,  author  of  the  new  "Paprika," 
a  story  uncovering  "with  the  blunt  scalpel  of 
realism  the  sadism  inherent  in  the  sexual  plexus 
of  a  woman."   Price :  $2.50. 

If  Josef  von  Sternberg  had  written  "Pap- 
rika," he  would  have  called  it  by  its  real  name : 
"Hot  Stuff."  Unlike  his  motion  picture,  Mr. 
Stroheim's  story  is  told  in  only  one  volume. 

The  publisher's  press  agent  did  nobly  by 
Mr.  Van,  describing  him  on  the  "jacket" 
around  the  novel  as  "The  Realist  of  Romantic 
Hollywood,"  who,  they  added,  modestly,  has 
long  been  "recognized  as  the  greatest  director 
in  the  realm  of  cinema  realism."  We  might  add 
that  the  management  of  Eastman  Kodak,  and 
Jules  Brulatour,  who  sells  their  raw  stock  to 
the  industry,  hold  Mr.  Von  Stroheim  to  be  the 
greatest  boon  of  all  time  to  raw  stock  profits. 
Pat  Powers,  Joe  Kennedy  and  Carl  Laemmle 
concur. 

Anyway,  they  tell  us  that  Erich  Von  Stro- 
heim's "passion  for  accuracy  of  detail"  (which 
caused  the  features  he  directed  to  run  into 
dozens  and  dozens  of  reels),  "has  given  us  life 
as  it  is — brilliant,  sordid,  bitter,  saccharous, 
whining,  railing,  snorting,  guffawing,  smug, 
droll,  innocent,  vile,  painful,  pleasant,  smelling 
of  attar  of  roses  and  cooking  odors,  gasoline, 
mothballs,  violets  and  steaming  tables."  What, 
no  "Wedding  March?" 

V 

In  Kansas  City  the  other  day  a  "green" 
salesman  for  a  theatre  equipment  company 
called  on  a  theatre  manager  and  inquired  if  he 
wouldn't  be  interested  in  buying  a.  nezv  pros- 
cenium arch. 

V 

The  best  minds  of  the  movie  colony  have 
been  upset  by  George  M.  Cohan's  dictum 
that  "anybody  with  a  dimple  is  an  actress 
in  Hollywood."  In  defense  against  this  foul 
blow.  Hollywood  puts  forward  Minnie 
Mouse  as  an  example  to  disprove  Mr. 
Cohan's  slander. 

V 

William  Goodwin,  former  cowboy  and  now 
a  feed  store  proprietor  at  Tempe,  Arizona,  has 
filed  suit  for  $500,000  against  29  film  com- 
panies, broadcasters,  music  publishers  and  com- 
posers, for  alleged  infringement,  claiming  that 
the  song,  "Home  on  the  Range,"  zms  one  he 
and  his  wife  wrote  as  "An  Arizona  Home"  and 
copyrighted  in  1904. 

Samuel  Moanfeldt,  New  York  lawyer,  repre- 
senting the  defendants,  is  now  asking  grizzled 
cowboys  whether  the  song  was  sung  in  the 
plains  country  prior  to  1904.  He  is  searching 
through  zvestern  Kansas,  eastern  Colorado  and 
northern  Oklahoma  for  members  of  the  old 
cowboy  outfits  whose  voices  mingled  at  times 
with  the  mournfid  bay  of  the  coyote  in  har- 
monious renditions  by  the  camp  fire  after  sun- 
down. 

Mr.  Moanfeldt  is  said  to  have  drawn  affirma- 
tive aftswers  from  Ernest  Hendricks,  a  camp 
cook  of  the  90s,  and  from  Pat  Hill,  pioneer 
negro  stage  driver.  The  defendants  seek  to  prove 
that  bearded  tenors  were  letting  their  tonsils 
and  their  fiddles  tell  as  far  back  as  the  80^ 
about  the  country  "where  the  skies  are  not 
cloudy  all  day."  And  a  Mrs.  C.  D.  Clark,  of 
Missouri,  wrote  to  say  that  she  was  singing 
the  song  as  far  back  at  1893. 

"O  give  me  a  home  where  the  buffaloes  roam, 
"Where  the  deer  and  the  antelope  play. . .  ." 


Fresh  from  the  terror  and  bloodshed  of  revo- 
lutionary Havana,  where  her  car  was  continu- 
ally stopped  in  the  streets  and  searched  by 
menacing  armed  patrols,  Irene  Dunne  sailed  up 
New  York  harbor  the  other  day  under  the 
heavier  fusillade  of  questions  fired  at  her  at 
close  range  by  ship  news  reporters. 

"Tell  us  about  the  revolution,"  they  asked 
Miss  Dunne.  She  replied  by  complaining  that 
her  hats  are  so  big  this  year  she  has  a  problem 
packing  them. 

"But  about  the  revolution.  Miss  Dunne?" 

"Oh,  the  revolution!"  she  last  exclaimed. 
"Well,  it  was  almost  as  exciting  as  a  busy  day 
on  the  lot  in  Hollywood.  Only  the  war  scenes 
are  not  half  as  well  done  in  Havana  as  they 
are  in  the  movies." 

Miss  Dunne  comes  from  the  Radio  studio. 
V 

We  were  sturmed  when  we  read  the  other 
morning  the  newspaper  account  of  a  court 
fight  commenced  in  Los  Angeles  by  heirs 
in  protest  against  the  expense  of  the  funeral 
for  Marie  Dressier.  The  burial  cost  of  $10,- 
000  was  too  much,  they  argued. 

She  brought  glory  to  Culver  City.  They 
called  her  the  "beloved  trouper." 

V 

Emil  Boreo,  the  Russian  who  was  imported 
from  Paris,  or  some  place,  to  star  at  the 
French  Casino  off  Broadway,  got  his  start  by 
heading  a  claque  at  the  Sarah  Bernhardt  the- 
atre in  Paris  and  after  that  by  being  the  hind 
legs  of  a  horse  in  a  comedy  act.  Emil  Boreo 
has  now  broken  down,  relates  Lou  Sobol,  and 
confessed  that  when  he  first  met  Bernhardt 
he  fell  to  his  knees  and  plastered  kisses  on  her 
legs  while  tears  streamed  down  his  cheeks. 
"My  boy,"  exclaimed  the  great  actress,  sym- 
pathetically, "You  are  crying."  Boreo  sighed. 
"Ah,"  sighed  Bernhardt,  "you  possess  great 
depths  of  emotion.  You  have  a  sensitive  soul." 
So  she  took  him  home  and  for  a  year  in- 
structed him  for  the  stage,  after  which  she 
took  him  into  her  company.  Boreo  never  told 
her  that  he  had  rubbed  onion  over  his  eyelids  to 
bring  out  those  tears. 

V 

Six  years  ago,  when  she  was  on  the  home 
office  staff  of  Pathe,  Gertrude  Merriam,  of 
our  Manager's  Round  Table  department, 
suggested  to  a  girl  friend  that  she  buy  some 
Pathe  stock.  The  gal  got  herself  12  shares, 
for  which  she  paid  $120  at  $10  the  share. 

The  other  day  the  stockholder  was  noti- 
fied that,  for  every  20  shares  of  the  old  Pathe 
common  she  was  entitled  to  one  share  under 
the  reorganization.  Her  ten  shares  would 
only  have  entitled  her  to  one-half  a  share 
in  the  new  company,  and,  disliking  fractions, 
the  lady.  Miss  Wilma  Mead,  sold  her  $120 
worth  of  stock  for  $8.04. 

With  the  $8.04  she  bought  two  tickets  to 
Leslie  Howard's  Broadway  stage  play, 
"Petrified  Forest."  They  cost  $6.60,  balance 
$1.44.  Two  tickets  purchased  at  the  Capitol 
theatre  to  see  "David  Copperfield"  left  44 
cents.  Coffee  and  cake  ate  up  another  quar- 
ter, leaving  19  cents.  Her  problem  now  is — 
what  to  do  with  the  19  cents. 

V 

Fifteen  years  passed  this  week  since  the  day 
when,  fresh  with  the  glowing  tan  from  a  tough 
old  schoolmaster's  hickory  stick,  we  rode  on 
a  strong  St.  Patrick's  Day  breeze  into  the  edi- 
torial rooms  of  Wid's  Daily,  opposite  the  old 
Hippodrome  in  New  York,  to  find  out  zvhat 
a  motion  picture  trade  paper  was  made  of. 
From  "Wid's"  evolved  th-e  present  day  Film 
Daily  of  Jack  Alicoate's.  Only  15  years  and 
already  we're  beginning  to  feel  like  a  pioneer's 
anniversary. 


32 


MOTION    PICTURE  HERALD 


March    23,  1935 


The  chart,  based  on  Motion  Picture  Herald's  tabulation  of  box  office  grosses,  com- 
pares the  business  done  in  twelve  key  cities  the  first  ten  weeks  of  1933,  1934  and 
1935.  The  cities  used  are  Boston,  Chicago,  Cleveland,  Hollywood,  Kansas  City, 
Los  Angeles,  Minneapolis,  New  York,  Oklahoma  City,  Omaha,  Portland,  and  San 
Francisco.  The  average  gross  per  week  in  each  of  these  cities  during  the  entire 
year  of  1933  is  taken  as  100  per  cent. 

MPTOA  SETS  DRIVE  FOR 
ADDED  CANCELLATION 


Committee  of  Five  Is  Named  to 
Seek  Code  Change;  Unit  Will 
Oppose  Pettengill  Measure 

The  Motion  Picture  Theatre  Owners  of 
America  this  week  announced  it  will  launch 
immediately  its  campaign  to  effect  "reason- 
ably increased"  cancellation  under  the  in- 
dustry code,  a  resolution  adopted  at  the 
recent  annual  convention  of  the  MPTOA 
at  New  Orleans.  Ed  Kuykendall,  president, 
said  that  the  committee  of  five,  which  the 
convention  authorized  and  empowered  to 
propose  a  program  of  code  changes,  has 
been  designated  and  includes  Morgan  A. 
Walsh,  Jack  Miller,  Lewen  Pizor,  George 
A.  Giles  and  O.  C.  Lam. 

Mr.  Kuykendall  himself  will  be  chairman 
of  the  committee  and  Morgan  Lowenstein, 
new  national  MPTOA  secretary,  will  be 
secretary.  It  is  expected  the  committee  will 
propose  a  clause  authorizing  20  per  cent 
cancellations  for  inclusion  in  the  code.  The 
group  will  urge  reorganization  of  the  Code 
Authority  for  wider  representation  and  in- 
creased authority  for  the  boards  administer- 
ing the  code  in  local  situations. 

Mr.  Kuykendall  also  said  the  MPTOA 
will  oppose  block  booking  legislation,  par- 
ticularly the  Pettengill  measure,  and  will 
recommend  increased  cancellation  privileges 
as  a  more  orderly  solution  of  the  block 
booking  problem. 

The  MPTOA's  new  executive  com- 
mittee membership  currently  is  being  elected 
by  its  six  regional  divisions,  each  of  which 
names  a  representative  to  the  committee. 


Mr.  Kuykendall  and  Mr.  Lowenstein  also 
serve  as  members  of  the  executive  body. 

Plans  to  develop  a  third  national  exhibitor 
organization  have  been  dropped  for  the  pres- 
ent by  Charles  L.  O'Reilly,  president  of 
the  New  York  Theatre  Owners'  Chamber 
of  Commerce,  and  Harry  Brandt,  head  of 
the  Independent  Theatre  Owners'  Associ- 
ation of  New  York.  Both  exhibitor  leaders 
had  planned  to  leave  New  York  on  a  coast- 
to-coast  tour  of  key  situations  to  line  up 
independent  units,  but  have  postponed  the 
trip.  The  reasons  given  for  abandonment 
of  the  move  at  this  time  are  the  unsettle- 
ment  of  the  code  situation  and  the  flaring 
up  of  the  operators'  war  in  New  York. 

In  the  field  during  the  week  there  were 
few  official  exhibitor  organization  activities. 
Intermountain  Theatre  Owners'  Associa- 
tion held  a  two-day  meeting  at  Salt  Lake 
City.  Morgan  Walsh,  president  of  the  ITO 
of  Northern  California,  called  a  meeting 
at  Sacramento  for  March  26. 

O.  E.  Enloe,  operator  of  the  Criterion 
at  El  Reno,  Oklahoma,  has  been  named 
head  of  the  MPTO  of  Oklahoma. 

Allied  of  New  Jersey  at  its  regular  week- 
ly meeting  last  Tuesday  expressed  strong 
opposition  to  MGM's  percentage  policy. 

Allied  has  organized  Iowa  into  32  dis- 
tricts, with  a  chairman  and  a  committee  for 
each,  the  move  taking  place  at  the  closing 
session  of  the  mid-year  convention  of  Allied 
of  Iowa  and  Nebraska  in  Des  Moines.  Pres- 
ident Leo  F.  Wolcott  told  the  meeting  the 
publication  of  box  office  figures  by  the  trade 
press  was  partially  responsible  for  unfair 
tax  measures. 


Four  Off  icials  of 
Eastman  Promoted 

Herman  C.  Sievers,  vice-president  in 
charge  of  sales  and  advertising  of  Eastman 
Kodak  Company,  and  Perley  S.  Wilcox, 
president  of  the  Tennessee  Eastman  Cor- 
poration, have  been  elected  to  the  board  of 
directors  of  Eastman  Kodak,  filling  the  va- 
cancies caused  by  the  death  of  Lewis  B. 
Jones  and  Rudolph  Speth. 

At  the  same  board  meeting,  Marion  B. 
Folsom  was  elected  treasurer,  and  Cornelius 
J.  Van  Niel  was  elected  to  the  newly  cre- 
ated post  of  general  comptroller.  Mr.  Fol- 
som, formerly  assistant  treasurer,  and  Mr. 
Van  Niel,  formerly  comptroller,  will  divide 
the  duties'  of  the  late  Mr.  Speth,  treasurer. 
Mr.  Folsom  will  be  in  charge  of  finances, 
investments  and  insurance,  with  general 
supervision  over  the  statistical  and  planning 
departments  and  office  management.  Mr. 
Van  Niel  will  be  in  charge  of  accounting, 
costs,  financial  reports  and  taxes,  with  gen- 
era'l  supervision  over  the  bookkeeping  and 
credit  departments,  and  billing. 

Mr.  Sievers  takes  Mr.  Jones'  place  on 
the  board,  and  Mr.  Wilcox  takes  the  place  of 
Mr.  Speth.  Mr.  Wilcox  has  been  in  charge 
of  the  Tennessee  subsidiary  since  its  estab- 
lishment 15  years  ago.  Mr.  Folsom  organ- 
ized and  supervised  the  Eastman  statistical 
department. 

Pl^illiams  Urges 
NRA  Continuance 

The  long-awaited  attack  of  Clarence  Dar- 
row  on  the  National  Recovery  Administra- 
tion and  the  National  Industrial  Recovery 
Act  failed  to  materialize  on  Monday,  as 
scheduled,  and  the  former  criminal  lawyer 
retired  to  his  Washington  headquarters  to 
wait  until  Senator  McCarran  of  Nevada  re- 
turned to  Washington  before  discussing 
specific  aspects  of  the  NRA. 

Members  of  the  Senate  Finance  Commit- 
tee had  heard  on  Friday  that  if  the  Indus- 
trial Recovery  Act  is  to  protect  hours  and 
wages,  "inefficient,  small  concerns"  must  be 
destroyed.  This  statement  was  made  by  S. 
Clay  Williams,  chairman  of  the  National  In- 
dustrial Recovery  Board.  Mr.  Williams  said 
that  the  NRA  "has  made  a  definite  contribu- 
tion to  recovery,"  and  recommended  to  the 
committee  a  two-year  extension  of  the  act. 

After  conferring  three  days  and  nights 
with  the  Los  Angeles  clearance  and  zoning 
board,  John  C.  Flinn,  executive  secretary  of 
the  Code  Authority,  returned  to  New  York 
this  week.  It  was  announced  at  Code  Au- 
thority headquarters  that  a  vote  on  the  Los 
Angles  schedule  will  be  taken  at  the  next 
meeting  of  the  Authority,  March  28. 

Under  a  National  Recovery  Board  general 
order,  the  Code  Authority's  budget  for  the 
first  half  of  the  year  faces  complete  revision. 


Mexican  Union  Calls  Strike 

The  national  cinema  employees'  union, 
with  headquarters  in  Mexico  City,  this  week 
called  a  nationwide  strike,  in  protest  against 
alleged  unfair  treatment  of  its  members  by 
exhibitors  in  Monterey. 


MOTION  PICTURE  HERALD 
GETS  THE  TRUTH 
ABOUT  UNIVERSAL! 


Read  Next  Page 


THE  TRUTH  ABO 

l^^^UniversaPs  ^^It  Happened  in  , 

¥♦  Roxy  Theatre  for  April 

2***UniversaPs  ^^Princess  O^Ha 
is  being  sought  after  by  seve 

3*»*Universars  ^^The  Mystery  of 
ing  audiences  everywhere  in 

4***UniversaPs  ^^Mr*  Dynamite/^ 
Dashiell  Hammett^s  successor 

5***UniversaPs  "The  Bride  of  * 
darndest  sensation  your  aud 

6***UniversaPs  "The  Unholy 
surprises  of  the  year! 

7***The  truth  about  Universal 
strong  line'Up  of  box-office 
tor^s  heart! 


UT  UNIVERSAL! 

New  York^^  is  booked  into  the 
5th! 

:a,"  Damon  Runyon^s  best  story, 
ral  big  Broadway  houses! 

Edwin  Drood^^  is  now  fascinat- 
the  United  States! 

starring  Edmund  Lowe,  will  be 
to  ^The  Thin  Man^M 

Frankenstein^^  will  be  the  gol^ 
ences  have  ever  gasped  at! 

HLour^^  will  be  one  of  the  big 


ls  something  to  shout  about — a 
babies  to  gladden  every  exhibi- 


36 


MOTION    PICTURE  HERALD 


March    23,  1935 


The  Newspaper  Pays  Respect 
To  Exhibitors  As  Civic  Forces 


THE  "Daily  American  Republic"  of 
Poplar  Bluff,  Mo.,  editorially  speaks 
well  of  the  motion  picture,  reflecting 
credit  for  community  service  upon  F.  D. 
Arnn  of  the  Criterion  theatre  in  that  town, 
^ays  Arthur  L.  Walhausen,  writing  in  the 
American  "Republic" : 

"The  movies,  desplfe  the  waning  hue 
and  cry  for  more  suds  and  scrubbing,  still 
retain  number  one  position  in  the  enter- 
tainment field. 

"So  much  so,  in  fact,  that  most  of  us 
take  the  flicker  palace  for  granted.  An 
amateur  show  may  be  petted  and  pam- 
pered from  week  to  week  on  account  of 
bad  weather;  a  cold  In  the  schnozzle  of 
the  leading  tenor;  or  a  conflict  with  the 
Ladles'  Aid  Society  bun  and  weiner  social. 

"But  the  silver  screen  house  plays  mati- 
nee and  night,  summer  and  winter,  in 
good  weather  and  in  not  so  good,  com- 
peting with  amateur  plays  and  street  car- 
nivals, three  ring  circus  performances  and 
dog  and  pony  shows. 

"And,  taking  it  by  and  large,  the  man- 
agers and  the  personnel  Individually  and 
collectively  are  pretty  substantial  citizens. 
In  Poplar  Bluff  and  in  one  thousand  and 
one  other  cities  of  like  size  or  larger  they 
support  civic  movements,  serve  on  com- 
mittees, they  do  their  part,  and  they  pay 
as  much  or  more  tax,  local,  county,  state 
and  federal  as  any  bank  or  blacksmith 
shop." 

»    »  » 

//"T"HIS  week  marks  the  fifth  anniversary 
I  of  Sidney  B.  Lust's  arrival  to  take 
over  the  Cameo  Theatre,"  says  the 
Prince  Georgean  of  Mt.  Ranier  down  in 
Maryland,  "and  this  opportunity  is  taken  to 
pay  tribute  to  the  fine  work  he  has  done  in 
this  community  by  providing  wholesome 
entertainment  and  for  giving  liberally  of 
his  services  and  theatre  facilities  to  civic 
and  charitable  activities  in  Prince  Georges 
County. 


Films  Held  Key 
To  Acting  Success 

William  C.  de  Mille,  producer,  told  the 
51st  graduation  class  of  the  American  Acad- 
emy of  Dramatic  Art  in  New  York  on  Tues- 
day that  actors  must  realize  that  they  must 
use  the  screen  as  well  as  the  legitimate  stage 
in  order  to  succeed.  "Sometimes,  indeed,  one 
has  to  be  a  greater  actor  for  the  screen  than 
for  the  stage,"  Mr.  de  Mille  said.  "Movie 
actors  must  be  able  to  pick  up  the  middle 
of  a  scene  with  the  proper  tempo  and  pres- 
sure to  make  a  smooth  performance,  while 
on  the  stage  there  nearly  always  is  a  build- 
up." 

Mr.  de  Mille  urged  the  graduates  not  to 
be  "priggish"  about  the  inotion  picture  and 
declared  that  the  industry  has  contributed 
three  major  improvements  to  the  legitimate 


"Mr  Lust  assumed  control  of  the  Cameo 
In  1929,  under  adverse  conditions.  He  has 
held  on  through  trying  times,  always  giving 
high  class  entertainment. 

"He  has  given  free  educational  shows 
for  school  children  of  this  county.  He  has 
been  an  ardent  worker  for  the  'Buy  at 
Home'  movement.  He  has  always  been  a 
strong  advocate  of  clean  pictures  suitable 
for  the  whole  family,  and  is  now  trying  to 
establish  Friday  as  family  night  at  the 
Cameo,  so  that  parents  can  bring  their 
children  on  that  night  and  know  they  will 
not  see  anything  objectionable. 

"Besides  his  work  with  the  schools,  he 
has  cooperated  with  the  Mt.  Ranier  Volun- 
teer Fire  Department  and  other  local  or- 
ganizations in  presenting  benefit  shows. 
During  the  past  Christmas,  he  presented  a 
free  matinee  to  collect  toys  and  food  for 
the  needy,  in  cooperation  with  the  Prince 
Georgean  and  the  Huntermann  Post, 
American  Legion. 

"For  the  past  three  years,  Mr.  Lust  has 
arranged  and  made  films  for  the  Com- 
munity Chest,  and  these  have  been  shown 
in  theatres  throughout  Washington.  He 
now  arranges  and  furnishes  free  shows  at 
the  Home  for  Feeble-minded  Children,  at 
Laurel;  the  Jewish  Home  for  the  Aged, 
the  House  of  the  Good  Shepherd  and 
the  National  Training  School. 

"When  there  was  talk  of  Sunday  movies, 
Mr.  Lust  announced  he  would  be  glad  to 
provide  same  If  the  communities  involved 
favored  the  plan.  In  the  referendums  fol- 
lowing the  plan  passed  by  large  majorities. 
Now  citizens  of  Mt.  Ranier,  instead  of 
spending  their  amusement  money  else- 
where on  Sunday,  can  spend  it  at  home, 
where  it  rightfully  belongs. 

"Mr.  Lust  has  shown  his  faith  In  this 
community  by  reducing  his  admission 
prices.  He  is  offering  better  pictures  now 
than  have  ever  been  presented  at  the  local 
theatre." 


theatre,  shortening  of  intermissions,  better 
facilities  for  handling  scenery  and  faster 
tempo  in  plays. 

In  Providence,  Professor  Thomas  Crosby, 
Jr.,  head  of  the  Brown  University  drama 
department,  in  a  lecture  before  a  university 
organization,  said  that  the  theatre  is  to 
blame  for  its  losses.  He  declared  that  people 
go  to  the  theatre  to  be  entertained,  not  re- 
formed, and  that  the  reason  people  go  to  the 
motion  picture  is  because  they  now  get  bet- 
ter entertainment  than  from  the  stage. 


Espy  Joins  Goldwyn 

J.  Reeves  Espy,  for  16  years  identified 
with  the  Skouras  theatre  interests  in  execu- 
tive capacities,  will  join  the  staff  of  Samuel 
Goldwyn  April  1  in  an  advisory  capacity 
and  as  story  contact. 


Pathe  News 


'De  Lawd'  as  in  Marc  Connelly's  Flay 

'De  Lawd'  Finds 
' '  Green  Pastures ' ' 

Richard  B.  Harrison,  who  for  1,657  per- 
formances smiled  benignly  upon  his  colored 
and  white  flocks  as  "De  Lawd"  of  Marc 
Connelly's  record-breaking  play,  "The  Green 
Pastures,"  died  last  Saturday  at  the  Fifth 
Avenue  Hospital  in  New  York.  He  was  70 
years  old. 

Just  16  days  before  his  death,  "De  Lawd" 
had  returned  to  New  York  in  triumph  for  a 
revival  of  the  Connelly  play,  having  created 
a  role  unique  in  American  drama  and  a 
warm  place  in  the  hearts  of  more  than  2,- 
000,000  theatre-goers.  On  the  afternoon  of 
March  2  he  suffered  a  slight  brain  clot,  and 
for  the  first  time  since  that  February  night 
back  in  1930 — a  night  destined  to  make  him 
one  of  the  most  famous  of  American  actors 
— he  missed  a  performance. 

Mr.  Harrison's  doctors  announced  that 
"De  Lawd"  was  "just  generally  tired  out" 
and  would  be  able  to  return  to  "The  Green 
Pastures"  in  two  weeks. 

Richard  Harrison  had  never  been  a  pro- 
fessional actor  before  1930.  His  life  had 
been  spent  in  teaching  the  people  of  his  race 
the  great  works  of  English  literature.  He 
was  noted  for  his  Shakespearean  readings 
and  it  was  through  this  work  that  he  was 
selected  by  Mr.  Connelly  to  create  the  part 
of  "De  Lawd."  He  is  survived  by  his 
widow,  a  daughter  and  a  son. 

On  February  26,  1930,  he  made  his  first 
appearance  before  white  audiences  when  he 
walked  onto  the  stage  of  the  Mansfield  thea- 
tre in  New  York. 

Franklin  Returns 
To  Theatres  Field 

Harold  B.  Franklin,  former  RKO  theatres 
head,  is  set  with  plans  to  return  to  motion 
picture  exhibition  with  the  formation  of 
Standard  Theatres,  Inc.,  it  was  learned  this 
week  in  Hollywood.  Associated  with  Mr. 
Franklin,  who  for  the  past  year  has  been 
active  in  legitimate  theatrical  production  in 
New  York,  will  be  Alexander  Kempner,  New 
York  real  estate  man.  Mr.  Franklin's  the- 
atrical activities  were  in  association  with 
Arch  Selwyn.    The  firm  is  now  dissolved. 

Articles  of  incorporation  for  the  new  cir- 
cuit, calling  for  a  capitalization  of  9,000 
shares  of  no  par  value,  have  been  filed  in 
Sacramento  and  offices  already  have  been 
established  in  Beverly  Hills.  Officers  of  the 
circuit  are  listed  as  Jules  Goldstone,  David 
Sondel,  John  Tracy,  Stanley  Pearson,  M.  C. 
Duvall  and  M.  E.  Hopkins. 


March    23,  1935 


MOTION    PICTURE  HERALD 


37 


THE  CAMERA  RE  PORTS 


BRITISH  AFTERMATH.  Of  success  of  MGM's 
"David  Copperfield."  Shown  at  luncheon  at 
which  script  was  presented  to  Dickens  society, 
are  Hugh  Walpole,  adaptor;  Frank  Lawton,  adult 
lead;  Sam  Eckman,  Jr.,  MSM  British  manager. 


AN  OLD  SPANISH  COSTUME.  Adorning  Ruby 
Keeler  as  she  waits  in  the  shadows  of  a  studio 
corner  between  scenes  of  First  National's  "Go 
Into  Your  Dance,"  in  which  she  and  Al  Jolson 
head  a  huge  cast. 


IMPORTANTLY  CAST.  Spring 
Byington,  who  made  her  screen 
debut  in  "Little  Women"  and 
now  is  a  principal  in  Universal's 
"The  Unholy  Hour,"  which  stars 
Henry  Hull. 


SEEKING  REST.  (Left)  Mr.  and 
Mrs.  Sam  Goldwyn  as  they 
sailed  from  New  York  on  the 
Olympic  for  a  short  vacation 
in  peace-torn  Europe  prior  to 
commencement  of  the  new 
Goldwyn  program  for  United 
Artists. 


FROM  THE  WEST.  (Right) 
Irene  Dunne  and  her  husband, 
Dr.  Francis  Griffith,  arriving  in 
New  York  from  Hollywood  by 
sea.  Miss  Dunne's  latest  pic- 
ture is  RKO  Radio's  "Roberta." 


38 


MOTION    PICTURE  HERALD 


March    23,  1935 


NEW  YORK  VISITOR.  Frankie  Thomas 
(he  was  Frankie  as  well  in  "Wednesday's 
Child")  arriving  from  Hollywood  for  a 
vacation  following  completion  of  his  role 
in  RKO  Radio's  "A  Dog  of  Flanders." 


RESUMING  SCREEN  CAREER.  Jean  Acker, 
once  prominent  in  silent  pictures  (and  the  first 
Mrs.  Rudolph  Valentino),  as  recently  photo- 
graphed at  the  Warner  studio,  where  she  is 
working  in  "Oil  for  the  Lamps  of  China." 


VACATIONING  IN  U.  S.  A.  Jack 
Buchanan,  who  is  Monty  himself  In  B  & 
D's  "Brewster's  Millions,"  a  forthcoming 
United  Artists  release,  reaches  New 
York,  from  London  for  a  change. 


FINISHES  ROLE.  A  new  study  of 
Helen  Hayes,  MGM  star,  who  recently 
completed  her  work  in  "Vanessa:  Her 
Love  Story,"  in  which  she  is  co-starred 
with  Robert  Montgomery. 


CONGRATULATIONS.  From  Jean  Harlow, 
MGM  star,  for  Tay  Garnett,  currently  directing 
for  MGM,  with  the  reason  also  pictured — "Man 
Laughs  Back,"  a  new  novel  by  Tay  Garnett. 
The  book  was  recently  published  by  Macaulay. 


FEATURED.  Allan  Jones,  star  of  "Bit- 
tersweet" and  other  stage  operettas, 
who  makes  his  screen  debut  in  a  singing 
role  in  MGM's  "Reckless,"  co-starring 
Jean  Harlow  and  William  Powell. 


March    23,  1935 


MOTION    PICTUKt  HERALD 


39 


SHOWMEN*^  REVIEWS 

This  department  deals  with  new  product   

III'  III  fronn  the  point  of  view  of  the  exhibitor  ||l 

III iLlI Jll  who  is  to  purvey  it  to  his  own  public  ll||||||ltliliiil!l!lll 


Life  Begins  at  40 

(Fox) 
Comedy 

With  the  public  at  large,  a  Will  Rogers  pic- 
ture seems  to  be  synonymous  with  the  full 
meaning  of  wholesome,  homespun  comedy.  For 
practical  showmanship  and  entertainment  pur- 
poses this  feature  is  an  addition  to  the  recent 
several  that  have  proved  so  popular.  This 
differs  from  the  last  two  in  that  it  is  not  a 
period  or  dated  picture.  Its  only  claim  to  re- 
lationship with  the  much  talked  about  book 
is  the  title.  The  time  is  modern,  the  locale  a 
small  American  town.  The  characters  and 
circumstances  are  typical  and  topical  of  the 
setting. 

Though  comedy  is  the  principal  quality,  dra- 
ma and  romantic  love  interest  have  not  been 
ignored,  all  of  them  are  skillfully  blended  to 
produce  a  pleasing  whole.  Additionally  Rogers 
has  plenty  of  opportunity  for  ad-lib  quipping 
on  current  events,  and  several  gags,  the_  most 
outstanding  of  which  are  the  wood-whittling 
proclivities  of  his  political  protege,  Slim  Sum- 
merville,  and  the  hog-calling  episodes.  Both 
are  unique  and  potent  exploitation  assets. 

In  the  yarn  Kenesaw  Clarke  is  proprietor 
editor  of  a  small  town  paper,  the  kind  to  which 
subscriptions  usually  are  paid  ofif  in  farm 
produce.  When  he  comes  upon  young  Lee 
Austin,  just  out  of  jail  and  on  the  verge  of 
committing  another  crime,  he  falls  into  his  role 
of  cupid's  assistant,  and  after  he  has  put  the 
youth  on  the  straight  and  narrow  path,  assumes 
the  guiding  role  in  the  romance  with  Adele 
Anderson.  Thereby  he  gets  himself_  in  wrong 
with  the  town's  financial  and  political  boss. 
Colonel  Abercrombie.  Losing  his  little  paper, 
Kenesaw  picks  out  the  laziest  man  in  town, 
Merriwether,  and  sets  him  up  as  opposition 
candidate.  Meanwhile,  believing  there  is  some- 
thing funny  about  the  hatred  which  Aber- 
crombie and  his  son  have  for  Lee,  he  digs  up 
the  files  of  the  crime  for  which  the  boy  was 
sentenced  to  jail. 

The  Colonel  is  made  to  look  foolish  when 
Kenesaw,  with  the  aid  of  Meriwether's  hog- 
calling  relatives,  breaks  up  his  hog  show-politi- 
cal rally.  Then  Kenesaw  learns  that  Joe  Aber- 
crombie stole  the  money  of  which  Lee  had 
been  accused. 

In  the  story  content  and  its  general  atmos- 
phere there  is  much  that  is  uniquely  commer- 
cial. Naturally,  the  Rogers  name  is  the  big 
personality  feature,  but  there  are  many  in  the 
supporting  cast  whose  identities  are  known 
and  appreciated. — McCarthy,  Hollywood. 

Produced  and  distributed  by  Fox.  Producer.  Sol  M 
Wurtzell.  Directed  by  George  Marshall.  Screen  play 
by  Lamar  Trotti.  Contributing  dialogue,  Robert 
Quillen.  Suggested  by  the  book  by  Walter  B.  Pitkin 
Photographed  by  Harry  Jackson.  Sound,  Bernard 
Freericks.  Art  director,  Duncan  Cramer  and  Albert 
Hogsett.  Gowns  by  Lillian.  Musical  director,  Samuel 
Kaylin.  P.  C.  A.  Certificate  No  581.  Running  time, 
when  seen  in  Hollywood,  78  minutes.  Release  date. 
March  22,  1935.  General  audience  classification. 
CAST 


Kenesaw  H.  Clark  Will  Rogers 

Lee  Austin   Richard  Cromwell 

Col.  Joseph  Abercrombie   ..George  Barbier 

Adele  Anderson  Rochelle  Hudson 

Ida  Harris  Tane  Darwell 

T.  Watterson  Meriwhether  Slim  Summerville 

Chris   Sterling  HoUoway 

Joe  Abercrombie  Thomas  Beck 

"Pappy"  Smithers   Roger  Imhof 

Tom  Cotton  Charles  Sellon 

Wally  Stevens  John  Bradford 

Mrs.  Cotton  Ruth  Gillette 


Cold  Diggers  of  1935 

(First  National) 
Musical  Comedy 

With  previous  "Gold  Digger"  and  other  War- 
ner musical  films  as  a  selling  background,  the 
exhibitor  here  has  entertainment,  with  much 
emphasis  on  comedy,  and  spectacle  dance  mate- 
rial to  attract  virtually  an  entire  family  audi- 
ence. This  edition  of  the  "Gold  Diggers"  does 
not  quite  measure  up  to  the  earlier  pictures  in 
active  story,  but  its  comedy  element  is  very 
strong,  and  should  be  a  highly  important  aspect 
of  the  selling. 

Dick  Powell,  young  vocalist-actor,  who  has 
acquired  a  lively  and  somewhat  enthusiastic 
popular  following,  is  teamed  with  Gloria  Stuart 
this  time,  the  two  supplying  the  romantic  ele- 
ment. The  top-heavy  comedy  cast  listing  in- 
cludes Adolphe  Menjou,  who  handles  his  dif- 
ficult comedy  role  very  well :  Alice  Brady, 
Frank  McHugh,  Glenda  Farrell,  Hugh  Herbert 
and  Joseph  Cawthorn,  all  popular,  all  comedy 
players  of  the  first  rank.  High  comedy  honors 
go  to  Herbert. 

A  swank  country  hotel  for  the  wealthy,  its 
efi^orts  to  entertain  the  visitors,  which  form 
the  spectacle  numbers  basis,  and  the  romantic 
complications,  rather  of  a  five-cornered  nature, 
and  replete  with  entertaining  comedy  aspects, 
are  the  backbone  of  the  story.  Powell  carries 
the  burden  of  the  vocalization,  while  two  specta- 
cle numbers,  done  with  a  few  novelty  trick 
shots,  are  something  the  exhibitor  may  well 
talk  about.  They  are  the  piano  number  and  the 
"Broadway  Lullaby"  number. 

Powell,  hotel  clerk,  is  in  love  with  the  host- 
ess, Dorothy  Dare,  while  Grant  Mitchell,  man- 
ager, is  interested  chiefly  in  getting  his  mone- 
tary share  of  whatever  goes  on  in  the  hotel  of 
a  remunerative  nature.  Arriving  at  the  hotel 
are  the  tight-wad  Miss  Brady,  with  more  mil- 
lions than  she  knows  what  to  do  with;  her 
daughter,  Miss  Stuart,  forced  to  wear  only 
the  plainest  of  clothes,  and  restricted  by  mother ; 
the  son,  McHugh,  with  a  fondness  for  a  pretty 
face,  and  Herbert,  bachelor  in  his  middle  years, 
millionaire  and  eccentric,  whom  Miss  Brady 
has  chosen  as  the  future  husband  of  Miss  Stu- 
art, but  who  is  himself  solely  interested  in  his 
monograph  on  snuff  boxes,  of  which  he  has 
hundreds. 

Miss  Brady  prepares  to  put  on  her  annual 
charity  show  at  the  hotel,  and  the  eccentric 
Menjou,  theatrical  producer,  sells  Miss  Brady 
the  idea  that  he  put  it  on,  his  idea  being  that 
Cawthorn,  costume  supplier,  and  Mitchell,  who 
finds  out  about  it,  and  Miss  Farrell,  stenogra- 
pher to  Herbert,  will  get  their  cut  of  the  pick- 
ings from  the  unsuspecting  Miss  Brady.  Miss 
Stuart  finally  succeeds  in  getting  her  mother's 
permission  to  have  a  fling  during  their  stay, 
on  promise  to  marry  Herbert  in  the  fall,  and 
Miss  Brady  hires  Powell  as  her  companion, 
with  obvious  results. 

The  show  goes  on,  elaborately,  interspersed 
with  amusing  complications,  as  McHugh  falls 
in  love  with  and  marries  Miss  Dare,  who  in 
turn  gives  Powell  his  freedom  that  he  may  be 
with  Miss  Stuart;  Herbert  is  cleverly  black- 
mailed by  Miss  Farrell,  and  Miss  Brady  breaks 
his  engagement  to  her  daughter ;  Menjou  and 
Cawthorn  "do  their  stuf¥,"  Miss  Brady  is 
eventually  forced  to  accept  her  daughter's  en- 
gagement to  Powell,  and  Herbert  leaves  the 


premises  with  flying  coat-tails,  pursued  by  a 
breach-of-promise  suit  by  Miss  Farrell. 

Lively,  entertaining,  loaded  with  comedy  lines 
and  situations,  this  is  highly  salable  any  time, 
with  spectacle  and  music  to  add  to  the  en- 
joyment and  salability. — Aaronson,  New  York. 

Produced  and  distributed  by  First  National.  Direc- 
tor, Busby  Berkeley.  Story  by  Robert  Lord  and  Peter 
Milne.  Screen  play  by  Manuel  Seff  and  Peter  Milne. 
Music  and  lyrics  by  Harry  Warren  and  Al  Dubin. 
Dances  created  and  staged  by  Busby  Berkeley.  Pho- 
tography by  George  Barnes.  Film  editor,  George  Amy. 
Art  director,  Anton  Grot.  P.  C.  A.  Certificate  No. 
580.  Running  time,  95  minutes.  Release  date,  March 
16,  1935.    General  audience  classification. 

CAST 

Dick  Curtis    Dick  Powell 

Nicolefif    Adolphe  Menjou 

Ann  Prentiss    Gloria  Stuart 

Mrs.    Prentiss    Alice  Brady 

Betty  Hawes    Glenda  Farrell 

Humbolt  Prentiss    Frank  McHugh 

T.  Mosley  Thorpe    Hugh  Herbert 

Schultz    Joseph  Cawthorne 

Louis  Lamson    Grant  Mitchell 

Arlene  Davis    Dorothy  Dare 

Winny    Winifred  Shaw 

Haggarty    Thomas  Jackson 

Dancers    Ramon  &  Rosita 


$10  Raise 

(Fox) 
Comedy 

Practically  everybody  is  familiar  with  the 
kind  of  characters  and  situations  with  which 
this  picture  deals.  With  comedy  in  dialogue, 
action  and  character  portrayals  serving  as  the 
principal  entertainment  ingredient,  the  picture 
handles  ordinary  human  beings  in  a  simple  and 
understandable  human  way.  There  is  nothing 
great  or  glamorous  about  it  to  give  it  a  run- 
ning head  start  in  prematurely  arousing  patron 
interest.  But  there  is  much  in  title  value,  story 
content  and  personalities  presented  with  which, 
if  full  advantage  is  taken,  to  create  a  popular 
market. 

Primarily  the  show's  field  is  the  family  type 
audience  and  those  who  like  their  amusement 
arnusing.  As  the  story  is  told,  no  moral  is 
pointed.  In  a  pleasant  way,  which  is  continually 
productive  of  laughs,  it  traces  the  experience 
of  a  middle  aged  bookkeeper  who,  shivering  as 
the  boss  roars  but  growing  shyly  aggressive 
under  the  inspiration  of  his  sweetheart,  believes 
that  his  long  years  of  faithful  service  entitle 
him  to  a  ten  dollar  raise.  As  all  that  millions 
of  such  characters  in  real  life  have  experienced 
is  cleverly  depicted,  the  fun  of  the  show  is 
accentuated  by  a  day  dream  climax  that  might 
happen,  but  seldom  does. 

Hubert  T.  Wilkins  never  does  get  his  raise. 
The  only  things  that  come  his  way,  as  far  as 
the  boss.  Gates,  is  concerned  are  a  lot  of  bawl- 
itigs-out,  a  few  honeyed  words  and  a  five  dollar 
bill  at  Christmas  time.  Hubert  is  an  easy  mark 
for  a  fast  talking  smart  guy.  Fuller,  who  peddles 
him  a  bunch  of  real  estate.  Looking  them  over 
with  Emily,  he  plans  one  of  them  as  the  ideal 
spot  for  a  happy  home  if  and  when  a  raise 
makes  marriage  possible.  Lifted  into  the 
realms  of  ecstasy  by  a  fabulous  offer  for  his 
property,  he  drops  to  the  lowest  depths  when  he 
learns  that  he  has  made  a  mistake  in  the  site. 
That  he  really  owns  a  lot  of  swamp  land  in- 
stead of  a  bit  of  heaven  on  earth  is  a  terrific 
blow  to  Hubert  until  it  is  discovered  that  the 
the  marsh,  into  which  he  literally  and  actually 
fell,  possesses  a  high  medical  value.  Selling 
out  for  a  fortune,  he  is  able  to  buy  the  control- 


/ 


GEORGE  WHITE . . . 


HAS  TOPPED  HIS 


This  can't  help  but  land  in  the  No.  1 
money.  Elaborate,  showy  nonsense,  skil- 
fully concocted  and  expertly  aimed  at 
the  box  office.  — Hollywood  Reporter 

George  White  sat  in  the  Fox  California 
here  and  heard  an  audience  applaud  his 
''1935  Scandals''  because  he  has  turned 
out  a  spectacular  musical  comedy  with 
the  right  mixture  of  tuneful  songs  and 
real,  sure-fire  comedy! 

—Motion  Picture  Daily  \ 


THE  i^f/ff  NAME 


IN  MUSICALS 


LAST  YEAR'S  MOP-  UP  ■ 


ALICE  FAYE  •  JAMES  DUNN 
NED  SPARKS 

Lyda  Roberti  •  Cliff  Edwards  •  Arline  Judge 
Eleanor  Powell  •  Benny  Rubin  •  Emma  Dunn 

GEORGE  WHITE 

Entire  production  conceived,  produced  and  directed 

by  George  White 

Screen  play  by  Jack  Yellen  and  Patterson  McNutt.  Based  on  a  story 
by  Sam  Hellman  and  Glodys  Lehman.  Songs  by  Jack  Yellen,  Cliff 
Friend,  Joseph  Meyer,    Additional  lyrics  by  Herb  Magidson. 


42 


MOTION    PICTURE  HERALD 


March    2  3,    19  3  5 


ling  interest  in  the  Bates  shipping  company. 
Then  instead  of  extracting  revenge  in  kind  from 
his  erstwhile  boss,  he  turns  the  management 
over  to  him  while  he  and  Emily  embark  on  a 
long  deferred  honeymoon. 

While  it  is  generally  advisable  to  see  pictures 
in  advance  so  that  their  commercial  values  may 
be  fully  appreciated,  it  is  suggested  that  an  ad- 
vance look  at  this  picture,  if  possible,  should 
be  more  thaji  worthwhile.  The  more  that  is 
known  about  it  in  advance,  the  greater  are  the 
chances  of  capitalizing  upon  its  potentialities. — 
— McCarthy,  Hollywood. 

Produced  and  distibiuted  by  Fox.  Produced  by  Soi 
M.  Wurtzel.  Associate  producer,  Joseph  Engel. 
Directed  by  George  Marshall.  Screen  play  by  Henry 
Johnson  and  Louis  Breslow.  Story  by  Peter  B.  Kyne. 
Photographed  by  Harry  Jackson.  Sound,  Bernard 
Freericks.  Art  director,  Duncan  Cramer,  Lewis  Cre- 
ber.  Gowns  by  Lillian.  Musical  director,  Samuel 
Kaylin.  P.C.A.  Certificate  No.  667.  Running  time, 
when  seen  in  Hollywood,  70  minutes.  Release  date, 
April  S,  1935.  General  audience  classification. 
CAST 

Hubert  T.  Wilkins  Edward  Everett  Horton 

Emily  Converse   Karen  Morley 

Fuller   Alan  Dinehart 

Don   Bates   Glen  Boles 

Mr.  Bates   Berton  Churchill 

Dorothy  Converse  Rosina  Lawrence 

Perry   Ray  Walker 

Qark   Frank  Melton 

Jimmy   William  Benedict 


Lil 


lom 


(Fox) 

French  Drama 

The  famed  work  of  Ferenc  Molnar,  "Liliom," 
which  was  done  successfully  in  English  by  Fox 
in  1930,  is  here  produced  by  Erich  Pommer  for 
Fox  Europa,  the  European  production  unit  of 
Fox  Film,  and  directed  by  Fritz  Lang,  in  a 
worthy  French  version.  In  so  far  as  exhibition 
in  this  country  is  concerned,  the  chief  playing 
location  naturally  would  be  the  theatre  in  the 
larger  metropolitan  center,  which  can  dra,w  on 
a  patronage  which  is  in  the  first  place  likely  to 
understand  the  French  language,  and,  secondly, 
has  previously  indicated  an  interest  in  the  bet- 
ter foreign  productions.  Additionally,  the  film 
is  unusually  fully  supplied  with  subtitle  trans- 
lations of  dialogue,  hardly  a  major  speech  in  the 
film  lacking  translation.  Understanding  of  the 
story  is  therefore  a  simple  matter. 

Perhaps  there  is  an  opportunity  for  the  ex- 
hibitor in  the  smaller  community  to  effect  a 
school  tieup  by  virtue  of  the  French  dialogue 
in  the  film,  but  the  exhibitor  himself  is  the  best 
judge  of  the  value  of  such  a  tieup.  That  the 
film  is  excellently  done,  from  the  standpoints 
of  story  development  and  performances,  is  a 
fact  to  be  noted.  In  the  lead  is  Charles  Boyer, 
recently  attracting  some  attention  for  his  ap- 
pearances in  American  films.  As  the  brutal, 
headstrong,  boastful,  yet  simple  carnival  man, 
Liliom,  he  gives  an  unusually  good  portrayal  of 
a  not  very  sympathetic  role.  His  is  the  only 
name  known  to  American  audiences. 

The  illusory  scenes  of  Liliom's  delirious 
dream  of  his  ascent  to  and  examination  in 
heaven,  after  he  has  stabbed  himself,  are  han- 
dled with  restraint  and  a  deft  appreciation  of 
the  subtly  half  comic  and  half  tragic  dream 
of  the  dying  man,  as  he  sees  the  examiner,  an 
official  of  the  police,  dressed  in  ordinary  clothes 
and  with  wings,  ajid  his  own  thoughts  revealed 
when  in  his  most  brutal  moments  on  earth. 

Liliom  is  the  domineering,  woman-attracting 
barker  at  the  carnival  carousel,  whose  owner 
is  in  love  with  him.  When  she  objects  to  his 
flirtation  with  a  rider,  he  quits,  takes  the  girl 
with  him.  As  she  waits  on  him,  he  treats  her 
brutally,  yet  her  love  for  him,  her  loyalty  to 
him,  never  wavers.  Eventually  when  the  ca- 
rousel owner  comes  to  him,  offers  him  his  place 
again  if  he  will  leave  his  wife,  he  agrees,  but 
when  the  girl  tells  him  she  is  to  have  a  child, 
he  refuses  the  offer. 

Thinking  to  help  his  wife,  he  reluctantly 
agrees  to  the  plan  of  a  ruffian  of  his  acquaint- 
ance to  hold  up  a  paymaster,  Liliom  to  stab 
the  man.  But  their  attack  is  anticipated,  and 
as  the  police  close  in  upon  Liliom  in  his  flight, 
he  stabs  himself.  His  delirious  dream  of  heaven 
comes  to  him,  he  returns  to  consciousness  and 


before  he  dies,  tells  Julie,  his  wife,  of  his  love 
for  her. — Aaronson,  New  York. 

Distributed  by  Fox.  An  Erich  Pommer  Production. 
Director,  Fritz  Lang.  From  the  original  by  Frank 
Molnar.  Special  musical  accompaniment  by  Jean  Le- 
noir and  F.  W'axman.  Running  time,  90  minutes.  Re- 
lease date,  March  16,  1935.  Adult  audience  classifica- 
tion. 

CAST 

Liliom    Charles  Boyer 

Julie    Madeleine  Ozeray 

Alfred    Alcover 

Mme,    Moscat   Florelle 

The  Barker    Robert  Arnoux 

The  commissioner    Henri  Richard 

Mme.  Menoux    Maximilienne 

Marie    Mimi  Funes 


Transient  Lady 

(Universal) 
Drama 

The  exhibitor  may  well  make  full  use  of  the 
authorship  of  the  story  from  which  this  picture 
has  been  adapted,  and  the  publication  in  which 
it  appeared.  Octavus  Roy  Cohen,  extremely 
popular  fiction  writer,  is  the  author,  and  Liberty 
Magazine  carried  the  story. 

The  names  are  valuable,  led  by  Gene  Ray- 
mond, Frances  Drake  and  Henry  Hull,  who 
recently  has  come  into  prominence.  It  is  a  story 
of  the  South,  of  community  domination  by  a 
political  power  who  is  not  too  scrupulous,  of 
fixed  juries  and  hired  judges,  coached  witnesses, 
and,  above  all,  of  small  town  intolerance,  preju- 
dice and  calculating  use  of  mob  psychology. 
Into  it  has  been  threaded  a  romance,  in  tri- 
angular form,  also  considerable  comedy,  and  the 
tense  drama  of  courtroom  and  inflamed  mob. 

Into  this  small  town  drive  a  trio  of  roller- 
skating  experts.  Miss  Drake,  Clark  Williams 
and  Edward  Ellis,  who  is  also  the  manager. 
Their  aim  is  to  set  up  a  rink,  give  exhibitions 
and  lessons.  They  obtain  their  rink  through 
the  local  la,w  firm,  composed  of  Raymond  and 
his  elderly  father,  the  major.  Raymond  is  en- 
gaged to  June  Clayworth.  Williams  and  Ellis 
take  up  quarters  behind  the  rink,  Miss  Drake 
boards  with  two  elderly  old  maid  sisters  of 
dignity  and  spirit.    Williams  loves  her. 

At  the  opening  night,  a  gang  of  local  hood- 
lums, led  by  the  brother  of  Hull,  who  is  the 
town's  great  political  power,  a  man  sure  of 
himself,  his  power  and  proud  of  his  dress,  raid 
the  rink  and  are  thrown  out.  Seeking  revenge, 
they  return  at  night,  break  in  on  Ellis,  Wil- 
liams being  away.  In  self-defense  Ellis  shoots 
and  kills  Hull's  brother.  Williams  is  held,  and 
Raymond  successfully  defends  her. 

Miss  Clayworth  frees  Raymond  of  his  en- 
gagement and  he  and  Miss  Drake  are  together 
as  Williams  and  Ellis  lea,ve  town. — Aaronson, 
New  York. 

Produced  and  distributed  by  Universal.  Producer, 
Julius  Bernheim.  Directed  by  Edward  Buzzell.  Con- 
tinuity and  dialogue  by  Arthur  Caesar  and  Harvey 
Thew.  From  the  Liberty  Magazine  story  by  Octavus 
Roy  Cohen.  Photographed  by  Charles  Stumar.  P.  C. 
A.  Certificate  No.  572.  Running  time,  72  minutes. 
Release  date,  March  4,  1935.  General  audience  classi- 
fication. 

CAST 

Carey  Marshall    Gene  Raymond 

Hamp  Baxter   Henry  Hull 

Dale  Cameron    Frances  Drake 

Pat  Warren    June  Clayworth 

Eva    Helen  Lowell 

Chris  Blake    Clark  Williams 

Matt    Douglas  Fowley 

Major  Marshal    Frederick  Burton 

Nick  Kiley   Edward  Ellis 

Fred  Baxter   Cliflford  Jones 


Co  Info  Your  Dance 

(Warner) 

Singing,  Dancing,  Drama 

In  this  picture,  which  is  a  combination  of 
character  drama,  romance,  melodrama  and  co- 
medy, plus  music,  dancing,  girl  glamour  and 
spectable,  Al  Jolson  appears  mainly  as  a  sing- 
ing entertainer  and  Ruby  Keeler  as  a  dancer — 
roles  in  which  they  have  won  their  highest 
popularity.  Essentially  it  is  a  story  of  an  actor 
and  thus  carries  considerable  backstage  atmo- 
sphere. Locales  are  a  Tiajuana  honkey-tonk, 
a  Chicago  Night  Club  and  a  new  kind  of  New 
York  theatre.    While  music  and  dancing  are 


the  outstanding  features,  there  is  quite  a  bit 
of  human  interest  in  the  substantiating  dra- 
matic theme.    Thus  there  is  a  wide  latitude  of 
potential  selling  angles. 

In  the  story,  Al  Howard  is  a  top  line  attrac- 
tion whose  continued  eccentricities  and  unreli- 
abilities have  resulted  in  producers  barring  him 
from  Broadway.  Found  in  Tiajuana  by  his 
faithful  sister,  Sadie,  he  is  inveigled  to  team  up 
with  Dorothy  Wayne,  star  dancer  in  the  Mex- 
ican cabaret.  The  team,  a  success,  gets  a  job 
in  a  Chicago  night  club  and  with  Dorothy  ex- 
ercising an  influence  over  Al  that  he  neither  can 
understand  nor  appreciate,  the  situation  becomes 
complicated  when  blues  singer  Luana,  paramour 
of  The  Duke,  gangster,  gets  stuck  on  Al.  As 
he  conceives  a  new  kind  of  theatre-club  idea 
for  Broadway,  Luana  has  no  difficulty  in  pro- 
moting the  Duke  to  finance  the  project  that  will 
reestablish  the  onetime  king  of  mazda  lane. 
Ready  for  opening,  Al  needs  a  lot  of  money  to 
guarantee  wages,  which  Luana  prevails  upon 
the  Duke  to  provide.  But  sister  Sadie  gets 
herself  into  a  jam  and  Al  uses  the  money  to 
bail  her  out  of  jail.  With  Duke's  gunmen 
ready  to  put  Al  on  the  spot  for  double  crossing 
their  boss,  Sadie  makes  good  the  bail  and  the 
show  opens. 

Over  the  radio.  The  Duke  hears  the  broad- 
cast. Though  he  calls  Luana  to  warn  the 
gunmen  to  lay  off,  she,  jealous  of  Dorothy, 
fails  to  call  off  the  menaces.  Dorothy  is  shot 
shielding  Al,  and  the  stage  is  set  for  an  under- 
standing fade  out  that  elevates  the  new  theatre 
to  supreme  Broadway  status. 

Production  values  are  of  lavish  character. 
Jolson  sings  as  Jolson  can  sing  and  Miss  Keeler 
dances  as  she  can  dance.  Girl  and  boy  ensem- 
bles,together  with  modernistic  backgrounds,  are 
of  eye-filling  character.  As  added  features, 
Bobby  Connolly,  who  arranged  the  dances,  and 
Harry  Warren  and  Al  Dubin,  who  did  the 
music  and  lyrics,  are  presented  personally  in 
the  finale  sequences. — McCarthy,  Hollywood. 

Produced  and  distributed  by  First  National.  Super- 
vised by  Sam  Bischoff.  Directed  by  Archie  L.  Mayo. 
Screen  play  by  Earl  Baldwin.  Based  on  story  by 
Bradford  Ropes.  Photographed  by  Tony  Gaudio  and 
Sol  Polito.  Music  and  lyrics  by  Harry  Warren  and 
Al  Bubin.  Art  director,  John  Hughes.  Film  editor, 
Harold  McLernon.  Musical  director,  Leo  Forbstein. 
Dances  created  and  staged  by  Bobby  Connolly.  P.  C. 
A.  Certificate  No.  665.  Running  time,  when  seen  in 
Hollywood,  100  minutes.  Release  date,  April  20,  1935. 
General  audience  classification. 

CAST 

Al  Howard   Al  Jolson 

Dorothy  Wayne   Ruby  Keeler 

Sadie  Howard   Glenda  Farrell 

Luana  Bell  Helen  Morgan 

The   Duke  Barton  McLane 

Blonde   Sharon  Lynne 

lima   Patsy  Kelly 

Eddie  Rio  Phil  Regan 

Fred   Gordon  Westcott 

McGee   William  Davidson 

Show  Girl   Joyce  Compton 

Mexican   Akin  TamirofT 

Jackson   Joseph  Crehan 

Songs:  "A  Latin  from  Manhattan,"  sung  by  Jolson 
and  Miss  Keeler;  "About  a  Quarter  to  Nine,"  Jolson 
and  Keeler;  "The  Little  Things  You  Used  to  Do," 
Helen  Morgan;  "Mammy.  I'll  Sing  About  You,"  by 
Al  Jolson;  "Casino  de  Paree,"  Al  Jolson;  "Go  Into 
Your  Dance,"  Al  Jolson;  "Have  an  Old-Fashioned 
Cocktail  with  an  Old-Fashioned  Girl,"  Ruby  Keeler 
and  ensemble. 


Behind  the  Green  Lights 

(Mascot) 
Drama 

Action  and  drama,  romance,  and  an  attend- 
ant conflict  between  law  and  order  on  the  one 
hand  and  crooked  lawyers  on  the  other,  prove 
entertaining  material  in  this  production.  It  con- 
tains sufficient  action  to  fill  the  bill  for  the 
weekend  in  those  situations  where  action  is 
the  weekend  demand,  or  a  midweek  spot  else- 
where. 

The  title  carries  its  own  implication  of  action 
and  may  be  used  in  that  regard,  the  green 
lights  being  those  of  the  local  police  station. 
The  film  is  an  adaptation  of  a  book  of  the 
same  title  by  Captain  Cornelius  W.  Willemse, 
once  of  the  New  York  police  department  homi- 
cide squad,  a  fact  to  be  noted  in  the  selling. 

There  are  familiar  if  not  outstanding  names 
in  the  leading  roles,  including  Norman  Foster, 


March    2  3,    19  3  5 


MOTION    PICTURE  HERALD 


43 


Judith  Allen  and  Sidney  Blackmer,  and  Pur- 
nell  Pratt  and  Edward  Gargan  in  chief  sup- 
port. The  story  points  to  the  excellent  work 
of  the  police  department,  and  the  attendant 
manner  in  which  that  work  is  hampered  by  the 
activity  of  shady  lawyers  who  through  legal 
technicalities  and  shrewdness  are  able  to  defeat 
the  law.  Woven  in  is  the  romance  of  a  young 
police  detective  and  the  daughter  of  a  police 
lieutenant  whose  difficulties  in  romance  arise 
from  her  employment  by  a  wealthy  and  shady 
lawyer,  something  of  a  "respectable  shyster." 
In  these  elements  the  exhibitor  has  material 
to  arouse  interest,  perhaps  enlisting  the  sup- 
port of  such  local  agencies  as  the  police  de- 
partment and  a  bar  association. 

When  Foster,  young  detective,  captures  a 
henchman  of  Theodore  Von  Eltz,  crook  chief, 
on  a  robbery  charge,  Von  Eltz  has  him  de- 
fended by  Blackmer,  ace  shyster  lawyer,  who 
is  Miss  Allen's  employer.  He  permits  her  to 
defend  the  case,  and  through  his  trickery  sees 
to  it  that  she  wins.  The  couple  quarrel,  but 
make  up,  and  Miss  Allen  agrees  to  c^uit  her  job 
and  marry  Foster  when  he  is  promoted  to  a 
Heutenant. 

Foster  investigates  a  reported  jewel  robbery 
at  the  office  of  Von  Eltz,  and  with  a  janitor's 
testimony  and  his  own  deduction,  charges  Von 
Eltz  with  murdering  a  diamond  merchant,  mail- 
ing the  jewelry  he  carried,  and  tieing  himself 
to  a  chair.  Miss  Allen  again  is  defense  attorney, 
and,  upsetting  the  testimony  of  the  janitor 
through  trickery,  wins  an  acquittal  for  Von 
Eltz.  She  becomes  famous,  but  both  her  father 
and  Foster  upbraid  her  for  her  tactics.  Rob- 
bing a  jewelry  store  to  pay  Blackmer,  Von  Eltz 
shoots  Pratt,  Miss  Allen's  father,  who  names 
his  assailant.  Miss  Allen  agrees  to  help.  With 
information  she  obtains,  Foster  captures  Von 
Eltz,  and  through  him  is  able  to  get  Blackmer 
for  receiving  stolen  property.  The  conclusion 
is  as  expected,  with  Pratt's  recovery  assured. — ■ 
Aaronson,  New  York. 

Produced  and  distributed  by  Mascot.  From  the  book 
of  the  same  title  by  Capt.  Cornelius  W.  Williams. 
Directed  by  Christy  Cabanne.  Supervised  by  Colbert 
Clark.  Screen  play  by  James  Gruen.  Film  editor. 
Joseph  Lewis.  Sound,  Terry  Kellum.  Cameramen, 
Ernie  Miller  and  Jack  Marta.  Release  date,  March 
11,  1935.  Running  time,  70  minutes.  P.  C.  A.  Cer- 
tificate No.  678.    General  audience  classification. 

CAST 

Dave  Britten    Norman  Foster 

Mary  Kennedy    Judith  Allen 

Raymond  Cortell    Sidney  Blackmer 

Jim  Kennedy    Purnell  Pratt 

J.  C.  Owen    Theodore  Von  Eltz 

Moran    Edward  Gargan 

Conrad    Kenneth  Thomson 

Max  Schultz    Ford  Sterling 

Mrs.   Gorham    Jane  Meredith 

Peasley    John  Davidson 

District  attorney    Hooper  Atchley 

Assistant   district    attorney  Lloyd  Whitlock 

Sam  Dover    J.  Carroll  Naish 

Nanny  Spivalo    Marc  Loebell 

Sarah    Fern  Emmett 

First  judge    John  Ince 

Second  judge    Ralph  Lewis 


Let^s  Live  Tonight 

( Columbia  ) 
Comedy-Drama 

Rather  sophisticated,  not  too  dramatic  com- 
edy-drama, this  picture,  having  Monte  Carlo, 
other  spots  on  the  French  Riviera,  and  London 
for  its  setting  of  the  playground  of  the  wealthy, 
has  entertainment  of  the  sort  to  appeal  to  adults, 
and  more  specifically  to  the  women. 

The  individual  exhibitor  will  have  to  decide 
largely  for  himself  what  value  in  his  com- 
munity there  is  in  the  names  of  Lilian  Harvey, 
blonde  and  winsome  actress  with  considerable 
appeal,  and  TuUio  Carminati,  who  had  consid- 
erable to  do  with  the  success  of  Columbia's 
"One  Night  of  Love."  These  two  leading 
players  are  supported  by  Hugh  Williams,  Janet 
Beecher  and  Luis  Alberni,  the  last-named  for 
straight  comedy,  who  are  familiar  but  hardly 
in  the  category  of  drawing  names. 

Thematically,  the  film  is  concerned  with  the 
accidental  meeting  at  Monte  Carlo  of  a  wealthy 
and  worldly  wise  bachelor  and  a  young  girl, 
their  one  pleasant  night  together,  their  separa- 
tion, and  the  complication  which  results  when 


he  discovers  he  is  in  love  with  the  unknown 
and  finds  that  she  has  become  engaged  to  his 
younger  brother,  although  she  herself  still  loves 
the  man  she  had  met  one  night.  Carminati  sings 
a  song  or  two,  effectively,  but  it  is  on  that 
rather  slim  story  thread  that  the  exhibitor  will 
have  to  hang  the  greater  portion  of  his  selling 
effort. 

The  film,  whatever  its  title  implication,  is 
handled  by  Victor  Schertzinger,  who  directed, 
in  excellent  taste,  with  a  rather  neat  blending 
of  comedy  and  drama,  and  elaborate  setting. 

Carminati,  bored  and  wealthy,  drops  anchor 
in  his  yacht  in  the  Mediterranean,  visits  Monte 
Carlo,  encounters  a  strange  girl.  Miss  Harvey, 
and  without  learning  her  name,  invites  her  to 
risk  a  visit  to  the  yacht  of  "a  friend."  Aboard, 
Alberni,  Carminati's  servant,  gives  him  away, 
and  when  she  regrets  having  to  leave  the  yacht, 
he  urges  her  to  stay  aboard  overnight,  while 
he  sleeps  ashore. 

In  town.  Miss  Harvey,  unable  to  forget  the 
unknown  stranger,  meets  Williajns,  younger 
brother  of  Carminati,  a  fact  she  does  not  know. 
He  proposes  to  her.  Finally  she  agrees  to 
marry  him,  only  again,  at  a  Riviera  carnival, 
to  run  into  Carminati,  who  halted  a  world 
cruise  to  rush  back  in  search  of  the  girl  he 
cannot  forget,  and  does  not  know.  When  Miss 
Harvey  learns  that  she  has  agreed  to  marry 
the  brother  of  the  man  whom  she  really  loves, 
she  blames  Carminati,  and  he,  in  turn,  is  com- 
pletely miserable.  Williams  learns  the  truth, 
upbraids  Carminati  for  what  he  thinks  is  de- 
liberate double-crossing.  The  elder  brother 
starts  for  far  places  and  an  engineering  project, 
when  Williams  appears,  sending  him  back  to 
Miss  Harvey,  with  whom  he  is  finally  recon- 
ciled. 

A  concentrated  selling  appeal  directly  chiefly 
at  the  women,  with  the  expectation  that  they 
will  bring  the  men  to  the  theatre  with  them,  and 
making  whatever  use  of  the  theme  that  suggests 
itself,  appears  to  be  the  most  likely  selling 
method. — Aaronson,  New  York. 

Produced  and  distributed  by  Columbia.  Story  by 
Bradley  King.  Screen  play  by  Gene  Markey.  Direc- 
tor, Victor  Schertzinger.  Assistant  director,  C.  C. 
Coleman.  Cameraman,  Joseph  Walker.  Sound  engi- 
neer, Paul  G.  Neal.  Film  editor.  Gene  Milford.  P. 
C.  A.  Certificate  No.  567.  Running  time,  73  minutes. 
Release  date,  Marcli  1,  1935.  General  audience  classi- 
fication. 

CAST 

Kay  Routledge    Lilian  Harvey 

Nick  Kerry    TuUio  Carminati 

Mrs.  Routledge    Janet  Beecher 

Brian    Kerry    HughWilliams 

Countness  Margot  de  Legere  Tala  Hirell 

Mario    Luis  Alberni 

Lily  Montrose    Claudia  Coleman 

Ozzy  Featherstone    Arthur  Treacher 

Maharajah    Gilbert  Emery 


nexation  to  the  country  as  the  Lone  Star  state. 
John  B.  Kennedy  adds  mi:ch  with  his  clear  and 
intelligent  accompanying  explanatory  matter. — 
Running  time,  10  minutes. 


Stranger  Than  Fiction  (No.  9) 

(Universal) 
Unexciting 

One  or  two  "different"  shots  appear  in  this 
release  of  the  series,  but  there  is  less  action 
than  might  be  expected.  There's  the  village  of 
Woergel  in  the  Tyrolean  Alps  which  issues 
scrip  money  to  the  needy  in  return  for  public 
work,  the  two-headed  fish  family  of  the  Mt. 
Shasta  Hatchery,  New  Mexico's  salt  crater, 
Santa  Catalina  Island's  6S-year-old  fish  cura- 
tor, a  widow,  and  Arkansas'  one-mile  railroad. 
— Running  time,  10  minutes. 


Remember  the  Alamo 

(Vitaphone) 
Interesting 

There  should  be  general  interest  in  this,  the 
fourth  of  the  "See  America  First"  series  pro- 
duced by  E.  M.  Newman.  Picturing  monu- 
ments and  mementoes  about  the  country,  com- 
memorative of  important  steps  in  the  history 
of  the  country  between  1810  and  1845,  the  sub- 
ject for  the  most  part  concentrates  on  the 
Alamo,  the  founding  of  Texas  as  a  republic, 
after  the  break  from  Mexico  and  the  final  an- 


Mediterranean  Songs 

( First  Division — A  udio ) 
Good 

Scenically  beautiful  is  this  number  of  the 
Musical  Moods  series,  produced  by  Audio  Pro- 
ductions, and  released  by  First  Division.  En- 
tirely without  accompanying  dialogue,  as  are 
the  rest  of  this  series,  the  subject  pictures,  in 
excellent  color,  the  scene  on  and  about  the 
Mediterranean,  against  a  background  of  ex- 
pertly rendered  songs  of  the  country.  Venice 
and  its  canals,  the  market  shores  of  the  water- 
streets,  the  surrounding  countryside  form  the 
film's  subject  matter.  A  worthwhile  number. — 
Running  time,  seven  minutes. 


Two  Little  Lambs 

(Universal) 
Action  Cartoon 

Two  twin  lambkins  kidnap  Oswald's  plane, 
and  without  their  knowledge  or  consent  the 
craft  enters  them  immediately  in  the  air  car- 
nival, doing  stunts  never  heard  of.  Oswald 
shinnies  up  a  tower  and  lassos  them,  but  the 
plane  speeds  off  with  the  brick  unwound  and 
Oswald  at  the  end  of  it.  Over  a  duck  blind 
they  are  brought  down  by  the  hunters.  While 
Oswald  is  being  awarded  the  prize,  the  twins' 
parachute  lands  them  right  inside  the  trophy 
cup.  It's  a  refreshing  turn — in  fact,  a  number 
of  them. — Running  time,  9  minutes. 


The  Bull  Fight 

(Educational) 
Amusing 

An  amusing,  though  largely  average  subject 
in  the  Terry-Toons  series,  wherein  the  young 
Spaniard,  taking  his  sweetheart  to  the  bull 
fight,  jumps  into  the  arena  when  the  matador 
is  routed,  and  proceeds  to  clean  up  the  ring 
with  the  energetic  bull,  at  the  same  time  van- 
quishing numerous  of  his  horned  compatriots. 
His  bravery  wins  him  the  plaudits  of  the 
crowd  and  the  hand  of  the  girl,  while  the  sub- 
ject should  bring  several  laughs  from  the  audi- 
ence.— Running  time,  6  minutes. 


Pop  Goes  the  Easel 

(Columbia) 
There  Are  Laughs 

Laughs  hit  with  fair  frequency  in  this  com- 
edy, in  which  the  inevitable  Three  Stooges,  as 
three  lads  out  of  work,  conceive  the  idea  of 
sweeping  a  storekeeper's  sidewalk,  expecting 
to  get  jobs  for  their  industry.  Instead  they  are 
pursued  by  a  detective,  and  they  find  their  way 
into  an  artists'  school,  where  they  are  mistaken 
for  three  expected  new  students.  What  they  do 
in  the  interests  of  "art"  and  avoiding  the  still 
pursuing  detective  results  in  some  real  comedy, 
a  number  of  laughs  and  a  good  deal  of  slap- 
stick.— Running  time,  20  minutes. 


Going  Places  (No.  8) 

(Universal) 
Travelogue 

There's  newness  in  this  travel  picture  of 
Hawaii,  so  often  done  in  screen  photography ; 
perhaps  the  answer  is  in  different  camera  an- 
gles. Most  of  it  is  from  a  plane.  After  dis- 
tance shots  of  the  cities  there's  a  good  kaleido- 
scopic of  Pearl  Harbor,  naval  base,_  then  by 
a  return  to  familiar  views  of  the  native  Poly- 
nesians at  work  and  play,  chiefly  play.  Study 
of  volcano  craters,  and  Scientist  Dr.  Thomas  A. 
Jagger,  is  followed  by  portraying  of  the  trans- 
porting of  purebred  Herefords,  horns  fastened 
to  the  gunwales  of  boats  while  the  animals  get 
an  unexpected  bath  en  route  to  the  freighters. — 
Running  time,  11  minutes. 


44 


MOTION    PICTURE  HERALD 


March    23,  1935 


THE  HOLLYWOOD  SCENE 


By  VICTOR  M.  SHAPIRO 
Hollywood  Correspondent 


CHARLES  CHAPLIN  has  decided 
upon  the  title  "The  Masses"  for  his 
"Production  No.  5" — his  first  picture 
in  four  and  a  half  years  and  still  unfinished 
after  five  months  in  work — and  it  will  open 
in  the  fall  in  New  York,  wrote  Karl  K. 
Kitchen  Sunday  in  an  article  copyrighted 
by  the  New  York  Times  and  NANA,  Inc. 
Mr.  Kitchen  interviewed  the  comedian  in 
his  Beverly  Hills  home. 

"He  told  me  that  he  is  putting  $1,000,000 
of  his  own  money  into  the  production," 
which  is  to  be  "in  every  way  the  most  am- 
bitious picture  he  has  ever  made,"  said  the 
correspondent.  "I  can  believe  it  because  I 
saw  several  of  the  sets  when  I  visited  his 
studio,  which,  by  the  way,  he  has  roofed 
over  in  order  to  make  some  of  the  se- 
quences." 

The  writer  went  Into  detail  on  one  phase 
of  the  technical  secrets  of  production. 
"One  of  the  big  sets — built  to  resemble 
the  Interior  of  a  huge  power  plant — has 
moving  machinery,  made  of  wood  and 
rubber  but  painted  to  look  like  steel,  fully 
a  block  long  and  several  stories  high.  One 
of  the  big  comedy  efFects  in  the  picture 
is  the  result  of  Charlie's  mishap  In  falling 
into  the  machinery.  He  is  spun  around 
huge  flywheels  and  through  grinding  gears, 
seemingly  at  the  risk  of  his  life." 

As  for  the  theme — it  "deals  with  a  humble 
worker  in  a  high-pressure  factory.  This  cog 
in  the  machine,  played,  of  course,  by  Char- 
lie, is  obliged  to  work  at  such  speed  that  he 
does  not  even  have  time  to  scratch — so  rap- 
idly has  he  to  place  nuts  on  the  machines 
which  move  by  on  conveyors.  When  he  does 
finally  drop  a  nut,  in  order  to  scratch  him- 
self, his  action  upsets  the  entire  factory.  He 
is  discharged,  and,  on  his  way  home,  steals 
a  ride  on  a  repair  wagon,  only  to  fall  off 
with  a  red  flag  in  his  hand."  Whereupon 
a  band  of  Communists  mistake  him  for  their 
leader,  and  when  he  runs  into  a  policeman 
he  is  billy-clubbed,  lands  in  jail,  and  goes 
on  to  new  adventures. 

"From  this  it  may  be  gathered  that  'The 
Masses'  is  a  satire  on  certain  phases  of  our 
industrial  life.  It  does  not,  he  told  me,  con- 
tain any  political  inferences." 

More  Conservative  Now 

To  a  question  about  citizenship  papers, 
"for  I  knew  he  was  still  a  subject  of  King 
George  V,"  said  the  writer,  Chaplin  re- 
plied :  "  'If  I  were  to  take  out  citizenship 
papers  it  would  be  in  Andorra,  the  smallest 
and  most  insignificant  country  in  the  world,' 
his  parlor-socialistic  ideas  coming  to  the 
fore.  Whether  Charlie  is  sincere  when  he 
discusses  certain  phases  of  socialism  is  dubi- 
ous. He  has  long  had  the  reputation  of  being 
a  'parlor  pink,'  and  during  one  of  the  earlier 
Red  scares  he  was  reported  to  have  remarked 
that  even  if  the  country  went  Bolshevist  he 
would  not  care,  as  he  would  become  'the 
people's  artist.'  " 

But,  according  to  the  correspondent, 
"years  and  the  responsibilities  of  wealth — 


for  Charlie  is  almost  50  and  many  times  a 
millionaire — have  made  him  more  conserva- 
tive. .  .  .  He  had  a  good  laugh  in  telling  me 
how  Upton  Sinclair  had  planned  to  give 
him  a  place  in  his  Cabinet  if  he  had  been 
elected.  The  EPIC  candidate  had  forgotten 
that  Charlie's  nationality  would  bar  him 
from  holding  any  public  office  here." 
V 

News  Flashes 

Back  in  1923,  Carl  Laemmie  ventured  to  make 
the  biggest  picture  of  that  time  in  deciding  to 
transfer  that  immortal  classic,  "The  Hunch- 
back of  Notre  Dame,"  to  the  screen.  He  gave 
orders  to  spare  no  expense  and  at  a  cost  of 
$400,000  erected  a  duplicate  of  the  famous  Notre 
Dame  cathedral ;  not  of  the  socalled  papier 
niache  construction,  but  of  granite  and  concrete. 

The  main  part  of  this  structure  remains  to- 
day and  is  to  be  used  in  the  making  of  the  new 
talking  version.  Universal  is  seeking  a  suitable 
artist  to  assume  the  same  role  Chaney  por- 
trayed in  the  old  silent  version. 

V 

One  of  the  best  known  comedy  teams 
of  the  past  decade  has  come  to  the  part- 
ing of  the  ways  with  Stan  Laurel  asking 
and  receiving  release  from  his  Hal  Roach 
contract.  Roach  says  Laurel  is  leaving  due 
to  his  inability  to  select  suitable  story  ma- 
terial to  keep  the  team  going. 

Oliver  Hardy,  heavyweight  of  the  com- 
bination, will  remain  with  Roach,  heading 
a  triumvirate  with  Patsy  Kelly  and  Spanky 
MacFarlane  in  a  series  of  domestic  come- 
dies, to  be  known  as  "The  Hardy's." 

V 

The  increasing  production  of  musicals  has 
made  Hollywood  a  haven  for  song  and  dance 
men,  as  well  as  steppers  of  national  repute. 
The  engagement  of  Fred  Astaire  in  "Flying 
Down  to  Rio"  started  the  influx. 

This  was  followed  by  Bill  Robinson,  Clifton 
Webb,  Buddy  Ibsen,  George  Murphy  and 
others  whose  names  have  brightened  Broadway 
musicals. 

V 

Recording  Their  Readings 

Edmund  Goulding,  MOM  director,  has  in- 
augurated a  new  rehearsal  method  on  "The 
Flame  Within"  production,  which  he  believes 
will  eventually  save  a  great  deal  of  time  and 
money  for  the  studio.  For  two  days  he  had 
the  principals  sit  around  a  table  and  read  the 
script  through  from  beginning  to  end.  On  the 
tliird  day  he  had  the  readings  recorded  on  wax, 
and  later  played  back  to  the  cast.  In  this  way 
he  was  able  to  point  out  how  lines  should  be 
read,  and  correct  errors. 

V 

Ten  Productions  Start 

In  the  past  week  work  was  started  on  10 
new  productions.  Four  were  finished. 

Columbia  started  two  features.  In  "Jim 
Burke's  Boy,"  a  dramatic  romance.  Jack  Holt, 
Florence  Rice  and  Jimmy  Butler  head  the  cast. 
Supporting  players  include  Kathleen  Burke, 
George  McKay,  Robert  Middlemass,  Wyrley 
Zirch  and  Ralph  Remley.  The  second  feature, 
a  western,  "Range  Riders,"  will  again  team 
Tim  McCoy  and  Billie  Seward. 

Wajner   also    started    a    pair.    The  first. 


CHAPLIN  FILM  IS  "THE  MASSES" 
NEW  "HUNCHBACK"  IN  OLD  SET 
LAUREL  -  HARDY  TEAM  BREAKS 
TEN  FILMS  START,  FOUR  FINISHED 

"Crashing  Society,"  a  farce  comedy,  will  pre- 
sent Edward  Everett  Horton,  Guy  Kibbee,  June 
Martel,  Zasu  Pitts  and  Phil  Regan.  The  com- 
panion picture,  "Broadway  Gondolier,"  a  com- 
edy romance,  will  feature  Dick  Powell,  Joan 
Blondell,  Adolphe  Menjou,  William  Gargan  and 
Louise  Fazenda. 

MGM  likewise  started  two  pictures.  "No 
More  Ladies,"  romantic  comedy,  teams  Joan 
Crawford  and  Robert  Montgomery,  with  Fran- 
chot  Tone  and  Edna  May  Oliver  heading  a 
large  supporting  cast.  In  "Flame  Within,"  dra- 
matic romance,  the  leading  players  are  Ann 
Harding,  Herbert  Marshall,  Maureen  O' Sulli- 
van, Merle  Oberon  and  Louis  Hayward. 

Work  started  at  Radio  on  the  Sir  Rider 
Haggard  romance  drama,  "She."  Helen  Ga- 
hagan  is  starred.  Featured  players  include  Nigel 
Bruce,  Randolph  Scott,  Helen  Mack  and  Noble 
Johnson. 

The  remainder  of  the  newly  started  features 
was  contributed  by  independent  companies. 
Two  are  westerns  and  one  is  a  faith  drama. 
With  George  O'Brien  in  the  lead,  Atherton 
started  "The  Cowboy  Millionaire."  The  sup- 
porting cast  lists  Evelyn  Bostock,  Edgar  Ken- 
nedy, Maude  Allen,  Alden  Chase  and  Dean 
Benton.  First  Division  placed  its  second  Hoot 
Gibson  feature,  "Rainbow's  End,"  in  work. 
June  Gale,  Charles  Hill,  Stanley  Blystone,  John 
Elliott,  Oscar  Apfel  and  Buddy  Roosevelt  are 
among  the  players. 

V 

Four  Studios  Complete  Films 

The  quartet  of  finished  features  was  ac- 
counted for  by  four  studios.  Fox  completed 
"Spring  Tonic,"  formerly  titled  "Man  Eating 
Tiger,"  a  hectic  comedy  mystery  romance.  The 
cast  includes  Lew  Ayres,  Claire  Trevor,  Zasu 
Pitts,  Walter  King,  Tala  Birell,  Jack  Haley, 
Mitchell  and  Durant,  Henry  Kolker,  Siegfried 
Rumann  and  Herbert  Mundin. 

At  Paramount  "People  Will  Talk"  was 
transferred  to  the  cutting  rooms.  Charlie  Rug- 
gles  and  Mary  Boland  again  are  co-starred.  In 
the  supporting  cast  will  be  seen  Leila  Hyams, 
Dean  Jagger,  Ruthelma  Stevens,  Stanley  An- 
drews, Sarah  Edwards,  Betty  Alden,  Mitchell 
Ingraham,  Aileen  Carlyle,  Edward  Brophy  and 
Marina  Schubert. 

After  a  lengthy  shooting  period,  Warner 
completed  "A  Midsummer  Night's  Dream," 
adapted  from  the  Shakespeare  comedy.  The 
picture  was  directed  by  Max  Reinhardt  and 
William  Dieterle.  The  lengthy  cast  will  in- 
clude James  Cagney,  Joe  E.  Brown,  Dick 
Powell,  Jean  Muir,  Victor  Jory,  Verree  Teas- 
dale,  Anita  Louise,  Hugh  Herbert,  Frank  Mc- 
Hugh,  Mickey  Rooney,  Ian  Plunter,  Hobart 
Cavanaugh,  Olivia  de  Haviland,  Rose  Alexan- 
der, Grant  Mitchell,  Otis  Harlan,  Dewey  Rob- 
inson, Nini  Theilade,  Arthur  Treacher,  Sara 
Haden  and  Billy  Barty. 

Chesterfield  finished  shooting  on  "Circum- 
stantial Evidence."  The  cast  presents  Shirley 
Grey,  Chick  Chandler,  Claude  King,  Lee  Mo- 
ran,  Dorothy  Revier,  Edward  Keen,  Arthur 
Vinton  and  Robert  Elliott. 


Producing  Firm  Chartered 

San  Francisco  Studios,  Inc.,  has  been 
chartered  at  Sacramento  for  the  production 
and  distribution  of  pictures.  Named  as  di- 
rectors were  John  Pettis,  Keneth  Lovejoy, 
Walter  Irving,  A.  J.  Gould,  James  Espey, 
William  V.  Hollingbery  and  Herman  J. 
Gute,  all  of  San  Francisco. 


i   \\\\\\\\\ 


rWO  HEARTS  IN  BOX-OFFICE  TIME 


 i 

 ( 

a 


It's  simply  grand.4with 
eye-filling  colors...  ear- 
lilting  tunes!  In  a  glori- 
ous trip  to  the  land  of  ^"^^ 
make-believe  / 


2^ 


all  your  colors 
so  gay 
and  color  the 
dark  clouds  away^  ['! 


March    23,  1935 


MOTION    PICTURE  HERALD 


47 


TECtiNCLCGICAL 


ill 


TALKS  WITH  MANAGERS  ON  PROJECTION 

By  F.  H.  RICHARDSON 


The  manager  of  a  city  theatre  should 
famiharize  himself  so  far  as  possible  by 
physical  examination  of  such  equipments  as 
he  may  be  able  to  see  in  other  theatres,  and 
in  stock  at  supply  dealers.  True,  one  cannot 
judge  of  possible  performance  by  outward 
appearance,  but  at  least  one  can  determine 
which  of  them  that  are  available  for  exam- 
ination appear  to  be  well  constructed  and 
well  designed,  and  that  of  course  is  im- 
portant. 

The  most  valuable  data,  however,  may  be 
obtained  by  conversations  with  projection- 
ists and  managers  of  other  theatres  as  to 
results  obtained,  then  observing  those  re- 
sults at  first  hand,  making  sure,  however, 
that  any  faults  found  are  not  those  set  up 
by  wrong  handling  of  the  equipments.  This 
latter  is  of  course  not  an  easy  point  to 
determine,  but  nevertheless  at  least  some 
determination  of  the  point  may  be  made, 
even  by  a  man  not  too  familiar  with  such 
equipments  and  their  operation,  provided 
one  really  is  in  earnest.  One  thing  of  large 
importance  is  what  I  would  call  intelligent 
consultation  with  the  projectionist,  which 
is  a  thing  I  have  found  to  be  all  too  rare. 

The  manager  who  talks  things  over  with 
his  projectionist  or  with  projectionists  in 
other  theatres  in  a  don't-forget-that-I-am- 
a-manager  tone  of  voice,  is  not  likely  to 
get  very  far — at  least  with  worthwhile  men. 
On  the  other  hand,  the  manager  who  calls 
his  projectionist  down  to  the  office  once  in 
a  while  and  talks  things  over  on  a  dignified 
but  friendly  basis,  is  apt  to  get  valuable 
information.  Not  only  that,  but  such  pro- 
cedure stimulates  the  projectionist  to  study. 
The  man  who  is  given  to  understand  that 
his  views  and  opinions  are  not  regarded 
as  of  value,  has  no  encouragement  and  sel- 
dom does  improve,  either  in  knowledge  or 
performance.  Managers  who  insist  upon 
treating  their  projectionists  as  unimportant 
employees  seldom,  if  ever,  get  maximum 
results. 

To  return  to  equipments :  It  is  a  more 
difficult  task  for  the  small  town  manager 
to  familiarize  himself  with  equipments,  but 
fortunately  some  equipments  in  small  town 
theatres  are  not  so  elaborate.  Were  I  a 
small  town  manager  I  would  consider  it 
as  a  part  of  my  duty  to  visit  such  other 
small  town  theatres  as  might  be  reached 
without  too  much  trouble.  I  would  pay  my 
way,  slip  in  and  sit  through  a  show,  care- 
fully observing  results.  Then  I  would  call 
on  the  manager,  have  a  friendly  talk  with 
him,  leading  finally  to  projection  equip- 
ments. I  would  ask  questions  as  to  how 
he  and  his  projectionist  liked  the  equipment 
being  used ;  how  they  stood  up ;  how  much 
trouble  was  experienced,  etc. 

In  addition  to  this  I  would  write  equip- 
ment manufacturers  asking  for  a  list  of 
users  of  their  apparatus — say,  half  a  dozen 
of  each.    I  would  write  these  theatres,  ask- 


ing what  success  they  were  having  with 
the  equipment  in  use,  and  whether  or  no 
it  is  proving  satisfactory,  remembering, 
however,  that  high  upkeep  expense  always 
may  be  due  to  unintelligent  handling.  This, 
however,  should  check  itself  in  replies  from 
several  managers  using  any  one  equipment. 

And  now  let'  us  consider  another  thing. 
Suppose  you  owned  a  clothing  store  and 
were  selecting  a  manager.  Would  you  se- 
lect a  man  who,  however  able  he  might  be 
otherwise,  knew  little  or  nothing  about 
clothing?  Or  would  you  seek  a  man  who 
not  only  was  a  good  manager  and  had 
ability  to  select  competent  help,  but  who 
also  was  well  posted  on  clothing? 

Well,  you  are  selling  motion  pictures. 
Just  how  closely  do  you  check  up  on  the 
work  of  your  projectionists  and  pass  judg- 
ment as  to  whether  or  not  the  screen  image 
is  all  that  it  should  be  ?  Just  what  real 
study  have  you  m,ade  of  it? 

How  often  do  you  examine  the  screen 
image  critically?  Not  just  glance  at  it, 
but  carefully  examine  it  for  possible  faults  ? 
Can  you,  with  every  assurance,  say  there 
is,  for  example,  no  travel  ghost  on  your 
screen,  or  that  there  is  travel  ghost?  A 
very  serious  matter  that  affects  the  eyes 
of  a  great  many  people  when  they  look 
constantly  at  a  screen  containing  the  fault 
for  say  one  and  one  half  hours.  Therefore 
if  you  have  travel  ghost  even  so  faint  that 
you  can  discern  it  only  by  going  within  a 
few  feet  of  the  screen  when  a  black-and 
white  title  is  on,  it  may  very  v^^ell  be  costing 
your  box  office  real  money. 

How  often  do  you  check  up  on  focus? 
It  is  an  exceedingly  important  matter  that 
it  be  kept  at  razor  edge  sharpness.  Just 
what  study  have  you  made  of  glare  spots  ? 
These  and  allied  matters  need  to  be  watched 
by  the  manager,  and  though  he  cannot  be 
expected  to  be  able  to  effect  the  proper 
remedies  himself,  he  should  know  when  a 
remedy  is  required,  and  be  able  to  judge 
whether  it  has  proved  successful  or  not. 

RFC  Takes  Control 
Of  Clarke  Company 

The  Reconstruction  Finance  Corporation 
last  week  took  over  control  of  the  Public 
Utilities  Securities  Corporation,  Chicago, 
chief  holding  company  unit  in  the  public 
utilities  operations  of  Harley  L.  Clarke, 
former  president  of  Fox  Film  Corporation. 
Mr.  Clarke  has  relinquished  the  presidency 
of  the  Chicago  holding  company,  the  RFC 
having  installed  its  own  board  of  directors. 
Washington  conferences  are  to  decide  the 
degree  of  actual  management  which  the 
government  agency  will  exercise  in  the 
various  properties  controlled  by  the  Clarke 
holding  company. 

The  RFC  took  control  of  the  holding 
company  on  the  ground  that  such  action  was 


necessary  to  safeguard  the  corporation's 
loan  to  the  old  Dawes  bank,  the  Central 
Republic  Bank  and  Trust  Company.  Stock 
representing  control  in  the  Securities  Cor- 
poration- was  posted  by  the  company  with 
the  bank  as  security  for  a  $2,000,000  loan. 
The  bank  in  turn  pledged  the  stock  with 
the  RFC  as  part  of  the  collateral  for  the 
$90,000,000  loan  it  obtained  in  1932.  The 
RFC  is  thus  in  a  position  to  control  the 
management  of  the  widespread  properties  of 
the  utilities  system. 


Francis,  Hartley,  Ostman 
Pronnoted  by  RCA  Victor 

James  E.  Francis,  formerly  manager  of 
the  RCA  Victor  Photophone  department, 
has  been  named  manager  of  the  company's 
Hollywood  operations';  Edward  M.  Hartley, 
formerly  service  manager,  has  been  named 
manager  of  the  Photophone  department,  and 

F.  B.  Ostman,  formerly  assistant  to  the 
service  manager,  has  been  named  service 
manager.    The  appointments  were  made  by 

G.  K.  Throckmorton,  executive  vice-presi- 
dent of  RCA  Manufacturing  Company.  The 
parts  sales  activities  have  been  consolidated 
with  the  receiver  and  phonograph  depart- 
ment. 


World  Publicity  Drive 
For  Disney  Color  Short 

United  Artists'  foreign  publicity  depart- 
ment plans  a  world-wide  campaign  on  Walt 
Disney's  first  Mickey  Mouse  subject  in  color, 
"Mickey's  Band  Concert,"  in  82  countries. 
The  drive  includes  feature  stories  for  foreign 
publications,  contest  tieups,  a  12-page  exploi- 
tation manual  on  the  subject,  including  a 
project  for  an  international  "color  week."  In 
addition  10,000  copies  of  a  color  print  broad- 
side advertising  the  film  are  to  be  distribut- 
ed to  all  key  points  outside  the  United  States. 


Rosenberg  Parents 
Have  55th  Anniversary 

Mr.  and  Mrs.  Hyman  Rosenberg  this  week 
celebrated  their  fifty-fifth  wedding  anniver- 
sary at  their  home  in  Mount  Vernon,  N.  Y. 
Three  of  their  seven  children,  Moe,  Sam 
and  Al  Rosenberg,  have  been  associated  with 
Warner  Brothers  in  executive  capacities  for 
some  years.  The  elder  Mr.  Rosenberg  was 
prominently  engaged  in  the  textile  industry 
in  New  York  for  50  years  before  his  retire- 
ment. 


Wins  Roxy  Booking 

Marilyn  McKay  received  a  week's  booking 
at  the  Roxy  theatre  in  New  York  last  week 
as  a  result  of  winning  the  Fred  Allen  Ama- 
teur Radio  Contest  the  week  previous.  She 
was  an  employe  of  Macy's. 


4 


THERE  ARE  9  NEW  YORK  NEWSPAPERS 
...ALL  9  RAVED  ABOUT  THIS  PICTURE! 

"Takes  its  place  as  one  of  the  finest  pictures  of  the 
season!"  —  n.  y.  journal 

"It  will  hold  your  interest  right  from  the  first  scene!" 

—  N.  y.  SUN 

"One  of  the  finest  films  Samuel  Goldwyn  has  ever 
produced!"  —  n.  y.  ■world-telegram 

"Sten  and  Cooper  at  the  top  . . .  together  they  are 
the  perfect  team!"  —  n.  y.  posr 

"Cooper  and  Sten  each  endows  the  piece  with  a 
brand  of  histrionic  pyrotechnics  superior  to  any  of 
the  former  achievements  of  either!"   —  n.  y.  American 

"Strong  in  its  appeal*  Anna  Sten's  best  picture!" 

—  N.  y.  DAILY  MIRROR 

"Believeable... touching. ..convincing  and  curiously 
powerful!"  —  n-  y-  herald-tribune 

"Dramatically  striking!  A  credit  to  Mr.  Goldwyn  and 
Mr.  Vidor."  —  n.  y.  times 


'Altogether  beautiful  love  story!"   —  Washington  times 


t  is  hard  to  top  the  work  they  did  in  those  pictures 
We  Live  Again"  and  "Bengal  Lancer"),  but  they 
do  it  in  'The  Wedding  Night'."  —  Philadelphia  Sunday  news 

"Anna  Sten  ...  a  truly  remarkable  artist." 

—  CINCINNATI  TIMES  STAR 

"Magnificently  directed  talkie. ..an  artistic  triumph!" 

—  BOSTON  GtOBf 

"Expert  entertainment  .  .  .  strong  with  suspense.'" 

—  ATLANTA  JOURNAL 

"  'The  Wedding  Night'  is  emphatically  recommended 

to  you  !  "  —  TOLEDO  NEWS-BEE 

"One  of  the  finest  examples  of  artistic  and  capable 
direction  the  motion  picture  screen  has  seen  this 
year  has  been  turned  out  by  King  Vidor!" 

—  PHILADELPHIA  EVENING  BULLETIN 


i 


CRITICS  PRONOUNCE 

STORY -ACTING -DIRECTION- 


PRODUCTION 


SAMUEL  GOLDWYN 

fif^esen  is 

GARY  m?m 

ANNA  STtN 


RALPH  BELLAMY  .  HELEN  VINSON 
and  SIEGFRIED  RUMANN 
Directed  by  KING  VIDOR 
Released  thru 

UNITED  ARTISTS 


50 


MOTION    PICTURE  HERALD 


March    23,  1935 


THE  CODE  QUESTION  BOX 

by  JAMES  P.  CUNNINGHAM 


No.  108— WAGES  AND  HOURS  SPECI- 
FIED FOR  PROJECTIONISTS 

QUESTION — Please  give  information  on  the 
code  for  wages  and  hours,  etc.,  for  a  projec- 
tionist. Also,  any  injorm-ation  of  general  inter- 
est about  the  theatre. — TEXAS. 

ANSWER — The  motion  picture  code  itself 
does  not  specify  the  scale  of  wages  or  sched- 
ule of  working  hours  for  motion  picture  pro- 
jectionists, but  it  does  say,  in  Section  6  (a), 
Part  1-C,  Article  IV,  that  the  minimum  wages 
to  be  paid  projectionists  under  the  code  shall 
not  be  less  than  the  minimum  wage  which  was 
in  force  in  a  particular  community  on  August 
23rd.  1933 ;  and  that  the  maximum  number  of 
working  hours  per  week  shall  be  no  more  than 
the  maximum  number  of  hours  which  prevailed 
on  the  same  date — August  23,  1933. 

The  inquirer  is  asked  to  be  more  specific 
in  his  request  for  any  code  "information  of 
general  interest  about  the  theatre."  There  are 
dozens  of  clauses  in  the  NRA's  code  for  the 
motion  picture  industry  which  involve  the  film 
theatre. 

V    V  V 

No.  109— FILM  CONTRACTUAL  MAT- 
TERS WHICH  DO  NOT  IN- 
VOLVE CODE 

QUESTION — We  have  a  contract  ivith   

Film  Company  and  have  played  some  of  the 
features,  but  were  unable  to  use  the  short  sub- 
jects. About  a  month  ago  the  exchange  sent 
in  a  feature  by  Raihmy  Express,  collect,  zvith 
jour  weeks  of  shorts  attached  which  we  zvere 
forced  to  pay  for  as  it  ims  our  feature  shoiv 
for  that  day,  to  be  started  in  tzvo  hours. 

We  also  bought  this  company's  newsreel, 
which  is  to  be  started  December,  1935.  They 
claim  same  should  hazv  started  December,  1934. 

We  wrote  to  the  exchange  to  cancel  out  the 
contract,  but  they  telegraphed  us  saying  they 
would  start  legal  proceedings  uidess  zve  imme- 
diately sent  in  dates  for  features,  shorts  and 
newsi-cel.—MA  SSA  CH  USE  TTS. 

ANSWER — In  the  first  place,  there  is  no 
specific  question  asked ;  secondly,  the  matters 
mentioned  in  the  communication  are  purely  con- 
tractual and  have  no  bearing  on  the  motion  pic- 
ture code,  except  if  the  exhibitor  agreed  to 
arbitrate  contractual  disputes  and  then  the  code 
sets  forth  the  manner  of  conducting  such  arbi- 
tration. 

However,  in  the  description  of  the  contro- 
versy as  outlined,  the  exhibitor  does  not  set 
down  any  valid  reason  why  he  should  cancel 
the  contract.  After  all,  it  is  presumed  that  he 
purchased  the  short  subjects  through  the  nor- 
mal procedure  of  signing  a  license  agreement, 
and  perhaps  he  breached  such  contract  by  not 
playing  them. 

There  is  a  clause  in  the  motion  picture  code. 
Part  10,  Article  V-D,  which  prohibits  a  dis- 
tributor from  refusing  to  deliver  features  to  an 
exhibitor  because  the  exhibitor  has  defaulted 
in  the  performance  of  a  short  subject  contract, 
but  this  does  not  appear  to  be  involved  in  the 
matter  because  the  distributor  did  not  refuse 
to  service  the  exhibitor  with  feature  product. 
The  distributor  did  actually  service  the  ex- 
hibitor and  believed  he  had  a  right  to  send 
along  unplayed  short  subjects  which  had  ac- 
cumulated, by  way  of  Railway  Express,  collect. 
It  is  our  understanding  that  no  exchange  can 
tie-on  short  subjects  to  a  feature  and  send  the 
entire  batch  of  film  collect  through  the  United 
tates  Mail,  but  that  the  distributor  may  effect 
such  a  shipment,  collect,  through  the  Railway 
Express  Agency. 

The  exhibitor  claims  that  the  newsreel  is  to 
be  started  December,  1935,  whereas,  he  says. 


the  exchange  claims  that  the  same  newsreel 
contract  is  to  commence  from  December,  1934. 
The  contract  will  tell  the  date  when  these  news- 
reels  are  to  start  exhibition  at  the  theatre. 
V    V  V 

No.  1 10— MINIMUM  ADMISSIONS  IN 
CONTRACTS  AND  THE  CODE 

QUESTION— I  have  operated  a  policy  oj  all 
main  floor  seats  for  10  cents  on  Mo^iday  and 
Tuesday  nights  for  IS  years.  I  know  there  is  a 
clause  in  the  Standard  Exhibition  Contract  that 
prohibits  exhibitors  from  charging  less  than  15 
cents  for  adults,  particularly  on  major  com- 
panies' products. 

The  question  I'd  like  to  have  answered  is: 
Does  the  operation  of  a  theatre  under  this 
policy,  of  so  many  years  standing,  constitute  a 
violation  of  the  motion  picture  code? 

I  zvas  informed  today,  by  one  of  the  exchange 
managers,  that  there  is  a  $500  penalty  for  shozv- 
ing  pictures  for  10  cents  admission. — MICHI- 
GAN. 

ANSWER — The  Optional  Standard  License 
Agreement,  which  a  few  years  ago  supplanted 
the  Standard  Exhibition  Contract,  must,  under 
the  motion  picture  code,  be  offered  each  exhibi- 
tor by  the  distributor,  and  the  distributor  may 
also  oflier  his  own  individual  form  of  agreement. 
The  exhibitor  has  the  right  to  select  either  the 
Optional  Standard  License  Agreement  or  the 
distributor's  own  individual  form  of  agreement. 

The  clause  in  the  Optional  Standard  License 
Agreement  pertaining  to  the  minimum  admission 
to  be  charged  under  that  contract  is  left  blank, 
to  be  filled  in  by  the  individual  distributor  ac- 
cording to  his  own  sales  policy  on  admissions. 
The  distributor  likewise  inserts  in  his  own  in- 
dividual company  form  of  contract  a  minimum 
admission  in  keeping  with  his  sales  policy. 

But,  there  is  no  standard  minimum  admission 
governing  all  distributors.  Different  distribu- 
tors have  different  minimum  admission  stipu- 
lations. Some  permit  a  10-cent  minimum, 
others  insist  upon  a  15-cent  minimum. 

The  minimum  admission  clause  in  the  mo- 
tion picture  code,  Part  3,  Section  1  (b),  Arti- 
cle V-E,  is  very  clear,  and  follows : 

"No  exhibitor  shall  fail  at  all  times  to  main- 
tain the  minimum  price  of  admission  specified 
in  ANY  contract  licensing  the  exhibition  of 
ANY  motion  picture  during  the  exhibition 
thereof.  .  .  ." 

This  means  that  if  the  contract  of  No.  1  dis- 
tributor stipulates  a  10-cent  minimum  admission, 
then  the  exhibitor  may  show  a  feature  picture 
of  that  distributor  under  that  contract  for  an 
admission  as  low  as  10  cents.  If  the  contract 
of  No.  2  distributor  stipulates  a  15-cent  mini- 
mum then  the  exhibitor  must  maintain  such 
15-cent  minimum  for  the  showing  of  any  picture 
of  No.  2  distributor  under  that  contract. 

Answering  the  specific  question :  "Does  the 
operation  of  a  theatre  under  this  policy  of  so 
many  years'  standing  constitute  a  violation  of 
the  motion  picture  code?"  The  code  in  this 
connection  does  not  apply  to  trade  practices  be- 
fore the  code  was  enacted  on  December  7,  1933. 
It  is  intended  to  stop  violations  of  the  trade 
practice  provisions,  including  violations  of  the 
minimum  clause,  since  December  7,  1933. 

The  exchange  manager  who  told  the  inquiring 
exhibitor  that  there  is  a  $500  penalty  for  show- 
ing pictures  for  a  10-cent  admission,  when,  we 
presume,  the  exchange's  contract  stipulates  a 
15-cent  minimum,  appears  to  be  a  little  hasty 
in  his  statement,  and,  perhaps,  a  bit  threatening. 
True,  the  NRA  provides  for  a  penalty  of  $500 
for  each  violation,  but  such  penalty  is  not 
levied  against  a  violator  merely  by  the  snap 
of  a  finger.    The  procedure  against  violations 


Immediate  reply  is  being  made 
direct  to  the  many  letters  which 
Motion  Picture  Herald  is  receiving 
from  exhibitors  and  distributors  in 
the  field,  and  from  others,  in  which 
various  questions  are  asked  concern- 
ing certain  doubtful  phases  of  the 
Motion  Picture  Code.  In  addition, 
such  code  questions  and  the  answers 
submitted  are  published  as  a  regu- 
lar service. 

For  obvious  reasons,  the  letters 
will  appear  anonymously.  However, 
the  originals  will  remain  on  file. 

Answers  to  questions  about  the 
Code  are  submitted  only  after  con- 
sultation with  authorities  familiar 
with  the  technicalities  of  the  docu- 
ment. 

This  service  is  available  to  every- 
one. Send  questions  to  the  Code 
Editor,  Motion  Picture  Herald, 
1790   Broadway,   New  York  City. 


of  the  motion  picture  code  goes  something  like 
this  : 

In  the  case  of  an  exhibitor  who  is  violating 
the  minimum  admission  clause,  either  a  com- 
peting exhibitor,  or  the  exchange,  or  other 
interested  party,  would  file  a  complaint  with 
the  Local  Grievance  Board  in  the  exchange 
territory,  against  the  violator.  The  board,  after 
serving  notice  on  all  parties  concerned,  would 
hold  a  hearing,  and,  after  hearing  the  facts 
and  upon  finding  the  defendant-exhibitor  guilty 
of  the  violation,  it  would  order  him  to  cease 
and  desist  from  the  practice. 

The  matter  of  a  $500  fine  would  become  in- 
volved only  if  and  when  the  exhibitor  refused 
to  abide  by  the  Grievance  Board's  order,  and 
even  then  the  NRA  and  its  prosecuting  forces 
would  have  to  be  brought  into  the  controversy 
in  a  court  action  against  a  violator  who  refused 
to  discontinue  the  practice. 

Bank  Night  Now 
Exhibitor  Issue 

The  "bank  night"  question  continued  dur- 
ing the  week  to  provide  discussion  betv^^een 
local  grievance  boards  and  exhibitors. 

A  ban  on  premiums  in  the  Albany,  N.  Y., 
territory  will  be  effective  from  June  7,  fol- 
lowing a  vote  in  which  100  per  cent  of  the 
affiliated  exhibitors  of  the  sector  and  80  per 
cent  of  the  independents  decided  against  the 
practice. 

The  Code  Authority  last  week  reversed 
an  action  of  the  Philadelphia  grievance 
board  in  banning  premiums  in  a  five-county 
zone,  on  the  ground  that  75  per  cent  of  the 
unaffiliated  theatres  therein  did  not  partici- 
pate in  the  vote. 

Revival  of  bank  nights  by  Essanes's  at  the 
North  Center  in  Chicago  last  week  brought 
that  circuit  before  the  local  grievance  board, 
which  ordered  the  practice  stopped  immedi- 
ately. Essaness  will  appeal  to  the  Code 
Authority. 

Despite  the  rulings  of  the  grievance 
board  in  San  Francisco  declaring  bank 
nights  and  similar  giveaways  illegal,  the 
practice  is  reported  as  becoming  steadily 
more  popular  and  efforts  to  stop  it  have 
proved  unavailing. 


March    23,  1935 


MOTION    PICTURE  HERALD 


51 


PC€DUCTI€N$  IN  WCCr 


TITLE 

WRITER    AND  DIRECTOR 

CAST 

STAGE  OF 

PHARI  CHAPLIN 

Chaplin  Prod.  No.  5 

Originzil  scr&cn  pl3y»  Charles  Chaplin.    Director  i 
Charles  Chaplin. 

Pfiarlp^    PViAnlin     Paulptt#»    C^nddard     Carter  DeHaven 
Henry  Bergman. 

PRODUCTION 

Shooting 

COLUMBIA 

r^arty  Wire 

l^7r  Ig  lllti  1 ,      J)  r  UCt      ill  alllllll^.        ol^iccil      jJitiji,  J 

Howard  Lawson,  Ethel  Hill.    Director:  Earle 
Kenton. 

jean    /\rinur,     victor    jory,    v^iara    uidiiuiLiv,  v^iitiiiic 
Grapewin,  Geneva  Mitchell. 

Shooting 

'■Jim  Burke's  Boy" 

Story,  C.  Gardner  Sullivan.    Screen  play,  Michael 
1j.  oimmons.    j_^ircctor.   j^diiiuci  l  j.i.iiij'ci. 

Jack    Holt,    Florence_    Rice,    Jimmy    Butler,  Kathleen 
Burke,  George  McKay,  Robert  Middlemass, 

Shooting 

"Range  Raiders" 
FOX 

"Under  the  Pampas  Moon'' 

Original    screen    play.    Ford    Beebe.  Director: 
Lambert  Hillyer. 

From  an  original,  Gordon  Morris.  Adaptation, 
Ernest     Pascal,     Bradley     King.  Director: 
James  Tinling. 

Tim  McCoy,  Billie  Seward. 

Warner   Baxter,   Ketti   Gallian,   John   Miljan,  Armida, 
J,  Carrol  Naish,  Blanca  Vischer,  Rita  Cansino,  Soledad 
Jiminez,  George  Irving,  Jack  LaRue. 

Shooting 
Shooting 

"Redheads  on  Parade" 

Original  story,  Gertrude  Purcell,  Don  Hartman, 
Jay  Gorney.    Screen  play,  Don  Hartman,  Rian 

John  Boles,  Dixie  Lee,  Alan  Dinehart,  Jane  Withers, 
Jack   Haley,   Herman   Bing,   Wm,   Austin,  Raymond 
Walburn, 

Shooting 

"Our   Little  Girl" 

From    a    story,    Florence    Leighton  Pfalzgraf. 

Adaptation.     Stephen     Avery.      Screen  play. 
Stephen  Avery,  Allen  Rivkin.    Director:  John 
Robertson. 

Shirley  Temple,  Joel  McCrea,  Lyle  Talbot,  Rosemary 
Ames,  Doris  Nolan. 

Shooting 

"Man  Proposes" 

Based  on  story,  Sidney  Skolsky,  Claude  Binyon. 
Screen   play,    Wm.    Hurlbutt.    Director:  Wm. 
Seiter. 

James  Dunn.  Mae  Clarke.  Neil  Hamilton,  Jack  LaRue, 
Frank   Melton,  Madge  Bellamy. 

Shooting 

"Secret  Lives" 

METRO-GOLD  WYN-MAYER 

"Age  of  Indiscretion" 

From    a    story,    Ilya    Zom.      Director:  Bruce 
TT 1 1  in  Ti*»  1*  Q  t  frti  p 

XX  1.4  111  u   1  a  tviic* 

Story,  screen  play,  Leon  Gordon.    Director:  Ed- 
ward Ludwig. 

Mona  Barrie,  Gilbert  Roland,  Hardie  Albright,  Herbert 
A4^tinr1in    TViflf  T^"nrfln    Fionalfi  Cook. 

J.VX U 11  Ll  1X1 1     ill  1^ IV     X  vIlAlif     M^\JXi<ty\^  ^^wiv. 

May  Robson,  Madge  Evans,  Ralph  Forbes,  Shirley  Ross, 
Adrian  Morris,  Una  Merkel,  Samuel  Hinds,  Mary  Jo 

TVTaffliPwi     T*niil    T.iilcas  l^'lush 

Shooting 
Shooting 

"China  Seas" 

Novel,  Crosbie  Garstin,  Adaptation,  Julei  Furth- 
man.    Director:    Tay  Gamett. 

Wallace    Beery,    Clark    Gable,    Jean    Harlow.  Dudley 
Digges,    Lewis   Stone,    Charles   Butterworth,  Robert 
Benchley. 

Shooting 

"No  More  Ladies" 

PARAMOUNT 

"The  Crusades" 

Play,     A.     E.     Thomas.      Adaptation,  Rachael 
Crothers.     Director:    E.   H.  Griffith. 

Screen    play,    Harold    Lamb,    Dudley  Nichols, 
Waldemar  Young.    Director:  Cecil  B.  DeMille. 

Joan  Crawford.  Robert  Montgomery. 

Henry  Wilcoxon,  Loretta  Young.  Ian  Keith,  Alan  Hale, 
Pedro  de  Cordoba,  Katherine  DeMille,  Ramsey  Hill, 
C.  Henry  Gordon,  George  Barbier,  C.  Aubrey  Smith, 
i^umsQcn  xxarCf  xiuudn  jjuawui  iii. 

Shooting 
Shooting 

"People  Will  Talk" 

From  original,  Sophie  Kerr  and  an  original  by 
x* .  xxugn  xierocri.    ocrccn  piay,  ncrocn  jriciub. 
Director:    Alfred  Santell. 

Charlie   Ruggles,   Mary    Boland,    Leila   Hyams,  Dean 
J  agger,  ivuineima  oxcvcns,   oLaiiicy   ^iiuicwa,   .jei  i 
Edwards. 

Editing 

"The  Glass  Key" 
RKO  RADIO 

*'  PvAO  If-     e\t     ftmn  «-f  a" 

Original,     Dashiell     Hammett.      Screen  play, 
Kathryn    Scola,    Kubec    Glasmon.  Director: 
Frank  Tuttle. 

Story,   Lester  Cohen.     Screen  play,   Sarah  Y. 
Mason.    Victor    Heerman.     Director:  Phillip 
Moeller. 

George  Raft.  Rosalind  Keith.  Edward  Arnold,  Ray  Mil- 
land,  Dean  Jagger. 

Katharine  Hepburn,  Charles  Boyer,  John  Beal,  Helene 
Millard,  Jean  Hersholt,  Jean  Howard. 

Shooting 
Shooting 

"The  Nit-Wits" 

Story,  Stuart  Palmer.    Screen  play,  Al  Boasberg, 
Fred   Guiol      Director  ■    Geo.  Stevens. 

Bert   Wheeler,    Robert   Woolsey,   Fred   Keating.  Betty 
Grable    Erik   Rhodes,   Evelyn   Brent,    Sleep   'N  Eat, 
Hale  Hamilton,  William  Wells. 

Shooting 

"Hooray  for  Love" 

Screen    play,    Lawrence    Hazard,    Ray  Harris. 
Director:    Walter  Lang. 

Gene  Raymond,  Pert  Kelton,  Arthur  Byron,  Bill  Robin- 
son, Jennie  LeGon,  Lionel  Stander. 

Sliooting 

"She" 

RELIANCE 

"Legion  of  Valor" 

Novel,  Sir  Rider  Haggard.     Screen  play,  Ruth 
Rose.     Director:    Irving  Pichel. 

Story.    Joseph    Moncure   March,    Elmer  Harris, 
Additional    dialogue,    Al    Boasberg.  Director: 
Sam  Wood, 

Randolph    Scott.   Helen   Gahagan,    Helen    Mack,  Nigel 
Bruce,  Gustav  Von  Seyffertitz,  Nobel  Johnson. 

Richard    Arlen.    Virginia    Bruce.    Alice    Brady,  Bruce 
Cabot,  Eric  Linden,  Joyce  Compton,  Harvey  Stephens. 

Shooting 
Shooting 

UNIVERSAL 

"Mister  Dynamite" 

Story,  Dashiell  Hammett.    Screen  play,  Harry 

Clnrk    Drtris  TVTallov      Dirpctnr*    Alnn  Crncland 

Edmund    Lowe,   Jean    Dixon,    Esther   Ralston,  Victor 
Hugh,  Joyce  Compton,  Mary  Wallace. 

Shooting 

**The  Raven" 

WARNER  BROS.- 
FIRST  NATIONAI 

"Oil  for  the  Lamps  of  China" 

By  Edgar  Allen  Poe.     Screen  play,  Jim  Tully. 
Continuity,    David    Boehm,      Director:  Louis 
Friedlander, 

From  novel,  Alice  Tisdale  Hobart.    Screen  play. 
Laird  Doyle.    Director:  Mervyn  LeRoy. 

Karloff,  Bela  Lugosi.  Irene  Ware, 

Pat    O'Brien,    Josephine    Hutchinson.    John  Eldredge, 
Jean  Muir,  Lyle  "Talbot,  Ronnie  Cosbey,  Donald  Crisp. 

Shooting 
Shooting 

"The  G  Men" 

Story,   screen  play,   Seton  I.   Miller.  Director: 
Wm.  Keighley. 

JttlliCB     v^-dgllCj',     .ill  in     -L-^  V  \Jl  aiXf     JxiJUCi  I          1  IliSLl  <Jlig,     l-dl\Jj  >-i 

Nolan,    Margaret    Lindsay,    Edward    Pawley,  Russell 
Hopton,  Barton  MacLane,  Wm.  Harrigan. 

Shooting 

"Alibi  Ike" 

Original  story.  Ring  Lardner.    Screen  play,  Bert 
Kalmar,  Harry  Ruby.    Director:   Ray  Enright. 

Joe  E.  Brown,  Olivia  de  Haviland.  Wm.  Gargan,  Ruth 
Donnelly,  Roscoe  Karns,  Henry  O'Neill,  Wm.  Frawley. 

Shooting 

"Broadway  Gondolier" 

Director:    Lloyd  Bacon. 

Dick    Powell,    Joan    Blondell,    Louise    Fazenda,  Wm. 
Gargan,  Adolphe  Menjou, 

Shooting 

"Crashing  Society" 

Original,   Ralph    Spence.     Screen    play,  Edward 
Kaufman,   Sy   Bartlett.     Added   dialogue,  Ben 
Markson.    Director:  Robert  Florey, 

Guy  Kibbee,  June  Martel,  Phil  Regan,  Edward  Everett 
Horton,  Nella  Walker,  Gordon  Westcott,  Judy  Canova, 
Zasu  Pitts. 

Shooting 

"Stranded" 

Based  on  story,  Frank  Wead,  Ferdinand  Reyher. 
Screen  play,  Delmar  Daves,    Director:  Frank 
Borzage, 

Kay  Francis,  George  Brent,  Patricia  Ellis,  Barton  Mac- 
Lane,  Donald  Woods,  Mae  Busch. 

Shooting 

"Men  on  Her  Mind" 

Adaptation,   screen   play,   Charles   Kenyon,  Di- 
rector:   Alfred  E,  Green. 

Bette  Davis.  Ian  Hunter,  John  Eldredee,  Phillip  Reed, 
Claire  Dodd,  Colin  Clive,  Ruth  Donnelly, 

Shooting 

m  Most  Orimnal Serii 

IK  ^ 


SENSATIONAL 

EPISODES 


SERIAL  NO«  2         \W7»  SERIAI 

MIXW™^  Fi 

"The  MIRACLE  RIDER"  //  W  MA 


m  SERUUof  1935-361 


i  in  20  Years! 


A  PRODUCTION  OF 

lASCOT  PICTURES  CORP. 

76  BROADWAY,  NEW  YORK  CITY 


ASK  YOUR  EXCHANGE 
FOR  THE  PHANTOM 
EMPIRE  '  BROADSIDE 
..AND  THE  MASCOT 
SERIAL  YEAR  BOOK 


NO.i 

pHriNG 

JNE" 


SERIAL  NO.  4 


THE  ADVENTURfS  OF 

IIEX4«4RINTY 


54 


MOTION    PICTU  RE  HERALD 


March    2  3,     19  3  5 


TtiEATCC  RECEIPTS 


iiiiiiiiii 
illllllli: 


The  total  of  theatre  receipts  for  the  calendar  week  ended  March  16,  1935, 
from  107  theatres  in  18  major  cities  of  the  country,  reached  $1,070,924,  an  in- 
crease of  $46,774  over  the  total  of  the  preceding  calendar  week  ended  March 
9,  when  1 09  theatres  in  I  8  major  cities  aggregated  $1,024,150. 

{Copyright,  1935:   Reproduction  of  material  from  this  department  without  credit  to  Motion  Picture  Herald  expressly  forbidden) 


Theatres 

Boston 

Boston    3,246  25c-50c 

Fenway    1,382  30c-50c 

Keith   Memorial..  2,907  25c-6Sc 

Loew's  State   ...  3,537  25c-55c 

Metropolitan    4,332  35c-65c 

Paramount    1,793  25c-50c 


Current  Week 


Previous  Week 


Picture 


Gross  Picture 


"Great   Hotel   Murder"   (Fox)   9,000      "Mystery  Women"  (Fox)   12,000 


"Under  Pressure"  (Fox)  and   3,500 

"While  the  Patient  Slept"  (W.  B.) 

"The   Little   Colonel"   (Fox)   121500 

(2nd  week) 

"Folies  Bergere"   (U.A.)  and   14,000 

"Death  Flies  East"  (Col.) 

"Ruggles  of  Red  Gap"  (Para.)....  29,000 

"Under  Pressure"  (Fox)  and   4,500 

"While  the  Patient  Slept"  (W.B.) 


"One  More  Spring"  (Fox)  and...  2,500 

"Lottery  Lover"  (Fox) 


"The  Little  Colonel"  (Fox)  

(1st  week) 
"Whole  Town's  Talking"  (Col.), 
and  "Society  Doctor"  (MOM) 

"Living  on  Velvet"  (F.  N.)  


"One  More  Spring"  (Fox)  and. 
"Lottery    Lover"  (Fox) 


High  and  Low  Gross 

Gross      (Tabulation  covers  period  from  January,  19M.) 

(Dates  are  1934  unless  otherwise  specified.) 

High  12-29  "West  of  Pecos"   23,000 

Low  2-2-35  "One  Exciting  Adventure"..  8,500 
High  1-6  "Lady  Killer"  ) 
and  "Girl  Without  a  Room''  j 
Low  3-9-35  "One  More  Spring"  and  ) 
"Lottery  Lover"  3 

24,000     High  2-16-35  "White  Lies"   28,000 

Low  1-19-35  "Evergreen"   7,000 

9,000      High  4-7  "Riptide"    22,000 

Low  3-9-35  "Whole  Town's  Talking"  1 

and  "Society  Doctor"       |  9,000 

25,000     High  1-27  "All  of  Me"   39,000 

Low  1-19-35  "The  County  Chairman"....  21,000 
5,000      High  1-6  "Lady  Killer"  ) 

and  "Girl  Without  a  Room"  |  12,000 
Low  2-2-35  "Maybe  It's  Love"  and  1 

"Murder  in  the  Clouds"    J  4,200 


12,000 

2,500 


BufFalo 

Buffalo    3,500  30c-55c 

Century    3,000  2Sc 

Great  Lakes  ....  3,000  2Sc-40c 


Hippodrome 
Lafayette 


..  2.100  25c-40c 
..  3,300  25c 


■Ruggles  of  Red  Gap"  (Para.). 
•David   Copperfiekl"  (MGM).... 


'The  Little  Colonel"  (Fox). 
"Folies  Bergere"  (U.  A.)... 


14,800      "Living  on  Velvet"  (F.  N.)   13,500 

7,500      "Murder  in  the  Oouds"  (F.  N.)..  5,000 
and  "Lottery  Lover"  (Fox) 


10,700      "The  Scarlet  Pimpernel"  (U.A.). 


'The  Mystery  of  Edwin  Drood".. 
(Univ.)  and  "Fugitive  Lady"  (Col.) 


8,300      "Woman  in  Red"  (F.  N.)  and... 

"Maybe  It's  Love"  (F.  N.) 
7.000      "The  Iron  Duke"   (GB  Pictures) 
and  "Transient  Lady"  (Univ.) 


7,400 

6,100 
8,000 


High  1-6  "Design  for  Living"   26,000 

Low  12-29  "Music  in  the  Air"   5,000 

High  4-21  "The  Lost  Patrol"  and  ) 

"Three  on  a  Honeymoon"  f  8,100 
Low  12-29  "I  Am  a  Thief"  and  j 

"Side  Streets"                   )  4,000 

High  9-29  "Belle  of  the  Nineties"   18,800 

Low  12-22  "Gentlemen  Are  Bom"  and  ) 

"Marie  Galante"                 J  3,800 

High  5-19  "The  House  of  Rothschild"..  18,000 

Low  7-28  "Here  Comes  the  Navy   4,800 

High  3-10  "It  Happened  One  Night"  ) 

and  "Before  Midnight"  f  16,700 
Low  11-17  "Jane  Eyre"  and  I 

''Young  and  Beautiful"        J  4,200 


Chicago 

Apollo                   1,400  25c-S0c 

CHiicago                 4,000  25c-68c 

Garrick    .........    900  2Sc-40c 

Oriental                  3,940  25c-40c 

Palace                    2,509  25c-50c 

Roosevelt   1,591  2Sc-50c 

State-Lake              2,776  20c-3Sc 

United  Artists...  1,700  30c-60c 

Cleveland 

Allen                      3,300  20c-40c 

Circle                    1,875  20c-30c 

Hippodrome   3,800  30c-42c 

RKO  Palace  ....  3,100  30c-60c 

State                     3,400  30c-42c 

StiUman                  1,900  20c-40c 

Denver 

Aladdin                  1.500  25c-50c 

Dttnham                  1,500  25c-50c 

Denver                  2,500  25c-50c 

Orpheum                2,600  25c-S0c 

Paramount              2,000  25c-40c 


■Society    Doctor"    (MGM)   7,000 

"The  Little  Colonel"  (Fox)   37,000 

■The  Right  to  Live"  (W.   B.)....  4.000 

■■Under  Pressure"   (Fox)   17,000 

■'Gigolette''  (Radio)    24,000 

■■Ruggles  of  Red  Gap"  (Para.)....  15,000 

(2nd  week) 

'■The  Best  Man  Wins"  (Col.)   14,000 


■David  Copperfield"   (MGM)   9,000 

(9  days-5th  week) 


•Night  Life  of  the  Gods''  (Univ.)  1,600 

(5  days)  (25c-35c) 

■Dangerous   Corner"    (Radio)   6,000 

■Roberta"    (Radio)    23,000 

•Living  on  Velvet"   (F.   N.)   17,500 

■'Folies  Bergere"  (U.  A.)   6,000 

"Sequoia"  (MGM)    4,800 

(25c-35c) 


"The  Scarlet  Pimpernel" 

(2nd  week) 
"Rumba"  (Para.)   


(U.A.). 


"Folies   Bergere"  (U.A.)  

"Night  Life  of  the  Gods"  (Univ.) 

"The  Whole  Town's  Talking"  (Col.) 
(25c-50c) 


Tabor    2,000      20c-25c      •'The  Best   Man   Wins"  (Col.). 


3,000 
3,000 
6,000 
4.000 

s,ooo 

3,500 


"One  More  Spring"  (Fox)   8,000 

"Rumba"   (Para.)    44,000 

"After  Office  Hours"   (MGM)....  6,000 

"Bordertown"   (W.    B.)   15,000 

"Murder  on  A  Honeymoon"  (Radio)  30,000 

"Ruggles  of  Red  Gap"  (Para.)....  23,000 

(1st  week) 

"The  Silver  Streak"  (Radio)   13,000 


"David  Copperfield"   (MGM)   12,000 

(4th  week) 


"The  Iron  Duke"  (GB  Pictures)..  6,100 
(9  days) 

"Lightning  Strikes  Twice"  (Radio)  5,000 


'The  Little  Colonel"  (Fox)   8,700 

(2nd  week) 

'While  the  Patient  Slept"  (F.N.)  12,500 

"Biography  of  A  Bachelor  Girl"..  9,500 
(MGM) 

'Society  Doctor"  (MGM)   3,500 


"The  Scarlet  Pimpernel"  (U.  A.)..  6,000 

(1st  week) 

"Ruggles  of  Red  Gap"  (Para.)....  4,000 

(2nd  week) 
"Sweet  Music"  (W.  B.)   6,500 


"Carnival"  (Col.) 


4,500 
600 


"Society  Doctor"  (MGM)   

(3  days) 

"I've  Been  Around"  (Univ.)  and  900 
"Notorious  Gentleman"  (Univ.)  (4  days) 


High  9-8  "The  Cat's  Paw"   16,000 

Low  11-24  "The  Captain  Hates  the  Sea"  5,000 

High  8-11  "She  Loves  Me  Not"   66,000 

Low  5-26  "Thirty  Day  Princess"   19,000 

High  2-23-35  "Baboona"   8,500 

l^v/  i-l6-i5  "The  Right  to  Live"   4.000 

High  1-5-35  "Big  Hearted  Herbert"....  25,000 

Low  6-16  "Registered  Nurse   12,000 

High  3-9-35  "Murder  on  a  Honeymoon"  30,000 

Low  12-1  "Kentucky  Kernels"   8,000 

High  1-5-35  "Forsaking  All  Others"....  27,000 

Low  8-18  "Paris  Interlude"   6,000 

High  9-8  "The  Most  Precious  Thing  in 

Life"    19,000 

Low  5-2-35   "Helldorado"    11,000 

High  5-5  "House  of  Rothschild"   30,000 

Low  4-28  "Looking  for  Trouble"   10,000 


High  10-27  "Six-Day  Bike  Rider"   7,000 

Low  12-15  "Silver  Streak"    1.400 


High  3-16-35   "Roberta"   23,000 

Low  3-17  "Journal  of  a  Crime"   2,900 

High  11-10  "Desirable"    28.000 

Low  5-19  "Where  Sinners  Meet"   4.000 

High  1-12-35  "Forsaking  All  Others"..  28,000 

Low  12-29  "Private  Life  of  Don  Juan"..  3J00 

High  9-15  "Chained"   10,000 

Low  1-12-35  "Our  Daily  Bread"   2.000 


High  5-5  "House  of  Rothschild"   9,000 

Low  8-11  "1  Give  My  Love"   1.200 

High  9-29  "Belle  of  the  Nineties"   16.S00 

Low  4-7  "She  Made  Her  Bed"   800 

High  1-13  "Roman  Scandals"    17.500 

T.OW  9-29  "British   Agent"   4,000 

High  2-17  "Hi  Nellie"    19.500 

Low  12-29  "Hat,  Coat  and  Glove"   1.000 

High  1-13  "Dinner  at  Eight"   S.SOO 

Low  6-9  "Uncertain  Lady"   400 


Hollywood 

Chinese                   2,500  30c-55c 

Pantages                 3,000  25c-40c 

W.  B.  HoUywood  3,000  25c-6Sc 


"Biography  of  a   Bachelor  Girl' 
(MGM)  (6  days) 

"Transient  Lady''  (Univ.)  and.. 
"The  Nut  Farm"  (Mono.) 


"Roberta"  (Radio) 
(6  days) 


6,000      "One   More   Spring"   (Fox)   6,900 

(6  days) 

3,300      "Night  Life  of  the  Gods"  (Univ.)  3,200 


14,300      "Living  On  Velvet"  (F.  N.)   9.000 

(6  days) 


High  4-14  "House  of  Rothschild"   2S.171 

Low  12-29  "Music  in  the  Air"   4.292 

High  12-8  "Imitation  of  Life"   12.200 

Low  3-3  "Fugitive  Lovers"  and  \ 

"The  Poor  Rich"                   f  l.SOO 

High  9-8  "Dames"    25,000 

Low  12-29  "Sweet  Adeline"   6.300 


A  CRITIC 

WRITES  AN  AD  I 

By  E.  de  S.  Melcher  in  The  Washington  Star 


s 


O,  M'G'M  isn't  able  to  make  a  musical  film! 
It  isn't,  isn't  it!  Well,  then,  what  will  you 
say  when  you  hear  that  'Naughty  Marietta'  is 
one  of  the  best  musical  pictures  that  has  ever 
been  made;  that  the  director  of  'The  Thin 
Man'  and  'Forsaking  All  Others'  made  it;  that 
it  comes  straight  from  M-G-M,  and  that  Victor 
Herbert's  music  rings  out  from  the  screen  with 
that  same  clarity,  that  same  warmth  and  vitality 
and  that  same  sweep  and  breadth  that  made 
Grace  Moore's  'One  Night  of  Love'  a  landmark 
in  the  motion  picture  industry. 

"All  of  this  is  fact.  'Naughty  Marietta'  is  a 
credit  to  M-G-M  and  a  credit  to  everyone  con- 
cerned. It  proves  that  W.  S.  Van  Dyke  is  one 
of  Hollywood's  wonder  men — that  he  can  yank 
just  as  many  rabbits  out  of  Victor  Herbert's  hat 
as  he  can  out  of  The  Thin  Man's  or  Joan  Craw- 
ford's. His  uncanny  knack,  particularly  at  the 
outset,  of  swelling  every  inch  of  this  picture 
with  rich  orchestrations  and  of  disguising  the 
plot  with  such  music  as  will  make  you  jump 
out  of  your  seat  is  a  wonder  and  a  delight.  From 
now  on,  Jeanette  MacDonald  and  Nelson  Eddy 
will  be  referred  to  as  'tops.'  'Naughty  Marietta' 
is  something  of  which  M-G-M,  Director  Van 
Dyke  and  Victor  Herbert  should  be  proud." 


AND  BY  THE  WAY— 

just  who  can  match 
theseM'G'M.musicals 
of  the  past: 

Broadway  Melody 
Hollywood  Revue 
Rogue  Song 
Marianne 
New  Moon 
The  Pagan 
Dancing  Lady 
Going  Hollywood 
Merry  Widow 
etc.,  etc. 


*  ^Pardon  my 
blushes  ♦  .  . 
and  wait 
till  you  see 
'RECKLESS'r 


56 


MOTION    PICTURE  HERALD 


March    2  3  ,    19  3  5 


[THEATRE  CECEIPTS—CCNT'Dl 


Theatres 


Current  Week 

Picture  Gross 


Indianapolis 

1  100 

2Sc-40c 

2  800 

25c -40c 

.  3,133 

25c-40c 

2,000 

2Sc-40c 

3,049 

15c-40c 

Midland   

.  4.000 

lSc-40c 

1,800 

25c-40c 

2,200 

25c 

2,000 

25c-40c 

Los  Angeles 

800 

40c-55c 

.  900 

30c-55c 

.  2,416 

30c-55c 

.  3,596 

30c-55c 

RKO   

,  2,700 

25c-65c 

United  Artists.. 

.  2.100 

2Sc-5Sc 

"Little  Colonel"  (Fox)... 
"Transient  Lady"  (Univ). 


7,000 
2,000 


W.  B.  Downtown  3.400  25c-40c 

Minneapolis 

Century                  1,650  2Sc-40c 

Lyric                      1,238  20c-25c 

Palace                     900  15c-25c 

RKO  Orpheum...  2,900  2Sc-40c 

State                      2,300  25c-40c 

World                       400  25c-75c 

Montreal 

Capitol                    2,547  25c-60c 

Imperial                 1,914  25c-40c 

Loew's                    3,115  30c-60c 

Princess                  2,272  30c-65c 

New  York 

Astor                   1,012  2Sc-75c 

Capitol                   4,700  35c-$1.65 

Mayfair                 2.300  3Sc-65c 

Palace                   2,500  25c-7Sc 

Paramount              3,700  3Sc-99c 

Rialto                     2,200  25c-6Sc 

RivoU                     2,200  40c-99c 

RKO  Music  Hall  5,945  35c-$1.65 

Rooty                      6,200  2Sc-55c 

Strand                    3,000  25c-55c 


"Riiggles  of  Red  Gap"  (Para.)....  6,500 
"Night  Life  of  the  Gods"  (Univ.)  5,50C 
"Folies    Bergere"    (U.A.)   5,003 


"Roberta"   (Radio)    7,030 

(2nd  week) 
"Folies  Bergere"  (U.  A.)   7,800 

"Ruggles  of  Red  Gap"  (Para.)....  3,000 
(3  days-2nd  week) 

"The  Whole  Town's  Talking"  (Col.)  9,030 

"The  Little  Colonel''  (Fox)   6,400 

(2Sc) 

"Unfinished  Symphony"   2,003 

(GB  Pictures)   (3rd  week) 

"Sequoia"    (MGM)   5,003 

(2nd  week-6  days) 

"Biography  of  a  Bachelor  Girl"..  7,400 
(MGM)   (6  days) 

"All  the  King's  Horses"  (Para.)..  13,500 

"Roberta"   (Radio)    16,U00 

(6  days) 

"Shadow  of  Doubt''  and   2,634 

"Cimarron"  (Radio) 

"While  the  Patient  _  Slept"   (F.X.)  6,700 
and  "Captain  Hurricane"  (Radio) 


'Rumba"  (Para.)    4,000 

'Baboona"  (Fox)    2,000 

'White  Lies"  (Col.)   2,500 

'Transient   Lady"   (Univ.)   6,000 

'The  Little  Colonel"  (Fox)   6,000 


'The  Iron  Duke"  (GB  Pictures). 
(3rd  week)  (25c-35c) 


3,000 


"David   Copperfield"    (MGM)   9,000 

(2nd  week) 

"Under  Pressure"   (Fox)   3,000 

"Gilded  Lily"  (Para.)  and   10,000 

"The  Silver  Streak"  (Radio) 

"Clive  of  India"  (U.  A.)  and   7,000 

"Carnival"  (Col.)   (2nd  week) 

"Transient  Lady"    (Univ.)   4,003 

"After  Ofifice  Hours"   (MGM)....  40,000 

"Shadow  of  Doubt"  (MGM)   7,500 

"One  More   Spring"    (Fox)   S.003 

"Ruggles  of  Red  Gap"  (Para.)....  50,003 

"McFadden's   Flats"    (Para.)   8,000 

"Folies  Bergere"  (U.  A.)   12.000 

(3rd  week) 

"Roberta"    (Radio)    98,000 

"Enchanted  April"   (Radio)   28.000 

"Living  on  'Velvet"   (F.   N.)   11,000 


Previous  Week 

Picture  Gross 

"Sweet    Music"   (W.   B.)   4,500 

"Carnival"  (Col.)    1,200 

(3  days) 

"The  Scarlet  Pimpernel"  (U.A.)..  1,500 

(4  days- Return  Engagement) 

"Living  on  Velvet"  (F.  N.)   4,500 

"While  the  Patient  Slept"  (F.  N.)  6,000 

Vanessa:  Her  Love  Story"  (MGM)  5,000 


•Roberta"    (Radio)    16,000 

(1st  week) 

■'Vanessa:  Her  Love  Story"   8,10-0 

(MGM) 

■Ruggles  of  Red  Gap"  (Para.)....  8,500 
(1st  week) 

"The  Secret  Bride"  (W.  B.)   7,500 

■'One   More   Spring"   (Fox)   3,700 

"Unfinished   Symphony"    2,200 

(GB  Pictures)  (2nd  week) 

"Sequoia"  (MGM)    7,000 

'One  More  Spring"   (Fox)   8,000 

(6  days) 

"Rumba"   (Para.)    19,500 

"Living  on  Velvet"  (F.N.)   7,700 

(6  days) 

"Society  Doctor"  (MGM)  and....  3,600 
"Evensong"  (GB  Pictures) 

"Red  Hot  Tires"  (F.  N.)  and....  9,200 
"Murder  on  a  Honeymoon"  (Radio) 


"One  More  Spring"  (Fox)   4,7UO 

"Rocky  Mountain  Mystery"  (Para.)  1,500 

"Secret  of  the  Chateau"  (Univ.)..  2,000 

"Living  on  Velvet"   (F.   N.)   6,000 

"Sweet  Music"  (W.  B.)   3,500 

(5  days) 

"The  Little  Colonel"  (Fox)   2,000 

(2  davs) 

"The  Iron  Duke"  (GB  Pictures)..  3,500 
(2nd  week) 

"David  Copperfield"  (MGM)    12,000 

(1st  week) 

"Mystery   Woman"    (Fox)   3,500 

"The  Night  Is  Young"  (MGM)  and  9,500 
"The  Winning  Ticket"  (MGM) 

"Clive  of  India"  (U.A.)  and   10,500 

"Carnival"  (Col.) 
(1st  week) 

"Great  Hotel  Murder"  (Fox)   8,000 

"Biography  of  a  Bachelor  Girl"..  27,000 
(MGM) 

"Red  Hot  Tires"  (F.  N.)   5,900 

"The  Scarlet  Pimpernel"  (U.A.)..  11,000 

"Rumba"   (Para.)   18,000 

(6  days-2nd  week) 

"'While  the  Patient  Slept"  (F.N.)  7,900 

"Folies  Bergere"  (U.  A.)   25,000 

(2nd  week) 

"Whole  Town's  Talking"   (Col.)..  72,500 

"Murder  on  a  Honeymoon"   (Radio)  27,000 

"Sweet  Music"  (W.  B.)   21,000 

(2nd  week) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  unless  otherwise  specified.) 

High  2-23-35  "One  More  Spring"   7,500 

Low  2-9-35  "Baboona"   2,000 

High  12-15  "Lady  By  Choice"   8,500 

Low  1-19-35  "The  President  Vanishes"  \ 

and  "Enter  Madame"       (  2.000 

High  3-2-35  "Woman  in  Red"   12,000 

Low  1-12-35  "Little  Women"   1,500 

High  12-22  "Murder  in  the  Clouds"....  11.000 
Low  7-28  "Half  a  Sinner"  and  1 

"Embarrassing  Moments"    (  2,000 

High  2-3  "Sons  of  the  Desert"   12,500 

Low  12-12  "The  Gay  Bride"   2,750 

High  6-23  "Glamour"   23,000 

Low  1-12-35  "I  Sell  Anything"   2,000 

High  4-7  "Riptide"    21,400 

Low  12-22  "Private  Life  of  Don  Juan"  4,000 

High  9-29  "Belle  of  the  Nineties"   14,000 

Low  8-25  "Ladies  Should  Listen"  and  } 

"Call  It  Luck"  J  3,600 

High  1-12-35  "Broadway  Bill"   14,000 

Low  5-5  "Let's  Fall  in  Love"   4,0(X) 

High  10-27  "Judge  Priest"   9,200 

Low  1-27  "Good  Bye  Again"   1,700 

High  4-14  "Moon  Over  Morocco"   7,600 

Low  6-30  "Island  of  Doom"   160 

High  3-3  "Devil  Tiger"   7.800 

Low  12-15  "Have  a  Heart"   2,500 

High  4-7  "Riptide"    28,500 

Low  12-29  "Music  in  the  Air"   4.206 

High  9-1  "Now  and  Forever"   29.998 

Low  12-22  "One  Hour  Late"   12,500 

High    3-16-35    "Roberta"   16,000 

Low  1-27  "Let's  Fall  in  Love"   1,806 

High  1-20  "I'm  No  Angel"   13.000 

Low  5-12  "Sorrell  and  Son"   2,500 

High  9-8  "Dames"    20,000 

Low  12-29  "White  Lies"  and  ) 

"The  Last  Wilderness"       I  4.900 

High  10-20  "Barretts  of  Wimpole 

Street"    6.500 

Low  9-29  "The  Cat's  Paw"   2.500 

High  3-16-35  "Baboona"    2.000 

Low  1-27  "Jimmy  and  SaUy"   500 

High  1-5-35  "Romance  in  the  Rain"....  3.006 
Low  3-9-35  "Secret  of  the  Chateau"....  2,000 

High  12-1  "One  Night  of  Love"   6,800 

Low  8-25  "The  Lady  is  Willing"   2,700 

High  8-18  "She  Loves  Me  Not"   7.000 

Low  7-28  "Here  Comes  the  Navy"   5,000 

High  4-14  "Private  Life  of  Henry  VHI"  4,000 
Low  7-7  "Sweden,  Land  of  the  Vikings"  2,000 


High  2-24  "Queen  Christina"   13,500 

Low  12-22  "Great  Elxpectations"  and  1 

"Wake  Up  and  Dream"      f  3,500 
High  6-23  "Wine,  Women  and  Song"  I 

and  "Pride  of  the  Legion"  1  6,500 

Low  3-3   "Fanny"    1,500 

High  12-8  "Six  Day  Bike  Rider"   14,500 

Low  7-21  "Fog  Over  Frisco"  and  ) 

"Affairs  of  a  Gentleman"     J  4.500 
High  1-5-35  "Kid  Millions"  and  ( 

"Fugitive  Lady"             |  10.500 
Low  8-4  "House  of  Rothschild"  and  ) 

"Most  Precious  Thing  in  Life"  }  4,500 


High  3-31  "House  of  Rothschild"   23,600 

Low  2-23-35  "Uttle  Men"   6,000 

High  10-6  "Barretts  of  Wimpole  Street"  65,860 

Low  12-29  "The  Band  Plays  On"   4,500 

High  1-27  "Sixteen  Fathoms  Deep"   15,300 

Low  6-2  "Unknown  Soldier  Speaks"   1,250 

High  7-21  "Of  Human  Bondage"   16,200 

Low  12-22  "Babbitt"    6,500 

High  8-25  "Cleopatra"    72,000 

Low  8-11  "Elmer  and  Elsie"   10,500 

High  4-7  "The  Lost  Patrol"   32,800 

Low  5-12  "Success  at  Any  Price"   7,700 

High  11-17  "Kid  Millions"   51.000 

Low  2-23-35  "The  Right  to  Live"   15,000 

High  1-5-35  "The  Little  Minister"   110.000 

Low  1-19-35   "Evergreen"   52,000 

High  12-1  "Imitation  of  Life"   44,000 

Low  6-30  "Affairs  of  a  Gentleman"   13,700 

High  3-10  "Wonder  Bar"   43,863 

Low  1-20  "Easy  to  Love"   9,271 


March    23,    1935  MOTION    PICTURE    HERALD  57 

tTHCATCC  RECEIPTS— C€NT't)l 


Theatres 


Oklahoma  City 

Capitol    1,200  10c-41c 

Criterion    1,700  10c-55c 

Liberty    1,500  10c-36c 

Midwest    l.SOO  10c-S6c 

Omaha 

Brandeis    1.200  25c-40c 

Omaha    2,200  25c-40c 

Orpheum    3,000  2Sc-40c 

Paramount    2,800  35c- 5Sc 

Philadelphia 

Aldine    1,200  3Sc-55c 

Arcadia    600  25c-50c 

Boyd    2,400  35c-55c 

Earle    2.000  2Sc-55c 

Fox    3,000  40c-65c 

K«rlton    1.000  25c-40c 

Keith's    2,000  30c-50c 

Stanley    3.700  3Sc-S5c 

Stanton    1,700  30c-50c 

Portland,  Ore. 

Broadway    1.912  2Sc-40c 

Mayfair    1.700  2Sc-40c 

Oriental    2,040  2Sc-40c 

Orpheum    1.700  2Sc-40c 

Paramount    3.008  25c-40c 


Current  Week 

Picture 

"When  a  Man's  a  Man"  (Fox)  

"After  Office  Hours"  (MGM).... 


Previous  Week 


"A  Notorious  Gentleman''  (Univ.) 
(4  days) 

"White  Cockatoo"  (Warners)  

(3  days) 

"One  Night  of  Love"   (Col.)   5,500 


Gross 

1,800 
8,000 
1,800 
SCO 


Picture 


"Wings  in  the  Dark"  (Para.). 


Gross 


3.700 


2,600 


"Home  on  the  Range"  (Para.)... 

(4  days) 

"The  President  Vanishes"  (Para.) 
C3  days) 

"One   More  Spring"   (Fox)   3,400 


400 


'Roberta"   (Radio)    5,100 

(2nd  week-6  days) 


•Roberta"  (Radio) 
(1st  week) 


1,200 


'One   More   Spring"  (Fox). 


6,000 


'Sweet  Music"  (W.  B.)  and   6,000 

'The  Winning  Ticket"  (MGM) 

'The  President  Vanishes"   (Para.)  '7,100 
(3  days) 

'The  White  Cockatoo"  (W.  B.)  ..  2,100 
and  "Sorrell  and  Son"  (U.A.) 
(4  days)  (25c-35c) 


"Folies    Bergere"    (U.A.)   6,500 

(6  days-2nd  week) 

"Rumba"    (Para.)    2,200 

(6  days) 

"Roberta"    (Radio)    24,000 

(6  days) 

"Night  Life  of  the  Gods"  (Univ.)  13,500 
(6  days) 

"The  Little  Colonel"  (Fox)   18,500 

(6  days-3rd  week) 

"Shadow  of  Doubt"   (MGM)   2,8('0 

(6  days) 

"After  Office  Hours"   (MGM)....  3,630 
(6  days) 

"Ruggles  of  Red  Gap"  (Para.)....  12,000 
(6  days) 

"All  the  King's  Horses''  (Para.)..  4,500 
(6  days) 


■  Gold  Diggers  of  1935" 
(2nd  week) 


(F.  N.)..  5,000 
'The  President  Vanishes"  (Para.)  2,500 


•After  Office  Hours"  (MGM)   5,500 

•The  Little  Colonel"  (Fox)  and..  10,200 
'Rocky  Mountain  Mystery"  (Para.) 

'The  Right  to  Live"  (W.B.)   5,500 

(3  days) 

'Under  Pressure"  (Fox)  and   1,800 

"Enter  Madame"  (Para.)  (4  days) 
(25c-35c) 


"Folies  Bergere"  (U.  A.)   13,500 

(6  days-lst  week) 

"Wings  in  the  Dark"   (Para.)....  2,300 

(6  days) 

"Vanessa:   Her  Love   Story"   8,000 

(MGM)   (6  days) 

"The  Best  Man  Wins"  (Col.)   14,000 

(25c-50c)  (6  days) 

"The  Little  Colonel"  (Fox)   21,000 

(6  days-2nd  week) 

"The  Good  Fairy"   (Univ.)   2,900 

(6  days) 

"Devil  Dogs  of  the  Air"  (W.B.)..  5,500 
(6  days) 

"Whole  Town's  Talking"   (Col.)..  11,000 
(6  days) 

"Mystery  of  Edwin  Drood"   5,600 

(Univ.)  (6  days) 


"Gold  Diggers  of  1935"  (F.N.)....  8,000 
(1st  week) 

"Under  Pressure"  (Fox)  and   2,500 

"White  Lies"  (Col.) 


'Enchanted  April"  (Radio)   1,800      "The  Mighty  Barnum"  (U.A.).... 


•Roberta"    (Radio)    8,000 

"Life  Begins  at  40"  (Fox)   10,000 


"Murder  on  A  Honeymoon"  (Radio) 
"Ruggles  of  Red  Gap"  (Para.).... 


2,000 

5,000 
8,500 


United  Artists...    945      25c-40c      "The  Wedding  Night"   (U.  A.)..  4,000 


"Vanessa:  Her  Love  Story"   4,500 

(MGM) 


San  Francisco 

Fox                        4,600  lSc-40c 

Golden    Gate         2,800  25c-40c 

Orpheum                3,000  15c-40c 

Paramount              2,670  25c-40c 

St.  Francis             1,400  lSc-S5c 

United  Artists...  1.200  15c-55c 

Warfield                 2.700  2Sc-65c 

Seattle 

Blue  Mouse              950  25c-55c 

Fifth  Avenue  ...  2.500  2Sc-55c 

Liberty                  1.800  15c-50c 

Music  Box                950  25c-55c 

Orpheum                 2,450  25c -SOc 

Paramount              3.050  25c-35c 


"Shadow  of  Doubt"  (MGM)  and  8,500  - 
"Two  Heads  on  a  Pillow"  (Liberty) 

"Roberta"   (Radio)    23,000 

'Whole  Town's  Talking"  (Col.)  and  6,500 

(2nd  week) 
'The  Last  Wilderness"  (Ind.) 
'Great  Hotel  Murder"   (Fox)   and  11,000 
"Love  in   Bloom"  (Para.) 


"Beyond  Bengal"  (Showmen's)  and  8,750 
"While  the  Patient  Slept"  (W.B.) 

"Notorious  Gentleman''   (Univ.)...  12,500 

(2nd  week) 

"Whole  Town's  Talking"  (Col.)...  8,000 

(1st  week) 


"Sequoia"  (MGM) 


;,500 


"Vanessa:  Her  Love  Story".. 
(MGM)  and  "Car  99"  (Para.) 

"The  Little  Colonel" 


10,000 

(Fox)   7,000 


'Folies  Bergere"  (U.  A.)   13,500 

'After  Office  Hours"   (MGM)   21,000 


"The  Scarlet  Pimpernel"  (U.  A.).. 
"After  Office  Hours"  (MGM).... 


"Broadway   Bill"  (Col.). 
(6th  week) 


"Roberta"  (Radio) 
(25c- 50c) 


'While  the  Patient  Slept"  (F.N.) 


"One   More  Spring''  (Fox)  

'The  Winning  Ticket"  (MGM) 


3,100 
6,300 
4,100 

6,100 

5,300 


"The  Private  Life  of  Don  Juan"..  4,000 
(U.  A.) 

"Sweet  Music"  (W.  B.)   24,500 


"Sweet  Music"  (W.  B.)   3,100 


"The  Gilded  Lily"  (Para.). 

(2nd  week) 
"Broadway  Bill"  (Col.)  

(5th  week) 

"The  Good  Fairy"  (Univ.). 
(2nd  week) 

"Living  on  Velvet''  (F.  N.). 


5,400      "Society  Doctor"  (MGM) 
"Under  Pressure"  (Fox) 


and. 


6,900 
5,500 


3,200 


5,400 


5,200 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  unless  otherwise  opecifietL) 


High  1-6  "Going  Hollywood"   4,100 

I  iw  9-8  "You  Belong  to  Me"   800 

High  1-27  "Dinner  at  Eight''   9,000 

Low  10-13  "Madame  Du  Barry"   3,000 

High  8-11  "Great  Flirtation"  and  ( 

"I  Give  My  Love"             (  3,700 

Low  10-27  "Crime  Without  Passion"....  400 

High  12-29  "Bright  Eyes"   9.540 

Low  5-26  "Merry  Wives  of  Reno"   2.000 


High  1-12-35  "The  Little  Minister"   9.100 

Low  2-16-35  "Babbitt"  and  ) 

"Murder  in  the  Clouds"    (  3.000 


High  3-10  "Easy  to  Love"   17,250 

Low  12-29  "Babes  in  Toyland"  and  ) 

"Home  on  the  Range          j  5.000 

High  2-16-35  "The  Secret  Bride"   13,200 

Low  3-16-35  "The  White  Cockatoo"  I 

and  "Sorrell  and  Son"      j  2,100 


High  5-5  "House  of  Rothschild"  

Low  6-9  "Sorrell  and  Son"  

High  1-6  "Duck  Soup"  

Low  1-27  "Women  in  His  Life"  

High  1-6  "Little  Women"  

Low  2-23-35  "The  Night  Is  Young".... 
(5  days) 

High  4-7  "Harold  Teen"  

Low  7-21  "Cockeyed  Cavaliers"  

High  12-29  "Bright  Eyes"  

Low  7-28  "She  Was  a  Lady"  

High  11-3  "One  Night  of  Love"  

Low  11-24  "Wednesday's  Child"  

High  3-3  "Carolina"   

Low  1-5-35  "Sweet  Adeline"  

High  1-5-35  "Broadway  Bill"  

Low  12-29  "Behold  My  Wife"  

High  3-31  "The  Lost  Patrol"  

Low  1-5-35  "Man  Who  Reclaimed  His 
Head"   


High  4-7  "Wonder  Bar"   

Lour  7-14  "The  Circus  Qown"  and  ( 
"I  Give  My  Love"  f 

High  3-2-35  "The  Little  Colonel"  

Low  1-19-35  "Behold  My  Wife"  and  ( 
"Defense  Rests"  \ 

High  5-26  "Merry  Wives  of  Reno"  

Low  10-6  "The  Human  Side"  and  ) 
"Hat,  Coat  and  Glove"  ) 

High  12-1  "Kentucky  Kernels"  

Low  11-10  "Wednesday's  Child"  

High  3-24  "David  Harum"  and  ) 
"Once  to  Every  Woman  j 
Low  6-30  "Now  I'll  Tell"  and  I 
"Springtime  for  Henry"  j 

High  4-28  "House  of  Rothschild"  

Low  8-4  "Paris  Interlude"  


High  3-3  "Son  of  Kong"  

Low  8-18  "Sin  of  Nora  Moran"  and  ) 

"Along  Came  Sally"  ( 

High  3-16-35  "Roberta"  

Low  7-7  "Cockeyed  Cavaliers"  

High  6-9  "Sing  and  Like  It"  

Low  6-30  "Affairs  of  a  Ontleman"  ) 

and  "Orders  is  Orders"  ) 

High  9-29  "Belle  of  the  Nineties"  

Low  1-20  "Four  Girls  in  a  Boat"  and  / 

"Fugitive  Lovers"  J 
High  1-19-35  "The  County  Chairman".. 
Low  4-14  "Registered  Nurse"  and  ) 

"Murder  in  Trinidad"  J 

High  1-6  "Roman  Scandals"  

Low  3-9  "Private  Life  of  Don  Juan"  

High  12-29  "Bright  Eyes"  

Low  3-31  "Gambling  Lady"  


23,000 
4.000 
6,500 
400 

30,000 
6,500 

40.000 
11.000 
28.500 
7.000 
8.500 
2,200 
8.000 
1,500 
22.000 
7.500 
9,000 

2.000 


13,000 

3,900 
4,000 

1,600 
4,800 

1,500 
8,000 
3,500 

12,000 

4,000 
9,800 
3,700 


14,000 

4,500 

23,000 
10.200 
19,500 

5,000 
19,000 

8,000 
11,000 

3,500 
15.000 

4,000 
29,000 
15.500 


High  2-17  "Roman  Scandals"   7.500 

Low  7-7  "Tomorrow's  Children"   2.550 

High  4-14  "Riptide"   12,750 

Low  3-24  "Fashions  of  1934"   3,500 

High  2-16-35  "Broadway  Bill"  (2d  week)  7,100 
Low  10-6  "Jane  Eyre"  and  / 

"King  Kelly  of  U.  S.  A."    f  3,100 

High  4-14  "Spitfire"    6,500 

Low  1-26-35  "Man  Who  Reclaimed  His 

Head"    2,850 

High  12-1  "Kentucky  Kernels"   8,400 

Low  4-21  "Two  Alone"  and  ) 

"I  Believed  in  You"           J  3,750 

High  1-27  "Fugitive  Lovers"   8,500 

Low  12-8  "Peck's  Bad  Boy"  and  ) 

"Menace"                           )  3,300 


58 


MOTION    PICTURE  HERALD 


March    23,  1935 


llillllliillllllllllll 


J.        JCNriNS—tilS  COLTUM 


 ^illliilli 


llllii 


El  Grotto,  Texas 

Dear  Herald: 

Jeffer  hear  of  El  Grotto?  This  is  a  town 
of  about  100  people  and  it  is  located  about 
a  mile  and  half  west  and  three  miles  south 
of  Donna.  We  are  not  writing  this  from  El 
Grotto,  partly  because  we  couldn't  find  any 
table  down  there  that  we  could  park  this 
typewriter  on,  but  mostly  because  we  didn't 
want  to  write  from  down  there. 

The  buildings  are  made  mostly  out  of 
boxes  and  the  roofs  are  covered  with  grass 
and  we  saw  one  door  that  had  an  oil  barrel 
in  it  to  keep  the  centipedes  out  and  the  kids 
in.  They  tell  us  that  the  inhabitants  are  part 
Mexican  and  part  Indian,  and  we  saw  them 
from  those  that  were  just  big  enough  to 
crawl,  on  up  to  old  men  with  gray  whiskers. 
There  are  no  streetcars  in  the  city  and  we 
doubt  if  any  of  them  ever  saw  a  streetcar. 
We  are  also  in  doubt  if  they  have  a  post- 
office  because  we  didn't  see  the  need  of  any, 
unless  they  could  find  someone  to  read  the 
mail  if  they  got  any. 

A  Job  Right  at  Home 

We  send  missionaries  to  foreign  countries 
but  we  neglect  to  look  after  these  people 
right  here  at  home,  and  if  there  is  anyone 
on  earth  who  needs  our  help  it  is  certainly 
these  people  in  El  Grotto.  Living  as  these 
people  do  it  is  a  wonder  that  they  can  live 
at  all,  and  if  they  should  experience  a 
Nebraska  winter  for  one  hour  they  would 
all  perish  from  the  cold.  It  makes  one  sick 
to  see  such  living  conditions  right  here  in 
Texas.  We  have  laws  to  protect  various 
wild  animals  and  yet  it  seems  that  predatory 
animals  receive  more  consideration  than  do 
these  people.  Mexico  and  the  United  States, 
and  especially  Texas,  ought  to  be  ashamed 
of  themselves  for  their  inhumane  neglect  of 
these  people. 

V 

We  notice  that  a  number  of  the  indepen- 
dent exhibitor  boys  who  are  higher  up  in 
the  industry  are  not  entirely  sold  on  the 
workings  of  the  Code  as  applied  to  the  pic- 
ture industry,  which  causes  us  to  wonder  if 
they  ever  were.  George  Schutz  quoted 
Jack  Miller,  president  of  the  Chicago  Ex- 
hibitors Association,  as  saying  that  the  Code 
ought  to  be  given  back  to  the  Indians  in 
Washington  where  it  came  from.  Why, 
shame  on  you  Jack,  for  wanting  to  penalize 
those  poor  Indians  down  in  Washington, 
why  not  send  it  to  the  Flathead  tribe  in 
Idaho  ?  We  know  George  Schutz  pretty 
well  and  we  are  of  the  opinion  that  he  would 
not  prevaricate  on  any  subject  except,  pos- 
sibly his  golf  score,  for  when  it  comes  to 
golf  you've  got  to  hand  it  to  George. 

V 

We  read  in  the  Herald,  with  much  regret, 
of  the  passing  of  Leo,  the  MGM  lion,  but 
whyinhel  don't  somebody  say  something" 
about  the  passing  of  the  Blue  Buzzard  ? 

V 

J.  C.  Fanning,  Attention! 

We  note  that  one  Jno.  C.  Fanning,  who 
operates  the  Capitol  theatre  in  Brownsville, 
Texas,  takes  his  pen  in  hand  and  gives  us 
a  good  rimming  for  not  calling  on  him  when 
we  were  in  Brownsville  recently.  Thanks, 
J.  C,  we  had  it  coming  to  us.  But  the  fact 


is  we  had  a  party  with  us  who  had  been  over 
to  Matamoros  and  were  anxious  to  get  back 
home  and  they  wouldn't  wait  for  us  to  call 
on  anybody.  Somehow  we  are  always  pull- 
ing a  bonehead  just  like  that.  J.  C.  advises 
us  that  he  has  a  theatre  over  in  Matamoros 
that  is  80  years  old  and  was  built  by  one 
"Carlotta,  the  mad  Empress",  as  a  cost  of 
$100,000.  And  he  further  says  that  as  one 
time  there  were  80,000  people  in  the  town, 
and  we  are  not  going  to  dispute  it.  We  were 
not  there  when  they  had  that  80,000,  but 
right  now  we  would  judge  about  65,000  of 
them  had  come  across  the  river  to  Browns- 
ville, and  other  grape  fruit  sections. 

We  will  admit  that  we  didn't  see  the 
Matamoros  theatre  but  we  did  see  their 
cemetery  and  the  bull  pen  where  they  burn 
the  bodies  they  take  up  from  the  graves 
when  their  friends  don't  pay  the  rent  on 
the  grave.  And  we  saw  one  grave  where 
someone  was  buried  standing  up  on  top  of 
the  ground  and  a  brick  pyramid  built  around 
him.  (Betcha  that  guy's  knees  will  wabble 
before  Gabriel  blows  his  horn).  And  we 
did  run  onto  a  guide  who  showed  us  around 
for  a  couple  of  hours  and  then  wanted  to 
soak  us  for  seven  American  bucks,  which 
would  equal  about  25  Mexican  dollars,  or 
"Cinco  Pesos"  or  something  which  we  were 
told  at  Brownsville  was  more  dough  than 
that  Mex  had  earned  in  two  months. 

We  are  going  to  go  back  to  Brownsville 
for  the  express  purpose  of  nneeting  Mr. 
Fanning,  for  we  are  of  the  opinion  that  he 
is  a  regular  100%  guy,  and  we  are  offer- 
ing to  bet  right  now  that  the  Rio  Grande 
valley  can't  scrape  up  any  better  than  he. 

y. 

The  teacher  was  giving  the  class  instruc- 
tions in  the  use  of  the  senses,  and  she  said 
"Now  children,  you  smell  with  your  nose 
and  run  with  your  feet".  Little  Johnnie 
spoke  up  and  said  "Say  teacher,  guess  I  must 
have  been  made  backwards  because  my  nose 
runs  and  my  feet  smells."  Doggone  these 
kids,  anyhow,  they  are  always  saying  some- 
thing. 

V 

Twin  Brother? 

We  noted  in  the  Herald  a  picture  of 
Felix  F.  Feist,  general  sales  manager  of 
MGM,  and  if  he  isn't  a  twin  brother  of 
William  Randolph  Hearst  then  "there  haint 
no  such  animule"  as  a  twin  brother. 

V 

The  Government  paid  the  farmers  to  leave 
part  of  their  land  idle  and  not  raise  corn  in 
order  to  put  the  price  of  corn  up.  It  did, 
and  last  week  there  were  twenty-five  million 
bushels  of  corn  shipped  into  the  country 
from  Argentina  but  the  American  farmer 
didn't  get  any  of  the  money,  which  inclines 
us  to  wonder  if  we  are  living  in  the  United 
States  or  Africa. 

y 

We  have  just  received  a  bunch  of  passes 
from  Shine  Mason  to  come  to  McAUen  and 
see  "David  Copperfield"  with  Lionel  Barry- 
more,  Roland  Young,  Madge  Evans,  (we 
used  to  have  a  girl  by  the  name  of  Madge), 
Maureen  O'SuUivan,  W.  C.  Fields  and  Edna 
Mae  Oliver  in  the  cast.  Betcha  that's  a 
dandy  show.  We  are  going  to  go,  too,  if 
we  get  back  from  Brownsville  in  time.  Shine 


is  just  full  of  those  kind  of  tricks.  Thanks, 
you  Texas  Longhorn. 

V 

A  couple  of  fellows  stopped  us  on  the 
street  yesterday  and  panhandled  us  for  two 
bits.  Each  of  them  had  a  shovel  on  his 
shoulder  and  they  asked  us  which  way  it 
was  to  North  Dakota,  and  after  we  told 
them  they  said  they  had  a  job  up  there  with 
the  Government  planting  trees  in  that 
"shelterbelt".  One  fellow  had  whiskers  and 
the  other  one  had  some  too. 

V 

So  That's  Finished 

We  have  just  been  advised  by  wire  that 
company  H  of  the  16th  division  of  the 
Government's  army  of  occupation  that  has 
been  poisoning  prairie  dogs  up  at  Chadron, 
Nebraska,  the  past  summer,  has  completed 
its  job  and  that  the  casualty  list  amounted 
to  61  dead  prairie  dogs  and  7  gophers,  and, 
if  that  wasn't  "hel-on-the-dogs",  as  Bert 
Creel  of  Omaha  would  say,  then  you  tell 
'em,  Elmer. 

V 

Last  night  we  heard  a  crooner  on  the 
radio  weeping,  "Oh  Love,  sweet  Love,  I'm 
longing  for  you",  and  a  young  lady  swooned 
in  her  mother's  arms,  and  then  her  Dad  and 
I  went  out  and  sat  in  the  henhouse  with  13 
hens  and  two  roosters. 

COLONEL  J.  C.  JENKINS, 
The  HERALD'S  Vagabond  Colyumnist 


Bert  Silver  to  Build 

New  Theatre  in  Greenville 

The  Silver  Family  Theatre  Corporation, 
headed  by  Bert  C.  E.  Silver,  veteran  show- 
man of  Greenville,  Mich.,  and  long  a  regu- 
lar contributor  to  the  "What  the  Picture  Did 
for  Me"  department  of  Motion  Picture 
Herald,  plans  a  new  theatre  on  the  site  of 
the  present  house  on  Cass  street,  and  a 
business  block  on  his  property  on  Lafayette 
street.  The  building  of  the  business  block 
will  be  started  as  soon  as  the  theatre  is 
completed,  the  entire  project  expected  to  be 
completed  late  iji  the  summer. 

Entirely  modern  in  construction,  the 
theatre  will  'have  acoustically  treated  walls, 
and  will  seat  600.  Indirect  lighting  of  new 
design  will  be  employed.  There  will  be 
stage  room  for  vaudeville  units  and  other 
stage  entertainment.  Projection  equipment, 
featuring  new  wide  range  sound,  installed 
last  year,  will  be  retained.  Tent  shows,  on 
adjoining  property,  will  be  maintained 
until  the  new  liouse  is  ready.  Eugene  D. 
Straight,  of  Bennett  &  Straight,  of  Dear- 
born, is  the  architect.  Mr.  Silver  and  Mr. 
and  Mrs.  H.  R.  Martin  own  the  theatre. 


Hannpton  Resigns  as 
Mascot  Ad  Director 

Earle  Hampton  has  resigned  as  advertis- 
ing and  publicity  director  for  Mascot  at  the 
Coast  studio.  He  is  succeeded  by  Dave 
Flournoy,  formerly  his  assistant.  Mr. 
Hampton  has  not  disclosed  his  plans  for  the 
future. 


^•^l  Austtl  tVe?.^* 


vet  te 


cOt 


IN  A  NUTSHELL! 


Motion  Picture  Almanac 

appearing  in  mid -year,  presents  on  day  of 
publication  the  complete  documentary 
record  of  a  full  show  year  of  industry 
activity.  Its  exhaustive  aggregation  of  facts 
plus  its  periodic  timeliness  gives  it  the 
highest  motion  picture  reference  values. 


MOTION  PICTURE  ALMANAC 

1935-  3  6      Edition      Now      in  Preparation 


March    2  3,    19  3  5  MOTION    PICTURE    HERALD  61 

WHAT  THE  I^ICTUCE  i  

DID  E€C  ME 


Columbia 


AGAINST  THE  LAW:  John  Mack  Brown.  Sally 
Blane — The  story  of  an  ambulance  driver  who  outwits 
a  bunch  of  gangsters.  We  played  it  for  a  midnight 
show.  Everyone  likes  to  hear  John  Mack  Brown  talk; 
he  has  a  pecuUar  drawl.  We  don't  have  to  apologize 
for  this  show.— R.  B.  Garvin,  People's  Theatre,  Fre- 
donia,  Kansas.    Small  town  patronage. 

CAPTAIN  HATES  THE  SRA,  THE:  Walter  Con- 
nolly, Victor  McLaglen,  John  Gilbert,  Fred  Keating — 
Ran  this  picture  in  the  middle  of  the  week  and  it  was 
a  complete  flop.  Too  many  ordinary  stars  with  no 
one  outstanding.  I  would  say  we  hate  to  see  the 
"Captain  Hates  the  Sea."  Running  time,  103  min- 
utes.— R.  B.  Garvin,  People's  Theatre,  Fredonia,  Kan- 
sas.   Small  town  patronage. 

LADY  BY  CHOICE:  Carole  Lombard,  May  Robson 
-This  is  undoubtedly  a  good  film  but  we  played  it 
too  early.  It  should  click  with  the  right  kind  of  bill- 
ing. Running  time,  85  minutes. — R.  B.  Garvin,  Peo- 
ple's Theatre,  Fredonia,  Kansas.  Small  town  patron- 
age. 

First  National 

BABBITT:  Aline  MacMahon,  Guy  Kibbee— A  nat- 
jral  Kibbee  picture.  Good  for  any  size  town.  Nice 
business.  Running  time,  75  minutes.  Played  February 
14-15.— Earl  H.  Barrett,  Atoka  Theatre,  Atoka,  Okla. 
Town  and  country  patronage. 

BABBITT:  Aline  MacMahoii,  Guy  Kibbee— Good; 
not  as  good  at  box  office  as  "Big  Hearted  Herbert." — 
Mrs.  O.  A.  Jensen,  Silver  Hill  Theatre,  Oshkosh,  Neb. 
General  patronage. 

HAPPINESS  AHEAD:  Dick  Powell,  Josephine 
Hutchinson,  Allen  Jenkins — Some  like  her  better  than 
Keeler,  others  not  as  well.  Very  entertaining  picture; 
especially  liked  by  the  young  couples. — Mrs.  O.  A. 
Jensen,  Silver  Hill  Theatre,  Oshkosh,  Wis.  General 
patronage. 

RED  HOT  TIRES:  Lyle  Talbot,  Mary  Astor— A 
good  action  picture  that  will  go  well  in  last  half  of 
any  week. — B.  C.  Brown,  Vernon  Theatre,  Viroqua, 
Wis.    General  patronage. 


Fox 

BABOONA:  Mr.  &  Mrs.  Martin  Johnson— Had  it 
not  been  for  the  very  special  animals  shots,  the  pic- 
ture would  not  have  been  liked  at  all.  Played  Feb- 
ruary 21-22.— Earl  H.  Barrett,  Atoka  Theatre,  Atoka, 
Okla.    Town  and  country  patronage. 

BABOONA:  Mr.  &  Mrs.  Martin  Johnson— This  is 
undoubtedly  one  of  the  best  the  Johnsons  have  pro- 
duced. Some  excellent  aeroplane  shots  and  everyone 
liked  it.  One  of  the  few  of  this  type  that  makes  the 
old  box  office  swell.  Played  February  17-18. — R.  B. 
Garvin,  People's  Theatre,  Fredonia,  Kansas.  Small 
town  patronage, 

BRIGHT  EYES:  Shirley  Temple— Positively  a  fine 
box  office  and  one  that  surprises  them  all.  If  Fox 
continues  to  improve  story  and  support  in  her  later 
pictures,  they  will  hold  up  the  present  drawing  power 
of  this  star. — B.  C.  Brown,  Vernon  Theatre,  Viroqua, 
Wis.   General  patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn— 
This  little  star  sure  draws  them  in.  Twenty  minutes 
after  the  box  office  opened  I  had  to  put  up  the  old 
S.  R.  O.  sign  and  almost  as  bad  the  second  night. 
"This  show  will  appeal  to  all  classes  and  they  will  tell 
you  about  it  for  days  to  come.  Don't  pass  this  one 
up.  Running  time,  83  minutes. — R.  B.  Garvin,  People's 
Theatre,  Fredonia,  Kansas.    Small  town  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— A  good 
average  Rogers  picture.  Business  right  up  top. — B.  C. 
Brown,  Vernon  Theatre,  Viroqua,  Wis.  General  pat- 
ronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— Played 
in  14-below  weather  Comments  are  not  as  good  as 
'Judge  Priest."  I  don't  tliink  so  either. — Ted  Siler, 
Dickinson  Theatre,  Hiawatha,  Kan.    Rural  patronage. 

DUDE  RANGER:  George  O'Brien— Rather  above 
the  average  Western.  Plenty  of  action,  good  story 
and  pleased  our  patrons.  Played  February  23.— George 
Lodge,  Green  Lantern  Theatre,  Clayraont,  Del.  Small 
town  patronage. 

GAMBLING:  George  M.  Cohan,  Wynne  Gibson, 
Dorothy  Burgess — Not  much.  Too  draggy,  Poor  title. 
The  trailer  on  it  would  keeo  away  what  few  people 


N  this,  the  exhibitors'  own  de- 
partment, the  theatremen  of  the 
nation  serve  one  another  with 
information  on  the  box  office  per- 
formance of  product  for  their  mu- 
tual benefit.  It  is  a  service  of  the 
exhibitor  for  the  exhibitor.  Address 
ail  communications  to — 

What  the  Picture  Did  for  Me 

MOTION  PICTURE  HERALD 
1790  Broadway,  New  York 


that  might  like  to  come  to  see  it. — Jack  Greene. 
Geneseo  Theatre,  Geneseo,  111.    Small  town  patronage. 

GAMBLING:  George  M.  Cohan — Acting  very  good; 
no  drawing  power. — Mrs.  O.  A.  Jensen,  Silver  Hill 
Theatre,  Oshkosh,  Neb.    General  patronage. 

HELLDORADO:  Richard  Arlen,  Madge  Evans— A 
good  action  picture. — Mrs.  O.  A.  Jensen,  Silver  Hill 
Theatre,  Oshkosh,  Neb,    General  patronage. 

LITTLE  COLONEL,  THE:  Shirley  Temple,  Lionel 
Barrymore,  Evelyn  Venable — Played  on  weekend. 
Broke  all  house  records  for  weekend  pictures.  This 
is  not  just  Shirley's  type  of  picture,  but  will  get  plenty 
box  office  anywhere.  Last  reel  in  color  really  brings 
out  Shirley's  true  personality.  Flayed  Febrary  28- 
March  1-2. — Ted  Siler,  Dickinson  Theatre,  Hiawatha, 
Kan.    Rural  Patronage. 

LOTTERY  LOVER:  "Pat"  Paterson,  Lew  Ayres- 
Very  good  for  the  young  folks.  Running  time,  83  min- 
utes. Played  February  26-27.— Earl  H.  Barrett,  Atoka 
Theatre,  Atoka,  Okla.   Town  and  country  patronage. 

MARIE  GALANTE:  Spencer  Tracy,  Ketti  Gallian— 
The  new  star.  Ketti  Gallian,  does  some  clever  work 
and  she  is  beautiful.  Story  interesting  and  consist- 
ent, but  who  in  the  world  would  know  it  from  the 
title  and  from  the  paper  put  out  by  the  publicity  de- 
partment. From  the  ones,  threes,  window  cards  and 
slide,  action  might  have  been  anywhere.  We  stressed 
locale  in  advertising  and  tacked  cards  to  our  stands, 
but  took  a  licking  on  picture  anyway.  Running  time. 
88  minutes.  Played  March  8-9.— P.  G.  Estee,  S.  T. 
Theatre,  Parker,  S.  D.    Small  town  patronage. 

ONE  MORE  SPRING:  Janet  Gaynor,  Warner  Bax- 
ter— Janet  Gaynor  and  Warner  Baxter  are  not  what 
they  used  to  be.  Picture  pleased  about  75  per  cent. 
Played  it  three  days.  Wish  now  I  had  played  it  only 
two.  May  go  over  in  a  big  city,  but  not  for  me. — Ted 
Siler,  Dickinson  Theatre,  Hiawatha,  Kan.  Rural  pat- 
ronage. 

PECK'S  BAD  BOY:  Jackie  Cooper,  Thomas  Meig- 
han,  Dorothy  Peterson,  Jackie  Searl — Majority  of 
people  liked  it.  Personally.  I  missed  the  old  grocery 
store  scene. — L.  G.  Tewksbury,  Opera  House,  Ston- 
ington,  Maine.    Small  town  patronage. 

365  NIGHTS  IN  HOLLYWOOD:  Alice  Faye.  James 
Dunn — This  is  too  hard  to  follow  to  give  entire  satis- 
faction, but  the  song  and  dance  numbers  are  extreme- 
ly good. — A.  N.  Miles,  Eminence  Theatre,  Eminence, 
Ky.    Small  town  patronage. 

UNDER  PRESSURE:  Edmund  Lowe,  Victor  Mc- 
Laglen— Fair.  Good  mining  town  picture.  No  good 
for  country  towns.  Running  time,  75  minutes.  Played 
February  19-20.— Earl  H.  Barrett,  Atoka  Theatre. 
Atoka,   Okla.     Town   and   country  patronage. 

WHEN  A  MAN'S  A  MAN:  George  O'Brien— George 
O'Brien  is  our  most  popular  western  star  and  I  wish 
he  would  make  about  six  pictures  each  year  instead 
of  four.  This  one  is  one  of  his  very  best.  People 
who  as  a  rule  do  not  care  for  westerns  came  to  see 
this.  It  will  easily  stand  extra  advertising.  Flayed 
March  8-9.— A.  N.  Miles,  Eminence  Theatre,  Emin- 
ence, Ky.    Small  town  patronage. 

WHITE  PARADE,  THE:  John  Boles,  Loretta 
Young — This  picture  went  over  with  a  bang.  Every- 
one satisfied  with  it.  Many  favorable  remarks  on  it. 
—Jack  Greene.  Geneseo  Theatre,  Geneseo,  111.  Small 
town  patronage. 

WHITE  PARADE,  THE:  Loretta  Young,  John 
Boles — An  excellent  picture.  Will  suit  any  kind  of 
audience,  city  or  country.   Belter  than  many  a  special. 


I  can't  say  too  much  good  about  it,  as  it  is  excel- 
lent for  any  city  or  town,  large  or  small.  Played 
March  2. — George  Lodge,  Green  Lantern  Theatre, 
Claymont,  Del.    Small  town  patronage. 

MGM 

BARRETTS  OF  WIMPOLE  STREET:  Norma 
Shearer,  Charles  Laughton,  Fredric  March — I  took  so 
many  bows  for  bringing  this  picture  to  town  that  I 
almost  got  a  "crick"  in  my  neck.  No,  we  didn't  hang 
out  the  S.  R.  O.  sign,  but  we  did  a  nice  business; 
drew  many  people  who  are  in  the  habit  of  attending 
pictures,  and  pleased  everybody  who  saw  it  very, 
very  much. — A.  N.  Miles,  Eminence  Theatre,  Emin- 
ence, Ky.    Small  town  patronage. 

DAVID  COPPERFIED:  Freddie  Bartholomew,  W. 
C.  Fields,  Frank  Lawton,  Edna  May  Oliver,  Lionel 
Barrymore — Has  everything  to  make  a  great  picture. 
Business  below  average,  but  that  can  be  expected 
with  a  classic. — B.  C.  Brown,  Vernon  Theatre,  Viro- 
qua, Wis.    General  patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford, 
Robert  Montgomery,  Clark  Gable.  Billie  Burke,  Charles 
Butterworth,  Frances  Drake — This  will  get  business 
and  please.  Played  during  the  blizzard  to  good  busi- 
ness. Would  have  done  double  the  business  under 
perfect  weather  conditions. — B.  C.  Brown,  Vernon 
Theatre,  Viroqua,   Wis.    General  patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford, 
Clark  Gable,  Robert  Montgomery,  Charles  Butter- 
worth — Gay,  charming  and  altogether  delightful,  this 
picture  would  have  topped  "Chained"  if  we  had  not 
run  into  very  cold  weather  the  last  two  days.  Flayed 
February  24-26. — A.  N.  Miles,  Eminence  Theatre,  Em- 
inence, Ky.    Small  town  patronage. 

GAY  BRIDE,  THE:  Carole  Lombard.  Chester  Mor- 
ris— A  good  av^age  picture. — B.  C.  Brown,  Vernon 
Theatre,  Viroqua,  Wis.  General  patronage. 

HAVE  A  HEART:  Jean  Parker,  James  Dunn, 
Stuart  Erwin,  Una  Merkel — A  splendid  little  program 
picture  that  was  thoroughly  enjoyed,  but  failed  to 
make  expenses.  Jimmy  Dunn  has  never  been  popular 
here  and  we  have  not  had  enough  pictures  of  Jean 
Parker  yet  for  her  to  become  a  drawing  card.  Played 
March  6-7. — A.  N.  Miles,  Eminence  Theatre,  Eminence, 
Ky.    Small  town  patronage. 

TARZAN  AND  HIS  MATE:  Johnny  WeissmuUer, 
Maureen  O'Sullivan — In  spite  of  this  being  nearly  a 
year  old,  it  drew  the  best  Friday -Saturday  business 
lor  us  that  we've  had  this  winter. — A.  N.  Miles,  Emi- 
nence Theatre,  Eminence,  Ky.    Small  town  patronage. 

Monogram 

GIRL  O'  MY  DREAMS:  Mary  Carlisle,  Eddie  Nu- 
gent, Arthur  Lake — Mary  CarUsle  cute.  Not  much 
drawing  power,  but  an  average  college  type. — Mrs. 
O.  A.  Jensen,  Silver  Hill  Theatre,  Oshkosh,  Neb. 
General  patronage. 

GIRL  OF  THE  LIMBERLOST:  Marian  Marsh, 
Ralph  Morgan — Drawing  power  very  good  and  people 
all  well  pleased. — Mrs.  O.  A.  Jensen,  Silver  Hill  Thea- 
tre, Oshkosh,  Neb.    General  patronage. 

REIDHEAD:  Grace  Bradley,  Bruce  Cabot— Good 
story.  Recording  of  Cabot's  voice  not  good,  others 
fine.— Mrs.  O.  A.  Jensen,  Silver  Hill  Theatre,  Osh- 
kosh, Neb.    General  patronage. 

TRAIL  BEYOND,  THE:  John  Wayne,  Noah  Beery, 
Noah  Beery,  Jr.,  Verna  Hillie — Good  action.  Will 
please  western  fans.  Curwood  story  helps  draw.  Beau- 
tiful scenery. — Mrs.  O.  A.  Jensen,  Silver  Hill  Thea- 
tre, Oshkosh,  Neb.    General  patronage. 


Parannount 

BEHOLD  MY  WIFE:  Sylvia  Sidney,  Gene  Ray- 
mond— Personally,  I  liked  this  picture,  although  I 
though  it  was  cruel  in  spots  and  some  of  the  situa- 
tions weren't  so  good.  Played  February  14-16. — Rubel 
Hutchings,  Allen  Theatre,  Allen,  Neb.  Small  town 
patronage. 

COLLEGE  RHYTHM:  Joe  Penner,  Jack  Oakie, 
Lanny  Ross,  Lyda  Roberti,  Helen  Mack,  Mary  Brian 
— This  picture  drew  better  than  average  at  the  B.  O. 
Penner,  I  think,  is  silly,  but  Ross  is  good.  Flayed 
January  31 -February  1-2.— Rubel  Hutchings,  Allen 
Theatre,  Allen,  Neb.    Small  town  patronage. 

FATHER  BROWN,  DETECTIVE;  Walter  Connolly, 
Paul  Lukas,  Gertrude  Michael— A  little  bit  far  fetched. 
Too  much  English  dialect  to  be  understood.  Could 

{Continued  on  following  page,  column  2) 


62 


•  profitable 

•  practical 
•  time-saving 

•  accurate 

•  simple 

THEATRE 
ACCOUNTING 

a  method  hook  that  is  also  an 
account  ledger 

It  performs  two  services:  (1)  It 
is  a  complete  text  on  the  proper 
way  to  keep  your  theatre  ac- 
counts of  expenses  and  receipts 
and  (2)  it  contains  enough  pages 
for  a  full  year's  bookkeeping.  Be- 
cause it  is  so  practical,  time-sav- 
ing and  accurately  simple,  thou- 
sands of  exhibitors  have  already 
exchanged  their  old,  cumbersome 
and  expensive  methods  for  this 
easy,  self-operating  system.  Its 
use  is  becoming  more  widespread 
each  day. 

Exhibitors  who  are  already  using 
this  system  are  reminded  to  or- 
der their  1935  book  at  the  earliest 
moment  so  as  to  permit  no  break 
in  the  daily  continuity  of  your 
accounts-keeping. 

Those  exhibitors  who  have  not 
yet  changed  over  to  this  new 
method  should  do  so  at  once — 
to  guard  against  losses,  avoid  in- 
come tax  troubles,  guarantee  your 
profits — and  to  do  it  effortlessly, 
a  few  minutes  a  day. 

Order  Now 

THEATRE 
ACCOUNTING 

by  William  F.  Morris,  C.P.A. 

Sufficient  to  care  for  12 
months'  records. 
$3.00  -  Po  stage  Prepaid 


QUIGLEY 
Bookshop 

,1 790  Broadway  New  York 


MOTION    PICTURE  HERALD 


not  Ret  a  woi'd  of  the  housekeeper.  She  would  have 
been  funny  if  she  hadn't  opened  her  mouth  at  all. 
Connolly's  portrayal  of  a  priest  very  good.— Jack 
Greene,  Geneseo  Theatre,  Geneseo,  111.  Samll  town 
patronage. 

GILDED  LILY,  THE:  Clandette  Colbert— A  very 
good  picture.  Did  a  very  nice  business.  Everybody 
liked  it.  Running-  time.  84  minutes.  Played  March 
9-12.— Earl  H.  Barrett,  Atoka  Theatre.  Atoka,  Okla. 
Town   and  country  patronage. 

HERE  IS  MY  HEART:  Bing  Crosby,  Kitty  Car- 
lisle—Will pass  but  not  as  good  as  previous  Crosbys. 
— L.  G.  Tewksbury,  Opera  House,  Stonington,  Maine. 
Small  town  patronage. 

HOME  ON  THE  RANGE:  Jackie  Coogan,  Ran- 
dolph Scott— Paramount's  westerns  all  draw  extra 
business— Rubel  Hutchings,  Allen  Theatre,  Allen,  Neb. 
Small   town  patronage. 

IT'S  A  GIFT:  W.  C.  Field,  Baby  LeRoy— Fields  is 
fairly  well  liked  in  my  town.  Played  February  7-9. — 
Rubel  Hutchings,  Allen  Theatre,  Allen.  Neb.  Small 
town  patronage. 

LIVES  OF  A  BENGAL  LANCER:  Gary  Cooper. 
Franchot  Tone— Played  this  picture  in  the  middle  of 
the  week  and  while  it  did  not  make  any  money  I 
believe  it  is  a  swell  show  and  most  everyone  liked  it. 
Some  of  the  settings  are  very  elaborate  and  appeal 
to  most  anyone.  Running  time,  89  minutes. — R.  B. 
Garvin,  People's  Theatre,  Fredonia,  Kansas.  Small 
town  patronage. 

WAGON  WHEELS:  Randolph  Scott.  Gail  Patrick, 
Raymond  Hatton— When  Paramount  makes  a  western, 
they  do  a  good  job.  This  is  extra  good,  with  some 
good  music. — A.  N.  Miles,  Eminence  Theatre,  Emi- 
nence, Ky.    Small  town  patronage. 

MRS.    WIGGS    OF    THE    CABBAGE  PATCH: 

Pauline  Lord.  W.  C.  Fields,  Zazu  Pitts,  Kent  Taylor. 
Evelyn  Venable— I  can  only  add  my  bit  to  the  chorus 
of  praise  about  this  picture.  With  the  single  excep- 
tion of  having  the  Wiggs  family  leave  the  theatre  be- 
fore the  show  was  over,  it  was  perfect  entertainment. 
Give  us  another  one  like  it.  Paramount.  How  about 
"Lovey  Mary"  by  the  same  author? — A.  N.  Miles, 
Eminence  Theatre,  Eminence,  Ky.  Small  town  pat- 
ronage. 

YOU  BELONG  TO  ME:  Lee  Tracy,  Helen  Mack, 
Helen  Morgan,  David  Holt — This  failed  to  draw  or 
please  for  us. — A.  N.  Miles.  Eminence  Theatre.  Emi- 
nence, Ky.    Small  town  patronage. 

RKO  Radio 


ANNE  OF  GREEN  GABLES:  Anne  Shirley,  Tom 
Brown— Very  good.  Tied  up  with  the  schools  and  did 
a  nice  business.  Everybody  liked  the  picture.  Run- 
ning time.  78  minutes.  Played  February  23-25. — Earl 
H.  Barrett,  Atoka  Theatre.  Atoka,  Okla.  Town  and 
country  patronage. 

GRAND  OLD  GIRL:  May  Robson.  Mary  Carlisle. 
Fred  MacMurray — Good  program  story  of  the  old 
school  teacher's  battle  to  clean  up  the  town's  "back- 
room." May  Robson  does  some  tine  acting.  Running 
time,  72  minutes.  Played  March  6-7.— P.  G.  Estee, 
S.  T.  Theatre,  Parker,  S.  D.    Small  town  patronage. 

GRAND  OLD  GIRL:  May  Robson,  Hale  Hamilton- 
Used  this  as  a  school  benefit  and  pleased  everyone. 
Another  good  characterization  by  Miss  Robson.  and 
Mary  Carlisle  and  Fred  MacMurray  take  care  of  the 
love  interest  very  nicely.  Played  February  27-28. — A. 
N.  Miles,  Eminence  Theatre,  Eminence,  Ky.  Small 
town  patronage. 

KENTUCKY  KERNELS;  Bert  Wheeler,  Robert 
Woolsey.  Mary  Carlisle.  "Spanky"  McFarlane,  Noah 
Beery — With  "Spanky"  stealing  the  picture.  Better 
than  former  Wheeler  and  Woolseys. — Mrs.  O.  A.  Jen- 
sen, Silver  Hill  Theatre,  Oshkosh,  Neb.  General  pat- 
patronage. 

ROMANCE  IN  MANHATTAN:  Ginger  Rogers, 
Francis  Lederer — Lederer  as  the  immigrant,  who  es- 
capes after  being  ordered  deported,  account  not  having 
required  funds,  does  good  work.  Ginger  Rogers  al- 
ways clever,  although  our  patrons  disappointed  ac- 
count no  singing  or  dancing.  Would  class  as  better 
than  average  program.  Played  March  10-11. — P.  G. 
Estee,  S.  T.  Theatre,  Parker,  S.  D.  Small  town  pat- 
ronage. 

SILVER  STREAK,  THE:  Sally  Blane.  Charles 
Starrett— Perfect  Saturday  night  entertainment  that 
pleases  all  types  of  audience.  Action  for  the  action 
fans,  plenty  of  comedy,  thrills,  romance,  and  a  logical 
story  for  everybody  else. — A.  N.  Miles,  Eminence  The- 
atre. Eminence,  Ky.    Small  town  patronage. 

SUCCESS  AT  ANY  PRICE:  Douglas  Fairbanks,  Jr. 
—An  excellent  production;  plenty  of  action,  good  act- 
ing and  entertainment.  I  consider  it  an  extremely 
well  balanced  and  well  acted  production.  Should  sat- 
isfy anyone,  any  time,  anywhere.  Played  February  16. 
— George  Lodge,  Green  Lantern  Theatre,  Glaymont, 
Del.   Small  town  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix— Richard  Dix 
at  his  best  with  Martha  Sleeper.  Played  this  pic- 
ture on  Sunday-Monday  and  was  well  satisfied  with 
the  results.  It  is  not  an  ordinary  western,  but  one 
of  the  best  from  the  pen  of  Zane  Grey. — R.  B.  Garvin, 
People's  Tbeatre,  Fredonia,  Kansas.  Small  town  pat- 
ronage. 


March    23,  1935 


United  Artists 

LAST  GENTLEMAN,  THE:  George  Arliss-Thia 
will  probably  be  the  last  Arliss  picture  I  shall  ever 
play.  I  can't  get  enough  people  out  on  his  pictures 
to  make  them  pay.  This  is  one  of  his  best.  Played 
March  3-4.— A.  N.  Miles,  Eminence  Theatre,  Eminence, 
Ky.    Small  town  patronage. 

Universal 

WAKE  UP  AND  DREAM:  Russ  Colombo,  June 
Knight — This  picture  did  not  please  my  patrons.  Per- 
sonally, 1  consider  it  rather  below  the  average.  Ac- 
tion was  slow  and  at  times  the  picture  dragged  and 
failed  to  hold  interest.  Played  February  9.— George 
Lodge,  Green  Lantern  Theatre,  Claymont,  Del.  Small 
town  patronage. 

Warner 

DEVIL  DOGS  OF  THE  AIR:  James  Cagney,  Pat 
O'Brien,  Margaret  Lindsay— Boy!  How  they  like  this 
kind  of  a  picture.  They  just  ate  it  up.  Lots  of  action 
and  laughs.  Wonderful  shots.— Jack  Greene,  Geneseo 
Theatre,  Geneseo,  III.    Small  town  patronage. 

DEVIL  DOGS  OF  THE  AIR:  James  Cagney,  Pat 
O'Brien,  Margaret  Lindsay — A  typical  Cagney  and 
O'Brien  fuss  carried  from  "Here  Comes  The  Navy" 
on  into  the  "Air."  Some  exceptional  fine  shots  of  the 
U.  S.  Marines  and  equipment  stationed  at  San  Diego. 
Picture  did  a  little  better  than  average  business. 
Played  March  3-4-5.— Ted  Siler,  Dickinson  Theatre, 
Hiawatha,  Kan.    Rural  patronage. 

MERRY  WIVES  OF  RENO:  Margaret  Lindsay. 
Donald  Woods.  Guy  Kibbee.  Glenda  Farrell — A  good 
picture  for  the  young  and  old.  My  patrons  liked  the 
picture  very  well.  Played  February  3-4. — Earl  H. 
Barrett,  Atoka  Theatre,  Atoka,  Okla.  Town  and 
country  patronage. 

SECRET  BRIDE,  THE:  Barbara  Stanwyck,  War- 
ren William — Very  good,  but  not  small  town  picture. 
Running  time.  75  minutes.  Played  March  6-7. — Earl 
H.  Barrett,  Atoka  Theatre,  Atoka,  Okla.  Town  and 
country  patronage. 

WHITE  COCKATOO;  Jean  Muir,  Ricardo  Cortez- 
Good  mystery  drama;  fast  moving  and  entertaining. — 
B.  C.  Brown.  Vernon  Theatre.  Viroqua,  Wis.  General 
patronage. 

Short  Features 
Educational 

BOOSTING  DAD:  Junior  Coghlan— Just  so-so, 
Junior  gets  his  Dad  elected  to  the  school  board  after 
a  lot  of  hard  work  The  little  girl  who  took  Shirley 
Temple's  place  in  this  series  was  not  very  well  liked, 
however.  It  seems  that  out  of  all  the  child  talent  in 
Hollywood,  they  could  have  found  some  little  girl 
with  greater  appeal.  This  child  is  just  too  "prissy" 
for  this  part.  Running  time.  18  minutes. — A.  N.  Miles, 
Eminence  Theatre.  Eminence,  Ky.  Small  town  patron- 
age. 

BOUNDING  MAIN,  THE:  Song  Hit  Stories  Series 
— Sea  songs  and  some  mighty  fine  shots  of  sailing 
vessels  make  this  one-reel  full  of  entertainment.  Run- 
ning time.  10  minutes. — A.  N.  Miles,  Eminence  Thea- 
tre, Eminence,  Ky.    Small  town  patronage. 

HELLO,  SAILORS:  Coronet  Comedy— One  of  the 
best.  Be  sure  and  play  it. — E.  H.  Malone,  Commun- 
ity Theatre,  Hammond,  Wis.    General  patronage. 

HOLLYWOOD  GAD-ABOUT:  Treasure  Chest  Ser- 
ies— not  much  to  it.  Running  time,  nine  minutes. — M. 
R.  Harrington.  Avalon  Theatre.  Clatskanie,  Ore.  Small 
town  and  rural  patronage. 

MICE  IN  COUNCIL:  Terry-Toon— Good  cartoon.— 
Leon  C.  Bolduc,  Majestic  Theatre.  Conway,  N.  H. 
General  patronage. 

MICE  IN  COUNCIL:  Terry-Toons— Very  good. 
Running  time,  7  minutes. — M.  R.  Harrington.  Avalon 
Theatre,  Clatskanie,  Ore.  Small  town  and  rural  pat- 
ronage. 

MICE  IN  COUNCIL:  Terry-Toons— Good  cartoon.— 
L.  G.  Tewksbury,  Opera  House,  Stonington,  Maine. 
Small  town  patronage. 

NIFTY  NURSES:  Musical  Comedy— Good  musical 
comedy. — L.  G.  Tewksbury.  Opera  House,  Stonington, 
Maine.    Small  town  patronage. 

SHE'S  MY  LILLY:  Musical  Comedy— Here  is  a 
comedy  that  is  sure  to  please.  Running  time.  2  reels. 
— E.  H.  Malone,  Community  Theatre,  Hammond,  Wis. 
General  patronage. 

SHE'S  MY  LILLY:  Will  Mahoney— This  one  is  a 
dandy.  If  you  have  anyone  at  all  likes  to  see  some 
real  footwork,  let  them  know  about  this  one.  Why 
don't  they  get  this  star  to  do  a  bit  in  some  of  the 
feature  musicals.  Running  time.  18  minutes. — Fred 
E.  Pennell,  "The  Cozy"  Theatre,  Decatur,  Mich.  Gen- 
eral patronage. 

SOUTH  POLE  OR  BUST:  Terry-Toons  Series- 
Here  is  an  exceptionally  good  cartoon.    Running  time. 


March    23,  1935 


MOTION    PICTURE  HERALD 


63 


6  minutes. — A.  N.  Miles.  Eminence  Theatre.  Eminence, 
Ky.   Small  town  patronage. 

SUPER-STUPID:  Coronet  Comedies— Just  a  few 
laughs  in  this  comedy.— Leon  C.  Bolduc.  Majestic 
Theatre,  Conway.  N.  H.    General  patronage. 

SUPER-STUPID:  \"ince  Barnett— This  seemed  to 
get  the  laughs  all  right,  and  is  good  for  Friday-Sat- 
urday. Running  time.  19  minutes. — .-V.  N.  Miles.  Emi- 
nence Theatre.  Eminence.  Ky.    Small  town  patronage. 

THEN  CAME  THE  YAWN:  Treasure  Chest— No 
entertainment,  whatever. — Leon  C.  Bolduc.  Majestic 
Theatre.  Conway.  N.  H.    General  patronage. 

TWO  LAME  DUCKS:  Coronet  Comedy— A  very 
fair  comedy.  Running  time.  20  minutes. — A.  N.  Miles, 
Eminence  Tlieatre.  Eminence.  Ky.  Small  town  patron- 
age. 

WHAT  A  NIGHT:  Terry-Toons  Series— A  night- 
mare of  a  cartoon.  Not  good  for  children.  Running 
time.  6  minutes. — A.  X.  Miles.  Eminence  Theatre. 
Eminence,  Ky.    Small  town  patronage. 

Fox 

CROSSROADS  OF  THE  WORLD:  Magic  Carpet 
Series — Just  a  "filler"  is  all  this  is.  I  cut  it  out  on 
my  second  show  on  Sunday  night. — A.  N.  Miles.  Emi- 
nence Theatre.  Eminence,  Ky.    Small  town  patronage. 

MGM 

BALLAD  OF  PADUCAH  JAIL:  Irvin  S.  Cobb— As 
one  Kentuckian  to  another,  Mr.  Cobb,  won't  you  stick 
to  your  writing  and  let  acting  alone.  Your  stories 
are  swell.  Running  time.  20  minutes. — A.  N.  Miles, 
Eminence  Theatre.  Eminence.  Ky.  Small  town  patron- 
age. 

DARTMOUTH  DAYS:  Oddities  Series— Dartmouth 
College  entertainingly  presented,  showing  its  winter 
'sports  particularly.  Running  time,  11  minutes. — A.  N. 
Miles,  Eminence  Theatre,  Eminence,  Ky.  Small  town 
patronage. 

HEY,  HEY,  FEVER:  Happy  Harmonies  Series— A 
splendid  color  cartoon.  Running  time,  9  minutes. — A. 
N.  Miles,  Eminence  Theatre,  Eminence,  Ky.  Small 
town  patronage. 

IRELAND,  THE  EMERALD  ISLE:  FitzPatrick 
Travel  Talk— A  beautiful  Travel  Talk.— B.  C.  Brown, 
Vernon  Theatre.  Viroqua,  Wis.    General  patronage. 

METROTONE  NEWS:  Edwin  C.  Hill— The  finest 
newsreel  on  the  market.  Not  a  dull  shot  in  a  thou- 
sand feet  and  believe  me  Mr.  Hill's  comments  are 
timely. — B.  A.  McConnell,  Emerson  Theatre,  Hartford- 
Ark.    Small  town  patronage. 

OPENED  BY  MISTAKE:  Todd-Kelly— A  hysterical 
two-reeler  that  will  get  the  laughts  in  any  audience. 
— B.  A.  McConnell,  Emerson  Theatre,  Hartford,  Ark. 
Small  town  patronage. 

PRO  FOOTBALL:  Oddities— A  wonderful  showing 
of  professional  football.  Our  football  fans  stayed  to 
see  it  the  second  time  and  talked  it  up.  Thanks  to 
MGM  for  this  type  of  short.  Running  time,  one  reel. 
— B.  A.  McConnell.  Emerson  Theatre,  Hartford.  Ark. 
Small  town  patronage. 

TIT  FOR  TAT:  Laurel  and  Hardy- A  fair  Laurel 
and  Hardy.  Not  good  enough  for  preferred  time. — C. 
L.  Niles,  Niles  Theatre.  Anamosa.  Iowa.  Small  town 
patronage. 

THREE  CHUMPS  AHEAD:  Todd-Kelly— A  little 
better  than  their  average.  — B.  C.  Brown.  Vernon 
Theatre.  Viroqua.   Wis.    General  patronage. 

TOYLAND  BROADCAST:  Happy  Harmonies— One 
of  the  best  colored  cartoons  of  all  time. — C.  L.  Niles, 
Niles  Theatre,  Anamosa,  Iowa.   Small  town  patronage. 

TREASURE  BLUES:  Todd-Kelly— Average  Todd- 
Kelly.  They  have  made  better. — John  A.  Milligan, 
Broadway  Theatre,  Schuylerville,  X.  Y.  Small  town 
patronage. 

YOU  SAID  A  HATFUL:  Charley  Chase— A  good 
comedy  that  a  got  a  number  of  laughs.  Running 
time,  20  minutes. — A.  N.  Miles.  Eminence  Theatre, 
Eminence.   Ky.     Small   town  patronage. 

ZION,  CANYON  OF  COLOR:  FitzPatrick  Travel 
Talk— We  liked  this  beautiful  color  and  good  pho- 
tography combined  with  interesting  remarks,  and  the 
singing  of  "Home  on  the  Range"  and  "When  It's 
Springtime  in  the  Rockies"  made  it  an  outstanding 
reel.  We  are  looking  forward  to  our  next  in  this, 
series.  Running  time.  8  minutes. — A.  N.  Miles.  Emi- 
nence Theatre.  Eminence.  Ky.    Small  town  patronage. 

ZION,  CANYON  OF  COLOR:  FitzPatrick  Travel - 
talks — Another  of  the  above  and  a  knockout.  Enter- 
taining, educational  and  audience  pleasing. — C.  L. 
Niles,  Niles  Theatre,  Anamosa.  Iowa.  Small  town 
patronage. 

Paramount 

AXE  ME  ANOTHER:  Fopeye  The  Sailor— A  splen- 
did Popeye. — A.  N.  Miles,  Eminence  Theatre,  Emi- 
nence, Ky.    Small  town  patronage. 

LADIES  THAT  PLAY:  Phil  Spitalny  and  His 
Musical    Ladies  -An   orchestra   composed   of  women; 


FIVE  MORE  SHOWMEN 
JOIN  CONTRIBUTORS 

Five  new  contributors  to  "What  the 
Picture  Did  for  Me"  in  the  past  week 
are: 

R.  B.  Garvin,  People's  Theatre, 
Fredonia,  Kansas. 

Earl  H.  Barrett,  Atoka  Theatre, 
Atoka,  Oklahoma. 

Ted  Siler,  Dickinson  Theatre,  Hia- 
watha, Kansas. 

O.  A.  Jensen,  Silver  Hill  Theatre, 
Oshkosh,  Nebraska. 

James  T.  Justice,  Jr.,  Pickfair  Thea- 
tre, Kernersville,  North  Carolina. 

Read  the  reports  on  product  written 
by  these  showmen. 


e.xceptionally  well  liked. — A.  N.  Miles.  Eminence  Thea- 
tre, Eminence,  Ky.    Small  town  patronage. 

MILES  PER  HOUR:  Grantland  Rice  Sportlights 
(New  Series) — A  good  Sportlight  showing  speed  from 
turtles  to  fast  planes. — Harold  C.  Allison,  Baldwin 
Theatre,  Baldwin,  Mich.    Small  town  patronage. 

MILLION  DOLLAR  NOTES:  Red  Nicholas  and  his 
World  Famous  Pennies — Here  is  an  outstanding  one- 
reel  subject. — E.  H.  Malone,  Community  Theatre, 
Hammond,  Wis.    General  patronage. 

NEW  DEAL  RHYTHM:  "Buddy"  Rogers— Fair 
one-reeler.  Nothing  extra. — Running  time.  1  reel. — 
Sammie  Jackson,  Jackson  Theatre,  Flomaton,  Ala. 
Small  town  and  rural  patronage. 

OLD  KENTUCKY  HOUNDS:  Paramount  Varieties 
Series — Somehow  I  got  the  idea  this  was  about  hunt- 
ings dogs  and  vv'as  surprised  when  it  turned  out  to  be 
dogs  dressed  up  in  clothes  and  made  to  go  through 
antics  with  voice  dubbed  in.  We  like  dogs  as  dogs. — 
A.  N.  Miles,  Eminence  Theatre,  Eminence,  Ky.  Small 
town  patronage. 

POPEYE  THE  SAILOR:  Popeye-These  are  all 
funny.  Art  is  all  right,  but  I'll  take  the  cartoons 
that  furnish  laughts  and  "Popeye"  never  fails.  Run- 
ning time,  one  leel. — A.  E.  Christian,  Wayne  Theatre, 
Monticello,  Ky.    Small  town  patronage. 

SADDLE  CHAMPS:  Grantland  Rice  Sportlights 
(New  Series) — All  Grantland  Rice  Sportlights  are 
good. — L.  G.  Tewksbury.  Opera  House.  Stonington, 
Maine.    Small  town  patronage. 

SPRINGBOARD  CHAMPIONS:  Grantland  Rice 
Sportlights  (New  Series)— Another  good  subject  from 
Paramount. — E.  H.  Malone,  Community  Theatre,  Ham- 
mond, Wis.    General  patronage. 

TAKING  THE  BLAME:  Betty  Boop  Cartoons— An 
average  Betty  Boop. — C.  L.  Niles,  Nile  Theatre,  Ana- 
mosa, Iowa.    Small  town  patronage. 

WATER  RODEO:  Grantland  Rice  Sportlights— One 
of  the  most  interesting  and  fastest  moving  shorts  I 
have  ever  seen.  Went  over  big.  Running  time,  10 
minutes. — M.  R.  Harrington.  Avalon  Theatre,  Clat- 
skanie,  Ore.    Small  town  and  rural  patronage. 

RKO  Radio 

BANDITS  AND  BALLADS:  Ruth  Etting— Fairly 
Jood ;  not  up  to  previous  standard.  "Auld  Lang  Syne" 
and  "In  The  Shade  of  the  Old  Apple  Tree"  are  the 


Pack  Your  Theatre 

With  this  new  box-office  sensation 

GUARANTEES  YOU  12  -  WEEKS 
ADMISSIONS  AT  Ic  PER  TICKET 

HERE'S  ALL  YOU  HAVE  TO  DO 

Give  the  kiddies  the  club  album 
and  they'll  come  back  every  week 
for   12  weeks  to  fill  their  albums 

Ft?  TT  Trip   to  Hollywood 

J\  ri  Thousands     of  Prizes 

To  Kiddies  Submitting  Best  Slogans 
BACKED  BY  A  NATIONAL  RADIO  HOOK-UP 

EDWIN  C.  HILL  HOUR 

write 

FRANKIE  DARRO  MOVIE  STAMP  CLUB 

630  NINTH  AVENUE 


two  songs  most  enjoyed.  Running  time,  19  minutes. — 
A.  N.  Miles,  Eminence  Theatre,  Eminence,  Ky. 
Small   town  patronage. 

CUBBY'S  PICNIC:  Cubby  the  Bear  Cartoons— A 
lively  cartoon  with  good  music.  Running  time,  ont 
reel. — B.  A.  McConnell,  Emerson  Theatre,  Hartford, 
Ark.    Small  town  patronage. 

DERBY  DECADE:  Ruth  Etting— Fine  two-reeler. 
Running  time,  2  reels. — Sammie  Jackson,  Jackson 
Theatre,  Flomaton,  Ala.  Small  town  and  rural  pat- 
ronage. 

DIONNE  QUINTUPLETS:  The  ladies  especially 
will  "oh"  and  "ah"  when  they  see  these  "quins." 
Very  interesting. — Leon  C.  Bolduc,  Majestic  Theatre, 
Conway,  N.  H.    General  patronage. 

DIONNE  QUINTUPLETS:  Dionne  5— A  very  fine 
reel.  Has  quite  a  little  extra  drawing  power — L.  G. 
Tewksbury,  Opera  House,  Stonington,  Maine.  Small 
town  patronage. 

IF  THIS  ISN'T  LOVE:  Musical— A  very  fine  mu- 
sical comedy  reeler.  Lots  of  good  comments  and  it 
will  help  out  any  weak  feature.  Running  time,  two 
reels. — B.  A.  McConnell,  Emerson  Theatre,  Hartford, 
Ark.    Small  town  patronage. 

OCEAN  SWELLS:  Blonde  and  Red  Head  Series- 
Just  a  slapstick  comedy. — C.  N.  Niles.  Niles  Theatre, 
Anamosa,  Iowa.    Small  town  patronage. 

PATHE  TOPICS:  No.  1— Fair.  Poor  recording.— 
Leon  C.  Bolduc,  Majestic  Theatre,  Conway,  N.  H. 
General  patronage. 

SONGS  OF  THE  COLLEGES:  Headliner  Series- 
Very  good. — Leon  C.  Bolduc.  Majestic  Theatre,  Con- 
way, N.  H.    General  patronage. 

SUNSHINE  MAKERS,  THE:  Rainbow  Parade  Car- 
toons— Good  cartoon  in  color. — Leon  C.  Bolduc.  Ma- 
jestic Theatre,  Conway.  N.  H.    General  patronage. 

SUNSHINE  MAKERS,  THE:  Rainbow  Parade  (Tar- 
toons — An  excellent  colored  cartoon.  Very  novel  idea 
and  good  for  Sunday. — C.  L.  Niles,  Niles  Theatre, 
Anamosa,  Iowa.    Small  town  patronage. 

THIS  BAND  AGE:  Headliner  Series  (1934-35)— A 
good  musical  comedy.  Running  time,  20  minutes. — 
A.  N.  Miles.  Eminence  Theatre,  Eminence,  Ky. 
Small  town  patronage. 

Universal 

NIGHT  IN  A  NIGHT  CLUB,  A:  Menton  No.  1— 
Another  good  vaudeville  type  presentation  that  pleased. 
Running  time,  20  minutes. — M.  R.  Harrington,  Avalon, 
Theatre,  Clatskanie,  Ore.  Small  town  and  rural  pat- 
ronage. 

REVUE  A  LA  CARTE:  Tom  Patricola— Vaudeville 
type  of  comedy  presented  in  a  night  club  setting  and 
splendid  entertainment.  Running  time,  19  minutes. — 
M.  R.  Harrington.  Avalon  Theatre,  Clatskanie,  Ore. 
Small  town  and  rural  patronage. 

SKY  LARKS:  Oswald  Cartoon— Not  so  hot.  Skip 
it.  Running  time.  8  minutes. — Fred  E.  Pennell,  "The 
Cozy"  Theatre,  Decatur,  Mich.    General  patronage. 

STRANGER  THAN  FICTION:  No.  5— Up  to  stand- 
ard and  the  standard  is  high.  Running  time,  9  min- 
utes.— M.  R.  Harrington.  Avalon  Theatre.  Clatskanie, 
Ore.    Small  town  and  rural  patronage. 

Vi+aphone 

OH  SAILOR  BEHAVE:  El  Brendel— Plenty  of  good 
fun  in  this.  Will  go  anywhere. — B.  C.  Brown,  Vernon 
Theatre.  Viroqua,  Wis.    General  patronage. 

SOFT  DRINKS  AND  SWEET  MUSIC:  George 
Price,  Sylvia  Froos — Just  an  average  two-reel  mu- 
sical. Not  poor  particularly,  but  nothing  to  brag 
about.  A.  E.  Christian  Wayne  Theatre,  Monticello, 
Ky.    Small  town  patronage. 

SO  YOU  WON'T  T-T-T-TALK:  Roscoe  Ates— This 
two-reeler  pleased  our  weekend  patrons. — A.  E.  Chis- 
tian,  Wayne  Theatre,  Monticello,  Ky.  Small  town 
patronage. 

SYNCOPATED  CITY:  Hal  LeRoy,  Dorothy  Dare  - 
Fair  musical  comedy. — Leon  C.  Bolduc.  Majestic 
Theatre,  Conway,  N.  H.    General  patronage. 

WHAT,  NO  MEN?:  El  Brendal.  Phil  Regan— Color 
Comedy  that  pleased.  Running  time,  21  minutes. — M. 
R.  Harrington,  Avalon  Theatre,  Clatskanie,  Ore. 
Small  town  and  rural  patronage. 

Mascot  Serials 

LAW  OF  THE  WILD:  Rex,  Rin  Tin  Tin.  Jr.,  Ben 
Turpin,  Bob  Custer — Sixth  chapter  played  and  in- 
terest at  boiling  point.  A  good  serial  with  every- 
thing, thrills,  suspense  and  fun. — Mrs.  N.  Monte 
Gill,  Strand  Theatre,  Montpelier,  Vt.  General  pat- 
ronage. 

WOLF  DOG,  THE:  Rin  Tin  Tin.  Jr..  Frankie  Dar- 
ro.  Boots  Mallory — A  good  serial.  Too  much  repeti- 
tion.— Sammie  Jackson,  Jackson  Theatre,  Flomaton, 
Ala.    Small  town  and  rural  patronage. 


64 

Chicago  Theatre 
Is  Equipped  for 


Opening  this  Friday  in  Chicago  is  the 
country's  first  theatre  equipped  entirely  with 
devices  to  aid  the  hard  of  hearing.  In  co- 
operation with  Dr.  Hugo  Lieber,  president 
of  Sonotone  Corporation,  manufacturer  of 
hearing  aids,  the  theatre  operators,  E.S.A., 
Inc.,  headed  by  David  Ettleson  and  E.  J. 
Stutz,  have  equipped  the  theatre,  which  is 
known  as  the  Sonotone. 

The  house  seats  350,  and  more  than 
$20,000  has  been  spent  on  the  equipment.  It 
is  estimated  that  there  are  20,000,000  persons 
in  the  country  suffering  from  varying  de- 
grees of  deafness,  a  large  potential  talking 
picture  audience.  Two  types  of  hearing  aids 
have  been  installed  in  the  Sonotone.  One 
is  Dr.  Lieber's  bone  conduction  method,  by 
which  the  person  "hears"  by  means  of  oscil- 
lation through  a  small  frame  held  to  the 
head.  This  method  is  for  persons  totally 
deaf.  The  other  type  is  the  air  conduction, 
for  persons  afflicted  with  only  partial  deaf- 
ness. 

Two  large  RCA  Photophone  high  fidelity 
speakers  are  part  of  the  theatre's  equipment, 
permitting  a  volume  suitable  for  a  house 
seating  4,000.  Each  individual  patron,  how- 
ever, may  adjust  the  volume  according  to  his 
needs'.  A  survey  indicated,  according  to 
Sonotone,  that  there  are  300,000  persons 
with  impaired  hearing  in  the  Chicago  metro- 
politan area.  An  advertising  campaign, 
through  regular  channels,  will  be  used  to 
reach  the  deaf,  while  the  theatre's  advertising 
will  carry  the  line :  "every  seat  equipped 
for  the  hard  of  hearing." 

With  surveys  under  way  in  other  cities, 
the  theatre  operators  plan  similar  houses  in 
other  parts  of  the  country.  A  dinner  was 
to  be  held  Thursday  evening,  before  the 
opening,  at  the  Congress'  Hotel,  at  which 
civic  leaders  and  leading  physicians  were 
expected  to  be  present,  as  well  as  officials 
of  the  Chicago  League  for  the  Hard  of 
Hearing,  newspaper  representatives  and  so- 
cial workers. 


Fox  Signs  Sparks 

Robert  Sparks,  former  Paramount  asso- 
ciate producer,  has  signed  a  long  term  con- 
tract as  a  Fox  director. 


New  Exchange  Formed 

Melvin  Hirsch  is  president  of  Melbert 
Pictures,  Inc.,  new  independent  exchange  in 
New  York. 


Boston  Firm  Moves 

Paramount  Manufacturing  Company, 
headed  by  M.  M.  Green,  has  moved  its  office 
in  Boston  to  the  Thorndike  Building. 


W.  G.  Strange  Dies 

W.  G.  Strange,  president  of  Southern 
Amusement  Company,  died  at  Lake  Charles, 
La.,  last  week  at  the  age  of  74. 

Radio  Signs  Reid 

Radio  has  signed  Clifford  Reid  to  a  new 
two-year  contract  as  an  associated  producer. 


MOTION    PICTURE  HERALD 

Soviet  May  Buy  Films 

Sh  own  at  Moscow  Festival 

According  to  advices'  from  Russia  to  Am- 
kino,  American  distribution  arm  of  the  Sovi- 
et film  industry,  the  Soviet  government  is 
considering  purchase  of  the  American  films 
shown  at  the  recent  celebration  in  Moscow 
of  the  15th  anniversary  of  the  Soviet  film  in- 
dustry. The  films  are  "The  Invisible  Man," 
"Our  Daily  Bread,"  "Viva  Villa,"  "Gentle- 
men Are  Born,"  "Little  Women,"  "La  Cu- 
caracha"  and  Disney  cartoons. 

Worldkino  Corporation  has  purchased 
from  Amkino  the  distribution  rights  for  the 
United  States  and  Canada  for  "The  Match- 
maker," based  on  the  novel,  "Menachem 
Mendel,"  by  Sholom  Aleichem. 


Randel  Heads  Film  Board  Group 

Henry  Randel,  Brooklyn  Paramount 
branch  manager,  has  been  named  chairman 
of  the  executive  committee  of  the  New  York 
Film  Board  of  Trade.  Members  are  Leo 
Abrams,  Universal ;  Jack  Bellman,  Holly- 
wood ;  Jack  Bowen,  MGM ;  Morris  Epstein, 
First  Division ;  Harry  Hummel,  Warner ; 
Joseph  J.  Lee,  Fox ;  Edward  Schnitzer, 
Columbia ;  Moe  Streimer,  United  Artists ; 
Robert  Wo'.ff,  RKO. 


Write  Newspaper  Story 

Hy  Daab,  formerly  a  motion  picture  ex- 
ecutive and  newspaper  man,  and  Major 
Ross  Duff  Whytock,  also  a  newspaper  man, 
have  completed  "Park  Row,"  a  story  of  New 
York  journalism,  covering  a  period  of  20 
years. 


MGM  Signs  Marion  Talley 

Marion  Talley,  former  Metropolitan 
Opera  star,  has  signed  a  long  term  MGM 
contract  to  appear  on  the  screen. 


SHORT  PRODUCT 
PLAYING  BROADWAY 


Week  of  March  16 


ASTOR 

Dixieland   Vitaphone 

Gumshoes   Columbia 

MAYFAIR 

Raised  and  Called  RKO  Radio 

Doin'  the  Towns  Universal 

MUSIC  HALL 

Tracking  the  Explorers  Fox 

Japanese  Lantern   RKO  Radio 

PARAMOUNT 

Hark  Ye,  Hark  Paramount 

Song  of  the  Birds  Paramount 

Nerve  Control   Paramount 

RIALTO 

One-Run  Elmer   Educational 

Bull  Fight,  The  Educational 

RIVOLI 

Mediterranean  Songs   First  Division 

Mickey's  Service  Station     .  United  Artists 

ROXY 

Shoemaker  and  the  Elves  Columbia 

Pop  Goes  the  Easel  Columbia 

On  Foreign  Service  Fox 

STRAND 

Remember  the  Alamo  Vitaphone 

Buddy's  Theatre  Vitaphone 


March    23,  1935 


TRAVELERS 


John  A.  Curtis  and  William  M.  L.  Fiske, 
III,  vice-presidents  of  First  Division  Produc- 
tions, were  scheduled  to  arrive  in  New  York 
from  Hollywood  this  week. 

Arthur  A.  Lee,  vice-president  of  GB  Produc- 
tions, returned  to  his  New  York  headquarters 
after  a  trip  to  Hollywood  with  Michael 
Balcon,  GB  production  head. 

Nate  Blumberg,  RKO  Theatres  executive,  left 
New  York  for  Denver. 

Claude  Rains  arrived  in  New  York  from  Eng- 
land where  he  made  a  film  for  GB  Produc- 
tions. 

Robert  Gillham,  Paramount  advertising  execu- 
tive, and  Hal  Horne,  United  Artists  adver- 
tising head,  left  for  the  Coast. 

Sidney  R.  Kent,  Fox  Film  president,  is  back 
in  New  York  from  Florida. 

W.  Ray  Johnston  and  Jack  Jossey  were 
guests  of  Herman  Rifkin  in  Boston  over 
the  weekend. 

Laura  La  Plante  and  her  husband,  Irving 
Asher,  who  is  head  of  Warner's  London  pro- 
duction department,  arrived  in  New  York 
from  England. 

Mary  Ellis,  having  completed  her  second  film 
for  Paramount  passed  through  New  York  en 
route  to  London  where  she  will  appear  in  a 
play. 

Travis  Banton,  Paramount  fashion  designer, 

sailed  for  France. 
Merle  Oberon  did  not  sail  for  England  lasi 

week  as  scheduled. 
John  D.  Clark,  Fox  sales  manager,  returned 

to  New  York  from  a  short  trip  to  Boston. 
Phil  Reisman,  RKO  foreign  executive,  sailed 

for  France. 

Albert  Deane  of  Paramount  International,  ar- 
rived in  Hollywood. 
Edward  Alperson  and  William  T.  Powers,  of 

Skouras   Theatres,  returned  to  New  York 

from  Hollywood. 
Louis  Calhern  has  gone  back  to  Hollywood 

from  New  York. 
Maurice  Chevalier  arrived  in  New  York  en 

route  to  France  for  the  summer 
William   Kupper  and  Herman  Wobber  of 

Fox  are  making  a  tour  of  Fox  exchanges. 
Herman  Robbins  and  Sam  Dembow,  Jr.,  of 

National  Screen,  returned  to  New  York  from 

Florida. 

Adolph  Zukor,  who  has  been  in  Hollywood 
discussing  Paramount  product,  returned  to 
New  York. 

Samuel  Goldwyn  sailed  for  Europe. 

A.  W.  Smith,  Warner  sales  executive,  is  hav- 
ing a  Miami  holiday. 

Harry  M.  Warner  returned  to  New  York 
from  the  Coast. 

George  Arliss  sailed  for  England. 

Harry  Cohn  was  due  in  New  York  from  Hol- 
lywood this  week. 

Kay  Kamen,  Walt  Disney  representative,  re- 
turned to  Hollywood  from  New  York. 

Harry  E.  Nichols,  Quigley  Publications  field 
representative,  is  in  Atlanta  this  week. 

Liberty  Has  Full  Distribution 

Liberty  Pictures  announces  100  per  cent 
national  distribution  with  the  closing  of  a 
franchise  deal  for  the  Oklahoma  City  terri- 
tory with  the  Sack  Amusement  Enterprises. 
Foreign  distribution  has  been  arranged  with 
J.  C.  Barnstyn. 


SMPE  Meeting  May  20 

The  Society  of  Motion  Picture  Engineers 
will  hold  its  annual  Spring  convention  at 
the  Hotel  Roosevelt,  Hollywood,  May  20- 
24.  The  convention  will  feature  studio  and 
equipment  exhibits. 


March    2  3,     19  3  5 


MOTION    PICTURE  HERALD 


65 


OF 

MOTION  ^\ 
PICTURE  \2. 
HERALD     I  mi 

^-5       (^^n//  ; 


MANAGERS* 
KOUND  TABLE  CLUB 

international  association  of  showmen  meeting  weekly 
in  MOTION  PICTURE  HERALD  for  mutual  aid  and  progress 


w 


SHOW  OF  SHOWMANSHIP 


Every  branch  of  the  Industry  will  receive  with  great  Interest 
the  announcement  of  the  first  exposition  of  motion  picture 
and  theatre  advertising  to  be  held  during  the  first  week  in 
April.  Sponsored  by  Motion  Picture  Herald  through  the 
Managers'  Round  Table  Club,  in  cooperation  with  the  New 
York  Motion  Picture  Club,  this  exhibition — "The  Show  of  Show- 
manship"— marks  another  mllepost  In  the  progress  of  the 
•  talented  showman  toward  his  goal  of  recognition. 

Showmanship — that  "priceless  Ingredient"  in  the  compound- 
ing of  box  office  tonic — stands  too  little  used  In  the  medicine 
chests  of  many  ailing  motion  picture  households.  It  is  to  be 
hoped  that  the  first  "Show  of  Showmanship"  will  convince 
skeptical  picturemen  of  the  necessity  of  frequent  and  gen- 
erous doses. 

V  V  V 
TO  BE  ENCOURAGED 

In  the  formation  of  an  independent  theatre  managers'  or- 
ganization Philadelphia  district  showmen  have  inaugurated  a 
movement  we  should  like  +o  see  encouraged.  According  to 
Information  forwarded  by  Larry  Ruch,  publicity  director,  many 
plans  are  already  In  work  for  the  general  betterment  of  the 
membership,  now  over  30,  and  the  theatres  It  represents. 
There  is  much  enthusiasm. 

Independent  managers  are  of  necessity  "lone  wolves"  and 
have  little  opportunity  to  avail  themselves  of  any  central  source 
of  Information  or  social  contacts  such  as  are  made  possible 
for  circuit  theatremen  through  home  office  departments  and 
circuit  clubs. 

The  Phlladelphlans  show  the  way.   Others  should  follow. 

V  V  V 

AH  THERE,  BENNO 

The  boys  are  also  Interested  in  advancing  architectural 
design,  according  to  the  nifty  snuck  across  by  Ben  Cohen, 
of  the  College,  In  New  hiaven,  who  worked  it  with  his 
assistant,  Sam  Goodman,  on  a  tip  from  Oscar  Doob.  Ben 
made  quite  a  splash  to  announce  the  reopening  of  a  closed 
entrance  to  his  house,  right  across  the  street  from  the  col- 
lege grounds.  And  to  put  it  on  preiiy,  the  smart  lad  sold 
the  U  niverslty  department  of  architecture  on  designating  the 
remodeling  of  the  new  entrance  as  an  actual  assignment  for 
class  work.  College  paper,  local  dailies  and  wires  carried 
the  storx/. 

Now  If  Ben  can  only  sell  the  Yales  on  a  course  to  remove 
gum  from  theatre  seats  and  carpets  


NOW  IT'S  DAWGS  AND  HOSSES 

'Jever  see  that  novelty  calendar  for  exhibitors  on  which  are 
listed  by  months  and  seasons,  the  various  alibis  for  poor  busi- 
ness, past,  present  and  future?  If  the  gag  is  still  making  the 
rounds,  we  suggest  the  next  printing  Include  dog  and  horse 
racing  as  another  useful  explanation  of  fallen  grosses.  For 
that's  the  new  opposition  and  reported  is  much  legislative 
activity  In  favor  of  pari-mutuel  dog  and  horse  meets  in  cur- 
rently raceless  commonwealths. 

But  any  agitation  of  theatremen  over  this  threat  of  further 
invasion  Into  their  domain  by  barking  canines  and  trottin' 
hosses  Is  not  to  be  viewed  entirely  with  alarm.  'TIs  always 
thus — If  not  dawgs,  then  something  else.  What  to  do  in  case 
of  fire  is  not  a  deep  secret  and  Red  Kann  tells  how  In  his 
"Insiders'  Outlook"  column,  as  follows: 

"//  part  of  otir  job  were  exhibition  .  .  .  we  should  figure 
every  dollar  spent  by  the  public  to  sweeten  the  lighter  side  of  its 
existence  was  a  potential  motion  picture  dollar.  We,  therefore, 
should  fight  to  get  it  or  part  of  it  anyway  and  gird  our  loins 
against  encroachment  of  new  style  competition.  .  .  ." 

The  amusement  dollar  has  no  home.  It  gravitates  generally 
to  the  box  office  of  the  attraction  that  is  best  sold.  Dawgs, 
hosses,  flea  circuses,  walkathons,  drinkathons  and  what  have 
you  hold  no  lasting  terrors  for  the  exhibitor  willing  to  fight  for 
his  share. 

V    V  V 

SPRING  IS  HEAH 

Though  tiny  pellets  of  snow  lodge  Inside  one's  collar  and 
a  touch  of  sprightly  pneumonia  Is  still  In  the  air,  evidence  accu- 
mulates that  the  vernal  season  stands  poised  In  the  wings  for 
its  1935  debut.  The  weather  man  says  "Snow  tomorrow"? 
Pouf!  Our  authority  Is  Infallible — for  already  from  the  field 
come  manuals  on  "Spring  Festivals  of  Entertainment"  and  other 
seductive  wordings  to  lure  the  householder  from  his  hearthstone 
to  the  cashier's  window. 

Turn  hastily  the  pages,  messieurs  et  mesdames,  and  read 
how  spring  has  come  through  the  magic  exploitations  of  Famous 
Players  Canadian's  J.  J.  FItzglbbons  and  Gene  Curtis.  The 
very  frigidity  of  winter  Is  thus  dispelled  at  a  touch. 

Let  Bing  Crosby  croon  of  June  in  January.  We  much  prefer 
Famous  Players'  box  office  Song  of  Spring. 


66 


MOTION    PICTURE  HERALD 


March    23,  1935 


The  first  of  the  Qiiigley  Awards  to  be  won  by  a  British  Columbia  theatreman 
was  presented  recently  to  Manager  C.  Lloyd  Dearth  {left)  of  the  Capitol  Theatre, 
Vancouver,  by  Mayor  G.  G.  McGeer,  K.C.,  (center).  Member  of  the  Legislative 
Assembly  of  British  Columbia.  The  ceremony  took  place  in  the  offices  of  the  Mayor, 
and  present  were  Larry  Bearg  (right),  Famous  Players  Canadian  Western  Division 
Manager,   civic   officials   and   representative    leading  citizens. 

In  making  the  presentation.  Mayor  McGeer  congratulated  Dearth  for  the  excellence  of 
his  campaign,  and  stated  that  he  was  not  surprised  to  learn  the  theatreman  had  received 
such  recognition  for  his  efforts.  Mr.  Bearg  paid  tribute  to  the  work  Motion  Picture 
Herald  is  doing,  and  conveyed  the  official  congratulations  of  the  Famous  Flayers  organi- 
zation to  Dearth,  who  won  the  Quigley  January  Bronze  on  "Kid  Millions". 


Patrons  Given  Opportunity 
To  Win  Joan's  Portrait 

For  a  neighborhood,  subsequent-run, 
Manager  Ed  Douglas,  Loew's  Kings, 
Brooklyn,  N.  Y.,  covered  plenty  of  terri- 
tory in  putting  over  "Forsaking  All  Others," 
which  won  him  the  Quigley  February 
Bronze.  Numerous  were  his  stunts  featur- 
ing such  as  well  known  local  artist  working 
in  window  of  prominent  furniture  store  (see 
photo)  on  portrait  of  Joan  Crawford.  Slant 
was  tied  into  lucky  contest,  finished  paint- 
ing given  to  customer  with  winning  num- 
ber. 

Classified  ad  asking  for  Crawford,  Gable 
and  Montgomery  impersonators  obtained  at- 
tention and  many  applicants.  Three  selected 
were  dressed  up  and  made  the  busy  streets 
in  that  section  carrying  star  names  on  back. 
Stilt  walker  helped,  as  did  candle-burning 
contest  in  prominent  window.  Street  auto 
float  attracted,  and  fleet  of  cabs  displayed 
tire  covers. 

Gardenias  were  promoted  from  neighbor- 
hood florist  and  distributed  to  first  75 
women  at  first  four  matinees.  Junior  Naval 


Douglas'  Artht  at  Worli  in  Window 


Reservists  headed  street  parade  to  theatre, 
bearing  banners. 

Much  newspaper  publicity  was  obtained 
from  neighborhood  papers  and  downtown 
sheets  such  as  full  page  co-op  ads  and  lesser 
sizes  on  tieups  made  with  merchants,  in- 
cluding tieup  with  30  stores  on  picture  hunt 
contest.  Feature  stories  and  fashion  lay- 
outs were  also  promoted. 

Laundry  stuffers,  imprinted  napkins  and 
imprinted  heart  stickers  (Valentine's  Day 
just  previous  to  opening)  were  distributed 
widely,  many  windows  planted  and  other 
sound  stuff  put  over  to  make  up  Douglas' 
well  rounded  campaign. 

Make  193  5  Your  Award  Year 

Harris'  "Folies"  Ball 

Alilt  Harris,  publicist  Loew's  State, 
Cleveland,  Ohio,  put  on  a  French  costume 
ball  for  the  midnight  opening  of  "Folies 
Bergere,"  patrons  in  costume  admitted  free 
and  prizes  offered  for  most  correct  French 
outfit.  Dancing  in  foyer  followed  perform- 
ance and  French  sidewalk  was  erected  in 
lobby  to  add  atmosphere.  Papers  made 
much  ado  about  the  party. 

Make  1  93  5  Your  Aiuard  Year 

Gettier  Entertains 
Kids  at  First  Movie 

Nice  editorial  mention  and  plenty  of  re- 
ported good-will  was  garnered  by  Vogel 
Gettier,  Fox  Theatre,  Springfield,  Mo.  in 
playing  host  to  eleven  children  from  country 
school  who  had  never  witnessed  a  movie. 
Story  broke  dailies  with  cut  of  teacher  and 
children  attending  show. 

On  "Roberta"  Vogel  distributed  ladies' 
visiting  cards  on  which  were  written  "Sorry 
that  we  missed  you  when  we  called.  Will 
be  seeing  you  •  next  week."  Cards  were 
signed  "Roberta." 


Parachute  Gag  Lands 
Page  One  for  Knight 

What  he  reports  as  the  most  sensational 
stunt  in  his  prize  campaign  on  "Devil 
Dogs,"  at  the  Fairmont,  Fairmont,  West 
Va.,  and  milked  for  every  possible  bit  of 
publicity,  according  to  the  evidence,  was 
Manager  "Fuzzy"  Knight's  quest  for  a  "girl 
with  iron  nerve  to  make  parachute  jump." 

These  were  the  words  that  led  off  the  copy 
in  the  newspaper  display  ads,  rest  of  ad 
detailing  the  stunt  was  to  be  put  on  as  ex- 
ploitation on  picture,  all  theatre  credits  in- 
cluded— inquiries  directed  to  Knight.  Over 
50  women  of  varying  ages  made  application, 
one  of  whom  was  a  grandmother. 

Of  course  the  gag  was  planted  with  the 
papers  and  sheriff's  office  for  the  blowoff. 
Therefore  the  dailies  went  to  town  and 
boomed  the  story  not  only  on  page  one,  but 
even  in  an  indignant  (  ?)  editorial  of  protest. 
The  stunt  was  featured  for  a  week  in  ad- 
vance and  everything  arranged  even  to  the 
selection  of  the  jumper.  Then  day  ahead 
of  the  opening,  with  thousands  assembled 
to  view  it,  sheriff  refused  to  allow  the 
jump — and  that  was  that. 

Important  also  was  this  showman's 
shrewdness  in  selling  the  attraction  to 
women  patrons  through  a  tieup  with  dra- 
matic class  of  State  normal  school.  Four- 
teen students  made  a  house-to-house  can- 
vass selling  the  date  as  a  "woman's  picture" 
and  data  gathered  by  the  canvassers  secured 
credits  for  them  in  class.  Thus  extra 
woman  patronage  was  promoted  that  other- 
wise might  not  have  been  forthcoming. 

A  Junior  Aviators'  Club  was  organized, 
prospective  members  being  requested  to 
answer  questions  regarding  the  picture  and 
on  general  aviation.  In  conjunction,  a  model 
plane  contest  was  put  on,  with  over  100 
entries  shown  in  the  theatre.  Prizes  of 
guest  tickets  and  sweaters  were  given. 

In  all,  Knight  reported  over  85  things 
done,  which  also  included  countrywide 
broadcast  on  eve  of  opening  from  station 
through  p. a.  system  on  marquee,  and  15- 
minute  dramatization  whereby  guest  tickets 
were  given  to  those  correctly  guessing 
names  of  station  players  taking  the  various 
roles  of  the  stars. 

Opening  day  and  date  with  Pittsburgh, 
Knight  put  on  a  Hollywood  opening  with  all 
the  props.  Ushers  were  in  marine  uniforms, 
national  guardsmen  paraded  to  theatre,  gun- 
salute  by  marines,  and  wig-wagging  by  boy 
scouts.  Airplane  towed  theatre  banner  over 
entire  territory,  as  another  of  the  raft  of 
smart  exploitations  put  over  bv  fast-stepping 
"Fuzzy." 


Knight's  "Devil  Dogs"  Airplane  Bally 


March    2  3,     19  3  5 

Lobby  Radio  Stunt 
Aids ''Gold  Diggers" 

Getting  audience  reaction  while  it  is  red 
hot  is  the  latest  motif  in  the  Warner  The- 
atres' exploitations,  and  obtained  by  the 
process  of  inviting  patrons  to  air  their 
views  on  "Gold  Diggers  of  1935"  over  a 
unique  lobby  broadcast  arranged  immedi- 
ately after  the  first  break  on  the  picture's 
premiere  at  the  New  York  Strand. 

Hugh  Herbert,  featured  in  the  picture, 
was  on  hand  to  act  as  the  master  of  cere- 
monies and  conducted  variously  selected  of 
the  audience  to  the  mike,  where  they  in- 
formed listeners-in  how  good  the  picture 
was.  The  stunt  was  rounded  up  by  Charley 
Einfeld  in  cooperation  with  local  station 
which  used  the  gag  to  put  on  a  reported  hunt 
for  suitable  announcers.  These  obviously 
were  to  be  selected  from  among  those  doing 
the  act  for  the  picture. 

Advance  campaign  on  "Diggers"  was 
started  four  weeks  ahead  with  giant  banners 
and  barricades  in  prominent  spots.  Colorful 
lobby  arch  also  carried  plug,  as  did  blowups 
and  special  electrical  sign.  Current  lobby  is 
in  line  with  usual  Strand  flashes,  animated 
centerpiece  over  box  office  (see  photo) 
catching  many  eyes. 

Tieups  were  numerous  on  soap,  wire  ser- 
vices telegraph  company,  florists  all  con- 
tributing streamers,  heralds,  window  cards, 
etc.  Department  stores  also  went  for  size- 
able windows,  and  co-op  ads  were  obtained 
from  representative  merchants. 

Make  193  J  Your  Award  Year 

Harrison  Offers  Tickets 
To  Bridge  Prize  Winners 

A  swell  good-will  builder  is  used  by  Eddie 
Harrison  at  the  Capitol  in  Pittsfield,  Mass., 
in  the  form  of  a  telegram  which  is  sent  to 
the  winner  of  the  ladies  first  prize  at  all 
large  bridge  parties  held  in  his  town.  Tele- 
gram reads :  "It  is  our  pleasure  to  give  you, 
as  an  additional  prize,  two  complimentary 
tickets  to  the  Capitol.  We  sincerely  hope 
you  enjoy  the  entertainment  as  much  as  you 
did  winning  the  prize.  Please  present  this 
telegram  at  ticket  window  for  admittance." 
Eddie  says  the  wire  is  generally  read  at  the 
parties  and  naturally  the  theatre  and  date 
gets  a  break,  picture  also  being  announced. 

Another  stunt  he  works  is  a  lucky  number 
herald  tieup  with  chain  grocer.  Winning 
numbers  are  posted  in  lobby  and  full  in- 
structions plus  theatre  credits  are  carried 
in  heralds  distributed  at  all  stores. 

Make  193  5  Your  Award  Year 


Strand  Animated  "Cold  Diggers"  Lobby 


MANAGERS'    ROUND  TABLE 


67 


WIN  FEBRUARY  PLAQUES 


EDWARD  DOUGLAS  R.  E.  "FUZZY"  KNIGHT 

Above  are  photo'd  the  two  gents  who  took  down  the  Ouigley  February  Awards.  As 
announced  last  week,  Manager  R.  E.  ("Fuzzy")  Knight,  of'  Warner's  Fairmont  Theatre, 
Fairmont,  W.  Ya.,  was  voted  the  Silver  on  "Devil  Dogs  of  the  Air",  and  Manager 
Edward  Douglas,  of  Loew's  King's  Theatre,  Brooklyn,  N.  Y.,  the  Bronze  on  "Forsak- 
ing All  Others".    Knight,  winner  in  Jtine,19}4,  is  the  first  to  repeat. 


"Y"  Ties  in  with  Walsh 
On  "Town's  Talking" 

R.  D.  Walsh  up  at  the  New  Lafavette  in 
Buffalo,  N.  Y.  on  "The  Whole  Town's 
Talking"  placed  cards  in  all  Y.  M.  C.  A. 
branches  showing  production  still  of  Robin- 
son shouting  "I'm  a  Y.  M.  C.  A.  member", 
with  playdates  and  theatre  copy.  Department 
store  featured  window  of  dresses  with  "the 
whole  town's  talking  about  our  prices"  card 
which  also  contained  theatre  mention. 

Merchants  came  through  with  cooperative 
ad  page,  each  advertiser  carrying  the  "Whole 
W^orld's  Talking''  slogan  in  their  copy  with 
theatre  ad  prominently  displayed. 

Make  193  5  Your  Award  Year 

Independent  Managers 
Organize  in  Philly 

With  a  membership  announced  as  over  30, 
independent  theatre  managers  in  the  Philadel- 
phia territory  have  organized  and  are  holding 
weekly  meetings  at  their  headquarters,  1313 
Vine  St. 

Picture  and  advertising  are  discussed  and 
methods  of  exploitation  explained.  Committees 
have  been  appointed  to  make  contacts  for  ad- 
vertising tieups  in  which  all  members  are  in- 
vited to  participate.  Prominent  exhibitors  and 
leading  industry  figures  are  invited  to  speak  at 
the  weekly  meetings.  Executives  from  other 
lines  have  also  appeared. 

The  social  side  is  not  neglected,  according  to 
Manager  Larry  Ruch,  Liberty-Camden,  N.  J., 
club  publicity  director,  who  states  the  first  get- 
together  dinner  was  recently  held  and  that 
similar  events  are  planned. 

Officers  are :  Abe  Resnick,  president ;  Jack 
Litto,  vice-president ;  John  Erlich,  secretary- 
treasurer,  and  Ruch.  Managers  in  the  Phila- 
delphia area  are  invited  to  join. 


Guthrie  Ballys  "Cimarron" 
With  Modef  Oil  Derrick 

Located  out  in  the  Oklahoma  oil  coun- 
tr}'.  Manager  Lamar  Guthrie,  Rogue  The- 
atre No.  3,  in  Tipton,  on  "Cimarron"  built 
a  model  oil  derrick  for  street  bally  (see 
photo)  which  was  placed  at  the  intersection 
of  two  main  thoroughfares.  Small  motor 
pulled  the  pitman  arm  up  and  down  and  iron 
bar  attached  to  arm  caused  bell  to  ring  with 
each  revolution. 

Though  oil  derricks  of  course  are  no 
novelty  out  in  Guthrie's  country,  the  model 
managed  to  stir  up  a  lot  of  interest,  as  did  a 
bannered  covered  wagon  with  p.  a.  system 
planted  on  sidewalk  in  front  of  the  theatre. 


Guthrie's  "Cimarron"  Oil  Derrick  Stunt 


68 


MOTION    PICTURE  HERALD 


March    23,  1935 


Botwicic  Engineers  Essay 
Contest  on  "Lancers" 

Cash  prizes  were  awarded  by  Harry  Bot- 
wick,  State,  Portland,  Maine,  in  connection 
with  a  "Bengal  Lancer"  essay  contest  put 
on  in  tieup  with  local  paper,  as  follows : 

Five  subjects  were  selected  for  contestants 
to  choose  from  and  runners-up  were  given 
round  trips  to  Boston.  Schools  cooperated 
by  encouraging  children  and  papers  gave 
contest  daily  breaks. 

On  "Rumba"  local  ballroom  tied  in  for  a 
dancing  contest,  dance  hall  and  Botwick 
donating  Raft  loving  cups  to  winners  (see 
photo).  Wirephoto  of  Lombard  appeared  in 
papers  and  trailer  was  run  showing  how 
wirephoto  is  sent  and  received. 

Make  193  5  Your  Award  Year 

High  School  Broadcasts 
"Gables"  Playlet  for  Cooper 

A.  R.  Cooper,  Prince  Edward  Theatre, 
Charlottetown,  P.  E.  L,  Canada  secured  the 
cooperation  of  local  high  school  drama  class 
for  broadcast  of  "Anne  of  Green  Gables" 
playlet  with  pupils  participating.  Rehearsals 
were  held  in  English  classes  and  partici- 
pants chosen  for  the  broadcast  in  an  elimina- 
tion contest. 

Special  front  was  constructed  with  gabled 
roof  placed  over  boxoffice.  Roof  was  green 
with  white  clapboarding  and  title  and 
author's  name  painted  in  alternating  green 
and  white  letters. 

Make  193  5  Your  Award  Year 

Goldenberg  Ties  In  Kid  Radio 
Broadcast  to  "Little  Men" 

Ten  days  ahead  Martin  Goldenberg, 
Karlton  Theatre,  Philadelphia,  Pa.,  arranged 
with  Uncle  Wip  of  local  radio  fame  to 
broadcast  comments  on  "Little  Men." 
Saturday  morning  showing  was  held  for 
members  of  Uncle  Wip's  club  with  promoted 
"Little  Men"  books  given  to  kids. 

Marty  put  on  street  bally  of  uniformed 
boys'  band  parading  to  theatre  and  serenad- 
ing kids  before  show  opened.  Ushers  can- 
vassed schools  stressing  special  students' 
price.  Leading  department  store  used  ad  to 
plug  "Little  Men"  suit  and  distributed  spe- 
cial star  pictures  of  Dickie  Moore. 

Make  193  5  Your  Award  Year 

Lee  Runs  Endorsement  Ad 

As  a  result  of  endorsement  letters  re- 
ceived from  heads  of  various  societies  on 
the  special  screening  of  "Sequoia,"  held 
at  the  Babcock  Theatre,  Bath,  N.  Y.,  Harold 
Lee  ran  ad  in  local  dailies  quoting  letters 
and  recommending  the  picture.  Special  let- 
ters were  mailed  to  Girl  and  Boy  Scouts, 
Humane  Societies,  etc.,  and  local  libraries 
were  supplied  with  imprinted  rubber  bands. 

Make  193  5  Your  Award  Year 

Zinn  Engineers  "Popeye 
Carnival"  Matinee 

Charlie  Zinn  at  the  Uptown  in  Miiine- 
apolis,  Minn.,  put  on  a  "Popeye  Carnival" 
for  his  Saturday  morning  matinee,  contact- 
ing all  women  who  had  theatre  parties  for 
kiddies  and  informing  them  of  this  new  per- 
formance. 

Boy  Scout  troop  assisted  in  house-to- 
house  canvass  securing  signatures  of  house- 
wives who  planned  to  send  their  children  to 
the  Carnival.    Ten  boys  from  junior  dra- 


Botwick's  "Rumba"  Dance  Winners 


Shaffer's  "Lancer"  Lobby  Display 


Jess'  "Murder"  Air  Bally 


Black's  "Lancer"  Silk  Window 

matic  club  at  high  school  came  dressed  as 
Popeye  and  were  used  in  lobby  and  out 
front  to  greet  youngsters.  Boys  from  school 
acted  as  guards  at  intersections  after  school 
directing  traffic,  were  invited  as  guests 
of  the  theatre  and  marched  in  body  from 
school  to  Carnival. 


Ushers  Distribute  "Lancer" 
Endorsement  Cards  for  Shaffer 

Frank  Shaffer's  ushers  at  the  Virginia 
in  Harrisonburg,  Va.  distributed  "Lancer" 
cards  with  copy  as  follows:  "I  am  not  an 
eavesdropper,  but  I  cannot  help  but  over- 
hear your  comments  on  pictures,  and  I  be- 
lieve I  know  the  kind  of  entertainment  you 
like  best."  Brief  plug  on  picture  followed 
with  message  ending,  "may  I  have  the  pleas- 
ure of  seating  you  when  you  come  to  see 
this  great  production?" 

Tire  covers  were  used  on  taxis  and  laun- 
dry trucks  week  before  and  window  cards 
were  tacked  on  sides  of  barns,  warehouses 
and  factories. 

Make  193  5  Your  Award  Year 

Hynes  Co-op.  Page  Serves 
As  "Flirtation"  Contest 

Manager  Jack  Hynes  and  assistant,  DuKe 
Prince,  at  Shea's  and  Grand  Theatres, 
Bradford,  Penna.,  promoted  a  cooperative 
page  ad  on  "Flirtation  Walk"  in  which  each 
merchant's  ad  carried  an  extra  word.  Tickets 
were  awarded  to  those  correctly  assembling 
scattered  words  to  spell  out  title  and  picture 
plug. 

Three  days  ahead  daily  carried  cuts  and 
instruction  on  "How  to  do  the  Flirtation 
Walk";  imprinted  grocer  bags  and  napkins 
were  distributed  and  various  windows 
spotted  with  cutouts  of  the  stars. 

Make  1935  Your  Award  Year 

Myers  Screens  "Sequoia" 
For  Humane  Societies 

Special  screening  of  "Sequoia"  was  held 
by  Taylor  Myers,  Loew's  Broad,  Colum- 
bus, Ohio,  for  Humane  Society,  State  Game 
Conservation  officials,  et  al,  with  story  and 
cut  planted  in  trappers'  magazine.  Through 
weekly  bulletin  Boy  and  Girl  Scouts  in- 
formed every  member  of  the  date.  "Sequoia" 
contest  booklets  were  distributed  to  all  Eng- 
lish teachers  and  announcements  placed  on 
bulletin  boards. 

Make  19  iS  Your  Award  Year 

Jess  Uses  Plane  to  Bally 
"Murder  in  the  Clouds" 

Publicity  director  Lionel  H.  Wasson  of 
the  Central  States  Theatres,  Des  Moines, 
la.  forwards  picture  on  airplane  bally  (see 
photo)  used  by  manager  R.  D.  Jess  at  the 
Strand  in  Fort  Dodge,  for  "Murder  in  the 
Clouds."  Plane  was  flown  several  days 
ahead  and  on  opening  day  with  siren  wide 
open  to  attract  attention. 

On  "Silver  Streak"  Jess  had  his  art  de- 
partment build  replica  of  the  Burlington 
train  which  was  placed  over  automobile 
body  and  driven  round  town. 

Make  19  i  5  Your  Award  Year 

Store  Ties  In  with  Black 
For  "Lancer"  Window 

J.  Harry  Black  at  the  Capitol  in  Calgary, 
Canada  secured  the  cooperation  of  depart- 
ment store  for  silk  window  display  (see 
photo).  Black  dressed  his  ushers  in  sashes 
and  turbans  of  material  on  display  in  shop. 

Imprinted  satin  badges  were  used  by  en- 
tire staff  and  messenger  boys.  Harry  also 
secured  services  of  Battallion  Band  who 
played  military  selections  on  stage.  Entire 
new  front  was  constructed  with  cutout  of 
Cooper  covering  box  office. 


March    2  3,     19  3  5 


MANAGERS'    ROUND  TABLE 


69 


Brennan  Promotes  Prizes 
For  Cooking  Classes 

A  cooking  school  of  no  mean  proportions 
is  sponsored  by  E.  R.  Brennan,  Fox  The- 
atre, Marinette,  Wis.,  with  classes  held 
every  Wednesday  afternoon  for  four  weeks. 
Over  1,000  reported  promoted  prizes  were 
awarded  for  best  recipes  and  accompanying 
photo  shows  some  of  the  prizes  on  display 
in  lobby.  Gifts  and  recipes  were  listed  in 
weekly  theatre  programs. 

As  a  "comer-oner,"  Brennan  in  order  to 
be  sure  that  the  youngsters  would  return 
to  the  following  week's  Saturday  matinee, 
announced  that  at  break  of  show  picture 
would  be  taken  of  exiting  kids.  Following 
week  the  photo  with  some  of  the  faces  cir- 
cled would  be  on  display  in  lobby,  with 
those  circled  receiving  tickets  to  see  show. 

Make  19i5  Your  Award  Year 

L'Esperance  Permits  School 
To  Hold  Exercises  at  Theatre 

Extra  good^will  was  secured  by  J.  D. 
L'Esperance  of  the  Fox  Florence  in  Los 
Angeles  when  he  permitted  the  local  junior 
high  school  to  hold  graduating  exercises  at 
the  theatre. 

Recently  L'Esperance  staged  an  old  tire 
and  junk  battery  matinee,  either  one  of 
these  admitting  a  child.  Reports  have  it 
that  the  "junk"  was  sold  to  a  tire  dealer 
and  enough  money  collected  to  make  show- 
ing profitable. 

Make  193  5  Your  Award  Year 

Reilly's  Floral  Herald 

Thomas  R.  Reilly,  acting  manager  for 
Fred  Reeths  during  his  absence  at  the  She- 
boygan Theatre,  in  Sheboygan,  Wis.,  pro- 
moted local  florist  for  one-half  the  cost  of 
"Gilded  Lily"  heralds  distributed  during  run 
of  that  picture. 

Make  193  5  Your  Award  Year 

Hodgon  Builds  Animated 
"Man  of  Aran"  Display 

The  accompanying  photo  shows  attrac- 
tive shadow  box  lobby  display  on  "Man  of 
Aran"  created  by  Raymond  Hodgon,  RKO 
Greenpoint  Theatre,  Brooklyn,  N.  Y.  Back 
piece  represents  rocky  cliffs  of  Aran  Island 
with  waves  breaking  against  surface,  zinc 
lined  tank  nine  inches  deep  and  four  feet 
square.  Boat  was  purchased  in  toy  shop 
and  figures  made  of  beaverboard.  Wooden 
shark  was  weighted  down. 

Weight  on  strings  was  raised  and  low- 
ered by  rotary  motor  behind  set  piece, 
which  agitated  and  caused  waves  to  rock 
boat.  Title  letters  at  top  of  display  were 
black  flitter  and  copy  below  in  silver,  with 
appropriate  stills  placed  at  either  side. 

Make  193  5  Your  Award  Year 

Ableson  Mails  "Gilded 
Lily"  Fingerprint  Letters 

Art  Ableson,  Roxy  Theatre,  Glasgow, 
Mont.,  covered  his  mailing  list  with  letters 
that  carried  a  finger  print  at  the  top  and 
ropy  "as  analyzed  by  a  recognized  authority 
your  finger  print  reveals  you  possess  a  keen 
sense  and  an  appreciative  disposition 
towards  the  art  of  motion  picture  produc- 
tion. You  like  good  screen  attractions,  that's 
the  reason  we  are  taking  this  opportunity 
to  tell  you  about  Claudette  Colbert  in  "The 
Gilded  Lily,"  etc.,  etc. 


Siigannciii's  '"Gables"  Rose  Tournament  Float 


Brennan's  Cooking  School  Prizes 


Charninsky's  "Pecos"  Atmospheric  front 


Hodgon's  "Aran"  Animated  Display 

There  is  a  daily  mimeographed  paper 
which  is  distributed  to  all  homes  in  Glasgow 
and  for  a  pass  per  show,  Art  is  able  to  run 
theatre  ad  and  what  he  calls  the  "Roxy 
Puzzle."  To  first  person  presenting  the  cor- 
rect answer  at  box-office  pair  of  tickets  is 
given.  Art  must  be  digging  down  into  some 
file,  because  he  runs  a  new  puzzle  each  day. 


Sugarman  Plants  "Gabies" 
Float  in  Rose  Tournament 

A  reported  first  time  that  any  theatre  has 
ever  promoted  an  entry  in  the  yearly  Pasa- 
dena Rose  Parade  in  California  was  the 
stunt  engineered  by  Harry  Sugarman,  Grau- 
nian's  Egyptian  Theatre  in  Hollywood,  for 
"Anne  of  Green  Gables."  This  elaborate, 
costless  rose  float  (see  photo)  was  de- 
signed by  Harry,  and  after  it  had  been  dis- 
])layed  in  the  parade  was  used  as  a  street 
bally. 

Pictures  of  float  with  theatre  copy  was  in- 
cluded in  Rose  Parade  programs  and  planted 
in  local  dailies. 

Make  193  5  Your  Award  Year 

McBride  Puts  On  "Folies" 
Straw  Hat  Contest 

Ed  McBride,  Loew's  State,  Syracuse,  N. 
Y.,  tied  in  with  leading  men's  hat  stores 
for  a  "Folies  Bergere"  straw  hat  contest. 
Huge  hat  was  displayed  in  window  sur- 
rounded by  stills  with  theatre  copy  and  any 
person  whose  head  size  was  nearest  to 
Maurice  Chevalier's  received  a  new  straw 
lid. 

Baker  produced  large  cake  in  form  of 
straw  hat  which  was  displayed  in  window, 
persons  guessing  actual  weight  received 
tickets.  After  cjontest,  cake  was  cut  in 
small  portions  and  distributed  at  theatre. 
Stunt  was  plugged  in  all  store's  ads. 

Make  193  5  Your  Award  Year 

Keene  Plans  Special  Race 

As  part  of  the  advance  on  "Folies  Ber- 
gere" at  Loew's  State,  Houston,  Tex.,  Colo- 
nel Lionel  H.  Keene,  district  manager,  ar- 
ranged tieup  with  local  racetrack  whereby 
featured  race  was  a  "Maurice  Chevalier  of 
Folies  Bergere  Handicap"  with  winner  re- 
ceiving trophy  and  floral  horseshoe. 

Make  193  5  Your  Award  Year 

Purves  "Iron  Duke"  Front 

Jack  Purves  at  the  Capitol  Theatre,  Sud- 
bury, Canada,  forwards  spot  of  lobby  dis- 
play on  "Iron  Duke"  turned  out  by  his 
artist,  Harry  Young.  The  display,  which 
contained  large  cutout  head  of  Arliss, 
measured  11  feet  by  10  feet  and  was  car- 
ried out  in  red,  white  and  blue. 

Make  193  5  Your  Award  Year 

Louie  Ballys  "Pecos" 
With  Ad  for  Oxen 

Louie  Charninsky's  latest  reported  excite- 
ments at  the  Capitol  in  Dallas,  Tex.,  have 
to  do  with  "West  of  the  Pecos"  whereby 
Louie  advertised  for  span  of  oxen  for  street 
stunt,  which  were  used  to  pull  old  covered 
wagon  with  cowboy  driver  dressed  as  Dix. 
Another  street  bally  was  cowgirl  on  white 
horse. 

Special  front  was  constructed  (see  photo) 
with  box  office  made  of  real  logs,  rail  fence 
around  six  sheets  at  sides  and  hitching  post 
at  curb  to  which  oxen  were  attached.  Lobby 
contained  display  of  Indian  pottery,  rugs, 
etc.,  and  loudspeaker  plugged  western 
records. 

Leather  and  saddlery  store  tied  in  with 
window  displays,  three  leading  stores  fea- 
turing 10-gallon  hats  belonging  to  Louie 
that  had  been  presented  to  him  by  Buck 
Jones,  Tom  Mix  and  Tim  McCoy. 


70 


MOTION    PICTURE  HERALD 


March    23,  1935 


HOW  ABOUT  SPRING  BUSINESS? 

Gene  Curtis  Passes  Along  Some 
Ideas  Put  On  by  Famous  Players 
Canadian  for  ^^Spring  Festival" 


Now  that  Spring  is  upon  us,  campaigns 
are  in  the  making  and  in  full  force  to  build 
the  grosses  on  drives  of  one  kind  and  an- 
other. Foremost  among  these  is  the  "Spring 
Festival  of  Certified  Entertainment"  as  pro- 
jected by  General  Manager  J.  J.  Fitzgib- 
bons,  for  Famous  Players-Canadian. 

Sales  Promotion  Manager  Gene  Curtis 
has  worked  out  a  complete  manual  covering 
every  possible  angle  of  publicity,  advertising 
and  exploitation,  from  which  we  are  extract- 
ing various  slants  that  may  benefit  others 
so  inclined.  The  drive  is  now  on  and  will 
continue  until  the  first  week  in  May. 

Some  of  the  Highlights 

The  angles  covered  in  the  Famous  Play- 
ers Manual  are  as  follows :  newspaper  pub- 
licity and  advertising,  lobby,  screen,  billing, 
radio  and  general  exploitation. 

Publicity  includes  interviews,  announce- 
ments, articles  on  coming  pictures  with  art 
layouts,  stories  of  pictures  and  stars,  action 
photos  for  the  news  columns  and  style 
stories  and  art  for  women's  pages.  Ads  of 
course  should  carry  special  slogans  and 
slugs,  and  for  the  latter  Curtis  has  made 
up  a  number  carrying  the  "certified  enter- 
tainment" copy.  Small  drop-in  slugs  of  seals 
with  the  "certified"  copy  are  also  stressed, 
and  these  slants  are  to  be  used  in  lobby  dis- 
plays. 

The  Spring  drive  is  made  an  occasion  for 
general  house-cleaning,  repainting,  etc.  The 
front  and  lobby  should  be  decorated  in  a 
different  manner  with  the  usual  form  of 
materials  changed.  New  color  schemes, 
shapes  and  sizes  of  posters  and  cutouts  are 
recommended ;  the  entire  lobby  giving  the 
appearance  of  having  an  entirely  new  dress. 
The  same  idea  is  suggested  within  the  the- 
atre as  regards  lights,  rearrangement  of  fur- 
niture and  perhaps  different  stage  decora- 
tions and  drapes. 

Trailers  and  Billing 

Three  trailers  are  detailed  in  the  Curtis 
manual.  The  first  of  ten  frames  carries  the 
following  thought  and  is  run  two  weeks 
ahead :  "Coming.  Spring  Festival  of  Certi- 
fied Entertainment.  New  Surprises.  New 
Thrills.  Eight  Weeks  of  Outstanding 
Guaranteed  hits.  Plan  Now  to  attend  every 
one  of  our  parade  of  hits." 

The  second  run  the  week  ahead  contains 
11  frames,  to  follow  with  single  frames  on 
coming  shows,  and  copy  is  in  this  vein: 
"Spring  Festival  Starts  Next  Week.  Never 
before  has  there  been  such  an  abundance  of 
fine  pictures.  We  have  picked  the  best  to 
usher  in  the  new  spring  season.  Spring 
has  always  been  a  season  to  celebrate  and 
How  you  can  celebrate  this  spring,  etc., 
etc.,  etc." 

The  third  trailer,  of  ten  frames,  inau- 
gurates the  drive,  and  contains  a  personal 
endorsement  from  the  manager  with  other 
appropriate  seasonal  copy,  such  as :  "Signs 
of  Spring — dainty  flowers,  apple  blossoms, 
new  life  everywhere  and  on  our  screen. 
Spring  Festival  of  Certified  Entertainment." 

Ones  and  threes  to  cover  the  opening  of 
roads  in  rural  territory  are  suggested.  These 
should  all  carry  the  drive  slogan  with  the 


individual  picture  copy.  Window  cards, 
streamer  snipes  for  24s,  and  heralds  are 
also  recommended. 

Radio  Discovery  Night 

Curtis'  general  radio  ideas  have  been  de- 
tailed in  the  series  run  recently  in  these 
pages  and  many  of  his  slants  can  be  used 
on  the  drive.  In  addition,  Gene  suggests  a 
discovery  night,  which  is  the  amateur  idea 
now  in  general  use,  and  doing  well  at  the- 
atres where  it  is  being  featured. 

Care  is  cautioned  in  selecting  applicants. 
Auditions  should  be  given  in  advance  with 
piano  player,  and  are  to  be  timed  exactly 
in  advance.  Guest  star  may  be  invited  to 
pep  up  program,  and  competent  M.C.  can 
be  of  great  help. 

The  usual  gong  or  other  familiar  con- 
trivance will  serve,  and  from  the  list  of 
weekly  winners,  selected  by  audience  ap- 
plause, are  chosen  finalists. 

These  winners  appear  in  the  finals  at  the 
end  of  the  Spring  Festival,  and  from  the 
results  of  this  performance,  the  grand  prizes 
are  awarded.  If  group  of  theatres  put  this 
on,  the  finals  may  be  held  at  centrally  located 
house  or  at  some  cooperating  radio  station. 
Individual  theatres  may  put  this  on  for 
weekly  and  grand  prizes  in  the  same  man- 
ner. The  stunt  is  of  course  to  be  featured  in 
all  advertising. 

General  Exploitation 

A  designing  contest  is  being  put  on  by 
some  of  the  F  P  Canadian  houses  on  tieup 
with  woman's  page  editor,  wherein  hats, 
dresses,  shoes,  etc.,  are  designed  by  entrants. 
Cinema  Hat  shops  are  taking  display  space 
showing  current  star  with  copy  detailing 
the  rules  and  space  left  atop  star's  head  for 
drawing  on  hat. 

Spring  Poetry  contest  is  also  favored, 
Curtis  suggesting  some  familiar  verses  be 
used  and  entrants  be  asked  to  parallel  the 
lines  in  clever  parody.  Omar  Khayyam  is 
suggested,  using  just  one  of  any  of  the  four- 
line  verses. 

The  voting  ballot  is  another  suggestion, 
used  along  the  lines  of  others  previously 
publicized.  Pictures  booked  are  listed  on 
regular  ballots,  with  patrons  asked  to  mark 
their  choices  in  numerical  order.  Space  is 
left  for  names  and  addresses,  and  when  the 
pictures  voted  for  are  to  be  shown,  patrons 
are  so  notified.  Makes  a  welcome  addition  to 
mailing  list. 

Bookmarks ;  tieups  with  bookstores  on 
novels  which  are  picturized  for  window  dis- 
plays ;  movie  shelf  in  library  containing 
books  which  are  being  made  into  pictures 
and  book  jackets  for  rental  libraries  sup- 
plied by  theatre  are  also  indicated  by  Curtis 
as  helpful. 

Costume  party  for  children  with  young- 
sters impersonating  various  fictionized  char- 
acters appearing  in  coming  pictures  is  an- 
other slant,  as  is  similar  idea  for  adults. 
In  both  instances,  small  prizes  for  best  cos- 
tumes should  stimulate  interest. 

Lobby  display  of  "certified"  merchandise 
products  could  be  made  to  tie  in  theatre 
slant.  Cooperating  merchants  might  take 
newspaper  space  on  this  along  the  lines  of 
an  industrial  exposition  or  local  fair. 


Cardos'  "Cop  per  field"  Book  Display 


Some  "Copperfield"  Stunts 
From  Various  Spots 

An  attractive  lobby  display  for  "David 
Copperfield"  was  constructed  by  Manager 
Spyros  Cardos  and  Thornton  Sargent,  pub- 
licist, at  Loew's  State,  Los  Angeles,  with 
oversized  book  containing  photos  of  charac- 
ters and  copy  (see  photo),  leaves  of  which 
were  turned  by  girl  in  costume.  Miniature 
telegrams  were  distributed  by  Postal  and 
Davy  blotters  given  to  school  children. 

Out  in  Terre  Haute,  Indiana,  H.  J.  Ar- 
nold at  the  Indiana  Theatre  promoted  truck 
which  carried  giant  book  with  title,  cast, 
etc. 

Truck  toured  school  districts  where  pic- 
tures were  taken  of  children  examining 
book  and  later  used  in  ads. 

Bill  Shell,  Ambridge  Theatre,  Ambridge, 
Pa.,  put  on  the  essay  contest  with  school 
heads  cooperating.  Passes  were  given  to 
winners  in  each  school  and  the  study  guides 
distributed  to  all  teachers.  Prevue  was  held 
for  teachers,  ministers  and  other  notables. 

Make  193  5  Your  Award  Year 

Morrison  Promotes  Baker 
For  Ad  on  "Bright  Eyes" 

Mel  Morrison,  Strand  Theatre,  Dover, 
N.  H.,  promoted  ad  from  baker  with  large 
Shirley  Temple  "Bright  Eyes"  cut  and 
copy  on  starlet's  beauty  secret — lots  of 
bread  at  all  meals.  Cooking  expert  for  local 
daily  wrote  editorial  on  children's  meals, 
giving  recipes  of  some  of  Shirley's  favorite 
dishes  and  using  star  cut  in  story.  First 
five  hundred  children  attending  show  were 
given  Shirley  Temple  "story  of  my  life" 
books. 

Make  193  5  Your  Award  Year 


STRIKING  WINDOW.  Arranged  by  Haze! 
Flynn  and  Jim  MacFarland  in  leading 
Liggett  drug  store  window  for  Radio  City 
Music    Hall    "Roberta"  date. 


March    23,  1935 


MANAGERS'    ROUND  TABLE 


71 


'DON'T  HEAR  AAACHINE  GUN  IN  IDAHO' 

—HERMAN  J.  BROWN,  INLAND  AMUSEMENT  CO.,  NAMPA,  IDAHO 


MAINTAINS  THERE  IS 
A  VAST  DIFFERENCE 

Dear  Mike  : 

...  I  am  answering  your  inquiry  for  fear 
that  producers  will  be  confirmed  in  a  very 
serious  mistake,  if  this  argument  goes  by 
default. 

Mr.  Hinds  savs  he  has  operated  in  cities 
from  3,100  to  600,000  in  ten  years.  I  have 
operated  in  cities  of  from  200  to  one  million 
and  a  half.  I  have  been  in  London,  Toronto, 
Mexico  City,  Los  Angeles,  San  Francisco, 
Seattle,  in  the  show  business  for  29  years. 
I  have  played  every  city  and  village  in  states 
like  Missouri,  California,  all  of  Western 
Canada.  I  have  played  on  the  borders  of 
Alaska,  operated  in  coal,  farming,  lumber, 
shipping  regions,  government  forts,  towns, 
state  capitals,  irrigation  towns,  and  I  say 
that  there  is  a  vast  difference  in  small  towns 
and  large  cities — that  there  is  a  vast  differ- 
ence in  a  city  like  New  York,  which  gave 
"Uncle  Tom's  Cabin"  the  record  low  at 
the  Rialto,  and  any  small  town  in  the  west 
where  the  picture  was  a  mighty  grosser. 

Any  picture  that  is  a  record  of  a  uni- 
versally read  classic,  or  that  strikes  a  few 
deep  simple  hunnan  chords  and  does  it  well, 
will  succeed  anywhere  —  in  Budapest,  in 
Rome  and  my  town  Nampa. 

Mr.  Hinds  says  westerns  don't  break 
records.  "Cimmaron"  holds  the  straight  at- 
tendance record  in  this  town.  Plent}'  of 
good  westerns  outgrossed  "Mighty  Bar- 
num."  Now  let  a  man  in  a  town  50  miles 
from  New  York  say  that  he  can  get  as  much 
with  Ken  Maynard  as  with  "The  Merry 
Widow"  and  spend  less  putting  it  over.  He 
can't.  The  manager  of  the  New  York 
Paramount  would  think  me  insane  if  I  told 
him  that  Buck  Jones  would  outgross  "One 
Night  of  Love,"  but  it  does  here,  and  with 
less  effort  and  advertising. 

Hinds  names  such  classics  as  "Wiggs," 
"Green  Gables,"  "Monte  Cristo,"  "Copper- 
field" — and  pictures  with  heart  appeal  that 
is  universal  viz  a  child  star,  Temple — also 
those  with  a  deep  American  human  interest, 
such  as  Rogers,  and  that's  all,  except  "Bar- 
retts of  Wimpole  Street,"  which  was  out- 
grossed  here  by  "Baboona,"  a  flop  in  many 
eastern  cities. 

It  would  be  incredible  to  expect  a  dry 
farmer  who  perhaps  has  never  seen  a  city 
of  100,000,  never  heard  of  the  "Barretts,'" 
to  go  wild  over  the  title.  If  he  comes,  he 
comes  for  the  cast,  and  if  the  cast  is  vul- 
nerable you  have  a  flop. 

Crook  pictures  I  will  bet  are  hot  stuff 
on  the  east  side  of  New  York,  and  the  south 
side  of  Chicago.  They  are  poison  here. 
Why?  Because  they  hear  machine  guns; 
we  don't.  "Rothschild"  mopped  up  on  Broad- 
way for  easily  understandable  reasons — -the 
presence  of  a  great  Jewish  population,  the 
presence  of  a  big  cultured  following  for 
Arliss  whom  they  knew  from  the  stage,  the 
presence  of  a  great  educated  public  interest 
in  "Rothschild."  Here  it  did  not  do  a  good 
average.  Why?  This  was  K.  K.  K.  terri- 
tory when  that  thing  was  in  flower. 

It    figures    Arliss    spells    highbrow ;  it 


THERE  SEEM  TO  BE 
SOME  OTHER  VIEWS 

A  few  li/eeks  back,  in  these  pages, 
Fred  Hinds,  who  operates  the  Strand 
in  Whitewater,  Wis.,  wrote  ns  a  piece 
in  which  he  stated  there  were  no  small 
towns  as  concern  picture  grosses,  that 
a  hit  was  a  hit  any  place,  and  vice 
versa. 

Some  of  our  other  readers  think 
otherwise  to  varying  extents,  and  on 
this  page  we  are  pleased  to  p^iblish  the 
remarks  of  Herman  J.  Brown,  Frank 
C.  Goldquist  and  foe  Hewitt.  More 
to  come.  — A-MIKE 


doesn't  like  costumes  or  foreign  stuff  and 
the  photos  showed  that  was  what  it  was. 
The  more  you  advertise  a  picture  like  that 
the  less  you  do.  I  advertised  it ;  signed  per- 
sonal praise  endorsements  of  it,  but  it  was 
not  what  they  wanted. 

Those  who  were  cultured,  those  who  were 
well  read,  came.  They  praised  a  fine  pic- 
ture, but  they  were  not  enough. 

.  .  .  Producers  to  make  great  grosses  must 
strike  chords  that  are  simple,  deep,  human, 
universal.  That  can  seldom  be  done,  and  in 
production  as  any  one  of  these  virtues  are 
neglected  the  gross  will  fall. 

Let  me  give  examples :  A  picture,  if  we 
can  imgine  one,  of  sophicates  on  the  Lido, 
called  "The  Orchid,"  talks  a  language  and 
has  values  that  are  Greek  to  an  irrigation 
farmer.  It  is  a  specialized  picture.  With 
Garbo  as  a  star,  it  may  gross  $90,000  at  the 
Capitol  and  not  do  average  here.  Why 
should  it  ?  How  in  blazes  can  it  ?  A  picture 
like  "Henry  the  Eighth,"  which  gently  kids 
even  bloody  murder,  must  appear  to  local 
folk  like  a  confused  blurr,  about  unreal  peo- 
ple— names  out  of  books,  but  not  real  people 
like  Davies  the  hardware  man  next  door. 

But  a  picture  that  mirrors  some  deep 
trait,  some  universal  longing,  a  picture  that 
preferably  has  a  touch  of  pathos,  which  is 
more  important  than  comedy — women  are 
weak  on  comedy,  except  sex  badinage — a 
picture  preferably  melodramatic,  that  mir- 
rors the  terrible  struggle  against  odds,  the 
fullfilment  of  love  that  looked  unattainable, 
the  conquest  of  evil  by  fate,  such  a  picture 
can  gross  millions.  I  will  predict  a  giant 
gross  for  Anthony  Adverse,  and  I  warn 
Warners  to  get  a  director  who  can  infuse 
some  of  the  mystical  values  in  it. 

Properly  produced,  it  will  outgross  all 
other  picturees,  should  be  run  in  two  install- 
ments at  one  dollar  each,  each  two  hours 
and  a  half  long,  one  one  week  the  other  the 
next,  or,  one  opening  one  day,  and  the  sec- 
ond a  couple  of  days  later  in  another  the- 
atre, and  from  that  continuing  to  run  side 
by  side.  If  they  do  that  they  will  net  seven 
million  dollars  on  all  runs,  perhaps  ten 
millions,  in  net  profit  to  themselves.  If  they 
take  this  tip,  don't  forget  the  small  town 
man  who  made  it. — Herman  J.  Brown,  In- 
land Amusement  Co.,  Nampa,  Idaho. 


FINDS  HINDS  IS  RIGHT 
—WITH  ONE  EXCEPTION 

Dear  Mike: 

Regarding  the  article  by  Fred  Hinds  cov- 
ering the  showing  of  all  classes  of  pictures 
in  "small  towns,"  I  think  Hinds  is  entirely 
right.  He  has  covered  the  subject  very 
thoroughly. 

I  would  like  to  make  this  one  exception, 
however.  It  has  been  only  in  the  last  year 
and  a  half  or  two  years  that  all  classes  of 
pictures  have  been  acceptable  to  the  small 
town  theatres.  This  was  brought  about  by 
the  atmosphere  of  sophistication  that  per- 
vaded so  many  of  the  releases.  But  hap- 
pily, this  has  been  largely  eliminated,  the 
producers  have  come  down  to  earth  and  the 
result  is  a  good,  wholesome  product  that 
has  benefited  everybody. 

It  used  to  be  we  were  afraid  of  the  so- 
called  "costume  picture."  For  some  reason 
there  was  a  foolish  prejudice  among  the 
people  against  these,  but  even  this  has  van- 
ished and  in  many  cases  we  find  this  type 
of  picture  going  over  better  than  the  more 
modern  kind. 

We  have  played  practically  all  of  the 
pictures  listed  by  Mr.  Hinds  In  his  story 
and  did  very  well  with  them.  We  played 
every  one  of  the  "Six  Best"  as  listed  in 
the  HERALD  of  February  23rd  and  every 
one  clicked. 

Thank  you  for  the  opportunity  of  read- 
ing this  article  by  Fred  Hinds  and  for  be- 
ing allowed  to  comment  on  it. — Frank  C. 
Goldquist,  Manager,  Web  Theatre, 
Savanna,  III. 


ONLY  CERTAIN  HITS 
CLICK  UNIVERSALLY 

Dear  Mike: 

I  will  express  myself  briefly  on  the  mat- 
ter of  Fred  Hinds'  article  and  in  doing  so 
I  cannot  agree  with  Fred  on  the  score  that 
if  a  picture  "hits"  in  the  larger  cities  it  will 
click  in  the  towns  of  10,000  and  under.  .  .  . 
If  Fred's  argument  holds  true  how  about 
the  following  pictures  which  if  I  am  cor- 
rectly informed  made  the  grade  in  a  big 
way  in  the  larger  cities  but  with  little  ex- 
ception were  absolutely  "flops"  with  us  in 
the  sticks  .  .  .  "Cavalcade" — "Cleopatra" — 
"One  Night  of  Love" — "British  Agent" — 
"DuBarry" — "Barretts  of  Wimpole  Street." 

The  reason  I  attribute  the  socalled  "high- 
hat"  pictures  a  success  in  the  larger  spots 
is  that  they  have  a  very  large  number  from 
the  intelligentsia  to  draw  from  (including 
those  from  nearby  smaller  spots  who  will 
make  special  trips  to  first-runs  despite  the 
fact  they  know  it  will  play  their  town 
sooner  or  later).  .  .  . 

In  conclusion  I  agree  that  certain  smash- 
hits  will  click  in  all  spots,  but  I  cannot 
agree  to  this  with  pictures  of  the  sophisti- 
cated type  because  the  small  towns  don't 
have  enough  of  the  socalled  literary  or 
"high-hat"  clientele  to  draw  from  .  .  . — Joe 
Hewitt,  Lincoln  Theatre^  Robinson, 
III. 


72 


MOTION    PICTURE  HERALD 


March    23,  1935 


J.  J.  ROSENFIELD 

has  been  named  city  manager  of  the  Ever- 
green Tlieatres  in  Spokane,  Wash. 

V 

WALTER  ROSE 

formerly  at  the  Broadway  in  Springfield, 
Mass.,  is  now  at  the  Paramount  in  North 
Adams,  Mass.,  succeeding  HERMAN 
BAMBERGER,  who  is  at  the  Paramount 
in  Springfield. 

V 

CLIFF  BOYD 

of  the  Albee  is  now  managing  the  Shubert, 
Cincinnati,  Ohio,  and  HENRY  SHURE 
takes  his  place  at  the  Albee. 

V 

GEORGE  PLANCK 

may  now  be  found  at  the  Paramount  in 
Cleveland,  Ohio. 

V 

DAVE  CANTOR 

is  opening  the  old  Bijou  in  Aberdeen,  Wash. 

V 

CARL  RINDCEN 

shifts  from  the  Elmwood  in  Buffalo,  N.  Y., 
to  the  Kensington. 

V 

LEONARD  SOWAR 

is  opening  the  Uptown  in  Muncie,  Ind. 

V 

JOHNNY  SANDERS 
former   manager   of   the   Pueblo ,  Pueblo, 
Colo.,  has  been  transferred  to  manage  the 
Kiva,  Lincoln,  Neb. 

V 

LEW  WASSERMAN 

is  in  charge  of  advertising  and  managing 
the  Circle  Theatre,  Cleveland,  Ohio. 

V 

PAUL  KREPS 

former  manager  of  the  Center  in  Detroit, 
has  opened  the  Hi-Lo  Inn  in  Highland 
Park. 

V 

MILTON  KORACH 

is  managing  the  Lexington  Theatre,  Cleve- 
land, Ohio. 

V 

JOSEPH  ALEXANDER 
is  transferred  from  the  Capitol  in  Cincin- 
nati, Ohio,  to  the  Palace,  with  C.  W.  VAL- 
ENTINE, former  assistant,  going  into  the 
Capitol. 

V 

CHARLES  D.  ARMENTROUT 

has  been  named  manager  of  the  Strand  in 

Mason  City,  la. 

V 

J.W.HART 

is  now  managing  the  Bijou  Theatre  in 
Waverly,  111. 

V 

C.  F.  GOODMAN 

is  the  new  skipper  of  the  Opera  House  The- 
atre, recently  opened  in  Lenora,  Kan. 

V 

E.  H.  DANIELSON 

is  managing  the  recently  remodeled  Dream 
Theatre,  Russell,  Kan. 

V 

W.  E.  O'BRIEN 

is  the  new  manager  of  the  Valencia  Theatre 
at  Macon,  Mo. 

V 

A.  C.  WOOTEN 

is  at  the  State  Theatre,  Earned,  Kan.,  re- 
cently installed  new  RCA  sound  equipment. 


SANDRA  PATRICA  SMITH,  daugh- 
ter of  Mr.  and  Mrs.  Lou  Smith  "re- 
leased" March  \7th,  weight  nine 
pounds.  Daddy  manages  the  New 
Elton  Theatre  in  Brooklyn  and, 
master  showman  that  he  is,  sees  that 
his  stellar  attraction  arrives  on  St. 
Patrick's  Day. 


NEW  ASSISTANT 
MANAGER  MEMBERS 


CALVIN  BALL, 
Paramount,  Charlottesville,  Ya. 
CHARLES  BURCH, 
Mu  Wa  Tu,  Coshocton,  Ohio. 
J.  S.  CAVIES, 
Boyd,  Chester,  Pa. 
LEE  EDWARD  CHURCHIN, 
Coney  Island,  Brooklyn,  N.  Y. 
VERNON  B.  CLINTON, 
Capitol,  Glendale,  Col. 
J.  W.  DIEDENHOFEN,  JR., 
Upton,  Milwaukee,  Wis. 
B.  EDELSTEIN, 
Goodwin,  Newark,  N.  J. 
WALTER  ESTRUP, 
Parthenon,  Hammond,  Ind. 
GEORGE  H.  EWART, 
Piedmont,  Oakland,  Cal. 
GEORGE  ERASER, 
Uptown,  Cleveland,  Ohio. 
IRVING  M.  GINSBERG, 
Burland,  Bronx,  N.  Y. 
JACK  GOLLADAY, 
Auditorium,  Marshall,  Mo. 
J.  S.  GRILL, 
Benson,  Brooklyn,  N.  Y. 
JOE  HORNREICH, 
Kinema,  Brooklyn,  N.  Y. 
WALTER  E.  JANCKE, 
West,  Trinidad,  Colo. 
JOHN  C.  MAKEMSON, 
Holland,  Belief ontaine,  Ohio. 
MARTIN  NADELMAN, 
Times  Square,  New  York  City. 
JAMES  J.  O'NEIL, 
Capitol,  Arlington,  Mass. 
LOWELL  PARMENTIER, 
Bay,  Green  Bay,  Wis. 
IRVING  PEARLMAN, 
American,  Chicago,  III. 


DWIGHT  VAN  METER 

formerly  at  the  Aldine,  Wilmington,  IDel.,  is 

now  at  the  Astor,  Reading,  Pa. 

V 

DAN  REDDEN 

formerly  assistant  manager,  has  been  pro- 
moted to  manage  the  Music  Hall,  Seattle, 
Wash.,  replacing  JAMES  CLEMMER. 

V 

FRANCIS  DEERING 
has  been  transferred  from  the  State  in  Mem- 
phis, Tenn.,  to  the  State  in  Houston,  Tex. 

V 

E.  W.  SOKILOWSKY 

succeeds  A.  MENARD  as  manager  of  the 
Rialto  in  New  Britain,  Conn.,  with  the  lat- 
ter going  to  the  Colonial  in  Utica,  N.  Y. 

V 

GEORGE  HOOVER 

has  been  transferred  from  Manchester, 
Conn.,  to  the  Capitol  in  Springfield,  with 
JOHN  HESSE  going  into  the  Roger  Sher- 
man in  New  Haven,  and  HAROLD 
MEYERSON  to  Loew's  in  Hartford. 

V 

JIM  AYRES 

will  manage  the  Sierra,  to  be  opened  shortly 
in  Susanville,  Cal. 

V 

H.  E.  ZIEBAK 

has  been  made  manager  of  the  National 
Theatre,  Chico,  Cal. 

V 

PHILIP  A.  FREASE 

will  open  the  Albany  Theatre,  at  Albany, 

Cal. 

V 

L.  P.  CLARK 

has  succeeded  WALTER  KOFELDT,  re- 
signed, as  manager  of  the  Criterion,  Santa 
Monica,  Cal. 

V 

DAVID  E.  SUGARMAN 

has  left  the  Embassy  in  New  Britain,  Conn., 

to  manage  the  Colonial,  Hartford. 

V 

GEORGE  PLANCK 

is  now  at  the  Paramount  in  Marietta,  Ohio. 

V 

ROBERT  MOMM 

manager  of  Warners'  Sherman,  at  Chilli- 
cothe,  Ohio,  has  been  transferred  to  the 
Ohio,  in  Sidney,  Ohio. 

V 

J.  W.  HOUGH 

now  managing  the  Palace  Theatre  at  W. 
Asheville,  N.  C. 

V 

H.  F.  DONALDSON 

is  at  the  helm  of  the  Cactus  Theatre,  San 
Angelo,  Tex. 

V 

A.  F.  SMITH  &  C.  PARISH 

recently  assumed  management  of  the  Pella 

Theatre,  Pella,  la. 

V 

F.  C.  LAWRENCE 

is  at  the  helm  of  the  Luray  Theatre,  Luray, 
Kan. 

V 

FLOYD  MAXWELL 

has  been  appointed  manager  of  the  RKO 
Orpheum  in  Denver,  Colo. 

V 

JAMES  Q.  CLEMMER 
is  now  managing  the  Music  Box  and  Blue 
Mouse  Theatres,  in  Seattle,  Wash. 


March    2  3,     19  3  5 


MOTION    PICTURE  HERALD 


73 


THE  I^ELEASE  CHART 


Productions  are  listed  according  to  the  names  of  distributors  in  order  that  the  exhibitor  may  have  a  short-cut  towards  such 
information  as  he  may  need,  as  well  as  information  on  pictures  that  are  coming.  Features  now  in  work  or  completed  for  release 
later  than  the  date  of  this  Issue  are  listed  under  "Coming  Attractions."  Running  times  are  those  supplied  by  the  companies. 
Asterisk  indicates  running  time  as  made  known  by  West  Coast  studio  before  announcement  by  home  office  in  New  York.  Varia- 
tions also  may  be  due  to  local  censorship  deletions.  Dates  are  1934,  unless  otherwise  specified.  Letter  in  parentheses  after 
title  denotes  audience  classification  of  production:  (A)  Adult,  (S)  General.  Numerals  following  audience  classification  are  pro- 
duction numbers. 


AMBASSADOR  PICTURES 


FIRST  DIVISION 


Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Fighting  Trooper.  The  Kermit  Maynard- Barbara  Worth.. Mev.  IS  

Northern   Frontier   (G)  Kermit  Maynard-Eleanor   Hunt.. .Feb.     I.'35  57. Mar.  9,'35 

Wilderness  Mail  (G)  Kermit  Maynard-Fred    Kohler  Mar.  13/35. ... *58. Mar.  I6,'35 

Coming  Attractions 

His  Fighting  Blood   Kermit  Maynard   July 

Red  Blood  of  Courage  Kermit  Maynard   Apr. 

Sandy  of  the  Mounted  Kermit  Maynard   Sept. 


Chesterfield  and 


Timber  War   Kermit  Maynard 


I, '35. 
20.'35. 
I2,'35. 
.May  27,'35. 


(Releases  Monogram,  Liberty, 

Features 

Title  Star 

Convention   Girl  Rose  Hobart 

Flirtation   Jeannette  Loff- 

Ben   Alexander  Nov. 

Hel  Tiki  (G)   (All  Native  Cast) ...  Principal   Feb. 

Little  Damozel   Anna  Neagle  Dec. 

Return  of  Chandu  Maria  Alba- 

Bela  Lugosi  Principal   Oct. 

Sunset  Range  (G)   Hoot  Gibson- 
Mary  Doran   May 


Invincible  pictures  in  certain  territories.) 

Running  Time 
Dist'r          Rel.  Date      Minutes  Reviewed 
  Oct.  31  


9  

I, '35. 
I  


86.  Feb.  9,'35 


Trails  of  the  Wild  Kermit  Maynard   ..Aui.  -6'zi^v::..v//:..v..::.   white  Heat  v&""cherriii:  1 .. I "o^^^ 

CHESTERFIELD 


9.'35 
I 


Features 

Title  Star 

Curtain  Falls.  The  (A)  Henrietta  Crosman   

Green  Eyes  (G)   Charles  Starrett-Shlrley  Grey.. 

Sons  of  Steel  C.  Starrett  -  Polly  Ann  Young 

World  Accuses,  The  Dickie  Moore  -  Russell  Hopton  - 

Coming  Attractions 

Circumstantial  Evidence   Chick  Chandler-Shirley  Grey  

Girl  Who  Came  Back  

Happiness  C.O.D  

Shot  in  the  Dark,  A  Charles  Starrett-Marion  Shilling  .  Feb. 


Running  Time 
Rel.  Date      Minutes  Reviewed 
Oct.      1  67  Oct.  6 


June 
Dec. 
Nov. 


15.. 
15. 
12. 


.67. 


.  Dec.  8 


.63. 


I5,'35. 


.68. 


COLUMBIA 


Features 

Title  Star  Rei. 

Against  the  Law  (A)  John  Mack  Brown-Sally  Blane. .  .  .Oct. 

Behind  the  Evidence  (G)  Norman  Foster-Sheila  Manners. .  .Jan. 

Best  Man  Wins,  The  (G)  Tim  McCoy-Shirley  Grey  July 

Beyond  the  Law  (G)  J.  Holt-Florence  Rice-E.  Lowe... Jan. 

Broadway  Bill  (G)  Warner  Baxter-Myrna  Ley  Dec. 

J.  Durante  -  Lee  Tracy  -  Sally 

Carnival   (G)    Eilers  -  Florence  Rice  Feb. 

Death  Flies  East  (G)  Florence   Rice-Conrad  Naael  Feb. 

Fugitive  Lady  (G)   Neil   Hamilton-Florence  RIee  Oet. 

(See  "In  the  Cutting  Room,"  Oct.  20.) 

Girl  In  Danger  (A)  Ralph  Bellamy-Shirley  Grey  Aug. 

I'll  Fix  It  Jack  Holt-Mona  Barrio....  Oct. 

In  Spite  of  Danger  Marian  Marsh-Wallace  Ford  Mar. 

(See  "Devil's  Cargo"   "In  the  Cutting   Room,"   Jan.  26,'3G.) 

Jealousy  (G)   Nancy  Carroll-Donald  Cook  Nov. 

Lady  by  Choice  (G)  Carole  Lombard  -  May  Robson  - 

Walter  Connolly-Roger  Pryor..Oet. 

Law  Beyond  the  Range  Tim  McCoy-Biiiie    Seward  Feb. 

Let's  Live  Tonight  Lilian  Harvey-Tulllo  Carmlnatl. .  Mar. 

(See  "Once  A  Gentleman"   "In  the  Cutting  Room,"  Deo.  29.) 

Man's  Game,  A  (G)  Tim  McCoy-Evelyn  Knapp   June 

Men  of  the  Night  (G)  Bruce  Cabot-Judith  Allen   Nov. 

Mills  of  the  Gods  (G)  May  Robson  -  Victor  Jory  -  Fay 

Wray   Dec. 

Prescott  Kid   Tim  McCoy-Sheila  Manners  Nov. 

Revenge   Rider   Tim  McCoy-Blllle  Seward  Mar. 

(See  "Alias  John  Law"  "In  the  Cutting  Room,"  Dec.  8.) 

Square  Shooter  (G)   Tim  McCoy   Jan. 

That's  Gratitude  (A)  Frank  Craven-Sheila  Manners  Oct. 

Voice  in  the  Night  Tim  McCoy-Billie  Seward   Apr. 

Westerner,  The   Tim  McCoy-Marian   Shilling  Dee. 

White   Lies   (A)  Victor  Jory-Fay  Wray   Nov. 

Whole  Town's  Talking,  The  (G).Edw.  G.  Robinson-Jean  Arthur.. .  Feb. 

Coming  Attractions 

Air  Fury   Ralph  Bellamy-Tala  BIrell  Apr.  30,'35. 

Black  Room  Mystery  Boris  Karloff   

Call  to  Arms  Wiliard  Mack-Ben  Lyon-8hlel« 

Mannors-Wera  Engels   

(See  "In  the  Cutting  Room,"  Nov.  3.) 

China  Roars   

Depths  Below   

Eight  Bells   Ann  Sothern-Ralph  Bellamy  Apr.  Il,'35. 

(See  "In  the  Gutting  Room,"  Feb.  23,'35.) 

Feather  In  Her  Hat,  A  , 

Fighting   Shadows  Tim  McCoy-Geneva  Mitchell  Apr.  I8,'3S. 

Frisco  Fury   lack  Holt   

Georgiana   Ann  Sothern   

Girl   Friend,  The  Lupe  Velez-Jack  Haley   

Grand  Exit   

Hot  News   Richard  Cromwell-Blllle  Seward  .Apr.  25,'35. 

If  You  Could  Only  Cook  Claudette  Colbert   

I'll  Love  You  Always  Nancy  Carroll-George  Murphy  Mar.  20,'35. 

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 

Jim  Burke's  Boy  Florence  Rice-Jack  Holt  ,. 

Lady  Beware   

On  Wings  of  Song   Grace  Moore  -  Leo  Carrillo  - 

Robert  Allen   Apr.  27.'35. 

Party  Wire   Jean  Arthur-Victor  Jory  

Range  Raiders   Tim   McCoy-Biliie  Seward  

Stranger  In  His  House  Jack  Holt-Mona  Barrle   Mar.  29,'35. 

(See  "Gimpy"   "In  the  Cutting   Room,"   Mar.  2,'35.) 

Sure   Fire   Gene   Raymond- Ann  Sothern  

Swell  Head   Wallace  Ford-Barbara  Kent  Apr.  8,'35. 


Running  Time 
Date      Minutes  Reviewed 

25  61  Dec.  I 

20,'35  57.  Feb.  2,'35 

20  57  Dec.  20 

5,'35  68. Jan.  5,'35 

27  "105  Nov.  10 

I0,'35  75.  Feb.  23,'35 

28,  '35....*65.Mar.  9,'35 
U  68.  Mar.  I6,'35 

29... 
15... 
8,'35 


15... 
I5,'35 
I, '35 


 61 . 

. .  Dec. 

..  ..69.. 

..Nov. 

17 

 60.. 

. .  Dee. 

15 

....*85.. 

..Oct. 

• 

 ."iR 

.58.... Oet.  21 
.58....  Dee.  I 


21.... 
26.... 


15  67. Jan.  19,'SS 

8  56  

I8,'35  

21,  '35  57. Mar.  9/35 

6  64....  Nov.  17 

6  59  

10  

27    74.  Jan.  5/35 

22,  '35....*93.Jan.  26,'35 


DU  WORLD  PICTURES 


Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Blue  Light  5029   LenI  Riefenstahl   Oct.    15  90  

Cranquebllle   5038  Dec.  15  

Girl  In  the  Case  5005   Jimmy  Savo-Eddle  Lambert- 
Dorothy  Darling   60  

Kocha,  Lubl  Szanule  5041 ...  .(Polish)   Nov.     I  72  

L'Agonle  des  Algles  (A)  5032. Pierre  Renoir   Dec.     I  80  Dec.  8 

Man  Who  Changed  His  Name, 

The  (A)  5036   Lyn  Harding   65  Oct.  27 

Marie  5043   Annabella   Jan.      I,'35  67  

Old  Bill  5038   Anatole  France  story  Feb.    I0.'35  70  

Viennese  Love  Song  Maria  Jeritza   Feb.    I5,'35  72  

Coming  Attractions 

Camille   Y.   Prlntemps-Pierre  Fresnay  Apr.  I5,'35  

World  In  Revrit   Graham  McNamee   Mar.     I, '35  


FIRST  NATIONAL 


Features 

Title  Star  Rel. 

Babbitt  (G)  869  Aline  MacMahon-Guy  Kibbee. . . .  Dec. 

Flirtation  Walk  (G)  752  Dick  Powell  -  Ruby  Keeier-Pat 

O'Brien   Dec. 

Gentlemen  Are  Born  (G)  872. .  Franchot   Tone-Jean   Muir  Nov. 

Gold  Diggers  of  1935  (G)  851.  Dick  Powell-Gloria  Stuart  Mar. 

Happiness  Ahead  (G)  854  Dick   Powell-J.   Hutchinson  Oct. 

I  Sell  Anything  (G)  873  Pat  O'Brien  -  Ann   Dvorak  -  C. 

Dodd   Oct. 

Living  On  Velvet  859  (G)  Kay  Francis  -  George  Brent  - 

Warren  William  Mar. 

(See  "In  the  Cutting  Room,"  Dec.  8.) 

Maybe  It's  Love  (G)  876  Gloria  Stuart-Ross  Alexander  Jan. 

Murder  in  the  Clouds  (G)  877.Lyle  Talbot-Ann  Dvorak   Dec. 

Red  Hot  Tires  (G)  878  '_y!e  Talbot-Mary  Astor   Feb. 

Six  Day  Bike  Rider  (G)  864.. Joe  E.   Brown-Maxine  Doyle  Oct. 

While  the  Patient  Slept  (G)  874Aline  MacMahon-Guy  Kibbee  Mar. 

Woman  in  Red,  The  863  B.  Stanwyck-Gene  Raymond  Feb. 

(See  "Northshore"  "In  the  Cutting  Room,"   Dec.  8.) 


Running  Time 
Date      Minutes  Reviewed 
8  *75  Nov.  17 


I..  97.. 

17  *75. 

I6,'35  95. 

27  86.. 


20. 


...70. 


..Nov. 
..Oct. 


.Sept. 
..Oct. 


22 
20 


2/35  80. Mar.  i6,'35 

I2,'35  62  Nov.  24 

15  61. Jan.  5,'35 

2.'35  66. Mar.     9, "35 

20  69  Nov.  10 

9,'35  61. Mar.  9,'35 

16,'35  68  


Coming  Attractions 

Alibi  Ike"   Joe  E.  Brown   

Black  Fury   Paul  Muni-Karen  Morley   May  4/35 

(See  "In  the  Cutting  Room,"  Jan.   19, '35.) 

Captain   Blood   Robert  Donat-Jean  Mulr  

Case  of  the  Curious  Bride  879.  Warren  William   Apr.  I3,'35 

Go  into  Your  Dance  853  Ai  Jolson-Ruby  Keeler  Apr. 

(See  "In  the  Cutting  Room,"  Jan.   19. '35.) 
In  Caiiente  856   Dolores  Del  Rio-Pat  O'Brien. .  .  May 

(See  "In  the  Cutting  Room,"  Feb.  2.'35.) 
Mary  Jane's  Pa  875  Aline  MacMahon-Guy  Kibbee  ..Apr. 

(See  "Wanderlust"   "In  the  Cutting  Room,"   Mar.  2,'35.) 

Napoleon   Edw.  G.  Robinson-Bette  Davis  

Oil  for  the  Lamps  of  China  867. .  J.   Hutchinson -Pat  O'Brien  

Singer  of  Daples  Enrico  Caruso,  Jr  

Traveling  Saleslady  870  Joan  Blondell   Apr.  6.35 

(See  "In  the  Cutting  Room,"  Mar.  2, '35.) 


.97. 


20.'35. 
25,'35. 
27,'35. 


FOX  FILMS 


Running  Time 
Date      Minutes  Reviewed 

8,'35  72. Jan.  26/35 

23  74  

28  83  Dec.  15 

l,'35....*70.Jan.  5/35 

1 1, '35  78  Dee.  2t 

21  65.... Sept.  21 

2  72.... Oet.  27 

23  78.... Nov.  17 

3  80  Dee.  M 


8,'3S  

I,'35...  .70.  Feb.  23/35 

21  74. ...Dec.  IS 

9  80....  Nov.  S 

22,'35  80.  Feb.  I6,'S5 

4.'35  82.  Feb.  9,'35 

21  73. ...Nov.  24 

26  88.... Nov.  24 

7  81....  Doe.  22 

I8,'35  69.  Jan.    26, '35 

I5,'35...    90.  Feb.  9.'3S 


Features 

Title  Star  Re"- 

Baboona  (G)  530  Mr.  &.  Mrs.  Martin  Johnson  Feb. 

Bachelor  of  Arts  520  Tom  Brown-Anita  Louise  Nov. 

(See  "In  the  Cutting   Room,"   Nov.  3.) 

Bright  Eyes  (G)  524  Shirley  Temple-James  Dunn  pec. 

Charlie  Chan  In  Paris  (G)  526.  Warner  Oland   Feo- 

County  Chairman,  The  (G)  525.  Will   Rogers   Ja"; 

Dude  Ranger,  The  (G)  507  George  O'Brien   Sept. 

Elinor  Norton  (A)  510  Claire  Trevor  •  Norman  Foster - 

Hugh  Willlams-G.  Roland  Nov. 

First  World  War.  The  (A)  519  Nov. 

Gambling   (A)   512   George  M.  Cohan   Nov. 

George   White's   1935  Scandals 

534   Alice  Faye-James  Dunn  Mar. 

(See  "In  the  Cutting  Room/'  Feb.  23,'35.) 
Great  Hotel  Murder  (G)  522. .Edmund  Lowe-Victor  McLaglen. . Mar. 

Heildorado  (G)  522  Richard  Arien-Madge  Evans  Dec. 

Hell  in  the  Heavens  (A)  517. .Warner  Baxter-C.  Montenegro. ...  Nov. 

Little  Colonel  (G)  531  Shirley  Temple-L.  Barrymore  Feb. 

Lottery  Lover  (G)  523  "Pat"  Paterson-Lew  Ayres   Jan. 

Love  Time  (G)  506  "Pat"  Paterson-Nlls  Asther  Sept. 

Marie  Galante  (A)  511  Spencer  Tracy-Ketti  Gallian  Oct. 

Music  in  the  Air  (G)  513  Gloria  Swanson  -  John  Boles  - 

Douglass  Montgomery  Dec. 

Mystery  Woman  (G)  515  Mona  Barrie-Gllbert  Roland  Jan. 

One  More  Spring  (G)  529  Janet  Gaynor-Warner  Baxter  Feb. 

Peck's  Bad  Boy  (G)  516  Jackie  Cooper-Thomas  Meighan- 

Dorothy  Peterson-Jackie  Searl  .Oct. 

Pursued  (A)  502  Rosemary  Ames-Victor  Jory   Aug 

365   Nights  In   Hollywood  (G) 

514   Alice  Faye-James   Dunn  Oct. 

Under  Pressure  521  Edmund  Lowe-Victor  McLaglen.  .  .Jan. 

(Reviewed  under  the  title  "Man  Lock") 

When  a  Man's  a  Man  (G)  527.  George  O'Brien   Feb. 

White  Parade,  The  (G)  518...  John   Boles-Loretta  Young  Nov. 

Coming  Attractions 

Dante's  Inferno   Claire  Trevor-Alice  Faye  

(See  "In  the  Cutting  Room."  Mar.  2,'35.) 

Doubting  Thomas   Will  Rogers   

it's  a  Small  World  536  Spencer  Tracy-Wendy  Barrle  

(See   "In  the   Cutting   Room,"   Mar.    16, '35.) 

Kiss  and  Wake  Up  Edmund   Lowe-Claire  Trevor  

Life  Begins  at  40  533  Will   Rogers   Mar.  22,'35  79. 

(See  "In  the  Cutting  Room,"  Jan.  26,'35.) 

Man  Proposes   James    Dunn-Mae  Clarke  

Our  Little  Girl  Shirley  Temple   

Redheads  on  Parade  536  I.  Boles-Clalre  Trevor-Alice  Fay  

Secret    Lives   Gilbert  Roland-Mona  Barrle  

Spring  Tonic  535  Lew  Ayres-Claire  Trevor  Mar.  15/35  

(See  "Man  Eating  Tiger"  "In  the  Cutting  Room,"  Mar.  9,'35.) 
$10  Raise  537   Edward  Everett  Horton  Apr.     5, '35  

(See  "In  the  Cutting   Room."   Mar.   9. '35.) 
Under  the  Pampas  Moon  Warner  Baxter-KettI   Gallian  June  7,'35  


19  

24  


.70.... Sept. 
.68....  Nov. 


8 
24 


12  74.... Nov.  17 

25,'35...  *65.Jan.  I9,'35 

I5,'35  68.  Mar.  2,'35 

16  83... Oct.  27 


74 


MOTION    PICTURE  HERALD 


March    23,  1935 


(THE  CliAI3T"CCNT'I)) 


GB  PICTURES 


Features 

Title  Star  Rel. 

Chu  Chin  Chtw  (G)  S40I  Anna  May  WonB-Georga  Rsbty.  ..Oct. 

Dittitor,  The  (A)  Cllve  Brook   Apr. 

Evansong  (A)  3406  Evelyn  Laye   Dec. 

Evergreen    (A)   S405  Jessie   Matthews-Sonnle  Hale. ...Dec, 

Iron  Duke,  The  (G)  3407  George  Arliss   Jan. 

Jack  Ahoy  (G)  3404  Jack  Hulbert   Feb. 

Little  Friend  (A)  3403  Nova  Pilbeam-Matheson  Lang. ...Nov. 

Lover  Divine   Marta   Eggerth   Mar. 

(Reviewed  under  the  title  "Unfinished  Symphony") 
Man  Who  Knew  Too  Much,  The 

(G)   Peter  Lorre-Nova  Pllbeam  Apr. 

Man  of  Aran  (A)   Robert  Flaherty   Dee. 

My  Heart  Is  Calling  (G)  Jan  Klepura   ..May 

My  Song  for  You  Jan  Kiepura   June 

Power   (A)   3402  Conrad  Veidt-Benita  Hume  Nov. 

Princess  Charming  3408  Evelyn  Laye-Henry  Wllcoxon  Jan. 

INVINCIBLE  PICTURES 

[Distributed  through  Chesterfield] 

Features  Running  Time 

Title                                     Star                                 Rel.  Date      Minutes  Reviewed 

Ghost   Walks,   The  John  Mlljan-June  Collyer  Dec.  I  

One  in  a  Million  (G)  Dorothy  Wilson-C.  Starrett  Sept.   15  66  Nov.  t4 

Port  of  Lost  Dreams  (G)  Wm.  Boyd-Lola  Lane   Oct.    15  6S  Nov.  24 

Public  Opinion   Lois  Wilson-Shirley  Grey  Mar.   I5,'35  66  

Symphony  for  Living  Evelyn  Brent-AI  Shean  Jan.    20,'35  75  

Cominq  Attractions 

Death  from  a  Distance  ,  

Room  and  Board   


Running  Time 
Date      Minutes  Reviewed 

15....  SS  Sept.  2t 

I. '35  95.  Feb.  II,'I5 

15  S2  Nov.  i 

31  96  June  23 

'35          90...  Dee.  22 

8,'35  70.  Feb.  I6,'35 

IS  88.... Oct.  n 

30,'35  Oet.  IJ 


1 5, '35  80  Dee.  29 

 77.... Oet.  II 

I. '35  90.  Fob.  2,'31 

I, '35  Nov.  10 

I  103.... Oct     I J 

•35  SI  


LIBERTY  PICTURES 


Running  Time 
Rel.  Date      MInutee  Reviewed 
...70  July  21 


..Oct.  8. 
..Dec.  14. 


...72. ...May  10 


2. 
20. 


.Oct.  13 


Features 

Title  Star 

No  Ransom  (A)  1004  Leila  Hyams-Phllllps  Holmes. 

Once   to   Every  Bachelor  (A) 

1005   ....Marian  Nixon-Nell  Hamilton. 

Two  Heads  on  a  Pillow  (A)  _  . 

1006   Neil  Hamilton-Miriam  Jordan. .. .Oct 

When  Strangers  Moot  1002. ...  Richard  Cromwell-Arline  Judge.  .  .Jul! 

Coming  Attractions 

Dizzy  Dames   •  M.  Rambeau-Florine  McKlnney  

I'll  Bet  You  

Old  Homestead.  The   Mary  Carlisle-Lawrence  Gray   ••••• 

School  For  Girls  (A)  1007  Sidney  Fox-Paul  Kelly  Mar.  22,'35  73. Mar.  9,35 

Sweepstake  Annie  (G)  Marian  Nixon-Tom  Brown  81. Feb.  23,35 

Without  Children   1008  M.  Churchill-Bruce  Cabot  


..71.. 
..74. 


MAJESTIC 


Features 

Title  Star 

Motive  for  Murder  Donald  Cook-Irene  Hervey. 

(See  "Thunder  in  the  Streets"  "In  the  Cutting  Room,"  Mar.  9,'35.) 

Night  Alarm   (G)  505  Bruce  Cabot-Judith  Allen-H.  B.    (New  York) 

Warner  -  Fuzzy  Knight  Dee.  15  

Perfect  Clue,  The  (G)  512  David  Manners-Dorothy  LIbalre. . Mar.  I0,'35.. 

She  Had  to  Choose  (G)  504. ..Larry  "Buster"  Crabbe  -  Isabel 

Jewell  -  Sally  Blane  Sept.  14  

Comina  Attractions 

Mutiny  Ahead   Nell  Hamilton-Kathleen  Burke  

(See  "In  the  Cutting  Room,"  Jan.  26,'3S.) 


Running  Time 
Rel.  Date      Minutes  Reviewed 


..65.. 
.*63.. 


.Sept. 
. .  Doe. 


22 
I 


..65. ...Aug.  11 


MASCOT  PICTURES 


Running  Time 
Date      Minutes  Reviewed 

22.'35  73.  Fob.  18,'S5 

30  79. ...Nov.  24 


21 . 
21. 


 Ill  Aug. 

 85  Dec. 


Features  Running  Tl 

1-jtie  Star  Rol.  Date  Minutes 

Crimson  Romance  (A)  Ben  Lyon-Sarl  Marltza  Oct.      1  67. 

In  Old  Santa  Fe  (G)  Ken  Maynard-Evalyn  Knapp  Nov.    15  63. 

Little  Men  (6)   Erin  O'Brlen-Mooro-R.  Morgan. .Dec.    14  72. 

Lost  Jungle,  Th4  Clyde   Beatty   June    13  68. 

Marines  Are  Coming,  The  William  Haines-Armlda  ,.■  •■  ••• 

Conrad  Nagel-Esther  Ralston.  . .Nov.    20  70. 

Young  and  Beautiful  (A)  William  Haines-Judlth  Allen  Sept.    2  68. 

Cominff  Attractions 

Behind  the  Green  Lights  Norman  Foster-Judith  Allen  Mar.  11.35  

METRG-GOLDWYN-MAYER 

Features 

Title  Star  Rel. 

After  Office  Hours  (G)  C.   Bennett-Clark  Gable  Feb. 

Babes  in  Toyland  (G)  Laurel  and  Hardy-C.  Henry  Nov. 

Barretts  of  Wimpole  Street  (A). Norma  Shearer-Charles  Laugh- 

ton-Fredric   March   Sept. 

Band  Plays  On,  The  (G)  Robt.  Young-Betty  Furness  Dec. 

Biography  of  a  Bachelor 
Girl  (A)   R.   Montgomery-Ann  Harding. ..  .Jan. 

Casino  Murder  Case  Paul  Lukas   Mar. 

(See   "in   the  Cutting   Room,"    Feb.  I6,'35.) 

Chained    (A)   Joan  Crawford-Clark  Gable  Aug. 

David  Copperfleld  (G)   Frank  Lawton  -  Freddie  Bar- 
tholomew -  W.  C.   Fields  -  L. 
Barrymore-Edna  M.  Oliver. ..  .Jan. 

Death  on  the  Diamond  (G)...  Robert  Young-Madge  Evans  Sept, 

Evelyn  Prentice   (A)  William  Powell-Myrna  Loy  Nov. 

Forsaking  All  Others  (A)  Joan  Crawford  -  Clark  Gable  - 

Robert  Montgomery   Dec. 

Gay  Bride,  The   (A)  Carole  Lombard-Chester  Morris.  ..  Dec. 

Have  a  Heart  (G)   Jean  Parker  -  James  Dunn  • 

Stuart  Erwin  -  Una  Merkel  Sept. 

Merry  Widow,  The  (A)   Maurice  Chevaller-J.  MacDonald  . . Nov. 

Night  Is  Young,  The  (G)  Ramon  Novarro- Evelyn  Laye  Jan. 

Painted  Veil,  The  (A)  Greta  Garbo-Herbert  Marshall- 
George  Brent   Nov. 

Sequoia  (G)   Jean  Parker-Russell  Hardie  Feb. 

Shadow  of  Doubt  (G)   Ricardo  Cortez-Virglnia  Bruce... Feb. 

Society  Doctor   Chester  Morris-V.   Bruce  Jan. 

(Reviewed  under  the  title  "Only  8  Hours") 

Student    Tour  (G)   Charles  Butterworth-J.  Durante.  .Oct. 

Times  Square  Lady  (G)  Robert  Taylor-VIrglnia  Bruce. ...  Mar. 

Vanessa:  Her  Love  Story  (A).  .Helen  Hayes-Robert  Montgomery.  .Mar. 

What  Every  Woman  Knows  ((3) .  Helen  Hayes-Brian  Aherne  Oct. 

Wicked  Woman  (A)   Mady  Christians-Chas.  Bickf ord  . .  Dec. 

Winning  Ticket,  The  (G)  Leo  Carrillo-L.  Fazenda  Feb. 


me 

Reviewed 
...Oct.  6 
...Nov.  24 
...Doe.  22 


. . .  Do«. 
...Sept. 


4 
29 


4,'35          84  Dec 

I5,'35  84  


31, 


•74. 


2* 

Sept.  1 


l8,'35....133.Jan.  19,'35 

14  72.... Sept.  29 

9  80. ...Nov.  3 


28    84....  Dae. 

14  82.... Nov. 


7  82.... Oct.  27 

2  100.... Sept.  8 

II,'35  82. ...Dec.  29 

23  86....  Nov.  10 

l,'35  72.... Nov.  17 

I5,'35  75. Feb.  9,'35 

25,'35  68. Jan.  I2,'35 

S  87.... Nov.  10 

8,'35  69. Mar.  2.'3'i 

(,'35  77.  Feb.  23,'35 

19  92. ...Oct.  13 

7  74  Dec.  I 

8,'35  70. Jan.  I9,'35 


Cominff  Attractions 


Age  of  Indiscretion  May  Robson-Madge  Evans  

Baby  Face  Harrington  Charles  Butterworth   Apr.  I9,'35. 

(See  "Public  Enemy  No.  2"  "In  the  Cutting  Room."  Mar.  2, '35.) 

China  Seas   Wallace  Beery-Clark  Gable  

Flame   Within.   The  Ann    Harding-Herbert  Marshall..,^  

Garden  of  Allah,  The  Joan  Crawford   

Mark  of  the  Vampire  ..L.  Barrymore-Bela  LugosI  Apr.     5, '35. 

(See   "In  the   Cuttinn   Room,"    Mar.    16, '35.) 

Mutiny  on  the  Bounty  Clark  Gable-Charles  Laughton- 

Robert  Montgomery   


Tlfi«  e«  Running  Time 

Naughty  Marietta  (G)   J.  Ma^co'onald-Nelson  EdSy  Sir.  °2U'8S..'!''rotk?"'2"M 

No  More  Ladies  Joan  Crawford   

One  New  York  Night  Franchot  Tone-Una   Merkel  Apr."26,''35 

(See  "Mystery  In   Room   309"   "In  the  Cutting  Room,"   Mar.    16, '35.) 
Reckless   ,,  jean  Harlow-Wm.  Powell  Apr.  I9,'35  

(See  "In  the  Cutting  Room,"  Feb.  I6,'35.) 

Typee   Mala,  Lotus  Long  

Vagabond  Lady   Robert  Young-Evelyn  Venable  

(See   "In   the   Cutting   Room."    Mar.    16, '35.) 
West  Point  of  the  Air  (G )....  Wallace  Beery-Robert  Young  Mar.  22,'35. . .  .'88. Mar.   16, '25 

MONOGRAM  PICTURES  CORPORATION 

Features 

Title 

Flirting  With  Danger  (G)  3023. 
Girl   of  the  Limberlost  (G) 

3001   

Girl  0'  My  Dreams  (G)  3015.. 

Happy  Landing  (G)  3029  

Lawless  Frontier  (G)  3035  

Lost  in  the  Stratosphere  (G) 

3020  

Man  from  Utah,  The  2044  

Million  Dollar  Baby  (G)  


Running  Time 

„  ^  Star  Rel.  Date  Minutes  Reviewed 
Robert  Armstrong-Marlon  Bums. .Dec.     I  70  ...Nov.  17 


Monte  Carlo  Nights  (A)  2024., 
Mysterious    Mr.    Wong,  The 

(A)  3022   

'Neath  Arizona  Skies  (G)  3032 

Redhead   (A)  3012  

Sing  Sing  Nights  (A)  , 

Star  Packer,  The  2041  

Successful  Failure,  A  (G)  3024 


Texas  Terror   

Tomorrow's  Youth  3021 . 


Trail  Beyond,  The  (G)  3031. 
Women  Must  Dress  (G)  


Marian  Marsh-Ralph  Morgan   Oct. 

Mary  Carlisle-Creighton  Chaney..Nov. 

Ray  Walker-Jacqueline  Wells  Sept. 

John  Wayne-Sheila  Terry  Nov. 

June  Collyer-Wllllam  Cagney  Nov. 

John  Wayne   May 

Arline  Judge  -  Ray  Walker  - 

Jimmy  Fay   Jan. 

Mary  Brian-John  Darrow  May 

Bela  Lugosi -Wallace  Ford  Jan. 

John  Wayne-Sheila  Terry  Dec. 

Bruce  Cabot-Grace  Bradley  Nov. 

Conway  Tearle-Mary  Doran  Dee. 

John  Wayne-Verna  Hlllie  July 

Wm.  Collier,  St.  -  Lucille 

Gleason   Oct. 

John  Wayne   Fab. 

Dickie  Moore  -  Martha  Sleeper  • 

John  Mlijan-Gloria  Shea  Sept. 

John  Wayne-Verna  Hlllie  Oct. 

Minna  Gombell-Gavin  Gordon  Fab. 


15  86.... Sept.  I 

17  65. ...Nov.  It 

I  63  Aug.  4 

22   54. Fab.  2,'35 


15... 
15... 


..64.... Oet.  27 

..55  


I5,'35  65... 

20  62... 


Dae.  20 


25,'35  68.J«n.  IS,'SS 

5  52....  Dae.  It 

1  76.... Sept.  22 

15  60.  Feb.  2,'S» 

30    54  


15.... 
I,'35. 


..62.. 
..51.. 


.Oet. 


15  63  

22  55.... Sept.  22 

I, '35  77.  Jan.  26,'3S 


Coming  Attractions 

Cheers  of  the  Crowd  

Dawn  Rider,  The  John  Wayne   

Desert  Trail   John  Wayne-Mary  Kornman  Apr.  22,'35  

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 

Great  God  Gold  (A)  Sidney  Blackmer-Gloria  Shea  Apr.    15,'SJ  72.  Mar.  9.'35 

Healer,  The   Ralnh  Bellamy-Karen  Morley  

Honeymoon  Limited   

Hoosier  Schoolmaster,  The  Charlotte  Henry-Norman  Foster  '.y. .II".!" 

(See  "In  the  Cutting  Room,"  Mar.  9,'35.) 

Keeper  of  the  Bees,  The  

Mystery  Man  (G)  Robert  Armstrong   Apr.  25, '35  62. Feb.  IB.'SS 

Nut  Farm,  The  (G)  Wallace  Ford   Mar.  25,'35  65. Fab.  9,'SS 

Rainbow  Valley  (G)  John  Wayne-Lucille  Brown  Mar.  15/35  52. Mar.   16, '35 

Reckless  Romeos  (G)  3019  Robt.  Armstrong-Wm.  Cagney  

PARAMOUNT 

Features 

Title 

All  the  King's  Horses  (G)  3430. 
Behold  My  Wife  (A)  3419.... 
Belle  of  the  Nineties  (A)  3353. 

Car  99   (G)  3432  

Cleopatra  (A)  3410   


College  Rhythm  (G)  3417.... 

Enter  Madame  (A)  3414  

Father  Brown,  Detective  (G) 
3420   


Gilded  Lily,  The  (G)  3426... 
Here  Is  My  Heart  (G)  3423.. 
Home  on  the  Range  (G)  3421. 

It's  a  Gift  (G)  3418  

Limehouse  Blues  (A)  3415  

Lives  of  a  Bengal  Lancer  (G) 

3427   

Menace  (A)  3413   

Mrs.  Wiggs  of  the  Cabbage 

Patch   (G)  3407   


One  Hour  Late  (G)  3422  

President  Vanishes  (G)  3416. 
Pursuit  of  Happiness,  The 

(A)  3409   

Ready  for  Love  (G)  3412  

Rocky  Mountain  Mystery  3428 
(See  "Vanishing  Pioneer" 
Ruggles  of  Red  Gap  (G)  3431 


Rumba  (A)  3429  

Wings  In  the  Dark  (G)  3424. 


Star 

Mary  Ellis-Carl  Brisson  Feb^ 

Sylvia  Sidney-Gene  Raymond  Dec. 

Mae  West   Sept. 

Fred  MacMurray-Ann  Sheridan. .,  Mar. 
Claudette  Colbert  -  Henry  Wll- 

coxon-Warren  William   Oct. 

Joe  Penner-Lanny  Ross  Nov. 

,  Elissa  Landi-Cary  Grant  Jan. 

.Walter  Connolly-Paul  Lukas- 

Gertrude  Michael   Dee. 

. C.  Colbert-Fred  MacMurray  Jan. 

Bing  Crosby-Kitty  Carlisle  Dee. 

Jackie  Coogan-Randolph  Scott. ,.. Dec. 

W.  C.  Fields-Baby  LeRoy  Nov. 

George  Raft-Jean  Parker  Nov. 

.Gary  Cooper-Franchot  Tone  Jan. 

Paul  Cavanagh   Oct. 

Pauline  Lord  -  W.  C.  Fields  - 
Zasu  Pitts  -  Kent  Taylor  - 
Evelyn  Venable   Oct. 

Joe  Morrison -Helen  'Twelvetrees  . .  Dec. 
.  Arthur  Byron-Janet  Beecher  Jan. 

.Francis  Lederer-Joan  Bennett. ...  Nov. 

.Richard  Arlen-lda  Lupino  Oct. 

.  R.  Scott-Chas.  "Chic"  Sale  Feb. 

"In  the  Cutting  Room,"  Nov.  10.) 
,  Charles  Laughton-Mary-Boland- 

Charles  Ruggles-Zazu  Pitts  Mar. 

.George  Raft-Carole  Lombard  Feb. 

Gary  Grant-Myrna  Loy  Feb. 


Running  TIma 
Rel.  Date      Minutes  Reviewed 


22,'35. 

7  

21  

I, '35.. 

5  

23  

4,'35.. 


•85.  Feb.  23,'35 
..79. Feb.  23,'35 
..75.,.. Aug.  21 
.•75.  Feb.  I6,'35 

.101.... Aug.  25 
.•83.... Nov.  10 
..S3....  Nov.  t 


21  '65....  Dee.  I 

25,'35  '80. Jan.  5,'S5 

25  76.... Dee.  t 

21  55  Mar.  2,'SI 

30  68  Nov.  24 

9  66....  Dee.  22 

I8,'35  89. Jan.  5,'35 

26  58  Oet.  IS 


19  73...,  Aug.  23 

14  75....  Dee.  S 

11,  '35          83. ...Nov.  24 

16  72. ...Sept.  15 

12  •65.,,. Oct.  6 

8,'35  63  


8,'35...,^90.Feb.  I6,'3J 
l5,'35....*70.Feb.  2,'35 
I, '35  75.  Jan.  IS.'Si 


Coming  Attractions 

Crusades,  The   Loretta  Young-Henry  Wllcoxon  

Devil  Is  a  Woman,  The  (A) . . .  Marlene  Dietrich-Cesar  Romero  *90.Mar.    2, '35 

Four  Hours  To  Kill  Richard  Barthelmess   Apr.    26, '35  

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 

Glass  Key,  The  George  Raft   

Goin'  to  Town  Mae  West   

(See  "How  Afti  I  Doin'?"  "In  the  Cutting  Room,"  Feb.  23, '35.) 
Hold  'Em  Yale  Patricia  Ellis-Larry  Crabbe  Apr.  I2,'35  

(See   "In   the  Cutting   Room,"    Feb.  I6,'35.) 

Love  in  Bloom  (G)  3434  Joe   Morrlsen-Dixle  Lee  Mar.  I5,'35. . .  .*77. Mar.  9,'35 

McFadden's  Flats  (G)  Betty  Furness- Richard  Cromwell.  .Apr.   22,'35  *67.Mar.  9,'35 

Milky  Way,  The  Jack  Oakle-Adolphe  Menjou  

Mississippi  (G)  3433  Bing  Crosby-Joan  Bennett  Mar.  22,'35  *80.Mar.  2,'35 

Once  in  a  Blue  Moon  3425  I.  Savo-Michael  Dalmatoff  

Paris   in   Spring  TuIIlo  Carminatl-Mary  Ellis  

(See  "In  the  Cutting  Room,'^  Feb,  23,'35,) 
People  Will  Talk  Chas,  Ruggles-Mary  Boland  

(See  "In  the  Cutting   Room."  Mar.  9, '35,) 

Private  Worlds  (A)  3435  C.  Colbert-J,  Bennett-C.  Boyer  .  Apr.    1 9,'35 . . .  *84.  Mar.  I6,'33 

Scoundrel,   The  Noel  Coward-Julie  Haydon  Apr.     5, '35  

Stolen  Harmony   George  Raft-Ben  Bernie  Apr,  29,'35  

(See  "In  the  Cutting   Room,"   Feb.  2,'35.) 


PRINCIPAL 


I... 


Features 

Title  Star 

Little  Damozel  722   Anna  Neagle-James  Rennio  June 

Peck's  Bad  Boy  (G)  Jackie  Cooper-Thomas  Melghan- 

Dorothy  Peterson-Jackie  SearL.Oct.  19.. 

Return   of   Chandu,  The 
300-312   Bela  Lugosl-Marla  Alba  Oct.  I.. 


Running  Time 
Rel.  Date      Minutes  Ravlawad 


,.70.... Sept, 
.65  


March    23,  1935 


MOTION    PICTURE  HERALD 


75 


(THE  RELEASE  CHART—CONT'D) 


RKO  RADIO  PICTURES 


Features 

Title  Star  nel. 

Anne  o(  Green  Gables  (G)  507.  Anne  Shirley-Tom  Brown  Nov. 

Captain  Hurrlean*  (G)  James  Bartoji-Helen  Westley  Mar. 

Dangerous  Corner  (A)  506  Melvyn  Douglas-Virslnia  Bruce- 
Conrad  Nagel   Oct. 

Enchanted  April,  The  (A)  Ann  Harding-Frank  Morgan  Feb. 

Gay  Divorcee,  The  (G)  505....  Fred  Astaire-Ginger  Rogers  Oct. 

Glgolette   Adrienne  Ames-Ralph  Bellamy. .. Feb. 

Grand  Old  Girl  (G)  519  May  Robson-Hale  Hamilton  Jan. 

Gridiron  Flash  (G)  511  Eddie  Quillan-Betty  Furness  Oct. 

Kentucky  Kernels  (G)  508  Wheeler  &  Woolsey  Nov. 

Lightning   Strikes   Twice  (G) 

517   Ben  Lyon-Pert  Kelton  Dec. 

Little  Minister  (G)  512  Katharine  Hepburn-John  Seal. ...Dec. 

Murder  on  a  Honeymoon  (G)..Edna  May  Oliver-J.  Gleason  Feb. 

Red  Morning  513   StefD   Duna-Regis  Toomey  Dec, 

(See  "Girl  of  the  Islands,"   "In  the  Cutting  Room,"  Sept. 

Roberta  (G)   Irene  Dunne  -  Fred  Astaire  ■ 

Ginger  Rogers   Mar. 

Romance  In  Manhattan  (G)  518.  Francis  Lederer-Ginger  Rogers. .  .Jan. 

Sliver  Streak,  The  (G)  513  Sally  Blane-Charles  Starrett  Dec. 

West  of  the  Pecos  (G)  516  Richard  Dix-Martha  Sleeper  Jan. 

Woman  In  the  Dark  (G)  Fay  Wray-Ralph  Bellamy  Nov. 


Coming  Attractions 


Running  Time 
Date      Minutes  Reviewed 

23  79  Get.  27 

l,'35  72.  Feb.  I(,'S5 

5  67. Jan.  I8,'35 

l,'35....*78  Dee.  15 

19  *I07  Oet.  13 

15. '35  

I8.'35  72. Jan.  I2,'35 

26  64. Jan.  26,'35 

2  75.... Oet.  27 

7  66. Mar.  2,'35 

28  110  Dee.  22 

22,'35...  .73i/j.F«b.  2,'S5 

14  66  

29.) 

8,'35...  l05</iFeb.  2S,'35 

1 1, '35  78....  Dee.  I 

21  72....  Dec.  .8 

4,'35  69.  Jan.  5,'35 

9  70  Dec.  8 


Becky  Sharp    Miriam  Hopkins   

(See  "In  the  Cutting  Room,"   Mar.  9, '35.) 

Break  of  Hearts  K.  Hepburn-Charles  Boyer  

Chasing  Yesterday   Anne  Shirley   

(See  "Sylvestre  Bonnard"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Dei  of  Flanders  (G)  Frankie  Thomas-Helen  Parrish. .  .Mar.  22,'35  *72.Mar.  2,'35 

Hooray  for  Love  Gene   Raymond-Pert  Kelton  

Laddie  (G)   John  Beal-Gloria  Stuart  Mar.  29,'35....*82.Mar.  9,'35 

■■former.  The   Victor  McLaglen-Margot  Graham  

(See   "In  the  Cutting   Room,"   Mar.    (6. '35.) 

Nit  Wits,  The  Wheeler  and  Woolsey  

People's  Enemy   Preston  Foster-Melvyn  Douglas. ..  Mar.  I5,'35  

She   Helen  Gahagan-Randolph  Scott  

Star  *f  MIdnllht  William  Powell-Ginger  Rogers  

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 
Strangers  All   May  Robson   

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 
Village  Tale   Randolph  Scott-Kay  Johnson  

(See  "In  the  Cutting  Room."  Mar.  2,'35.) 


STATE  RIGHTS 


Features 

Title  Star 

Are  You  a  Mason?  (A)  Sonnie  Hales.... 

Calling  All  Cars  (G)  Jack  LaRua  

Cnrboy  Holiday  (G)  Big  Boy  Williams 

Daalers  in  Death  (A)  

Life  In  the  Congo  <G)  

Lost  City,  The  (G)  Wm.  Boyd  -  Claudia 

Dell   

Loyalties   Basil  Rathbone   

Man  «f  Courage  (G)  

Nerah  O'Neale   Lester  Mathews 

Maryjka   Ina  Benlta   

Sangen  Till  Heine  (G )....  Martin  Osman  . . 

Ticket  to  a  Crime  (G)  lalph  Graves  .. 

War  Is  a  Racket  (A)  

Woman  Condemned   Claudia  Dell  . . 


Running  Time 
Dlst'r             Rel.  Date      Minutes  Reviewed 
M.  J.  Kandel  Oet.    29. ,. . .  .85. . . .Nov.  3 


Empire  Films  ..  ..Jan. 

Syndicate   Jan. 

Topical  Films   Dee. 

Klnematrade   Nov. 


25,'35...67.Jan.  26,'35 
l,'35. .  .57.Jan.  28,'35 

13  68  Dee.  22 

29          60  Dee.  29 


Regal  Pictures  Feb. 

Harold  Auten   Oct. 

Eureka   Nov. 

 Oet. 

Principal  Film  .  ..Dee. 

Scandinavian   75.  Mar.  16, 

Syndicate   Dec.  15  67.. ..Dee. 

Eureka  Prod  Dee.  8  68  Dee. 

Marcy  Pictures. ..  .Apr.  4  66  


14,'35...74.Mar.  9,'35 

24           74  Nov.  3 

12  95  Nov. 

24    66....N*v. 

I  65  D««, 


UNITED  ARTISTS 


Features 

Title 

Cllve  of  India  (G). 
Folies  Bergere  (G). 
Kid  Millions  (G).. 


Last  Gentleman,  The  (G). 
Mighty  Barnum,  The  (G). 


Private  Life  of  Don  Juan,  The. 

Runaway  Queen   

Scarlet  Pimpernel,  The  (G)  

Transatlantic    Merry-Go- Round 
(A)   


Wedding  Night,  The  (G). 
We  Live  Again  (A)  


Star 

Ronald  Colman-Loretta  Young.., 
Maurice  Chevalier-Merle  Oberon 
Eddie   Cantor  -  Ann    Sothern  - 

Ethel  Merman   

George  Arilss   

Wallace  Beery  -  Adolphe  Men- 

Jou-Janet  Beecher-V.  Bruce.. 
Douglas  Fairbanks,  Sr.  -  Merle 

Oberon   

Anna  Neagle-Fernand  Graavey. . 
Leslie  Howard-Merle  Oberon  


Running  Time 
Rel.  Date      Minutes  Reviewed 

.Jan.    25,'35  *90.Jan.  26,'35 

.Feb.    22, '35  '85.  Feb.  23,'35 

.Dee.    28  *S2  Oat.  27 

.Sept.  21  72. ...May  12 


.Dee.  25. 


•105. 


.Dae. 


I 


.Nov.    30  Sapt.  22 

Dec.  21  

Feb.    15,'35  95.  Jan.  26,'35 


Gene    Raymond-Nancy  Carroll* 
Sydney  Howard-Jack  Benny  Nov. 

Anna  Sten-Gary  Cooper  Mar. 

Anna  Sten-Fredric  March  Nov. 


2  

8.'35... 
16  


.92.... Not.  17 
•90.  Feb.  23, '35 
*83....Stpt.  29 


Coming  Attractions 

Brewster's  Millions   Jack  Buchanan-Llii  Damlta  May  20,'35  

Call  of  the  Wild,  The  C.  Gable-Loretta  Young  May  6.'35  

(See  "In  the  Cutting  Room,"  Mar.  2/35.) 
Cardinal  Richelieu   George  Arliss   Apr.  28,'35  

(See  "In  the  Cutting  Room."   Mar.  9,'35.) 

Congo  Raid   Leslie  Banks  -  Paul  Robeson  • 

Nina  Mae  MacKlnney  

Legion   of   Honor  Richard  Arlen- Virginia  Bruce  

Le$  Miserables   Fredric  March-C.  Laughton  Apr.  2I,'35  

(See  "in  the  Cutting  Room,"  Mar.  2,'35.) 

Nell  Gwyn  (AJ  Anna  Neagle-Cedric  Hardwicke  75. July  I4,'35 

Thunder  in  the  East  Charles  Beyer-Merle  Oberon  May    I3,'35  75  Dec.  I 

(Reviewed  under  the  title  "The  Battle") 


UNIVERSAL 


Features 

Title  Star  Rel. 

Cheating  Cheaters  (G)  8022...  Cesar  Romero-Fay  Wray  Nov. 

Embarrassing  Moments  (G) 

7023   Chester  Morris-Marian  Nixon. ..  .July 

Crimson  Trail,  The  (G)  8083  . Buck  Jones   Feb. 

Gift  of  Gab  (G)  8030  Edmund  Lowe  -  Gloria  Stuart - 

Alice  White   Sept. 

Good  Fairy,  The  (G)  8003  Margaret  Sullavan-H.   Marshall .. Feb. 

Great  Expectations  (G)  8029. .  Henry  Hull-Jane  Wyatt-Phllllps 

Holmes   Oct. 

Imitation  of  Life  (G)  7003  Claudette  Colbert-W.  William  Nov. 

I've  Been  Around  (A)  8025  Chester  Morris   Dec. 

Man  Who  Reclaimed  His  Head 

(G)  8028   Claude  Rains-Joan  Bennett  Dec. 

Mystery  of  Edwin  Drood  8024.. Claude  Rains-Heather  Angel  Feb. 

(See  "In  the  Cutting  Room,"  Dec.  15.) 
Night  Life  of  the  Gods  (G) 
8008   Alan  Mowbray   Mar. 


Running  Time 
Date      Minutes  Reviewed 
B  67  De«.  n 

9  67.... Oet.  6 

18,'35  58.  Mar.  I6,'35 

24  '71.... Sept.  19 

I8.'35  98.  Feb.  9,'35 


22. 
26. 
31. 


1 02....  Oet.  20 
1 1 1.... Dee.  I 
*75  Dee.  29 


24  '80  Dee. 

4,'35  87  


1 1, '35....  •75.  Jan.  12.'35 


Running  Time 

Title                                     Star                                   Rel.  Date      Minutes  Reviewed 

Notorious  Gentleman,  A  8032. . Charles  Bickford-Helen  Vinson. . .Jan.    2I,'35  '75. Jan.  I9,'33 

One  Exciting  Adventure  (G) 

8027   Binnie    Barnes-Neil    Hamilton.. .Oct.     15  *73....0et.  8 

Rendezvous  at  Midnight  8031.  .  Ralph  Bellamy   Feb.  ll,'35  

(See  "In  the  Cutting  Room,"  Nov.  17.) 

Secret  of  the  Chateau  (G)  8033. Claire  Dodd-Clark  Williams  Dec.     3  69  Sept.  IS 

Straight  from   the   Heart  (A) 

8036   Mary  Astor- Roger  Pryor-Baby 

Jane   Jan.  I4,'35...  'eB.Feb.  16.'S5 

Strange  Wives  (G)  8020  June  Clayworth-Roger  Pryor  Dec.    10  75  Dee.  8 

Rocky  Rhodes  (G)  8001  Buck  Jones-Sheila  Terry  Sept.  24  60  Dec.  22 

There's  Always  Tomorrow  <A) 
8035   Frank  Morgan-Elizabeth  Young- 
Lois  Wilson-Binnie  Barnes  Sept.   10  87  Nov.  17 

Wake  Up  and  Dream  (G)  8021 .  Russ  Columbo  •  June  Knight  Oet.      1  78  Oct.  20 

When  a  Man  Sees  Red  (G)  8082.Buck  Jones   Nov.    12  60. Jan.  26,'3S 

Coming  Attractions 

Bride  of  Frankenstein  8009... Boris  Karloff   Apr.   22, '35  

(See  "In  the  Gutting  Room,"  Feb.  I6,'35.) 

Great  Ziegfeld,  The  8005  William  Powell-Fanny  Brice  

It  Happened  in  New  York  8023.  Lyie  Talbot-Heather  Angel  Mar.  I8,'35  

(See  "In  the  Cutting  Room,"  Jan.  26,'35.) 

Life  Returns   (G)  Onslow  Stevens-Lois  Wilson  ...*60.Jan.  I2,'35 

Mister  Dynamite  8012  Edmund  Lowe-Esther  Ralston  Apr.     8, '35  

(See  "in  the  Cutting   Room."   Mar.  9,'35.) 
Princess  O'Hara  8013  Jean  Parker-Chester  Morris  Apr.  1.'35  

(See  "In  the  Cutting  Room,"  Jan.  26,'35) 

Raven,  The   Karloff-Bela  Lugosi   

Sfng  Me  a  Love  Song  8026  

Stone  of  Silver  Creek  8084  Buck  Jones-Noel  Francis  Apr.  I5,'35  

Transient  Lady  (G)  8019  Gene  Raymond-Henry  Hull  Mar.  4,'35  

Unholy  Hour,  The  8015  Henry  Hull   May     6, '35  

(See  "Werewolf  of  London"  "In  the  Cutting  Room,"  Mar.  2, '35.) 


WARNER  BROS. 


Running  Time 
Date      Minutes  Reviewed 

5,'35  90.  Feb.  2,'35 

15  

9,'35  86.  Fob.  9,'35 

3  '75.... Oct.  13 

24    64.... Nov.  17 

26.'35  66. Feb.  23,'35 

10  67  Oet.  20 

22    64.  Feb.  9,'35 

29  *82  Dee.  15 

23,'35  95.  Mar.  2,'SS 

I9,'35  70. Jan.  28,'35 


Features 

Title  Star  Rel. 

Bordertown  (A)  806  Paul  Muni-Bette  Davis  Jan. 

Church  Mouse  881  Laura  La  Plante  Dec. 

Devil  Dogs  of  the  Air  (G)  816.  James  Cagney-Pat  O'Brien  Feb. 

Firebird,  The  (A)  825  Verree  Teasdale-Ricardo  Cortez..Nov. 

I  Am  a  Thief  (G)  826  Mary  Astor-Ricardo  Cortez  Nov. 

Right  to  Live  (A)  828  George  Brent-J.  Hutchinson  Jan. 

St.  Louis  Kid,  The  (G)  817. ..James  Cagney   Nov. 

(Reviewed  under  the  title,  "A  Perfect  Week-End") 

Secret  Bride,  The  (G)  811  B.  Stanwyck-Warren  William. ..  .Dec. 

Sweet  Adeline  (G)  802  Irene  Dunne-Donald  Woods  Dec. 

Sweet  Music  (G)  805  Rudy  Vallee-Ann  Dvorak  Feb. 

White  Cockatoo  (G)  827  Jean  Muir-Ricardo  Cortez  Jan. 

Coming  Attractions 

Broadway  Gondolier   Dick  Powell-Joan  Blondell  

Captain   Blood   Robert  Donat  

Crashing  Society   Guy  KIbbee-Zasu  Pitts  

Dinky   Jackie  Cooper-Mary  Astor  May    II, '35  

Florentine  Dagger,  The  829  Donald  Woods-Margaret  Lindsay. . Mar.  30,'35  69. 

(See  "In  the  Cutting  Room,"  Jan.  26,'35) 

G  Men,  The   James  Cagney-Margaret  Lindsay. .May    18, '35  

Goose  and  the  Gander  Kay  Francis-George  Brent  

(See  "in  the  Cutting   Room."  Mar.  9,'35.) 

Green  Cat   Bette  Davis   

Haircut   George  Brent-Jean  Muir  

Irish  in  Us,  The  James  Cagney-Pat  O'Brien  

Living  Up  To  Lizzie  Aline  MacMahon   ^  

Men  on  Her  Mind  Bette  Davis-Ian  Hunter  

Midsummer  Night's  Dream  Ail  Star   

Money  Man   Edw.  G.  Roblnson-Bette  Davis  

Night  at  the  Ritz,  A  823  William  Gargan-Patrlcia  Ellis... Mar.  23,'35  62. 

(See  "King  of  the  Ritz,"  "In  the  Cuting  Room,"  Jan.  26,'35) 

Page  Miss  Glory  Marion  Davies-Dick  Powell  

Present  from  Margate,  A  Kay  Francls-lan  Hunter  

Stranded   Kay  Francis-Geo.  Brent  

Women  Are  Bum  NewspapermenGlenda  Farrell   


OTHER  PRODUCT  (FOREIGN) 


30  

i2,'35.. 
ll,'35.. 

8  


68....Dte.  I 
95.  Jan.  26,'35 

80  

88....  Dai.  22 
70.  Mar.    16, '35 


Features  Running  Time 

Title  Star  Dlst'r  Rel.  Date      Minutes  Review«i< 

Bella  Donna  (A)  Mary  Ellis   Gaumont-Brltish  85. Jan.     5, '35 

Broken  Melody,  The  John  Garrlek- 

Merle  Oberon  Oct. 

Chapayev  (AJf   Amkino   Jan. 

Cornflower   Irene  Agai   Danubia  pictures. .Jan. 

(Hungarian  Dialogue) 

Czar  Wants  to  Sleep  (A)..M.  Yanshin   Amkino   Dec. 

Dandy   Dick    (G)   Will  Hay   Assoc.  British  

Death  at  Broadcasting 

House   Ian  Hunter   ABFD   British  90. Jan.  12/39 

Dirty  Work  (G)  Ralph  Lynn   Gaumont-Brltish  80. Jan.  28,'35 

Forbidden  Territory,  The. .Gregory  Ratoff   Gaumont-Brltish  87  Nav.  24 

Doctor's  Orders   Leslie  Fuller   British  Int'l   75. Jan.  5,'35 

Everything  for  the  Women.  Tiber   Von    Halmay.  Danubia  Pictures .  .Oct.     10  84  

(Hungarian  Dialogue) 

Fathers  Knows  Best  Szoke  Szakail  Danubia  Pictures .  .Jan.  i8,'35...80  

(Hungarian  Dialogue) 

Green  Pack   John  Stuart   British  Lion   NaT.  3 

House  of  Greed  V.  Gardin   Amkino   Aug.    11  74  

it's  a  Bet  (G)  Gene  Gerrard- 

Helen    Chandler. .  .British    Int'l  80. Mar.    16, '35 

Lady  in  Danger  (A)  Tom  Walls   Gaumont-Brltish  63.  ..Dec.  29 

Lorna  Ooone  (G)  John  Loder   ABFD   British  80. Fob.     2, '35 

Madame  Bovary  (A)  Pierre  Renoir   John   Tapernoux. . .Nov.    17  100  Dee.  8 

Marionettes   L.  Leonideff   Amkino   May 

Miracles   V.  Gardin   Amkino   Oct. 

My  Wife  the  Miss  Irene  Agai  •  Paul 

(Hungarian  Dialogue)         Javor   Danubia  Pictures. .Aug. 


5. 
19. 


26. 


.83. 
.68. 


.7Q. 


Oh!    Daddy    (G)  Leslie  Henson   Gaumont-British  75. Mar.    16. '3) 


Old  Curiosity  Shop  Elaine  Benson   Assoc.  British  .85. Feb, 

One  Night   Ingert  Btuggren   Scandinavian   80. Feb, 

Phantom  Light,  The  (G).. Gordon  Harker   Gaumont-Brltish  75. Feb, 

Radio  Parade  of  1935  Will   Hay.  Helen 

Chandler   Assoc.  British  85. Jan. 

Rakoczl  March   Paul  Javor   Danubia  Pictures ..  Nov.    12  89  

(Hungarian  Dialogue) 
Shepherdess'  Sweetheart  ..(Greek  Feature)   ...Frank  Norton  ....Feb. 

Soviet  Russia  Today  (G)  Amkino   Mar. 

Stella  Biolanti   (Greek  Feature)   ...Frank  Norton  ....Oct. 

Such  Is  Life  (Greek  Feature)   ...Frank  Norton  ....Jan. 

Strictly   Illegal    (G)  Leslie   Fuller   Gaumont-British 


2.'35 
9.'35 
9.'35 

I2,'35 


.11 


I7.'35. 

3.'35...  .67.Mar.    16. '35 

15  115  

i9,'35..ll9  

70. Mar.    16. '33 


Ta  Galazia  Keria  (Greek  Feature)   ...Frank  Norton  ....Oct.     IS  85... 

Ten  Minute  Alibi  (A)  Phillips   Holmes   ...British  Lion  80. Feb.  ~  9.>35 

Three  Songs  About  Lenin  Amkino   Nov.     8  64.... Nov.  17 

They  Are  Looking  Up  (G). Cicely  Courtneldge  .Gaumont-British.  ....lOO.Feb.  9,'35 

Thunderstorm  (A)   A.  K.  Tarasova  ....Amkino   Sept.  28  80  Oet.  6 

Triumph  of  Sherlock  Holme; 

The  (A)   Arthur  Wontner   Gaumont-British  87. M<"-.  a 

Victor  and  Victoria  (G)...Renate  Mueller   Ufa   Jan.    26,'35.    '■4  Feb.  2,'35 

Wandering  Jew.  The  (A) ..  Conrad    Veldt  Olympic  Pictures  83. Jan.  I9,'35 


76 


MOTION    PICTURE  HERALD 


March    23,  1935 


(THE  RELEASE  CH ACT— CONT'D) 


SliCI^T 
FILMS 

[All  dates  are  1934  unless 
otherwise  stated"] 

CELEBRITY  PROD'TIONS 


Rel.  Date 


Title 

COMICOLOR  CARTOONS 
Jack  and  the  Beanstalk.. 

The  Little  Red  Hen  

The  Brave  Tin  Soldier.. 

Puss  in  Boots  

The  Queens  of  Hearts... 

Aladdin   

The  Headless  Horsemen.. 

The  Valiant  Tailor  

Den  Quixote   

Jack  Frost   

Little  Black  Sambo  

Bremen  Tewn  Musicians  

Old  MMher  Hubbard  

IMary's  Little  Lamb  

COLUMBIA 

Title  Bel. 

BROADWAY  COMEDIES 
His  Bridal  Sweet  

Harry  Langdon 
His  Old  Flame  Jan. 

Charlie  Murray 
Horse  Collars   Jan. 

(3  Stooges) 
I'm  a  Father  Feb. 

Andy  Clyde 
In  the  Dog  House  Dec. 

Andy  Clyde 
It's  the  Cat's  Oct. 

Andy  Clyde 
Men  in  Black  Sept. 

(3  Stooges) 
One  Too  Many  Dec. 

Leon  Errol 
Perfectly  Mismated   Nov. 

Leon  Errol 
Restless  Knights   Feb. 

(3  Stooges) 
Shivers   Dec. 

Harry  Langdon 
Three  Little  Pigskins  Dec. 

(Stooge  Comedy) 

COLOR  RHAPSODIES 

1934-35 

A  Cat,  a  Bell  and  Mouse  

Babes  at  Sea  Dec. 

Holiday  Land   Nov. 

Make  Believe  Revue,  The.  .Mar. 
Shoemaker  and  the  Elves...  J  an. 

KRAZY   KAT  KARTOONS 

1 934-35 

1.  The  Trapeze  Artist  Sept. 

2.  Katnips  of  1940  Oct. 

3.  Krazy's  Waterloo   Nov. 

4.  Birdman   Feb. 

5.  Hotcha  Melody   Mar. 

6.  Goofy  Gondolas   Dec. 

LAUGHING  WITH 

MEDBURY   

1934-35 

Laughing  with  Medbury 

in  the  Arctics  Sept. 

In  Maylesia   Oct. 

Among  the  Caccons  Nov. 

At  a  County  Fair  Dec. 

Medbury  in  Hollywood  Jan. 

In  the  Old  Days  Feb. 

LIFE'S  LAST  LAUGHS 

1934-35 

No.    1  —  Sept. 

No.    2—  Oct. 

No.    3—  Nov. 

No.  4 —  Dec. 

No.  5 —  Jan. 

No.    6—  Feb. 

MUSICALS 
No.  7 — Tripping  Through 

the  Tropics   July 

SCRAPPY  CARTOONS 

Gloom  Chasers,  The  Jan. 

Happy  Butterfly   Dec. 

Scrappy's  Experiment   

Scrappy's  Ghost   

1934-35 

Concert  Kid   Nov. 

Gold  Getters   Mar. 

Graduation  Exercises   

SCREEN  SNAPSHOTS 


Min. 


Jan.    2  8  

Feb.  16  7.... 

Apr.    7  7  

May  17  1  rl.. 

June  25  7  

Aug.  10  7  

Oct.     I  1  rl.. 

Oct.  29  1  rl.. 

Nov.  28  8.... 

Dec.  24  8  

Jan.  21,'35..l  rl.. 

Feb.  ir,'35..l  rl.. 
Mar.  17,'35..l  rl.. 

Apr.  I4,'35..l  rl.. 


Date 


Min. 


25,'35, 
10.'35, 
7,'35 
I... 
II... 
.28... 
28... 
20... 
20,'35 
24... 
8... 


20.... 
20.... 
20.... 
20.... 
20.... 
20.... 
20.... 
20.... 
I6V2.. 
20.... 
.20.... 


12... 
9... 
22,'35 
20,'35 


I . . .. 
12.... 
16.... 

I,'35 
I5,'35 
21..., 


.7... 
.7... 
.7... 
.7... 


.7... 
.7... 
.7... 
.7... 
.7... 
.7... 


15.... 
20.... 

9.... 

7.... 
Il,'35. 
28.'35. 


15.... 
12.... 

9.... 
12.... 
4,'35. 

I, '35. 


10.... 
10.... 
10.... 

10  

10.... 
10.... 


10.... 
10.... 
10.... 
10.... 
10.... 
10.... 


27. 


.2  ris. 


18,'35. 
20.... 


.7  

.7.... 
.8.... 


2.... 
1,'35. 


.7.... 
.7  


No. 
No. 
No. 
No. 
No. 
No. 


2—  . 

3—  . 

4—  . 

5—  . 
S— . 


.Sept. 
.Oct. 
.  Nov. 
.  Dec. 
.Jan. 
.Feb. 


29.... 
26.... 
23.... 
21.... 
I8,'35. 
22. '35. 


SPICE  OF  LIFE 
1934-35 


No.  1— . 
No.  2—. 


3—  . 

4—  . 

5—  . 

6—  . 


.Sept. 
.Sept. 
.  Dec. 
.  Dec. 
Jan. 
Mar. 


10.... 
29,... 
13.... 
31.... 
20.'35. 
I,'35. 


No. 
No. 
No. 
No. 

WORLD  OF  SPORT 

Anything  for  a  Thrill  

Flying  Pigskins  Nov.  9.... 

Heigh-Ho  the   Fox  June  20  

1 934-35 

Air  Thrills   Mar.  I.'35. 

Good  Golfers  Start  Young. .  .Sept.  20  

Pardon  My  Grip  Feb.  1.'35. 

Pole  Thrills   Oct.  12  

Thrill  Flashes   Dec.  12  

When  Men  Fight  Jan.    4. '35. 


lO'A.. 
101/2.. 
lO'/i.. 
lO'/j.. 
10.... 
10  


10.... 
10.... 
10.... 
10.... 
10.... 
10  


1  rl. 
ID... 
I  rl. 


10... 
10... 
10... 
10... 
10... 
10... 


DU  WORLD  PICTURES 

Title  Rel.  Date  Min. 

QUEST   OF  PERFECT 
WOMAN  SERIES 
(TOM  TERRIS) 

1.  Veiled  Dancer  of  Eloued.JuIy  15  10  

2.  Vampire  of  Marrakesh. .  .  Aug.    I   J 


2. . 
I,'35 


12.... 
18. '35. 
4,'35. 


.28.. 
.18.. 


Title  Rel.  Date  Min. 

SEMI-FEATURES 
AND  SHORTS 

Bride  of  Samoa  Mar.    I  26.... 

Chump   Nov.    I  15  

Frankie  and  Johnny  Oct.     I  8.... 

Charles  Laughton 

Mire  Unga   Aug.  15  9. . . . 

Prisoner   Sept.  15  18  

Retribution  of  Clyde  Bar- 
row and  Bonnie  Parker. . .July  10. ...20.... 

Stars  in  the  Making  Oct.     I  17  

Frank  Albertson 

Sword  of  the  Arab  Sept.  15.. 

Duncan  Renaldo 

Yokel  Dog  Makes  Good  Sept.  1... 

EDUCATIONAL 

[Distributed  through  Fox  Films] 

Title  Rel.  Date  Min. 

BING  CROSBY 

SPECIALS 

I — I  Surrender  Dear  Aug.  3  

Z — One    More    Chance  Aug.  31  

3—  Billboard    Girl   Oct.  5 

4 —  Dream    House   Sept.  28  

CORONET  COMEDIES 

An  Ear  for  Music  Mar.  8,'35. 

Easy  Money   Feb.  8,'35. 

Hello,   Sailors   Aug.  17... 

Rural    Romeos   Nov,  16,,. 

Second   Hand   Husband  Oct.  26  

Super-Stupid   Sept.  14... 

Two  Lame  Ducks  Nov.  30... 

FROLICS  OF  YOUTH 

Boosting  Dad   Dec.  21... 

Campus  Hoofer,  The  Nov.  9... 

Educating  Papa   Nov. 

Little  Big  Top,  The  Feb. 

MARRIAGE  WOWS 

SERIES 

Domestic  Bliss-Ters   .Oct. 

Dumb  Luck   Jan. 

How  Am  I  Doing?   Jan. 

MUSICAL  COMEDIES 

Big  Business    Dec.  7  

Girl  from  Paradise,  The. ...Nov.  23... 
Good  Luck— Best  Wishes. .  Aug.  24. . . 

Hail    Brother    Mar.  22, '35 

Nifty  Nurses    Oct.  19.... 

She's  My  Lilly    Sept.  7... 

SONG    HIT  STORIES 

Bounding   Main,  The   Nov.  16... 

Fireman's  Day  Off  .Apr.  12,'35, 

Gay  Old  Days   Jan.  4.'35 

House  Where  I  Was  Born,  _ 

The    Oct.  26... 

Mountain   Melody   .Aug.  31... 

Old  Camp  Ground,  The         Maf-  I5,'35 

Song  Plugger    Jan.  18,35 

Time  on  Their  Hands  .Sept.  14 

Way  Down  Yonder  ■  Dec. 

STAR  PERSONALITY 

COMEDIES 

A    Nose  for   News  •*>"■• 

Gentlemen  of  the  Bar  •  "ec.  28 

Hayseed  Romance   .Mar.  15. '35 

His  Lucky  Day   Sept.  21 . . . 

Mr.  Widget   ■  Ja"-  25,'35 

Object   Not   Matrimony....  Mar.   I. '35 

One-Run  Elmer   Feb.  22,'35 

Palooka  From  Padueah         Jan.  Il,'35 

TERRY-TOONS 

Black  Sheep,  The   Oct.  5... 

Bull  Fight,  The   Feb.  8,'35 

Busted    Blossoms   .Aug.  10... 

Dog  Show.  The   •  Dec.  28. . . 

Fireman  Save  My  Child.  ..•  Feb.  22. '35 

First  Snow.  The    Jan.  II, '35 

Five    Puplets   -Spr.  1 9. '35 

Flying   Oil    Apr.  5, '35, 

Hot  Sands    Nov.  2... 

Jack's  Shack    Nov.  30... 

Jail   Birds   .Sept.  21... 

Magic  Fish,  The   Oct.    19. . . 

Mice  in  Council   Aug.  24. . . 

Modern  Red  Riding  Hood, 

A   May  I7,'35  .  .1  rl . . 

Moth  and  the  Snider.  The.  Mar.  8.'35..l  rl.. 

My  Lady's  Garden   July  13  8  

Old  Dog  Tray   Mar.  21  ,'35. .  I  rl.. 

Peg  Leg  Pete,  the  Pirate.  May    .•^,'35. .  1  rl. . 

South  Pole  or  Bust         .  .  r>ec.  14  6  

Tom  Tom  the  Piper's  Sen.  Nov.  16  fi  

What  A   Night  Jan.  25.'35..fi  

iVhy  Mules  Leave  Home  Sent.  7  6  

TREASURE  CHEST 

Chums    Mar. 

Harlem  Harmony   Dec. 

Hollywood  Gad-Abniit   Oct. 

Hollywood  Movie  Parade, 

The   Nov. 

Then  Came  the  Yawn   Aug 

Your  Stars  for  IQ3S   Oct. 

YOUNG  ROMANOF 

Moon  Over  Manhattan   Feb.  15. '35 

Three  Ohpfir!«  for  Lovp  Dec.  14... 

FIRST  DIVISION 

MARCH  OF  TIME 

No.  1   Feb. 

No.  2   Mar. 

(Technicolor) 

1.  In  a  Monastery  Garden.. Oct. 

2.  Mexican  Idyl   Oct. 

3.  Fingal's  Cave   Nov. 

*.  Lieberstraum   Nov. 

5.  Dance  of  the  Hours  Dec. 

R.  Ava  Maria   Jan. 

Barcarolle   8. 

Countryside   Melodies  May   4, '35... 

In  a  Mountain  Pass  

Irish   Melody   B 

Italian  Caprice   8 

Mediterranean  Songs   

Of'toher  Day   

Old  Faithful  Speaks  8 


7... 


5,'35 


19... 
17... 
20... 

19... 
21... 
21... 
19... 
20... 
22... 

10... 
.1  rl. 
10... 

10... 
10... 
.1  rl. 
.9... 
II... 
II... 


.2  rIs. 
18.... 

20  

20  

21.... 
18.... 
19..,, 
20.... 

.6.... 

.6  

.6  

.6.... 
.6.... 
.6.... 
.1  rl.. 
.1  rl.. 
.6.... 
.6.... 

.6  

.6.... 
.6.... 


1,'35. 
21.... 
5.... 


.9..., 
10,... 
,9..,. 


2. . 
10.. 
19.. 


.9.,.. 

.8  

II..., 

17.... 
19.... 


1.'35. 
8,'35. 


2.... 
16.... 
13.... 

3.... 
15.... 

I, '35. 


FOX  FILMS 


Date 


Min. 


Title  Rel. 

ADVENTURES  OF  THE 

NEWSREEL  CAMERAMAN 

Casting  for   Luck  10.... 

Man's  Mania  for  Speed  10.... 

Marchlnq  With  Science  9  

On  Foreign  Service   9.... 

Tracking  the  Explorers  10.... 

MAGIC  CARPET 

SERIES 

The  Coast  of  Catalonia  


Title  Rel.  Date  Min. 

Crossroads  of  the  World  9  

Geneva-By-The-Lake   10  

MOVIE  TINTYPE  SERIES 
The  Heart  of  Valeska  Mar.    9  10  


MASTER  ART  PRODUCTS 

Title  Rel.  Date  Min. 

HUMAN  SIDE  OF  (Variable) 
THE  NEWS 
(EDWIN   C.  HILL) 

1.  Roosevelt  Family  In 

America   II.... 

2.  A  Visit  to  West  Point  10  

3.  Carrie  Jacobs  Bond  9  

MELODY  MAKERS 

Fields   and    McHugh  9  

ORGANLOGUES 
What's  In  a  Name  8  

RAIN  SONGS 
Irving  Kaufman-Lew  White  

SPECIAL 

Take  a  Letter  Please  

Eddie  Stanley- 
Evelyn  San 


METRO-GOLD>AnrN- 


Title 


MAYER 


Title  Rel.  Date 

ALL-STAR  COMEDIES 

Caretaker's  Daughter   Mar.  10  10.. 

Movie  Daze   19.. 

Mrs.  Barnacle  Bill  Apr,  21  20,, 

CRIME  DOESN'T  PAY 
No.  I — Buried  Loot  19.. 


Min. 


CHARLEY  CHASE 

Chases  of  Pimple  Street  Dee.  22  20  

Fate's   Fathead   Nov.  17  18  

I'll  Take  Vanilla   May    5  19  

It  Happened  One  Day  July    7....  19  

Something  Simple   Sept.  8....  18  

You  Said  a  Hatful  Oct.   13  19  

IRVIN   S.  COBB 
Ballad  of  Padueah  Jill. ...Oct.  20....I9.... 

Nosed  Out   Sept.  15  18  

Speaking  of  Relations  19  

You  Brings  the  Ducks  Nov.  24  16  

FITZPATRICK 
TRAVEL  TALKS 

Africa,  Land  of  Contrast  9  

Citadels  of  the 

Mediterranean   I  rl. . 

Colorful  Guatemala   

Colorful  Ports  of  Call  Jan,  13  9  

Cruising  in  the  South  Seas  I  rl.. 

Glimpses  of  Erin  I  rl.. 

Holland  In  Tulip  Time  Sept.  15  9  

Ireland,  The  Emerald  Isle..  Dec.    8  8.,.. 

Rainbow  Canyon   Feb.  2,'35..8  

Switzerland,  The  Beautiful. Oct.   13  0  

Zeeland.  The  Hidden 

Paradise   Jan.  5,'35..7  

Zion,  Canyon  of  Color  Nov.  10  8  

GOOFY  MOVIES 


.Sept. 

.Oct. 

.Nov. 


No.  4 

No.  5 

No.  6 

No.  7 

No.  8 

No.  9 

No.  10 

HAPPY  HARMONIES 
(Harman-lsing) 

1 —  The  Discontented  Canary.Sept. 

2 —  Old  Pioneer   Sept. 

3—  A   Tale  of  the  Vienna 
Weeds   Oct. 

4 —  Bosco's  Parlor  Pranks. ..  Nov. 

5 —  Toyland   Broadcast   Dec. 

6 —  Hey,  Hey,  Fever  Jan. 

7—  When  the  Cat's  Away... Feb. 

8—  The  Lost  Chick  

LAUREL  &  HARDY 

Fixer-Uppers   

Going  Bye-Bye   

Live  Ghosts   

Them  Thar  Hills   

Tit  for  Tat   Jan. 

MUSICAL  COMEDIES 

Musle  in  Your  Hair  June 

Roamin'  Vandals   Apr. 

MUSICAL  REVUES 

Gentlemen  of  Polish  

Grandfather's  Clock   Oct. 

Spectacle   Maker,  The  Sept. 

Star  Night  at  the  Cscoinut 

G  rove   Dec, 

What  Price  Jazz?  


.May    5  8... 

 8... 

 I  rl. 

8. ...10... 

6  9... 

3. ...10... 
 10... 


.9.... 


.9. 


27. 

24  9.... 

22  8.... 

9,'35..9.... 

I6,'35..9  

 10.... 


 21  

 21 .... 

 21.... 

 2  rls. 

5,'35.20.... 

2. ...17.... 
28.... 18.... 


 2  rls. 

27. ...17.... 
22....20... . 

I. ...21.... 
 18.... 


ODDITIES 

Dartmouth   Days   Nov, 

Donkey  Baseball   

Motorcycle  Cossacks   Jan. 

Little   Feller   May 

Old  Shop   June 

Pichlanni   Troupe   Sept. 

Pro  Football   

Rugby   Dec. 

Strikes  and  Spares   Oct. 

Taking  Care  of  Baby  Aug. 

Trick   Golf   Mar. 

Vital  Victuals   Mar, 

(Color) 

Windy   

OUR  GANG 

Anniversary  Trouble   

Mama's  Little  Pirate  Nov. 

Shrimps  for  a  Day  

Mike    Fright   Aug. 

Wash-ee  Iron-ee   Sept. 

TODD-KELLY 

Bum  Voyage   Dec. 

Done  In  Oil  Nov. 

Maid  In  Hollywood  May 

Misses  Stooge,  The  

One  Horse  Farmers  Sept. 

Opened   by  Mistake  Oct. 

Sing,  Sister,  SIngI  

Three  Chumps  Ahead  

Tin  Man,  The  , 

Treasure  Blues   


17. 


II.... 

.8  

I2,'35..9.... 

28  8.... 

23  9.... 

22  9  

 9  

15. ...10  

20  9.... 

25  9.... 

24  8  

8. ...10.... 

 II.... 


3.. 


20.... 
18.... 
21.... 
25....I8.... 
29. ...17.... 

15. ...20.... 
10. ...18.... 

19. ...20  

 19.... 

I. ...18.... 

6. ...19.... 

 21.... 

 2  rls. 

 16.... 

 19.... 


Rel.  Date  Min. 

WILLIE  WHOPPER 

Cave  Man   7.... 

Good  Scout   7.... 

Insultin'  the  Sultan  Apr.  14  8  

Jungle  Jitters   7.... 

Raslin'  Round   

Reducing  Creme   May  19  8.... 

Robin  Hood,  Jr  Mar.  10  8.... 

(Color) 

Viva  Willie   7  


MONOGRAM 

PORT  0'  CALL  SERIES 

10.  Dravldian  Glamour  ....Sept.  I. 

11.  Adventure    Isle   Oct.  1 . 

12.  Queen  of  the  Indies  Nov.  t. 

13.  A  Mediterranean  Mecca. Dec.  1. 


..10. 
..10. 
..10. 
..ID. 


Min. 


7.... 

7.... 
7.... 
7.... 
7.... 
7.... 
,7.... 
,7.... 
.7.... 


7. ...It. 


I2,'35. 
8,'35. 


PARAMOUNT 

Title  Rel.  Date 

BETTY  BOOP 

CARTOONS 

Baby  Be  Good  Jan.  I8,'35. 

Betty  Boon's  Life  Guard... July  13  

Betty  Boop's  Life  Pal  Sept.  21  

Betty  Boop's  Prize  Show. ..Oct.  19  

Betty  Boop's  Rise  to  Fame.lHay  18.... 

Betty  Boop's  Trial  June  15  

Stop  That  Noise  Mar.  15, '35. 

Taking  the  Blame  Feb.  I5,'35. 

Keep  In  Style  Nov.  16  

There's  Something  About  a 

Soldier   Aug.  17  7., 

When  My  Ship  Comes  In... Dec.  21  7., 

COLOR  CLASSICS 

An  Elephant  Never  Forgets.  Dec,  28  7, 

Little  Dutch  Mill   Oct.  26  7., 

Poor  Cinderella   Aug.   3  7. 

Song  of  the  Birds  Mar.   I, '35.. 7. 

HEADLINERS 

Cab  Calloway's  Hi-De-He..  .Aug.  24  II. 

Feminine  Rhythm   Feb.  8,'35.10. 

Ina  Ray  Hutton  and  Her 

Melodears 

Club  Continental   Oct,  S....IO. 

Leon  Belasco  &  Orchestra 

George  Givet -Vivian  Janis 

Grace  Barry 
Hark  Ye,   Hark  Mar.  25,'35. 10. 

Ben   Bernie-Grace  Barry 
Hollywood   Rhythm   Nov.  16  ID. 

Gordon  and   Revel  -  Lyda 

Roberti  -  Jack  Oakle-Nor- 

man  Taurog-LeRoy  Prlnz- 

Edith  and  Bill  Wllshira 
Ladies  That  Play  Det. 

Phil   Spitalny   and  His 

Musical  Ladles 

Melody  Magic   Apr. 

Million  Dollar  Notes  Feb, 

Red  Nichols  and  his  World 

Famous  Pennies 

Radio  Announcer's  Review.  .Sept.  14  10... 

Rhythm  on  the  Roof  Oct.  26. ...II... 

Anson  Weeks  &  Orchestra 

Society  Notes   Auj.   3....I0. ,. 

Song  Writers  of  the  Gay 

Nineties   Mar.   I, '35. 10... 

Pat  Rooney 
Yacht  Club  Boys  Garden 

Party   Dee.  28.  ...10... 

PARAMOUNT  PICTORIAL 
(NEW  SERIES) 

No.  3— Bear    Facts  —  The. Oct  12.. ..It... 
Valley  of  Silence — Irving 
Mills 

No.  4 — Tub  Boat  Ahoy— Hot. Nov.    9  10... 

Dog — Mabel  Wayne 

No.  5 — Rose  of  Bulgaria — .Dee.    7  ID... 

0.  Soglow — Coney  Island 

No.  6— Twilight  Melody  —.Jan.  4,'35.ID... 
Pets    from    the  Wild- 
Howard  Chandler  Christy 

No.  7— Queen  of  the  Waters. Feb.    I, '35. 10... 
— Billy  Blue  Gum — Merl- 
cano 

No.  8 — Aubrey  Rainier — Old  I  rl. 

Madiera — Rube  Goldberg, 
World  Famous  Humorist. 

PARAMOUNT  VARIETIES 

No.    7—   Feb.    I, '35. 10... 

No.    8—   Mar.  I,'35  

No.    9—   Mar.  29,'35  

Baby  Blues   Oct.    5  10... 

(Technicolor) 

Coo-Goo  News   Jan.  25,'35.I0... 

Jungle  Antics   Feb.  22,'35.10. . . 

Madhouse  Movies  No.  I. ...Aug.  24  9 

Manhattan  Rhythm   Mar.  8.'35.10... 

Monkey  Shines   Nov.  16  10... 

Movie  Sideshow   Jan.  II.'SS.II... 

Nerve  of  Some  Women,  The. Nov.    2  10... 

Old  Kentucky  Hounds  Sept.  7...,  10... 

Screen  Souvenirs  No.  I  Sept.  21  IO... 

Screen  Souvenirs  No.  2  Nov.  30  10... 

Screen  Souvenirs  No.  3  Feb.   8. '35. 10... 

Superstition  of  the  Black 

Cat   Aug.  10  ID... 

Superstition  of  the  Rabbit's 

Foot   Mar.  8, '35.. 8... 

Superstition  of  Three  en 

a  Match   Oct.   19  II... 

Superstition   of  Walking 

Under  a  Ladder  Dee.  28  11... 

POPEYE  THE  SAILOR 

A  Dream  Walking  Sept.  28  7... 

Axe  Me  Another  Aug.  24  7... 

Be  Kind  to  Animals  Feb.  22,'35.  .7. . . 

Beware  of  Barnacle  Bill... Jan.  25,'3S..7... 

Dance  Contest   Nov.  23  7... 

Pleased  to  Meet  Cha!  Mar.  22,'35..7... 

Shiver  Me  Timbers  July  27  7... 

Shoein'  Hosses   June    I  7... 

Strong  to  the  FInlch  June  29  7... 

Two  Alarm  Fire  Oct.  26  7... 

We  Aim  to  Please  Dee.  28  7... 

SCREEN  SONGS 
Love  Thy   Neighbor. . 
Mary  Small 


.July  29  7. 


March    2  3,     19  3  5 


MOTION    PICTURE  HERALD 


77 


(THE  CELCASC  CHACT"C€NT'C)) 


Title                           Rel.  Date  Min. 

PARAMOUNT  SOUND 
NEWS 
Two  Editions  Weeldy 

GRANTLAND  RICE 
SPORTLIGHTS 
(NEW  SERIES) 

No.  I— Miles  Per  Hour  Aug.  3  10  

Ko.  2 — Springboard  Cham- 
pions  Aug.  31  10  

No.  3 — Water    Rodeo  Sept.  28  (0  

Uo.  A — Keeping    Time  Oct.   26  II  

No.  5 — Saddle    Champs  Nov.  30  II  

No.  6 — A  Sportlight  Cock- 
tail  Dec.  28  10  

No.  7— King  of  the  Ever- 
glades  Jan.  25,'35. 10  

No.  8— Feline   Athletes  Feb.  22,'35. 10. . . . 

TWO  REEL  COMEDIES 
Making  the  Rounds  July    6  21. 

Pallette-Gatlett 
New    Dealers,   The  Apr.    6  20. 

Pallette-Catlett 
News  Hounds   June    I  20. 

Pallette-Catlett 
No  More  Bridges   Mar.  16  21. 

Leon  Errol 

Oil's  Well   May  4. ...22. 

Chic  Sale 

Old  Bugler,  The  Jan.    5  20. 

Chic  Sale 

Petting  Preferred   Apr.  27  10. 

Pleased  to  Meet  Chal  Mar.  22,'35  

Sporting  Sounds   Mar.  22,'35. . . . 

Up  and  Down  Mar.  2.'35.2I. 

Franklyn  Pangborn 


PRINCIPAL 

Title  Rel-  Oate  Min 

Death  Day   Apr.  I0....I7. 

Glory  of  the  KIM  May  23  ...28. 

Newslaugh — No.  2  Dec.  2D,'33..9. 

Wonders  of  the  Tropics  Dec.  13, '33. 32. 

CONFLICTS  OF 

NATURE  SERIES 
Circle  of  Life  of  the  Ant 

Lion,    The  Feb.  14  7. 

Farmer's  Friend   Oct.     I  7. 

From  Cocoon  to  Butterfly. .  .Jan.  10  7. 

Her  Majesty  the  Oueen  Bee. Dec.  I,'33..6. 

Insect  Clowns   Mar.   4  7. 

Queen  of  the  Underworld. .. Dec.  6,'33..7. 


RKO  RADIO  PICTURES 


Rel.  Date 


Min. 


Title 

BLONDE  and  RED 

HEAD  SERIES 

Dantlng  Millionaire   Dec.  14  ...19  . . 

Hunger  Pains   Feb.  22,'35.l7i/2. 

Ocean  Swells   Oct.   12.... 21... 

Rough  Necking   Apr.  27.... 20... 

Undie  World,  The   June  15  21... 

Wig  Wag   l9'/2- 

CHICK  CHANDLER 

COMEDIES 

Big   Mouthpiece   Nov.    9  20... 

Horse  Heir   Feb.  l,'35.l9'/2. 

Raised  and  Called  Mar.  22,'35.20. . . 

Unlucky  Strike   Aug.  3l....20'/2. 

CLARK  &  McCULLOUGH 
SERIES 

Alibi  Bye  Bye  June  I4,'35.21 1/2 . 

Bedlam  of  Beards  Apr.  13  18... 

Everything's  Ducky   Oct.  19  21... 

Flying  Down  to  Zero  Apr.  19,35.19... 

In  a  Pig's  Eye  Dec.  28... .201/2. 

In  the  Devil  Dog  House  Feb.  2  21... 

Odor  in  the  Court  Aug.  2  211/2. 

CUBBY  THE  BEAR 

CARTOONS 

Cubby's  Stratosphere  Flight. Apr.  20  7... 

FIddlin'  Fun   June  15  7... 


,4.., 
.41/2, 
.5... 
.41/2, 
.5... 

.5>/2. 

,5... 
,5.., 


DUMBBELL  LETTERS 

No.  3   Aug.  17.... 

No.  4   Sept.  28  

No.  5   Oct.  26  

Ne.  6   Nov.  23  

No.  7   Dee.  21  

No.  8   Jan.  4,'35. 

No.  9   Jan.  I8,'35. 

No.  10   Feb.    I, '35. 

EASY  ACES 

Pharaohland   Feb.  22.'35.  .9  

Topnotchers   II.... 

FOUR  STAR 
COMEDIES 

Fixing  the  Stew  Nov.    2  20  

Fuller  Gush  Man   Aug.  24  18  

How  to   Break  90 
at  Croquet   Jan.    4, '35. 15.... 

HEADLINER  SERIES 
No.  6— Well  Cured  Ham... .June  22. ...19.... 

HEADLINER  SERIES 
(1934-35) 

No.  I — Songs  of  the  Colleges. Oct.    5  15  

No.  2 — Ferry  Go  Round ....  Nov.  23  20  

No.  3— This    Band   Age  Jan.  25,'35.2|i/2 . . 

No.  4 — Simp  Phoney  Concert. Mar.  I5,'35.2I  

EDGAR  KENNEDY 

COMEDIES 

Blasted   Event   June  29  19... 

Bric-a-Brac   Jan.  18, '35. 19... 

Love  on  a  Ladder  Sept.  7  20'/2 . 

Poisoned  Ivory   Nov.  16  21... 

South  Seasickness   201/2. 

Wrong  Direction   Nov.  16  21... 

MUSICALS 

Everybody  Likes  Music  Mar.  9. 

Henry  the  Ape  Jan.  26. 

Bert  Lahr 


Title  Rel.    Date  Min. 

If  This  Isn't  Love  Sept.  28  2l'/2.. 

Spirit  of  1976   Feb.  l5,'35.2|i/2. . 

MUSICOMEDIES  SERIES 

CRuth  Etting) 

An  Old  Spanish  Onion  Mar.  I,'35.20  

Bandits  and  Ballads  Dec.    7  18'/2.. 

Southern   Style   Sept.  14  20  

Ticket  Or  Leave  It  May  26,'35  

PATHE  NEWS 
Released  twice  a  week 

PATHE  REVIEWS  (1933-1934) 
Released  once  a  month 

PATHE  TOPICS 
Released  seven  times  a  year 

RAINBOW 

PARADE  CARTOONS 

Japanese  Lantern   8  

Parrotvllle  Old  Folks  Jan.  25, '35.. 7  

Spinning  Mice   

Sunshine  Makers,  The  Jan.  1 1, '35.. 8  

SOGLOW'S   "THE  KING" 
CARTOONS 

Cactus  King   June   8  1  rl.. 

SPECIALS 

Century  of  Progress  June  15  22.... 

Grand  National  Irish 

Sweekstakes  Race,  1934. ..Apr.    2  10.... 

La  Cucaracha   Aug.  31  20'/2.. 

Steffi  Duna-Don  Alvarado 

(Technicolor) 

TODDLE  TALE 
CARTOONS 

A  Little  Bird  Told  Me  Sept.  7, 

VAGABOND  ADVENTURE 
SERIES 

Damascus   June   8  1  rl. 

Eyes  on   Russia   Aug.   9....  1 1... 

Fakeers  of  the  East  Dec.    7  l8'/2. 

Isle  of  Spice   Jan.  1 1,'35. IO'/2 . 

Jamaica   9'/2. 

Red   Republic   Sept.  21  10... 


STATE  RIGHTS 

CARTOON  EXHIBITORS 

Of  All  Things  4. 

CENTRAL 

Child  of  Mother  India  30. 

Hindu   Holiday   9. 

MARY  WARNER 
Olympic  Winter  Sports 

Capital   8. 

METROPOLITAN  LIFE 
Once  Upon  a  Time  10. 


UNITED  ARTISTS 


Rel.  Date 


Min. 


Title 

MICKEY  MOUSE 

5.  Gulliver  Mickey   May  19  9  

6.  Mickey's  Steamroller. ..  .June  IS  7  

7.  Orphans'  Benefit   Aug.  II  9.... 

8.  Mickey  Plays  Papa  Sept.  29  

9.  The  Dognappers   Nov.  10  

10.  Two-Gun  Mickey   Dec.  25  8.... 

11.  Mickey's  Man  Friday. .  .Jan.  I7,'35..7  

12.  Band  Concert   Feb.  23,'35  

13.  Mickey's  Service  Station.  Mar.  I5,'35..8  

SILLY  SYMPHONIES 

7.  The  Flying  Mouse  July  12  7  

8.  Peculiar  Penguins   Sept.  6  8  

9.  Goddess  of   Spring  Nov.  I  

10.  The  Golden  Touch  


UNIVERSAL 


Rel.  Date 


Min. 


Title 

CARTUNE  CLASSICS 

No.    I— Jolly  Little  Elves..  .Oct.     1  9.. 

No.    2 — Toyland    Premiere. .  Dec.  10  9.. 


GOING  PLACES 

with  LOWELL  THOMAS 


No. 


2   Oct.    8  Irl.. 

No.   3   Nov.    5  1  rl.. 

No.    4   Dec.    3  1  rl.. 

No.    5   Dec.  31  1  rl.. 

No.    6   Jan.  I4,'35..9  

No.    7   Feb.  I8,'35.  .9. . . . 

No.    8   Mar.  25,'35  

GOOFYTONE  NEWS 
No.    7   Apr.  30  9.... 


OSWALD  CARTOONS 

Do  a  Good  Deed   Mar.  25,'35. . I  rl 

Hill  Billys   Feb.  I,'35..9.. 

Robinson  Crusoe  Isle  Jan.  7,'35..9.. 

Sky  Larks   Oct.  22  8.. 

Spring  In  the  Park  Hov.  12  7.. 

Two  Little  Lambs  Mar.  1 1  ,'35. .  I  rl 

William  Tell   July    9  6.. 


STRANGER  THAN 
FICTION  SERIES 


No. 

 Aug.  27.... 

.9.. 

No. 

 Sept.  24  

10.. 

Ne. 

 Oct.  22  

.9.. 

No. 

 Nov.  26  

.9.. 

No. 

 Dec.  17... 

.9.. 

No. 

6 — Novelty   

 Jan.  28,'35. 

.8.. 

No. 

 Mar.  4,'35. 

 Apr.  I,'35. 

.8.. 

No. 

8 — Novelty   

.1  rl 

No. 

 Apr.  22,'35. 

.1  rl 

10. ...20... 
3  2  ris 

10, '35.  .2  rIs 


.19'/,.. 
..2rls. 


UNIVERSAL  COMEDIES 
At  the  Mike  Oct. 

(Mentone  No.  3-A) 
Demi  Tasse   Oct. 

(Doane  Musical  No.  I) 
Desert    Harmonies  Apr. 

(Mentone  No.  12-A) 
Doin'  the  Town   Jan.  30,'35.I8... 

(Mentone  No.  9-A) 
Father   Knows  Best  Feb.  20,'35.  .2  rls 

Sterling  Holloway 
Gus  Van  and  His  Neighbors.. Sept.  19  18... 

(Mentone  No.  2-A) 


Title  Rel.  Date  Min. 
Henry's  Social  Splash  Dec.  19  21... 

Henry  Armetta 
Here's  the  Gong  2  rls 

(Mentone  No.  13-A) 

Hollywood  Trouble   .Jan.    9, '35. 

Just  We  Two  .Aug.  8  

Knickerbocker  Knights  ....Dec,  12  

Mentone 

Meet  the  Professor   Feb,  13, '35. 

(Mentone  No.  lO-A) 
Night  in  a  Night  Club,  A. .Sept.  2.... 

(Mentone  No.  I -A) 
Oh  What  a  Business  Nov.  26... 

(Mentone  No.  5-A) 
Old  Age  Pension  Mar.  27, '35. 

Henry  Armetta 
Revue  a  la  Carte  Jan.  I6,'35. 

Tom  Patricola 

(Mentone  No.  8) 
Sterling's  Rival  Romeo  Nov.  14... 

Sterling  Holloway 
Telephone   Blues   Mar.  I3,'35. 

(Mentone  No.  Il-A) 
Tid  Bits   Oct.  24... 

(Doane  Musical  No.  2) 
Well,  By  George  Oct.  31  

(Mentone  No.  4-A) 

George  Price 
Whole  Show,  The  Dec.  26. 

(Mentone  No.  7-A) 

James  Barton 
World's  Fair  and  Warmer.. Oct.  17. 


20... 
19... 
20... 

19... 

18... 

..2  rls. 

.2  rls 

17... 


..2  rls. 
.2  rls 
.2  rls 

.20.. 

.20.. 

.22.. 


»••••    VITAPHONE  SHORTS 


Title  Rel.  Date  Min 

BIG  V  COMEDIES 

No.  20 — Daredevil  O'Dare.  ..Aug.  II  19... 

Ben  Blue 
1934-35 

All  Sealed  Up  Sept.  15  19... 

Ben  Blue 

Get  Rich  Quick  Apr.  20,'35.  .2  rl*. 

Allen  Jenkins  I  i  | 

His  First  Flame  Mar.  9,'35.20... 

Shemp  Howard 

Daphne  Pollard 
Oh  Sailor  Behave  Sept. 29  17... 

EI  Brendel 

Old  Gray  Mayor,  The  Apr.  6,'35..2rls, 

Bob  Hope 

Smoked  Hams   Oct.  20  18... 

Shemp  Howard 

Daphne  Pollard 
So  You  Won't  T-T-T-Talk.  .Nov.    3. ...20... 

Roscoe  Ates 
Out  of  Order  Nov.  17  19... 

Ben  Blue 

Vacation  Daze   2  rls. 

Jenkins  &  Donnelly 
Dizzy  and  Daffy  Dec.  15  19... 

Dizzy  and  Daffy  Dean 
Once  Over  Lightly  Jan.  I2,'35..2  rls 

Roscoe  Ates 
Radio  Scout   Jan.  26,'35.I9... 

EI  Brendel 

BROADWAY  BREVITIES 

No.  32— The  Policy  Girl...  Aug.  II. ...20... 
Mitzi  Mayfair-Roseoa  Alls 

1934-1935 

Syncopated  City   Sept.   I  20... 

Hal  LeRoy- Dorothy  Dare 
Paree,  Paree   Sept.  8  21... 

Dorothy  Stone- Bob  Hope 
Good  Morning  Eve  Sept. 22  19... 

Leon  Errol 

(Technicolor) 
No  Contest   Oct.     6  21... 

Ruth  Etting 
Off  the  Beat  Oct.   18.... 20... 

Morton  Downey 
The  Flame  Song  Oct.  27  19... 

Bernice  Ciaire- 

J.  Harold  Murray 
Gem  of  the  Ocean  .Nov.  19  20... 

Jeanne  Aubert 
Gypsy  Sweetheart   Mar.  30,'35.  .2  rls, 

Winifred  Shaw- 
Phil  Regan 

Hear  Ye!  Hear  Ye!  Dec.  22  2  rls. 

Vera  Van  and  the 

Yacht  Club  Boys 
See,  See.  Senorita  Jan.  Iz,'35.  .2  rls, 

Tito  Guizar  Armlda 
What.  No  Men?  Jan.  5,'35.2I... 

EI  Brendel-Phll  Regan 

(Technicolor) 
Soft  Drinks  &  Sweet  Music  Dec.    8  20... 

George  Prlce-Sylvla  Froos 
Show  Kids   Jan.  5,'35.20... 

Maglin  Kiddies 

Tad  Alexander 
Radio  Silly   Jan.    9,'35..2  rls 

Cross  &  Dunn 
Cherchez  La  Femme  Feb.  2,'35,.2rls 

Jeanne  Aubert 
In  the  Spotlight  Feb.  22,'35..2  rls 

Hal  LeRoy  &  Dorothy  Lee 
Mr.  &   Mrs.   Melody  Mar.  I6,'35  

llomay  Bailey — Lee  Sims 
Shoestring   Follies  Feb.  I6,'35.  .2  rls. 

Eddie  Peabody 
Singing  Silhouette,  The, . .  .  Mar.  I6,'35.  .2  rls 

Olga  Baclanova 
Castle  of  Dreams,  The  Apr.   6,'35..2  rls. 

Morten  Downey 
Cure  It  With  Music  Apr.  I3,'35,,2  rls 

Fifl  D'Orsay 
in  This  Corner  Apr.  27,'35..2  rls 

Pick  and  Pat- Roscoe  Ails 


LOONEY  TUNES 

No.  II — Buddy's  Circus   Irl,. 

No.  12 — Buddy  the   Detective  Irl.. 

No.  13— Viva  Buddy   I  rl.. 

(1934-1935) 

No.    I — Buddy's  Adventures   I  rl,. 

No,    2 — Buddy  the  Dentist  I  rl.. 

No.    3 — Buddy  of  the 
Legion   7  


Title  Rel.  Date 

No.  4 — Buddy's  Theatre  

No.  5 — Buddy's    Pony  Ex- 
press   

MELODY  MASTERS 

1934-1935 
Mirrors   Sept. 

Freddy  Rich  &  Orchestra 
Phil  Spitalny  and  His 

Musical  Queens   Oct. 

Richard  Himber  and  His 

Orchestra   Nov. 

Don  Redman  and  His  Band,  Dec. 
Will  Osborne  and  His  Or- 
chestra  Dec. 

A  &.  P  Gypsies  Jan. 

Harry  Horlick 
Charlie  Davis  and  Band.... Feb. 
Rimac's  Rhumba  Orchestra. Apr. 
Barney  Rapp  and  His  New 

Englanders   Mar. 

Freddy    Martin    and  His 

Orchestra   May 

MERRIE  MELODIES 

1934-35  (In  Color) 
No.    I — Those  Beautiful  Dames. 

No.    2 — Pop  Goes  My  Heart  

No.    3— Mr.  &  Mrs.  Is  the 

Name   

No.  4 — Country  Boy   

No.  5 — I  Haven't  Got  a  Hat  

SEE  AMERICA  FIRST 

E.  M.  NEWMAN 

No.    I — Pilgrim  Days   Oct. 

No.  2 — Boston  Tea  Party.. Nov. 
No.  3 — Hail  Columbia  ....Dec. 
No.  4 — Remember  the 

Alamo   Dec. 


Min. 
I  rl,. 


.1  rl. 


8, ...II... 


.10.. 


3.... 
29..., 

I..,. 
26,'35. 

16, '35, 
I3,'35. 

I6,'35, 

1 1, '35, 


10.. 
10.. 


.1  rl. 

.  I  rl. 


.1  rl. 

.1  rl. 


..7. 
..7. 


.7,., 
.7... 
.1  rl. 


27.. 
17.. 


.11.. 
.11.. 
.10.. 

10.. 
10.. 
10.. 
10.. 


.1  rl.. 


.9... 
.9... 
II... 
.8... 
.9... 


20..., 

No.    5— Trail  of  the  49ers..Jan.  I9,'35, 

No.    6— Dixieland   Feb.  9,'35, 

No.  7 — Blue  and  the  Gray,  Mar.  2,'35, 
No.  8 — The  Mormon  Trail ,  Mar.  23,'35. 
No.  9 — Westward  Bound  . . Apr.  I3,'35, 
No.  10 — Remember  the 

Maine   May   4,'35,.I  ri.. 

PEPPER  POT 
1934-35 

Little  Jack  Little  Sept.   I  9  

Radio  Reel  No.  I  Sept.  15.... 

Mr.  and  Mrs.  Jesse  Crawford  .Sept. 29  

Vaudeville  Reel  No.  I  Oct.  13  

Movie  Memories   Oct.  27  

Songs  That  Live  Nov.  10  

Gus  Edwards 
Two  Boobs  in  a  Balloon  

Edgar  Bergen 

Good   Badminton   Nov.  24  

Stuffy's  Errand  of  Mercy... Dee.  15  

Listening  In   Dec.  8.... 

Radio  Reel  No.  2 

Vaudeville  Reel  No.  2  Dec.  29  

Harry  Von  Tilzer   Jan.  5,'35. 

Chas.  Ahearn   Jan,  I9,'35. 

A  Trip  Thru  a  Hollywood 

Studio   Feb.  2.'35. 

We  Do  Our  Part  Feb.  9.'35. 

Radio  Reel  No.  3 

Vaudeville  Reel  No.  3  Feb.  I6,'35. 

Guess  Stars   Mar. 22,'35, 

Radio  Ramblers 

Billy  HIM   Mar.  I6,'35. 

Eggs  Marks  the  Spot  Mar. 30,'35. 

Radio  Reel  No.  4 
Some  Bridge  Work  Apr.  I3,'35. 

E3sy  Ac6S 

Vaudeville  Reel  No.  4  Apr.  27,'35, 


.1  rl, 
.9... 
10.-. 

10... 
10... 
10... 

.9... 
.1  rl. 

.1  rl. 
10... 


.1  rl., 
,1  rl.. 


SERIALS 

12  Episodes  Each  Unless  Otherwise  Specified 
Title  Rel.  Date  Min. 

FIRST  DIVISION 

Young  Eagles   July    I  2  rls. 

Boy  Scouts 

MASCOT 

Burn  'Em  Up  Barnes  June  16  2  rls. 

Jack  Mulhall-Lola  Lane-  (each) 

Frankie  Darro 
Lost  Jungle.  The  June  13  2  rls. 

Clyde  Beatty  (each) 

Law  of  the  Wild  Sept.  5  2  rit. 

Rex,  Rin  Tin  Tin,  Jr.  (each) 

Ben  Turpin,  Bob  Custer 
Mystery  Mountain   Dec.    3  2  rIt, 

Ken  Maynard-Verna  Hillle  (each) 

Phantom  Empire   Feb.  23,'35.  .2  rls. 

Gene  Autry-Frankle  Darro  (each) 


PRINCIPAL 

Chandu  on  the  Magic  Island  

Bela  Lugosi-Maria  Alba 

Return  of  Chandu,  The  Oct.  I  

Bela  Lugosi-Maria  Alba  (Seven-reel  feature 
followed  by  eight 
two-reel  episodes) 


UNIVERSAL 


Call  of  the  Savage  Apr.  I5,'35.20  

Noah  Beery,  Jr.  (each) 

Red  Rider,  The  July  16  20  

Buck  Jones  (each) 

(15  episodes) 
Rustler's  of  Red  Dog  Jan.  2I,'35,20  

John  Mack  Brown  (each) 

Tailspin  Tommy   Oct.  29  20  

Maurice  Murphy-  (eaehl 

Noah  Beery,  Jr. 
Vanishing  Shadow,  The  Apr.  23  20  

Onslow  Stevens-Ada  Ince  (each) 


78 


MOTION    PICTURE  HERALD 


March    2  3  ,     19  3  5 


ADVERTISING 


the  great 
national  medium 
for  showmen 


Ten  cents  per  word,  nnoney-order  or  check  with  copy.  Count  initials,  box  number  and  address.  Minimunn  insertion, 
$1.    Four  insertions  for  the  price  of  three.    Contract  rates  on  application.    No  borders  or  cuts.    Forms  close 
Mondays  at  5  P.M.    Publisher  reserves  right  to  reject  any  copy.   Address  correspondence,  copy  and  checks  to 
MOTION  PICTURE  HERALD,  Classified  Dept.,  1790  Broadway,  New  York  City 


USED  ECUIPMENT 


UNUSUAL  BARGAINS  IN  USED  OPERA 
chairs,  sound  equipment  moving  picture  machines, 
Bcreens,  spotlights,  stereopticons,  etc.  Projection 
machines  repaired.  Catalog  H  free.  MOVIE  SUPPLY 
COMPANY,    Ltd.,   844   So.    Wabash   Ave.,  Chicago. 


BARGAINS  RECONDITIONED  ARCTIC  NU-AIR, 
Supreme,  American  Blowers,  noiseless  drives,  hy- 
draulic variable  speed  pulleys.  New  air  washers. 
Catalog  mailed.  SOUTHERN  FAN  CO.,  11  Elliott, 
Atlanta,  Ga. 


WISE  EXHIBITORS  KNOW  WHERE  TO  BUY 
those  good  guaranteed  rebuilt  Simplex  and  Powers 
projectors,  reflector  lamps,  rectifiers,  Mazda  equip- 
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gains always.  Free  catalog.  Play  safe  with  MONARCH 
THEATRE  SUPPLY  CO.,  Memphis,  Tenn.  Estab- 
lished 25  years. 


NEW  ECUIPMENT 


WOW— WHAT  REDUCTIONS-IT'S  TRUE,  TOO- 
14"  reels  2,000'  regularly,  $1.50,  now  39c;  50  ampere 
Weston  meters  for  arcs,  rectifiers,  generators,  regu- 
laly  $10.00,  now  $2.25;  sound  screens,  beaded,  diffusive 
or  Ortho  Krome,  regularly  75c,  now  29c  square  foot; 
enclosed  rewinds,  approved  fireproof,  regularly  $75.00, 
now  $29.75.  Cash  with  order.  S.  O,  S.,  1600  Broadway, 
New  York. 


UNUSUAL  VALUE.  9x9  PERFORATED  SOUND 
screen  together  with  collapsible  metal  frame,  black 
velour  masking  drapes,  all  complete  in  specially 
built  Bal  trunk.  These  are  brand  new.  Were  made 
for  Western  Electric  portable  sound  systems.  $24.95 
each  while  they  last.  Act  quick.  BOX  534,  MOTION 
PICTURE  HERALD. 


THEATRES  ECC 
SALE 


BEST  SMALL  TOWN  THEATRE  IN  MARYLAND. 
Terms  if  desired.  BOX  528,  MOTION  PICTURE 
HERALD. 


CI^UStiES  AND 
SUPI^LIES 


SIGN  PAINTERS'  BRUSHES  AND  SUPPLIES. 
Write  for  FREE  catalog.  DICK  BLICK  COMPANY, 
Box  43,  Galesburg,  Illinois. 


GENEI^AL 
ECUIPMENT 


NEW  REFLECTOR  ARC  LAMPS  OR  RECTI- 
fiers,  $49,50 — replace  inefficient  mazdas,  old-fashioned 
straight  arcs.    S.  O.  S..  1600  Broadway,  New  York. 


NOW  AVAILABLE;  POWERS  SEMI-PORTABLE 
sound  projectors  at  bargain  prices.  Simplex,  Holmes, 
Acme,  DeVry — bought  and  sold.  Large  selection  of 
sound  Westerns,  comedies,  cartoons  in  perfect  condi- 
tion. Big  list.  ZENITH  THEATRE  SUPPLY  CO., 
Inc.,  308  W.  44th  St.,  New  York. 


IRAQ,  MOROCCO,  SINGAPORE,  CUBA  —  ALL 
installing  SOS  Cinemaphone  Wide  Fidelity  sound. 
Complete,  $179.70  up;  soundheads,  $59.50  up;  portable 
sound  film,  16mm.,  35  mm.,  from  $295.00;  amplifiers, 
$39.50  up.  Trades  taken.  S.  O.  S.  1600  Broadway, 
New  York. 


SPECIAL!— ONLY  WHILE  THEY  LAST.  PAIR 
first  class  rebuilt  Peerless  low  intensity  lamps  with 
new  handy  30  ampere  rectifiers,  $375.00.  One  year 
guarantee.  MONARCH  THEATRE  SUPPLY  CO., 
Memphis,  Tenn. 


REBUILT— GUARANTEED— PAIR  SUPER  MORE- 
lite  lamps,  $160;  pair  Morelite  Deluxe  lamps,  $125;  pair 
30  ampere  Forest  rectifiers,  $150;  pair  15  ampere 
Forest  rectifiers,  with  bulbs,  $80;  Special  Buy:  New 
15  ampere  Forest  rectifiers  with  bulbs,  $95  pair. 
CROWN,  311  West  44th  St.,  New  York. 


SUPPLIES,  EQUIPMENT,  REPAIR  PARTS  FROM 
307o  to  40%  off!  Lists,  catalogs  free.  TROUT 
THEATRE  EQUIPMENT  CO.,  Enid,  Okla. 


MR.  EXHIBITOR:  NOW  IS  THE  TIME  TO 
improve  your  projection.  Write  us  details  and  we  shall 
be  pleased  to  suggest  what  type  equipment  will  im- 
prove your  results  for  least  monies.  CRO'WN,  311 
West  44th  St.,  New  York. 


SENSATIONAL  BARGAINS :  REFLECTOR 
lamps,  $25.00;  rectifier  tubes,  $9.00.  Send  for  new 
literature.  WESTERN  MOTION  PICTURE  CO., 
Danville,  III. 


ECUIPMENT 

EXCHANGE 


IF  YOU  WANT  TO  REPLACE  ANY  TYPE  OF 
equipment  with  brand  new  material  we  will  be  glad 
to  make  an  allowance  on  your  old  equipment  and  a 
better  price  on  new  equipment.  Let  us  know  what  you 
need  and  what  you  want  to  exchange  and  we  will  send 
complete  details  on  our  proposition.  EQUIPMENT 
EXCHANGE,  care  of  MOTION  PICTURE  HERALD, 
1790  Broadway,  New  York  City. 


SCUND  ECUlE^AtENT 


"TREATED  US  OKEYDOKE  BEFORE"  SAYS 
Fitch,  Springfield,  Tenn.  "Cinemaphone  sound  deserves 
repeat  order."  Same  old  story.  S.  O.  S.,  1600  Broad- 
way, New  York. 


9,000  CYCLE  FILM,  COPYRIGHTED  INSTRUC- 
tions,  $1.50.  Buzz  and  chopper  track,  $2.50.  Combina- 
tion of  both,  $3.00.  Vitally  necessary  for  adjusting 
soundheads.    S.  O.  S.,  1600  Broadway,  New  York. 


WANTED  T€  BUT 


WANT  SIMPLEX,  POWERS  PROJECTORS,  ANY- 
thing,  for  cash.    S.  O.  S.,  1600  Broadway,  New  York. 


ORGANS— WE  BUY  ALL  MAKES  OF  USED 
organs  for  cash.  DELOSH  BROTHERS,  350S— 105th 
St.,  Corona,  L.  I. 


WANTED.  TWO  SIMPLEX  PEDESTALS  MODEL 
M  type.  Must  be  in  first  class  condition.  State  price 
in  first  letter.  BOX  535,  MOTION  PICTURE 
HERALD. 


USED  PORTABLE  PROJECTORS,  SOUND  OR 
silent.    BOX  157,  Lancaster,  Mo. 


PI^INTING  SEI^VICE 


100  WINDOW  CARDS,  14  x  22,  3  COLORS,  $3.7S; 
no  C.O.D.    BERLIN  PRINT,  Berlin,  Md. 


NEARGRAVURE— 125  LETTERHEADS,  125  EN- 
velopes,  $1.89  delivered.    SOLLIDAYS,  Knox,  Ind. 


TI^AININS  SCI-iCCLS 


LEARN  MODERN  THEATRE  MANAGEMENT. 
Catalog  free.  THEATRE  MANAGERS  INSTITUTE, 
315  Washington  St.,  Elmira,  New  York. 


TECMNICAL 


"RICHARDSON'S  HAND  BOOKS  OF  PROJEC- 
tion"  in  three  volumes.  Universally  accredited  as  the 
best  and  most  practical.  Aaron  Nadell's  "Projection 
Sound  Pictures."  Complete  information  on  sound 
equipment.  Both  text  books  complete  for  $12.80. 
QUIGLEY  BOOKSHOP,  1790  Broadway,  New  York. 


Day-after-Day 

EXCELLENCE 


EASTMAN  Super-Sensitive  ''Pan" 
Negative  has  played  a  part  in  pro- 
ductions that  marked  veritable  milestones 
in  cinematic  progress.  Yet  its  success 
in  these  outstanding  pictures  is  based 
upon  the  same  dependability  it  offers 
cameramen  and  producers  every  day  in  the 
year.  Unfailing,  day-after-day  excellence  is 
the  quality  that  makes  this  film  the  natural 
choice  for  the  screen's  greatest  ventures. 
Eastman  Kodak  Company,  Rochester, 
N.  Y.  (J.  E.  Brulatour,  Inc.,  Distributors, 
New^  York,  Chicago,  Hollywood.) 


EASTMAN  Super-Sensitive 
Panchromatic  Negative 


k^OTION  PICTURE 


▲ 


A  CONSOLIDATION  OF  EXHIBITORS  HERALD-WORLD  AND  MOTION  PICTURE  NEWS 


MEDDLERS  PLOT 
TO  CRAB  SCREEN 

BY  LECISLATION' 


hcato  _=»-    .     opera  cngaS" ,  scte« 


MeVsoo  pels*'*^'''  J 


u,;ttiaotW-     ,  "  — —       .  t,  must- 

.   ,,ibutc       ' ..  ,        strong         ^  taw 

(ull-po""'!       C<."«">"'  ^^^^^ 


i: 


THE  FIRST 

HOME 


t  new  bit  to 


DELIGHT 

BVANS, 

BDITOR  or 

;CREENLAND, 

BIVES  YOU 
rHE  WOMAN'S 

INGLE 
BN  PAUL 

MUNIu. 
BLACK 
rURTT 


To  Paul  Muni  (or 

.  ^Aov•-e  Mon«K  -n 
"Black  F"fV 


all  actors  on  th^ 
Uv  the  most  bonest  of  al 

M13N1  IS  mdisputablV  tl  cannot  do 

P^UL  M13N     ^^^^^^^       ,      p       ^^^^^^     be  Pau 

^  JmseU  .a  bv^  cbataae^  t.gbt  out  f  ,,  ,,,e 

submerges  bims  His  intensity  ^  Am  a 


With 


SPELLS  LONG  LINES  AT  ANY  B 


If  I  were  writing  the  advertisements  for  "Go  Into  Your 
Dance"  I  would  first  measure  the  film,  and  then  claim  in 
large,  boldface  letters  "that  every  inch  of  the  celluloid  is 
packed  with  entertainment!"  And  that's  just  what  it  is. 

Many  years  ago— when  Jolson  made  New  York's  Winter 
Garden  famous  —  the  mammy  singer  was  acclaimed  as 
"the  world's  greatest  entertainer."  He's  still  that— and  then 
some.  To  use  his  words,  "You  ain't  heard  nothin'  yet!" 

"Go  Into  Your  Dance"  is  tops  among  the  many  musical 
films.  Everything  about  it  —  acting,  direction,  music, 
lyrics,  photography,  dance  ensembles,  comedy  — is  ab- 
solutely grand! 

Aside  from  all  this  tuneful  glamour  the  story  is  both 
exciting  and  highly  amusing.  The  plot  has  to  do  with  a 
star  (Jolson)  who  walks  out  of  a  show  once  too  often 
and  is  barred  from  Broadway.  His  struggle  to  come 


Starring 


AL  JOLSON 

GLENDA  FARRELL  •  SHARON  LYNNE  •  PATSY  KELLY  • 
Story  by  Bradford  Ropes,  author  of  ''42nd  Street''  •  Songs 


a 


WARNER  BROS 


OX-OFFICE  WINDOW^^ 

lays  Jimmy  Starr  in  Los  Angeles  Herald  -  Express 


back  weaves  in  a  pretty  little  hoofer  (Ruby),  several 
gangsters,  a  misunderstood  romance,  a  near  tragedy 
and  a  few  hilarious  situations,  all  building  up  to  a 
smash  climax. 

Of  course.  Ruby  is  marvelous  as  the  hoofer,  and  she 
has  plenty  of  opportunity  to  display  her  light  fantastic 
wares.  As  for  Al  — well,  haven't  I  already  given  him  a 
flock  of  adjectives  ? 

Patsy  Kelly  is  particularly  bright  with  a  brief  comedy 
role.  Helen  Morgan  does  nicely  with  a  difficult  part  and 
one  vocal  offering.  Glenda  Farrell  is  her  usual  swell  self, 
while  Sharon  Lynne,  Barton  MacLane,  Phil  Regan, 
Gordon  Westcott  and  others  complete  the  cast. 

A  nice  long  bow  to  Jack  Warner,  Hal  Wallis,  Bill 
Koenig  and  Sam  Bischoff  for  "Go  Into  Your  Dance"— 
and  that  spells  long  lines  at  any  box-office  window! 


*  « 


nd 


RUBY  KEELER 


HELEN  MORGAN  •  BENNY  RUBIN  •  PHIL  REGAN  •  GORDON  WESTCOTT 
by  Warren  and  Dubin  •  Dances  by  Bobby  Connolly  •  Directed  by  Archie  L.  Mayo 


^■^^^^mHhhI  ^     Aii#in  D:*tek...-#,i«.  P.v.^  w,»«L 


Alvin,  Pittsburgh:  F/rs/  week 
without  stage  show,  but  tremen- 
dous business  assures  holdover. 


Wisconsin,  Milwaukee 

Substantially  ahead  of  great 
^County  Chairman''  grosses. 


Fox,  Philadelphia:  Set  for 

second  week  as  it  leads  ''County 
Cha  irman"  and  "Judge  Priest. 


Cha 


BufFalo,  Buffalo:  Far  ahead 
of  anything  else  in  town. 


Warfield,  San  Francisco: 

Packing   them   in  faster  than 
Judge  Pr'iest"  or  "County 


irman. 


State,  Richmond:  Flood  of 
ticket-buyers  prompts  manager 
to  predict  3-week  run. 


ROGERS 


in 


Uptown,   Toronto:  Beating 
"The  County  Chairman,"  day 
for  day. 


New,  Baltimore:  Powerful 
box-office  pace  indicates  cer- 
tain holdover. 


LIFE  BEGINS 
AT  40 

with  ROCHELLE  HUDSON,  RICHARD 
CROMWELL,  GEORGE  BARBIER,  Jane  Darwell, 
Slim  Summerville,  Sterling  HoMoway. 

Produced  by  Sol  M.  Wurtzel 

Directed  by  George  Marshall.  Suggested  by 
Walter  B.  Pitkin's  book.  Screen 
play  by  Lamar  Trotti. 


I 


MOTION  PICTURE  HERALD 


Vol.  118.  No.  13 


OP 


March  30,  1935 


NEWSREEL  RIGHTS 

THE  decision  of  Judge  Joseph  Sprouls  of  the  California 
courts  directing  a  verdict  in  behalf  of  Universal's  newsreel 
upholding  its  co-equal  right  with  the  newspapers  to  present 
pictures  of  actualities  becomes  important  precedent  for  screen 
publication.  A  damage  action  was  brought  by  a  woman  who 
claimed  that  pictures  of  the  body  of  "Babyface"  Nelson  had 
serious  biological  effect  on  her. 

In  an  expression  entitled  "Newsreels  and  Corpses"  the  editor 
of  Motion  Picture  Herald  some  months  ago  gave  voice  to  a 
declaration  that  such  pictures  are  not  to  be  considered  enter- 
lainment  for  any  wholesome  general  audience,  but  that  opinion 
applied  and  applies  to  questions  of  policy,  not  of  rights  under 
law.  The  furore  over  the  pictures  of  the  Hauptmann  trial  at 
Flemington  was  a  tempest  over  the  same  legal  right.  It  is  to  be 
observed  that  no  legal  procedure  was  actually  instituted. 

It  should  be  axiomatic  that  the  newsreel  Is  entitled  to  the 
rights  of  the  press,  even  if  they  do  Include  the  right  to  sensa- 
tionalism and  the  joumallstlc  taste  which  colors  the  tabloids. 
The  right  to  be  wrong  is  still  a  right. 

Incidentally,  Universal  seems  to  be  the  try-out  concern  for 
most  of  the  precedent  making  litigation  on  such  Issues.  It  will 
be  recalled  that  back  yonder  in  the  days  when  Mr.  Jack  Cohn, 
now  of  Columbia,  was  editor  of  Universal's  newsreel  there  was 
the  celebrated  case  in  which  Miss  Grace  Humiston,  attorney 
In  the  unraveling  of  a  murder  case,  sued  for  Invasion  of  her 
right  of  privacy,  despite  the  fact  that  she  had  posed  for  the 
camera.  At  the  end  of  a  long  controversy  a  decision  was  ren- 
dered In  behalf  of  Universal,  in  1919,  declaring  the  newsreel 
right  to  picture  persons  in  the  news,  by  the  Appellate  Division 
of  the  Supreme  Court  of  New  York. 

AAA 
INTEREST  and  DISINTEREST 

A VIVID  contrast  In  both  methods  and  purposes  appears 
between  the  impingement  of  the  Legion  of  Decency 
upon  the  motion  picture  and  the  Invasive  campaign  of 
appropriation  launched  by  the  National  Congress  of  Parents 
and  Teachers,  presented  and  discussed  in  the  news  pages  of 
this  issue  of  Motion  Picture  Herald. 

Both  movements  purport  alike  to  be  In  the  service  of  the 
common  good  and  the  great  public  of  the  screen. 

The  Legion  movement  crystalized  into  support  for  and  en- 
couragement of,  the  industry's  own  Internal  arrangements  for 
Improved  application  of  the  Production  Code  and  the  estab- 
lishment of  the  Production  Code  Administration — distinctly  a 
process  by  which  the  motion  picture  has  been  left  free  to  tend 
to  Its  own  business,  by  Its  own  methods. 

The  Parents  and  Teachers,  and  their  allies,  propose  In  sub- 
stance the  enactment  of  legislation  aimed  to  permit  them  to 
take  over  the  amusement  Industry.  They  propose  to  dominate 


It,  to  select  wares  for  the  customers  and  to  take  over  the  cus- 
tomers, too.  They  demand  delivery  of  the  box  office  to  them 
In  the  name  of  piety,  virtue  and  public  service. 

The  Parents  and  Teachers  program  appears  little  short  of  a 
paraphrase  of  the  Hooey  Long  platform. 

AAA 

SUCCESSORS 

THE  announcement  of  the  public  daily  press  of  its  re-elec-' 
tion  of  Mr.  Will  H.  Hays  to  the  presidency  of  the  Motion 
Picture  Producers  and  Distributors  of  America,  Inc.,  were 
somewhat  incomplete  in  that  they  did  not  list  the  array  of  per- 
sons their  rumor  writers  had  put  In  nomination  as  his  successor 
In  the  past  year.  Checking  our  rumor  inventory  we  find  that 
the  list  of  successors  to  Mr.  Hays  has  been  exceeded  only  by 
the  roster  of  those  who  were  about  to  buy  Universal. 

AAA 
SPECULATIONS  IN  GENIUS 

MONOPOLISTIC  ambitions  are  still  the  curse  of  Holly- 
wood in  the  opinion  of  Mr.  Samuel  Soldwyn. 
"There  are  still  persons  and  concerns  that  want  to 
tie  up  all  the  talent  there  is  on  long  term  contracts,"  observes 
Mr.  Goldwyn.  "I  am  now  Increasing  my  schedule  to  produce 
six  pictures — why? — because  I  have  to  make  six  so  that  I 
can  organize  and  support  a  competent  organization  to  make 
three." 

In  this  expression  Mr.  Goldwyn  gives  point  to  our  frequent 
observation  that  each  and  every  Important  feature  picture  Is  a 
business  in  Itself,  calling  for  Its  own  production.  Its  own  selling, 
all  the  way  from  the  studio  to  the  box  office.  That  Implies 
obviously  the  value  of  great  elasticity  in  production  organiza- 
tion. The  long  term  contract  for  the  preponderance  of  pro- 
duction talent  does  not  conduce  to  that  elasticity,  and  tends 
to  close  the  gates  of  opportunity  to  continuously  developing 
ability. 

Five  year  contracts  with  creative  minds  are,  at  the  most, 
highly  speculative  options. 

AAA 

TYPE  TRICKS 

THAT  large  element  of  the  show  business  which  is  still 
controlled  by  the  black-faced  typography  evolved  by  the 
Chicago  mail-order  advertisers  should  be  advised  of  the 
march  of  time.  The  reverse-etching,  black-face,  sardine- 
packed  copy  was  a  hit  In  the  time  when,  driven  Indoors  by 
early  winter  darkness,  the  prairie  farmers  sat  around  the  kitchen 
table,  under  an  oil  lamp,  studied  the  catalogues  and  hungered 
for  more  "reading  matter". 


MOTION  PICTURE  HERALD  MARTIN  QUIGLEY,  Editor-in-Chief  and  Publisher 

Incorporating  Exhibitor's  Herald,  founded   1915;  Motion  Picture  News,  founded   1913;   Moving   Picture  World    founded  .^''"J 
founded   1906.     Published  every  Thursday  by  Quigley  Publishing  Company,    1790  Broadway,  New  York  City.    Telephone  Circle  7-3100.    Cable  f^dress     Q^uigpubco,  New  Yo^^^^ 
Martin  Quigley,  Editor-in-Chief  and   Publisher;  Colvin  Brown,  Vice-President  and  General    Manager;  Terry   Ramsaye    Editor;   Ernest  A.    Rove!  tad     Managing  C^''",^" 
Bureau,  407  South   Dearborn  Street,  Edwin  S.  Clifford,  manager;  Hollywood   Bureau,   Postal  Union  Life  Buildmg    Victor  M.  Shapiro    '^^"^g^^i  London  Bur^^^^^^ 
Regent  Street,  London  W  I,  Bruce  Allan,  cable  Quigpubco  London;  Berlin  Bureau,  Berlin-Templeho  .    Kaiserin-Augustastrasse   28,   Joachim    K.    I^"t'="t>erg  representa^^^^ 
Bureau,   19,  Rue  de  la  Cou;-des-Noues,   Paris  20e,  France,  Pierre  Autre,  representative,  cable  Autre-Lac,fral-20  Pans;  Rome  Bureau,  Y J  fj^' 
representative,   Italcable,   Malpassuti,   Rome;  Sydney  Bureau,  600  George  Street,  Sydney,  Australia,  Cliff  Ho  t.  ^^P^«%"tat,ve;  Mexico  City  Bureau    Apartado  269    ^^^xico  Qty 
Mexico,  James  Lockhart   representative;  Prague  Bureau,  Na  Slupi  8,  Prague  II,  Czechoslovakia    Harry  Knopf,  ''eP/ejentative;  Cape  Town  Bureau     0  St  G^^ 

Point,  Cape  Town,  South  Africa,  H.  Hanson,  representative;  Budapest  Bureau,  3    Kaplar  -u,   Budapest    Hungary,  ,  Endre  Hevesi    repre^^^  Address  aU  corre- 

Buencs  Aires,  Argentina,  N.  Briiski,  representative.  Member  Audit  Bureau  of  Circulations.  All  contents  copyright  1935  by  (?uigley  P"b'shmg  Co^^^^^  section  2  of  Motion 
spondence  to  the  New  York  Office.  Better  Theatres,  devoted  to  the  construction,  equipment  and  operation  of  theatres,  is  published  every  fourth  week  as  section  2  ot  Motion 
Picture  Herald.   "Other  Quigley  Publications:  Motion  Picture  Daily,  the  Motion  Picture  Almanac,  published  annually,  and  the  (..hicagoan. 


MOTION    PICTURE  HERALD 


March  30 


9  3  5 


THIS  WEEK  - 


OP 


BRITISH  BOOM 

"A  great  boom  Is  on  in  the  filnn  business 
in  England,  and  there  is  money  to  be  made 
in  supplying  the  needs  of  theatres  in  the 
British  Empire,"  last  week  said  Irving 
Asher,  Warner  production  head  in  Eng- 
land, on  his  arrival  in  New  York  to  confer 
with  executives  on  possible  expansion  of 
Warner  English  production.  .  .  . 

MEXICAN  STRIKE  OFF 

Pending  investigation  of  charges  that 
it  was  misinformed  regarding  the  facts  of 
the  case,  the  National  Cinema  Employees' 
Union  of  Mexico  has  called  off  the  nation- 
wide strike  ordered  last  week  as  a  result  of 
allegedly  unfair  treatment  of  its  members 
by  exhibitors  in  Monterey,  on  the  U.  S. 
border.  .  .  . 

NEWS  PROPAGANDA 

Students  of  Wesleyan  University,  at 
Middletown,  Conn.,  militant  exponents  of 
peace  through  their  League  for  Industrial 
Democracy  and  Peace  Action  League,  have 
protested  to  the  Middlesex  theatre  man- 
agement against  "militaristic  propaganda" 
in  Hearst  Metrotone  News.  .  .  . 

TRI-ERGON  DENIAL 

New  York  Federal  Judge  Alfred  C. 
Coxe  last  week,  citing  the  recent  United 
States  supreme  court  Tri-Ergon  decision, 
denied  American  Tri-Ergon's  petition  to 
file  an  amended  claim  for  damages  against 
Paramount  for  alleged  infringement  of 
patents.  Tri-Ergon  had  filed  a  claim  in  the 
course  of  the  Paramount  bankruptcy,  then 
sought  to  file  an  amended  claim.  .  .  . 

FAST  CAMERA 

Demonstrated  before  the  American  So- 
ciety of  Mechanical  Engineers  by  George 
Lane  was  a  new  high  speed  camera.  Called 
the  Western  Electric  "Ultra  Speed  Came- 
era"  and  termed  the  "microscope  of  time," 
the  device  is  used  to  detect  flaws  in 
rapidly  moving  machinery.  ... 

MASTROLY  RESIGNS 

A  Universal  executive  for  I  I  years,  three 
of  them  as  President  Carl  Laemmle's  per- 
sonal contact  with  New  York,  and  for  the 
past  year  executive  studio  manager  Frank 
Mastroly  last  week  resigned.  His  plans 
are  indefinite.  .  .  . 

PROTEST  AMATEURS 

The  American  Federation  of  Actors  has 
formally  protested  to  the  NRA  in  Wash- 
ington and  to  the  Code  Authority  in  New 
York,  charging  the  use  of  amateurs  in  film 
theatres  is  "an  unfair  trade  practice  and 
decidedly  in  contrast  to  .  .  .  the  purpose 
of  the  National  Recovery  Act."  .  .  . 


FILM  BOOM 

Addressing  a  labor  legislation  confer- 
ence In  San  Francisco,  Madame  Secretary 
of  Labor  Frances  Perkins  this  week  cited 
figures  to  indicate  the  motion  picture  in- 
dustry is  booming.  More  workers  were 
employed  by  the  Industry  during  January 
than  in  any  January  for  the  past  six  years, 
she  said.  .  .  . 

CLAIMED 

Following  long  experimentation,  MGM 
has  evolved  a  new  developing  process 
which,  it  Is  claimed,  eliminates  all  flicker 
from  release  prints.  This  "chemical  un- 
steadiness," it  is  said,  Is  eliminated  by 
"anti-direction  turbulation  development," 
or  the  bombardment  of  the  film  with  min- 
ute chemical  particles.  Elimination  of  eye- 
strain, greater  brilliance,  better  detail,  are 
claimed  for  the  method.  .  .  . 


INSURANCE  RATES 

Named  to  the  board  of  the  newly 
formed  Liability  Protective  Association, 
Inc.,  Kansas  City,  which  seeks  to  obtain 
reduction  In  local  liability  insurance  rates, 
are  E.  C.  Rhoden,  Fox  Midwest  division 
manager,  and  George  S.  Baker,  Publlx 
Newman  manager.  Protest  by  the  chamber 
of  commerce  that  rates  are  too  high  be- 
cause of  operation  of  a  fake  accident 
claim  racket  led  to  the  association.  .  .  . 


In  This  Issue 


Meddlers  seek  to  grab  screen  to  finance 
"welfare  work"- — by  Terry  Ramsaye 

"Naughty  Marietta"  notable  screen  musi- 
cal adventure,  says  Joseph  O'Sullivan 

Fox  Film  nets  $1,273,069  profit  in  year 

William  A.  Brady  sees  decency  campaign 
best  thing  that  ever  happened  to  films 

FEATURES 


Page  9 

Page  12 
Page  16 

Page  33 


Editorial 

Page 

7 

The  Camera  Reports 

Page 

13 

The  hlollywood  Scene 

Page 

54 

J.  C.  Jenkins — His  Colyum 

Page 

58 

Asides  and  Interludes 

Page 

25 

Code  Question  Box 

Page 

48 

The  Cutting  Room 

Page 

50 

DEPARTMENTS 

What  the  Picture  Did  for  Me 

Page 

61 

Showmen's  Reviews 

Page 

40 

Managers'   Round  Table 

Page 

69 

Technological 

Page 

55 

Short  Features  on  Broadway 

Page 

57 

Chicago 

Page 

57 

Letters  from  Readers 

Page 

56 

The  Release  Chart 

Page 

79 

Box  Office  Receipts 

Page 

66 

Classified  Advertising 

Page 

84 

THEATRE  vs.  PAPER 

When  "The  Milwaukee  Sentinel"  gave 
front  page  flare  to  the  appearance  of 
Texas  Guinan's  "Hotcha  Girls"  on  the 
stage  of  the  local  Fox  Alhambra,  the  Fox 
retaliated  by  dropping  its  "Sentinel"  ad- 
vertising. When  the  district  attorney  im- 
pounded life-size  cardboard  models  In  the 
Alhambra  lobby,  the  paper  blew  up  the 
story,  the  theatre  snapped  back  in  Its 
lobby:  "Advertising  In  This  Space  Con- 
fiscated.  Show  Going  on  as  Usual."  .  .  . 

BUY  LOEW  STOCK 

Loew's  executives  purchased,  between 
January  I  and  March  I,  more  than  25,000 
shares  of  the  company's  stock,  the  New 
York  Stock  Exchange  has  been  Informed. 
Their  options  permit  them  to  buy  at  $30  a 
share,  under  the  market.  The  purchasers: 
David  Bernstein,  vice-president  and  treas- 
urer, 13,890;  Irving  Thalberg,  10,000;  J. 
Robert  Rubin,  2,000.  .  .  . 

B.  &  K.  DIVIDEND 

Balaban  &  Katz,  Chicago  circuit,  has  de- 
clared a  $5.25  per  share  preferred  divi- 
dend, payable  March  30  to  stockholders 
of  record  March  28.  The  payment  reduces 
the  back  dividends  on  the  preferred  ,to 
$5.25  per  share.  .  .  . 

HEADS  WHN 

Following  the  resignation  of  Major  Ed- 
ward Bowes  as  managing  director  of 
WHN,  broadcasting  studio,  to  take 
charge  of  the  NBC  network's  Chase  & 
Sanborn  amateur  air  show,  Louis  K.  Sid- 
ney has  taken  over  WHN  direction.  .  .  . 

CIRCUIT  SCRAP 

Starting  in  Queens  borough  several 
months  ago,  and  moving  to  Brooklyn,  with 
Manhattan  In  the  offing,  Harry  Brandt  on 
the  one  hand  and  Jack  Springer  and  Sam 
Cocalis  on  the  other,  two  of  New  York's 
largest  Independent  circuit  operators, 
have  been  engaged  In  a  theatre  acquisi- 
tion battle  of  invasion  and  retaliation, 
using  as  their  weapons  purchase,  protection 
and  clearance.  Ended  this  week  was  an 
operating  agreement  between  Sprlnger- 
Cocalls  and  Consolidated  Amusements.  .  .  . 

AMBASSADORESS? 

Reported  by  the  Havas  News  Agency 
to  the  "New  York  Post"  Is  the  entertain- 
ing story  that  beauteous  Leni  Riefenstahl, 
German  actress  and  friend  of  Hitler,  has 
conferred  "at  length"  with  Lord  Cran- 
bourne  and  Edgar  L.  Granville,  members 
of  Sir  John  Simon's  English  diplomatic  mis- 
sion to  Berlin.  The  "Post"  noted  that  her 
presence  In  the  august  group  "puzzled" 
journalists.  .  .  . 


ivlarch    30,  1935 


MOTION    PICTURE  HERALD 


9 


MEDDLERS  SEEK  TO  CRAB 
SCREEN  TO  FINANCE 
"WELFARE  WORK" 

by  TERRY  RAMSAYE 

In  quest  of  infornnation  on  the  nnotivations  behind  the  increasingly  aggressive  interest  in 
motion  picture  affairs  on  the  part  of  the  National  Congress  of  Parents  and  Teachers,  the  editor 
of  Motion  Picture  Herald  last  week  addressed  a  telegram  of  inquiry  to  Mrs.  A.  R.  Klock,  motion 
picture  chairman  for  the  District  of  Columbia  for  that  organization.  Since  Mrs.  Klock  resides  and 
officiates  in  the  city  of  Washington,  her  position  as  contact  with  the  capital  is  significant  beyond 
the  importance  of  the  district  she  represents.  The  inquiry  read: 

WOULD  YOU  BE  GOOD  ENOUGH  TO  GIVE  US  YOUR  OPINION  OF  THE  PETTENGILL  BILL 
AND  INDICATE  IF  YOU  THINK  IT  IS  THE  PROPER  KEYNOTE  OF  APPROACH  ON  A  PROGRAM 
OF  PROGRESS  IN  DEALING  WITH  THE  MOTION  PICTURE? 

Reply  from  Mrs.  Klock  was  prompt,  direct  and  revealing  beyond  expectation.  Her  message 
read  as  follows: 

MOTION  PICTURE  HERALD    NEW  YORK  CITY 

THE  PASSAGE  OF  THE  PETTENGILL  BILL  WOULD  BE  AN  OPENING  WEDGE  FOR  A  BROADER 
PROGRAM  WHICH  WOULD  PUT  CHURCHES  SCHOOLS  AND  CIVIC  ORGANIZATIONS 
ON  A  BUSINESS  BASIS  WITH  MOTION  PICTURE  THEATRES  GIVING  THEM  EQUAL  OPPOR- 
TUNITY TO  RENT  AND  EXHIBIT  THE  BETTER  CLASS  OF  PHOTOPLAY  STOP  IN  PRESENT 
CIRCUMSTANCES  THE  THEATRES  HAVE  EVERY  ADVANTAGE  OVER  MANY  BEAUTIFUL  AND 
WELL  EQUIPPED  CHURCH  SCHOOL  AND  CIVIC  AUDITORIUMS  STOP  THERE  IS  NO  REASON 
WHY  SCHOOL  CHURCH  AND  CIVIC  ORGANIZATIONS  SHOULD  BE  BARRED  AS  CUSTOMERS 
FOR  THE  MANY  GOOD  MOTION  PICTURES  NOW  mHG  EXHIBITED   STOP  WE  DO  NOT 
WANT  BLOCK  BOOKING   STOP  THE  NATIONAL  CONGRESS  OF  PARENTS  AND  TEACHERS 
HAS  DECIDED  ON  A  POLICY  WHICH  WOULD  PERMIT  THE  SELECTION  OF  THE  BEHER 
TYPES  OF  MOTION  PICTURES  FOR  EXHIBITION  IN  CHURCH  AND  SCHOOL  HALLS  AND 
CIVIC  AUDITORIUMS   STOP   IF  THE  PETTENGILL  BILL  BECOMES  LAW  COMMUNITY 
ORGANIZATIONS  WOULD  HAVE  THE  SAME  RENTING  AND  SELECTION  PRIVILEGES  AS 
MOTION  PICTURE  THEATRE  OPERATORS   STOP    MUCH  SPLENDID  WELFARE  WORK  CAN 
BE  FINANCED  IN  EVERY  COMMUNITY  FROM  THE  PROCEEDS  OF  MOTION  PICTURE  EXHI- 
BITIONS IN  CHURCH  SCHOOL  AND  CIVIC  AUDITORIUMS   STOP    PASSAGE  OF  THE 
PETTENGILL  BILL  WOULD  ALSO  BRING  ABOUT  A  WIDER  DISTRIBUTION  OF  THE  BETTER 
PHOTOPLAY 

MRS.  A.  RAYMOND  KLOCK,  MOTION  PICTURE  CHAIRMAN, 
DISTRICT  OF  COLUMBIA  CONGRESS  OF  PARENTS  AND  TEACHERS,  WASHINGTON,  D.  C. 

The  National  Congress  of  Parents  and  Teachers  is  hereby  declared  to  be  contemplating 
forcible  entry,  entry  by  law,  into  the  picture  business  to  engage  in  exhibition  in  competition 
with  the  existing  institution  of  the  screen. 

It  is  naively  stated  that:  "In  the  present  circumstances  the  theatres  have  every  advantage 
over  many  beautiful  and  well  equipped  church,  school  and  civic  auditoriums." 

The  implication  here  is  that  there  is  something  unfair  in  this       [Continued  on  following  page] 


10 


MOTION    PICTURE  HERALD 


March    30,    I  935 


[Continued  from  preceding  page]    "advantage" — something  unfair  that  should  be  dealt  with  by  law. 

The  announced  platform  takes  no  cognizance  of  rights  that  may  exist  among  the  investors  in  and 
builders  of  the  industry. 

And  consider  the  alluring  bait  to  busy-bodies  and  job  hunters  that  is  held  out  in  the  suggestion:  "Much 
splendid  welfare  work  can  be  financed  in  every  community  from  the  proceeds  of  motion  picture  exhibitions 
in  church,  school  and  civic  auditoriums." 

Welfare  work,  financed  on  the  motion  pictures'  receipts,  would  indeed  supply  payroll  for  a  grand  army 
of  welfare  workers.  The  promise  of  such  a  prospect  is  well  calculated  to  enlist  the  enthusiasms  of  vociferous 
thousands  of  those  persons  who  devote  their  lives  to  tending  to  other  people's  business.  Just  what  that  inva- 
sion of  the  box  office  would  do  to  the  invested  capital  and  the  large  employment  rolls  of  the  industry  is  an- 
other matter  which,  it  seems,  is  no  concern  of  either  Parents  or  Teachers. 

Ever  since  the  Reverend  Wilbur  Crafts  and  his  colleague,  Canon  William  Sheafe  Chase,  began,  now 
more  than  twenty  years  ago,  to  harry  the  industry  of  the  motion  picture,  there  have  been  plans  to  invade 
the  business  in  the  name  of  piety  and  social  interest. 

The  motion  picture's  glamorous  reputation  as  an  industry  of  swift  flowing  millions  has  made  it  a  shin- 
ing mark  for  meddlers  down  the  years.  Production  plans  have  leaked  through  the  cautious  expressions  of  an 
unending  array  of  alleged  reform  and  social  uplift  organizations,  eager  for  a  conspicuous  cause,  publicity 
and  profits. 

This  industry,  with  the  hand  of  the  tax  collector  ever  heavy  upon  it,  has  made  proportionately  high  contribu- 
tion to  the  public's  interest,  through  its  whole  existence.  It  has  pursued  a  policy  of  very  ready  generosity  in  its 
dealing  with  social  groups.  In  that  it  has  kept  up  the  tradition  of  all  showmen — always  the  first  to  lend  a  hand  at 
the  benefit.  The  typical  motion  picture  exhibitor  is  a  personage  in  his  community  and  his  theatre  is  a  local  in- 
stitution. 

The  motion  picture  mechanisms  necessary  to  the  art  are  on  the  open  market,  available  to  all  who  desire  to 
make  motion  pictures.  The  National  Congress  of  Parents  and  Teachers  and  all  friends  and  affiliates  have  an  entirely 
free  opportunity  to  engage  in  the  production  and  distribution  and  exhibition  of  any  and  as  many  motion  pictures, 
of  any  sort,  as  they  may  desire. 

That  opportunity  is  not  sufficient. 

They  prefer  invasion,  expropriation,  a  special  license  to  take  from  the  exhibitor's  box  office  the  amusement 
merchandise  on  which  the  whole  industry  exists. 

The  scheme  and  its  array  of  interlinked  special  motives  is  old,  but  never  before  has  it  been  set  forth  in 
such  candor.  Never  before  has  it  been  so  organized,  and  so  daring. 

Whose  industry  is  this? 

WHAT  TEACHER-PARENT  CONGRESS  IS 


by  JAMES  P.  CUNNINGHAM 

The  National  Congress  of  Parents  and 
Teachers  is  the  organization  which  unites  the 
membership  of  parent-teacher  associations 
throughout  the  United  States,  Hawaii  and 
Alaska.  The  structure  of  the  Congress  includes 
the  membership  of  community  units  and  their 
councils,  state  branches  and  their  districts.  The 
membership  is  1,463,012,  organized  into  20,000 
local  units. 

The  objects  are:  first,  to  promote  child  wel- 
fare in  home,  school,  church  and  community, 
and,  secondly,  to  bring  into  closer  relation  the 
home  and  the  school. 

Founded  February  17,  1897,  this  organi- 
zation was  launched  as  the  National  Con- 
gress of  Mothers  by  a  group  led  by 
Mrs.  Theodore  W.  Blrney  and  Mrs.  Phoebe 
Apperson  Hearst,  mother  of  William  Ran- 
dolph Hearst,  newspaper  publisher  and 
motion  picture  producer  (Cosmopolitan 
Pictures,  released  by  Warner  Brothers, 
and  Hearst  Metrotone  News,  released  by 
Metro-Goldwyn-Mayer). 

The  name  soon  was  changed  to  the  National 
Congress  of  Mothers  and  Parent-Teacher  As- 
sociations, and  later  to  its  present  form. 

Washington  headquarters  attaches  say  the 
National  Congress  is  now  the  largest  organiza- 
tion of  its  kind. 

In  control  of  the  organization's  attack  against 


the  motion  picture  is  Mrs.  Catheryne  Cooke 
(Robbins)  Oilman,  as  motion  picture  chairman. 
She  is  being  aided  to  some  extent  in  field  work 
by  the  president,  Mrs.  B.  F.  Mary  L.  Lang- 
worthv,  formerly  a  village  trustee  of  Winnetka, 
111. 

Outstanding  on  the  organization's  present 
legislative  program  is  its  support  of  the  Con- 
gressional proposal  by  Samuel  B.  Pettingill, 
Democrat,  of  Indiana,  to  outlaw  block  booking 
and  blind'  buying.  Officials  have  been  unwilling 
to  talk  about  other  legislative  policies  and  pro- 
grams in  definite  terms. 

Not  once  since  1925  has  Mrs.  Oilman  deviated 
from  her  charge  that  there  has  been  no  im- 
provement of  any  kind  in  motion  picture 
standards. 

The  Congress  tells  Inquirers  that  Its 
policy  grows  out  of  the  action  of  a  board 
of  managers;  that  the  policy  Is  not  deter- 
mined by  an  Individual  or  even  by  a  group 
of  officers.  However,  Mrs.  Gllman,  as 
chairman  of  the  national  motion  picture 
committee,  appears  to  be  laying  down 
the  adverse  policy  against  the  motion 
picture. 

The  board  of  managers  is  constituted  of  the 
president  of  each  state  branch,  or  in  the  absence 
of  the  president,  a  state  officer  authorized  as 
alternate  by  the  state  board,  the  historian,  the 
chairmen  of  standing  committees,  the  chairmen 
of  committees-at-large,  the  editor  of  the  Child 
Welfare  Magazine,  the  honorary  officers  elected 


before  1921,  and  the  chairman  of  the  trustees 
of  the  Endowment  Fund. 

This  board  of  managers  has  absolute  power 
and  authority  over  the  affairs  of  the  organiza- 
tion, regardless,  and  attempts  to  influence  the 
beliefs  of  the  units  in  the  field,  many  of  which 
now  are  operating  in  direct  opposition  to  the 
national  program  against  motion  pictures. 
There  are  dozens  of  city  and  state  Congresses 
cooperating  with  the  industry  who  are  friendly 
to  it  and  sponsor  lists  of  approved  films. 

The  extent  to  which  the  National  Congress 
is  opposed  to  the  industry  is  seen  in  the  follow- 
ing declaration  appearing  in  the  presentation  of 
the  new  plan  to  take  the  motion  picture  out  of 
the  theatre  and  put  it  in  school  and  community 
auditoriums  over  the  signature  of  Mrs.  Oilman : 

"It  has  been  fairly  well  established  that  pre- 
viewing amusement  films,  publishing  evaluation 
lists,  promoting  the  best  pictures  and  ignoring 
the  rest,  sponsoring  junior  matinees,  arranging 
family  nights,  and  even  local  legislation,  have 
failed  to  improve  the  production  of  those  mo- 
tion pictures  made  for  amusement  purposes 
which  come  through  the  regularly  organized 
channels  of  the  motion  picture  industry.  These 
practices  have  delayed  the  use  and  development 
of  authentic  educational  and  wholesome  recrea- 
tional films,  created  a  false  security,  neutralized 
the  benefit  of  the  recommended  pictures,  given 
free  advertising  to  the  undesirable  pictures  and 
stimulated  attendance  in  theatres  where  the 
entire  program  could  not  be  selected  or  con- 
trolled. They  have  diverted  the  efforts  of  large 
{Continued  on  following  page) 


March    3  0,     19  3  5 


MOTION    PICTURE  HERALD 


HAS  ATTACKED  FILMS  SINCE  1924 


(Continued  from  Ircceding  l^auc) 

groups  of  interested  people  from  the  more  con- 
structive use  of  one  of  the  greatest  mediums 
of  education." 

The  National  Congress  has  headquarters  at 
1201  Sixteenth  Street,  Northwest,  Washington, 
D.  C.  All  free  publications,  propaganda,  plans 
and  communications  are  drawn  together  at  this 
office  for  distribution  by  the  states  to  their  local 
units.  The  Congress  is  one  of  a  group  of  or- 
ganizations which  share  the  headquarters  build- 
ing. Others  in  the  structure  are  the  Associa- 
tion for  Childhood  Education,  National  Asso- 
ciation of  Deans  of  Women,  National  Commit- 
tee on  Education  by  Radio,  Parent-Teachers' 
Association  of  the  District  of  Columbia  and  the 
World  Federation  of  Education  Associations. 

Mrs.  William  T.  Bannerman,  1901  K  Street, 
Northwest,  Washington,  is  chairman  of  the 
legislative  committee  and  the  contact  between 
the  organization  and  Congress.  She  will  pre- 
side at  a  conference  on  legislation  at  the  annual 
convention  of  the  National  Congress  to  be  held 
in  Miami,  April  29  to  May  3.  Mrs.  Oilman  will 
preside  over  the  motion  picture  conference. 

At  Miami  delegates  will  be  told  that 
the  Pettengill  (H.R.  6472)  Bill  to  prohibit 
and  prevent  block  booking  and  blind 
selling  does  not  represent  the  ultimate 
aims  of  the  organization.  Besides  con- 
trol of  trade  practices,  the  National  Con- 
gress seeks  the  creation  of  a  federal 
motion  picture  commission. 

Legislative,  propaganda  and  other  Washing- 
ton activities  of  the  National  Congress  are 
financed  from  membership  dues.  The  individual 
member  pays  the  sum  total  for  active  member- 
ship in  the  national,  state  and  local  to  the  local 
annually.  The  local  keeps  its  share  and  for- 
wards the  remainder  to  the  state.  The  state 
retains  its  share  and  forwards  the  balance  to 
the  national.  In  addition,  the  national  receives 
a  small  income  from  the  following  sources : 
Endowment  Fund,  which  is  largely  made  up  of 
national  life  memberships ;  Founders'  Day 
Gifts ;  honorariums  from  courses ;  sales  of  pub- 
lications and  other  material. 

Officers  of  the  National  Congress  are  as 
follows : 

President:  Mrs.  B.  F.  Langworthy,  6  North  Michi- 
gan Avenue,  Chicago. 

First  Yice-President:  Mrs.  J.  K.  Pettengill,  426 
West  Saginaw  Street,  Lansing,  Mich. 

Second  Vice-President:  Mrs.  Hamilton  Shaffer,  37 
Gerlaugh  Avenue,  Dayton,  Ohio. 

Third  Vice-President:  Mrs.  Noyes  Darling  Smith, 
807  West  2!st  Street,  Austin,  Tex. 

Fourth  Vice-President:  Mrs.  A.  B.  Shuttleworth, 
321   State  Museum  Building,  Denver. 

Fifth  Vice-President:  Mrs.  A.  F.  Harman,  Mont- 
gomery, Ala. 

Sixth  Vice-President:  Mrs.  C.  H.  Thorpe,  2606 
State  Street,  Little  Rock,  Ark. 

Seventh  Vice-President:  Mrs.  M.  P.  Summers,  1919 
Rebecca  Street,  Sioux  City,  Iowa. 

Secretary:  Mrs.  Raymond  Binford,  Guilford  Col- 
lege, N.  C. 

Treasurer:  Mrs.  Simon  S.  Lapham,  4  Weybosset 
Street,  Providence,  R.  I. 

Parliamentarian:  Mrs.  L.  Cass  Brown,  96  Sixth 
Avenue,  La  Grange,  III. 

General  Secretary:  J.  T.  Webner,  National  Head- 
quarters. 

Publicity  Secretary:  Miss  Clarice  Wade,  National 
Headquarters. 

Motion  Picture  Chairman:  Mrs.  Catheryne  Cooke 
(Robbins)  Gilman,  1929  Second  Street,  Min- 
neapolis. 

Legislation  Chairman:  Mrs.  William  T.  Banner- 
man,  1901  K  Street,  N.W.,  Washington,  D.  C. 

Radio  Chairman:  B.  H.  Darrow,  State  Department 
of  Education,  Columbus,  Ohio. 

The    National    Congress    of    Parents  and 


Teachers,  through  a  few  of  its  leaders,  has  been 
conducting  an  arbitrary  attack  against  the  mo- 
tion picture  business  since  1924.  Prior  to  that 
year  the  Congress  participated  constructively 
with  other  large  groups  in  reviewing  motion 
pictures  and  otherwise  cooperating  through  the 
Committee  on  Public  Relations,  which  still  is 
functioning.  Mrs.  A.  H.  Margaretta  Reeve, 
then  national  president,  suddenly  decided,  in 
the  fall  of  1924,  to  withdraw  the  Congress  from 
Public  Relations  membership,  and  she  immedi- 
ately set  out  to  campaign  against  the  film. 

Contrary  to  the  organization's  system  of  oper- 
ation which  is  supposed  to  prevent  any  indi- 
vidual or  even  group  of  officers  from  determin- 
ing national  policies  for  the  whole  membership, 
Mrs.  Reeve  said  at  the  time  of  withdrawing 
from  industry  cooperation  that  "/  have  become 
convinced  that  our  place  is  no  longer  upon  the 
Committee  on  Public  Relations  .  .  .  and  ...  7 
have  therefore  withdrawn  our  membership." 

Mrs.  Reeve's  pronounced  participation  in  the 
anti-film  campaign  did  not  come,  however,  until 
some  18  months  later,  when  her  son,  Henry 
Reeve,  operating  the  Star  theatre,  at  Menard, 
Texas,  was  in  difficulties  with  the  distributors. 
It  seems  that  he  overbought  features,  in  blocks, 
to  such  an  extent  that  at  the  end  of  the  1925-26 
season  he  still  had  under  contract  and  unplayed 
a  total  of  278  old  features  from  eight  companies 
and  a  new  season  was  already  at  hand. 

Denounced  Block  Booking 

At  that  time  Mrs.  Reeve  was  frequently 
heard  publicly  to  denounce  the  block  booking 
system,  especially  in  small  towns,  and  she 
warned  that  the  National  Congress  would  fur- 
ther competition  in  exhibition  through  non- 
theatrical  showings  unless  the  distributors  aban- 
doned block  booking. 

Mrs.  Reeve's  line  of  attack  was  subsequently 
taken  up  by  Mrs.  Gilman,  who  in  recent  years 
has  been  even  more  active  in  the  field  in  spread- 
ing propaganda  for  the  idea  which  embraces 
chiefly  a  definite  program  on  the  part  of  the 
National  Congress  to  wheedle  the  United  States 
Government  into  a  frame  of  mind  where  it 
will  take  over  control  and  operation  of  the 
production  and  exhibition  branches  of  the  in- 
dustry. 

In  1922  Mrs.  Gilman  was  on  the  other  side, 
working  for  Charles  C.  Petti  john,  general 
counsel  of  the  Motion  Picture  Producers  and 
Distributors  of  America,  in  aiding  to  defeat 
adverse  film  legislation  in  Massachusetts.  The 
industry  won  that  battle  and  Mrs.  Oilman's 
services  were  terminated.  Since  that  time  her 
activities  relating  to  the  motion  picture  business 
have  been  reflected  in  the  "new  line  of  attack." 

"Professional  Recreation  Leaders" 

In  her  visits  to  local  affiliates  in  the  field, 
Mrs.  Oilman  has  said  in  recent  weeks  that  "we 
want  to  take  children's  recreation  out  of  the 
hands  of  commercial  money-makers  and  put 
it  in  the  hands  of  professional  recreational 
leaders."  She  has  also  said  that  "nothing  that 
has  ever  been  tried  has  reduced  by  a  fraction 
the  production  of  salacious  films." 

On  the  other  hand,  some  of  the  parent-teacher 
organizations  have  expressed  disapproval  of  the 
program  after  its  presentation  by  Mrs.  Gilman. 
Typical  is  the  situation  at  Altoona,  Pa.,  where 
C.  E.  Whipple,  principal  of  the  Keith  Junior 
High  School,  had  asked  Mrs.  Oilman  to  ad- 
dress the  local  motion  picture  committee  of 
parents  to  urge  their  cooperation  with  junior 
matiness.    Afterward  he  announced  : 

"At  a  meeting  of  the  committee  held  last  eve- 
ning we  took  action  to  ask  the  Central  Council 
of  the  Parent-Teacher  Associations  to  write  to 
the  National  Congress  remonstrating  with  them 
for  sending  out  a  person  such  as  Mrs.  Gilman 


with  the  presentation  and  program  she  has  to 
offer."  ■ 

Too,  the  California  Congress  of  Parents  and 
Teachers,  one  of  the  several  large  groups  which 
are  out  of  line  with  the  campaign  being  con- 
ducted by  Mrs.  Oilman  and  a  few  others  of  the 
National  Congress,  has  openly  expressed  satis- 
faction with  the  new  order  in  the  motion  picture 
industry. 

In  a  letter  sent  to  Joseph  I.  Breen,  the  Los 
Angeles  district  of  the  California  Congress, 
said :  "The  executive  board  .  .  .  voted  unani- 
mously to  express  to  you  the  appreciation  of 
our  parent-teacher  members  for  your  efforts 
in  behalf  of  the  production  of  more  wholesome 
films  and  the  elimination  of  coarse  suggestive, 
sex,  drinking  and  gangster  types." 

An  Opposite  Stand 

Arbitrarily  taking  an  opposite  stand  to  the 
California  declaration,  Mrs.  Mary  L.  Lang- 
worthy,  National  Congress  president,  sent  a 
message  to  each  local  Congress  warning  them 
that  the  organization  will  not  recommend  any 
film  until  block  booking  is  abolished. 

"Parent-teacher  people  must  not  be  diverted 
by  this  movement  (of  the  Legion  of  Decency) 
into  forgetting  that  we,  the  National  Congress, 
have  resolved  to  cooperate  no  longer  with  the 
motion  picture  industry  until  the  entire  aboli- 
tion of  the  trade  practices  of  blind  and  block 
booking  has  been  accomplished.  For  until  that 
is  done  we  cannot  safely  recommend  any  film, 
no  matter  how  good,  for  fear  that  indecent  and 
vulgar  ones  will  be  shown  with  it.  This  course 
we  have  taken  and  we  must  allow  nothing  to 
swerve  us  from  it." 

The  National  Congress,  through  Mrs.  Oil- 
man's attacks  against  films,  has  been  getting 
more  newspaper  attention  in  the  past  six  months 
than  during  its  whole  history.  Little  of  it  is 
complimentary  when  editorial  expression  is 
given  to  an  analysis  of  the  program  of  the 
Congress. 

The  'Times-Star',  Cincinnati,  answered 
Mrs.  Gilman's  charge  that  "the  movies 
have  exploited  our  children"  with  the  ex- 
pression that  the  remark  was  "cheap  ball- 
derdash,  typical  of  the  exaggeration,  the 
intolerance  and  unfairness  of  the  mis- 
directed crusading  spirit  run  wild." 

Said  the  Buffalo  Courier-Express : 
"Mrs.  Oilman  has  been  associated  with  every 
national  movement  to  reform  the  movies  since 
1912,  carrying  on  the  fight  which  her  husband 
started  when  he  was  named  to  the  first  board 
of  censorship  25  years  ago." 

Said  the  Baltimore  Evening  Sun: 
"It  was  inevitable  that  the  various  efforts  to 
tie  up  the  cinema  in  reformer-made  diapers 
should  attract  such  persons  as  Mrs.  Robbins 
Gilman,  who  would  go  the  whole  fanatical  hog 
and  have  the  United  States  Government  emu- 
late the  Nazis,  the  Soviets  and  the  Fascists  and 
take  over  control  and  operation  of  the  produc- 
tion, distribution  and  exhibition  branches  of  the 
industry." 

Said  the  Richmond,  Va.,  Times  Dispatch: 
"Censorship  of  any  kind  is  bad  enough,  but 
when  it  is  presented  in  camouflaged  form  on  the 
plea  that  it  is  something  else,  it  is  particularly 
objectionable.  Such  is  the  type  of  censorship 
advocated  by  Mrs.  Robbins  Gilman." 

The  program  which  Mrs.  Gilman  advocates, 
besides  the  establishment  of  a  mammoth  bu- 
reaucracy in  control  of  public  entertainment, 
and  control  of  trade  practices  and  distribution 
through  the  Pettingill  bill,  would  also  involve 
rigorous  federal  censorship.  Not  content  with 
espousing  federal  censorship  of  films,  she  has 
gone  so  far  as  to  assent  to  the  principle  of  simi- 
lar censorship  of  the  press. 


12  MOTION    PICTURE    HERALD  March    3  0,    19  3  5 

'NOTABLE  SCREEN  MUSIC  ADVENTURE' 


An  inspired  composer  who  passed  on  be- 
fore the  screen  became  audible,  leaving  a 
rich  legacy  of  lilting  melody  that  has  en- 
riched the  lyrical  stage  for  more  than  three 
decades,  contributed  the  melodic  material 
for  a  romantic  screen  adventure  drama  that 
is'  a  notable  contribution  to  musical  photo- 
play production. 

A  producer  with  vision,  a  director  with 
imagination,  a  musician  who  comprehends 
the  scope  of  the  screen,  and  writers  with 
the  ability  to  translate  into  motion  picture 
terms  a  story  that  speeds  on  the  wings  of 
tone,  united  their  talents  in  making  Victor 
Herbert's  "Naughty  Marietta"  a  vital,  sig- 
nificant and  wholly  entertaining  screen 
vehicle. 

The  result  is  a  musical  movie  that  really 
moves — swiftly,  surely,  inspiringly — gather- 
ing momentum  and  intensity  with  cumula- 


Copyright,  1911  by  M.  Wit  mark  &■  Sons 


AH!  SWEET  MYSTERY  OF  LIFE 

Forvts  climax  to  story  after  recurring  in 
fragmentary  form. 

tive  effect.  The  scope  and  power  of  the 
audible  screen  was  never  more  in  evidence 
than  in  this  film  transcription  of  the  adven- 
tures of  the  piquant  Herbert  heroine. 

The  stage  operetta,  originally  produced  by 
Oscar  Hammerstein  at  the  New  York  The- 
atre, November  7,  1910,  with  Emma  Tren- 
tini  in  the  title  role  and  Orville  Harrold  and 
William  Frederic  in  the  leading  male  roles, 
was  a  delectable  bit  of  musical  entertain- 
ment built  around  a  rather  thin  story.  The 
screen  version,  while  retaining  the  Herbert 
music  intact,  is  expanded  and  amplified  into 
a  saga  of  high  adventure  that  ranges  from 
the  efifete  environment  of  18th  Century 
Paris,  through  exciting  episodes  involving 
the  capture  of  the  Casquette  Girls  by  pirates, 
their  rescue  by  the  band  of  Yankee  Scouts 
in  the  wilderness  of  the  New  World,  and  the 
subsequent  romantic  experiences  of  Princess 
Marie  de  la  Bonfain  (masquerading  as  a 
Casquette  Girl — Marietta)  in  old  New  Or- 
leans. 

Hunt  Stromberg  and  his  cohorts.  Director 
W.  S.  Van  Dyke,  with  Herbert  Stothart  as 
musical  adaptor,  and  John  Lee  Mahin,  Fran- 
ces Goodrich  and  Albert  Hackett  preparing 
the  screen  play,  have  achieved  their  results 
by  the  logical,  if  elusive,  process  of  making 
the  story  dramatize  the  iiimsic — vitalizing  in 
picture  action  the  tonal  and  rhythmic  media. 
Thus  they  arrive  at  the  liaison  of  action, 
dialogue  and  music  without  sacrificing  the 


Says  Joseph  O' Sullivan  of  the 
Film  ^Naughty  Man.  eta' ;  Story 
Is  Made  to  Dramatize  the  Music 

by  JOSEPH  O'SULLIVAN 

entity  of  either  element.  The  story  is  given 
added  impetus  by  the  music,  which  in  turn 
takes  on  new  meaning  and  integrity. 

The  lovely  Princess  Marie  de  la  Bonfain 

REFRAIN. 


faU  -  IriF  in 

lov8  with 

Bone 

one, 

pj>  pncn  n  pnco. 

*  f  f 

a  tempn. 

i  ff 

trr 

' — ^  ■  j  '  ' 

Copyright  1911  by  M.  Witmark  &  Sons 

I'M  FALLING  IN  LOVE  WITH  SOMEONE 

Another  of  the  best  known  romantic  melodies. 


is  endowed  with  much  of  that  Gallic  joie 
d'csprit  which  finds  outlet  in  lyric  outburst. 
In  the  bohemian  atmosphere  of  Paris,  Marie 
is  revealed  as  a  high  spirited  and  democratic 
aristocrat  much  given  to  consorting  with  the 
choice  artistic  denizens. 

In  the  studio  of  her  old  music  master, 
Herr  Schuman,  she  discovers  her  mentor 
working  on  a  musical  composition  inspired 
by  the  neighboring  bells  of  St.  Ann.  Marie 
suggests  certain  changes  in  the  composition, 
and  promises  to  write  words  to  it.  The 
song  is  later  developed  by  Marie  and  be- 
comes the  dominant  love  theme  of  the  ro- 
mantic drama,  the  celebrated  "Ah !  Sweet 

Tn^TF^QBBOllAmxq  BE  SUNQ  WITH       CHORUS  ONLY 

Allegro  moderato  


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Copyright  1911  by  M.  Witmark  &  Sons 


ITALIAN  STREET  SONG 

One  of  the  most  sparkling  Herbert  chansons. 

Mystery  of  Life,"  which  forms  the  climax  to 
the  story  after  recurring  in  fragmentary 
form  throughout  the  production. 

It  is  evident  from  the  very  opening  scenes 
that  the  makers  of  "Naughty  Marietta"  in- 
tended to  interpret  the  romantic  drama  in 


Well  known  in  the  field  of  the 
music  of  the  screen,  Joseph  O'Stilli- 
van  couples  together  in  his  writings 
the  practicable  experience  of  the  stage 
gained  as  general  manager  of  the 
Montreal  Grand  Opera  Company, 
stage  director  of  the  Boston  English 
Opera  and  the  Chicago  English 
Opera  Company,  with  years  in  mo- 
tion picture  companies. 


terms  of  visual  and  vocal  movement,  and 
so  the  volatile  Marie  (Jeannette  McDonald) 
skips  from  atelier  to  attic  in  la  vie  boheme, 
giving  vent  to  a  sprightly  chansonette,  ably 
abetted  by  sundry  parties  of  music  revelers 
in  various  studio  quarters. 

When  Marie  returns  to  her  conventional 
and  aristocratic  abode  to  be  informed  that 
she  is  to  marry  the  fat  and  odious  Don  Car- 
los, grandee  of  old  Spain,  by  order  of  His 
Majesty  Louis'  XV,  she  bribes  her  maid, 
Marietta,  to  let  her  use  her  passport  as  a 
Casquette  Girl — the  appellation  given  to  a 
group  of  nice  girls  sent  to  Louisiana  by  the 
King  to  become  the  wives  of  the  colonists. 

The  transition  from  the  Old  World  con- 
ventions to  the  raw  and  racy,  loose  and  lusty 
life  of  Louisiana  of  the  New,  is  made 
through  the  medium  of  blood-curdling  ex- 
periences for  the  Casquette  Girls. 

Pirates  in  the  offing  !  Yea  !  Cutthroats — 
blackguards — scum  of  the  Seven  Seas — at- 


Copyright  1911  by  M.  Witmark  &  Sons 

'NEATH  THE  SOUTHERN  MOON 

"Where    the   scent   of    the    magnolias  steeps 
the  soul  in  dreams". 


tack  and  swarm  over  the  ship,  and  each 
blackhearted  devil,  after  slitting  the  gullets 
of  the  crew,  grabs  a  girl — and  off  to  the 
mainland ! 

Adventure  ?  In  gobs  !  But  what  of  the 
music?  Well,  listen  to  these  hell-raisers  as 
they  bawl  their  bawdy  songs  around  the 
campfire  and  guzzle  rum.  Odes  to  the  Ana- 
creon  de  damned !  .  .  .  Sixteen  men  on  The 
Dead  Man's  Chest!  Yo !  Ho!  Ho!  and  a 
bottle  of  rum  .  .  .  And  such  bed-time  ditties. 
"And  now  for  the  ladies,  me  lads"  ...  It 
looks  like  a  bad  spot  for  the  Casquette  Girls 
.  .  .  when  a  different  kind  of  song  is  heard 
in  the  distance.  A  song  of  strong,  manly 
voices  in  measured  rhythmic  cadence. 

"Tramp,   tramp,   tramp,   along  the 
highway 

Tramp,  tramp,  tramp,  the  road  is 
free; 

Blazing  trails  along  the  byway, 

Couriers  de  Bois  are  we. 
"Tramp,  tramp,  tramp,  now  clear  the 
roadway; 

Room,  room,  room  the  world  is  free! 
We're  Planters  and  Canucks, 
Virginians  and  Kaintucks, 

Captain  Dick's  ov/n  infantry." 

It's  the  song  of  the  Yankee  Scouts  as  they 
march  through  the  forest,  led  by  Captain 
Richard  Warrington  (Nelson  Eddy),  chant- 

(Continued  on  page  IS) 


March    30,  1935 


MOTION    PICTURE  HERALD 


13 


THE  CAMERA  CEPCCTS 


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^^^^^^ 


FAREWELL  PARTY.  Given  by  United  Artists  executives  at  Hotel  Edison,  New  York, 
for  Capt.  Richard  Norton  of  British  &  Dominion,  and  Maurice  Chevalier,  prior  to  their 
sailing  for  Europe.  Shown  are  Joseph  Schenck,  head  of  U.  A.,  Chevalier,  Al  Lichtman, 
Emanuel  Sllverstone,  J.  H.  Moskowitz,  Paul  Lazarus,  Paul  Mooney,  Fred  Kohlmar,  James 
Mulvey,  H.  Gold,  W.  Phillips,  Harry  Buckley,  Arthur  Kelly,  Norton,  A.  C.  Blumenthal. 


WINS  MEDAL.  (Below)  King  VIdor 
holding  gold  medal  awarded  him  by 
Arts  and  Literary  Committee  of  the 
League  of  Nations  for  his  direction  of 
United  Artists'  "Our  Daily  Bread." 


ASCENDANT.  (Left)  Called  star  ma- 
terial. Is  Verna  Hillle,  following  impor- 
tant roles  in  "Princess  O'Hara"  and 
"Mr.  Dynamite"  at  Universal. 

RRST  READING.  (Below)  Sidney  Skol- 
sky.  New  York  columnist,  reading  script 
of  "Man  Proposes,"  which  he  has  writ- 
ten In  collaboration  with  Claude  Binyon, 
to  Director  William  A.  Seiter,  James 
Dunn  and  Mae  Clark,  at  Fox,  where  It 
already  has  been  put  In  production. 


AMERICAN  VISITORS.  In  America.  Irving  Asher,  pro- 
duction chief  at  the  Warner  studio  in  Teddlngton,  Eng- 
land, and  Mrs.  Asher  (who  is,  of  course,  Laura  La  Plante, 
long  one  of  the  screen's  leading  actresses)  as  they 
arrived  in  New  York  on  the  lie  de  France. 


14 


MOTION    PICTURE  HERALD 


March    30,  1935 


OFF  TO  BATTLE.  Fellow  ushers  at  Radio  City  Music  Hall,  headed  by 
J.  E.  McHale,  chief  of  uniformed  staff,  wishing  George  Coyle  best 
o'  luck  in  the  Golden  Gloves  boxing  bouts  between  New  York  and 
Chicago  in  the  latter  city.  Coyle  was  winner  in  the  I  12-pound  class 
in  the  New  York  finals. 


AT  CAPITAL  PREVIEW.  Of  the  MGM  musical  picture, 
"Naughty  Marietta,"  brilliant  stage  operetta.  Shown  arriv- 
ing at  Loew's  Fox  in  Washington  are  Nelson  Eddy,  who 
has  the  male  lead;  Mabel  Walker  Wlllebrandt,  erstwhile 
dry  chief;  and  Director  W.  S.  Van  Dyke. 


BACK  HOME.  In  the  dressing  room  he  occupied  for  seven 
years.  Yes,  It's  Monte  Blue,  who  attained  screen  eminence 
as  long  ago  as  Griffith's  "Hearts  of  the  World."  He  now 
has  an  important  role  in  First  National's  "The  G-Men," 
which  stars  James  Cagney. 


HAPPY     LANDING.      Bringing  WARMING   UP.    For   her  first 

Miriam    Hopkins   within   subway-  Hollywood  picture.  She  is  Evalyn 

reach  of  a   New  York  vacaiion,  Bostock,  British  actress,  feminine 

following  completion  of  Pioneer's  lead  in  Atherton's  "The  Cowboy 

"Becky  Sharp,"  RKO  Radio  release.  Millionaire,"  Fox  release. 


March    30,  1935 


MOTION    PICTURE  HERALD 


IS 


'Marietta '  Music 
Called  Adventure 


NEW  PATRONS  DRAWN 
BY  CODE,  SAYS  HAYS 


(Continued  from  fagc  12) 

ing  the  song  of  the  spirit  unafraid.  To  the 
Casquette  Girls  it  is  as  thrilling  as  was  the 
shrill  pibroch  of  the  Highland  pipes  to  the 
besieged  at  Lucknow.  To  the  pirates,  a 
challenge  to  the  fight — a  prelude  to  bloody 
battle. 

Here  is  the  coordination  of  music  and 
suspense  and  lusty  action,  probably  the  most 
inspiring  of  its  kind  yet  revealed  on  the 
musical-dramatic  screen. 

The  scene  shifts  to  old  New  Orleans. 
Captain  Warrington,  he-man  and  woman- 
scorner,  goes  romantic.  He  high-handedly 
appoints  himself  "protector"  of  Marie,  who 
pretends  to  be  just  a  "lady  of  the  evening" 
and  is  duly  installed  by  the  governor  in  a 
suitable  house.  It  is  here  that  a  band  of 
street  singers  appear,  and  Marie  from  the 
balcony  lifts  up  her  voice  in  a  spirited  ren- 
dition of  the  "Italian  Street  Song,"  one 
of  the  most  sparkling  chansons  that  Herbert 
ever  wrote. 

The  effervescent  Marie  eludes  Warring- 
ton and  gets  a  job  working  with  a  marion- 
ette show.  The  erstwhile  woman-scorner 
discovers  her  singing  there,  and  also  dis- 
covers that  he  is  hopelessly  in  love  with  the 
siren.  In  romantic  scenes  "  'Neath  the  South- 
ern Moon'  where  the  scent  of  the  magnolias 
steeps  the  soul  in  dreams,"  he  confesses  that 
he's  "Falling  in  Love  With  Someone." 

But  love's  young  dream  is  shattered  by 
the  arrival  of  her  uncle,  the  Prince  and  fat 
Don  Carlos,  who  have  come  to  take  her 
back  to  France.  In  order  to  save  the  life  of 
the  man  she  loves,  Marie  agrees  to  go  with 
her  uncle. 

Despite  warnings,  Warrington  comes  to 
the  farewell  ball  given  in  her  honor  by 
the  governor  the  night  before  her  departure. 
Asked  by  the  guests  to  sing,  Marie,  in  order 
to  let  Warrington  know  of  her  love  for  him, 
sings  the  song  which  had  its  inception  back 
in  the  Paris  studio  of  her  old  music  master, 
and  which  the  real  love  that  has  come  into 
her  life  has  inspired  her  to  perfect — "Ah ! 
Sweet  Mystery  of  Life." 

Warrington,  just  on  the  point  of  leaving, 
hears  and  understands,  and  blends  his  reso- 
nant baritone  into  a  moving  and  magnificent- 
ly conceived  musical  climax  with  the  entire 
ensemble. 

The  denouement,  when  Warrington  per- 
suades Marie  to  elope  with  him,  and  the 
lovers  march  away  to  the  wilderness,  sur- 
rounded by  Warrington's  faithful  Scouts  and 
singing  lustily  the  refrain  of  "Tramp, 
Tramp,  Tramp,"  is  a  stirring  and  significant 
musical  finale. 

Jeanette  MacDonald  is  superb  as  the  capri- 
cious Marie.  She  has  never  done  a  finer 
bit  of  work,  vocally  or  dramatically.  Nel- 
son Eddy,  ranking  baritone  of  the  operatic 
stage,  gives  a  virile  characterization.  His 
voice,  of  wide  range  and  dramatic  in  timbre, 
is'  capable  of  appealing  nuances  and  registers 
with  remarkable  fidelity.  This  newcomer 
to  the  screen  should  prove  a  sensation. 

"Naughty  Marietta"  is  something  more 
than  a  gorgeous  bit  of  screen  entertainment. 
It  is  an  inspiring  romantic  adventure  into 
hitherto  unexplored  regions  of  the  audible 
screen. 


Points  to  Few  Rejections  Neces- 
sitated in  Production,  Under 
Industry's  Self-Regulation 

New  strata  of  patronage  have  come  to 
the  motion  picture  theatre  since  the  indus- 
try, following  a  concentrated  appeal  of  civic 
and  religious  organizations,  went  about  the 
business  of  producing  films  with  content  of 
higher  moral  and  cultural  standard,  said  Will 
H.  Hays,  president  of  the  Motion  Picture 
Producers  and  Distributors  of  America, 
delivering  his  annual  report  to  the  organiza- 
tion "at  a  meeting  Monday  in  New  York. 

All  officers  of  the  MPPDA  were  re- 
elected. Carl  E.  Milliken  was  returned  as 
secretary,  and  Frederick  L.  Herron  as  treas- 
urer. Re-elected  to  the  board  of  directors 
were  M.  H.  Aylesworth,  Robert  H. 
Cochrane,  Jack  Cohn,  Cecil  B.  DeMille, 
Ned  E.  Depinet,  E.  W.  Hammons,  Mr. 
Hays,  F.  L.  Herron,  Sidney  R.  Kent,  Jesse 
L.  Lasky,  Sol  Lesser,  Hal  E.  Roach,  David 
Sarnoff,  Joseph  M.  Schenck,  Nicholas  M. 
Schenck,  Albert  H.  Warner,  Harry  M. 
Warner,  and  Adolph  Zukor. 

In  the  past  year  the  Production  Code  Ad- 
ministration, headed  by  Joseph  I.  Breen, 
has  had  full  the  cooperation  of  the  pro- 
ducers, Mr.  Hays  said.  Activities  of  the 
Breen  organization  were  summarized  as 
follows : 

Books,  synopses,  plays,  stories  studied.  261 


Scripts  studied    822 

Pictures  reviewed   *l,328 

Consultations      1 ,899 

Detailed  opinions  written  dealing  with 
stories,  scripts,  pictures,  etc  2,603 

*  Includes    completed    pictures    which,    because  of 


changes,  deletions  or  "retakes"  suggested,  were  re- 
viewed more  than  once.  Also  includes  features  and 
short  subjects  reviewed  in  New  York. 

In  the  field  of  advertising,  Mr.  Hays 
quoted  from  an  article  in  Printers'  Ink  that 
100  per  cent  cooperation  had  been  achieved 
by  J.  J.  McCarthy  and  his  Advertising  Ad- 
visory Council.  There  were  403  complete 
campaigns  reviewed  by  the  Council.  Other 
activities  were : 

Discarded    or  revised 
Material         to  nneet  standards  of 
Submitted        qood  taste  prescribed 
by  Advertising  Code 


39,230  stills    836 

15,400  publicity  stories  ...  35 
12,060  advertisements  .  .  357 
11,600  exploitation  ideas  35 
10,320  miscellaneous  acces- 
sories   7 

2,016  posters    31 


In  addition  the  Council  has  worked  in 
the  field  bringing  exhibitors'  advertising 
completely  into  line.  Also,  632  trailers  have 
been  passed  upon  by  the  Council  since  May 
23,  1934.  Only  two  trailers  had  to  be  re- 
jected, only  two  changed. 

Improvement  in  the  field  of  titles  was  so 
pronounced.  Mr.  Hays  said,  that  of  3,500 


offered  for  registration  in  1934,  only  50 
rejections  were  necessitated. 

Released  in  1934  were  174  foreign  pic- 


tures, as  follows : 

British    33 

French    10 

Hungarian   5 

Irish   I 

Italian    3 

Mexican   21 

Polish   5 

Russian   17 

Czechoslovakia    I 

Swedish   4 

German   74 


Total    174 


Mr.  Hays  cited  the  following  facts  as  to 
source  material  in  the  year's  production: 
original  screen  plays,  40  per  cent ;  adapted 
from  classics,  novels  and  short  stories,  40.5 
per  cent ;  adapted  from  stage  plays  and 
musicals,  19.5  per  cent. 

"The  step  we  have  taken  in  the  last  year 
is  definitely  in  the  right  direction,"  Mr. 
Hays  said.  "It  is  of  creditable  length.  It 
demonstrates  the  soundness  of  our  theory 
that  quality  can  be  produced  in  quantity  and 
that  generous  support  can  be  enlisted  for  it; 
that  the  twin  necessities  of  improved  sup- 
ply and  improved  demand — useless  one  with- 
out the  other — can  be  developed  in  such  re- 
lationship to  each  other  as  to  meet  every 
responsibility  of  entertainment,  of  social 
value,  of  art,  drama,  literary  quality,  and 
box-office." 

Traces  Current  Trend 

The  MPPDA  president  presented  title 
after  title  of  productions  made  in  the  cur- 
rent season,  productions  to  be  made  for 
1935-36,  in  tracing  the  trend  of  the  mo- 
tion picture  of  today.  With  dates  of  the 
beginning  of  work  on  some  of  the  best 
known  and  most  successfully  exhibited  pic- 
tures, he  pointed  out  the  "everlasting  need 
of  looking  in  advance  to  the  entertainment 
requirements  and  possibilities  of  the  screen." 

Forces  for  betterment  which  have  figured 
in  the  improved  standards  of  product  did 
not  alone  advance  the  cause ;  on  the  other 
hand,  he  said,  "the  steadily  rising  level  of 
motion  picture  quality  has  been  accom- 
panied by  a  rising  standard  of  public 
appreciation." 

Stories  from  the  classics,  from  bio- 
graphical or  historical  subjects^  pictures 
containing  music,  romantk  comedy  rather 
than  sex  per  se,  and,  too,  more  heavily 
dramatic  themes,  will  carry  forward  into 
the  1935-36  season  as  they  have  through  the 
current,  Mr.  Hays  said. 

Improvements  in  the  field  of  technics  he 
reviewed,  with  emphasis  on  increased 
fidelity  and  wider  range  sound  with  noise- 
less recording,  lightweight  portable  systems 
for  newsreel  recording ;  extended  use  of 
fast  panchromatic  emulsion,  improved  re- 
production in  theatres,  in  design,  in  lamps 
for  the  studios. 


16 


MOTION    PICTURE  HERALD 


March    30,  1935 


FOX  FILM  NETS  $1,273,069  PROFIT 
FROM  OPERATIONS  IN  PAST  YEAR 


Fox  Financial  Statement 


The  consolidated  balance  sheet  of  Fox 
sidiary  companies  on  December  29,  1934, 

ASSETS 


Cash  on  demand  deposit  and  on  hand. 
Accounts  and  notes  receivable,  net.  .  .  , 

Prepaid  operating  expenses  

Inventories  

Cash  value  of  life  insurance  


Film  Corporation  and  tvholly-owned  sub- 
compared  as  follows  with  1933  and  1932: 


Investment  In  and  advances  to  affiliated 

Metropolis    and     Bradford    Trust  Co. 

less  proceeds  from  capital  

Hoyt's  Theatres,  Ltd.  (advances  only)  . 

National  Theatres  Corp.   

Movietonenews,  Inc.,  and  sundry  other 

companies,  at  cost  

Total  investments  and  advances  

Less  reserve  for  revaluation  

Investments  and  advances,  net  

Land,  buildings  and  equipment,  at  cost.  . 

Less  reserves  for  depreciation  

Land,  buildings  and  equipment,  net.  .  .  . 

Bond  discounts  and  expenses  

Notes  and  accounts  receivable  

Film  Securities  Corporation,  at  cost  


December 

December 

December 

\  n't  A 

1  vi4 

1  vii 

1  oo  o 
1  YJZ 

4/1  AOQ  AAO 
^)'f,'tV7,'tOZ 

:po,u/ 1 ,70/ 

9  1  ,ZZ  /  ,  /  3  J 

1,382,233 

1,776,068 

1,589,981 

451,831 

342,544 

221,243 

13,688,351 

1 1,123,541 

10,237,276 

245,966 

$20,021,879 

$18,264,085 

$13,522,219 

companies: 

$17,087,618 

$17,087,618 

$19,030,929 

377,000 

551,632 

496,314 

8,493,667 

8,51 1,525 

6,870,237 

4,882,251 

4,972,768 

9,42 1 ,643 

30.840,537 

31,123,543 

30,372,638 

14,500,000 

14,500,000 

16,340,537 

16,623,543 

14,946,910 

15,293,568 

21,851,834 

4,816,887 

4,661,518 

5,631,282 

10,130,022 

10,632,050 

16,220,552 

182,23! 

244,835 

2,088,589 

139,151 


693,000 
46,173,1 13 

91,543 


Other  Assets    147,719 

TOTAL  ASSETS    $46,822,390  $45,903,664  $1  19,162,248 

LIABILITIES 

Notes  payable,  trade   $863,119  $727,333 


Notes  payable,  banks 

Notes  payable,  others  

Accounts  payable  and  accrued  expenses 
Portion  of  funded  debt  maturing  in  one 

year   

Reserve  for  federal  income  tax  


3,384,826 

94,300 
1 00,000 


3,040,308 
142,650 


$6,750,000 
1,698,203 
3,149,573 

174,330 


TOTAL  CURRENT  LIABILITIES  

Funded  debt  of  subsidiaries  

Five  year,  six  per  cent  convertible  deben- 
tures—authorized $30,000,000,  less 
$28,303,400  retired  and  canceled.  .  .  . 

Film  rentals  in  advance,  etc.  

Reserves: 

For  contingencies   

For  fluctuation  In  dollar  value  abroad 
Reserves  for  revaluation  of  Investments. 

Miscellaneous  liabilities  

Capital  Stock  and  Surplus: 

Capital  stock   

Paid-in  surplus   

Earned  surplus   


$4,442,246 

$3,910,291 

$1  1,722,106 

$2,194,200 

$2,378,075 

$2,547,855 

1,696,600 

1 ,746,600 

30,000,000 

668,935 

1.107,921 

1 ,994,229 

822,099 

854,942 

1,717,177 

250,000 

250,000 

37,247,386 

470,266 

203,695 

12.182,045 

12,182.045 

12,627.800 

21,329,170 

21,329,170 

36,062,396 

3,006,812 

1,674,354 

15.010,396 

TOTAL  LIABILITIES    $46,822,390    $45,903,664  $119,162,248 


Business  Done  in  January  and 
February  of  1935  Shows  Fur- 
ther Gains;  Gross  Inconne 
Was  $36,253,617  in  1934 

The  full  effect  of  the  reorganization  and 
rehabilitation  of  Fox  Film  Corporation  that 
took  place  in  April,  1933,  under  Sidney  R. 
Kent,  president,  is  reflected  in  the  corpora- 
tion's annual  report  of  operations  sent  last 
week  to  stockholders'.  The  following  conclu- 
sions concerning  earnings  for  1934  and  the 
growth  of  the  company's  financial  strength 
were  set  down : 

Net  operating  profit  for  \91>A  was 
$1,273,069,  compared  with  earnings  of 
$853,668  in  1933  and  losses  of  $8,401,448 
in  1932.  Earnings  last  year  were  equal  to 
52  cents  per  share  on  both  A  and  B  stocks 
outstanding. 

Fox  Film's  business  for  January  and  Feb- 
ruary, 1935,  shows  further  decided-  im- 
provements. 

Gross  income  from  sales  and  film  rental 
was  $36,253,617  last  year,  $4,274,919  more 
than  1933  and  % 6, 5^1,202  more  than  1932. 

The  corporation  has  no  bank  loans. 

The  net  worth  of  the  corporation  was 
$36,5  18,027. 

Working  assets  on  Dec.  29,  1934,  indi- 
cated the  liquid  nature  of  the  Fox  Film 
financial  structure,  embracing  $20,021,879, 
of  tuhich  $4,499,462  was  cash  and  $13,- 
688,3  51  represented  film  and  story  inven- 
tories. These  current  assets  compared  with 
$18,264,08  5  at  the  end  of  1933  and  only 
$13,522,219  in  1932. 

Current  assets  related  to  current  liabili- 
ties of  $4,442,246,  ratio  almost  5  to  1. 

It  is  noted  in  the  balance  sheet  that  Na- 
tional Theatres  Corporation  (formerly  Wes- 
co  Corporation,  western  theatre  circuit)  has 
been  reorganized  and  that  Fox  Film  is  now 
the  owner  of  42  per  cent  of  its  outstanding 
capital  stock.  As  a  result  of  the  reorgani- 
zation National  Theatres'  Corporation,  as 
such,  now  has  no  funded  debt  or  bank  loans. 
During  1934  continued  progress  was  made 
in  improving  the  operating  position  of  the 
various  subsidiary  circuits  of  theatres  com- 
prising the  former  Wesco  group  which  for 
some  time  have  been  in  bankruptcy.  Subse- 
quent to  the  closing  of  the  corporation's 
fiscal  year,  the  most  important  group  has 
been  taken  out  of  bankruptcy  and  the  man- 
agement predicts  that  by  the  end  of  1935 
the  entire  system  will  have  been  reorganized. 
Fox  Film's  former  ownership  of  Wesco 
Corporation  has  been  reduced  to  42  per  cent 
but  elimination  of  the  large  debts  formerly 
existing  ahead  of  Fox  Film's  100  per  cent 
ownership  has  brought  the  present  42  per 
cent  interest  in  National  Theatres  much 
nearer  the  actual  theatre  properties  and,  in 
the  judgment  of  the  management,  has  im- 
proved Fox  Film's  position  with  respect  to 
the  entire  circuit. 

The  company  continues  to  write  off  nega- 

{Continned  on  following  page,  column  1) 


March    30,  1935 


MOTION    PICTURE  HERALD 


17 


tive  costs  as  follows:  53  per  cent  within  13 
weeks  of  release  date,  75^  per  cent  within 
26  weeks;  88  per  cent  in  39  weeks;  94j^ 
per  cent  in  52  weeks  and  the  whole  cost 
within  65  weeks. 

Film  inventories  were  $2,565,000  higher 
on  Dec.  29,  1934,  than  in  1933  and  were 
$3,453,000  higher  than  1932. 

Investment  in  Metropolis  and  Bradford 
Trust  Company  (holding  company  for  in- 
vestments in  Gaumont-British  Picture  Cor- 
poration, Ltd.,  one  of  the  largest  in  Eng- 
land), were  carried  at  $17,087,618,  the  same 
value  placed  on  the  investment  last  year,  but 
$2,000,000  less  than  the  $19,030,929  valua- 
tion established  in  1932. 

Investment  in  National  Theatres  Corpora- 
tion was  $8,493,667,  and  in  Movietonews, 
Inc.,  and  sundry  other  subsidiaries  was  said 
to  be  worth  $4,882,251.  In  1932  these  same 
investments  were  set  down  at  $9,421,643. 

Land,  buildings  and  equipment  were 
worth,  net,  after  depreciations,  $10,130,022, 
about  $500,000  less  than  in  1933  and  $6,000-,- 
000  less  than  in  1932. 

Capital  stock  was  listed  at  $12,182,045. 

$36,253,617  Gross  Film  Sales 

Out  of  gross  film  sales  in  1934  totaling 
$36,253,617,  the  company  paid  $10,191,000  in 
operating  expenses  of  exchanges,  home  office 
and  administration  expenses,  and  charged 
off  $19,372,093  to  amortize  production  costs. 

Interest  expense  under  the  reorganization 
during  which  the  company  was  shorn  of 
heavy  standing  obligations,  dropped  from 
$2,018,370  in  1932  to  $292,871  in  1934.  There 
was  $56,700,000  written  off  in  the  1933  re- 
organization. Earned  surplus  accumulated 
since  April  1,  1933,  totaled  $3,006,812. 

The  company  actually  spent  $21,936,903 
on  production  in  1934.  These  expenditures 
include  not  only  the  disbursements  in  the 
California  studios,  but  also  all  disbursements 
made  in  foreign  countries,  costs  of  pictures 
made  in  foreign  countries  for  quota  require- 
ments or  as  a  matter  of  policy  and  so  on. 

Mr.  Kent  told  stockholders  that  the  "man- 
agement believes  that  the  year  1934  wit- 
nessed further  improvement  of  your  cor- 
poration's position  in  the  motion  picture  in- 
dustry." "After  completing  the  reorganiza- 
tion of  the  company's  finances  during  the 
year  1933,  all  efforts  were  turned  to  improv- 
ing operating  results,"  Mr.  Kent  continued. 
"To  accomplish  this  it  was  necessary  to  im- 
prove the  quality  of  your  corporation's  prod- 
uct and  to  build  its  personalities  and  thereby 
secure  an  increase  in  gross  business.  In 
these  efforts  it  is  believed  there  has  been 
noticeable  success." 

The  statement  to  stockholders  called  at- 
tention to  the  selection  of  the  Fox  stars. 
Will  Rogers,  Janet  Gaynor  and  Shirley  Tem- 
ple, by  motion  picture  exhibitors  in  Motion 
Picture  Herald's  annual  "Money-Making 
Stars"  canvass. 


Fox  Operating  Statement 


Fox  Film  Corporation  and  tv holly -owned  subsidiaries  consolidated  profit  and  loss 

and  earned  surplus  and  operating  statement  for  the  5  2  weeks  ended  December  29, 
1934,  compared  as  folloii/s: 

I            Fifty-two  Weeks  Ended  ^ 

December  December  December 

29,1934  30,1933*  31,1932 

OPERATING  PROFIT: 

INCOME: 

Gross  income  from  sales  and  rental  of  film 

and  literature   $36,253,617  $31,978,898  $29,712,415 

Dividends                                                  360,397  259,225   

Other  income                                              932,572  1,047,643  1,366,247 

TOTAL  OPERATING  PROFIT  $37,546,586  $33,258,768  $31,078,662 

EXPENSES: 

Operating  expenses  of  exchanges,  home 

office  and  administration  expenses  $10,091,400  $8,803,486  $8,542,691 

Amortization  of  production  costs                19,372,093  17,169.428  24,482,323 

Participation  in  film  rentals                         6,074,410  5,139,373  3,571,232 

NET  OPERATING  PROFIT  BEFORE  IN- 
TEREST AND  DEPRECIATION               $2,008,681  $2, 1 73,469  (a)  $2,5 17,584 

DEDUCT: 

Interest  expense                                         $292,871  $830,518  $2,018,370 

Amortization  of  discount  and  expenses  on 

funded  debt                                           62,602  203,143  614,714 

Depreciation  of  fixed  assets,  not  including 
depreciation  of  studio  buildings  and 

equipment  (of  $609,644)  for  1934.  .  .  .       280,138  286,137  250.778 


K-A-O  Reports  Sharp 
Gain  in  1934  Over  1933 

Keith-Albee-Orpheum  Corporation,  a 
Radio-Keith-Orpheum  theatre  subsidiary, 
this  week  reported  a  decided  improvement 
in  1934  operations  over  the  previous  year. 
The  net  loss  for  1934  was  $176,316.  For 
1933  it  was  $642,293.  The  balance  in  the 
K-A-O  deficit  account  now  is  $2,936,212. 
It  was  reduced  during  1934  by  $154,070 
received  as  a  discount  on  retired  bonds  and 
an  adjustment  of  $36,777  on  prior  years' 
taxes  and  other  items. 


TOTAL  DEDUCTIONS   $635,612 

NET  OPERATING  PROFIT  BEFORE  FED- 
ERAL INCOME  TAXES    $1,373,069 

Provision  for  federal  income  taxes   100,000 

NET  OPERATING  PROFIT   $1,273,069 

OTHER  CREDITS  AND  DEDUCTIONS: 

Profit  on  foreign  exchange,  net  (after  de- 
ducting for  1934  and  1933,  $250,000 
amortization  reserve  for  fluctuation  of 
dollar  value  of  working  assets  in  for- 
eign countries    $59,389 

Loss  on  sale  or  disposition   of  capital 

assets     

Less  settlement  of  contracts  entered  Into  In 

prior  years    


,1,319,799  $2,883,863 
$853,668  (a)  $8,401,448 
$853,668  (a)  $8,401,448 


$449,137    (a)  $183,577 

  9,717 

164,024  620,295 


$1,332,458 
$1,674,353 


EARNED  SURPLUS,  December  30,  1933 
BALANCE    CARRIED    TO  BALANCE 

SHEET    $3,006,812 

Net  operating  loss  of  Wesco  Corporation 

and  subsidiaries     

Surplus,  December  31,  1932    

Deficit,  December  31,   1932,  to  Balance 

Sheet   


$285,113    (a)  $813,983 


$1,188,781 


$7,749,067 
1,954,102 

$15,010,395 


(a)  Loss. 

(*)  NOTE:  The  statement  for  the  52  weeks  ended  December  3tt,  1933,  is  a  combination  of  a  report  for 
the  13  weeks  ended  April  1,  1933,  and  one  for  the  39  weeks  ended  December  30,  1933.  April  1,  1933,  was 
the  date  when  Fox  FUm  Corporation  gave  effect  to  the  reconstruction  of  its  fiiumcial  structure,  during 
which  millions  in  financial  obligations  were  written  off  and  the  corporation  began  anew.  The  company 
did  not  issue  a  full  52  weeks  report  for  1933,  but  rather  one  report  for  the  13  weeks  of  the  year  priofr  to 
the  reorganization  and  another,  for  the  laist  39  weeks,  showing  how  the  corporation  benefited  its  earnings 
position  by  the  reorganization. 


18 


MOTION    PICTURE  HERALD 


March    3  0,     19  3  5 


NEWSREELS  NOT  LIABLE 
FOR  PICTURE  SHOCKS 


Verdict  in  California  Action 
Involving  Universal  News  Sets 
Highly  Important  Precedent 

The  motion  picture  newsreel  has  the  same 
right  as  the  newspaper  to  run  pictures  of 
dead  men  without  being  subjected  to  legal 
action  or  suits  for  damages. 

California's  courts  so  declared  on  Tues- 
day when,  further  recognizing  the  rights  of 
the  newsreel  to  the  freedom  of  the  press, 
Judge  Joseph  Sprouls,  in  Los  Angeles,  di- 
rected a  verdict  in  favor  of  Universal  News- 
reel  and  the  Pantages  theatre  in  refusing  to 
grant  damages  for  the  loss  of  a  prospective 
child  by  a  mother  who  had  witnessed  a  Uni- 
versal newsreel  picture  of  a  slain  gangster 
on  the  screen  of  the  Pantages. 

Furthermore,  Judge  Sprouls  said :  "I  con- 
sider the  service  that  the  newsreels  gave  the 
public  of  great  benefit  in  showing  the  in- 
evitable end  for  gangsters  who  try  to  evade 
the  law,  and  for  showing  proof  that  crime 
does  not  pay." 

The  decision  establishes  a  precedent  not 
only  for  newsreel  and  feature  pictures,  but 
affects  equally  all  newspapers  and  magazines 
in  this  country. 

Mrs.  Doris  Preisler  and  her  husband,  Sid- 
ney Preisler,  sued  Universal  Pictures  Cor- 
poration as  the  owners  of  Universal  News- 
reel,  and  the  Pantages  theatre,  in  Los  An- 
geles, on  the  ground  that  the  witnessing  of 
a  newsreel  scene  showing  the  dead  body  of 
"Baby  Face"  Nelson  caused  Mrs.  Preisler 
to  lose  a  prospective  child.  She  and  her 
husband  each  sued  Universal  and  the  theatre 
for  damages  totalling  $4,150,000. 

In  his  instructions  to  the  jury,  Judge 
Sprouls  directed  a  verdict  and  stated  that 
the  theatre  had  obviously  posted  notice  of 
what  was  being  exhibited,  both  in  its  lobby 
and  in  newspaper  advertisements,  and  that 
it  was  not  liable  for  damages.  The  jury 
brought  in  a  verdict  for  the  defendants. 

The  Universal  management  at  the  home 
office  in  New  York  said : 

"In  the  event  that  this  case,  heard  in  the 
superior  court  of  California,  had  gone 
against  the  defendants,  every  one  of  the 
newsreels  and  every  theatre  in  the  United 
States  would  have  been  in  danger  of  similar 
suits.  Furthermore,  a  precedent  of  this  kind 
would  have  inevitably  affected  every  news- 
paper and  magazine  which  shows  realistic 
pictures  or  describes  scenes  of  horror  and 
gruesomeness  in  its  columns. 

"The  Universal  Newsreel  has  pioneered 
in  defending  actions  of  this  kind  in  behalf 
of  newsreel  and  newspapers.  In  1919,  Uni- 
versal Newsreel  established  a  precedent 
which  was  as  important  and  far-reaching  as 
the  one  established  in  the  Preisler  case,  when 
Grace  Humiston  sued  Universal  for  display- 
ing her  picture  in  its  newsreel." 


Films  Enlisted  to  Track 
Down  Slayer  in  Detroit 

In  Detroit,  theatre  owners  are  to  be  asked 
to  join  in  a  nationwide  hunt  for  the  fiend 
slayer  of  11 -year-old  Lillian  Gallaher,  whose 
mutilated   body   was    found   there  several 


DISHING  THE  DIRT 

Wichita,  Kansas 
March  21s/,  193  5 
TO  ALL  DISTRICT  MANAGERS, 
EXECUTIVES  OF  FOX  MIDWEST 
THEATRES  AND  OTHERS: 
Gentlemen — 

During  the  last  three  weeks  my  district 
has  lost  millions  of  tons  of  valuable  soil. 
Information  I  have  received  indicates  it  has 
been  widely  distributed  in  districts  other 
than  mine.  I  would  like  to  secure  your 
co-operation  in  having  it  returned  where  it 
belongs.  We  need  it  badly.  In  some 
places  where  wheat  fields  once  were,  there  is 
nothing  but  bare  rock — and  if  we  don't  get 
help  soon  something  else  is  going  to  be 
bare  too. 

If  you  find  yourself  in  possession  of  any 
soil  or  sand  alien  to  your  community,  and 
do  no\  know  its  original  home,  just  send 
me  a  small  sample.  I  am  the  world's 
champion  dust  taster.  I  can  tell  immedi- 
ately whether  it's  Seward  County  sand, 
Ford  County  dirt,  Stevens  County  soil,  or 
Meade  County  manure. 

Very  sincerely  yours, 

H.  E.  JAMEYSON, 
District  Manager. 


weeks  ago  in  the  deserted  apartment  of 
Ward  Goodrich,  who  is  wanted  as  the  killer. 

A  two-reel  motion  picture  showing  the 
victim,  the  interior  of  the  apartment  where 
her  body  was  found,  closeups  of  Goodrich 
and  his  wife  and  of  his  fingerprints,  has 
been  prepared  by  the  Metropolitan  Motion 
Picture  Company,  under  supervision  of  local 
and  federal  authorities.  H.  M.  Richey,  gen- 
eral manager  of  Allied  States,  of  Michigan, 
is  co-operating  with  police  in  having  the 
film  shown  in  every  Michigan  theatre,  and 
J.  E.  Flynn,  divisional  manager  for  Metro- 
Goldwyn-Mayer,  is  making  arrangements 
for  nationwide  distribution  through  the  Mo- 
tion Picture  Producers  and  Distributors  of 
America.  Mr.  Flynn  said  that  Canadian  the- 
atres also  would  show  the  film. 

Pat  he  News  On 
'  ''Headache  Hour 

Pathe  News  announced  this  week  that  on 
April  8  it  will  inaugurate,  under  the  com- 
mercial sponsorship  of  Bromo-Seltzer,  a  bi- 
weekly news  broadcast  over  a  network  of 
the  National  Broadcasting  Company. 

John  Begg,  who  has  been  placed  in  charge 
of  the  broadcast  by  Courtland  Smith,  Pathe 
News  editor,  this  week  was  completing  the 
first  experimental  program. 

Pathe  plans  to  avoid  news  dramatization 
similar  to  that  used  in  the  "March  of  Time" 
broadcasts  and  will  confine  its  material  to 
events  to  be  shown  in  forthcoming  reels. 


Joseph  Bernhard  III 

Joseph  Bernhard,  operating  chief  of  the 
Warner  theatre  circuit,  suffered  a  nervous 
attack  last  week  and  will  be  confined  to  his 
home  for  at  least  two  weeks. 


Erpi' Paramount 
Settlement  Taken 
U nder  Advisement 

special  Master  John  E.  Joyce  in  New 
York  on  Tuesday  took  under  consideration 
the  petitions  for  orders  authorizing  the  Par- 
amount Publix  trustees  to  proceed  with  the 
settlement  of  the  claim  of  Electrical  Research 
Products,  Inc.,  for  $1,900,000  against  Par- 
amount and  the  settlement  of  litigation 
against  Marks  Brothers,  former  Chicago 
theatre  operators,  and  the  Continental  Illi- 
nois Bank. 

The  Erpi  settlement  provides  for  allow- 
ance of  the  claim  in  the  sum  of  $1,200,000 
and  the  negotiations  of  new  recording  license 
and  equipment  service  agreements.  The  set- 
tlement of  claim  was  agreed  upon  about  four 
iTionths  ago,  but  the  new  recording  and  ser- 
vicing agreements  have  since  been  nego- 
tiated. 

The  only  objector  to  the  Erpi  claim  set- 
tlement on  Tuesday  was  Ralph  Vatner,  at- 
torney, who  said  he  represented  Paramount 
stockholders.  Mr.  Vatner  stated  the  $500 
per  reel  recording  fee  was  excessive  and  said 
Paramount  could  obtain  similar  recording 
rights  from  Radio  Corporation  of  America 
and  others  at  half  that  rate.  At  that  rate, 
he  estimated,  domestic  recording  fees  of  Par- 
amount would  approximate  $3,000,000  an- 
nually. 

Counsel  for  Paramount's  trustees  said  all 
other  large  producers  pay  the  same  fees  as 
those  proposed  in  the  new  recording  license 
agreement  for  Paramount,  and  Mr.  Vatner 
countered  by  pointing  out  that  other  pro- 
ducers cannot  avoid  paying  such  royalties 
while  Paramount,  in  its  bankruptcy  proceed- 
ings, could  disavow  its  Erpi  contract. 

Sufficient  bondholder  assents  to  the  plan 
of  reorganization  to  virtually  clinch  its  ac- 
ceptance by  the  required  number  of  credi- 
tors are  to  be  filed  immediately  by  the  Fort- 
ington  creditor  group  in  return  for  assur- 
ances from  other  major  creditor  groups  that 
the  present  board  of  16  directors  will  not 
be  changed  unless  at  the  discretion  of  the 
federal  court  at  the  April  4  hearing,  it  was 
learned  last  week. 

A  petition  asking  leave  for  the  Paramount 
trustees  to  adopt  181  executory  contracts 
made  prior  to  the  company's  bankruptcy,  in 
order  that  they  may  be  assumed  by  the  new 
Paramount  on  its  reorganization,  was  filed 
Tuesday  with  Mr.  Joyce.  These  contracts 
include  many  theatre  operations  made  at  the 
time  various  circuits  were  acquired  by  the 
company  throughout  the  country.  They  in- 
clude fulfillment  of  contracts  made  with 
Saenger,  Rickards  &  Nace,  Publix  North- 
west and  Minnesota  Amusement  Company, 
Dent  Theatres,  A.  H.  Blank,  Southern  En- 
terprises, Fitzpatrick-McElroy,  Famous 
Players  Canadian,  Olympia,  Mullin  &  Pi- 
nanski,  Jefferson  Amusement  Company, 
Walter  S.  Butterfield  and  Balaban  and  Katz. 


Two  Succeed  Green 

Forest  F.  Fine,  formerly  of  San  Fran- 
cisco, and  Herb  Cass,  of  Omaha,  have  taken 
over  the  Portland,  Ore.,  territory  formerly 
handled  by  William  Green  for  National 
Screen  Service.  Mr.  Green  died  last  week 
of  pneumonia. 


AND  YOU'LL  SELL  YOUR  HEAD  OFF  > 


Ask  your  FOX  Exchange  for  a  screen- 
ing of  .  •  • 


Don't  form  any  opinions  about  it  •  •  • 
before  the  showing. 

Make  it  a  party.  •  .with  your  wife,  your 
friends,  her  friends ...  or  anybody  else 
who's  ever  asked  for  a  raise.  (Note  to 
the  boss:  And  who  hasn't?) 

if  you  don't  laugh  till  you  ache  at  the 
headaches  of  the  timid  Romeo  hero  . .  • 
we've  never  seen  a  comedy. 

And  if  you  don't  decide  to  back  it  with 
every  trick  in  the  bag  .  • .  we've  never 
seen  a  showman ! 


"$10  RAISE"  with  Edward  Everett  Horton,  Karen  Morby, 
Alan  Dinehart,  Glen  Boles.  Produced  by  Joseph  Engel. 
Directed  by  George  Marshall.  Screen 
play  by  Henry  Johnson  and  Louis 
Breslow.    Story  by  Peter  B.  Kyne. 


^GEORGE,  WHITE 


SHOW  IS  AN  EVENT! 


Year  after  year,  Broadway  theatre-goers 
eagerly  awaited  the  surprises  George  White 
prepared  for  his  annual  production.  Now  he's 
got  the  movie  public  doing  the  same.  And 
they're  in  for  new  thrills.  Because  this  year's 
"Scandals"  is  365  times  the  show  that  crowded 
them  to  the  doors  last  year! 

GEORGE 
WHITE'S 
1935 
SCANDALS 

ALICE  FAYE  •  JAMES  DUNN 
NED  SPARKS 

Lyda  Robert!  •  ClifF  Edwards  •  Arline  Judge 
Eleanor  Powell  •  Benny  Rubin  •  Emma  Dunn 

GEORGE  WHITE 

Entire  production  conceived,  produced  and  directed  by 
George  White.  Screen  play  by  Jack  Yellen  and  Patterson 
McNutt.  Based  on  a  story  by  Sam  Hellman  and  Gladys 
Lehman.  Songs  by  Jack  Yellen,  Cliff  Friend,  Joseph 
Meyer.  Additional  lyrics  by  Herb  Magidson. 


mmm 


The  topic     everybody's  tongue, 
The  fear  I n|  ever^ott^s  heart . . . 

TODAY'S  fRONf  I^^E  NEWS 

Smart  exhibit^rsj  will  sho#  their  p(|blic  what  war 
means .TO  people  and  tp  nati4n^...in  the  two 
greatest  war  idrpmas  ev^r  to|r|»alh  the  screen: 


THE  FIR^T 


THE  WORLD 


WAR 


ON 


%  i 
1  I 


Phone  your  fox  Exchange  immediately! 


BOOK  THEM  NOW! 


/0f 


March    30,  1935 


MOTION    PICTURE  HERALD 


23 


EXHIBITION'S  'DOUBLE  LIFE'  NEEDS 
TRIP  THROUGH  WRINGER:  FRANKLIN 


One-Third  of  New  Tango  Par- 
lor's Intake  Comes  From  Re- 
lief Checks,  Says  Head  of 
the  Standard  Theatres,  Inc. 

by  VICTOR  M.  SHAPIRO 

Hollywood  Correspondent 

Topping  his  announcement  that  he  again 
will  actively  engage  in  exhibition  through 
Standard'  Theatres,  Inc.,  a  California  com- 
pany, Harold  B.  Franklin,  in  launching  his 
new  venture,  offered  antidotes  for  lagging 
theatre  business :  a  return  to  good  old- 
fashioned  showmanship,  a  militant  front  by 
exhibitors  against  "common  enemies,"  a 
practical  solution  for  the  "double  life"  that 
affiliated  and  unaffiliated  exhibitors  are  lead- 
ing. 

From  a  semi-furnished  office  in  the  Cali- 
fornia Bank  Building  in  Beverly  Hills, 
through  which  interior  decorators  were  flit- 
ting with  chairs  and  desks,  his  associate, 
Alex  Kempner,  formerly  identified  with  the 
real  estate  activities  of  Fox  Film  Corpora- 
tion with  Mr.  Franklin,  and  the  writer  re- 
paired with  him  to  the  Brown  Derby,  where, 
under  the  spell  of  film  personalities  and  cui- 
sine. Franklin  unfolded  some  of  his  theatre 
plans. 

"In  the  last  few  years  every  branch  of 
the  industry  has  gone  through  the  wringer 
with  the  exception  of  the  exhibition  end. 
Production  has  seen  many  changes;  dis- 
tribution has  had  its  conniptions;  but  ex- 
hibition, outside  of  real  estate  and  mort- 
gage convulsions,  is  still  where  it  was — 
kind  of  muddling  through — but  it  can't  be 
called  progress  in  showmanship. 

"No,  I  don't  pretend  to  be  able  to  remedy 
that  situation,  but  on  my  own,  with  Kemp- 
ner here,  it  may  be  possible  for  me  to  put 
into  force  some  pet  ideas  that  meet  the  chal- 
lenge of  these  crazy-quilt  times. 

"What  do  I  intend  doing?  Well,  it's  all 
down  on  paper — ideas,  plans  which  I  will 
divulge  at  the  proper  time.  Yes,  it'll  be  new 
and,  I  might  add,  revolutionary — but  based 
on  principles  I've  proved  for  myself  in  the 
past,  in  Buffalo  with  Shea,  with  Paramount 
and  with  West  Coast." 

"Back  to  the  Old  Religion" 

What  about  product? 

"That's  the  least  of  my  worries.  Does 
Leo  Brecker  in  New  York,  who  runs  after 
Loew's  and  after  RKO,  and  charges  a  higher 
price — does  he  worry  about  product?  He 
does  not.  He  concentrates  on  showman- 
ship— good  old-fashioned,  personal,  neigh- 
borly, enterprising  showmanship. 

"As  soon  as  I  get  my  locations,  and  an- 
nounce my  policy,  and  revive  the  spirit  of 
showmanship  that  made  the  exhibitor  great 
in  the  past,  I  think  you'll  see  a  swing  away 
from  unessentials,  a  departure  from  the 
smoke  screen  of  'cease  and  desist'  orders, 
protection,  bank  nights  and  other  bunk  that 
exhibitors  are  somehow  forced  to  concern 
themselves  with  today. 

"Free  the  exhibitor  from  the  red  tape  and 


he'll  go  back  to  his  good  old  religion  of 
showmanship. 

"Give  the  exhibitor  a  common  cause  to 
fight  against  and  he'll  put  his  house  in  order 
himself.  And  right  now  there's  plenty  for 
them  to  line  up  against — not  only  here  in 
Los  Angeles,  but  all  over  the  country. 

"Right  now  some  one  should  be  marshal- 
ing showmen  against  unhealthy,  unbusiness- 
like competition  at  which  even  the  Govern- 
ment frowns." 

"F'rinstance  ?"  we  interjected. 

"F'rinstance  ?  Why,  it's  all  around.  You 
and  your  publications  in  crusading  against 
these  evils  will  be  doing  all  showmen  a 
favor. 

"Here  are  facts  as  I  got  them.  Right 
here  on  the  outskirts  of  Los  Angeles  they 
again  open  up  a  tango  parlor.  The  first 
week,  mind  you,  they  took  in  fifteen  thou- 
sand dollars. 

"That  is  bad  enough,  but  when  they 
counted  up,  they  tell  me,  they  found  a 
third  of  that  money — five  thousand  dol- 
alrs — to  be  S.E.R.A.  checks,  and  another 
five  thousand  was  County  Relief  Coupons! 
There's  something  to  crusade  against.  If 
the  Government  is  making  a  drive  against 
crime,  bootleggers,  narcotics,  racketeers, 
because  they  take  away  money  from  legiti- 
mate business,  why  not  give  this  kind  of 
illegitimate  practices  of  tango  parlors 
some  attention  too,  because  they  take  rev- 
enue that  otherlwse  would  go  to  the 
theatres  and  to  the  butcher,  the  baker 
and  the  grocer. 

"Then  there's  the  slot  machines  and  the 
marble  games — rackets  that  deflect  coin  from 
the  box-office. 

"How  about  the  dog  tracks  and  horse 
racing?  Sure,  both  of  them  are  legal,  but 
why  make  dog  racing  more  attractive  to 
the  public  through  the  newsreels.  The  ex- 
hibitor should  get  some  of  that  dog  track 
money  at  his  ticket-window.  Why  give 
comfort  to  the  enemy? 

"Well,  maybe  horse  racing  isn't  so  bad, 
but  right  here  in  Los  Angeles  the  first 
season  showed  a  take  of  over  sixteen  mil- 
lion dollars — a  part  of  which,  you  will  agree, 
would  have  gone  to  the  exhibitor.  But  that 
alone  isn't  so  bad,  except  that  a  lot  of  folks 
mortgaged  their  homes,  their  cars  and  put 
themselves  in  'hock'  for  money  the  ponies 
took  away.  Some  of  that  unpawned  money 
should  have  gone  to  the  legitimate  picture 
exhibitor  who  at  least  gives  'em  entertain- 
ment for  their  money.  And  after  the  season 
is  over  the  town  is  full  of  bookies,  touts, 
tipsters  who  continue  to  steer  the  public  for 
other  tracks  and  clip  more  money  from  their 
purses. 

"A  few  years  back  it  was  the  stock  ticker 
that  took  time  and  congested  money  as  an 
unhealthy  influence  on  studios,  exhibitors 
and  public. 

"Now  it's  these  new-born  competitors,  and 
if  the  exhibitor  wants  something  to  fight 
he's  got  plenty,  and  in  most  instances  the 
Government  will  be  glad  to  help." 

"Do  you  think  double  and  triple  bills  a 


Showman  Decries  Newsreels' 
Glorifying  of  Dog  Tracks;  Pro- 
poses Contracts  Bar  Double 
Billing   of  Designated  Films 

constructive  force  for  the  exhibitors  ?"  we 
asked. 

"Of  course  they're  destructive — but  what 
are  the  distributors  and  exhibitors  doing 
about  that  situation,  but  going  through  a  lot 
of  motions. 

"The  industry  has  got  to  stop  leading  a 
'double  life.' 

"Exhibitors  resort  to  the  duals  as  a 
means  of  self-preservation.  You  can't  blame 
them,  because  they  all  can't  stop  doing 
double  on  the  same  day  at  the  same  time. 
They  consider  a  feature — plus  vaudeville — 
equal  to  double  competition  and,  to  keep 
going,  resort  to  the  double  standard. 

"But  distributors  can  do  something  about 
it,  if  only  to  protect  their  product,  to  give 
their  better  class  picures  added  luster  and 
glamour,  and  by  signing  contracts  with  ex- 
hibitors that  certain  pictures  must  be  played 
single  bill. 

"When  I  see  'Bengal  Lancers'  with  an- 
other good  feature,  when  I  see  'David  Cop- 
perfield'  with  a  second  major  studio  pic- 
ture, it'  shigh  time  Zukor,  Kent,  Nick 
Schenck  and  others  gave  showmen  a  break 
by  having  big  pictures — outstanding  produc- 
tions— played  single  bill,  and  I'll  bet  they'd 
get  a  round  of  commendation  from  most 
showmen  that  would  swamp  their  mail 
bags." 

"But  they've  tried  already  by  adding  a 
clause  to  the  standard  contract,  they've  even 
tried  by  negotiation,  but  it  doesn't  seem  to 
jell,"  we  interposed. 

Suggests  Selected  Lists 

"If  I  could  be  permited  a  suggestion — I 
think  the  major  distributing  companies 
might  be  able  to  nail  the  dual  situation  just 
as  they  inaugurated  percentage  pictures — by 
contract.  If  the  leading  distributors  indi- 
vidually picked  out  10  or  12  pictures  on  their 
schedule  that  they  deemed  worthy,  or  even 
if  they  only  stated  the  number  of  pictures 
to  be  played  single,  as  they  state  in  contracts 
the  percentage  of  cancellations,  and,  in  their 
campaign,  proposed  that  the  number  so 
specified  were  to  be  run  as  single  features 
and  as  single  features  only,  I'm  inclined  to 
think  they'd  meet  with  an  overwhelming  re- 
sponse from  all  exhibitors.  If  this  ruling, 
to  start,  is  made  on  certain  definite  pictures, 
and  is  made  national,  then  it's  fair  and 
square  all  over  to  all  showmen,  and  my  ex- 
perience has  shown,  when  an  exhibitor  feels 
he  isn't  getting  the  dirty  end  of  the  stick 
he'll  play  ball." 


Universal  Asks  Listing 

Universal  Pictures  Corporation,  Inc.,  has 
filed  an  application  with  the  Securities  and 
Exchange  Commission,  Washington,  for 
listing  on  the  New  York  Curb  Exchange  of 
250,000  shares  of  no  par  common  stock. 


24 


MOTION    PICTURE  HERALD 


March    3  0,     19  3  5 


U.  S.  HOUSING  REELS 
IN  4,000  THEATRES 


First  Two  Reels  Previewed,  with 
Release  Starting  Early  in 
April;  Many  Loans  Reported 

Federal  Housing  Administration  official 
motion  pictures,  portraying  the  benefits  of 
the  National  Housing  Act,  are  to  be  re- 
leased in  more  than  4,000  theatres  early  in 
April,  the  department  announced  in  New 
York  this  week.  The  pictures,  two  already 
completed,  are  600  feet  in  length  and  bear 
the  title  "Better  Housing-  News  Flashes." 
Pathe  News,  Inc.,  is  producing  the  subjects 
and  Pathe  Exchange,  Inc.,  is  doing  the 
laboratory  work.  Each  reel  is  to  be  released 
individually. 

Plans  are  indefinite  as  to  the  number  of 
subjects  to  be  made  after  release  of  the 
first  two  FHA  officials  said.  If  the  pictures 
prove  popular,  an  initial  series  of  six  will 
be  made. 

The  FHA,  before  inaugurating  '^Better 
Housing  News  Flashes,"  sent  a  form  letter 
to  13,500  theatre  owners  and  managers  out- 
lining the  plan  and  asking  whether  they 
would  cooperate. 

Within  three  weeks,  it  was  said,  more 
than  4,000  exhibitors  had  reported  they 
would  show  the  pictures,  which  are  offered 
free  of  charge. 

James  Loughborough,  veteran  film  pub- 
licist, is  in  charge  of  publicity  for  the  mo- 
tion picture  division  of  the  Federal  Hous- 
ing administration. 

Kuykendall  Commends  Films 

Ed  Kuykendall,  president  of  the  Motion 
Picture  Theatre  Owners  of  America,  who 
reviewed  the  first  reel  last  week  in  Wash- 
ington, said : 

"I  was  pleasantly  amazed  by  the  'Better 
Housing  News  Flashes.'  They  have  fine 
audience  value.  They  are  far  different 
from  the  average  run  of  pictures  of  this 
type.  The  pictures  carry  the  message  of 
better  housing  in  a  highly  pleasing  and 
entertaining  manner.  I  only  hope  they  cause 
some  exhibitors  to  look  over  their  own 
theatres,  and  then  to  redecorate  and  repair 
inside  and  out.  It  will  result  in  finer  look- 
ing houses  and  better  business  for  the  show- 
man. These  pictures  have  the  action  and 
the  tempo  of  a  newsreel." 

Mr.  Kuykendall  said  he  would  incorporate 
in  the  weekly  MPTOA  bulletin  a  strong 
indorsement  of  the  "Better  Housing  News 
Flashes,"  recommending  not  only  that  thea- 
tre owners  use  the  reels  but  that  they  also 
take  advantage  of  the  FHA's  loan  plan  to 
rehabilitate  their  theatres. 

Many  Loans  Reported 

The  FHA  recently  made  known  that  a 
large  number  of  exhibitors  already  have 
obtained  improvement  loans  from  local  lend- 
ing agencies  under  the  Government's  plan 
to  guarantee  credit  extended  by  the  banks 
in  the  field  to  the  extent  of  $1,500,000,000 
for  building  improvements^  as  provided  for 
by  the  Federal  Housing  Act. 

Each  theatre  may  apply  for  as  much  as 
$2,000  for  remodeling  and  reequipping.  The 
loan  can  be  applied  only  to  permanent  im- 


provements and  fixtures  and  to  unmovable 
equipment. 

A  theatre  owner,  according  to  FHA  offi- 
cials, need  have  a  net  of  only  five  times 
the  actual  payments  due  annually  on  a  loan 
in  order  to  qualify.  If  the  owner  or  lessee 
borrows  $2,000,  the  annual  maximum  pay- 
ment to  be  made  is  $662  a  year  for  three 
years.  The  exhibitor,  therefore,  need  show 
a  net  yearly  income  of  $3,310,  or  $63  net  a 
week.  The  sole  security  is  the  theatre  own- 
er's unindorsed  note  of  hand  and  not  a 
mortgage  or  lien. 

However,  applications  from  exhibitors 
will  not  be  considered  unless  the  taxes  on 
properties  have  been  paid  up  to  date,  and  in 
most  instances  it  is  required  that  there  be 
no  arrears  in  interest  on  outstanding  mort- 
gages. 

Loans  as  small  as  $100  may  be  obtained 
by  all  classifications  of  property  owners. 

Two  Reels  Shown 

Reel  one  of  the  "Better  Housing  News 
Flashes"  shows  Washington  Monument 
having  "its  face  lifted,"  and  the  White 
House  given  a  new  coat  of  paint  and  other- 
wise improved.  There  is  a  talk  by  a  banker 
explaining  how  the  rental  value  of  a  store 
at  Broadway,  Fifth  avenue  and  22nd  street, 
New  York,  was  increased  from  $5,800  to 
$11,500  a  year  by  dividing  the  building  into 
a  series  of  small  shops.  An  interior  decor- 
ating expert  of  R.  H.  Macy  &  Co.,  talks  on 
modernizing ;  there's  a  discussion  by  a  New 
York  fire  chief  on  how  the  modernization 
of  homes  and  other  buildings  reduces  fire 
hazards,  this  being  preceded  by  night  shots 
of  fire  trucks  roaring  to  a  residential  blaze, 
and  facts  on  employment. 

Reels  Run  6  Minules 

The  second  subject  deals  largely  with  im- 
provements which  can  be  made  within  the 
home  itself,  taking  up  in  turn  the  remodel- 
ing of  kitchens  to  save  steps ;  repairs  on 
the  exteriors  of  buildings  and  homes,  mod- 
ernization of  plumbing  equipment  and  other 
subjects  to  interest  the  housewife. 

The  reels  run  six  minutes  each  and  all 
inquiries  regarding  the  pictures  should  be 
addressed  to  the  Motion  Picture  Section  of 
the  FHA,  35  West  45th  St.,  New  York 
City.  Distribution  plans  are  being  handled 
by  the  motion  picture  section  in  coopera- 
tion with  RKO  sales  officials. 

It  was  reported  that  affiliated  circuits 
were  hesitating  over  offering  deluxe  play- 
ing time  because  of  so-called  advertising 
matter  in  the  reels.  In  the  first  two  issues. 
General  Electric  refrigerators,  R.  H.  Macy 
and  other  institutions  and  furnishings  come 
in  for  prominent  mention.  Several  affiliated 
circuits  identified  with  newsreel  producing 
con;panies  also  are  reported  to  be_  wary  of 
the  prominent  use  made  of  the  Pathe  name 
in  the  FHA  releases. 


The  estimated  total  amount  of  moderniza- 
tion and  repair  work  reported  by  field  offices 
of  the  Federated  Housing  Administration  in 
all  parts  of  the  country  totaled  $319,255,563 
on  March  23,  an  increase  of  $7,485,808  for 
the  week. 


Loew 's  Gets  Three 
From  Allied  Owners 


The  Loew's,  Inc.,  program  of  world  wide 
theatre  acquisition  and  building  got  under 
way  this  week  with  the  outright  sale  by 
Allied  Owners'  Corporation  of  three  Brook- 
lyn houses  for  $12,875,000  and,  at  the  same 
time,  with  the  arrival  in  Chicago  of  Robert 
Lynch,  MGM  branch  manager  in  Phila- 
delphia, deals  for  a  number  of  sites  for 
Loew's  in  Chicago. 

The  deal  between  Loew's  and  Allied  Own- 
ers was  incorporated  in  a  plan  of  reorgan- 
ization for  Allied,  which  was  given  tenta- 
tive approval  by  Federal  Judge  Robert  Inch 
in  Brooklyn.  The  three  houses  were  erected 
by  Allied  in  1928  under  an  agreement  with 
Paramount,  subsequently  assumed  by  Loew's 
when  the  latter  took  over  the  houses.  The 
agreement  called  for  eventual  purchase  by 
Loew's,  but  when  Allied  became  involved  in 
financial  difficulties  Loew's  discontinued 
payments,  contending  that  Allied  might  be 
unable  to  deliver  clear  title. 

The  new  agreement  embodied  in  the  Al- 
lied reorganization  plan  provides  for  pay- 
ments of  $500,000  annually  for  10  years  by 
Loew's,  and  $525,000  for  the  next  15  years.  ■ 
Provision  also  is  made  for  Loew's  to  ac- 
quire title  earlier  by  anticipating  payments 
on  a  discount  basis. 

Robert  Lynch  has  been  active  in  the  nego- 
tiations for  theatres  in  Chicago  since  the 
start  of  Loew's  planned  invasion  and  has 
authority  from  the  home  office  to  close 
negotiations  for  several  sites.  A  deal  is  re- 
ported to  be  on  for  a  number  of  theatres, 
but  investigation  of  mortgages  and  other 
details  is  holding  up  consummation.  Thomas 
W.  Lamb,  theatre  architect,  is  due  in  Chi- 
cago from  Kansas  City  late  this  week.  He 
will  confer  with  Mr.  Lynch  and  both  will 
return  to  New  York  after  the  deals  have 
been  set. 


Charles  Vmcent^ 
Playwright^  Dies 

Charles  T.  Vincent,  actor,  playwright  and 
antiquarian,  died  last  week  at  his  home  in 
Glen  Cove,  Long  Island,  after  an  illness  of 
several  weeks.  He  was  76.  In  all  he  wrote 
23  plays. 

Mr.  Vincent  was  born  in  Bristol,  England, 
spent  his  boyhood  in  Australia  and  came  to 
the  United  States  at  the  age  of  17.  Play- 
ing in  amateur  theatricals  on  the  west  coast, 
Mr.  Vincent  was  noticed  by  a  New  York 
producer,  who  brought  him  east  after  a  pro- 
fessional debut  in  San  Francisco.  From 
that  time  Mr.  Vincent  spent  15  years  on 
the  stage,  the  while  writing  plays. 

Mr.  Vincent  established  a  stock  company 
at  the  Glen  Cove  Opera  House  in  1900,  and 
was  producer  and  actor.  His  book  and  curio 
shop,  also  in  Glen  Cove,  was  virtually  a 
rendezvous  for  those  in  search  of  rare 
books,  maps  and  hunting  prints.  Some  of 
his  most  popular  plays  were  written  for 
William  Collier,  including  "The  Man  from 
Mexico,"  which  was  made  into  a  musical 
show  for  Eddie  Foy.  He  wrote  two  plays 
for  James  J.  Corbett. 


March    30,  1935 


MOTION    PICTURE  HERALD 


25 


ASIDES  &  INTEI^LLDES 


Robert  Benchley  finds  that  the  problem 
of  supplying  good,  clean  motion  picture  en- 
tertairmient  has  been  solved  at  last,  and 
you'll  never  guess  by  whom — The  United 
atates  Government! 

Uncle  Sam  has  announced  the  release  of 
three  absolutely  inoffensive  pictures:  "Beav- 
ers at  Home,"  "Why  Save  the  Elk?"  and 
"Porcupine  Control  in  the  Western  States." 

Their  box  office  success  is  practically  as- 
sured. The  expression  on  the  elks'  faces 
when  they  are  aJl  being  saved  and  somebody 
comes  along  and  asks  why  would  alone 
bring  down  the  house. 

Get  your  orders  in  now,  exhibitors,  for 
"Study  Hour  Among  the  Bison,"  "How 
Field  Mice  Sleep"  and  "Methods  of  Soothing 
Owls  in  the  Central  Mississippi  Valley." 

Personally,  we  think  they've  pulled  a 
double  cross  on  Frank  Buck. 

V 

Hollywood  producers  might  take  a  cue  from 
the  stunt  employed  by  George  H.  Doran,  noted 
book  publisher  and  book  seller,  on  hoit}  to  un- 
load a  "big"  personality  under  contract  at  a 
large  salary  and  who  is  unwanted.  Mr.  Doran 
had  signed  Marie  Corelli  at  a  fee  of  $20,000 
and  shortly  thereafter  decided  that  he  did  not 
need  the  lady's  services.  He  describes  the  inci- 
dent, with  gusto,  in  "The  Chronicles  of  Barab- 
bas,"  to  be  published  in  a  few  days. 

At  a  small  dinner  in  England,  Mr.  Doran 
had  named  various  English  authors  who,  he  said, 
were  held  in  great  respect  in  America.  Next 
day  the  English  papers  quoted  him,  and  in  de- 
fense against  the  subsequent  clamor  of  authors 
whose  names  he  had  omitted,  he  gave  out  a 
second  list — offering  as  an  excuse  that  he  had 
spoken  informally  and  hastily  at  the  dinner.  But 
on  neither  list  did  he  mention  Marie  Corelli. 
Miss  Corelli's  agent  called  up  in  a  huff  and 
threatened  to  cancel  her  agreement.  Mr.  Doran, 
with  inward  glee,  took  the  agent  at  his  zvord,  got 
the  contract  canceled  and  thus  saved  the  $20,000. 
V 

Outsiders  everywhere  are  commending 
the  successful  efforts  expended  by  virtually 
the  whole  industry  to  effect  a  higher  moral 
standard  in  motion  pictures.  Yet,  Miss  .Dor- 
othy Wilson,  a  player,  blabbered  to  the 
Scripps-Howard  newspapers  that  she  is 
forced  to  turn  to  the  stage  because  she  is 
"so  tired  of  playing  a  'wronged  girl.' " 

"Leaves  Films  to  Escape  'Wronged  Girl' 
Roles,"  said  the  bold  headline  in  two  col- 
umns over  an  interview  in  which  this  pretty 
miss  boldly  blubbered  that  "it  would  take 
only  two  more  films  to  make  audiences  start 
looking  for  an  illegitimate  baby  the  moment 
I  appeared  on  the  screen." 

We  can  picture  Joe  Breen,  morals  custo- 
dian of  things  cinematic,  dusting  his  hard- 
wood paddle. 

V 

One  of  Hollywood's  extras  had  four  days 
work  last  week  because  of  the  Santa  Anita 
races,  though  he  didn't  appear  before  the  cam- 
eras. His  job  was  to  place  bets  and  check  re- 
sults for  members  of  the  cast  and  crew.  The 
director  found  so  many  persons  leaving  his  set 
to  take  care  of  these  matters  he  figured  it  would 
be  cheaper  to  give  an  extra  a  %5-a-day  wage 
ticket  and  have  his  staff  ready  to  vuork  when 
he  wanted  them. 

V 

Eric  Blore  plays  the  waiter  in  Radio's 
"Gay  Divorcee,"  and  is  seen  working  on  the 
noon  of  one  day;  still  on  duty  after  mid- 
night, and  still  juggling  the  tray  early  next 
morning. 

Raymond  McKay,  of  Alpine,  Texas,  wrote 
to  RKO  complaining  that  Blore  was  violat- 
ing the  NRA  code  for  waiters. 


By  JAMES  CUNNINGHAM 


Trade  paper  advertisements  telling  about  the 
arrival  of  the  new  "George  White's  Scandals  of 
1935"  say  that  "the  entire  production  was  CON- 
CEIVED, PRODUCED  and  DIRECTED  by  George 
White."  It  was  White  did  this  and  White  did  that. 
In  fact  there  is  so  much  White  in  this  one  that  it 
has  turned  into  a  blacicout  for  White — Mr.  White 
will  not  be  asked  to  return  to  the  Fox  studio. 

And  the  while  Mr.  White  admits  to  having  so 
brilliantly  "CONCEIVED,  PRODUCED  and  DI- 
RECTED" the  production,  we  are  reminded  that 
Sam  Hellman  and  Gladys  Lehman  wrote  the  story, 
and  Jack  Yellen  and  Patterson  McNutt  wrote  the 
screen  play,  and  Yellen  and  Cliff  Reid  and  Joseph 
Meyer  wrote  the  songs,  and  Herb  Magidson  wrote 
additional  lyrics,  and  Louis  de  Francesco  directed 
■the  music,  and  Gordon  Wiles  created  the  settings 
and  otherwise  acted  as  art  director,  and  George 
Schneiderman  photographed,  and  A.  L.  Von  Kir- 
bach  controlled  the  sound,  and  Charles  Le  Maire 
created  the  costumes,  and  Alice  Faye,  James 
Dunn,  Ned  Sparks,  Lyda  Roberti,  Cliff  Edwards, 
Fuzzy  Knight  and  many  others  acted  the  piece  and 
danced  and  sang.   Congratulations,  Mr.  White. 


SIX  years  ago  Jack  Doyle,  an  Irish  Corkonian 
lad  of  some  15  years,  shoveled  coal  into 
freighters  sailing  out  of  Irish  and  English  sea- 
ports and  decorated  the  glory  hole  of  a  Finnish 
windjammer.  He  was  a  powerful  Celt  and  his 
brawn  got  him  a  break  in  the  ring.  Knocking 
out  nine  of  ten  opponents,  he  then  tackled  the- 
atricals, doing  a  bit  of  singing,  dancing,  acting, 
radio-crooning,  movie-starring  and  so  on,  finally 
moving  majestically  into  London's  smart  May- 
fair  society  set  to  hobnob  with  Britain's  aris- 
tocracy and  royalty.  The  other  day  he  arrived' on 
our  shores  with  ambitions  to  further  his  career. 

Owned  in  part  by  Jack  the  Manassa  Mauler 
Dempsey,  young  Doyle  is  finding  it  difficult  to 
make  up  his  mind  as  to  his  future  pursuits  here. 
"It  is  so  hard  when  one  has  so  many  talents  and 
sidelines,"  he  drawled. 

"Everyone  is  after  me,  you  know,"  he  you- 
knowed,  "Paramount,  United  Artists,  the  broad- 
casting companies.  People  think  I  am  conceited. 
Of  course  I  was  a  great  hit  in  England  on  the 
stage.  And  my  first  picture  should  be  a  smash." 
Maybe  he'll  let  us  touch  his  coat — just  once. 
V 

Classified  advertisement  in  the  New  Or- 
leans Times-Picayune : 

FOR  SALE — Elegant  swallow-tail  full  dress 
coat  made  by  one  of  Europe's  finest  tailors 
at  a  cost  of  $100  gold  ($160);  in  excellent 
condition,  ideal  for  entertainer,  orchestra 
leader,  undertaker  or  any  high-class  social 
affair.  Size  40.  Will  sell  for  $35.  Hurry  up. 
Cash.  Henry  Turck,  1700  Moss  Street. 
V 

C.  B.  Anderson,  of  the  Strand  theatre  in 
McComb,  Louisiana,  caused  havoc  last  week 
when,  as  an  exploitation  stunt,  he  sent  the 
following  message  on  postcards  to  Mc- 
Combs'  men  folk,  postmarked  from  New 
Orleans: 

DEAR  OLIVER 

Will  be  in  McComb  next  Monday  for  a 
few  days.  You  had  better  see  me  if  you 
know  what's  good.  Will  meet  you  at  the 
Strand  theatre.  Yours  for  one  night  of  love. 

GRACE 

When  the  wives  saw  this  message  they 
began  asking  questions.  To  be  exact,  they 
propounded  18,467  interrogations,  of  which 
18,442  were  "Who  is  this  Grace?'  The  Grace 
in  question  happened  to  be  Grace  Moore. 
Ernest  Jackson,  local  tailor,  a  master  of 
thoughtfulness,  found  one  of  the  cards  in  a 
customer's  pocket.  He  returned  the  suit  to 
the  residence  and  sent  the  card  to  the  office. 


Envious  of  the  success  of  the  Quigley 
Awards  contests  conducted  by  A-Mike 
Vogel  in  the  Managers'  Round  Table  de- 
partment of  Motion  Picture  Herald,  we  have 
decided  to  conduct  a  contest  of  our  own  on 
this  page  every  week  (Vogel's  contest  is  put 
on  only  once  a  month),  to  determine  the 
neatest  piece  of  chiseling  effected  in  the  in- 
terests of  free  space,  free  tieups  and  the  like 
during  and  on  behalf  of  a  motion  picture 
exploitation  campaign. 

Eligible:  Theatre  exploiteers,  press  agents, 
janitors,  managers,  owners,  landlords,  re- 
ceivers, trustees,  sheriffs  and  whatnot. 

Prizes:  First,  an  autographed  photograph 
of  General  Hugh  Johnson  embracing  the 
Blue  Eagle:  Second,  a  copy  of  the  first  edi- 
tion of  "When  It's  Proper  Time  in  the 
Soviet,  Will  You  Propaganda  Me?"  by 
William  Randolph  Hearst;  Third,  a  half  in- 
terest with  William  Fox  in  Tri-Ergon. 

Send  in  your  Chisels!  The  first  will  be  a 
chisel  by  Carter's  Little  Liver  Pills. 

V 

Echoing  our  recent  paragraph  about  the 
building  -managers  at  Radio  City  finding  in  the 
RCA  towers  a  whole  floor  which  had  been 
"lost"  for  months,  is  the  subterranean  mystery 
that  has  come  to  light  in  the  same  building, 
home  of  Universal  Pictures  and  hundreds  of 
other  commercial  institutions.  It  seems  that 
building  contractors  who  wish  to  remove  any- 
thing from  the  RCA  Building  must  have  their 
men  fill  out  a  pass  with  a  description  of  the 
article.  A  bland  little  slip  turned  up  in  the  files 
at  the  end  of  one  day  last  week.  "Kindlv  per- 
mit bearer.  CEMENT  CONTRACTOR,  TO 
TAKE  BASEMENT  out  of  the  building,"  it 
said; 

V 

The  Christian  Community,  publication  of 
the  Community  Church  Workers  of  the 
U.  S.  A.,  Inc.,  reported  the  other  day  that 
the  Goodman  theatre  in  Chicago  was  the 
scene  of  the  presentation  of  "Judas  Iscariot," 
Ernest  Temple  Thurston's  great  dramatic 
spectacle.  "The  Chicago  Church  Federation 
sponsored  the  production,"  added  the  publi- 
cation, "and,  except  for  attendance,  it  was 
pronounced  a  success." 

V 

You  must  not  chew  tobacco  on  the  screen  if 
you  hope  to  exhibit  your  histrionic  proclivities 
in  the  town  of  Zion,  Illinois,  which  is  con- 
trolled by  Wilbur  Glenn  Voliva,  religious  leader 
it'ho  holds  that  the  earth  is  flat.  Motion  pic- 
tures had  been  banned  for  a  long  time  at  the 
White  Dove  theatre,  owned  by  Mr.  Voliva,  un- 
til Will  Rogers'  "Judge  Priest"  was  booked 
the  other  day.  During  the  showing  they  ob- 
served tliat  one  of  the  actors  was  chewing  to- 
bacco. Hurriedly  all  children  were  herded  out 
of  tite  house  and  the  exhibition  stopped  forth- 
with. Mr.  Voliva  promised  that  it  will  never 
happen  again. 


Twenty  chorus  girls  were  compelled  to  take 
showers  in  specially  constructed  baths  at  the 
Paramount  studio  in  Hollywood.  All  because 
each  was  sprayed  with  a  metallic  substance 
containing  pure  gold  particles.  Each  treatment 
cost  $17 — value  of  the  gold — and  the  metal  had 
to  be  recovered.  Things  are  a  lot  different  on 
the  Paramount  lot  under  the  new  business-like 
administration  of  Ernst  Lubitsch. 

V 

Charles  Laughton  was  arrested  in  London 
vuhile  making  "Henry  the  Eighth."  They  were 
holding  him  as  a  madman.  He  had  left  the 
studio  with  his  makeup  and  costume  on. 


26 


MOTION    PICTURE  HERALD 


March    3  0,    19  3  5 


BRANDT  CALLS  DRIVE 
ON  DOUBLE  BILLING 


Affiliated  and  Independent  Ex- 
hibitors, Producers  and  Dis- 
tributors Called  on  N.  Y.  Issue 

A  concerted  drive  by  affiliated  circuit  and 
independent  exhibitors  to  eliminate  double 
featuring  in  the  Greater  New  York  ex- 
change territory — representing  about  15  per 
cent  of  the  industry's  domestic  distribution 
market — was  called  for  last  week  by  Harry 
Brandt.  The  president  of  the  New  York 
Independent  Theatre  Owners'  Association 
issued  a  general  invitation  to  discuss  ways 
and  means. 

Mr.  Brandt  said  his  action  followed  re- 
peated comment  of  many  patrons  attending 
ITOA  member  theatres  that  they  are  "much 
disgusted  with  considerable  of  the  product 
offered  them  on  double  bills." 

In  inviting  producers  and  distributors  as 
well  as  exhibitors,  Mr.  Brandt  said,  "I  am 
opposed  to  any  plan  looking  toward  the 
end  of  twin  bills  unless  admission  prices  can 
be  raised  on  some  general  plan  and  by  the 
same  juncture,"  to  fortify  the  exhibitor 
against  a  discard  of  product. 

Mr.  Brandt  declared  he  has  no  intention 
of  attempting  to  increase  admissions'  on  a 
set  plan.  Instead,  he  would  advance  prices 
five  and  ten  cents,  entirely  dependent  upon 
zones  and  conditions  in  them. 

Independent  producers  might  be  persuad- 
ed not  to  oppose  the  plan  when  they  con- 
sidered the  cases  of  many  worthwhile  inde  - 
pendent pictures  playing  on  double  bills,  he 
said.  He  cited  Monogram's  "The  Girl  of 
the  Limberlost,"  which,  he  said,  rated  five 
times  its  rental  draw  in  many  local  situa- 
tions but  failed  to  get  its  worth  because  of 
the  prevalence  of  double  features. 

Loew's  to  Cooperate 

Official  cooperation  of  Loew's,  Inc.,  in  Mr. 
Brandt's  plan  was  assured  Saturday  by 
Charles  C.  Moskowitz,  supervisor  of  the 
company's  New  York  theatres,  who  said  that 
while  Loew's'  had  received  no  official  notice 
of  the  meeting,  it  would  be  "glad  to  join 
in"  a  constructive  movement  to  eliminate 
duals. 

The  stand  of  RKO  could  not  be  deter- 
mined, due  to  the  absence  from  New  York 
of  Nate  Blumberg,  RKO  theatres  head. 
Major  L.  E.  Thompson,  representing  the 
RKO  metropolitan  theatre  division,  was  un- 
derstood to  be  planning  to  sit  in  on  dis- 
cussions between  Mr.  Brandt  and  Mr.  Mos- 
kowitz early  this  week. 

George  Skouras,  of  Skouras  Theatres, 
said  Tuesday  that  he  would  be  glad  to  join 
in  any  constructive  action  to  eliminate 
double  featuring  in  the  territory. 

"So  far,"  Mr.  Skouras  said,  "New  York 
exhibitors  have  done  nothing  but  talk  about 
doing  away  with  double  features.  Talking 
about  it  is  just  a  lot  of  baloney — which,  in 
case  they  don't  know  it,  is  goose-liver — and 
it's  about  time  there  was  some  action." 

"There's  no  question  in  my  mind  but  that 
double  bills  are  destroying  the  industry 
slowly  but  surely,"  he  said.  "Neither  is  there 


any  doubt  but  what  the  only  way  to  elimi- 
nate the  practice  is  for  somebody  to  go  ahead 
and  do  it.  The  rest  will  follow  quickly 
enough.  Of  course  you  can't  expect  every 
little  theatre  to  cut  out  doubles,  but  if  the 
big  New  York  circuits  like  Loew's  RKO, 
Randforce  and  Skouras,  Springer  &  Cocalis, 
Century  and  the  others  would  do  it,  there 
would  be  very  few  houses  left  continuing 
the  practice,  and  those  that  did  wouldn't 
matter  much  anyway." 

Mr.  Skouras  agreed  with  Mr.  Brandt  that 
theatres  in  the  metropolitan  area  should 
raise  their  prices  at  least  five  cents. 

Some  Independents  Protest 

Reactions  to  the  Brandt  proposal  were 
reported  to  have  been  immediate  and,  in 
some  instances,  unfavorable,  these  from  in- 
dependent producers  and  distributors  who 
pointed  out  that  any  curtailment  such  as'  he 
proposes  would  result  in  severe  injury  to 
them.  Mr.  Brandt's  official  reply  was  that 
the  evil  of  double  bills,  as  disclosed  within 
the  ITOA  ranks,  is  the  poor  quality  of  prod- 
uct shown  on  the  twin  bill  program. 

Mr.  Skouras  said  that  if  those  indepen- 
dents opposing  would  attempt  "to  make 
good  pictures  once  in  a  while,"  they  could 
realize  as  appreciable  profits  as  the  rest  of 
the  industry. 

Elimination  of  double  bills  is  not  aimed 
at  any  specific  producing  or  distributing 
group,  Mr.  Brandt  said,  and  seeks  only  the 
elimination  of  poor  quality  features,  whether 
from  independent  or  major  producers. 

.Several  months  ago  New  York  circuits, 
through  Charles  McDonald,  a  division  head 
.  at  RKO,  planned  to  increase  admissions  at 
all  New  York  theatres  with  the  cooperation 
of  the  ITOA  and  Theatre  Owners'  Chamber 
of  Commerce.  Nothing  materialized,  how- 
ever. 

The  single  feature  agreement  in  Cleve- 
land, which  expires  July  8th,  will  be  re- 
newed with  modification  possibly  to  once  a 
week  if  it  is  renewed  at  all,  it  was  reported. 
Half  a  dozen  houses  opened  subsequent  to 
the  signing  of  the  agreement  and  are  not. 
therefore,  bound  by  it.  These  are  all  run- 
ning double  bills.  They  are  the  Alhambra. 
Metropolitan,  Temple,  Family,  Erie  and 
Rex. 

Double  featuring  is  spreading  throughout 
Ohio,  the  latest  theatres  to  adopt  the  policy 
being  the  Strand  in  Akron,  the  Alhambra  at 
Canton,  and  the  University  in  Cleveland. 


Hays  Goes  to  Coast 

Will  H.  Hays,  president  of  the  Motion 
Picture  Producers  and  Distributors  of 
America,  Inc.,  left  New  York  for  Hollywood 
this  week  for  conferences  with  production 
heads.  Mr.  Hays  expects  to  remain  on  the 
Coast  for  about  10  days. 


Monogram  Votes  Dividend 

The  executive  committee  of  Monogram 
Pictures  last  week  dedared  a  dividend  of 
six  per  cent  on  the  capital  stock,  payable  to 
stockholders  of  record  May  1  in  quarterly 
installments  of  lYz  per  cent  each  on  May 
1,  August  1,  November  1  and  February  1. 


astern  Electric 
Loss,  $7, 751,548 
GrossJ91,807,000 


Western  Electric's  total  investment  in 
Electrical  Research  Products,  Inc.,  which  it 
owns  outright,  stands  today  at  $11,860,593, 
of  which  $6,460,593  represents  stock  and 
$5,400,000  advances.  Erpi  is  Western  Elec- 
tric's second  largest  subsidiary;  Teletype 
Corporation,  likewise  100  per  cent  owned, 
stands  as  an  investment  representing  some 
$27,828,875. 

These  observations  were  made  in  New 
York  Monday  in  Western  Electric's.  an- 
nual report,  in  which  it  was  said  that  gross 
sales  for  1934  amounted  to  $91,807,000,  an 
increase  of  32  per  cent  over  the  sales  of 
$69,511,000  for  1933.  Notwithstanding  this 
increase,  the  company  operated  at  less  than 
20  per  cent  capacity  and  showed  a  loss  for 
the  year  of  $7,751,548,  which  compares  with 
a  loss  of  $13,772,504  in  1933. 

Sales  made  by  Western  Electric  to  the 
Bell  Telephone  Companies  in  1934  were 
$84,698,000,  and  to  others,  including  Erpi, 
$7,109,000;  the  total  sales  compared  with 
previous  years  as  follows : 

YEAR  GROSS  SALES 

1925    $239,531,000 

1926    263.105.000 

1927    253.724.000 

1928    287.931.000 

1929    410.950.000 

1930    361.478.000 

1931  .  228.956.000 

1932  ...  117.850.000 

1933  ...  69.511.000 

1934  91.807.000 

The  net  loss  for  the  year  after  interest 
charges,  $7,751,548,  includes  a  profit  of  $849,941 
from  subsidiary  and  associated  companies.  After 
crediting  profits  of  $2,036,073  on  sales  of  mar- 
ketable securities  and'  other  surplus  adjustments 
(net)  of  $11,093,  the  balance  in  surplus  at 
December  31,  1934  was  $12,579,222,  a  decrease 
of  $5,704,382  for  the  year. 

Additions  to  plant  amounted  to  $1,634,000, 
while  obsolete,  worn-out  and  excess  plant  writ- 
ten off  or  retired  from  service  totaled  $24,667,- 
000,  resulting  in  a  net  decrease  in  plant  invest- 
ment in  1934  of  $23,033,000.  This  had  no  effect 
on  the  year's  results  as  plant  written  off  or 
retired  was  charged  to  the  depreciation  reserve 
which  has  been  built  up  over  a  long  period  of 
years  to  provide  for  such  charges. 

Marketable  securities  at  the  end  of  the  year 
amounted  to  $25,568,000  of  which  $24,211,000 
are  United  States  Government  obligations.  All 
marketable  securities  including  those  held!  by 
subsidiary  companies  were  valued  at  the  lower 
of  cost  or  market  at  Dec.  31,  1934. 

Interest-bearing  indebtedness  was  reduced 
$2,858,000  and  at  Dec.  31,  1934  amounted  to 
$69,475,000  as  follows : 

Debenture  5%  bonds  due  May  1, 
1944    $35,000,000 

Notes  sold  to  Trustee  of  Pension 

Fund    33,642,000 

Other  Notes    833,000 

$69,475,000 

Western  Electric  spent  in  1934  some  $34,682,- 
970  on  payrolls,  had  total  assets  of  $296,834,739 
and  working  assets  of  $97,229,432,  against  cur- 
rent liabilities  of  only  $7,872,973.  There  was 
$6,722,086  cash  on  hand. 


March    30,  1935 

Exhibitors  Ask 
More  IVesterns 

Exhibitors  throughout  the  country  are 
demanding-  a  greater  number  of  western  pic- 
tures, it  was  revealed  this  week  when  sev- 
eral of  the  major  companies  announced  they 
will  increase  the  number  of  features  of  this 
type  in  the  1935-36  season. 

Columbia,  it  is  understood,  is  planning  to 
distribute  eight  Ken  Maynards  in  the  new 
season  and  may  reissue  eight  Tim  McCoy 
westerns.  During  the  current  season  16  out- 
door action  films  were  scheduled,  eight  of 
which  were  Tim  McCoys  and  eight  Buck 
Jones  reissues. 

Paramount  released  only  five  westerns  in 
the  present  season,  but  is  now  contemplat- 
ing increasing  the  number  to  nine  or  10, 
with  three  or  four  of  the  new  series  to  be 
based  on  Zane  Grey  novels. 

Universal  has  six  Buck  Jones  westerns 
currently  and  will  probably  increase  the 
series  to  at  least  eight. 

JVilliam  Conklin^ 
Screen  Actor,  Dies 

William  Conklin,  head  of  the  actor-pro- 
ducer relations  committee  on  arbitration  of 
the  Academy  of  Motion  Picture  Arts  and 
Sciences  on  the  Coast,  died  last  week  at 
his  Hollywood  home  of  a  stroke  of 
apoplexy.    He  was  63  years  old. 

Born  in  Brooklyn,  N.  Y.,  Mr.  Conklin 
was  educated  in  New  York.  He  had  20 
years  experience  as  a  leading  man  on  the 
New  York  stage,  where  he  began  in  1895. 
He  went  to  Hollywood  in  1915  to  work  for 
the  pioneer  Balboa  Pictures  Company. 


U.  S.  Suit  Against  ASCAP 
May  Be  Delayed  Until  Fall 

The  United  States  government's  anti-trust 
action  against  the  American  Society  of 
Composers,  Authors  and  Publishers  will 
probably  be  put  over  until  next  autumn,  it 
was  indicated  this  week  by  Federal  Judge 
Knox  in  United  States  district  court,  New 
York.  The  Department  of  Justice  an- 
nounced it  would  ask  for  an  immediate  trial. 
Judge  Knox  directed  that  a  substantial  part 
of  AS  cap's  answer  to  the  Government's  bill 
of  complaint  be  stricken  out,  on  the  grounds 
that  much  of  the  answer  was  improper  and 
irrelevant.  In  Hollywood  this  week  with 
the  contract  between  the  Songwriters'  Pro- 
tective Association  and  ASCAP  due  to  ex- 
pire shortly  and  with  failure  of  several  music 
publishers  to  sign  a  new  agreement,  L. 
Wolfe  Gilbert,  western  chairman  of  the 
SPA,  called  a  closed  meeting  of  the  organi- 
zation on  the  issue.  Mr.  Wolfe  said  later 
a  contract  would  be  signed  within  ten  days. 

Theatres  and  allied  amusement  interests 
throughout  Canada  this  week  were  disturbed 
over  the  action  of  the  Canadian  Performing 
Rights  Society  in  filing  a  new  schedule  of 
fees  with  the  Canadian  government  for  per- 
formance privileges  which  is  from  two  to 
three  times  greater  than  previous  charges. 


MOTION    PICTURE  HERALD 


NATION  IS  RULED 
BY  THE  LAWYERS 

Associated  Press,  under  a  Washing- 
ton dateline,  says  the  federal  govern- 
ment still  is  run  in  large  part  by 
lawyers.  Here's  what  the  Senators 
and  Representatives  are,  or  have  been 
in  other  times: 

Lawyers,  327;  legislators,  137;  public 
officials,  I  14;  governors,  20;  newspaper 
men,  43;  judges,  47;  physicians  and  sur- 
geons, 5;  dentists,  3;  pharmacist,  I; 
minister,  I ;  farmers  and  allied  interests,  65; 
real  estate,  13;  insurance,  8;  educators,  18; 
manufacturers,  9;  bankers,  9;  contractors 
and  builders,  10;  business  men,  6;  chemical 
engineers,  2;  mining  engineers,  2;  publicity 
director,  I ;  radio  announcer,  I ;  furniture, 
I;  jewelry,  I;  clothing,  I;  bonding  business, 
I;  railway  supplies,  I;  theatrical  profession, 
I;  theatrical  manager,  I,  and  postmasters, 
3'.    Those  born  on  a  farm  total  56. 

La  Guardia  Asked 
To  Award  Plaques 

Mayor  LaGuardia  of  New  York  has  been 
requested  to  present  the  Quigley  award 
plaques  for  the  month  of  February.  The 
Winner  of  the  silver  plaque  is  R.  E.  Knight, 
manager  of  the  Fairmount  theatre,  Fair- 
mount,  W.  Va.,  and  the  bronze  plaque  was 
won  by  Ed  Douglas,  manager,  Loew's 
Valencia,  Brooklyn,  N.  Y.  The  presenta- 
tion will  be  made  at  the  Motion  Picture 
Club  on  April  2,  in  connection  with  the 
"Show  of  Showmanship,"  which  opens 
April  1  for  four  days. 

Mr.  Knight,  whose  winning  campaign  in 
the  Round  Table  Department's  monthly 
contest  was  on  "Devil  Dogs  of  the  Air," 
will  be  present.  The  program  will  be  broad- 
cast over  WHN  and  WMCA.  The  "Show 
of  Showmanship,"  sponsored  by  the  Mo- 
tion Picture  Club  and  Motion  Picture 
Herald,  will  be  an  exhibition  of  publicity, 
advertising  and  exploitation  campaigns  sub- 
mitted to  the  Managers'  Round  Table  Club 
of  the  Herald. 


NRA  Will  Take  No 
Action  on  'Bank  Nights' 

The  National  Recovery  Administration 
this  week  in  Washington  announced  it  has 
no  intention  of  making  an  official  interpreta- 
tion of  "bank  nights,"  designed  to  place  the 
practice  under  the  premium  clauses  of  the 
film  code  rather  than  the  lottery  clause,  un- 
der which  it  now  is  a  violation  of  the  code. 
For  several  days  the  NRA's  amusement  divi- 
sion had  received  telegrams  from  various 
sections,  some  from  exhibitors  but  mostly 
from  persons  in  other  businesses,  in  which 
the  consensus  was  that  "bank  nights"  were 
proving  an  impetus  to  business  and  should 
not  be  treated  as  a  lottery  but  rather  as  a 
premium,  thus  giving  exhibitors  in  each 
locality  an  opportunity  to  vote  on  continu- 
ance. 

It  was  said  at  NRA  headquarters  that  no 
recommendations  to  action  have  been  re- 
ceived from  the  Code  Authority  and  that, 
consequently,  nothing  would  be  done  in  the 
matter. 


27 

Editor  Doubts  An 
Exodus  to  Florida 

Ellis  Hollums,  managing  editor  of  the 
Miami  Herald,  believes  the  motion  picture 
industry  will  not  desert  its  "enormous  realty 
and  property  investments  in  California  just 
because  they  get  mad  at  the  legislature." 
In  a  letter  to  the  New  York  Post,  Mr.  Hol- 
lums expressed  the  opinion  this  week  that 
the  talk  of  a  wholesale  exodus  of  the  in- 
dustry from  the  Coast  is  chiefly  bluff. 

"The  people  of  Florida  last  November 
voted  for  a  constitutional  amendment  ex- 
empting new  units  of  the  movie  industry 
from  all  taxation  for  a  period  of  15  years," 
Mr.  Hollums  writes.  "A  committee  of  sev- 
en business  men  was  organized  for  the 
purpose  of  taking  some  steps  looking  to  in- 
terest the  movie  industry  in  this  state.  So 
far  nothing  has  been  done  along  that  line." 

Three  other  states,  however,  appear  to  be 
taking  the  threats  of  Joseph  M.  Schenck, 
Louis  B.  Mayer  and  others  seriously.  Vir- 
ginia, Nevada  and  North  Carolina  have 
made  overtures.  A  delegation  from  the 
Las  Vegas,  Nev.,  Chamber  of  Commerce, 
headed  by  Paul  Balli,  arrived  in  Hollywood 
Saturday  for  a  conference  with  Nat  Levine 
to  try  to  induce  independent  producers  to 
move  to  Nevada.  Governor  George  Camp- 
bell Peery  said  last  week  Virginia  is  ready 
to  cooperate  in  every  way  with  producers 
desiring  to  locate  in  that  state.  In  Raleigh, 
Governor  J.  C.  B.  Ehringhaus  offered  the 
industry  tax  exemption  if  it  decides  to  move. 
In  California,  meanwhile,  legislators  indi- 
cated belief  tax  proposals  would  be  softened 
enough  to  mollify  film  interests. 

St.  Louis  Action  May  Be 
Delayed  Several  Months 

Doubt  was  expressed  in  New  York  this 
week  that  the  St.  Louis  anti-trust  hearings 
will  get  under  way  April  2,  as  scheduled, 
the  consensus  being  that  the  trial  will  not 
come  up  for  several  months.  Two  weeks 
ago,  Ned  E.  Depinet,  president  of  RKO 
Distributing  Corporation,  pleaded  "not 
guilty,"  and  made  a  demurrer  to  the  indict- 
ment on  the  ground  that  it  does  not  state 
sufficient  facts  to  indicate  the  commission 
of  a  crime.  Paramount  and  Warner  of- 
ficials indicted  will  plead  at  the  time  of 
trial  by  arrangement  with  federal  counsel. 

Claiming  acts  in  restraint  of  trade, 
Francis  Reeh  of  the  Shelby  theatre,  Shelby, 
Ohio,  last  week  was  granted  a  temporary 
injunction  by  Common  Pleas  Justice  Homer 
G.  Powell  in  Cleveland  against  members  of 
the  local  grievance  board,  RKO  Distributing 
Corporation,  United  Artists,  Universal  and 
GB  Productions,  restraining  them  from  car- 
rying out  an  order  of  the  grievance  board 
to  discontinue  film  service  to  his  theatre. 
No  date  was  set  for  hearing.  Robert 
Strange,  head  of  the  NRA  legal  department 
in  Cleveland,  has  been  appointed  to  defend 
the  Code  Authority. 

The  Paramount  Publix  trustees,  E.  M. 
Loew  of  Boston  and  A.  B.  Momand  of 
Oklahoma,  have  until  April  20  to  file  ex- 
ceptions to  the  ruling  of  Special  Master 
John  E.  Joyce  of  New  York  in  connection 
with  the  Loew  and  Momand  anti -trust  suits 
against  Paramount,  Federal  Judge  Alfred 
C.  Coxe  ruled  in  New  York  last  week. 


«lt«-,D 


mO-RADIO 
PICTURE 


mi  ON  CRIME... in  the  first 
a  f|Biyxycfe  of  melodramas 

fP^^        The  sensational  first-hand  story  of 

.^^^H  ~  IB       ^  ^^P^''  ^''ooli  who  was  ^^too  big^' 

^^^^m-  m      for  the  law— until  the  Federal  men 

m  m      stepped  in  I,..  A II  the  hush  money 

in  the  world  couldn't  help  him 
then  / . . .  Nine  long  years  in  jail 
to  think  it  over  ^. .  .  and  the 
m^gifl  ^ho  once  loved  him 
%fii  the  arms  of  his  own 
m  smooth-talking  lawyer! 


32 


MOTION    PICTURE  HERALD 


March    30,  1935 


U.  A.  FILMS  1ST  RUN  FOR 
FOX  METROPOLITAN 


Reorganization  Plan  Is  Filed; 
Creditors'  Meeting  Called 
•for  April  12  by  Judge  Mack 

The  long-awaited  plan  of  reorganization 
for  Fox  Metropolitan  Playhouses  sponsored 
by  Joseph  M.  Schenck,  president  of  United 
Artists  Corporation,  and  Milton  C.  Weis- 
man,  receiver  for  Fox  Theatres  Corpora- 
tion, was  filed  late  last  week  in  federal  court. 
New  York,  and  a  creditors'  hearing  on  the 
plan  was  set  for  April  12  bv  Judge  Julian 
W.  Mack. 

Fox  Theatres  Corporation  is  the  sole 
stockholder  of  Fox  Metropolitan  and  has 
filed  a  claim  as  unsecured  creditor  in  the 
sum  of  $5,776,386.  This  figure  is  contested 
by  the  trustee.  Other  unsecured  claims  filed 
against  Fox  Metropolitan  total  $1,537,001. 
This  is  exclusive  of  any  claims  the  note- 
holders may  have  against  any  unmortgaged 
assets. 

First-Run  United  Artists  Hinted 

There  is  much  incorporated  in  the  plan 
of  reorganization  which  tends  to  indicate 
that  the  circuit  may  obtain  first-run  United 
Artists  and  20th  Century  product  following- 
reorganization.  The  submitted  plan  states 
that  entry  into  Fox  Metropolitan  of  Joseph 
M.  Schenck,  "reasonably  fortifies  the  poten- 
tial availability  to  the  new  company  of 
product." 

"This,"  it  is  explained,  "will  materially 
strengthen  the  company  and  the  intangible 
worth  of  the  securities  issued  by  it.  One  of 
the  elements  of  strength,  if  not  necessity, 
in  successful  theatre  operation  is  access  on 
fair  terms  to  an  adequate  supply  of  pictures. 
By  'fair  terms'  is  meant  not  only  cost,  but 
also  such  other  vital  trade  points  as  right 
of  selection,  playing  time  and  dates,  particu- 
larly in  relation  to  supply,  selection  and 
dates  of  competing  theatres." 

Follows  Loew's  Now 

Under  present  operations.  Fox  Metropoli- 
tan follows  Loew's  in  all  competitive  situa- 
tions with  United  Artists  and  20th  Century 
product.  Under  the  plan  of  reorganization 
Fox  Metropolitan  will  continue  to  have  the 
Fox  Film  franchise  held  by  Skouras  and 
Randforce,  who  receive  new  10-3^ear  oper- 
ating contracts  under  the  plan. 

The  plan  specifically  exempts  all  United 
Artists  and  20th  Century  contracts  made  by 
Skouras  and  Randforce  from  subjection  to  a 
veto  power  reserved  for  the  board  of  the 
new  company  in  relation  to  all  other  Fox 
Metropolitan  film  contracts. 

The  plan  provides  that  Joseph  M. 
Schenck  assume  the  presidency  of  the  new 
company.  Capitalization  is  provided  in  the 
issuance  of  $6,853,385  of  secured  5  per  cent 
debentures  which  will  be  issued  to  the  pres- 
ent holders  of  the  old  $12,458,200  of  deben- 
tures. Authorized  capital  stock  will  be 
in  10,000  shares,  one-half  of  which  will  be 
issued  to  Fox  Theatres  Corporation,  the 
other  half  to  United  Artists  Theatre  Cir- 
cuit, Inc.,  of  which  Mr.  Schenck  is  presi- 


dent and  a  substantial  stockholder.  There 
will  be  no  securities  issued  or  authorized  in 
the  reorganization  which  will  rank  ahead 
''f  the  securities  to  be  issued  to  noteholders. 

Schenck  Chairman  of  Board 

Mr.  Schenck  will  be  chairman  of  the 
initial  board  of  nine  members,  which  in- 
cludes Harry  Buckley,  vice-president  of 
United  Artists  Theatre  Circuit,  Inc. ;  Will- 
iam P.  Phillips,  a  director  of  United  Artists 
Theatre  Circuit ;  Milton  C.  Weisnian,  re- 
ceiver for  Fox  Theatres ;  Samuel  S.  Allan, 
law  partner  of  Mr.  Weisman ;  William 
Rhinelander  Stewart,  member  of  the  in- 
vestment house  of  John  C.  Paige  &  Co. 
The  three  remaining  members  will  be  elected 
by  the  holders  of  the  $6,853,385  of  new  5 
per  cent  debentures. 

The  holders  of  the  new  debentures  are  to 
receive  a  minimum  of  $2,400,000  cash,  ap- 
proximately $1,700,000  of  which  will  be 
from  the  Fox  Metropolitan  cash  on  hand. 
An  additional  $700,000  is  being  paid  in  by 
United  Artists  Theatre  Circuit  for  the  50 
per  cent  stock  holding  in  the  new  company. 
The  other  50  per  cent  holding  to  be  ac- 
quired by  Fox  Theatres  is  in  exchange  for 
its  withdrawal  of  the  $5,776,386  claim. 

It  is  pointed  out  that  the  44  Skouras- 
operated  Fox  Metropolitan  theatres  showed 
a  profit  of  $121,101  in  1934,  and  the  36 
Randforce-operated  houses  a  profit  of  $48,- 
536.  Skouras  Bros,  will  receive  $52,000 
annually  and  Randforce  $39,780  under  the 
terms  of  their  new  10-year  operating  con- 
tracts. 

Wilbert  Shallenberger 
Is  Dead  in  Chicago 

Dr.  Wilbert  Shallenberger,  who  for  more 
than  35  years  was  a  Chicago  physician,  died 
at  his  home  there  on  Sunday.  Funeral  ser- 
vices were  held  Tuesday.  Dr.  Shallenberger 
is  survived  by  his  widow,  a  son,  Frederic, 
and  a  daughter,  Mrs.  Robert  R.  Keath. 

Dr.  Shallenberger  was  known  to  the  mo- 
tion picture  industry  as  a  brother  of  Dr. 
W.  A.  Shallenberger,  who  operated  the  old 
Arrow  Film,  and  also  was  an  investor  in 
Thanhouser  about  1915.  Many  years  ago, 
W.  A.  Shallenberger  invested  in  serial  prod- 
ucts and  participated  financially  in  "The 
Million  Dollar  Mystery." 


Screen  Amateur  Films 

Outstanding  amateur  films  were  screened 
and  discussed  last  week  at  the  Washington 
Square  branch  of  New  York  University  in 
New  York  by  Colonel  Roy  W.  Winton, 
managing  director  of  the  Amateur  Cinema 
League,  Inc.,  international  group  of  ama- 
teurs, before  the  National  Board  of  Review. 


To  Publish  "Man  of  Aran" 

The  story  of  the  filming  of  "Man  of 
Aran,"  GB  production  directed  by  Robert 
Flaherty,  will  be  published  in  book  form  bv 
E.  P.  Dutton  &  Company  in  April.  It  was 
written  by  Pat  Mullen,  a  native  of  the 
Island  of  Aran,  who  assisted  Mr.  Flaherty 
in  the  production. 


Gallup  Again 

Heads  Columbia 
Ad  Department 

George  Bruce  Gallup  on  April  8th  will 
return  to  the  position  of  director  of  adver- 
tising, publicity  and  exploitation  of  Colum- 
bia Pictures,  at  the  home  office  in  New 
York,  which  he  left  to  become  account  ex- 
ecutive and  vice-president  of  Donahue  and 
Coe. 

Herschel  Stuart  tendered  his  resignation 
as  Columbia  advertising  director  recently. 

Mr.  Gallup,  New  York  born,  1890,  served 
an  apprenticeship  with  Cosmopolitan  Maga- 
zine, Street  Railway  Advertising  Company 
and  was  advertising  director  at  the  home 
offices  of  Fox,  First  National  and  United 
Artists.  He  has  been  handling  New  York 
and  national  advertising  at  Donahue  and 
Coe  for  motion  picture  accounts,  including 
MGM,  Loew  Theatres,  United  Artists.  At 
the  agency  Lynn  Farnol  is  handling  United 
Artists  and  Charles  Curran  the  Rivoli. 

Mr.  Stuart  had  been  a  theatre  executive, 
acting  at  one  time  as  division  manager  for 
Fox  New  England  Theatres,  and  Poli  Thea- 
tres, general  manager  of  Hulsey  Theatres, 
division  manager  of  Paramount  theatres  in 
the  southeast,  and  for  eight  years  was 
Harold  B.  Franklin's  chief  of  staff  at  Fox 
West  Coast,  becoming  general  manager  of 
all  RKO  theatres  in  '1933. 


1 934 Eastman  Net 
Is  $14,503,247 

Eastman  Kodak  Corporation  and  sub- 
sidiaries, manufacturing  cameras  and  ama- 
teur and  motion  picture  film,  earned  net 
profits  of  $14,503,247  during  1934,  an  in- 
crease of  $3,394,243  over  the  $11,119,004 
net  of  1933.  Earnings  last  year  were 
equivalent  to  $6.28  per  share,  compared  with 
$4.75  per  share  in  1933. 

Frank  W.  Lovejoy,  president,  told  stock- 
holders that  sales  are  gaining  steadily  in 
both  domestic  and  foreign  markets,  and  that 
earned  surplus  at  the  end  of  1934  was 
$80,600,102,  compared  with  $76,595,941  at 
the  close  of  1933.  Current  and  working 
assets  total  $91,522,874. 


Roxy  Business  Up  18  Per  Cent 

Federal  Judge  Francis  G.  Caffey  in  New 
York  last  week  received  from  Howard  Cull- 
man, trustee  for  the  Broadway  Roxy,  an  in- 
dependent audit  which  indicated  that  busi- 
ness at  the  bankrupt  property  had  increased 
18  per  cent  in  eight  months,  and  receipts 
showed  a  net  profit  of  $120,169. 


Seek  School  Cooperation 

Educators  and  librarians  are  being  asked 
by  RKO  Radio  for  suggestions  on  the  ex- 
ploitation of  pictures  which  have  been 
adapted  from  books  of  unusual  popularity. 
In  the  current  press  book  on  "Laddie,"  from 
the  Gene  Stratton-Porter  novel,  Bess  W. 
Timmerman,  of  the  Queens  Borough  Public 
Library,  has  contributed  suggestions. 


ivlarch    30,  1935 


MOTION    PICTURE  HERALD 


33 


"DECENCY  LUCKIEST  THING  THAT 

EVER  HAPPENED  TO  YOU'-BRADY 


William  A.  Brady,  a  Survivor  of 
American  Stage's  Last  Gen- 
eration, Reminisces  Before 
Motion  Picture  Club  Forum 

Once  upon  a  time  Mr.  William  A.  Brady 
of  Broadway,  today  the  sole  survivor  of  the 
last  great  generation  of  the  American  stage, 
speaking  in  Chicago,  said:  "I  have  been  on 
page  one  more  than  any  other  man  in  the 
world,  except  Theodore  Roosevelt."  For 
many  and  many  a  year,  now,  Mr.  Brady  has 
been  less  prevalent. 

But  Tuesday  last,  philosphic  and  laden 
with  memories,  many  of  them  mellowed  con- 
siderably and  some  more  poignant,  Mr. 
Brady  appeared  at  the  forum  of  the  Motion 
Picture  Club  in  New  York,  with  an  address 
made  of  rememberings  and  judgments  of  to- 
day. He  found  the  motion  picture  business 
"lucky,"  deplored  the  plight  of  his  only  real 
love,  the  stage,  and  commended  the  influ- 
ences of  the  Legion  of  Decency. 

I  '.as,  Cha.nged  His  Views 

Proclaiming  the  motion  picture  as  the  world's 
greatest  instrument  in  the  public  good,  Mr. 
Brady  gave  evidence  of  a  change  of  heart  since 
that  day  in  1912  when  he  said:  "We  (the 
stage)  have  the  movies  on  the  run."  He  cited 
the  record  of  the  motion  picture  industry  in  the 
American  propaganda  of  the  World  War,  a 
period  in  which  Mr.  Brady  was  the  president 
of  the  National  Association  of  the  Motion  Pic- 
ture Industry,  successors  to  the  Motion  Pic- 
ture Board  of  Trade  and  predecessor  of  the 
Associated  Motion  Picture  Producers  and  Dis- 
tributors of  America,  Inc.  Mr.  Brady  sug- 
gested that  he  was  not  precisely  rewarded  by 
the  industry  in  those  days. 

"As  a  theatre  man,"  said  Mr.  Brady, 
coming  to  the  current  period,  "I  regret 
the  decay  of  the  American  theatre.  It 
would  be  a  great  misfortune  for  thpse 
United  States,  if  the  spoken  theatre  should 
become  extinct. 

"It  would  be  a  great  misfortune  for  you 
movie  men  if  the  theatre  should  pass  out,  as  it 
is  gradually  doing.  Just  think,  that  in  almost 
30  or  40  states,  or  48  states  in  our  Union,  that 
the  theatre,  the  spoken  theatre,  is  finished — in 
Texas,  Mississippi,  North  Carolina,  South  Car- 
olina, Maine,  New  Hampshire,  Rhode  Island, 
Minnesota,  North  and  South  Dakota,  Washing- 
ton, Arizona,  New  Mexico,  no  longer  is  the 
theatre  heard. 

'As  I  said  to  the  blind  senator  from  Okla- 
homa once  in  an  argument  before  the  Finance 
Committee  about  taxes,  I  said,  'Senator  Gore, 
do  you  realize  that  in  Oklahoma,  there  has  not 
been  a  spoken  drama  presented  in  five  years? 
Do  you  realize  that  the  great  works  of  Shake- 
speare are  no  longer  shown  to  your  youths?' 
He  didn't  realize  it. 

"Washington  is  neglectful  of  the  theatre.  The 
theatre  is  one  of  the  great  institutions  of  a 
country.    In  Europe  they  subsidize  it. 

"I  happen  to  have  been  fortunate  enough  or 
lucky  enough  to  have  been  in  Europe  very 
shortly  after  the  World  War  finished.  Wood- 
row  Wilson  was  in  Paris  at  the  Peace  Con- 
ference. I  went  into  Germany.  I  saw  the 
mark  fade  away  from  300  marks  to  a  dollar  to 
a  half  million  marks  for  the  dollar ;  and  after 
all,  I  have  had  a  lot  of  experience  in  the  world 
of  young  people  and  have  covered  a  lot  of 


BRADY  PIONEER 
OF  THE  THEATRE 

William  A.  Brady  is  one  of  the  last 
of  the  American  theatre's  pioneers, 
having  been  active  since  18  82  tvhen 
he  made  his  first  appearance  as  an 
actor  in  San  Francisco.  He  was  born 
in  San  Francisco  in  1863.  In  1888, 
Mr.  Brady  started  a  repertory  com- 
pany, which  proved  highly  successful 
and  subsequently  he  became  a  pro- 
ducer. 

Mr.  Brady  tvas  of  the  nation's  big- 
gest fight  impressarios  a  generation 
ago,  as  the  senior  partner  of  the  firm 
of  Brady  &'  O'Ronrke. 

One  of  his  early  day  productions 
famed  in  tradition  was  Dion  Boucci- 
cault's  "After  Dark,  or  Neither  Wife, 
Maid  nor  Widow,"  an  over  mellow 
melodrama,  which  a  few  years  ago 
again  became  a  hit  in  revival  by  the 
flaring  exploitation  of  Morley,  Throck- 
morton bf  Gribble,  producers,  on  the 
beery  waterfront  of  Hoboken,  in  pro- 
hibition days. 

Mr.  Brady  always  has  been  fond  of 
acting  and  occasionally  stepped  out 
of  his  role  as  producer  to  assume  a 
part  on  the  stage. 


ground  in  all  lines,  and  I  say  to  you  gentlemen 
who  control  the  pictures  of  America  that  it  is 
the  most  important  method  of  propaganda  in  the 
world.  I  say  to  you  as  a  man  with  a  lot  of 
experience,  beware  of  inflation.  The  same 
thing  that  happened  in  Germany  can  happen 
here. 

"As  to  the  theatre  in  Germany,  when  the 
people  were  starving,  when  you  could  not  get 
any  milk,  when  you  went  to  the  bank  with  a 
suit  case  to  draw  out  your  money,  when  you 
paid  your  hotel  bills  the  money  weighed  three 
or  four  pounds — throughout  that  period,  the 
theatre  and  the  motion  picture  did  more  to  pre- 
serve the  morale  of  those  unfortunates  in 
Europe  than  did  religion  or  any  other  institu- 
tion in  the  country. 

"The  luckiest  thing  that  ever  happened 
to  you  people  is  the  so-called  Legion  of 
Decency. 

"When  it  came  in  sight,  I  saw  an  opportunity 
and  I  packed  up  about  150  plays  in  a  trunk,  two 
trunks,  about  August  1  last,  and  I  jumped  to 
Hollywood,  figuring  that  you'd  need  clean  plays. 
I  had  produced  many  clean  plays,  and  so  I 
saw  an  opportunity.  Well,  I  succeeded  in  one  in- 
stance, I  sold  'Way  Down  Eeast,'  which  ran  21 
years  consecutively  in  the  American  theatre,  but 
I  could  not  stay  there  long  enough  to  sell  more, 
which  I  regret ;  but  I  came  in  contact  with  pic- 
tures for  the  first  time  in  just  about  16  years  as 
the  managing  director  of  the  World  Film, 
which  both  produced  and  distributed,  so  I  was 
pretty  well  acquainted  with  the  'ins  and  outs' 
of  pictures,  and  I  had  read  in  the  newspapers 
and  the  columnists  the  fun  that  was  poked  at 
the  people  in  Hollywood,  particularly  at  Sam 
Goldwyn,  a  fine  guy,  and  when  I  went  to  Holly- 
wood and  in  some  of  the  studios,  what  I  saw 
there,  young  men  and  women,  amazed  me,  and 


Change  of  Heart  Visible  in 
Lauding  of  Films,  Which  He 
Calls  the  World's  Greatest 
Instrument  for  Public  Good 

I  can  talk  authoritatively  of  it — the  method  of 
production,  the  completeness  of  detail,  the 
knowledge  of  literature  and  drama  of  the  past 
amazed  me. 

"Poke  no  fun,  you  columnists,  at  Holly- 
wood. Rather  get  on  your  knees  and  re- 
gard them  as  a  great  industry.  An  elder 
in  the  theatre  said  that  he  has  never  in 
his  long  experience  seen  such  knowledge, 
such  thoroughness,  such  complete  perfec- 
tion of  detail  as  he  saw  on  that  visit  to 
Hdlywood.  I  congratulate  you,  Holly- 
wood. 

"I  want  to  go  on  record  right  now  that  I  con- 
sider the  competency  and  the  intelligence  of 
Hollywood  far,  far,  far,  beyond  the  intelligence 
of  the  present  American  theatre. 

"I  am  not  coming  here  demanding.  You 
can  do  nothing  for  me.  You  had  a  chance 
to  do  it,  to  pay  me  back  for  the  service 
I  rendered  you  over  in  1916  to  1920.  I 
wasn't  paid  $120,000  a  year.  I  wasn't  paid 
anything,  and  I  paid  $10,000  a  year  out 
of  my  own  pocket  in  the  World  War  to 
lead  you. 

"You're  a  lucky  industry,  very  lucky.  You 
don't  know  your  own  luck — delinquent,  when 
you  were  outraging  decency ;  some  of  you,  not 
all  of  you.  What  a  grand  thing  it  is  for  you 
people  to  think  that  David  Copperfield  could 
run  five  weeks  on  Broadway.  Who  would  ever 
thought  it  possible?  I  played  in  David  Copper- 
field  as  a  boy.  Concerning  'Liftle  Women'  I 
was  less  fortunate — I  did  not  play  any  part  in 
it.  Let  us  put  that  on  the  record.  RKO  had 
my  manuscript  for  six  months,  and  I  suggested 
'Little  Women'  to  RKO.' 

"I  thought  I  was  down  and  out  when  a 
couple  of  the  Warner  Brothers  produced  'Three 
Men  on  a  Horse'  at  the  Playhouse,  and  they 
made  me  comfortable  for  the  next  three  months, 
six  months  or  twelve  months,  and  I  say  'God 
Bless  the  Warner  Brothers.' 

"Censorship  —  censorship  is  un-American. 
What  sent  me  to  46  states  out  of  48  in  1919  to 
fight  censorship?  I  never  lost  a  state.  The 
governor  of  Nebraska  vetoed  the  censorship  bill 
after  the  legislature  had  passed  it.  The  powers 
to  be  at  that  time  handled  New  York  state,  as 
far  as  censorship  was  concerned,  and  I  think 
they  paid  Paul  Cravath  $15,000  to  go  to  Albany 
for  24  hours,  and  so  censorship  became  a  law." 


Other  speakers  at  the  Forum  included  Faith 
Baldwin,  novelist ;  Rita  Weiman,  magazine 
writer,  and  Magistrate  Anna  Kross,  one  of  New 
York  City's  two  women  magistrates. 

Magistrate  Kross  discussed  censorship  of 
motion  pictures,  which  she  termed  an  attack  on 
American  democracy. 

"I  believe  that  censorship  in  every  phase  of 
life  is  of  very  little  value,"  she  said.  "I  think 
the  industry  itself  should  be  relied  upon  to  pro- 
duce the  type  of  film  that  will  really  bring  to 
the  community  the  things  they  need." 

Faith  Baldwin  humorously  described  her  ex- 
periences in  Hollywood,  while  Miss  Weiman 
made  a  plea  for  producers  to  engage  writers 
and  playwrights  to  adapt  their  own  works  to 
the  screen. 


34 


MOTION    PICTURE  HERALD 


March    3  0,    19  3  5 


The  chart,  based  on  Motion  Picture  Herald's  tabulation  of  box  office  grosses,  connpares  the 
business  done  In  each  of  fourteen  key  cities  during  the  seven  weeks  from  February  2  to  March  16, 
1935,  with  the  receipts  from  the  same  cities  in  the  same  interval  in  1934.  The  grosses  for  the  1935 
period  are  indicated  by  the  black  bars.  The  figures  for  the  1934  period  are  taken  as  100  per  cent 
for  each  city  and  are  represented  by  the  shaded  bars. 


Justice  Department 
Denies  Film  R  eport 

The  Department  of  Justice  at  Washing- 
ton late  last  week  officially  denied  a  report 
said  to  have  been  published  in  a  "motion 
picture  newspaper"  to  the  effect  that  the 
department  had  officially  approved  a  mo- 
tion picture  to  be  produced  on  the  Coast 
depicting  thek  activity  of  department  agents, 
and  that  a  former  agent  had  been  designated 
by  the  department  to  act  as  technical  ad- 
viser in  the  production. 

The  department  had  earlier  refused  to 
endorse  one  of  several  scenarios  which 
were  submitted  to  Attorney  General  Cum- 
mings  for  approval  by  an  unnamed  pro- 
ducer, according  to  William  Stanley,  as- 
sistant to  the  attorney  general. 

Mr.  Stanley  said,  "We  informed  the  pro- 
ducer during  his  visit  (to  Washington)  that 
we  would  be  glad  to  furnish  a  technical  ad- 
viser in  order  that  a  true  portrayal  of  the 
activities  of  Department  of  Justice  agents 
might  be  assured.  His  group  decided  not 
to  accept  our  offer.  He  asked  us  to  suggest 
someone  outside  the  service  who  could  act 
as  adviser  and  we  refused  to  do  that." 

An  official  statement  of  denial  was  issued 
by  the  department,  which  concludes:  "The 
department  has  approved  no  motion  picture 
scenario  or  production  purporting  to  deal 
with  its  work." 


Photographic  Group  to  Meet 

The  Photographic  Society  of  America, 
developed  from  the  Associated  Camera 
Clubs,  has  prepared  a  bulletin  at  the  begin- 
ning of  its  second  year.  The  society  plans 
a  national  meeting  in  April,  1935,  in  con- 
junction with  the  Pittsburgh  Salon  of  Pho- 
tography at  Pittsburgh.  The  secretary  of 
the  association  is  B.  H.  Chatto,  1300  Milton 
avenue,  Pittsburgh. 


Finney  Named  Chief 
Nominator  of  AMPA 

Ed  Finney,  advertising  and  publicity  di- 
rector of  Monogram  Pictures,  on  Tuesday 
in  New  York  was  selected  as  chairman  of 
the  nominating  committee  of  the  Associated 
Motion  Picture  Advertisers.  The  committee 
includes  Edward  McNamee,  Tom  Hamlin, 
Charles  Atwell  and  Jack  Harrower. 

The  regular  weekly  luncheon  of  the 
AMPA  on  Thursday  was  scheduled  to  be  a 
closed  meeting,  to  be  devoted  to  committee 
reports  on  the  annual  Naked  Truth  dinner. 

Vitaphone  Completes  Program, 
CI  OSes  Studio  for  Five  Weeks 

The  Warner  Vitaphone  studio  in  Brook- 
lyn, N.  Y.,  producer  of  Warner  short  prod- 
uct, completed  its  current  schedule  last  week 
and  closed  for  five  weeks.  The  remainder 
of  the  short  product  is  in  work  at  the  Coast 
plant.  The  writing  staff,  supervised  by  Her- 
man Ruby,  will  be  engaged  in  preparing 
next  season's  scripts  during  the  shutdown. 
The  studio  will  reopen  in  April. 

The  studio's'  permanent  chorus  of  16  girls, 
who  appear  in  musical  subjects,  will  under- 
take a  four-week  stage  tour.  They  will  ap- 
pear at  the  Earle  in  Philadelphia  and  the 
Earle  in  Washington.  Allan  K.  Foster  di- 
rects the  group. 


RKO  Opens  Fourth  Office  in  Spain 

A  branch  sales  office  of  RKO  has  been 
opened  at  Seville,  Spain,  making  the  fourth 
now  doing  business  in  that  country.  The 
others,  in  charge  of  Robert  Trillo,  are  at 
Barcelona,  Spanish  headquarters,  and 
Madrid  and  Valencia.  Mr.  Trillo  is  now 
en  route  to  Bilboa,  where  a  fifth  branch  will 
be  opened. 


Handling  Liberty  Filnns 

Metropolitan  Film  Exchange  is  distribut- 
ing Liberty  features  in  the  Northwest. 


NRA  Cites  Gains 
In  Amusement  Field 

Amusement  enterprises  which  during  the 
first  nine  months  of  last  year  showed  a 
profit  of  $2,500,000,  compared  with  a  deficit 
of  $10,700,000  during  the  same  period  in 
1932,  and  other  industries  which  have 
jumped  from  the  red  into  the  black  during 
the  past  two  years  are  cited  by  the  plan- 
ning and  research  division  of  the  NRA  at 
Washington  as  showing  the  tremendous 
improvement  brought  about  by  the  recovery 
movement. 

In  a  60-odd  page  report  replete  with 
charts,  graphs  and  tabulations,  the  division, 
without  actually  so  stating,  links  business 
improvement  to  NRA,  asserting  that  some 
490,000  workers  are  receiving  the  benefits 
of  the  amusement  codes. 

The  report  was  not  generally  distributed. 
Apparently  it  was  prepared  for  use  during 
the  Congressional  investigation  of  the  NRA. 
The  figures  cited  are  not  government  statis- 
tics but  are  part  of  a  large  amount  of  data 
secured  from  all  sorts  of  outside  sources  to 
bolster  up  the  contention  that  business  is 
better  because  of  the  New  Deal. 


Publisher  Has  Film  OfRce 

Doubleday,  Doran  and  Company  has  in- 
augurated a  new  department  to  assist  authors 
in  marketing  the  film  rights  to  their  works. 
The  department  is  headed  by  Leda  Bauer, 
formerly  scenario  editor  at  United  Artists 
and  later  with  Paramount. 


Washington  Circuit  Fornned 

H.  D.  R.  McBride  and  L.  L.  Francis  of 
Spokane,  Wash.,  have  incorporated  Howard 
Amusement  Company  at  Portland,  to  operate 
a  circuit  in  the  state. 


if-" 


^  George  Schaefer 

Felix  Feist 
G.  L.  Sears 
Jimmy  Grainger 
A.  W.  Smith 
Al  Lichtman 
John  Clark 

THE  HOTTEST  PIECE 
OF  SALES  POWER  IN 
THE  BUSINESS  IS 

AVAILABLE  APRIL  8 


OUR  SALE 


WE'LL  BE  IN  TO  SHOW 

JOAN  BLONDELL  • 

in 

TRAVELING 

WILLIAM  GARGAN  •  HUGH  HERBERT  •  RUTH  DONNELLY  •  GRANT 

WARNER  BRO 


A  First  Nati 


I 


OUR  LINES  APRIL  STHj 

GLENDA  FARRELL 

SALESLADY 

IITCHELL  •  AL  SHEAN  •  BERT  ROACH  •  Directed  by  RAY  ENRIGHT 


38 


MOTION    PICTURE  HERALD 


March    30,  1935 


38  FEATURES  IN  WORK     RabbUsks Public 

AS  STUDIOS  SPEED  UP   To  Preserve  Gams 

0  f  Motion  Picture 

Plans  for  1935-36  Expanded  by   ^""^      """^"^  '""^''^  "exreeded  anv  J 

Producers  and  Distributors; 
Paramount  Drops  2-Reelers 


Producers  and  distributors  this  week  ex- 
panded their  plans  for  1935-36. 

Production  in  Hollywood  last  week  regis- 
tered a  decided  increase  over  the  preceding 
week  with  a  total  of  38  features  and  eight 
short  subjects  in  work  as  compared  with 
33  and  seven  for  the  previous  period. 

A  recapitulation  of  company  plans  an- 
nounced in  the  past  week  follows : 

Atlantic  Pictures 

The  company  has  taken  over  distribution  of 
"Silver  Lining,"  a  Patrician  picture. 

V 

Commodore  Pictures 

Commodore  will  distribute  24  seven-reel  fea- 
tures starring  Lon  Chaney,  Jr.,  to  be  produced 
over  a  three-year  period'  by  Ray  Kirkwood. 
V 

Educational 

Educational's  program  will  be  completely  set 
in  a  week  or  so  and  will  approximate  110  short 
subjects,  E.  W.  Hammons,  president,  said. 
V 

First  Division 

Basil  Dean,  head  of  Associated  Talking  Pic- 
tures, Ltd.,  will  visit  Hollywood  in  September 
to  complete  arrangements  for  joint  production 
with  First  Division.  Associated  British  Film 
Distributors,  distributing  link  of  ATP,  which 
is  handling  First  Division  product  in  England 
on  a  reciprocal  basis  giving  ATP  product  the 
First  Division  release  in  the  United  States,  also 
is  distributing  20  features  from  Mascot  in 
England.  Directors  in  the  new  season  will  in- 
clude Alfred  Hitchcock  and  Monty  Banks. 
Hitchcock  will  direct  "London  Symphony,"  first 
of  two  features  to  star  Clive  Brook.  ATP  is 
planning  to  produce  one  or  two  in  this  country. 

ATP  has  closed  with  First  Division  to  dis- 
tribute "The  March  of  Time"  in  England. 
Reginald  Baker,  financial  head  and  joint  man- 
aging director  of  ATP,  said  in  New  York  en 
route  to  England  that  no  contracts  had  been 
signed,  but  that  no  contracts  would  be  neces- 
sary. March  of  Time  Distributing  Corp.,  the 
new  company  which  will  handle  exploitation 
of  the  "March  of  Time"  reel,  has  been  formed 
in  Dover,  Del.,  to  deal  in  pictures  of  all  kinds, 
listing  a  capital  of  $100,000.  Incorporators  are 
Russell  A.  Smith,  Reith  T.  Aliddleton  and 
Henry  G.  Walters,  Jr.  Under  a  deal  now  ready 
for  signatures,  Regal  Films  will  take  over  dis- 
tribution of  "The  March  of  Time"  in  Canada. 
V 

Fox 

Sidney  R.  Kent  left  on  a  two-week  visit  to 
the  studios. 

V 

MGM 

Approximately  $20,000,000  will  be  expended 
on  the  52  features  and  undetermined  number 
of  shorts  for  the  new  season,  the  company 
announced.  Fred  Quimby,  short  subject  sales 
manager,  currently  is  in  Hollywood,  and  Felix 
F.  i'eist,  general  sales  manager,  is  expected  to 
jom  him  there  soon. 

V 

Paramount 


for  the  week  ended  March  16  "exceeded  any 
week  on  record  in  Paramount,"  and  indications 
for  the  two  following  weeks  were  even  better, 
Neil  F.  Agnew,  general  sales  manager,  said. 
William  Rowland  arrived  in  New  York  to 
negotiate  with  Paramount  for  release  of  four 
musicals.  The  first  two  will  be  written  by 
Herbert  Fields  and  will  have  Rodgers  and  Hart 
music.  King  Vidor's  one-picture  deal  with 
Paramount  has  been  extended  to  two  years. 
He  will  be  directly  under  Ernst  Lubitsch.  Mr. 
Vidor's  first  film  will  be  "So  Red  the  Rose." 
V 

United  Artists 

"The  Diamond  Horseshoe,"  an  original  by 
Bess  Meredyth  and  George  Marion,  Jr.,  will  be 
Lawrence  Tibbett's  first  picture  under  his  con- 
tract with  20th  Century.  It  goes  into  produc- 
tion early  in  July.  "Sing  Governor,  Sing," 
originally  scheduled  for  Tibbett,  has  been  re- 
vised for  the  use  of  Paul  Whiteman  and  his 
band.  Lou  Schreiber,  20th  Century  casting 
director,  arrived  in  New  York  on  a  quest  for 
acting  talent. 

With  "The  Legion  of  Valor"  now  in  produc- 
tion at  the  studios  of  Reliance  Pictures,  Edward 
Small  announced  two  others  to  start  soon.  "The 
Melody  Lingers  On"  and  "Amateur  Lady." 
Harry  Goetz,  Reliance  president,  arrived  in 
New  York  after  seven  weeks  on  the  Coast. 
V 

Warner  -  First  National 

_  AI  Jolson,  associated  with  Warner  Bros,  for 
six  years,  was  signed  to  a  new  contract  before 
he  left  Hollywood  for  New  York.  Leon 
Schlesinger  is  planning  an  animated  cartoon 
opera  in  color  for  next  season  in  addition  to 
his  "Looney  Tunes"  and  "Merrie  Melodies." 
The  producer  is  considering  "Carmen." 

Warner  expects  to  produce  20  features  at  its 
Teddington  studios  in  England  next  season  for 
release  in  that  countrv. 


Parents  Urqed  to  Back 
New  York  Admission  Bill 

Ernest  K.  Coulter,  general  manager  of  the 
Society  for  the  Prevention  of  Cruelty  to 
Children,  has  urged  parents  to  support  a 
bill  now  before  the  New  York  state  legisla- 
ture at  Albany,  which  would  amend  the  pres- 
ent law  providing  for  the  admission  of 
children  under  16  at  theatres.  He  declared 
he  thought  the  bill  would  be  the  answer  to 
"the  present  most  intolerable  conditions." 

The  measure,  according  to  Mr.  Coulter, 
was  drawn  by  a  commitee  of  the  society  fol- 
lowing a  study  of  conditions.  The  present 
penal  law  makes  it  a  misdemeanor  for  a  film 
house  to  admit  children  under  16  unaccom- 
.  panied  by  an  adult.  The  measure  would 
amend  that  law  to  admit  unaccompanied 
children  subject  to  certain  conditions. 


Paramount  announced  it  will  sell  100  single- 
reel  subjects  next  season  and  will  drop  pro- 
duction of  two-reelers.  The  company's  ship- 
ments of  features,  shorts  and  Paramount  News 


Postpone  Somerbee 
Dinner  to  April  8 

The  dinner  in  honor  of  Al  Somerbee 
manager  for  the  Lathrop  Theatre  Corpora- 
tion, Boston,  and  an  exhibitor  for  35  years, 
has  been  postponed  to  April  8  at  the  Copley 
Plaza  Hotel.  The  affair  will  be  formal, 
instead  of  a  "Gay  Nineties"  party,  as  orig- 
inally planned.  Louis  Boas  and  Stanley 
Sumner  are  treasurer  and  secretary,  re- 
spectively, of  the  committee.  Joe  Brennan, 
executive  secretary  of  the  local' MPTO,  is 
chairman. 


The  Rev.  Dr.  William  Fineshriber,  last 
week  in  Philadelphia,  called  for  a  militant 
public  opinion  to  insure  the  preservation 
of  artistic  and  social  gains  which  have  be- 
come evident  in  the  rnotion  picture,  and  to 
encourage  the  industry  to  make  continued 
advances.  He  contended  that  "the  menace 
of  mediocrity  is  as  great  as  the  menace  to 
morals  in  screen  entertainment." 

Dr.  Fineshriber,  rabbi  of  the  Reform 
Congregation  Keneseth  Israel  of  Philadel- 
phia,  was  appointed  by  the  Central  Confer- 
ence of  American  Rabbis  last  year  to  study 
the  social  and  moral  problems  presented  by 
the  motion  picture.  His  report  was  made 
public  last  week,  following  an  intensive 
study  of  the  film  industry's  problems  and 
the  results  of  its  program  of  self-regulation. 

Notes  "Fine  Films"  Now 

He  credited  religious  leadership,  which 
"crystallized  public  opinion"  against  "so- 
cially deplorable"  films,  with  having  "per- 
formed a  great  service  to  the  American 
home  and  the  American  child." 

"The  parade  of  fine  films  now  featured 
from  the  theatre  screens  of  the  nation,"  his 
report  continued,  "testifies  to  the  power  of 
public  opinion,  effectively  organized.  At 
the  same  time  these  pictures  have  made 
needless  the  fears  voiced  that  the  creative 
impulse  would  be  destroyed  and  true  ar- 
tistry would  be  fettered  by  the  productions 
that  would  result  from  a  moral  crusade 
against  objectionable  features  of  screen  en- 
tertainment." 

Urges  Public  Support 

Dr.  Fineshriber  listed  the  problem  of  film 
betterment  from  the  social  standpoint  as 
fourfold,  namely : 

"Better  pictures  must  be  made.  Higher 
standards  of  appreciation  must  be  developed 
for  pictures  of  the  better  kind.  Public  leader- 
ship must  support  the  honest  efforts  of  the  in- 
dustry to  produce  honest  entertainment.  And 
films  that  disregard  the  accepted  standards 
of  decency  and  of  wholesome  p£)pular  appeal 
must  be  driven  from  the  screen." 

Dr.  Fineshriber  wariied  that  the  problem 
could  not  be  solved  "by  any  spasm  of  vir- 
tue enforced  upon  the  industry."  Instead, 
he  said,  it  was  necessary  to  "organize  pub- 
lic sentiment  for  clean  pictures,  to  en- 
courage selectivity  that  will  make  itself 
felt  at  the  box  office  and  to  make  public 
opinion  articulate  in  its  demands  upon  the 
industry." 


Oriental  Film  Company 
Is  Formed  in  China 

Oriental  Film  Productions  has  been 
formed  in  Hong  Kong  as  the  newest  Chi- 
nese producing  organization.  Men  now  en- 
gaged in  Hollywood  are  to  form  the  oper- 
ating staff,  while  the  executive  personnel  is 
made  up  of  Chinese  who  are  university  grad- 
uates and  American  born.  The  main  studios 
and  executive  offices  are  located  at  Macao. 
It  is  the  intention  of  the  company  as  well  to 
bring  to  China  at  least  one  wellknown 
scenarist. 


March    3  0,     19  3  5  MOTION    PICTURE  HERALD 


39 


FIXED  MINIMUM  PENALTY  DROPPED 
IN  ADMINISTRATION  COPYRIGHT  BILL 


Excessive  Penalties  Doubted 
Due  to  Greater  Discretion 
Left  to  Courts  and  Grant- 
ing of  Right  of  Appeal 

Broadly  modified  in  some  of  its  most  im- 
portant provisions,  as  a  result  of  conferences 
last  month  with  representatives  of  the  mo- 
tion picture  industry  and  others,  a  new  copy- 
right bill  has  been  drafted  by  the  State  De- 
partment at  Washington  for  introduction 
in  Congress  as  the  first  step  toward  making 
the  United  States  a  member  of  the  interna- 
tional copyright  union. 

A  major  change  in  the  bill  was  the  elim- 
ination of  a  fixed  minimum  penalty  for  in- 
fringement, sought  by  exhibitors,  although 
the  maximum  assessment  is  raised  to 
$10,000. 

While  it  was  considered  in  film  circles 
that  the  provision  still  left  room  for  exces- 
sively high  penalties,  this  likelihood  was 
lessened  by  the  greater  discretion  vested  in 
the  courts,  together  with  the  giving  of  the 
right  of  appeal,  which  does  not  now  exist. 

Aid  Against  Racketeering 

The  penalty  provision  as  amended  does 
not  provide  for  payment  of  proven  damages 
and  profits  but  for  such  sums  not  exceeding 
$10,000  "as  shall,  in  the  opinion  of  the  court, 
be  sufficient  to  prevent  their  operation  as  a 
license  to  infringe  and  as  shall  be  just, 
proper  and  adequate  in  view  of  the  circum- 
stances of  the  case." 

Representations  of  the  film  industry  re- 
sulted in  a  number  of  changes  designed  to 
protect  the  exhibitor  from  racketeering  and 
other  evils.  One  provision  is  that  the  right 
to  use  copyrighted  material  in  production 
shall  carry  with  it  the  right  to  exhibit  the 
film. 

The  bill  classifies  motion  pictures  separ- 
ately in  the  category  of  material  entitled  to 
copyright,  but  drops  the  previous  attempt 
to  distinguish  between  filmed  plays  and 
other  types  of  pictures. 

To  obtain  registration  under  the  proposed 
law  it  would  be  necessary  to  deposit  five 
prints  from  scenes  of  the  film,  and  no  ac- 
tion or  proceedings  for  infringement  might 
be  maintained  until  the  plantiff  complied 
with  all  requirements  for  deposit  of  copies 
and  registration. 

Special  attention  is  paid  to  newsreels 
in  the  revised  draft,  placing  them  in  the 
same  class  as  newspapers  and  prohibiting 
the  issuance  of  injunctions  which  would  pre- 
vent exhibition  of  a  newsreel  or  the  re- 
production therein  of  copyrighted  photo- 
graphs. It  also  is  provided  that  no  civil 
or  criminal  liability  shall  be  incurred  by 
newsreels  for  the  incidental  reproduction 
of  a  copyrighted  work  depicting  current 
events. 

The  department  has  retained  its  pre- 
visions reserving  to  authors  the  right  to 
prevent  mutilation  of  their  works,  but  has 
modified  the  protection  by  giving  picture 
producers    the    right    to    make  necessary 


changes  in  conformity  with  their  customary 
standards  and  requirements. 

Of  considerable  importance,  in  view  of 
the  fact  that  the  proposed  extension  of  the 
copyright  period  to  50  years  will  remove 
many  works  from  the  public  domain,  is  a 
provision  in  the  bill  protecting  users  of  ma- 
terial now  free.  Under  this  clause,  after  a 
work  is  withdrawn  from  the  public  domain 
and  placed  under  copyright,  no  damages 
may  be  collected  for  its  use  while  in  the 
former  category. 

Legislatures  Active 

Legislative  tussles  were  at  their  height  in  a 
number  of  states.  In  Ohio  was  passed  the 
Waldvogel  bill  banning  designated  playdates. 

Arkansas  :  A  two  per  cent  sales  tax  was 
passed  by  the  legislature. 

California  :  The  Lyons  sales  tax  bill  was 
amended  by  the  Assembly  to  eliminate  a  $250,- 
000  annual  tax  levy  on  motion  pictures.  The 
Legislature  approved  the  Townsend  old  age 
pension  plan.  A  bill  calling  for  state  income 
tax  equal  to  the  Federal  rate  was  expected  to  be 
passed  by  the  Assembly. 

Connecticut:  A  bill  to  sanction  pari-mutuel 
betting  needed  only  the  Governor's  signature. 
A  general  fight  was  being  organized  against  a 
5  per  cent  admission  tax  bill  pending. 

Indiana  :  Exhibitors  were  satisfied  with  the 
results  of  the  legislative  session,  but  the  forth- 
coming special  session  to  raise  additional  rev- 
enue is  causing  worry.  A  10  per  cent  admis- 
sion tax  bill  has  been  indefinitely  postponed, 
a  bill  increasing  penalties  for  discrimination 
has  been  killed,  as  have  bills  for  pari-mutuel 
betting  and  lightening  carnival  license  fees. 

Iowa  :  Repeal  of  the  Sunday  blue  laws  was 
passed  in  the  Houses  61-38,  and  the  measure 
is  now  up  to  the  Senate. 

Maryland:  A  bill  to  permit  Sunday  shows 
in  Alleghany  county  passed  the  House  at  An- 
napolis. 

industry  Control  Bill  Fails 

Massachusetts  :  Decisive  defeat  was  handed 
to  the  House  bill  calling  for  an  Economic  Coun- 
cil to  form  a  central  point  of  control  for  all 
phases  of  every  industry.  The  state  public 
safety  committee  discussed  the  petition,  House 
1648,  that  would  put  the  licensing  of  stagehands 
under  the  commissioner  of  public  safety.  The 
bill,  opposed  by  the  theatres,  provides  that  no 
one  may  be  given  a  license  until  he  "has  passed 
an  examination  .  .  .  and  shall  have  at  least  five 
years'  experience." 

Minnesota:  A  bill  for  a  10  per  cent  ticket 
tax  has  been  introduced. 

Missouri  :  Passage  of  the  state  administra- 
tion's 2  per  cent  sales  tax  bill  appeared  prob- 
able. It  specifically  mentions  admissions. 

Inclusion  of  theatres  in  the  two  per  cent 
sales  tax  bill  in  the  Missouri  legislature  was 
assured  when  the  House  defeated  an  amend- 
ment exempting  theatre  admissions. 

Nebraska  Tax  Killed 

Nebraska:  The  legislature  killed  a  bill  im- 
posing a  10  per  cent  tax  on  all  film  rentals. 

New  Hampshire  :  Pari-mutuel  betting  was 
legalized  for  another  six  years. 

Ohio:  Senator  Edward  N.  Waldvogel's  bill 
prohibiting  designated  playdates  passed  the 
House  after  previously  passing  the  Senate. 

Pennsylvania  :  Action  proposed  in  the  As- 
sembly to  legalize  Sunday  shows  has  drawn 
numerous  protests  in  Scranton  from  religious 
and  civic  organizations.  A  10  per  cent  amuse- 
ment tax,  passed  in  the  House,  was  expected  to 
fail  in  the  Senate  is  predicted. 


Ohio  Measure  Barring  Designa- 
tion of  Playdates  Passes  Both 
Houses;  Indiana  Exhibitors 
Awaiting  a  Special  Session 

Texas  :  A  bill  calling  for  a  10  per  cent  ad- 
mission was  killed  in  the  House. 

Washington  :  The  Senate  is  redrafting  the 
sales  tax  bill,  taxing  admissions  of  20  cents  or 
more. 

West  Virginia  :  The  gross  sales  tax  was 
reduced  from  $2.25  to  65  cents  per  $100,  a  dog- 
racing  bill  was  defeated  and  efforts  to  reduce 
carnival  license  fees  came  to  nothing. 

Wisconsin  :  The  Carow  bill  calling  for  a 
4  per  cent  tax  on  grosses  and  an  annual  license 
fee  of  $5  was  introduced  in  the  House. 

NRA  to  Discuss 
Reopening  of  Code 

The  question  of  whether  or  not  anything 
can  be  gained  by  a  reopening  of  the  mo- 
tion picture  code  was  scheduled  for  discus- 
sion sometime  this  week  between  NRA 
Compliance  Director  Sol  A.  Rosenblatt  and 
members  of  the  National  Industrial  Recov- 
ery Board,  which  recently  refused  to  reopen 
the  shoe  manufacturing  industry's  code 
pending  action  by  Congress  on  extension  of 
the  Recovery  Act.  It  was  said  in  official 
circles  in  Washington  last  week  that  there 
is  considerable  doubt  in  Mr.  Rosenblatt's 
mind  as  to  whether  it  would  not  also  be  best 
to  defer  consideration  of  the  film  code. 

The  legislation  extending  the  Recovery 
Act  undoubtedly  will  make  some  important 
changes  in  the  law  as  now  written,  possibly 
to  the  extent  of  requiring  the  revision  of 
all  codes  and  if  this  is  the  case,  as  has  been 
pointed  out,  changes  recommended  by  the 
MPTOA  would  be  considered  at  that  time. 

John  C.  Flinn's  report  on  Los  Angeles 
clearance  and  zoning,  which  he  has  been 
studying  as  a  result  of  a  protest  by  Fox 
West  Coast  over  II  situations  in  the  sector, 
was  sent  to  the  Code  Authority's  commit- 
tee on  clearance  and  zoning  in  New  York 
on  Monday.  The  Los  Angeles  schedule  is 
expected  to  become  effective  March  31. 

Dissatisfied  with  the  failure  of  the  Code 
Authority  to  act  on  clearance  and  zoning 
complaints  in  New  Haven  involving  what 
they  believe  to  be  excessive  clearance  for 
Loew's  College,  exhibitors  of  the  Connecti- 
cut city  have  consulted  attorneys  with  refer- 
ence to  instituting  an  action  in  the  federal 
court. 

Another  30-day  extension  of  the  period 
in  which  delinquent  exhibitors  can  pay  their 
1934  code  assessments  was  to  be  considered 
by  the  Code  Authority  at  its  meeting  on 
Thursday.  The  deadline  for  the  first  ex- 
tended period  ended  Monday.  Following 
breakdown  of  the  1935  budget,  as  requested 
by  the  NRA,  the  Code  Authority  has  sub- 
mitted it  to  its  finance  committee,  which  is 
expected  to  approve  it  for  presentation  to 
the  Code  Authority. 


40 


MOTION    PICTURt  HERALD 


March    3  0,     19  3  5 


SHOWMEN'S  REVIEWS 


This  department  deals  with  new  product 
from  the  point  of  view  of  the  exhibitor 
who  is  to  purvey  it  to  his  own  public 


The  Mystery  of 
Edwin  Drood 


(Universal) 
Mystery 

From  the  unfinished  novel  of  murder,  mystery 
and  horror,  written  by  Charles  Dickens,  and 
uncompleted  when  he  died.  Universal  has  woven 
an  attention-gripping  picture,  characterized  by 
able  execution  and  excellent  performances. 

In  its  combination  of  mystery  murder,  ro- 
mance, highly  complicated,  and  deftly  inserted 
comedy  moments,  there  is  inherently  somethmg 
for  the  exhibitor  to  sell.  The  perennial  interest 
of  the  public  in  the  mystery  picture,  when 
strongly  played,  well  cast,  should  draw  patron- 
age. And  when  the  patronage  is  told  that  this 
is  the  notable,  unfinished  Dickens  story,  for 
which  Universal's  writers  have  supplied  their 
own  conclusion,  the  interest  should  achieve  a 
sharper  edge,  with  the  exhibitor  handling  the 
grindstone. 

It  is  true  that  there  is  rather  less  mystery 
than  might  be  supposed,  since,  although  the  mur- 
derer is  not  specifically  pointed  out,  it  becomes 
very  obvious  to  the  audience,  comparatively 
early  in  the  story,  just  who  the  murderer  must 
be.  The  interest  then  is  in  the  manner  in  which 
he  is  brought  to  book,  his  own  undoing  and 
his  reactions  to  approaching  doom,  and  his  own 
occasional  moments  of  remorse. 

The  cast  is  reasonably  strong  in  drawing 
names,  and  definitely  strong  in  ability.  In  the 
role  of  the  murderer  (and  that  gives  away  no 
secret)  is  Claude  Rains,  who  has  made  for  him- 
self a  reputation  for  strongly  dramatic  por- 
trayals. With  him  are  Douglass  Montgomery, 
Heather  Angel  and  David  Manners  in  particu- 
lar, while  the  performance  of  Forrester  Har- 
vey as  the  drunken  caretaker  of  the  ancient 
English  cathedral  is  a  high  spot  in  the  pic- 
ture. The  exhibitor  obviously  has  plenty  with 
which  to  work  in  the  selling. 

Rains,  choir  master  in  the  old  cathedral  which 
dominates  the  English  town,  is  secretly  and 
passionately,  in  his  embittered  manner,  in  love 
with  Miss  Angel,  who  since  childhood,  so  to 
speak,  has  been  engaged  to  Rains'  nephew 
and  ward.  Manners.  Miss  Angel  is  no  more 
in  love  with  Manners  than  he  is  with  her, 
although  both  maintain  a  pretense  for  appear- 
ance's sake.  To  the  town  come  Montgomery 
and  his  sister,  from  India,  and  Miss  Angel 
and  Montgomery  find  an  immediate  mutual  at- 
traction. But  Montgomery's  quick  temper  gets 
him  into  trouble  with  Manners  and  the  two 
quarrel  violently,  chiefly  over  Miss  Angel. 
Rains  arranges  that  they  shall  make  peace  at 
his  home. 

The  next  morning  Manners  (Edwin  Drood) 
is  missing,  after  a  violent  storm,  and  Mont- 
gomery, who  just  then  went  on  a  walking  tour, 
is  accused  by  Rains.  Montgomery  is  brought 
back,  held  for  evidence,  but  leaves-  The  day 
before  the  disappearance.  Miss  Angel  and  Man- 
ners agreed  to  be  friends,  but  not  an  engaged 
couple.  Montgomery  returns  in  the  disguise  of 
an  old  man  (which  is  a  triumph  of  makeup) 
and  pets  to  work  to  trap  Rains,  whom  he  sus- 
pects, with  the  aid  of  Miss  Angel's  elderly 
bachelor-guardian. 

Harvey,  who  one  night  before  the  disappear- 
ance led  Rains  through  the  cathedral,  again 
comes  into  the  picture  when  Montgomery  en- 
lists his  aid.  Discovered  in  a  formerly  unused 


tomb  is  what  is  left  of  the  quick-lime-eaten 
body  of  Manners,  identified  by  an  unusual  ring. 
Rains  has  followed,  finds  himself  trapped,  and 
flees  to  the  cathedral  belfry,  pursued  by  Mont- 
gomery and  the  town's  officials.  Rains  jumps 
from  the  belfry,  and  Montgomery  is  left  free 
to  marry  Miss  Angel.  Rains  made  away  with 
the  unsuspecting  rival  for  the  hand  of  Miss 
.A.ngel. 

Strong,  dramatic  material,  it  is  excellently 
done,  but  perhaps  too  weighty  for  children — 
Aaronson,  New  York. 

Produced  and  distributed  by  Universal.  Edmund 
Grainger,  producer.  Directed  by  Stuart  Walker. 
From  the  novel  by  Charles  Dickens.  Adaptation  by 
Leopold  Altas  and  Bradley  King.  Screen  play  by 
John  L.  Balderston  and  Gladys  Unger.  Photographed 
by  George  Robinson.  Technical  director,  Madame 
Hilda  Grenier.  P.  C.  A.  Certificate  No.  544.  Run- 
ning time,  87  minutes.  Release  date,  February  4,  1935. 
General  audience  classification. 

CAST 

John  Jasper  Claude  Rains 

Neville  Landless  Douglass  Montgomery 

Rosa  Bud   Heather  Angel 

Edwin  Drood  David  Manners 

Helena    Landless  ,  Valerie  Hobson 

Mr.  Crisparkle  Francis  L.  Sullivan 

Hiram  Grewgious  Walter  Kingsford 

Thomas  Sapsea  E.  E.  Clive 

Tope   Vera  Buckland 

Durdles   Forrester  Harvey 

Mrs.  Crisparkle  Louise  Carter 

Miss  Twinkleton   Ethel  Grifiies 

Deputy   George  Ernest 

Opium  Den  Hag  Zeffie  Tilbury 


Baby  Face  Harrington 

(MGM) 
Comedy 

This  is  a  straight-away  farce  comedy  of  av- 
erage values  with  added  burlesque  gangsterism. 
The  picture,  while  lacking  the  advantage  of 
marquise  names,  makes  up  for  this  shortcoming 
in  its  exploitation  possibilities.  Hokum  being 
the  element  that  motivates  the  story,  its  action 
and  situations,  here  isn't  a  serious  moment 
throughout  the  short  running  time.  After  the 
start,  which  is  comparatively  slow,  and  the 
semi-prologue  which  establishes  the  character 
and  ptersonality  of  the  hero,  there  are  about 
three  reels  of  exciting  action  in  which  there  is 
a  laugh  a  minute. 

Willie  is  a  poor  worm  clerk  continually  being 
urged  by  his  much  younger  wife,  Millicent,  to 
be  a  man  among  men.  A  flop  as  a  parlor  en- 
tertainer, fired  from  his  job  when  he  dares  ask 
for  a  raise,  and  losing  his  insurance  money 
with  which  he  intends  to  pay  of¥  the  mortgage, 
Willie  suddenly  changes  when  he  robs  Skinner 
of  $2,000  which  he  believes  that  shrewd  real 
estate  promoter  has  stolen  from  him. 

In  sequences  that  are  full  of  fun,  Willie  be- 
comes the  talked  about  man  his  wife  had  hoped 
he  would  be  when  he  is  arrested  and  thrown 
into  jail  after  bad  man  Rocky  Bannister  robs 
him  of  his  own  money,  which  he  had  found, 
and  the  roll  he  stole  from  Skinner.  Cellmate 
of  mobster  Mullens,  he  is  delivered  from  dur- 
ance vile  by  Gangster  Glynn. 

Through  a  desire  of  New  York  papers  to 
create  a  sensation,  meek  Willie  becomes  Baby 
Face  Harrington,  the  brains  behind  the  Rocky 
Bannister  gang.  Taken  to  the  gangster  hide- 
out, he  and  Rocky  meet  again  and  that  worthy's 
attention  is  to  put  Willie  on  the  spot.  Amazed 
at  his  own  headline  importance,  Willie  basks 
in  glory  until  he  reads  that  his  wife,  inspired 
by  Georgie,  intends  to  divorce  him.  However, 
learning  that  the  gang  intends  to  rob  a  bank 
he  contrives  to  put  a  note  in  the  bandit  car's 


gas  tank  and  then,  with  his  world  shattered,  he 
contemplates  suicide  by  hanging.  As  the  rob- 
bers are  captured,  Willie  is  interrupted  in  his 
deadly  plan  by  Rocky,  who  hates  to  see  a  guy 
quit  under  fire.  As  it  turns  out,  they  discover 
that  they  both  at  one  time  belonged  to  the  same 
Young  Woodman  troupe  of  scouts.  As  they  rem- 
inisce and  demonstrate  their  knot  tying  knowl- 
edge, Rocky  becomes  securely  fastened  to  Wil- 
lie. The  cops  arrive  and  Rocky  scrams,  drag- 
ging the  frightened  helpless  Willie  behind  him 
over  hill  and  dale  until  the  officers  catch  up. 

Willie  is  credited  with  the  capture  and  is 
made  a  grand  hero,  idolized  by  those  who 
scoffed  at  him,  and  with  the  rewards  he  gets 
for  the  mobsters'  capture  he  can  more  than 
give  Millicent  everything. 

Presented  to  the  patrons  as  a  laugh  fest  for 
old  and  young,  adaptable  exploitation  is  limited 
only  by  the  lengths  one  cares  to  go. — Mc- 
Carthy, Hollywood. 

Produced  and  distributed  by  Metro- Goldwyn-Mayer. 
Produced  by  Edgar  Selwyn.  Directed  by  Raoul  Walsh. 
-Assistant  director,  Horace  Hough.  Screen  play  by 
Nunnally  Johnson  and  Edwin  H.  Knopf.  Additional 
dialogue  by  Charles  Lederer.  From  a  play  by  Edgar 
Selwyn  and  William  LeBaron.  Recording  director, 
Douglas  Shearer.  Art  director,  Cedric  Gibbons.  As- 
sociates, Howard  H.  Campbell,  Edwin  B.  Willis.  Pho- 
tographed by  Oliver  T.  Marsh.  Film  editor,  William 
S.  Gray.  Running  time,  when  seen  in  Hollywood,  60 
minutes.  Release  date,  April  19,  1935.  General  audi- 
ence classification. 

CAST 

Willie    Charles  Butterworth 

Millicent    Una  Merkel 

Ronald    Harvey  Stephens 

Uncle  Henry    Eugene  Pallette 

Kocky    Nat  Pendleton 

Dorothy    Ruth  Selwyn 

I'^'.nnei'    Donald  Meek 

'^'iith    Dorothy  Libaire 

^ll>ert    Edward  Nugent 

  Robert  Livingston 

Mi'ljens    Stanley  Fields 

^cGmre    Raymond  Brown 

S'y""    Wade  Beteler 

V^^e   Bradley  Page 

Judge  Forbes    Richard  Carle 

  G.  Pat  Collins 

t-olton    Claude  Gillingwater 

Hold  'Em  Yoi^ 

( Paramount-Rogers  ) 
Comedy 

Even  though  it  winds  up  with  quite  a  bit  of 
football  furore  and  the  title  has  a  very  definite 
football  significance,  "Hold  'Em  Yale"  is  not 
a  football  picture.  Primarily  the  production  is 
comedy,  dolled  up  with  hectic  romance  and 
embellished  with  great  gobs  of  that  hilarious 
mug  menace  that  Damon  Runyon  has  helped 
make  famous  in  stones  and  on  the  screen. 

Clarice  Van  Cleve  is  quite  a  problem  to  her 
father  as  her  romantic  inclinations  continually 
carry  her  away  from  the  young  man,  Hector 
Wilmot,  who  the  senior  Van  Cleve  fondly 
hopes  will  set  the  girl's  heart  afire.  But 
Hector  is  of  the  Gene  Tunney  type  and  would 
rather  read  and  study  than  play  football,  so 
when  along  comes  the  gaudily  uniformed  avi- 
ator, Georgie,  Clarice  falls  head  over  heels  in 
love  with  him.  But  Georgie  is  a  mug,  pal  and 
cohort  of  Sunshine  Joe,  Liverlips,  Sam  the 
Gonoph  and  Bennie  South  Street,  gents  who 
delve  in  any  racket  but  now  are  busily  engaged 
in  doing  a  little  ticket  scalping  on  the  forth- 
coming Harvard- Yale  game. 

Though  Georgie  likes  the  idea  of  Clarice 
rsiaking  a  fuss  over  him,  the  gang  thinks  she 
\,ould  be  more  profitable  otherwise  and  frames 
a  kidnaping.    The  father  things  it's  swell  that 


March    30,  1935 


MOTION    PICTURE  HERALD 


41 


at  last  someone  has  come  along  who  can  tame 
the  wilful  girl  and  as  she  in  turn  kidnaps  the 
kidnappers,  treating  them  in  such  manner  that 
they  are  glad  to  make  a  deal  with  Van  Cleve 
to  make  a  football  player  out  of  Hector.  Done 
in  unique  mobster  fashion  on  the  Yale  bench, 
Hector  is  inserted  at  a  crucial  moment,  proves 
a  demon  on  wheels,  and  Clarice,  glad  to  have  a 
real  hero  at  last,  promises  to  marry  him  at 
once,  much  to  the  relief  of  her  father  and  the 
mugs. 

There  being  plenty  of  novelty  to  the  show 
and  all  of  it  well  done,  the  picture  legitimately 
permits  billing  as  a  laugh-fun  fest  with  patrons 
assured  that  it  will  be  possible  for  them  to  do 
everything  from  smile  to  laugh  heartily  and 
loud.  Likewise,  patron  familiarity  with  the 
Runyon  brand  of  entertainment  is  automatically 
suggestive  of  the  type  of  exploitation. — Mc- 
Carthy, Hollywood. 

Produced  and  distributed  by  Paramount.  Produced 
by  Charles  R.  Rogers.  Directed  by  Sidney  Lanfield. 
Original  by  Damon  Runyon.  Adaptation  by  Eddie 
Welch  and  Paul  Gerard  Smith.  Photographed  by 
Milton  Krasner.  Film  editor,  Jack  Dennis.  Sound, 
P.  G.  Wilson.  P.C.A.  Certificate  No.  628.  Running 
time,  when  seen  in  Hollywood,  65  minutes.  Release 
date,  April  12,  19.^5.  General  audience  classification. 
CAST 

Clarice  Van  Cleve   Patricia  Elhs 

Gigolo    Georgie  Caesar  Romero 

Hecter  Wilmot   Larry  Crabbe 

Sunshine  Joe   William  Frawley 

Liverlips   Andy  Devine 

Mr.  Van  Cleve   George  Barbier 

Sam,  the  Gonoph   Warren  Hymer 

Bennie  South  Street   George  E.  Stone 

Mr.  Wilmot   Hale  Hamilton 

Coach  Jennings   ....Guy  Usher 

Qeary   Grant  Withers 

Laverty '  ■  •  -.Gary  Owen 

Mrs.  Peavey   Ethel  Grifihes 

Langdonn   Leonard  Carey 

Cardinal  Richelieu 

(20th  Century) 
Action  Drama 

Given  half  the  showmanship  it  deserves  there 
is  no  need  worrying  about  "Cardinal  Riche- 
lieu's" possibilities.  Its  worth  as  screen  mer- 
chandise is  unquestioned.  George  Arliss  is  the 
star.  Essentially  the  picture  is  a  thrilling  action 
drama.  At  the  same  time  it  possesses  an  edu- 
cational value,  which,  without  intruding  upon 
the  primary  entertainment  purpose,  is  revealing 
and  inspiring.  Thus  to  understand  fully  and 
appreciate  its  theatric  quality,  it  is  not  neces- 
sary that  one  should  be  familiar  with  the  politi- 
cal history  background.  Although  the  time 
is  the  early  17th  century  and  the  locale  France, 
and  consequently  a  costume  picture,  the  story 
told  is  as  fresh  and  new  as  today's  news  head- 
lines. 

The  picture  is  the  story  of  its  central  charac- 
ter. Richelieu,  churchman  first  but  also  an 
amazing  political  and  military  genius.  In 
graphic  fashion,  with  no  necessary  detail 
ignored  as  it  uniquely  balances  dialogue  with 
action,  it  tells  the  story  of  the  great  Cardinal's 
mighty  struggle  to  create  a  unified  France, 
with  Louis  XIII  on  the  throne  but  with  him- 
self the  real  power,  and  to  hold  the  country  for 
the  Church. 

As  it  unfolds,  it  runs  the  full  range  of  enter- 
tainment. There  is  gripping  drama,  tender  ro- 
mance, laugh  provoking  comedy,  fine  acting  by 
star  and  supporting  players,  great  production 
value  in  settings  and  mass  groupings,  suspense, 
colorful,  thrilling  excitement  and  even  a  wild 
and  woolly  chase.  Direction  has  so  expertly 
welded  each  element  that  for  both  the  intel- 
ligentsia and  the  masses  the  picture's  entertain- 
ment carries  beyond  the  former  limits  of  the 
screen  into  a  world  of  new  drama. 

The  picture  is  an  intelligent  blending  of 
entertainment  assets  that  have  continually  dem- 
onstrated their  value,  and  it  is  by  no  means 
an  ordinary  picture.  It  is  big  in  every  sense  of 
that  word's  application  to  picture  quality.  It 
should  not  be  sold  in  hackneyed  style-  To  get 
all  the  money  that  the  attraction  demands,  it 
will  be  necessary  to  step  out  of  the  beaten  path. 
At  that,  nothing  extraordinary  is  required.  The 
picture  itself  places  everything  that  is  neces- 
sary at  hand.  There  are  names  to  sell;  a 
powerful,  elevating  story ;  the  prestige  of  a 
company  that  has  made  many  successful  pic- 
tures to  serve  as  a  guarantee,  novelty  in  the 


way  in  which  the  straight  commercial  values 
are  blended,  and  what  is  probaI)ly  most  im- 
portant— understandable  human  interest  enter- 
tainment. 

No  matter  what  the  competition,  an  aggres- 
sive advance  campaign  that  capitalizes  the  en- 
tertainment and  exploitation  potentialities  that 
are  in  the  sliow  should  be  ample  assurance. — 
McCarthy,  Hollywood. 

Distributed  by  United  Artists.  Produced  by  Darryl 
Zanuck,  20th  Century  Pictures.  Directed  by  Rowland 
V.  Lee.  Associate  producers,  William  Goetz,  Ray- 
mond Griffith.  Based  on  a  play  by  Sir  Edward  Bul- 
wer-Lytton.  Adaptation,  Cameron  Rogers.  Screen 
play  by  Maude  Howell.  Dialogue  by  W.  P.  Lips- 
comb. Photographed  by  Peverell  Marley.  Sound,  Vin- 
ton Vernon  and  Roger  Heman.  Musical  direction,  Al 
Newman.  Film  editor,  Sherman  Todd.  Art  direction, 
Richard  Day.  Costumes  by  Omar  Kiain.  Assistant 
director,  Ben  Silvey.  P.  C.  A.  Certificate  No.  676. 
Running  time,  when  seen  in  Hollywood,  80  minutes. 
Release  date,  April  28,  1935.  General  audience  classifi- 
cation. 

CAST 

Cardinal  Richelieu   George  Arliss 

Lenore   Maureen  O'SulHvan 

Louis  Xni   Edward  Arnold 

Andre  de  Pons  Caesar  Romero 

Baradas   Douglass  Dumbrillle 

Gaston   Francis  Lister 

Father  Joseph   Halliwell  Hobbes 

Queen  Marie   Violet  Kemble  Cooper 

Queen  Anne   Katharine  Alexander 

Fontrailles   Robert  Harrigan 

De  Bussy   Joseph  Tozer 

Gustavus  Adolphus,  King  of  Sweden  Lumsden  Hare 

Le  Moyne   Russell  Hicks 

Duke  D'Epernon   Keith  Kenneth 

Duke  of  Lorraine   Murray  Kinnell 

Duke  of  Normandy  Herbert  Bunston 

Duke  of  Buckingham   Guy  Bellis 

Austrian  Prime   Minister  Boyd  Irwin 

Olivares   Leonard  Mudie 

Innkeeper   David  Clyde 

Old  Inkeeper  Charles  Evans 

Richelieu's  Outrider   Reginald  Sheffield 

Tradesman   Frank  Dunn 

King's  Chamberlain   William  Worthington 

King's  Captain  of  Guards  Pat  Somerset 

Richelieu's  Captain  of  Guards  Leo  McCabe 

Nobles: Gilbert  Emery,  Holmes  Herbert.  Agitators: 
Lionel  Belmore,  Wilson  Benge,  John  Carradine,  Tom 
Ricketts,  Arthur  Treacher,  David  Thursby,  Reginald 
Barlow,  D.  W.  McReynolds. 


Princess  O'Hara 

(Universal) 
Romantic  Drama 

Not  a  story  of  royalty,  this  pleasing,  sym- 
pathetic romance  drama  is  the  kind  of  enter- 
tainment that  makes  many  hearts  glad.  Es- 
sentially it's  a  typical  Damon  Runyon  story 
of  the  ten,  twenty  and  thirty  hokum  variety. 
But  as  it  is  put  together  with  expert  blend'ing 
in  romance,  drama,  comedy,  bits  of  villainy, 
little  dabs  of  flim-flam,  action,  excitement  and 
suspense,  it  has  the  ingredients  for  mass  ap- 
peal. Although  the  comedy  and  romantic 
phases  predominate,  it  presents  a  lot  of  heart- 
touching  sorrow,  then  with  a  sort  of  magic 
wand  wave  it  brings  just  as  much  sunshine. 

King  O'Hara  is  the  last  of  that  royal  line 
of  New  York  hack  drivers.  His  daughter, 
the  Princess,  is  first  seen  as  a  night  club  dancer 
and  object  of  affections  of  taxicab  magnate 
Vic  Toledo.  In  a  taxi  war,  wherein  Toledo's 
two  henchmen  Louie  and  Fingers  do  everything 
wrong  perfectly  right.  King  is  killed  and  his 
horse,  Goldberg,  pretty  much  banged  up.  Be- 
lieving that  Toledo  is  responsible  for  her 
father's  death,  Princess,  first  bringing  the  horse 
back  to  some  state  of  efficiency,  takes  the  reins 
herself.  Toledo,  with  his  henchmen  again  func- 
tioning, see  that  she  has  plenty  of  business,  but 
the  Princess  will  have  nothing  to  do  with  him 
personally. 

With  trouble  enough,  Vic  starts  going  places 
with  another  horse  owner.  Alberta;  who  is  un- 
accountably jealous  of  the  Princess.  Each  has 
a  horse  entered  in  a  big  race.  As  both  are 
favorites,  he  knows  it  will  look  bad  for  him 
with  the  gamblers  no  matter  which  wins. 
Goldberg  finally  giving  up  the  ghost,  he  orders 
his  cohorts  to  provide  another  plug.  They  steal 
Alberta's  horse  and  with  the  aid  of  Veterinary 
Spidoni  paint  him  up  and  give  him  to  the 
Princess.  There's  naturally  a  great  hue  and 
cry  about  the  missing  thoroughbred  and  when 
an  accident  reveals  him  in  the  Princess'  posses- 
sion, things  look  bad  for  the  girl.  However, 
Miss  Van  Courtland  gets  the  judge  to  parole 
her  in  her  care,  as  Alberta  agrees  not  to  prose- 
cute in  case  her  horse  wins  the  handicap.  The 


race  is  on  and  though  tired  from  his  cab  pulling 
activities,  the  horse  puts  up  a  great  battle 
against  Toledo's  entry.  Finally  Toledo's  horse 
wins,  but  when  he  proves  that  he  had  legally 
turned  the  horse  over  to  Alberta  before  the 
race  started,  the  winner  is  hers  and  Princess 
cannot  be  prosecuted  according  to  the  agree- 
ment. 

Naturally  Princess  finally  understands  that 
Toledo  has  always  been  helping  her  because  he 
loves  her  and  the  happy  ending  has  them  both 
driving  away  in  the  jehu's  old  cab. 

There's  a  full  quality  of  good,  saleable  mer- 
chandise in  the  attraction.  Only  a  little  analysis 
should  be  necessary  to  pick  out  the  angles 
which  will  have  the  most  local  appeal.  It  may 
be  the  production  itself  or  it  may  be  the 
lead  of  any  of  the  supporting  personalities. — 
McCarthy,  Hollywood. 

Produced  and  distributed  by  Universal.  Directed  by 
David  Burton.  Associated  producer,  Leonard  Spigel- 
gass.  Original  story  by  Damon  Runyon.  Screen  play 
by  Doris  Malloy  and  Harry  Clork.  Editorial  super- 
vision, Maurice  Pivar.  Photographed  by  Norbert 
Brodine.  Art  director,  Albert  D'Agostino.  Film 
editor,  Alfred  Akst.  Sound  supervision,  Gilbert  Kur- 
land.  P.C.A.  Certificate  No.  672.  Running  time,  when 
seen  in  Hollywood,  80  minutes.  Release  date,  March 
25,  1935.    General  audience  classification. 

CAST 

Vic  Toledo   Chester  Morris 

Princess  O'Hara  Jean  Parker 

Louie   Leon  Errol 

Fingers   Vince  Barnett 

SpidoKi   Henry  Armetta 

King  O'Hara   Ralph  Eemley 

Maggie  O'Hara   Dorothy  Gray 

Hanna  O'Hara   Anne  Howard 

Pat  O'Hara   Jimmy  Fay 

Alberta   Verna  Hillie 

Tad   Clifford  Jones 

Miss  Van  Cortland   Clara  Blandick 

Mrs.  Goldberg   Pepi  Sinoff 

Deadpan   Tom  Dugan 


The  Woman  in  Red 

(First  National) 
Drama 

Wallace  Irwin's  novel,  "North  Shore,"  which 
has  received  some  attention  from  the  reading 
public,  has  been  adapted  to  the  screen  with  the 
result  a  better  than  average  story  of  society, 
blue  bloods  and  complicated  romance,  woven 
about  an  atmosphere  of  polo,  horse  shows  and 
horse  training. 

It  appears  basically  a  film  of  greatest  appeal 
to  the  women,  toward  whom  the  exhibitor 
might  well  direct  the  major  selling  emphasis. 
There  is  no  reason  why  men  should  not  find 
the  picture  entertaining,  but  it  appears  one  of 
these  cases  where  the  women  will  be  initially 
attracted  and  will  bring  the  men  to  the  theatre 
with  them. 

The  strong  name  of  Barbara  Stanwyck  in 
the  lead  may  be  found  a  selling  asset.  In  sup- 
port are  featured  Gene  Raymond,  Genevieve 
Tobin,  John  Eldredge.  The  story's  theme  may 
be  said  to  revolve  about  a  conflict  between  blue 
blood  and  red,  with  red  blood — and  romance — 
winning  at  the  end.  Involved  are  difficulties 
engendered  from  in-law  snobbishness,  the  back- 
biting of  a  jealous  woman,  an  accidental  death 
and  a  resulting  courtroom  scene,  and  the  sacri- 
fice of  a  woman,  who  risks  her  future  happiness 
to  save  an  innocent  man. 

From  those  ingredients  the  exhibitor  should 
have  little  difficulty  in  the  preparation  of  that 
type  of  campaign  which  should  attract  women 
especially,  making  full  use  of  the  origin  of  the 
picture,  its  star  and  the  story's  major  elements. 

Miss  Stanwyck,  riding  show  horses  in  the 
employ  of  Miss  Tobin,  meets  Raymond,  scion 
of  a  once  wealthy  but  financially  embarrassed 
Long  Island  family,  who  goes  about  the  coun- 
try playing  polo  for  wealthy  friends  to  keep 
their  strings  of  horses  in  action.  They  are  mar- 
ried, despite  the  efforts  of  Miss  Tobin,  who 
is  in  love  with  Raymond.  Eldredge,  wealthy, 
has  long  pursued  Miss  Stanwyck. 

At  the  ancestral  home,  Miss  Stanwyck  is 
treated  frigidly.  She  and  Raymond  start  han- 
dling the  horses  of  wealthy  neighbors,  a  move 
which  is  frowned  upon  by  Raymond's  family. 
Miss  Stanwyck  borrows  the  money  from  El- 
dredge without  telling  her  husband.  Miss  Tobin 
arrives  on  the  scene  and  begins  a  campaign  of 
gossip  directed  at  Miss  Stanwyck  and  designed 


42 


MOTION    PICTURE  HERALD 


March  30 


9  3  5 


to  estrange  Raymond.  When  he  is  away  Miss 
Stanwyck  is  invited  aboard  Eldredge's  yacht  to 
help  him  entertain  an  important  customer.  She 
tries  to  reach  Raymond,  fails,  and  accepts  the 
invitation.  The  customer  shows  up  intoxicated 
and  with  a  ne'er-do-well  girl  compajiion.  Her 
own  clumsiness  causes  her  to  topple  overboard, 
she  is  drowned,  and  Eldredge,  keeping  Miss 
Stanwyck  out  of  it,  is  held  for  murder.  The 
case  looks  bad  until  Miss  Stanwyck,  the  missing 
"woman  in  red,"  appears  in  court  and  saves 
Eldredge.  The  family  stand  by,  only  to  save 
their  good  name,  but  Raymond  comes  through 
for  his  wife,  and  what  she  considered  to  be  a 
complete  sacrifice  of  everything  turns  out  to 
be  a  better  and  firmer  understanding  between 
them. 

Society  drama,  it  nevertheless  moves  at  a 
rapid  pace,  with  a  touch  of  polo  for  action  and 
considerable  live  drama  moving  through  the 
story. — Aaronson,  New  York. 

Produced  and  distributed  by  First  National.  Direc- 
tor, Robert  Florey.  Screen  play  by  Mary  McCall,  Jr., 
and  Peter  Milne.  Based  on  novel,  "North  Shore,"  by 
Wallace  Irwin.  Dialogue  director,  Stanley  Logan. 
Photography  by  Sol  Polito.  Film  editor,  Terry  Morse. 
Art  director,  Esdras  Hartley.  P.  C.  A.  Certificate 
No.  523.  Running  time,  58  minutes.  Release  date, 
February  16,  1935.  General  audience  classification. 
CAST 

Shelby  Barret   Barbara  Stanwyck 

Johnny  Wyatt   Gene  Raymond 

jsjicko   Genevieve  Tobni 

Eugene'  Fairchild   John  Eldredge 

Dan  Phillip  Reed 

Olga   Dorothy  Tree 

Clayton   Russell  Hicks 

Aunt  Bettina   Nella  Walker 

Grandfather  Wyatt   Claude  Gillingwater 

Mrs.  Casserly   Doris  Lloyd 

Wyatt  Furness   Hale  Hamilton 

Major  Casserly  Arthur  Treacher 

Foxall   Ed  Van  Sloan 

Mooney   Forrester  Harvey 

Cora   Ann  Shoemaker 

Stuart  Wyatt   Gordon  Elliott 

Nels   Ericson  Fred  Vogeding 

Mrs.  Agnew  Eleanor  Wesselhoft 

Uncie   Emlen   Brandon  Hurst 


Strangers  All 


(Radio) 
Comedy 

Domestic  comedy,  along  the  lines  made  fa- 
miliar by  "Three  Cornered  Moon,"  it  is  dis- 
tinctly possible  that  this  fast  moving  interesting 
attraction  may  find  unusual  popularity.  The 
picture  is  all  fun;  written,  acted  and  directed 
to  accentuate  that  entertainment  quality.  Clean 
and  undoubtedly  of  interesting  familiarity  to  the 
vast  majority  of  rank  and  file  audiences,  it  deals 
entirely  with  legitimate  and  understandable  con- 
ditions and  situations. 

The  Carter  family,  as  the  title  indicates,  are 
practically  strangers  to  one  another.  Mom's 
sole  hope  and  aim  in  life  is  that  each  one  of 
her  weird  brood  shall  succeed  in  the  things 
he  wants.  Murray,  clothing  store  proprietor, 
is  the  good  fellow  fall  guy.  He'll  do  anything 
Mom  asks  him,  but  his  great  dream,  marriage 
to  Frances,  is  denied  as  he  must  care  for  the 
others.  Dick  (William  Bakewell,  in  a  role 
similar  to  that  he  occupied  in  "Three  Cornored 
Moon"),  wants  to  be  an  actor  and  is  sure  that 
the  only  thing  that  prevents  him  from  being  a 
great  screen  star  is  the  fact  that  he's  not  in 
Hollywood.  Lewis,  a  speech-making  radical, 
has  dedicated  his  life  to  rescuing  the  common 
man  from  the  clutches  of  the  capitalists.  Daugh- 
ter Lily,  away  at  school,  never  writes  home. 

Anyway,  the  picture  strikes  its  climax  when 
Lily  arrives  home  with  a  husband.  That's  a 
tough  blow  for  Murray,  but  when  he  learns 
that  Mom  has  given  Dick  $1,000  to  go  to  Holly- 
wood, when  the  money  would  just  stave  of¥ 
his  creditors,  he  blows  up.  Funny  as  it  is  at 
home,  the  radical  meeting  which  Lewis  is  ad- 
dressing breaks  up  in  a  riot  and  the  young  revo- 
lutionary is  arrested. 

In  court,  with  Lily's  husband  Pat  acting  as 
attorney,  the  family  rally  to  the  defense  of 
Lewis.  In  turn,  each  gives  the  boy  a  grand 
character  with  Dick  acting  his  testimony  in 
grand  fashion.  It  remains  for  Mom  to  deliver 
an  oration  which  frees  the  boy. 

Then,  as  she  finally  consents  to  the  pleadings 
of  her  persistent  swain,  Mr.  Green,  the  whole 
gang  attend  a  picture  show  to  see  Dick  in  his 


first  picture  where  he  appears  as  the  meekest 
of  extras. 

Fun  is  the  thing  to  sell  in  this  one,  as  that 
element,  embellished  by  light  drama,  predomi- 
nates, and  love  interest  is  almost  completely 
ignored.  A  large  audience  in  to  see  the  open- 
ing performances  should  produce  word-of-mouth 
advertising. — McCarthy,  Hollywood. 

Produced  and  distributed  by  RKO  Radio.  Associate 
producer.  Cliff  Reid.  Directed  by  Charles  Vidor. 
Screen  play  by  Milton  Krims.  From  the  play  by 
Marie  M.  Bercovici.  Photographed  by  John  Boyle. 
Art  director.  Van  Nest  Polglase.  Associate,  Perry 
Ferguson.  Musical  director,  Roy  Webb.  Recorded 
by  D.  A.  Cutler.  Edited  by  Jack  Hively.  Running 
time,  when  seen  in  Hollywood,  70  minutes.  Release 
date,  not  yet  set.    General  audience  classification. 

CAST 

Mom  Carter    May  Robson 

Murray  Carter    Preston  Foster 

Lily  Carter    Florine  McKinney 

Dick  Carter    William  Bakewell 

Lewis  Carter    James  Bush 

Mr.  Green    Samuel  Hinds 

Pat  Gruen    Clifford  Jones 

Frances  Farrell    Suzanne  Kaaren 

Mr.  Walker    Leon  Ames 

Judge    Reginald  Barlow 

Prosecuting  attorney    Paul  Stanton 

In  a  Monastery  Garden 

(R.  &  S.  Corporation) 
Drama 

An  English  importation,  this  picture  was  pro- 
duced by  Julius  Hagen.  Its  story,  told  in  flash- 
back, is  heavily  dramatic,  unrelieved  by  lighter 
moments  and  lacking  in  action.  The  players 
characteristically  employ  a  pronounced  British 
accent. 

The  cast  is  entirely  unknown  in  this  country, 
consequently  offering  no  sales  opportunity  for 
the  exhibitor.  The  film  acquires  its  title  from 
that  circumstance  which  finds  a  player  re- 
counting to  the  abbot  in  a  courtyard  of  the 
monastery  the  events  which  have  caused  his 
brother  to  enter  the  institution  and  from  which 
they  seek  to  induce  him  to  go  with  them. 

Two  young  English  musicians,  brothers,  the 
elder  possessing  the  genius,  the  younger  the 
appearance,  visit  an  old  friend  of  their  late 
father,  an  Italian  count.  They  both  fall  in  love 
with  the  count's  attractive  daughter,  although 
she  is  engaged  to  a  trigger-tempered  Italian 
noble  and  soldier.  Her  father  refuses  to  permit 
him  to  marry  his  daughter  unless  he  drops  an 
affair  he  is  having  with  a  dancer.  The  brothers, 
although  they  hide  their  feeling  from  each  other, 
are  bitter. 

One  night,  after  a  particularly  violent  quar- 
rel with  the  dancer,  the  soldier  finds  the  elder 
of  the  English  brothers  with  his  fiancee  in  the 
garden,  and  confronts  him.  At  that  moment  the 
soldier  is  shot,  by  some  one  unknown.  The  Eng- 
lishman is  sentenced  to  life  imprisonment.  The 
younger  brother  and  the  girl  leave  for  London, 
where  the  couple  are  shortly  to  be  married. 
Meanwhile,  her  father  makes  every  effort  to 
have  the  prisoner  freed,  and  writes  him  of  the 
engagement  of  his  daughter  and  the  younger 
brother,  who  has  been  composing  loudly  ac- 
claimed music  but  which  is  actually  material 
he  has  stolen  from  old  compositions  of  his  more 
gifted  brother.  Freed,  the  elder  enters  the  con- 
vent, and  his  brother  insists  on  going  to  him, 
his  fiancee  with  him.  His  story  is  told  to  the 
abbot,  but  the  elder  brother,  hearing  of  the 
stolen  music,  and  of  the  final  clearing  of  his 
name  by  the  authorities,  realizes  the  girl  loves 
his  brother,  and  elects  to  remain  in  the  con- 
vent, forcing  his  brother  to  promise  he  never 
will  tell  the  girl  of  the  theft  of  the  music. 

The  production  itself  is  technically  not  of  the 
best,  showing  the  weaknesses  of  what  appar- 
ently was  hasty  work  in  the  studio. — Aaron- 
son,  New  York. 

Distributed  by  R.  &  S.  Corporation.  A  Julius  Hagen 
production.  Directed  by  Maurice  Elvey.  Story  by 
H.  Fowler  Mear.  Adaptation.  Michael  Barringer.  Run- 
ning time,  77  minutes.  Release  date,  March  12,  1935. 
Adult  audience  classification. 

CAST 

Michael  Ferrier    John  Stuart 

Paul  Ferrier    Hugh  Williams 

Count  Romano    Alan  Napier 

Caesare  Bonelli    Dino  Galvani 

Bertholdi    Frank  Pettingwell 

The  abbot    Humberstone  Wright 

Nina    Gino  Malo 

Roma    Joan  Maude 


Motive  for  Revenge 

(  Majestic-Darmour  ) 
Drama 

It  is  quite  likely  that  this  picture  will  sur- 
prise those  who  play  it.  It  is  not  a  big  pic- 
ture; there  probably  won't  be  any  cycle  of 
similarly  based  themes  following  its  presenta- 
tion, but  it  amply  provides  the  necessary  essen- 
tials in  entertainment  worth  and  merchandising 
requirements.  Built  upon  a  unique  but  under- 
standaible  premise,  it  is  an  aptly  titled  action 
drama;  one  in  which  the  elements  of  love 
mterest,  comedy,  mystery,  tragedy,  suspense 
and  thrill  are  deftly  combined  in  support  of  the 
motivating  idea,  as  well  as  a  vein  of  sympathy 
inspiring  human  interest. 

Bank  Clerk  Webster,  whose  salary  doesn't 
permit  his  purchasing  for  his  wife  every  little 
luxurious  knick-knack,  is  goaded  into  turning 
thief  by  his  mother-in-law,  Mrs.  Fleming. 
Sentenced  to  jail,  graphic  prison  sequences  show 
how  a  man's  character  breaks  down.  When 
Webster  learns  that  the  wife  who  has  promised 
to  wait  for  him  has  divorced  him  and  married 
VVilliam  King,  he  lives  only  for  revenge  upon 
his  ex-wife  and  mother-in-law  and  successor- 
husband. 

As  scenes  show  him  working  a  vivid  mental 
revenge  upon  Muriel,  he  is  in  her  home  to  be 
confronted  by  husband  King  when  the  latter  is 
shot.  Though  both  Webster  and  Muriel  have 
pistols  in  their  hands  neither  has  been  fired. 
Suspicion  being  attached  to  Muriel,  Webster  ex- 
periences a  change  of  character  and  writes  a 
note  confessing  the  crime.  Hiding  away  on  a 
deserted  gambling  boat,  he  is  joined  by  Muriel, 
and  in  sequences  marked  by  hilariously  dumb 
detective  comedy,  the  pair  in  a  stirring  motor 
boat  and  auto  chase  manage  to  elude  the  police. 
In  the  meantime,  Kenilworthy,  maid  in  the 
King  house,  has  confessed  the  crime  and  gives 
her  motive.  The  finale  has  the  lovers  planning 
to  pick  up  their  broken  life  and  getting  rid  of 
the  interfering  mother-in-law  by  a  clever  ruse. 

"Motive  for  Revenge"  is  just  what  the  title 
implies,  plus  the  added  elements  of  swift  mov- 
ing keep-'em-guessing  melodramatic  mystery 
situations,  cheerily  broken  by  clever  comedy 
and  exciting  action.  It's  not  a  lavish  produc- 
tion, yet  there  is  plenty  of  production  value, 
all  of  which  aids  materially  in  keeping  the 
show  going  at  an  active  pace.  With  that  to 
take  care  of  the  appetites  of  the  action-thrill 
fans,  there's  plenty  of  heart-ache  and  heart- 
break to  enthuse  feminine  interest.  With  it 
all  being  built  around  the  interfering  mother- 
in-law  angle,  there's  plenty  of  opportunity  to 
create  a  campaign  to  arouse  maximum  interest 
in  the  picture's  entertainment  value. — Mc- 
Carthy, Hollywood. 

Produced  by  Larry  Darmour.  Distributed  by 
Majestic  Pictures.  Directed  by  Burt  Lynwood.  Screen 
play  by  Stuart  Anthony.  Photographed  by  Herbert 
Kirkpatrick.  Settings  by  Frank  Dexter.  Sound  re- 
cording by  Thomas  Lambert.  Edited  by  Dwight  Cald- 
well. Music  by  Lee  Zahler.  Running  time,  when  seen 
in  Hollywood,  65  minutes.  Release  date  not  yet  set. 
General  audience  classification. 

CAST 

Barry   Webster   Donald  Cook 

Muriel  Webster   Irene  Hervey 

Mrs.   Fleming   Doris  Lloyd 

William  King   Edwin  Maxwell 

Milroy   William  Lestrange  Millman 

McAllister   Russell  Simpson 

Larkin   John  Kelley 

Red   Edwin  Argus 

Ray   Billy  West 

Doane   Wheeler  Oakman 

Warden   Frank  LaRue 

Mrs.  Kenilworthy   Fern  Emmett 


The  World  Accuses 

(  Chesterfield) 
Drama 

About  the  sad  plight  of  the  child  who  is  torn 
from  his  mother  by  courts  of  law  which  dispose 
by  statute  rather  than  by  heart,  this  indepen- 
dent production  presents  a  thematic  angle  which 
may  be  used  to  attract  parental  patronage  in 
particular. 

The  leading  players  really  are  the  two  chil- 
dren, Dicke  Moore  and  Cora  Sue  Collins.  De- 
spite their  appearance,  however,  the  film  cannot 


i 


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THE  BRIDE  OF 
ANKENSTEIN 


The  nation's  box  offices  ore  still 
blessin'  yiz  for  ""Lady  for  a  Day"  and 
Xittle  Miss  Marker  I  Now  look 
what  they're  sayin'  about  your 
newest  cleaner-upper: 

Motion  Picture  Dafly  :  Exciting,  well- 
made  entertainment  that  is 
CERTAIN  to  pleasei 

Daily  Variety :  Just  the  right  com- 
bination  of  sentimental  hokum, 
freshly  furbished,  and  comedy,  both 
homely  and  slapstick,  to  give  it 
entertainment  range  and  sub- 
stantial box  office ! 


m 


Wlm 

m 


Carl  Laemmle  presents 

PARKER 
MORRIS 

in  DAMON  RUNYON'S 

Collier's  Magazine  story 
A  Universal  Picture  with 

LEON  ERROL  •  HENRY  ARMETTA 

VINCE  BARNETT 


1-6 


MOTION    PICTURE  HERALD 


March    30,  1935 


be  classified  as  particularly  for  children,  al- 
though there  is  nothing  in  the  film  which  can 
be  considered  objectionable  for  them.  It  is 
merely  that  in  all  probability  they  will  be  unable 
to  understand  or  appreciate  the  story.  Vivian 
Tobin,  Russell  Hopton  ajid  Mary  Carr  are  the 
cast's  adults  who  will  be  familiar. 

The  precocious  remarks  of  little  Cora  Collins 
provide  the  greater  portion  of  the  picture's 
lighter  moments,  the  film  for  the  most  part 
being  rather  heavily  dramatic.  The  theme  sec- 
ondary to  that  of  the  legally  abused  child  is  one 
of  marital  strife  a^  a  result  of  mother-in-law 
interference  in  what  was  otherwise  a  happy  mar- 
riage, an  interference  through  which  the  child 
suffers  in  one  way  while  his  mother  suffers 
equally  in  being  deprived  of  her  son. 

Miss  Tobin  quarrels  with  husband  Paul  Fix 
only  because  of  the  meddling  of  his  mother. 
Patching  their  quarrel,  they  visit  a  night  club, 
where  Fix  is  killed  in  a  brawl.  Through  the 
efforts  of  the  mother-in-law.  Miss  Tobin  is 
deprived  of  her  infant  son,  who  is  given  to 
Fix's  mother.  Miss  Tobin  is  given  employment 
by  Miss  Carr,  matron  of  a  day  nursery.  Five 
years  elapse  and  Dickie  Moore  is  miserable  at 
his  grandmother's  home,  while  his  mother  is 
holding  annual  birthday  parties  at  the  nursery 
for  the  son  she  cannot  find.  When  the  grand- 
mother dies,  Dickie  is  transferred  by  the  doctor 
to  the  nursery  under  an  assumed  name,  Miss 
Tobin  being  unaware  it  is  her  son. 

Hopton,  widower,  is  the  father  of  Cora,  the 
nursery's  star  boarder,  and  most  precocious 
charge.  Hopton  is  in  love  with  Miss  Tobin, 
who  refuses  to  marry  him  because  of  her  past 
difficulties.  The  story  reaches  its  lively  climax 
when  the  man  who  killed  her  husband  and 
whom  she  previously  had  known,  escapes  from 
the  penitentiary,  presents  himself  at  the  nursery 
and  demands  she  hide  him  on  threat  of  reveal- 
ing her  past  to  the  authorities. 

The  two  children,  in  a  playful  moment,  in- 
vade the  attic  hideout  of  the  criminal  and  are 
held  by  him  as  hostages,  pending  his  own  es- 
cape. The  children  try  to  get  away  by  crawling 
across  the  sloping  roof,  the  criminal  brings  them 
back,  and  a  pursuing  policeman  finishes  his 
career.  The  child's  identity  is  revealed  to  his 
mother  and  Cora.  Sue  bestows  her  blessing  on 
her  father  and  Miss  Tobin. 

It  appears  to  be  in  the  nature  of  a  midweek 
attraction. — Aaronson,  New  York. 

Produced  and  distributed  by  Chesterfield  Pictures. 
Producer,  George  R.  Batcheller.  Directed  by  Charles 
Lament.  Supervised  by  Lon  Young.  Photographed  by 
M.  A.  Andersen.  Sound  recorder,  Pete  Clark.  As- 
sistant director,  Melville  Shyer.  Art  director,  Ed- 
ward Jewell.  Film  editor,  Roland  Reed.  Running 
time,  63  minutes.  Release  date,  November  12,  1934. 
General   audience  classification. 

CAST 

Lola  Allen   Vivian  Tobin 

Tommy  Weymouth  Dickie  Moore 

Hugh  Collins   Russell  Hopton 

Pat  Collins  Cora  Sue  Collins 

Mrs.  Warren   Mary  Carr 

Lieutenant   Robert  Elliott 

Rogers   Jameson  Thomas 

Martha   Barbara  Bedford 

John  Weymouth   Paul  Fix 

Barrett   Bryant  Washburn 

Nora   Jane  Keckley 

Hopper   Robert  Frazer 

Mrs.  Weymouth   Sarah  Edwards 

Judge    Lloyd  Ingraham 

Jarvis   Broderick  O'Farrell 


La  Crise  Est  Finie 

The  Depression  Is  Over 

(European  Film  Corp.) 
Musical 

Nero  Films  of  France,  the  producer,  and 
Robert  Siodmak,  the  director,  have  gone  after 
optimism  in  a  large  and  hearty  musical  fashion 
in  this  operetta,-like  picture,  which  is  somewhat 
different  from  the  run  of  importations  from 
France  to  reach  this  country.  It  is,  for  the  most 
part,  entertaining  material.  In  so  far  as  exhibi- 
tion in  this  country  is  concerned,  it  suffers  from 
the  natural  handicap  of  a  foreign  language. 
However,  there  are  plenty  of  superimposed 
translations  of  dialogue  to  assist  those  not  un- 
derstanding the  language,  which  makes  for 
ready  understanding  of  the  story. 

The  music  is  tuneful,  there  are  numerous 


comedy  situations,  and  although  the  picture 
cannot  quite  match  the  American  productions 
in  spectacle  concoction  for  musical  films,  it  is 
well  paced  and  lively.  Its  story  is  simple  and 
of  no  special  significance,  merely  affording  an 
opportunity  to  bring  out  the  engaging  optimism 
of  its  title.  There  is  no  name  in  the  cast  which 
will  be  familiar  in  this  country. 

It  appears  that  the  most  logical  location  for 
exhibition  of  the  film  would  be  in  those  metro- 
politan situations  where  the  showman  can  count 
on  a  number  of  potential  patrons  who  either 
are  interested  in  foreign  importations  or  are 
familiar  with  the  French  language. 

The  story  has  Nicole,  young  actress  in  a 
revue,  hoping  for  an  opportunity  to  take  the 
star's  place,  and  losing  out  when  the  star 
puts  in  a  belated  appearance.  A  trick  is  played 
on  the  star  and  Nicole  is  fired.  When  her 
sweetheart.  Marcel,  the  orchestra  leader,  is 
about  to  quit  with  her,  the  others  of  the  cast 
join  him-  They  are  all  discharged,  and,  penni- 
less, set  off  for  Paris.  They  find  no  jobs,  but 
at  the  old  theatre,  now  closed,  where  the 
troupe's  elderly  player,  once  a  star,  had  tri- 
umphed, the  caretaker  is  attracted  to  the  leading 
man,  and  they  are  permitted  to  make  the  aban- 
doned theatre  their  home  and  headquarters. 

Marcel  composes  the  music  for  a  new  show, 
titled  "The  Depression  Is  Over."  The  difficulty 
is  finding  the  wherewithal  to  put  on  the  revue. 
Exercising  all  their  ingenuity,  members  of  the 
cast  scour  the  city,  bring  in  equipment  and  cos- 
tumes. When  Nicole  puts  her  charm  to  work, 
she  gets  a  grand  piano  from  a  dealer,  but  when 
she  is  only  pleasant,  he  rents  the  theatre  and 
would  evict  the  players.  A  trick  locks  him  in 
the  basement,  the  word  spreads  about  the  town, 
the  opening  night  is  a  sell-out,  and  the  play  is 
a  success,  as  is  the  romance  between  Nicole  and 
Marcel. — Aaronson,  New  York. 

Distributed  by  European  Film  Corp.  Produced  by 
Nero  Films.  Directed  by  Robert  Siodmak.  Story  and 
screen  adaptation  by  Kurt  Siodmak.  Music  by  Jean 
Lenoir  and  Franz  Waxman.  Running  time,  81  min- 
utes. Release  date,  March  12,  1935.  General  audience 
classification. 

CAST 

Marcel   Albert  Prejean 

Nicole   Danielle  Darrieux 

Olga   Suzanne  Dehelly 

I^la   Regina  Bary 

Rene   Rene  Lestelly 

Bernouillin   Carpentier 

Madame  Bernouillin   Jeanne  Loury 

The  woman  caretaker  Milly  Mathis 

Hercules   Pitouto 

The  machinist   Paul  Velesa 

The  manager   Aul  Escofifier 

Tit  for  Tat 

(MGM) 

Good  Comedy 

The  generally  high  comedy  standard  of  the 
team  of  Stan  Laurel  and  Oliver  Hardy  is  main- 
tained in  this  latest  subject,  in  which  the  two 
are  the  not  too  intelligent  proprietors  of  an 
electrical  store.  Built  considerably  of  slapstick, 
the  comedy  has  numerous  laugh-provoking  situ- 
ations, as  the  two  engage  in  a  bitter  tit  for  tat 
feud  with  the  owner  of  a  neighboring  grocery 
store,  after  Hardy,  in  his  own  estimation,  is 
insulted.  And  while  the  three  march  back  and 
forth,  wrecking  havoc  on  the  contents  of  each 
store  with  the  goods  therein,  a  potential  patron 
casually  enters  the  electrical  shop  and  finally 
removes  all  the  stock.  Slapstick,  but  amusing. 
— Running  time,  20  minutes. 


get  foot  ailments,  and  his  wife  takes  him  from 
the  game,  with  disastrous  results — for  him.  It 
is  an  entertaining  comedy. — Running  time,  20 
minutes. 


Once  Over  Lightly 

(Vitaphone) 
Amusing 

There  are  more  than  a  few  laughs  in  this 
comedy,  in  which  Roscoe  Ates  of  the  stuttering 
tongue  is  the  extremely  unfortunate  barber.  He 
and  his  assistant  conduct  their  shop  more  in 
the  nature  of  a  butcher  than  barber  shop,  as 
witness  the  faces  of  their  "victims,"  and  when 
Ates  starts  a  "double  or  nothing"  game  with 
a  patron  he  loses  up  to  and  including  the  cash 
register.  He  uses  his  wife's  fur-coat  money 
for  a  poker  game,  the  plan  being  that  she  should 
call  him  when  he  stamps  on  the  floor  from 
above.  She  falls  asleep  when  he  wins,  but 
when  he  is  snowed  under,  the  other  boys  all 


Stranger  Than  Fiction  (No.  8) 

(Universal) 
Several  Unusual  Turns 

Something  to  interest  each  of  several  kinds 
of  patron  interest  is  found  in  this  issue.  There's 
the  choking  of  miles  of  forest  by  shifting  sand 
(in  Douglas  county,  Oregon),  a  24-compart- 
ment  trailer  pullman  for  pedigreed  dogs  (Cin- 
cinnati), a  carwheel  tombstone  of  a  railroad 
messenger  boy  (Nashville),  a  fire-walking  by 
the  Schingon  sect  in  Japan,  the  coffin  that  won't 
stay  put  under  the  dirt  floor  of  a  mission  church 
in  New  Mexico,  a  traveling  dentist,  a  midget 
and  her  6  ft.  2  partner  in  a  shoe  store  (Kansas 
City),  a  gander  that  stands  sentinel  over  a 
Negro  boy  statue  on  a  hitching  post  (Prospect, 
Ky.),  Cleveland's  oxygen  hotel,  and  the  car- 
toning of  baby  alligators. — Running  time,  10 
minutes. 


Restless  Knights 

(  Columbia) 
Lively  Comedy 

The  Three  Stooges  in  another  of  their  non- 
sense concoctions,  in  which,  as  usual,  they  mal- 
treat each  other  to  the  best  of  their  considerable 
ability  in  maltreatment.  The  result  is  for  the 
most  part  amusing  comedy,  as  comedies  go,  with 
especial  entertainment  for  those  who  particu- 
larly enjoy  this  insane  trio  of  knock-down-and- 
drag-out  comedians.  In  this  case,  they  are 
knights  of  old,  who  volunteer  to  guard  the 
queen  of  a  neighboring  kingdom  from  the  de- 
signs of  the  prime  minister  and  his  men.  They 
guard  her,  rescue  her  when  she  is  kidnapped, 
but  in  so  doing  succeed  chiefly  in  knocking  out 
each  other,  and  finally  the  queen  herself. — Run- 
ning time,  17  minutes. 


Mickey's  Service  Station 

(United  Artists) 
Excellent 

The  Disney  Mickey  Mouse  standard  has  hit 
its  high  standard  in  this  new  subject,  in  which 
Mickey,  the  cow,  and  Donald,  the  Duck,  oper- 
ate an  automobile  service  station  with  the  result 
an  entirely  enjoyable  cartoon  comedy  subject. 
The  big,  peg-legged  brute  brings  his  fine  car 
to  Mickey,  demands  that  squeaks  be  elimited 
in  10  minutes — or  else.  They  go  to  work,  with 
consequences  which  must  be  seen  to  be  appre- 
cited.  It  cannot  fail  to  draw  innumerable  laughs. 
— Running  time,  nine  minutes. 


Rainbow  Canyon 

(MGM-FitzPatrick) 
Excellent 

As  are  all  of  this  FitzPatrick  Travel  Talk 
series  in  color,  this  is  excellent  and  should  be 
of  general  appeal.  The  Grand  Canyon  of  the 
Colorado  and  Brice  Canyon  in  Utah  are  pic- 
tured in  all  their  amazing  color  and  all 
the  beauty  of  their  strange  rock  formations. 
Scenically,  as  well,  the  subject  is  of  unusual 
quality,  with  incidental  vocalization  and  in- 
strumental music,  added  to  the  running  com- 
mentary, adding  considerable  to  the  effectiveness 
of  the  short.  It  appears  worth  special  attention. 
— Running  time,  8  minutes. 


Buddy's  Theatre 

(Vitaphone) 
Good  Cartoon 

One  of  the  Looney  Tune  cartoon  series,  this 
is  really  entertaining  and  amusing,  as  Buddy 
is  manager,  ticket  taker  and  projectionist  at  his 
picture  house.  There  is  real  novelty  and  laugh 
provocation  in  Buddy's  newsreel,  and  the  fea- 
ture starring  his  friend  Cookie,  whom  Buddy 
rescues  from  the  pursuit  of  a  gorilla.  A  wholly 
engaging  cartoon  short. — Running  time,  seven 
minutes. 


^1^1^^^  THE  CONEDy  HELD" 

I  says  the  Cleveland  Plain  Dealer^  whose 

veteran  critic,  IV.  Ward  Marsh ^  writes: 


Visits  to  Warner  Brother's  Hippodrome 
and  the  RKO  Keith's  105th  Street  Theaters 
this  week  will  convince  you  that  Buster  Kea- 
ton  has  fairly  discovered  the  true  secret  for 
making  talkies. 

He  is  miles  ahead  of  the  feature  pro- 
ducers today... he  has  discovered  the  way 
to  use  detail  so  that  it  becomes  action  and 
his  picture  'flows'  steadily  without  interrup- 
tion by  or  very  much  help  from  dialog. 

felt  that  perhaps  Buster  had  blundered 
into  a  happy  accident  when  he  made 
'Palooka  from  Paducah'. .  .Telling  his  story  of 
'Palooka'  in  pantomime  was  no  mere  acci- 
dent for  Keaton.  He  proves  that  with  'One 
Run  Elmer'.  This  is  his  second  feature  in  his 
new  two-reel  series. ..Keaton  is  back  where 
he  belongs,  and  at  the  moment  leading  the 
comedy  field! 

There  is  even  less  dialog  in  'One  Run 
Elmer'  than  in  'Palooka',  proving  that  Kea- 
ton does  know  how  to  make  pictures. 

Here  is  Buster  on  the  rebound.  In  fact 
he's  now  leading  the  pack." 


.        Tyi/jhMi    /AMD  DOMV  miss  BUyiER'S  th/rd.  ' 

rruv.  r/imMi. . .      eELiEVe  it  packs  More  mm 

THAN  AMY  OTHfR  SHOUT  SUBJECT  HE  EVER  A^ADE  / 


ivccitlcnaJi  (J^tctuA^^ 

■  THE  SPICE  OFTHE  PROGRAM- 


Distributed  in  U.S.A.  by 
FOX  Film  Corporation 


48 


MOTION    PICTU  RE  HERALD 


March    30,  1935 


THE  CODE  QUESTION  BOX 

by  JAMES  P.  CUNNINGHAM 


Immediate  reply  is  being  made 
direct  to  the  many  letters  which 
Motion  Picture  Herald  is  receiving 
from  exhibitors  and  distributors  in 
the  field,  and  from  others,  in  which 
various  questions  are  asked  concern- 
ing certain  doubtful  phases  of  the 
Motion  Picture  Code.  In  addition, 
such  code  questions  and  the  answers 
submitted  are  published  as  a  regu- 
lar service. 

For  obvious  reasons,  the  letters 
will  appear  anonymously.  However, 
the  originals  will  remain  on  file. 

Answers  to  questions  about  the 
Code  are  submitted  only  after  con- 
sultation with  authorities  familiar 
with  the  technicalities  of  the  docu- 
ment. 

This  service  is  available  to  every- 
one. Send  questions  to  the  Code 
Editor,  Motion  Picture  Herald, 
1790  Broadway,   New  York  Qty. 


No.  Ill— AUGUST  23,   1933,  IS  DATE 
APPLYING  TO  WAGE  SCALES 

QUESTION — We  are  in  doubt  as  to  zvhat 
rule  to  follozv  in  regards  to  the  operators 
{projectionists)  of  our  theatre.  W e  have  one 
understanding,  while  others  seem  to  believe  that 
it  is  quite  different.  Therefore,  we  are  for- 
warding the  following  question  hoping  that  you 
can  set  our  mind  straight  as  to  what  to  do: 

During  June,  July  and  August,  1933,  our 
operators  had  taken  a  reduction  of  5  per  cent 
in  their  wages.  At  this  time  the  code  was  set- 
tled, with  the  clause  of  "Wages  in  effect  Au- 
gust, 1933,  are  to  be  the  standard  zmge  of  said 
operators,"  etc.  How  does  tliis,  then,  affect  us. 
Are  ive  right  in  believing  that  the  ivages  they 
then  received  (with  the  five  per  cent  cut)  dur- 
ing August  is  the  right  ivage,  or  does  the  code 
mean  that  since  this  zvas  only  a  temporary  re- 
duction we  must  again  pay  the  wage  the  oper- 
ators were  receiving  before  the  cut?  In  other 
zvords,  do  voe  obey  the  code  by  keeping  the 
wages  as  they  were  in  August,  1933,  with  the  5 
per  cent  reduction,  or  must  this  reduction  be 
brought  back  again?— PENNSYLVANIA. 

ANSWER — The  clause  says  very  plainly  that 
projectionists  who  are  directly  and  regularly 
employed  by  exhibitors  shall  receive  not  less 
than  the  minimum  wage  and  work  no  longer 
than  the  maximum  number  of  hours  per  week 
which  were  in  force  ais  of  August  23,  1933,  in 
a  particular  community,  but  in  no  event  shall 
the  maximum  number  of  working  hours  ex- 
ceed 40  per  week.  In  other  words,  the  minimum 
wages  that  were  in  force  on  August  23,  1933, 
are  the  minimum  wages  to  be  paid  under  the 
motion  picture  code.  The  fact  that  there  was 
in  effect  a  salary  reduction  at  that  time  has  no 
bearing  on  the  matter. 

V    V  V 

No.  112— "BANK  STUNT",  THE  CODE 
AND  INFRINGEMENTS 

QUESTION— Not  being  familiar  zvith  the 
legal  technicality  of  copyrights  on  "Bank 
Night,"  I  will  thank  you  to  kindly  advise  me 
hi  regards  to  same;  also,  if  the  following  plan 
I  aim  to  carry  out  zmll  be  an  infringement  on 
copyright  of  such  "Bank  Night" : 

I  intetid  to  have  cards  printed  as  folloztfs: 
Member  of 
BLANK  THEATRE 
Cash  Club 
Meeting    Friday   and    Saturday  Nights 
Cash  Awards  Each  Night 

No   Member's  Name  

Address  

I  may  use  any  name  for  the  nanw  of  the  club, 
and  each  ticket  or  membership  card  will  be 
numbered  and  dropped  in  a  box  and  these  same 
cards  used  in  drazvings.  I  will  keep  a  record 
book  of  all  members  and  their  numbers  so  as 
not  to  have  any  duplicate  membership  cards 
issued.  On  Fridays  of  each  week  I  zmll  draw 
out  one  number,  and  if  a  winner  is  not  drawn 
I  will  add  to  the  "pot"  for  Saturday  night  zmth 
another  dravuing  of  one  ticket,  and  so  on-. — 
ILLINOIS. 

ANSWER — The  inquirer's  own  lawyer  would 
have  to  advise  him  as  to  whether  the  "Cash 
Club"  plan  described  by  him,  as  outlined  above, 
would  be  an  infringement  on  the  copyrighted 
plan  of  "Bank  Night."  (A  copy  of  the  "Bank 
Night"  procedure  as  outlined  in  the  Code  Ques- 
tion Box,  page  60,  January  26,  was  forwarded 
to  the  inquirer  for  study  by  him  and  his  lawyer 
for  the  purpose  of  comparison) .  Affiliated  En- 
terprises, which  sells  the  copyrighted  "Bank 
Night"  plan  to  exhibitors,  could  take  action  on 
any  infringement. 

We  assume  that  the  inquiring  exhibitor  is 


aware  that  lotteries  and  stage  drawings  for 
prizes  are  a  violation  of  the  motion  picture 
code.  Part  3,  Section  1,  Article  V-E,  when  the 
patron  is  compelled  to  purchase  a  ticket  in 
order  to  participate. 

V    V  V 

No.  113— STATUS  OF  "FIRST  RUNS"; 
RIGHTS  IN  CLEARANCE 

QUESTION — Kindly  give  me  the  e.vact  defi- 
nition of  "First  Run." 

I  signed  most  of  my  film  contracts  with  a 
clause:  "RUN:  FIRST."  I  belong  to  the  San 
Francisco  zone,  located  on  the  Pacific  High- 
zvay,  which  runs  from  San  Francisco  to  Port- 
land. Ten  miles  south  there  is  a  theatre  he- 
longing  to  a  circuit  of  about  65  theatres.  Ten 
miles  north  there  is  a  theatre  belonging  to  an- 
other circuit  cf  about  16  theatres  and  is  served 
from  Portland  exchanges  (an  overlapping 
zone).  Ten  miles  southeast  is  a  lumber  tozm, 
and  that  theatre  buys  everything  selective.  I 
am  an  independent.  11' c  all  have  the  same  ad- 
mission prices. 

On  account  of  the  big  buying  power  of  my 
competitors  most  of  the  exchanges  are  clearing 
against  me  at  least  seven  days,  zvith  the  excuse 
that  they  get  a  bigger  revenue  from  my  com- 
petitors, and  telling  me  tliat  the  clause  "First 
Run"  is  understood  as  first  run  in  m-y  tozmi, 
and  does  not  mean  the  first  run  in  the  competi- 
tive area,  as  I  understood  when  buying  the 
films.  There  is  not  another  theatre  in  my  tozm. 
I  complained  to  the  San  Francisco  Clearance 
Board  against  this  arbitrary  clearance,and  they 
told  me  that  this  matter  is  up  to  the  "bargains" 
bctiveen  distributors  and  exhibitors. 

Please  kindly  advise  me  what  to  do.  Shall 
I  fry  the  Griez'ance  Board,  or  shall  I  go  straight 
to  Mr.  Flinn  in  New'  York,  or  maybe  to  the 
U.  S.  courts,  charging  these  corporations  zvith 
"conspiracy"  and  practicing  of  trust  unlawfully. 
—CALIFORNIA. 

ANSWER— The  term:  "First  Run"  means 
the  initial  exhibition  of  a  motoin  picture  within 
an  area  defined  by  and  in  the  distribution  license 
contract.  If  the  contract  merely  says :  "Run : 
First,"  then  that  means  that  the  exhibitor  is 
given  the  right  to  the  initial  exhibition  of  the 
pictures  under  that  conract  in  the  town  in 
which  that  exhibitor's  theatre  is  located.  It 
would  not  give  him  first  run  clearance  over  any 
other  competitive  area  unless  such  competitive 
area  is  specifically  defined  in  the  contract. 

The  Grievance  Board  apparently  was  correct 
in  replying  that  the  matter  of  obtaining  clear- 
ance over  theatres  in  a  competitive  area  is  one 
involving  the  economics  of  bargaining  with  the 
exchange  when  the  product  was  purchased  and 
the  contract  signed.  The  exchanges  likewise 
indicated  this  when  they  told  the  inquiring  ex- 
hibitor that  they  are  giving  the  circuits  at  least 
seven  days'  clearance  over  him  because  "they 
get  a  bigger  revenue"  from  his  competitors. 

The  exhibitor  was  following  the  correct  pro- 
cedure when  he  presented  his  complaint  to  the 
Clearance  and  Zoning  Board.  The  Grievance 
Board  has  no  connection  with  or  control  over 
clearance  and  zoning.  These  are  matters  in- 
tended for  the  attention  of  Clearance  Boards 
alone. 

Appeals  from  local  board  decisions  are  not 
made  to  John  C.  Flinn  in  New  York,  but  are 
made  to  the  Code  Authority  of  the  Motion  Pic- 
ture Industry,  at  1270  Sixth  Avenue,  New 
York. 

Regarding  the  question  :  "Shall  I  go  to  the 
U.  S.  courts,  charging  these  corporations  with 
'conspiracy'  and  practicing  of  trust  unlawfully." 
To  this  we  can  only  answer  that  a  competent 
lawyer  is  the  person  to  advise  in  such  matters. 


Moissi^  Famed  As 
Tragic  Actor^  Dies 

Alexander  Moissi,  famous  European 
tragic  actor,  died  last  week  in  Vienna,  Aus- 
tria, of  congestion  of  the  lungs  at  the  age 
of  53.  An  Italian,  Moissi  gained  his  great- 
est fame  in  Germany,  and  was  long  known 
as  the  "John  Barrymore  of  Berlin."  It  was 
generally  agreed  that  his  remarkable  voice 
and  diction  in  three  languages  were  among 
the  most  accomplished  on  the  dramatic 
stage. 

He  came  to  New  York  in  1927  with  the 
group  headed  by  Max  Reinhardt,  and  was 
held  over  in  his  performances  in  "Every- 
man," "The  Living  Corpse,"  "A  Midsum- 
mer Night's  Dream,"  "The  Death  of  Dan- 
ton"  and  "Ghosts."  He  returned  the  fol- 
lowing season  under  Morris  Gest,  later 
toured  South  America,  and  returned  to  make 
a  talking  picture  of  "The  Royal  Box,"  in 
German,  .  for  foreign  distribution.  The 
picture  was  termed  a  failure  by  critics,  but 
because  of  mechanical  rather  than  dramatic 
faults.  Moissi  perfected  his  German  that 
he  might  make  other  German  films  for  dis- 
tribution here,  but  never  accepted  the  offers 
that  were  made  later. 

Born  in  Trieste  of  a  poor  peasant  family, 
Moissi  went  to  Vienna  to  cultivate  his  voice 
for  an  operatic  career.  Penniless,  he  ob- 
tained a  theatre  job.  He  was  noticed,  and 
advised  to  study  German.  Finally  he  was 
seen  by  Reinhardt  and  taken  under  his 
wing,  from  which  time  his  advance  in  the 
theatre  was  rapid. 

Kentucky  Theatre  Is  Sold; 
Essanoe  Continues  Operation 

The  Vernon  theatre  building  at  Mount 
Vernon,  Ky.,  has  been  sold  by  the  Com- 
monwealth Life  Insurance  Company  of 
Louisville  to  Lewis  Miller  of  Mount  Vernon 
for  $30,000.  The  theatre  will  continue  in 
operation  under  the  direction  of  the  Essanoe 
Amusement  Company.  The  present  lease, 
not  yet  expired,  was  transferred  to  the  new 
owner,  and  a  new  lease  is  to  be  dravra. 


A 


C  hampion 


IS  a 

Champion 

^That  will  to  win  .  .  .  that  knockout 
punch . . .  that  extra  power ...  a  cham 
pion  is  a  champion  under  any  circum 
stances 

^^That  extra  quality  . . .  that  special 
ized  knowledge  .  .  .  that  organized 
consistency  .  . .  that's  what  it  takes  to 
meet,  successfully,  any  and  all  condi 
tions  where  trailers  are  needed  . .  . 

• 

»>That's  why  NATIONAL  SCREEN 
SERVICE  has  stood  the  test  for  fifteen 
years... growing  stronger  and  stronger 
. . .  giving  more  and  more  service  . . . 

• 

^Yes  sir  ...  A  CHAMPION  IS  A 
CHAMPION  in  any  line  of  endeavor 
. . .  that's  why  more  than  9,000  exhibi- 
tors say  ... 


NATIONAL  SCREEN  SERVICE 


is  the  prize  baby  of  the  industry! 


50 


MOTION    PICTURE  HERALD 


March    3  0,    19  3  5 


THE  CUTTING  ROOM 


Advance  ouflines  of  producfions  nearing 
completion  as  seen  by  Sus  McCarthy  of 
Motion  Picture  Herald's  Hollywood  Bureau 


OIL  FOR  THE  LAMPS  OF  CHINA 

Warner 

For  many  reasons  this  is  the  type  of  enter- 
tainment production  that  showmen  should  wel- 
come. It  is  adapted  from  a  sensationally  best 
selling  novel,  one  of  the  most  widely  discussed 
in  recent  years.  It  has  been  adapted  to  the 
screen  by  a  writer  who  numbers  many  success- 
ful screen  plays  such  as  "The  Key,"  "British 
Agent"  and  "Bordertown"  among  his  credits- 
"The  director,  Mervyn  LeRoy,  is  credited' 
recently  with  "Hi'  Nellie,"  "Happiness  Ahead" 
and  "Sweet  Adeline,"  as  well  as  being  remem- 
bered for  "Five  Star  Final." 

Where  names,  regardless  of  any  other  asset, 
are  the  dominating  interest-creating  quality, 
"Oil  for  the  Lamps  of  China"  has  them  in  plenty. 
Pat  O'Brien,  lately  in  "Here  Comes  the  Navy," 
"I  Sell  Anything"  and  "Devil  Dogs  of  the  Air," 
is  starred.  Among  the  featured  players  are  Jo- 
sephine Hutchinson,  who  scored  in  "Happiness 
Ahead";  Jean  Muir,  who  made  her  debut  in 
"As  the  Earth  Turns"  and  later  was  seen  in 
"Gentlemen  Are  Born" ;  Lyle  Talbot,  John 
Eldredge,  young  Ronnie  Cosby,  Henry  O'Neill, 
Donald  Crisp,  Arthur  Byron,  Christian  Rub, 
George  Meeker,  Florence  Fair,  John  Hyams 
and  Olive  Jones.  Orientals  appear  in  oriental 
characters ;  Willie  Fung,  Tetsu  Komai  and  Key 
Luke,  seen  in  "Charlie  Chan  in  Paris,"  are  in- 
cluded. 

The  locale  is  China.  It  portrays  strange  life 
in  that  land  and  tells  the  story  of  a  young 
American,  agent  of  an  oil  company,  who  in- 
vents a  lamp  and  brings  lights  to  the  Chinese 
and  millions  to  his  company.  As-  it  tells  his 
romantic  dramatic  story,  it  concerns  itself  with 
proved  entertainment  elements.  The  guiding 
hand  of  a  woman,  wife  of  the  hero,  exerts  an 
influence  on  his  life  that  not  only  saves  him  for 
himself  and  the  company,  but  for  the  benefit  of 
the  natives  who  idolize  him. 

The  production  has  the  earmarks  of  a  poten- 
tial big  picture.  In  dealing  with  real  life  in  a 
little  known  country  and  actually  making  that 
life  real  and  true,  it  gives  promise  of  being  a 
showmanship  feature  that  will  give  all  who  care 
ample  opportunity  to  exercise  their  exploitation 
ingenuity. 


SECRET  LIVES 
(Temporary  title) 
Fox 

In  this  production  are  combined  such  proved 
standby  entertainment  and  exploitation  assets 
as  love  interest,  tricky  mystery,  comedy,  murder 
melodrama,  action,  suspense.  Given  glamorous 
production  in  personnel  and  settings,  with  all  the 
values  fulfilling  their  proper  functions,  it's  the 
story  of  a  young  playwright  whose  apartment 
is  invaded  by  an  exotic,  thinly  clad  creature  one 
moment  after  a  murder  has  been  committed 
next  door.  Flipping  a  coin  to  decide  whether 
he  shall  call  the  police  or  make  her  tell  the 
truth  about  herself,  the  writer  follows  the  dic- 
tates of  romance,  and  together  the  pair  be- 
come involved  in  an  intriguing  love  affair  and 
a  couple  of  sensational  murders. 

The  feature  is  based  on  a  story  by  Ilya  Zorn, 
adapted  by  Robert  Ellis  and  Helen  Logan,  with 
screen  play  by  Samson  Raphaelson.  Direction 
is  by  Bruce  Humberstone. 

The   team    of    Gilbert    Roland    and  Mona 


Barrie,  that  apparently  made  a  favorable  patron 
impression  in  "Mystery  Woman,"  again  are 
featured.  Name  value  of  the  principal  sup- 
porting players  is  of  more  than  ordinary  worth. 
Included  are  Adrienne  Ames,  Herbert  Mundin, 
Donald  Cook,  Nick  Foran  and  Hardie  Albright. 
Others  of  lesser  note  are  Marion  Clayton,  Ray 
Walker,  Akim  Tamiroff,  Russell  Hicks,  Rita 
Rozelle,  Paul  McVey  and  Snowflake. 

Situations  in  the  story  and  its  atmosphere 
being  of  the  caliber  that  on  many  occasions 
has  demonstrated  their  mass  appeal  value,  there 
is  also  a  novelty  of  basic  idea  which  quite 
effectively  lifts  the  production  out  of  the 
formula  class.  As  it  permits  the  selling  of 
many  qualities,  it  also  allows  concentration 
upon  any  one  of  them  and  thus  provides  a  wide 
latitude  in  adapting  its  commercial  value  so 
that  local  conditions  can  be  satisfactorily  met. 


AIR  FURY 

Coltnnbia 

As  the  title  indicates,  this  is  an  action,  thrill 
melodrama  of  the  air.  Not  a  war  story,  it  does, 
however,  treat  of  a  very  real  kind  of  war,  the 
attempt  of  a  big  commercial  flying  company 
to  put  a  little  rival  express-mail  line  out  of 
business  and  the  diabolical  methods  used.  Highly 
imaginative  in  content,  it  builds  its  thrill  around 
the  use  of  a  new  kind  of  destructive  electric 
ray  which  shatters  planes  in  the  clouds. 

The  story  and  screen  play  are  originals  by  J. 
Griflin  Ray  and  Grace  Neville.  Direction  is  by 
Al  Rogell,  recent  maker  of  "Among  the  Miss- 
ing" and  "Name  the  Woman." 

Fantastic  story  content,  which  is,  neverthe- 
less not  without  definite  realism,  looms  as  the 
most  outstanding  selling  quality.  With  inclu- 
sion of  two  noted  fliers  in  the  cast,  Wiley  Post 
and  Roscoe  Turner,  there  is  a  certain  topical- 
ness  that  should  be  productive  of  unique  ex- 
ploitation. Post's  attempt  to  make  a  trans- 
continental stratosphere  flight  not  only  was  a 
subject  of  national  news  head  lines,  but  the 
manner  in  which  his  effort  was  mysteriously 
frustrated  was  equally  publicized.  Also  his 
latest  unsuccessful  effort  to  span  the  country 
has  made  him  the  subject  of  intense  interest. 

Straight  dramatic  and  romantic  roles  are 
occupied  by  both  known  and  new  names.  Ralph 
Bellamy  and  Tala  Birell  are  teamed  in  the 
leads,  and  while  Bellamy  is  the  focal  point  of 
the  story's  drama,  both  share  the  comparatively 
meager  romance  which  supports  the  dramatic 
elements.  In  the  part  of  the  man  possessing  the 
death  ray  secret  Douglas  Dumbrille  will  be  seen. 
Included  among  the  better  known  supporting 
names  are  Billie  Seward,  Robert  Allen.  Geneva 
Mitchell,  Ed  Van  Sloan  and  Joe  Sauers.  Lesser 
known  are  the  newcomer,  Victor  Kilian,  Robert 
Middlemass  and  Wyrley  Birch. 


PUBLIC  HERO  NO.  I 

MGM 

This  is  a  "G-Man"  story.  With  sensational 
drama,  action  and  thrill,  it  reveals  authen- 
tically, if  in  theatricalized  fashion,  the  fights 
which  men  in  the  service  of  the  Department  of 
Justice  are  waging  in  their  war  against  organ- 
ized crime  and  criminals.  Headline  stuff,  about 
which  pages  have  and  are  being  written,  it  is 
by  no  means  a  gangster  story.  The  department 
puts  one  of  its  own  men  on  the  inside,  having 
him  become  a  jailbird  and  a  member  of  the 


mob  after  an  exciting  jailbreak,  in  a  story  that 
is  graphically  topical  and  thereby  familiar  to 
almost  everyone.  Mingling  fact  with  fiction,  it 
picturizes  a  notorious  case  in  which  the  "G- 
Men"  spot  their  quarry,  and,  though  harried 
on  all  sides,  hound  him  until  his  death. 

The  story  and  screen  play  are  originals  by 
Wells  Root,  former  newspaperman,  whose 
screen  credits  include  participation  in  "Black 
Moon"  and  "Paris  Interlude,"  and  by  J.  Wal- 
ter Ruben.  Ruben,  who  during  his  career  at 
Radio  specialized  in  action  thrill  pictures,  is 
also  directing. 

While  the  cast  interpreting  the  story  is  large, 
most  of  the  action  is  confined  to  a  few  princi- 
pals. Chester  Morris,  currently  in  "Society 
Doctor"  and  "Princess  O'Hara,"  is  starred.  A 
newcomer  from  the  New  York  stage,  Joseph 
Calleia,  makes  his  screen  debut.  Romantic  in- 
terest with  Morris  is  carried  by  Jean  Arthur, 
currently  in  "The  Whole  Town's  Talking." 
Others  who  are  prominent  are  Paul  Hurst, 
Lewis  Stone,  Lawrence  Wheat  and  John  Hale. 

An  apparent  natural  for  contact  with  news- 
paper and  law  enforcement  agency  support,  this 
picture  is  one  of  the  several  now  in  production 
dealing  with  the  activities  of  Department  of 
Justice  men.  A  new  subject,  it  calls  for  use  of 
the  most  effective  and  startling  ways  possible 
to  create  maximum  audience  interest. 


THE  CRUSADES 

Paramomif 

As  a  producer-director  of  authentically  based 
religious-historical  entertainment  presented 
against  lavish  production  backgrounds  and 
scenic  values,  Cecil  B.  DeMille  stands  without 
rivals.  From  "The  Ten  Commandments"  and 
"King  of  Kings"  to  "Cleopatra"  that  has  been 
demonstrated.  In  this  effort,  a  great  spectacle 
as  well  as  promising  romantic,  dramatic  and 
thrilling  entertainment,  he  deals  with  one  of 
history's  greatest  events. 

"The  Crusades"  is  based  upon  the  famous 
Harold  Lamb  stories  of  the  stirring  events  of 
the  days  when  the  armed  forces  of  Christian 
Europe  united  to  recover  Jerusalem  and  the 
Holy  Lands  from  the  grasp  of  the  infidels.  The 
screen  play  is  by  Lamb,  Dudley  Nichols  and 
Waldemar  Young. 

Actually  it  is  the  romantic  love  story  of  King 
Richard  of  England,  the  Lion  Hearted,  and 
Berengaria,  daughter  of  the  King  of  Navarre. 
Although  the  enmity  of  the  Christians  and  in- 
fidels was  great,  the  King  of  France  feared 
Richard  of  England  more  than  any  other  thing. 

No  agreement  made,  both  lead  their  hosts  to 
the  Holy  Land.  Richard  is  stranded  in  Na- 
varre. The  king  of  that  domain  offers  his 
daughter  Berengaria  in  marriage  to  Richard  if 
he  will  leave  the  country.  Without  seeing 
the  girl,  he  consents.  She  joins  him  and  they 
proceed  on.  As  the  conflict  of  the  holy  war 
rages,  the  girl  is  captured  by  Saladin.  Still 
not  knowing  her,  but  definitely  in  love,  Richard 
makes  truce  with  Saladin  and  breaks  his  vow 
to  place  his  sword  on  the  Holy  Sepulchre  by 
breaking  it  in  two.  Berengaria,  taking  a  piece 
of  the  sword,  places  it  there  herself,  thus  en- 
abling Ricljard  to  keep  his  vow.  They  accept 
each  other  fSr  life. 

An  appealing  story  related  against  stirring 
backgrounds,  the  cast  which  will  play  it  is 
composed  of  accomplished  artists.  Loretta 
Young  is  Berengaria.  Henry  Wilcoxen,  seen  in 


March    3  0,     19  3  5 


MOTION    PICTURE  HERALD 


51 


IN  THE  STUDIO  CUTTING  ROOM 


"Cleopatra,"  is  Richard.  Ian  Keith,  noted  on 
stage  and  screen,  plays  the  role  of  Saladin.  C. 
Henry  Gordon  is  the  King  of  France  and  Kath- 
arine DeMille  his  daughter.  C.  Aubrey  Smith 
is  the  Hermit  and  Joseph  Schildkraut  is  Con- 
rad of  Montferrat,  Richard's  enemy.  George 
Barbier  is  the  King  of  Navarre.  In  the  roles 
of  various  other  historical  figures  of  the  time 
and  occasion  will  be  seen  Alan  Hale,  Mon- 
tagu Love,  Hobart  Bosworth,  Lumsden  Hare, 
Ramsay  Hill,  Paul  SatofT  and  the  old  star  of 
the  silent  days,  Pedro  de  Cordoba. 


NIT  WITS 

Kadio 

The  combination  of  Wheeler  and  Woolsey, 
plus  the  title,  readily  establishes  this  produc- 
tion's comedy  entertainment  character.  Unlike 
many  of  the  previous  attractions  starring  this 
pair,  "Nit  Wits"  is  a  comedy  mystery  thriller. 
It's  the  kind  of  show  in  which  the  comedians, 
inventors  of  a  lie-detecting  machine,  get  them- 
selves mixed  up  with  a  terrorizing  murderer. 
As  love,  fun,  foolishness,  menacing  drama  and 
suspense  fulfill  their  allotted  functions,  the  two 
stumble  into  a  solution  that  makes  them  big 
shot  crime  detectors. 

The  yarn  is  an  original  by  Stuart  Palmer, 
whose  specialty  is  comedy  mystery  stories,  as 
attested  by  such  pictures  as  "Murder  on  the 
Blackboard"  and  the  current  "Murder  on  a 
Honeymoon."  The  screen  play  is  by  Al  Boas- 
berg,  whose  adaptability  to  comedy  is  well 
known,  his  flair  for  combining  it  with  mystery 
and  thrill  is  demonstrated  by  his  screen  play  of 
"Murder  in  the  Private  Car,"  and  Fred  Guiol, 
who  collaborated  on  "Kentucky  Kernels."  Di- 
rection is  by  George  Stevens,  who  also  made 
"Kentucky  Kernels,"  the  latest  W  &  W  pic- 
ture. 

Straight  comedy  romance,  plus  mystery,  the 
production  completely  ignores  the  music  and 
dancing  which  marked  the  early  Wheeler  and 
Woolsey  pictures.  Production  values  which  con- 
trast the  theme  motivation  are  such  as  should 
cause  the  creation  of  much  unique  exploitation, 
particularly  the  prominence  which  is  given  the 
"lie-detector." 

The  support  includes  Fred  Keating,  seen  in 
"The  Captain  Hates  the  Sea" ;  Betty  Grable, 
Erik  Rhodes,  Evelyn  Brent,  Sleep  'n'  Eat,  Hale 
Hamilton  and  Williams  Wells. 


MEN  ON  HER  MIND 

Warner 

This  production,  adapted  from  the  stage  play 
"Outcast,"  is  a  gripping  and  powerful  dramatic 
romance-  It  seems  to  be  made  to  order  for  its 
star,  Bette  Davis,  whose  work  in  the  similarly 
atmosphered  "Of  Human  Bondage"  made  her 
one  of  1934's  most  talked  about  artists.  The 
story  is  that  of  an  ordinary  girl  who  becomes 
associated  with  a  disappointed-in-marriage  so- 
cialite, and  marries  him.  When  circumstances 
beyond  her  control  threatens  to  separate  them 
she  fights  to  save  him  from  the  gutter.  The 
story  promises  tense  drama,  embellished  with 
sharp  irony  that  accents  its  humanness  yet 
balances  its  motivating  quality  with  bright  com- 
edy. 

The  screen  play  is  by  Charles  Kenyon,  whose 
adaptability  to  this  kind  of  dramatic  entertain- 
ment is  demonstrated  by  "Doctor  Monica"  and 
"The  Firebird."  It  is  directed  by  Alfred  E. 
Green,  maker  of  "Sweet  Music,"  but  also  ex- 
perienced in  handling  more  serious  dramatic 
material,  as  is  evidenced  by  "Housewife," 
which  also  starred  Miss  Davis ;  "A  Lost  Lady" 
and  "Side  Streets." 

Ian  Hunter,  noted  on  both  stage  and  screen, 
is  the  man  for  whom  Miss  Davis  fights  not 
only  to  hold  him  for  herself,  but  to  regenerate 


him.  The  supporting  cast  presents  Katherine 
Alexander  in  the  role  of  the  jilting  woman, 
who,  after  her  unsuccessful  marriage  to  Colin 
Clive,  tries  to  win  Hunter  again.  John  El- 
dredge  and  Philip  Reed,  both  of  whom  have 
been  seen  in  several  recent  Warner  productions, 
are  club  men  friends  of  Hunters.  While  the 
drama  of  the  story  evolves  around  this  group, 
its  comedy  features  Alison  Skipworth. 

The  nature  of  the  story  and  the  personality 
it  heroizes  loom  as  the  dominating  selling 
angles.  Naturally  sophisticated  in  tenor,  it  is 
potentially  an  adult  attraction  which  calls  for 
the  type  of  publicity  essential  to  a  seriously 
toned  problem  play. 


AGE  OF  INDISCRETION 

MGM 

Although  the  title  naturally  suggests  a  flam- 
ing youth  or  otherwise  sophisticated  entertain- 
ment, this  producion  is  acually  a  drama.  Its 
story  is  built  upon  a  unique  situation  and  rela- 
tive reaction.  A  man,  whose  wife  divorced  him 
that  she  might  marry  another  who  could  pro- 
vide greater  luxuries,  is  found  by  his  ex-mother- 
in-law  in  a  secluded  mountain  cabin  in  the 
company  of  his  own  son  and  his  very  appealing 
secretary.  The  elderly  lady,  using  that  situa- 
tion to  prove  that  her  grandson  is  not  being 
brought  up  under  the  proper  surroundings,  uses 
it  to  evolve  all  the  romance,  drama  and  human 
interest  appeal  attached  to  gaining  custody  of 
the  child. 

The  story  and  screen  play  are  originals  by 
Leon  Gordon,  who  collaborated  on  "Trans- 
atlantic Merry  Go  Round,"  and  "Tarzan  and 
His  Mate"  and  supplied  the  dialogue  for  "Se- 
quoia." Direction  is  by  Emil  Ludwig,  who  made 
"Man  Who  Reclaimed  His  Head"  and  "Friends 
of  Mr.  Sweeney." 

In  the  story.  May  Robson,  currently  in 
"Vanessa"  and  "Strangers  All,"  will  be  seen 
as  the  grandmother  who  is  the  cause  of  all  the 
excitement.  Paul  Lukas,  now  in  "The  Casino 
Murder  Case,"  is  the  man  and  David  Jack  Holt 
is  his  son.  The  roles  of  the  secretary  is  played 
by  Madge  Evans,  currently  in  "David  Copper- 
field,"  and  Helen  Vinson,  now  in  "Private 
Worlds,  is  the  luxury-craving  ex-wife.  Sup- 
porting roles  are  filled  by  Ralph  Forbes,  Beryl 
Mercer,  Shirley  Ross,  Minor  Watson,  Walter 
Walker,  Christian  Rub,  Catherine  Doucet  and 
Paul  Stanton.  Also  included  is  the  little  white- 
haired  dog,  Flush,  seen  in  many  pictures. 

Naturally  serious  in  tone,  situations  in  the 
story  are  potentially  promising  of  comedy.  This 
element  is  not  to  be  overlooked,  as  in  the  ex- 
ploitation of  so-termed  problem  plays  it  is  quite 
often  difficult  to  create  a  campaign  calculated 
to  interest  the  greatest  number  of  patrons  when 
the  more  dramatic  elements  are  concentrated 
upon  solely. 


DOUBTING  THOMAS 

Fox 

This  feature  is  adapted  from  the  stage  suc- 
cess, "Torch  Bearers."  It  is  essentially  novel 
comedy.  Mainly  it  deals  with  the  Little  The- 
atre movement  and  through  Will  Rogers  and 
Billie  Burke  as  his  wife,  the  hilarious  events 
that  cause  women  who  participate  to  believe 
they  are  the  artists  for  whom  the  whole  world 
is  waiting.  It  also  treats  of  the  troubles  that 
come  to  a  husband  who  not  only  has  to  endure 
such  a  domestic  condition,  but  must  attend  the 
shows  and  then  find  a  way  to  blast  them  out  of 
his  life. 

The  screen  play  is  by  William  Conselman, 
whose  most  recent  credit  is  the  adaptation  of 
"The  Little  Colonel."  Direction  is  by  David 
Butler,  previously  associated  with  Rogers  as 
director  of  "Handy  Andy,"  and  maker  of  the 


last  two  Shirley  Temple  pictures,  "Bright  Eyes" 
and  "Little  Colonel." 

Supporting  Rogers  in  the  cast,  Billie  Burke 
will  be  seen  as  the  stage-struck  wife.  Her 
known  acting  technique  should  enable  her  to 
fill  the  role  with  plenty  to  spare.  There  are 
many  familiar  screen  names  in  the  cast,  and 
there  are  also  quite  a  few  who  are  new  to  mo- 
tion picture  theatre  goers.  Among  the  new 
names  are  Andrew  Tombes,  noted  stage  actor, 
and  Helen  Flint,  who  are  making  their  screen 
debuts.  Among  the  more  familiar  personalities 
are  Alison  Skipworth,  Sterling  Holloway,  with 
Rogers  in  "Life  Begins  at  40"  ;  Frank  Patrick, 
currently  in  "Mississippi" ;  Frank  Albertson, 
Francis  Grant,  another  newcomer ;  George  E. 
Cooper,  Helen  Freeman,  seen  in  "Nana"  and 
"Count  of  Monte  Cristo" ;  Ruth  Warren, 
Johnny  Arthur,  T.  Roy  Barnes,  John  Qualen, 
Fred  Wallace  and  William  Benedict. 

As  every  town  has  its  Little  Theatre  move- 
ment, the  show  brings  a  novel  premise  for 
comedy  exploitation  that  in  many  instances  may 
prove  a  more  efficient  business  builder  than  cast 
names,  even  though  Rogers  is  starred.  At  this 
time,  it  looks  as  if  it  should  inspire  much  new 
showmanship. 


THE  GLASS  KEY 

VaramoJint 

As  the  production  pendulum  gradually  swings 
back  towards  the  gangster  atmosphered  brand 
of  entertainment,  this  production  is  one  of  the 
few  to  revive  all  the  qualities  that  made  the 
original  gangster  films  so  popular.  This  story 
is  vivid  drama  and  romance.  It  was  written  by 
Dashiell  Hammett,  author  of  "The  Thin  Man." 
The  screen  play  is  by  Kathryn  Scola  and  Kubec 
Glasmon.  It  is  being  directed  by  Frank  Tuttle, 
who  did  "Here  Is  My  Heart,"  "All  the  King's 
Horses"  and  many  other  successful  attractions. 

George  Raft  is  featured  in  the  lead  in  a  role 
that  should  be  glove  fitting.  As  a  gambler  and 
first  lieutenant  of  the  city's  political  boss  and 
chief  racketeer,  he  is  called  upon  to  solve  a 
murder  for  which  his  boss,  Edward  Arnold, 
has  been  framed.  The  situation,  charged  with 
menace  and  dynamite,  is  complicated  by  the 
fact  that  the  framed  man  is  in  love  with  the 
dead  man's  sister  and  dares  not  name  the  killer. 
Only  Raft's  ingenuity  and  ability  to  fight  gang- 
sters with  their  own  weapons  enables  him  to 
exonerate  his  boss  and  pal. 

Though  romantic  interest  is  not  of  very  great 
importance,  the  girl  who  appears  as  the  woman 
in  the  case,  Rosaline  Culli,  is  new  to  picture 
audiences  and  seems  to  possess  in  looks  and 
personality  those  qualities  which  make  for  popu- 
larity. All  others  are  familiar  names.  Included 
are  Charles  Richman,  Claire  Dodd,  Robert 
Gleckler,  Gwinn  Williams,  Tammany  Young, 
Ray  Milland  (one  of  the  trio  in  "Gilded  Lily"), 
Harry  Tyler,  Dean  Jagger,  Emma  Dunn,  Frank 
Marlowe,  Pat  Moriarty  and  Herbert  Evans. 

With  the  type  of  story  and  lead  names  pro- 
viding a  basis  for  graphic  exploitation  com- 
pletely identifying  the  picture's  character,  the 
title  appears  to  be  of  unique  value  as  an  ex- 
ploitation asset. 

Paramount  Names  Six 
Potential  Screen  Stars 

The  Paramount  studio  on  the  Coast  has 
named  six  young  feminine  players  who  are 
adjudged  most  likely  to  achieve  stardom  on 
the  screen.  They  were  chosen  by  vote  of 
280  stars,  executives,  directors  and  writers. 
The  six  are  Grace  Bradley,  Ann  Sheridan, 
Gertrude  Michael,  Wendy  Barrie,  Gail 
Patrick  and  Katherine  DeMille. 


4  Days 
April  1-4 

The  Show  of  Showmanship 
will  be  on  view  at  the 
Motion  Picture  Club 
1560  Broadway,  New  York 
for  four  days  starting  Mon- 
day, April  1  and  ending 
Thursday,  April  4.  Doors 
open  from  10  AM  to  10  PM 


^OWMANSHIP 

See  the  Quigley  Award  Entries  from  ail  parts 
of  the  world  •  advertising  and  exploitation 
campaigns  from  managers  in  the  field  •  re- 
productions of  ticket-selling  fronts  and 
lobby  displays  •  original  poster  and  lobby 
designs  •  novelties  and  accessories  •  na- 
tional tie-ups,  including  window  displays, 
national  magazine  advertising  and  acces- 
sories •  stills  •  styles  in  newspaper  adver- 
tising •  engraving  processes  •  lithographs 
•  short  subject  exploitation  •  national 
advertising   •   press  books   •  ideas 

sponsored  by 

MOTION  PICTURE  HERALD 
ROUND  TABLE  CLUB 

MOTION    PICTURE    CLUB    1560  Broadway,  New  York 


54  MOTION    KICTURE    HERALD  !v1arcTi30,  1935 


THE  HOLLYWOOD  SCENE 


by  VICTOR  M.  SHAPIRO 
Hollywood  Correspondent 

AFTER  the  production  lull  of  the  last 
few  weeks,  big  pictures,  films  of  real 
magnitude,  are  being  prepared  by  all 
studios  for  spring,  late  summer  and  early  fall 
release. 

Executives'  here,  having  been  apprised  of 
the  box-office  results  of  the  public  relations 
campaign,  are  applying  their  showmanship 
to  meet  the  demand,  as  evidenced  by  the  re- 
sponse to  "David  Copperfield"  and  "One 
Night  of  Love,"  and  are  inclining  their  out- 
put toward  classics  on  the  one  hand  and 
varied  musicals  on  the  other. 

Satisfied  in  its  own  composite  mind  that 
decency  can  be  made  to  pay,  and  that  the 
Legion  campaign  has  acted  as  a  leverage  on 
producers,  directors'  and  writers,  to  be  more 
thoughtful  and  resourceful  in  their  screen 
expressions,  Hollywood  has  buckled  down 
with  renewed  fervor  to  the  exigencies  of  the 
situation.  The  following  list  of  forthcoming 
films  attests  what  is  in  store  for  showmen : 

METRO-GOLDWYN-MAYER 

"Mutiny  on  the  Bounty" — Clark  Gable,  Charles 
Laughfon  and  Robert  Montgomery. 

"China  Seas" — Wallace  Beery,  Clark  Gable  and 
Jean  Harlow. 

"Anna  Karenina"  (Leo  Tolstoy  story) — Greta  Gar- 
bo  and  Fredric  March. 

"Broadway  Melody  1935" — Jack  Benny. 

"The  Great  Ziegfeld" — Cast  to  be  determined. 

"Rise  and  Shine"  (Jerome  Kern  music) — ^Ted  Lewis 
and  Pinky  Tomlin. 

FOX  FILM 

"In  Old  Kentucky"— Will  Rogers. 
"Farewell  to  Fifth  Avenue,"  by  Cornelius  Vander- 
bilt,  Jr. 

"George  White's  1935  Scandals" — Cast  to  be  an- 
nounced. 

"Way  Down  East" — Janet  Gaynor. 
"Curly  Top" — Shirley  Temple. 

"Dante's  Inferno" — Spencer  Tracey  and  Claire 
Trevor. 

WARNER  BROS.-FIRST  NATIONAL 

"Captain  Blood"  (Rafael  Sabatini  story) — Robert 

Donat  and  Jean  Muir. 
"Black  Fury"- — Paul  Muni. 

"Napoleon" — Edward  G.  Robinson  and  Bette  Davis. 
"Oil  for  the  Lamps  of  China" — Pat  O'Brien  and 

Josephine  Hutchinson. 
"A  Midsummer  Night's  Dream"  (Shakespeare-Max 

Reinhardt) — All-star  cast. 
"Page  Miss  Glory" — Marion  Davies. 

PARAMOUNT 

"So  Red  the  Rose" — Pauline  Lord. 

"The  Crusades"  (Cecil  B.  DeMille) — Loretta  Young 

and  Henry  Wilcoxon. 
"Big  Broadcast  of  1935" — Jack  Oakie. 
"Milky  Way"— Harold  Lloyd. 

"Paris  in  Spring" — Mary  Ellis,  Tullio  Carminati,  Ida 
Lupino. 

"Two  for  Tonight" — Bing  Crosby,  Joan  Bennett. 
"Accent  on  Youth" — Sylvia  Sidney  and  Herbert 
Marshall. 

20TH  CENTURY 

"Cardinal  Richelieu" — George  Arliss. 
"Les  Miserables" — Fredric  March,  Chas.  Laughton. 
"Call  of  the  Wild"— Clark  Gable,  Loretta  Young, 
Jack  Oakie. 

UNIVERSAL 

"Bride  of  Frankenstein" — Karloff. 
"Diamond  Jim"  (Life  of  Jim  Brady) — Edward  Ar- 
nold. 


MANY  BIG  PICTURES  FORTHCOMING  SOON 
THREE  FEATURES,  TEN  ACTS,  FOR  ONE  DIME 
SEES  CARTOON  SPROUTING,  BUT  TO  BE  SHORT 
SEVEN  PICTURES  START,  SEVEN  ARE  FINISHED 


"Sutter's  Gold"  ('49  California  gold  rush)— Cast 
to  be  determined. 

RADIO 

"Star  of  Midnight" — Ginger  Rogers  and  William 
Powell. 

"Becky  Sharp"   (Thackery  story  in  Technicolor)  — 

Miriam  Hopkins,  Frances  Dee. 
"She"  (Sir  Rider  Haggard  story) — Helen  Gahagan. 
"The  Informer" — Victor  McLaglen. 
"Last  Days  of  Pompeii"  (Cooper  and  Schoedsack) 
"Mr.  Grant"  (Biography  of  Ulysses  S.  Grant) — 

Cast  to  be  announced. 
"Break  of  Hearts" — Katharine  Hepburn. 

MONOGRAM: 

"Keeper   of   the    Bees"    (Gene    Stratton  Porter 

story) — Cast  to  be  named. 
"The    Hoosier    Schoolmaster"  —  Norman  Foster, 

Charlotte  Henry. 

COLUMBIA 

"Love  Me  Forever"  (Romance  drama  with  music) 
Grace  Moore  and  Leo  Carrillo. 

V 

3  Features,  10  Acts  for  a  Dime 

While  nothing  in  the  code  prevents  an  ex- 
hibitor from  running  triple  bills,  Hollywood 
neighborhod  houses,  like  the  Vermont,  periodi- 
cally break  forth  with  a  gesture  of  philan- 
thropy and  give  their  customers  fifteen  or  eight- 
een reels  of  feature  productions,  a  newsreel, 
travelogue  and  a  cartoon. 

In  down  town  Los  Angeles,  many  of  the 
Main  Street  honky-tonks  are  even  more  gener- 
ous. For  ten  cents,  three  features  and  ten 
vaudeville  acts  are  donated,  with  many  park- 
bench  sleepers  taking  advantage  of  a  soft  seat 
to  sleep  in — all  for  a  dime. 

V 

Cartoon  "Sprouting" 

The  cartoon  is  "just  starting  to  sprout  in  a 
manner  like  that  of  the  motion  picture  itself  in 
the  past  20  years,"  says  Leon  Schlesinger,  who 
produces  "Looney  Tunes"  and  "Merrie  Melo- 
dies" for  distribution  by  Warner  Brothers. 

Mr.  Schlesinger,  who  produces  thirteen  black 
and  white  cartoons  and  thirteen  color  animateds 
each  year,  is  definitely  switching  to  the  tri- 
color process  for  next  year's  program.  There 
is  also  a  possibility  that  he  will  eliminate  the 
black  and  white  entirely. 

One-reel  operas  may  also  make  their  debut  in 
animated  form  from  the  Schlesinger  studios  next 
year.  The  producer  is  now  working  on  several 
ideas  using  "Carmen"  as  his  trial  horse.  He 
is  considering  three  musical  cartoon  specials. 
In  addition,  he  is  closing  a  deal  for  a  well- 
known  comic  strip. 

V 

News  Flashes 

First  Division  Productions  is  soon  to  ernbark 
on  a  program  of  feature  production,  with  a 
quiet  lining  up  of  a  roster  of  personalities  of  the 
higher  bracket  to  break  into  the  first  string 
houses. 

*  *  * 

J.  J.  McCarthy  has  returned  to  his  home  of- 
fice after  spending  three  weeks  on  the  Coast 
conferring  with  studio  publicity  executives  to 
clean  up  publicity  emanating  from  Hollywood 
correspondents.  Many  of  the  sensation  seeking 
writers  have  been  called  for  an  accounting  and 
warned  that  a  continuance  of  such  practice 
would  mean  elimination  from  the  Hays  office 
credential  lists. 

*  *  * 

To  assure  the  maximum  of  authenticity  in  the 
present  cycle  of  films  depicting  the  activities  of 


federal  operatives  against  crime,  the  Motion 
Picture  Producers  Association  has  obtained  the 
services  of  Thomas  F.  Cullen  to  act  as  an  ad- 
visor on  all  technical  matters  concerning  these 
operations.  Mr.  Cullen  is  special  agent  in 
charge  of  the  New  York  Division  of  the  De- 
partment of  Justice  and  at  present  is  on  leave 
of  absence. 

^     ^  H< 

The  week's  production  schedule  balanced. 
Seven  new  pictures  went  in  and  seven  were 
completed.  With  three,  MGM  dominated  in  the 
new  work  group.  Both  Radio  and  Warner 
finished  two  pictures. 

All  the  MGMl  quota  are  potentially  big  pic- 
tures, because  of  story  or  cast  values  and  topi- 
cal interest.  In  two  of  them  many  of  the  com- 
pany's foremost  stars  will  appear.  The  third  is 
one  of  the  current  cycle  dealing  with  the  activi- 
ties of  the  Department  of  Justice  in  its  war 
against  crime. 

In  "Anna  Karenina,"  the  several  times  filmed 
classic  by  Count  Leo  Tolstoy,  which  Clarence 
Brown  will  direct,  the  cast  is  headed  by  Greta 
Garbo  and  Fredric  March.  In  support  are  Basil 
Rathbone,  Maureen  O' Sullivan,  Freddie  Bar- 
tholomew, May  Robson,  Reginald  Denny,  Regi- 
nald Owen  and  Phoebe  Foster.  Long  in  prepar- 
ation, actual  shooting  started  on  "China  Seas." 
An  Irving  Thalberg  production,  Wallace  Beery, 
Clark  Gable  and  Jean  Harlow  are  teamed  in 
the  leads.  Others  who  will  be  seen  are  Lewis 
Stone,  Rosalind  Russell,  Dudley  Digges,  Will- 
iam Henry,  Edward  Brophy,  Lillian  Bond,  Ak- 
im  Tamiroff  and  Robert  Benchley.  Tay  G.ar- 
nett  directs.  The  third  of  the  new  trio,  "Pub- 
lic Hero  No.  1,"  a  "G  man"  story,  will  present 
Chester  Morris,  Joseph  Calleia,  Jean  Arthur, 
Paul  Hurst,  Bert  Roach,  Lewis  Stone. 

The  new  Columbia,  "Love  Me  Forever,"  is  a 
musical  drama  romance  starring  Grace  M<bore. 
The  cast  includes  Leo  Carrillo,  Robert  Allen. 

Radio  began  work  on  "Hooray  for  Love."  A 
romantic  comedy  with  music,  which  Walter 
Lang  is  directing,  the  cast  will  feature  Gene 
Raymond,   Pert   Kelton,   Arthur  Byron. 

With  Sally  Filers  starred.  Universal  started 
"Alias  Mary  Dow."  Kurt  Neumann  is  direct- 
ing. 

At  Mascot,  camera  work  started  on  "One 
Frightened  Night,"  a  dramatic  thriller. 

"Becky  Sharp"  Completed 

After  many  weeks  in  production.  Pioneer 
Pictures  (Radio)  completed  "Becky  Sharp." 
Entirely  in  Technicolor,  the  William  Thackeray 
classic,  directed  by  Rouben  Mamoulian,  will 
feature  a  large  cast.  Among  the  more  impor- 
tant principals  are  Miriam  Hopkins,  Frances 
Dee,  Cedric  Hardwicke,  Billie  Burke,  Alison 
Skipworth,  Allen  Mowbray,  Nigel  Bruce,  Colin 
Tapley,  G.  P.  Huntley,  Jr.,  William  Ravers- 
ham,  Charles  Richman  and  William  Stack.  Also 
completed  was  "Village  Tale,"  a  drama  of  small 
town  folk,  directed  by  John  Cromwell. 

Warner  finished  shooting  on  "Oil  for  the 
Lamps  of  China."  The  story  is  a  best  seller 
by  Alice  Hobart  and  was  directed  by  Mervyn 
LeRoy.  Pat  O'Brien  and  Josephine  Hutchin- 
son are  starred  "Dinky"  was  also  moved  to  the 
cutting  rooms. 

"Party  Wire"  was  completed  at  Columbia. 
A  drama  directed  by  Erie  Kenton,  the  cast  feat- 
ures Jean  Arthur,  Victor  Jory,  Helen  Lowell. 

First  Division  completed  the  second  Hoot 
Gibson,  "Rainbow's  End,"  a  western.  The  cast 
lists  June  Gale,  Charles  Hill,  Stanley  Blystone. 

Paramount  completed  "Paris  in  Spring,"  a 
comedy  romance  drama  with  music,  directed  by 
Lewis  Milestone. 


March    3  0,     19  3  5 


MOTION    PICTURE  HERALD 


55 


illllllli 


TECHN€L€GICAL 


TALKS  WITH  MANAGERS  ON  PROJECTION 


By  F.  H.  RICHARDSON 


We  have  already  talked  about  the  neces- 
sity for  managers  being  able  to  determine 
whether  or  no  there  is  a  competent  man  in 
charge  of  projection  in  the  theatre.  Let  us 
now  talk  about  screens. 

The  selection  of  screens  is  a  matter  de-^ 
manding  expert  knowledge.  One  should 
examine  carefully  into  the  matter  of  sup- 
port for  the  screen  surface.  Is  it  of  a  kind 
that  seems  likely  to  remain  in  good  condi- 
tion over  a  considerable  period  of  time? 
Is  it  of  a  kind  that  can  be  stretched  tightly 
and  perfectly  flat?  Is  it  a  backing  that  will 
not  harden  quickly  so  that  it  cannot  be  re- 
stretched  in  case  it  becomes  necessary.  Is 
it  sufficiently  heavy  to  "stand  the  gaff"  of 
re-stretching  after  a  period  of  use. 

What  percentage  of  the  total  surface  is 
removed  in  the  process  of  perforation?  If 
much  surface  is  cut  out  by  perforation, 
sound  will  be  the  gainer,  but  there  will  be 
excessive  loss  of  light.  If  the  contrary, 
then  the  loss  and  gain  will  be  reversed. 
There  must  be  a  happy  medium.  Here 
are  two  letters  which  I  advise  you  to  con- 
sider carefully.  One  is  from  RCA,  through 
Mr.  J.  E.  Volkmann,  who  says,  "The  amount 
of  sound  a  perforated  screen  will  transmit 
is  very  largely  governed  by  the  thickness 
of  the  screen  itself,  as  well  as  by  the  size 
or  aggregate  area  of  its  perforations  or 
openings ;  the  thinner  the  screen  and  the 
greater  the  perforated  area  per  unit  area, 
the  greater  will  be  the  percentage  of  sound 
transmitted.  In  general,  the  diameter  of  the 
openings  should  be  several  times  the  thick- 
ness of  the  screen. 

"Of  the  screens  we  have  tested  in  ac- 
cordance with  S.  M.  P.  E.  standards,^  and 
have  approved  for  use  with  our  equipment, 
we  find  them  to  have  a  minimum  percen- 
tage of  open  area  of  six  to  12  per  cent,  and 
a  variable  thickness  of  0.012  to  0.024  of  an 
inch,  the  smaller  values  of  thickness  obtain- 
ing for  the  smaller  values  of  percentage 
open  area." 

The  other  statement  comes  from  Erpi, 
through  Mr.  S.  K.  Wolf,  acoustics  engineer 
and  former  chairman  of  the  screens  com- 
mittee of  the  S.  M.  P.  E.    He  says: 

"The  sound  transmitting  properties  of 
perforated  screens  are  interdependent  upon 
both  the  number  and  size  of  the  perfora- 
tions and  the  thickness  of  the  screen  itself. 
In  general,  the  thicker  the  screen  the  greater 
must  be  the  perforated  area.  The  exact 
optimum  percentage  of  open  space  is  there- 
fore indefinite,  being  as  before  stated,  de- 
pendent upon  the  thickness  of  the  screen. 

"For  example,  a  screen  the  thickness  of 
which  is  0.013  of  an  inch,  having  an  ag- 
gregate open  area  of  five  per  cent,  is  quite 
satisfactory,  whereas  a  screen  0.030  of  an 
inch  thick  and  the  same  percentage  of  open 
area  would  probably  be  found  unsatisfactory. 

"Measurements  made  some  while  ago  on 


one  commercial  screen  indicated  that  an 
open  area  of  about  eight  and  one  half  per 
cent  not  only  was  satisfactory  with  regard 
to  its  acoustic  performance,  but  also  did  not 
cause  too  much  loss  of  light.  On  the  other 
hand  the  same  screen  material  having  per- 
forations amounting,  in  total,  to  six  per 
cent,  was  acoustically  unsatisfactory.  Small- 
er open  areas  are  possible  on  certain  types 
of  screens.  On  the  other  hand,  larger  areas 
will  be  found  necessary  for  screens  of  other 
types.  Commercial  screens  vary  from  about 
six  per  cent  to  as  much  as  15  per  cent  open 
area.  The  latter  figure  seems  extreme  and 
probably  might,  with  more  careful  design 
be  materially  reduced  without  seriously 
damaging  the  acoustical  performance." 

From  this  it  will  be  observed  that  care 
should  be  exercised  in  the  matter  of  per- 
forated area.  You  may  observe  that  thin 
screens  are  more  efficient  in  the  matter  of 
light  (electric  power)  than  thick  ones.  How- 
ever, there  must  be  sufficient  thickness  to 
insure  stability,  which  of  course  means  in 
general  that  small  screens  may  be  thinner 
than  large  ones — another  argument  in  favor 
of  projecting  the  smallest  picture  compatible 
with  seating  space  dimensions. 

And  now  let  us  examine  into  another  im- 
portant phase  of  screen  performance,  name- 
ly reflection  power  when  new  as  compared 
with  reflection  power  after  a  more  or  less 
extended  period  of  use.  How  often  do  you 
test  the  reflection  power  of  your  screen  and 
how  do  you  do  it? 

There  is  always  a  drop-off  in  reflection 
power,  but  its  rapidity  of  course  varies  with 
the  impurity  of  the  air.  It  is  very  rapid  in 
cities  where  the  air  is  laden  with  smoke, 
dust  and  other  impurities.  It  is  quite  slow, 
by  comparison,  where  the  air  is  pure.  It 
occurs  much  more  rapidly  in  theatres  where 
smoking  is  permitted  and  indulged  in  to  a 
considerable  extent.  However,  regardless 
of  everything,  there  always  is  a  drop-off 
in  reflection  power  as  time  passes. 

There  is  no  practical  way  in  which  thea- 
tre men  can  make  periodical  tests  that  will 
determine  the  matter  exactly.  However,  it 
is  quite  possible  to  make  very  inexpensive 
tests,  in  two  dif¥erent  ways,  that  will  de- 
termine the  matter  with  quite  sufficient  ac- 
curacy for  all  practical  purposes. 

First,  when  a  new  screen  is  purchased, 
oblige  the  manufacturer  to  provide  you  with 
a  strip  of  the  same  surface,  preferably  one 
foot  wide  by  two  feet  long  though  half  the 
width  can  be  made  to  serve.  On  the  re- 
flection surface  of  this  strip  lay  a  sheet  of 
ordinary  blotting  paper  and  wrap  the  whole 
in  several  yards  of  cheap  black  cloth,  stor- 
ing the  whole  on  a  shelf  in  a  dry,  dark 
closet.  If  this  be  carefully  done,  this  strip 
should  suffer  no  appreciable  change  in  at 
least  one  year. 

When  you  wish  to  test  the  screen  ^  suspend 


the  sample  on  the  screen,  project  the  white 
light  and  note  the  result.  Whatever  differ- 
ence there  may  be  in  brilliance  as  between 
the  screen  surface  and  sample  represents 
loss  in  reflection  power  and  therefore  wasted 
light — wasted  electric  power. 

The  other  way  is  even  less  trouble.  In- 
stead of  a  sample  of  the  screen  surface,  a 
sheet  of  plain  white  paper  of  good  quality, 
such  as  may  be  had  for  a  few  cents  at  most 
any  stationer's,  is  employed,  a  fresh  sheet 
being  obtained  for  each  test.  The  only 
fault  with  this  is  that  it  may  show  con- 
siderably higher  reflection  power  than  will 
the  new  screen  surface.  This  may  be  tested 
immediately  after  the  screen  is  installed,  at 
which  time  a  kind  of  paper  that  will  most 
nearly  match  the  screen  surface  brilliancy 
mav  be  selected. 


Pittsburgh  Variety  Club 
To  Hold  Annual  Benefit 

The  Pittsburgh  Variety  Club  will  hold  its 
sixth  annual  benefit  show  on  the  evening  of 
March  31  at  the  Stanely  theatre.  It  is  re- 
ported by  George  D.  Tyson,  chairman  of  the 
publicity  committee,  that  there  are  compara- 
tively few  tickets  still  unsold.  Mike  Cullen 
is  general  chairman  of  the  affair. 

The  talent  for  the  stage  show  is  being  ar- 
ranged by  John  H.  Harris  and  his  entertain- 
ment committee.  Among  the  personalities 
scheduled  to  appear  are  Bob  Crosby,  brother 
of  Bing  Crosby;  Dorsey  Brothers,  NBC 
orchestra ;  Dave  Appolon  and  his  orchestra 
and  revue  and  other  acts  brought  in  from 
New  York  and  Chicago. 


Erpi  Transfers  Hodges  and 
Hickson  to  Coast  Staffs 

A.  J.  Hodges,  operating  superintendent 
of  the  northeast  division  for  Electrical  Re- 
search Products,  was  promoted  this  week 
to  chief  technical  and  commercial  contact 
with  the  major  studio  licensees  at  Holly- 
wood. 

D.  C.  Hickson,  who  has  held  a  similar 
position  in  the  southeast  division,  left  New 
York  with  Mr.  Hodges  Wednesday  by  plane 
for  the  coast  to  become  an  executive  with 
the  company's  General  Service  Studios. 


Vonderschmitt  Circuit 
Opens  New  Indiana  House 

Vonderschmitt  Amusement  Enterprises. 
Indiana  circuit,  last  week  opened  its  seventh 
theatre  in  the  state,  the  Vanity  at  Craw- 
fordsville,  where  the  circuit  also  operates 
the  Strand.  The  new  theatre,  modernistic  in 
design,  seats  500.  The  walls  have  been  cov- 
ered with  acoustically  treated  board.  Guy 
Hammit,  manager  of  the  Strand,  will  man- 
age the  Vanity  as  well. 


56 


MOTION    PICTURE  HERALD 


March    30,  1935 


FOSTER  ATTENDANCE 


India  jr  Need  Is 
Technical  Skill 


FILM  COUNCILS 
IN  20  SCHOOLS 

To  THE  Editor  of  the  Herald: 

Perhaps  it  will  be  of  interest  to  you  to 
know  what  is  being  done  in  New  Haven  to 
promote  greater  appreciation  of  good  films 
as  well  as  greater  patronage  of  the  better 
kind  of  entertainment. 

Last  fall  at  the  invitation  of  the  Better 
Films  Council  we  organized  about  twenty 
school  motion  picture  councils  in  as  many 
schools  throughout  the  city.  These  councils 
are  composed  of  pupils  of  the  schools  in- 
terested in  moving  pictures.  Each  council 
elected  a  leader  and  requested  the  appoint- 
ment by  the  principal  of  a  faculty  adviser. 
These  councils  have  weekly  meetings  at 
which  they  read  papers,  discuss  current  mo- 
tion picture  values,  and  study  motion  pic- 
tures production  and  direction.  Outlines 
published  by  the  National  Council  of  Teach- 
ers of  English  are  used  in  council  meetings 
and  in  regular  class  work. 

Another  phase  of  the  work  covers  the 
preview  of  coming  pictures.  Each  week 
on  Thursday  afternoon  a  picture  is  shown 
at  one  of  our  junior  high  schools.  This 
picture  has  been  selected  from  all  the  show- 
ings to  appear  the  following  week  in  our 
local  theatres  as  being  the  best  available. 
Motion  picture  council  leaders,  faculty  ad- 
visers, leaders  of  all  the  civic,  social,  recrea- 
tional, school,  and  church  groups  of  the  city 
are  invited  to  attend  these  previews.  In- 
structions are  given  to  the  group  of  pre- 
viewers  that  if  they  approve  of  the  picture, 
it  is  their  duty  to  report  back  to  the  group 
which  they  represent  that  it  is  a  good  pic- 
ture and  should  be  patronized  by  the  group. 
In  this  way  we  reach  practically  every 
group  in  the  city.  We  feel  certain  that  this 
method  of  advertising  good  pictures  has 
been  highly  effective.  At  least  we  are  cer- 
tain that  practically  every  member  of  our 
better  social  groups  is  made  to  realize  that 
our  theatres  are  presenting  worth  while  en- 
tertainment. 

We  do  not  set  ourselves  up  as  censor- 
ship bodies.  We  encourage  attendance  at 
the  better  shows  without  saying  anything 
about  the  others. 

As  a  result  of  our  efforts  thus  far  we 
know  that  an  increasing  number  of  people 
are  attending  our  local  theatres,  who  have 
not  been  regular  patrons  of  the  pictures  in 
the  past.  Parents  who  have  not  attended 
picture  shows  in  the  past  and  have  not  al- 
lowed their  children  to  attend  are  now  at- 
tending the  pictures  we  sponsor  and  are 
sending  their  children  to  these  selected  pic- 
tures. 

I  hope  this  information  will  be  of  inter- 
est to  you. — A.  F.  Mayhew,  Assistant  Su- 
perintendent of  Schools,  The  Board  of  Edu- 
cation, New  Haven,  Conn. 


EXHIBITOR  WARNS 
OF  TRAILER  SCHEME 

To  THE  Editor  of  the  Herald  : 

In  order  to  warn  other  exhibitors,  may  I 
give  you  the  following  experience. 

Two  men  called  on  me  several  weks  ago, 
and  put  up  a  proposition  to  make  a 
merchant's  advertising  trailer.  Each 
merchant  interested  was  to  pay  $3.75  for 
his  name  and  a  ten-word  slogan  to  appear 


FOUND  HERALD 
BEST  TEACHER 

Twenty  years  ago  I  op- 
erated a  picture  theatre  after 
the  doctor  told  me  to  get  out 
of  the  newspaper  game  for  a 
time.  The  smell  of  ink,  how- 
ever, proved  too  much  and  I 
drifted  back  and  have  remained 
there  ever  since.  Recently  the 
opportunity  presented  itself  to 
purchase  the  local  theatre,  and 
I  found  I  had  to  learn  the 
motion  picture  language  over 
again.  In  this,  the  Herald  has 
been  my  most  valued  instruc- 
tor, with  the  exhibitor  com- 
ments being  particularly  valu- 
able. 

Having  profited  to  such  an 
extent  from  your  magazine,  I 
feel  that  I  should  add  my  mite 
on  "What  the  Picture  Did  for 
Me".  I  will  make  it  a  point  to 
contribute  to  this  department 
in  the  future.— ROY  C.  IR- 
VINE, Ritz  Theatre,  Ritz- 
ville,  Wash. 


on  the  film.  There  were  to  be  two  merchants 
on  a  frame — in  other  words,  two  appearing 
on  the  screen  at  the  same  time,  one  in  the 
upper  half  of  the  frame,  and  the  other  in 
the  lower  half.  A  ghost  voice  was  to  give 
a  talk  about  patronizing  home  merchants, 
etc.  All  money  collected  by  these  men  was 
to  be  turned  over  to  me  and  when  checks 
were  used  they  were  to  be  made  payable  to 
the  theatre  or  me.  Then  I  was  to  divide  up 
the  money  in  this  way :  $20  to  the  film  com- 
pany making  the  print,  one-third  the  re- 
mainder to  the  theatre  for  screening  costs, 
and  two-thirds  to  the  salesmen.  I  agreed 
and  signed  the  screening  agreement.  Being 
busy  those  days  when  they  were  canvassing, 
and  unable  to  contact  them,  I  found  that 
they  had  collected  the  money,  and  left  town 
with  all  of  it.  I  received  a  letter  from  the 
nearest  town  that  they  had  not  done  so  well, 
that  the  trailer  would  be  on  time,  that  they 
would  see  me  the  following  Saturday,  and 
that  I  would  have  to  pass  my  profits  up  this 
time.  I  immediately  went  to  all  the  mer- 
chants and  had  them  stop  payments  on  the 
checks,  and  found  when  the  checks  started 
coming  back  in,  that  my  name  had  been 
used  for  endorsement,  and  that  all  receipts 
had  been  signed  with  my  name. 

'T  wrote  to  the  company  making  their 
film  and  found  they  had  not  turned  the  order 
in,  nor  did  they  know  the  weheabouts  of  the 
men.  So  it  looks  like  they  saw  a  chance  to 
be  dishonest,  and  took  it. — R.  M.  Thom- 
ASON,  Crystal  Theatre,  Ellis,  Kan. 


Actors,  directors  and  studio  equipment  in 
India  are  the  equal  of  those  to  be  found 
in  Western  Europe,  but  the  Indian  studios 
are  lacking  in  technicians  who  are  capable 
of  making  the  most,  in  results,  of  the  high 
grade  of  equipment  at  the  disposal  of  the 
studios,  in  the  opinion  of  Abdulla  Fazalbhoy, 
founder  of  India's  first  major  studio.  Film 
City,  Bombay,  on  his  return  to  Bombay  re- 
cently from  a  tour  of  Europe  and  the  United 
States. 

He  expressed  the  belief  that  there  is  a 
wide  field  for  16  mm.  apparatus  in  India, 
especially  for  the  education  of  the  country's 
mass  population,  and  foresaw  the  adoption 
of  the  method  by  the  educational  and  gov- 
ernmental authorities  of  the  country.  There 
has  been  a  gratifying  expansion  in  the 
Indian  film  industry,  said  Mr.  Fazalbhoy, 
and  most  of  the  major  studios  have  installed 
or  are  installing  the  most  modern  technical 
equipment.  The  result  is  the  improvement 
of  the  quality  of  Indian  productions,  and  the 
opening  of  a  vast  new  employment  field. 

Mr.  Fazalbhoy  noted  an  unusual  increase 
recently  in  the  number  of  film  houses  show- 
ing Indian  talking  films.  In  Bombay  sev- 
eral which  previously  showed  English  pic- 
tures have  turned  to  the  domestic  product. 
When  Indian  films  were  first  produced  only 
one  theatre  in  Bombay  exhibited  them,  but 
in  the  ensuing  four  years  22  theatres  have 
taken  Indian  films,  with  plans  set  for  three 
more.  A  new  development,  said  Mr. 
Fazalbhoy,  permits  the  recording  of  music 
on  film,  which  may  later  be  broadcast  over 
the  radio  through  reproducers. 

A  writer  in  a  recent  article  in  The  Illus- 
trated Weekly  contends  that  in  the  impor- 
tant development  of  the  Indian  motion  pic- 
ture, it  is  necessary  that  the  producers  strike 
out  in  the  direction  of  pictures  which  will 
carry  the  distinctive  mark  of  Indian  tradi- 
tion and  thought.  The}'  may  borrow  all  the 
technical  achievement  possible  from  west- 
ern producers,  says  this  writer,  but  in  the 
intangibles,  they  must  make  their  own  way, 
in  the  production  of  distinctively  Indian 
films. 

Sees  Musical  Sequences 
In  Color  in  the  Future 

Harold  Hecht,  New  York  dance  director, 
who  collaborated  with  Josef  Berne  in  the 
direction  of  "Gypsy  Night,"  produced  by 
Harry  Rapf  in  Technicolor  for  MGM,  be- 
lieves that  all  "musical  sequences"  will  be 
filmed  in  natural  color  within  the  next  few 
years.  The  true  mood  of  music  can  be 
brought  to  the  audience  more  effectively  by 
blending  with  color,  the  director  declared. 
In  the  short  "Gypsy  Night,"  various  se- 
quences were  filmed  with  emphasis  on  the 
particular  color  which  most  effectively  car- 
ried out  the  mood  of  the  music  in  each  in- 
stance. 


Paramount,  MGM  Move  Offices 

Paramount  has  leased  the  Samuels  Build- 
ing in  Atlanta,  a  three-story  structure, 
which  it  will  occupy  some  time  in  June. 
MGM's  branch  office,  has  moved  into  new 
quarters  located  at  153  Spring  Street. 


March    30,  1935 


MOTION    PICTURE  HERALD 


57 


WABASH  AVENUE 


CHICAGO 

Add  signs  of  Spring:  the  hustle  and  bustle 
along  the  Row  as  exhibitors  are  remodeling 
and  improving  their  houses.  Essaness  has  just 
announced  a  complete  remodeling  job  for  the 
Keystone  to  cost  $40,000.  It  will  be  renamed 
the  Mode.  The  new  Beverly  theatre  for  James 
Coston  of  Warner  circuit  is  being  pushed  for 
opening  May  15.  Mianny  Silverman,  who  op- 
erates houses  in  Kenosha  and  Milwaukee,  has 
completed  construction  of  the  Valencia  at 
Waukegan — a  theatre  converted  from  a  former 
dance  hall.  These  are  only  a  few  instances 
in  what  is  undoubtedly  the  biggest  activity  in 
theatre  remodeling  since  1929. 

V 

Some  travelers :  Walter  Branson  of  RKO  is 
back  from  Bermuda  with  a  nice  sunburn.  Jack 
Osserman  is  preparing  to  hie  himself  to  Biloxi, 
Miss.  Aaron  Saperstein  returned  Monday  from 
Hot  Springs. 

V 

Mabel  McCane,  widely  known  musical 
comedy  and  vaudeville  star,  was  through  here 
headed  for  Hollywood,  where  she  will  make  a 
bid  for  the  place  made  vacant  by  the  late  Mabel 
Normand.  Miss  McCane  and  Miss  Normand  bear 
a  marked  resemblance  and  on  many  occasions 
have  been  taken  for  sisters. 

V 

Van  Nomikis  has  taken  over  the  Halsted 
theatre  at  61st  street  and  Halsted. 

V 

The  Chicago  publicists'  organization  is 
launching  a  protest  to  newspapers  which  should 
meet  with  general  support  from  theatres.  The 
group  is  asking  the  publishers  if  they  won't 
please  place  all  the  trick  patent  medicine  and 
funny  cures  for  funny  illnesses  advertising 
somewhere  else  except  upon  the  amusement 
page.  Cures  for  g;out,  water  on  the  knee,  fallen 
arches  and  what  have  you,  are  hardly  in  keep- 
ing with  the  tempo  and  urge  of  theatre  ads, 
is  the  contention. 

V 

Fred  Anderson  has  taken  over  the  Tivoli 
theatre  at  Downers  Grove. 

V 

Gus  Constan  of  the  Avon  theatre,  Decatur, 
has  just  returned  from  an  eight  months  visit 
to  his  native  Greece — bringing  back  to  these 
shores  with  him  a  bride. 

V 

Two  cases  of  reduced  admission  prices  by 
use  of  ticket  books  were  ordered  stopped  by 
the  local  board.  In  one  case  the  Paramount 
and  Tivoli  were  complainants  against  the  Fargo 
at  Geneva.  The  other  was  the  Virginia  at 
Champaign  against  the  Park,  same  city,  op- 
erated by  E.  E.  Alger. 

V 

Ray  Crawford,  president  of  Bank  Night  Cor- 
poration, was  in  town  last  week.  Also  Arthur 
Gangel  of  the  home  office  of  Master  Art  Prod- 
ucts, who  is  assisting  Harry  Phillips  on  the  new 
lineup  of  lobby  display  frames. 

V 

Albert  L.  Rule,  who  is  well  known  along  the 
Row  as  the  producer  of  "The  Big  Drive"  and 
"The  Death  Parade,"  is  on  the  west  coast  com- 
pleting foreign  versions  of  his  war  epics. 
V 

John  Flinn,  Code  Authority  secretary,  made 
a  brief  stop  Saturday  on  his  way  from  Kansas 
City  back  to  headquarters. 

V 

Roy  Barger  is  all  set  to  open  the  Rialto  with 
pictures  and  burlesque. 

HOLQUIST 


New  Cleveland  Firm 

Progressive  Pictures  Company  has  been 
formed  by  Harry  Klein  and  Morris  Blank 
for  distribution  in  Ohio. 


Paramount  Plans  Wide 
Campaign  on  West  Film 

A  nationwide  day  and  date  release  sched- 
ule in  more  than  100  key  cities  has  been 
arranged  for  May  1  by  Paramount  in  con- 
nection with  Mae  West's  new  picture, 
"Goin'  to  Town."  Cash  prizes  of  $1,500 
for  the  best  advertising,  publicity  and  ex- 
ploitation campaigns  on  the  picture  are  a 
feature  of  the  release  campaign  for  ex- 
hibitors playing  the  film  between  May  1 
and  May  lO! 

The  plan  was  developed  by  Neil  Agnew. 
sales  manager ;  Robert  Gillham,  director  of 
advertising  and  publicity,  and  Alec  Moss, 
exploitation  manager.  A  special  press  book 
supplement  will  be  issued.  Campaigns  must 
be  in  the  mail  by  May  31  to  be  eligible. 
Judges  are  Oscar  Doob,  Loew's ;  Mort 
Blumenstock,  Warner  Theatres ;  John 
Dowd,  RKO  Theatres ;  Milton  Feld,  presi- 
dent of  Monarch  Theatres,  and  Mr.  Moss. 

McCormick  to  Coast 
After  Circle  Opening 

S.  Barret  McCormick,  director  of  adver- 
tising and  publicity  for  RKO  Radio,  has 
gone  to  the  Coast  studio  for  conferences  on 
advertising  and  publicity  problems  in  con- 
nection with  forthcoming  product,  follow- 
ing his  "guest  management"  of  the  In- 
dianapolis Circle  for  one  evening.  In  Holly- 
wood he  announced  Howard  S.  Benedict 
would  succeed  Eddy  Eckels  as  studio  pub- 
licist.   Eckels  will  handle  exploitation. 


Sam  Fox  to  Move  Office 

Sam  Fox,  head  of  Sam  Fox  Publishing 
Company  and  Movietone  Music  Corpora- 
tion, publishers  to  Fox  Film,  has  leased 
new  quarters  in  Rockefeller  Center,  New 
York,  to  which  the  headquarters  will  be 
moved  in  May. 


SHORT  PRODUCT 
PLAYING  BROADWAY 


Week  of  March  23 


CAPITOL 

Shrimps  for  a  Day  MGM 

MAYFAIR 

Two  Little  Lambs  Universal 

Eggs  Marks  the  Spot  Vi+aphone 

An  Ear  for  Music  Educational 

MUSIC  HALL 

Pathe  Topics  No.  4  RKO  Radio 

Life's  Last  Laughs  No.  6  .Columbia 

PARAMOUNT 

Hark  Ye,  Hark  Paramount 

Songs  of  the  Birds  Paramount 

Nerve  Control  Paramount 

RIALTO 

Restless  Knights   Columbia 

RIVOLI 

Mediterranean  Songs  First  Division 

Mickey's  Service  Station.  .  .  United  Artists 

ROXY 

Air  Thrills  .  Columbia 

Two  Alarm  Fire  Paramount 

Bric-a-Brac   RKO  Radio 

STRAND 

Remember  the  Alamo  Vitaphone 

Buddy's  Theatre   Vitaphone 


TRAVELERS 


George  Cukor,  MGM  director,  arrived  in  New 
York  from  Hollywood  to  look  over  some 
Broadway  plays. 

Dame  Sybil  Tiiorndike,  who  for  the  past 
seven  months  has  been  in  "The  DistafT  Sile" 
on  Broadway,  returned  to  England.  Cliftord 
Evans,  leading  man  of  the  company,  also  re- 
turned for  film  work  in  Elstree. 

BiNNiE  Barnes,  Universal  star,  arrived  in  New 
York  from  her  native  England  en  route  to 
Hollywood. 

Walter  Abel,  Broadway  stage  star,  left  for 
the  RKO  Radio  lot  to  begin  work  under  his 
new  contract. 

Ben  Piazza,  who  recently  transferred  from 
MGM  to  Paramount  as  talent  scout,  is  in 
New  York  looking  at  Broadway  plays. 

Lew  Screiber  has  added  his  presence  to  the 
ever-growing  group  of  talent  scouts  in  New 
York.  He  looks  for  new  faces  for  20th  Cen- 
tury. 

Clyde  Elliott,  who  will  produce  "China 
Roars,"  for  Columbia,  planned  to  leave  New 
York  for  Hollywood  this  week. 

Roger  Pryor  ffew  into  New  York  on  Tuesday 
and  left  again  Thursday  night  immediately 
after  the  Rudy  Vallee  broadcast. 

Hal  Horne,  United  Artists  advertising  and 
publicity  chief,  returned  to  New  York  from 
Hollywood.  Herb  Jaedikejj  was  with  him. 

Sidney  R.  Kent,  Fox  Film  president,  left 
New  York  for  Hollywood. 

Benjamin  Glazer,  Paramount  associate  pro- 
ducer, is  in  New  York  looking  for  radio 
headliners  for  "The  Big  Broadcast  of  1935." 

Al  Jolson  returned  to  New  York  from  Holly- 
wood. 

Among  others  arriving  in  New  York  from 
Hollywood  this  week  were  Miriam  Hopkins 
Jack  Benny,  Harry  Goetz,  A.  J.  Michel, 
William  T.  Powers,  Eddie  Alperson,  Fred 
Pride,  attorney,  and  Alfred  McCormack  of 
Cravath,  de  Gersdorff,  Swaine  and  Wood. 

Capt.  Richard  Norton  sailed  from  New  York 
for  England. 

Joseph  M.  Schenck  and  Al  Lichtman 
planned  to  leave  for  the  Coast  this  week. 

Claudette  Colbert  left  New  York  for  Holly- 
wood via  the  Panama  Canal. 

J.  J.  Ungee  returned  to  New  York  after  a 
Miami  vacation. 

S.  Barret  McCormick,  director  of  advertising 
and  publicity  for  RK^O,  is  spending  a  few 
days  in  Hollywood. 

Larry  Darmour  planned  to  leave  New  York 
for  Hollywood. 

Robert  I<Catscher,  Viennese  composer  under 
contract  to  MGM,  arrived  in  Hollywood. 

Maude  Howell,  writer  and  associate  director 
with  George  Arliss  for  many  years,  sailed 
for  England  to  supervise  the  next  two  Arliss 
films  for  GB  Productions. 

Nate  Blumberg  is  making  a  tour  of  RKO  cir- 
cuit cities. 

Maurice  Chevalier  sailed  for  France. 

Karl  MacDonald,  Warner  division  manager 
for  Latin  America,  left  New  York  on  a  trip 
to  Cuba,  Jamaica  and  Puerto  Rico. 

John  D.  Hertz,  former  Paramount  financial 
adviser,  is  basking  in  the  Florida  sun. 

Barney  Balaban  is  in  New  York. 

Genoroso  Ponce  Filho,  distributor  of  Radio 
pictures  in  Rio  de  Janeiro,  is  en  route  to  his 
South  American  headquarters  after  a  five- 
week  sojourn  in  New  York  looking  over  the 
1934-35  product. 

George  J.  Schaefee,  Paramount  general  man- 
ager, is  deep-sea  fishing  in  the  Bahamas. 

John  C.  Flinn,  executive  secretary  of  the 
Code  Authority,  returned  to  New  York  from 
Los  Angeles. 

J.  J.  McCarthy  returned  to  his  New  York 
MPPDA  headquarters  after  a  two-weeks 
visit  in  Hollywood. 

Harry  E.  Nichols,  Quigley  Publications 
field  representative,  is  in  Georgia  and  the 
Carolinas  this  week. 


58 


MOTION    PICTURE  HERALD 


March    3  0,    19  3  5 


a  J.  C.  jENI^INS-lilS  COLYUM  M 


Alamo,  Texas 

Dear  Herald: 

We  drove  down  to  Brownsville  yesterday 
on  purpose  to  see  J.  C.  Fanning,  who  oper- 
ates the  Capitol  theatre,  and  when  we  got 
there  we  found  out  that  J.  C.  was  sick  and 
could  not  see  us.  If  you  will  remember,  he 
romped  all  over  us  in  a  recent  Herald  be- 
cause we  did  not  stop  and  call  on  him  when 
we  went  through  Brownsville  over  to  Ma- 
tamorros,  Mexico,  but  that  was  because  we 
had  a  party  with  us  who  were  anxious  to 
get  back  home  and  wouldn't  stop  long 
enough  for  us  to  call  on  him.  We  are 
sorry  J.  C. ;  we  merit  all  you  want  to  say 
about  us,  but  we  hope  you  soon  get  well. 

Since  we  couldn't  visit  J.  C.  and  since  we 
had  one  gentleman  with  us  who  was  92  years 
old  and  who  had  never  seen  salt  water,  we 
drove  down  to  Boca  Chica  so  he  could  see 
the  Gulf  of  Mexico. 
Named  After  'Em  Both 

If  you  have  never  seen  Boca  Chica  you 
have  never  lost  a  great  deal.  J.  C.  King, 
who  operates  both  theatres  in  Harlingen, 
gave  us  a  full  history  of  the  city,  and  J.  C. 
is  the  recognized  historian  of  Southeast 
Texas.  He  says  that  the  town  was  founded 
by  an  Indian  chief  by  the  name  of  Boca 
and  that  he  married  a  Mexican  squaw  by 
the  name  of  Chica  and  that  he  put  the  two 
names  together  and  named  the  town  Boca 
Chica. 

He  says  that  Chief  Boca  founded  the 
town  soon  after  they  put  water  in  the 
Gulf  and  that  he  built  the  place  right 
down  close  to  the  edge  of  the  water  so  he 
could  wade  out  and  catch  a  mess  of  perch 
for  breakfast  while  Chica  was  taking  little 
Fifi  out  for  his  morning  airing  (his  name 
was  Fifi) . 

In  the  business  section  of  the  city  we 
found  one  shack  which  was  occupied  by  a 
couple  of  fellows  and  these  two,  together 
with  the  shack,  composed  the  entire  popu- 
lation and  the  entire  business  and  residen- 
tial section  of  the  city.  One  young  fellow 
said  he  was  the  alderman  from  the  fourth 
ward  and  the  other  one  was  the  chief  of 
police.  The  alderman  said  he  came  from 
Tennessee  and  the  chief  of  police  looked 
like  he  came  from  Grindstone,  South 
Dakota. 

The  town  has  no  north  and  no  south  but 
it  is  bounded  on  the  east  by  the  Gulf  of 
Mexico  and  on  the  west  by  some  sand  dunes 
and  the  state  of  Texas.  In  telling  us  the 
history  of  the  place  J.  C.  didn't  give  us  the 
politics  of  the  town  but  we  presume  it  went 
unanimous.  If  you  want  to  know  any  more 
about  Boca  Chica  just  write  to  J.  C.  King 


of  Harlingen. 


V 


What  makes  us  pretty  doggone  sore  is 
when  the  leaders  of  both  political  parties 
are  hunting  for  a  candidate  to  run  on  their 
ticket  for  the  presidency  they  always  over- 
look the  radio  crooners  and  leaders  of  Jazz 
orchestras.  There's  no  darn  sense  in  acting 
that  way. 

V 

Last  night  we  went  down  to  McAllen  to 
see  "David  Copperfield,"  a  picture  based  on 


a  story  that  was  written  by  a  guy  named 
Dickinson,  or  Jones,  we  don't  remember 
which,  but  they  put  it  on  the  screen  and  put 
Maureen  O' Sullivan  in  it  to  play  the  part 
of  David's  wife.  Maureen  has  always  been 
one  of  our  favorite  screen  players,  but  when 
she  held  a  bench-legged,  pug-nosed,  poodle 
pothound  in  her  arms,  with  a  blue  ribbon 
around  its  neck,  and  fondled  and  kissed  it 
and  handed  it  to  her  husband  to  kiss,  it  was 
rather  more  than  Shine  Mason's  pass  al- 
lowed us  to  see,  so  we  got  up  and  went  out 
to  a  drug  store  and  got  a  dose  of  castor 
oil  and  six  pink  pills  for  pale  people. 
V 

Just  Too  Much 

Whenever  we  see  a  girl  or  woman  fon- 
dling and  kissing  a  cur  pup  it  makes  us 
wonder  if  the  white  race  has  really  risen 
above  the  level  of  the  monkey  family.  We 
are  sorry  that  Maureen  did  this  for  here- 
after, whenever  we  see  her  on  the  screen, 
we  will  be  reminded  of  the  scene  in  David 
Copperfield  wherein  the  director  required  her 
to  kiss  a  ki-yi  pup.  This  picture  will  most 
likely  be  given  four  stars  by  critics  who 
know  good  pictures,  which  will  be  perfectly 
all  right  with  us,  but  we  want  to  thank 
Shine  Mason  for  sending  us  passes  to  his 
theatre.  It  was  very  nice  of  him  and  we 
shall  always  remember  his  kindness.  The 
question  is:  if  it  wasn't  for  Shine  and  his 
two  theatres,  where  would  McAllen  be? 
V 

When  they  get  that  "Shelterbelt"  built 
across  western  North  Dakota,  South  Dakota, 
Nebraska,  Kansas,  Oklahoma  and  the  Pan- 
handle, to  "bring  rain"  to  that  arid  section, 
the  great-great  grandchildren  of  the  "Brain 
Trust,"  and  other  office  help  in  Washing- 
ton, will  go  out  there  to  spear  fish  and  catch 
bullfrogs,  provided  the  administration  will 
furnish  them  with  raincoats  and  rubber 
boots,  which  it  probably  will  do.  Outside  of 
tliat  we  have  the  honor  to  reoprt  that  "The 
Marines  have  landed  and  have  the  situation 
well  in  hand." 

V 

The  other  day  little  Johnnie  said  to  Willie, 
"Say  Willie,  do  you  know  how  they  put 
water  in  watermelons?"  And  Willie  said, 
"No.   How  do  they  do  it?"   And  Johnnie 


3-miIe-a-minute  twin-engined  transports. 
Quiet,  spacious  cabins.  Stewardess  service. 

UNITED  AIR  LINES 


replied,  "Why,  they  plant  'em  in  the  spring, 
of  course."  Doggone  these  smart  Aleck  kids 
anyhow. 

V 

As  for  the  Sharks — 

You  remember  we  promised  to  tell  you 
about  catching  some  sharks.  Well,  the  other 
day  Bob  Smith  of  the  Mission  theatre  at 
Mission  drove  up  here  with  his  wife  and 
son  and  they  stopped  and  grabbed  onto  us 
to  go  down  fishing  with  them  at  Red  Fish 
bay.  We  went  down  there  and  Bob  hired 
a  motor  boat  to  take  us  out  about  five  miles 
out  in  the  bay  and  we  would  have  caught 
seven  or  eight  big  sharks  but  they  wouldn't 
bite  because  there  were  none  there. 
V 

After  we  found  that  the  sharks  were  all 
gone  we  changed  our  bait  and  caught  a  lot 
of  red  fish,  trout,  croakers  (whatever  that 
is)  and  Bob  caught  a  drum  that  looked  a 
lot  like  a  sea  bass,  and  Mrs.  Smith  yanked 
out  several  red  fish  that  she  had  to  throw 
back  because  of  their  size.  (The  law  of 
Texas  won't  allow  people  to  keep  them  over 
seven  feet  long.)  And  then  that  evening 
she  cooked  some  fish  for  dinner,  and  listen, 
Elmer,  if  you  ever  have  her  cook  fish  for 
you  once  you  will  never  call  for  huckle- 
berry pie  after  that. 

V 

That  man  Townsend  from  California 
ought  to  be  ashamed  of  himself  for  going 
down  to  Washington  and  busting  into  Con- 
gress with  his  Old  Age  Pension  plan  right 
at  a  time  when  the  boys  are  busy  In  a 
draw  poker  game.  It  always  made  us  sore, 
when  we  pick  up  a  queen  full,  for  some- 
one to  come  and  call  us  out  to  try  and 
borrow  a  quarter. 

V 

When  we  were  eating  dinner  in  a  cafe 
down  at  Point  Isabel  the  other  day  we  called 
the  waitress  over  to  us  and  said,  "Say 
Gertie,  do  you  know  the  best  way  to  put 
salt  in  a  salt  shaker  ?"  and  she  replied,  "No, 
I  don't  know  as  I  do.  How  do  you  do  it?" 
And  we  said,  "Well,  just  take  the  shaker 
in  your  left  hand  and  unscrew  the  lid  and 
pour  the  salt  in  at  the  top."  She  turned 
around  to  leave  and  said,  "Oh,  you  think 
vou  are  smart,  don't  vou." 

V 

If  it  weren't  for  the  six  gray  hairs  that 
stand  straight  up  on  our  gourd  we'd  be  as 
bald  as  Shine  Mason  who  runs  the  Palace 
and  Queen  theatres  in  McAllen.  Shine  was 
playing  Shirley  Temple  in  "Little  Colonel" 
last  night  and  he  invited  us  down  to  see 
the  pictures. 

We  saw  Shirley  not  long  ago  in  "Bright 
Eyes"  and  it  was  our  opinion  that  she  never 
would  do  a  better  thing  in  her  life  than 
"Bright  Eyes,"  but  now  she's  got  us  out 
on  a  limb.  "The  Little  Colonel"  is  plenty 
good  enough  for  anybody. 

We  are  leaving  the  valley  for  Corpus 
Christi  next  Saturday.  We  dislike  to  leave 
the  valley,  mainly  on  account  of  Shine  Ma- 
son, and  Bob  Smith  of  Mission,  but  then, 
we  expect  to  find  some  more. 

COLONEL  J.  C.  JENKINS 
The  HERALD's  Vagabond  Colyumnlst 


lake  advantage  of  these 
full-color  lobby  displays 
to  exploit  the  tremendous 
popularity  back  of  every 
story  in  the  series. 


FAMOUS  TITLES  TO 
ATTRACT  PATRONAGE 


Jack  and  the  Beanstalk 

The  Little  Red  Hen 

The  Brave  Tin  Soldier 

Puss  in  Boots 

The  Queens  of  Hearts 

Aladdin 

The  Headless  Horseman 


CELEBRITY  PRODUCTIONS,  inc. 


March    30,  1935 


MOTION    PICTURE  HERALD 


61 


WHAT  THE  PICTURE 
DID  E€l^  HE 


iiiiiiiiiii 


Capitol 


A  WALTZ  BY  STRAUSS:  Gustav  Froelich,  Maria 
Paudler — This  is  a  picture  all  in  German  and  it  was 
a  great  picture.  The  life  of  the  master  composer 
Strauss  and  all  of  his  beautiful  waltzes.  The  picture 
has  an  appeal  to  three  types  of  audiences.  First, 
the  German  language;  second,  the  idea  of  seeing  a 
foreign  made  picture;  third,  the  students  of  music 
and  music  lovers  who  like  the  music  from  the  masters. 
This  is  a  truly  great  picture  and  we  did  a  good  busi- 
ness on  it  considering  the  times,  etc.  Of  course,  it 
is  nothing  like  the  business  that  we  did  in  foreign 
two  years  ago  like  the  French  picture  "A  Nous  La 
Liberte,"  but  the  German  picture  will  go  down  as 
a  success  even  if  it  does  not  do  such  a  big  business, 
because  we  have  the  satisfaction  of  playing  a  beautiful 
picture  and  giving  our  patrons  a  chance  to  see  a 
picture  which  New  York,  Chicago  and  other  large 
cities  have  had.  Also,  it  is  good  to  know  that  every- 
body who  saw  it  enjoyed  it  to  the  fullest  extent.  The 
recording  was  very  well  done  considering  it  was  pro- 
duced in  Germany.  The  print  was  in  good  condition. 
It  held  good  audiences  for  the  entire  four  days.  Run- 
ning time,  89  minutes.  Played  March  13-16. — Albert 
Heffernan,  Owl  Theatre,  Grand  Rapids,  Mich.  Spe- 
cial patronage. 


Columbia 


BROADWAY  BILL:  Warner  Baxter,  Myrna  Loy— 
The  most  thriUing  race  picture  I  have  ever  shown. 
My  audience  very  near  jerked  my  seats  loose  from 
the  floor.  It  is  just  one  of  those  pictures  that  you 
could  see  over  and  over  again  and  never  get  tired 
of  it.  Thanks  to  Columbia.  I  think  they  are  show- 
ing the  major  companies  how  to  make  good  pic- 
tures. Running  time,  102  minutes.  Played  February 
10-12.— E.  J.  Pennell,  Berrien  Theatre,  Berrien 
Springs,  Mich.     General  patronage. 

MILLS  OF  THE  GODS:  May  Robson,  Fay  Wray, 
Victor  Jory — Strictly  a  program  picture  that  I  con- 
sider only  fair.  It  did  well  enough,  however,  on  a 
double  bill.— J.  W.  Noah,  New  Liberty  and  Ideal 
theatres,   Fort  Worth,  Texas.     General  patronage. 

MILLS  OF  THE  GODS:  May  Robson,  Fay  Wray, 
Victor  Jory — Mostly  an  action  drama  with  very  little 
comedy  but  it  moves  along  rapidly  enough  to  hold 
the  patrons'  interest  and  leave  them  quite  well  sat- 
isfied. May  Robson  possibly  does  not  quite  equal 
her  work  in  "Lady  By  Choice,"  but  even  so,  she  is 
good.  Running  time,  seven  reels.  Played  March  8-9. 
— G.  A.  Van  Fradenburg,  The  Valley  Theatre, 
Manassa,  Col.    Farming  community  patronage. 

SPEED  WINGS:  Tim  McCoy,  Evalyn  Knapp— An 
old  one  full  of  action  that  pleased.  Played  March 
20-21.— Harold  0.  Allison,  Baldwin  Theatre,  Baldwin, 
Mich.    Small  town  patronage. 

THAT'S  GRATITUDE:  Frank  Craven,  Sheila 
Mannors,  Charles  Sabin,  Mary  Carlisle— Played  this 
on  a  double  bill  Saturday  and  Friday  and  pleased 
a  good  crowd.  A  very  good  comedy  and  clean.  No 
smut  but  good  comedy.  The  star  and  all  the  cast 
good.— Bert  Silver,  Silver  Family  Theatre,  Green- 
ville, Mich.    City  and  country  patronage. 

WESTERNER,  THE:  Tim  McCoy,  Marian  Shill- 
ing—The best  Tim  McCoy  yet.  Don't  pass  it  up. 
Running  time,  six  reels.  Played  March  8-9. — E.  J. 
Pennell,  Berrien  Theatre,  Berrien  Springs,  Mich. 
General  patronage. 


First  Division 


GUNFIRE:  Rex  Bell— Good  enough  for  a  Western 
but  the  print  was  so  dark  it  ruined  the  picture, 
played  March  5.— Harold  C.  Allison,  Baldwin  Thea- 
tre, Baldwin,  Mich.    Small  town  patronage. 


First  National 


HAPPINESS  AHEAD:  Dick  Powell— A  nice  pic- 
ture, one  that  will  please  most  any  kind  of  an  audi- 
ence, although  our  box  office  was  off.  Played  January 
27-28.— Henry  Sparks,  Grand  Theatre,  Cooper,  Texas. 
Small  town  and  rural  patronage. 

LOST  LADY,  A:  Barbara  Stanwyck,  Lyle  Talbot 
— We  showed  this  picture  on  "Bank  Night"  and  our 
patrons  came  because  of  "Bank  Night"  and  expected 
to  be  disappointed  in  the  picture.  Instead,  they  were 
fooled  and  were  well  entertained.  Running  time,  61 
minutes.  Played  Feb.  28.— Sherman  Hart,  Palace 
Theatre,  Colorado.  Tex.    General  patronage. 

LOST  LADY,  A:  Barbara  Stanwyck— Rather  a 
weak  story  in  which  Barbara  Stanwyck  falls  in  and 
out  of  love  with  considerable  speed.  Good  acting  but 
not  much  else  to  recommend  it.  Not  many  favorable 
comments  on  this  one.  Running  time,  61  minutes. 
Played  February  20-21.— Gladys  E.  McArdle,  Owl 
Tlieatre,  Lebanon,  Kansas.     Small  town  patronage. 


N  this,  the  exhibitors'  own  de- 
partment, the  theatremen  of  the 
nation  serve  one  another  with 
information  on  the  box  office  per- 
formance of  product  for  their  mu- 
tual benefit.  It  is  a  service  of  the 
exhibitor  for  the  exhibitor.  Address 
all  communications  to — 

What  the  Picture  Did  for  Me 

K^OTION  PICTURE  HERALD 
1790  Broadway,  New  York 


MAYBE  IT'S  LOVE:  Gloria  Stuart,  Ross  Alex- 
ander— This  is  a  surprise  picture.  Pleased  better  than 
a  lot  of  the  much  advertised  specials.  The  cast  means 
very  little  to  my  patrons  and  the  title  was  not  much 
at  the  box  office  but  it  sure  pleased  those  who  came. 
Joseph  Cawthorn  is  great  while  Ruth  Donnelly  and 
Frank  McHugh  give  an  excellent  performance.  Just 
an  all  round  good  show  that  will  please.  Running 
time,  62  minutes.  Played  March  16-17. — Gladys  E. 
McArdle,  Owl  Theatre,  Lebanon,  Kansas.  Small 
town  patronage. 

ONE  MORE  SPRING:  Warner  Baxter,  Janet 
Gayner — Rather  entertaining  despite  a  fantastic  story. 
It  pleased,  although  a  few  expected  something  better. 
Comedy  predominates  and  picture  is  an  obvious  at- 
tempt at  a  high  moral  tone  to  offset  the  inconsistency 
of  girl's  living  with  two  men.  Ending  occurs  on 
Easter  Sunday  and  picture  is  designed  for  Lenten 
season. — John  A.  Milligan,  Broadway  Theatre,  Schuy- 
lerville,  N.  Y.    Small  town  patronage. 

365  NIGHTS  IN  HOLLYWOOD:  A  very  clever 
comedy  drama — wouldn't  call  it  musical  comedy — that 
seemed  to  please,  and  box  office  receipts  were  very 
satisfactory.  Played  February  3-4. — Henry  Sparks, 
Grand  Theatre,  Cooper,  Texas.  Small  town  and 
rural  patronage. 

WHITE  PARADE,  THE:  John  Boles,  Loretta 
Young — Tliis  picture  is  just  as  fine  as  Mr.  Charles 
S.  Edwards,  veteran  exhibitor,  reports  it  to  be.  Our 
audiences  were  enthusiastic  in  their  praise.  It  is 
beautifully  produced  and  the  acting  is  thoroughly 
human.  By  all  means  give  this  picture  the  whole- 
hearted exploitation  it  deserves. — J.  N.  Noah,  New 
Liberty  and  Ideal  theatres.  Fort  Worth,  Texas.  Gen- 
eral patronage. 


Fox 


BACHELOR  OF  ARTS:  Tow  Brown,  Anita  Louise 
— A  dandy  little  college  picture  that  will  fully  satisfy 
the  younger  set.  Played  February  16.— Henry  Sparks, 
Graiid  Theatre,  Cooper,  Texas.  Small  town  and 
rural  patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn- 
Brought  people  into  the  theatre  whom  we  had  never 
seen  before,  and  how  they  raved.  The  biggest  little 
star  is  right.  That  little  Jane  Withers  turned  in 
a  great  performance  that  threatened  to  steal  the 
show  at  times.  Business  fine  and  audience  re-action 
just  about  100% -plus.  Running  time,  83  minutes. 
Played  March  3-5.— M.  R.  Harrington,  Avalon  Thea- 
tre, Clatskanie,  Ore.  Small  town,  and  rural 
patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn— 
This  little  lady  is  nothing  less  than  sensational.  She 
draws  people  to  the  theatre  who  seldom  come.  She 
is  a  favorite  with  every  class  of  patronage  and  a 
tonic  to  the  box  office.  "Bright  Eyes"  received  per- 
fect audience  response.— J.  W.  Noah,  New  Liberty 
and  Ideal  theatres.  Fort  Worth,  Texas.  General 
patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn— 
The  best  Shirley  Temple  yet.  If  we  could  only  ex- 
hibit more  pictures  like  this,  I  think  our  patrons 
would  soon  realize  that  there  is  such  a  thing  as  good 
clean  pictures.  Running  time,  83  minutes.  Played 
February  24-25.— E.  J.  Pennell,  Berrien  Theatre,  Ber- 
rien  Springs,   Mich.     General  patronage. 

BRIGHT  EYES:  Shirley  Temple— Wonderful. 
Turned  'em  away.  Outdrew  anything  I  ever  ran. 
If  they  had  only  let  me  have  some_  of  this  average 
to  apply  on  my  losses  on  "Love  Time,"  "Pursued," 
"Marie  Galante,"  and  a  few  others,  I  would  have 
been  even.  Played  March  7-8.— Henry  Sparks.  Grand 
Theatre,  Cooper,  Texas;  Small  town  and  rural 
patronage. 


COMING  OUT  PARTY:  Gene  Raymond— Ran  this 
rather  late  but  younger  set  liked  it  and  box  office 
receipts  satisfactory.  Played  February  26-27 — Henry 
Sparks,  Grand  Theatre,  Cooper  City,  Texas.  Small 
town  and  rural  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— 
The  critics  have  not  been  as  favorable  to  this  as  they 
were  to  the  several  Rogers  vehicles  previous,  but  for 
some  reason  we  did  more  business  than  on  any  other 
of  this  star's  pictures  with  the  exception  of  "David 
Harum."  It  pleased,  too,  besides  drawing  many  into 
the  theatre  who  had  never  been  here  before.  Run- 
ning time,  80  minutes.  Played  March  10-11-12.— M. 
R.  Harrington,  Avalon  Theatre,  Clatskanie,  Ore. 
Small  town  and  rural  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— 
This,  like  all  other  Will  Rogers  pictures,  received  fine 
audience  response.  It  is  a  good  picture,  entertatining 
from  start  to  finish. — J.  W.  Noah,  New  Liberty  and 
Ideal  theatres,  Fort  Worth,  Texas.    General  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— 
Stepin  Fetchit  very  good.  You  can  really  understand 
him  in  this  picture.  Will  Rogers,  of  course,  is  al- 
ways good,  no  difference  what  character  he  may  take. 
But  I  wish  Fox  would  quit  making  him  support  so 
many  other  stars.  After  all,  we  have  only  got  one 
Will  Rogers,  so  cut  him  loose.  There  is  no  one  going 
to  get  tired  of  hearing  him  talk.  Running  time,  nine 
reels.  Played  March  17-19.— E.  J.  Pennell,  Berrien 
Theatre,  Berrien  Springs,  Mich.    General  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— 
This  kind  of  story  is  right  down  Will's  alley  and  his 
best  to  date.  Like  all  Rogers  it  drew  and  pleased. 
Played  February  14-15. — Henry  Sparks,  Grand  Thea- 
tre, Cooper,  Texas.    Small  town  and  rural  patronage. 

DUDE  RANGER:  George  O'Brien— A  very  good 
western  with  beautiful  scenery,  cattle  rustling, 
broncho  busting,  romance  and  mystery  enough  to 
hold  the  interest  to  the  last  reel.  Westerns  are  liked 
here.  Running  time,  65  minutes.  Played  March  13- 
14.— Gladys  E.  McArdle.  Owl  Theatre,  Lebanon,  Kan- 
sas.   Small  town  patronage. 

GAMBLING:  George  M.  Cohan— Just  a  little 
draggy  in  spots  but  with  that  exception  will  rate  as 
an  average  programer.  Business  only  average. 
Played  February  2. — Henry  Sparks,  Grand  Theatre, 
Cooper,  Texas.    Small  town  and  rural  patronage. 

HELL  IN  THE  HEAVENS:  Warner  Baxter- 
Nearest  nothing  I  ever  ran  that  was  supposed  to  be 
a  good  picture.  Business  away  off.  Played  March 
9th. — Henry  Sparks,  Grand  Theatre,  Cooper,  Texas. 
Small  town  and  rural  patronage. 

JUDGE  PRIEST:  Will  Rogers,  Henry  B.  Walthall. 
— The  best  Will  Rogers  show  I  have  exhibited.  Henry 
B.  Walthall  steals  the  show.  His  speech  on  the  wit- 
ness stand  is  the  high  light  of  the  show.  Tliis  has 
all  the  romance  and  pathos  of  the  days  following  the 
war.  No  complaints  about  this  one.  Had  been  shown 
in  three  adjoining  towns  and  this  did  not  help  the  box 
office.  Running  time,  70  minutes.  Played  February 
27-28.— Gladys  E.  McArdle,  Owl  Theatre,  Lebanon, 
Kansas.    Small  town  patronage. 

LOTTERY  LOVER:  Lew  Ay  res— A  very  clever 
comedy  but  failed  miserably  at  box  office.  Played 
February  24-25 — Henry  Sparks,  Grand  Theatre, 
Cooper  City,  Texas.    Small  town  and  rural  patronage. 

PECK'S  BAD  BOY:  Jackie  Cooper— This  program 
picture  pleased  our  patrons.  It  was  a  part  of  what 
we  called'  our  "five  feature  show"  with  a  Popeye 
cartoon,  Joe  Penner  short,  color  cartoon,  "The  Brave 
Tin  Soldier,"  and  Bing  Crosby  in  "I  Surrender  Dear." 
— J.  W.  Noah,  New  Liberty  and  Ideal  theatres.  Fort 
Forth,  Texas.     General  patronage. 


GB  Pictures 


EVERGREEN:  Jessie  Matthews— This  is  a  plea- 
sant though  not  important  picture  which  has  a  great 
deal  of  dancing  and  singing.  Jessie  Matthews,  the 
feminine  lead,  is  not  very  beautiful  but  she  is 
versatile.  At  the  preview,  the  audience  reaction  was 
satisfactory. — J.  W.  Noah,  New  Liberty  and  Ideal 
theatres.  Fort  Worth,  Texas.    General  patronage. 


Invincible 


GHOST  WALKS,  THE:  John  Miljan,  June  Col- 
lyer — Average  picture,  not  too  bad.  More  comedy  than 
terror. — Harold  C.  AUison,  Baldwin  Theatre,  Baldwin, 
Mich.    Small  town  patronage. 

Majestic 

SCARLET    LETTER,    THE:     Colleen    Moore— Did 
a  nice  business  on  this  picture  account  of  so  many 
having  read  the  book  and  to  these  who  had  read  the 
(^Continued  on  following  page,  column  3) 


MOTION    PICTURE  HERALD 


March    30,  1935 


the  nexf  issue  brings  the 

Spring  Buyers  Number  of 
BETTER     THE  AT  RES 

with  an  array  of  special  features  to 
help  you  in  your  remodeling  plans. 

New  Theatres  From  Old:  the  next  installment  of  this 
series  will  concern  the  Lobby  and  Foyer-discussing 
the  new  architectural  methods,  the  new  materials,  the 
lighting  and  the  mechanical  arrangements. 

Robert  O.  Boiler,  well  known  theatre  architect,  will  dis- 
cuss economical  and  effective  methods  in  making 
physical  changes. 

An  article  explaining  procedure  in  seeking  a  Federal 
Housing  Act  loan  for  theatre  modernization  and  the 
financial  arrangements  required. 

A  selection  of  recently  remodeled  theatres,  described 
and  pictured. 

These  special  features  are  of  course  in  addition  to 
other  features,  the  regular  departments  and 

THE  EQUIPMENT  INDEX  and 
THEATRE  SUPPLY  DEALERS 

the  industry's  standard  equipment  directories,  com- 
pletely revised. 


the  issue  of  April  6 


book,  the  picture  satisfied.  To  the  others,  it  was  a 
disappointment.  Recording  poor.  Played  January  31- 
February  1. — Henry  Sparks,  Grand  Theatre,  Cooper, 
Texas.    Small  town  and  rural  patronapte. 


Mascot 

IN  OLD  SANTA  FE:  Ken  Maynard— Best  one  yet 
from  Ken  and  drew  extra  business  on  Saturday. 
Played  January  26.--Henry  Sparks,  Grand  Theatre, 
Cooper,  Texas.    Small  town  and  rural  patronage. 


MGM 

BABES  IN  TOYLAND:  Laurel  and  Hardy— A 
great  drawing  card  for  children,  and  many  grown-ups 
didn't  come,  thinking  it  was  entirely  a  child's  pic- 
ture. The  men  and  women  who  did  come  were  sur- 
prised. Tbis  is  entertaining  tor  all  who  come  to  see- 
it.  Running  time,  76  minutes.  Played  March  1-2. — 
Sherman  Hart,  Palace  Theatre,  Colorado,  Tex.  Gen- 
eral patronage. 

BAND  PLAYS  ON,  THE:  Robert  Young,  Betty 
Furness,  Stuart  Erwin— A  splendid  football  story. 
Action,  comedy  and  clean  entertainment  by  a  very 
able  cast  of  characters.  Played  March  13.— Bert 
Silver,  Silver  Family  Theatre,  Greenville,  Mich.  City 
and  country  patronage. 

BARRETTS     OF     WIMPOLE     STREET,  THE: 

Norma  Shearer,  Frederic  March — This  is  truly  a 
wonderful  show  but  no  draw  in  a  small  town. 
Played  January  20-21.— Henry  Sparks,  Grand  Thea- 
tre, Cooper,  Texas.    Small  town  and  rural  patronage. 

DAVID  COPPERFIELD:  Freddie  Bartholomew, 
W.  C.  Fields — Unquestionably  a  high  class  picture 
that  will  add  tremendously  to  goodwill  toward  the 
theatre.  It  may  not  draw  the  "rough  and  readys" 
but  will  get  the  ones  who  come  only  once  a  year. 
Played  February  10.— John  A.  Milligan,  Broadway 
Theatre,  Schuylerville,  N.  Y.    Small  town  patronage. 

EVELYN  PRENTICE:  William  Powell,  Myrna 
Loy — William  Powell  and  Myrna  Loy  are  always 
good.  But  this  picture  did  very  poor  business.  I 
think  the  title  could  have  been  changed  and  it  would 
have  helped  a  lot.  Running  time,  80  minutes.  Played 
January  27-28.— E.  J.  Pennell,  Berrien  Theatre,  Ber- 
rien Springs,  Mich.    General  patronage. 

EVELYN  PRENTICE:  Myrna  Loy,  William 
Powell — This  is  a  swell  show  but  due  to  severe 
storm,  was  only  able  to  play  picture  one  night  as 
power  lines  were  all  down.  However,  would  advise 
exhibitors  to  step  on  it  because  picture  is  sure  to 
please.  Both  stars  turn  in  splendid  performance  and 
Isabel  Jewell  is  still  being  talked  about.  Running 
time,  80  minutes.  Played  March  3. — Esther  Schaber, 
Senator  Theatre,  Ashley,  N.  D.  Small  city  and 
rural  patronage. 

EVELYN  PRENTICE:  William  Powell,  Myrna 
Loy — Not  as  good  as  "Thin  Man"  but  so  much  better 
than  the  average,  we  won't  kick.  Business  was 
below  average.  Wliy  we  are  unable  to  say,  as  it  was 
no  fault  of  the  picture.  Played  March  10-11. — Henry 
Sparks,  Grand  Theatre,  Cooper,  Tex.  Small  town 
and  rural  patronage. 

EVELYN  PRENTICE:  William  Powell,  Myrria 
Loy — A  superb  piece  of  dramatic  art  which  will 
perfectly  satisfy  anyone  who  likes  a  well-balanced 
thrilling  drama.  Running  time.  80  minutes.  Played 
March  15-16.— G.  A.  Van  Fradenburg,  The  Valley 
Theatre,  Manassa,  Col.  Farming  community 
patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford, 
Robert  Montgomery,  Clark  Gable — With  all  due  re- 
spect to  these  stars  and  telling  what  was  the  re- 
action of  most  of  the  audience  that  I  contacted,  most 
of  them  thought  that  it  was  half-witted  direction. 
Montgomery  had  gone  all  way  and  lost  his.  Out- 
side of  the  intelligentsia,  it  was  disliked,  and  Metro 
and  Crawford  may  as  well  know  it.  A  lot  of  it  was 
plain  silly.  Butterworth  saved  the  picture  if  that 
was  possible. — A.  E.  Hancock,  Columbia  Theatre, 
Columbia  City,  Ind.     General  patronage. 

FORSAKING  ALL  OTHERS:  Clark  Gable,  Joan 
Crawford,  Robert  Montgomery — This  picture  being  so 
highly  advertised  was  partly  disappointing  to  our 
patrons.  Their  expectations  were  too  high  and  there- 
fore weren't  so  well  pleased.  The  rest  of  our  cus- 
tomers who  didn't  e.xpect  so  much  were  well  pleased 
and  congratulated  on  the  picture.  Running  time,  84 
minutes.  Played  Feb.  10-11, — Sherman  Hart,  Palace 
Theatre,  Colorado,  Tex.    General  patronage. 

FORSAKING  ALL  OTHERS:  Qark  Gable,  Joan 
Crawford,  Robert  Montgomery — Very  good,  plenty  of 
comedy,  good  cast  and  a  fair  story.  Pleased  every- 
one and  has  plenty  of  names  to  get  them  in.  Did 
better  than  average  business  here.  Running  time,  61 
minutes.  Played  March  3. — B.  HoUenbeck,  Rose 
Theatre,  Sumas,  Wash.    Small  town  patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford, 
Clark  Gable,  Robert  Montgomery— Tbis  is  one  of  the 
best  pictures  we've  had  the  pleasure  of  running  in 
our  theatre  for  years.  The  three  stars  absolutely 
wonderful.  I  just  can't  rave  enough  and  our  crowd 
say  they  just  went  wild.  Many  came  back  the  sec- 
ond night.  My  advice  is  to  play  on  very  best  days. 
Spend  a  little  extra  on  advertising  and  pay  your 
back  taxes.  Running  time,  85  minutes.  Played  Feb- 
ruary 3.— Esther  Schaber,  Senator  Theatre,  Ashley, 
N.  D.     Small  city  and  rural  patronage. 


March    30,  1935 


MOTION    PICTURE  HERALD 


THF 


FORSAKING  ALL  OTHERS:  Joan  Crawford, 
Clark  Gable.  Koliert  Montgomery — A  splendid  enter- 
taining: picture.  l*"ine  story  and  clean,  great  acting  by 
all  three  of  the  stars.  Gave  lOO  per  cent  satisfaction 
here.  Played  March  3-4. — Bert  Silver,  Silver  Family 
Theatre,  Greenville.  Mich.  City  and  country 
patronage. 

HIDEOUT:  Robert  Montgomery,  Maureen  O'Sul- 
livan — A  natural  if  there  ever  was  one  for  the  large 
or  small  town.  If  more  like  this  were  made  picture 
show  business  would  be  a  pleasure.  Business  above 
average.  Played  February  17-18. — Henry  Sparks, 
Grand  Theatre,  Cooper  City,  Texas,  Small  town  and 
rural  patronage. 

MEN  IN  WHITE:  Clark  Gable^A  good  picture 
and  business  very  satisfactory.  Played  January  24- 
25. — Henry  Sparks.  Grand  Theatre,  Cooper,  Texas. 
Small  town  and  rural  patronage. 

MERRY  WIDOW,  THE:  Maurice  Chevalier, 
Jeanette  MacDonald — Personally  thought  Jeanette 
MacDonald  very  good.  I  think  she  has  a  marvellous 
voice.  But  had  plenty  of  "kicks"  that  the  picture 
was  too  "sexie."  Running  time.  100  minutes.  Played 
February  3-4. — E.  J.  Pennell.  Berrien  Theatre,  Ber- 
rien Springs,  Mich.    General  patronage. 

SOCIETY  DOCTOR:  Chester  Morris.  Virginia 
Bruce — A  good  hospital  story.  These  hospital  shows 
seem  to  go  over.  Billie  Burke  and  Robert  Taylor  are 
especially  good.  This  one  holds  the  interest  to  the 
last  dramatic  act  when  Morris  directs  a  dangerous 
operation  on  himself.  Advertise  this  plenty.  Run- 
ning time.  68  minutes.  Played  March  9-10. — Gladys 
E.  McArdle,  Owl  Theatre,  Lebanon,  Kansas.  Small 
town  patronage. 

STRAIGHT  IS  THE  WAY:  Franchot  Tone. 
Karen  Morley,  May  Robson.  Gladys  George — This  I 
call  a  mighty  good  entertaining  program  picture. 
Story  good  and  a  fine  cast  of  characters. — Bert 
Silver,  Silver  Family  Theatre.  Greenville,  Mich.  City 
and  country  patronage. 

TARZAN  AND  HIS  MATE:  Johnny  Weissmuller 
— A  wonderful  picture.  Every  minute  enjoyed  here. 
Old  but  that  didn't  keep  them  away.  Running  time, 
105  minutes.  Played  March  14-15.— J.  T.  Justice.  Jr., 
Pickfair  Theatre,  Kernersville,  N.  C.  Small  town 
patronage. 


WEST  OF  THE  DIVIDE:  John  Wayne— Good 
western  for  one  day.  Fair  drawing  power.  Running 
time,  60  minutes.  Played  March  16. — J.  T.  J'ustice. 
Jr.,  Pickfair  Theatre,  Kernersville,  N.  C.  Small 
town  patronage. 


Paramount 


Monogram 


GIRL  O'  MY  DREAMS:  Mary  Carlisle.  Creighton 
Chaney — Very  good  picture.  Very  poor  recording. 
Played  March  16.— Harold  C.  AUison,  Baldwin  Thea- 
tre, Baldwin,  Mich.    Small  town  patronage. 

GIRL  O'  MY  DREAMS:  Mary  Carlisle,  Creighton 
Chaney — An  average  program  picture  to  below  aver- 
age business.  No  drawing  card  in  the  names.  Played 
February  12-13. — Henry  Sparks.  Grand  Theatre, 
Cooper,  Texas.    Small  town  and  rural  patronage. 

HAPPY  LANDING:  Ray  Walker— Average  pro- 
gram one  day  picture.  Drew  fair.  Running  time, 
69  minutes.  Played  March  13. — J.  T.  Justice.  Jr., 
Pickfair  Theatre,  Kernersville,  N.  C.  Stnall  town 
patronage. 

LITTLE  MEN:  Frankie  Darro — This  picture  netted 
us  $9.00  more  than  "Brigrht  Eyes."  which  we  ran  on 
same  days  of  week.  If  the  independent  producers 
will  make  enough  pictures  like  this  and  continue  to 
sell  them  at  a  live  and  let  live  price,  our  worries 
will  be  over.  Any  time  the  major  companies  have 
a  picture  that  will  really  get  the  money,  they  fix  it 
so  that  they  will  come  in  for  their  share  with  a  per- 
centage agreement  tied  to  it.  That  would  be  ok  if 
they  would  be  willing  to  share  the  losses  we  take  on 
all  the  lemons  that  are  forced  down  our  throat. 
Played  March  14-15. — Henry  Sparks,  Grand  Theatre, 
Cooper,  Tex.     Small  town  and  rural  patronage. 

LOST  IN  THE  STRATOSPHERE:  June  Collyer, 
William  Cagney — This  picture  gave  us  as  near  100 
per  cent  satisfaction  as  any  picture  we  have  run  in 
some  time.  It  had  nice,  clear  photography,  splendid 
sound,  plenty  of  action,  comedy,  beautiful  shots  of 
the  balloon  inflation  in  the  hills.  And  Jimmy,  your 
little  brother  Willie  is  better  looking  than  you  are. 
All  in  all.  this  is  a  very  satisfactory  program  picture. 
Running  time,  64  minutes.  Played  March  1-2. — J.  A. 
Klink.  Priraghar  Tlieatre,  Primghar,  Iowa.  Small 
town  and  rural  patronage, 

LOST  IN  THE  STRATOSPHERE:  A  very  good 
picture  for  Saturday  showing.  Played  February  23— 
Henry  Sparks,  Grand  Theatre,  Cooper  City,  Texas. 
Small  town  and  rural  patronage. 

NUT  FARM,  THE:  Wallace  Ford— This  is  a  swell 
picture.  It  had  excellent  photography,  excellent 
story,  well  directed,  but  lacked  the  cast  to  draw 
the  patrons.  Heard  many  compliments  from  those 
who  saw  it.  Played  February  3-5.— Al  Johnston. 
Rialto  Theatre,  Jacksonville,  Texas.  Small  town 
patronage. 

REDHEAD:  Bruce  Cabot,  Grace  Bradley— This  is 
another  splendid  picture  from  Monogram  and  done  a 
nice  business  on  it.  It  is  way  above  the  average  run 
of  program  pictures.  This  picture  sure  pleased  my 
patrons  and  they  were  not  backward  in  telling  me  so, 
A  number  compared  this  picture  with  Columbia's  "It 
Happened  One  Night"  and  we  all  know  this  was 
plenty  good.  Running  time,  76  minutes.  Played 
March  15-16. — J.  A.  Klink,  Primghar  Theatre.  Primg- 
har, Iowa.    Small  town  and  rural  patronage. 


ALL  THE  KING'S  HORSES:  Mary  Ellis,  Carl 
Brison— Very  good  singing.  Better  than  Paramount's 
specials.  Better  than  "Here  Is  My  Heart."  Played 
March  13-14.— Harold  C.  Allison,  Baldwin  Theatre. 
Baldwin,  Mich.    Small  town  patronage. 

BEHOLD  MY  WIFE:  Sylvia  Sidney,  Gene  Ray- 
mond— Raymond  and  Sidney  proved  to  be  a  great 
team  and  was  a  good  drawing  card.  All  patrons  were 
well  pleased  and  told  us  so.  Many  customers  had 
been  looking  forward  to  seeing  this  picture  and  they 
weren't  disappointed.  Running  time.  79  minutes. 
Played  February  3-4. — Sherman  Hart,  Palace  Theatre, 
Colorado,  Tex.    General  patronage. 

BELLE  OF  THE  NINETIES:  Mae  West— Mae 
West  all  washed  up  in  our  town.  Why  didn't  some 
exhibitor  put  me  wise  to  this  one?  I'm  still  in 
hiding  and  don't  know  w^hen  I  dare  come  out.  Had 
so  many  walkouts  almost  ran  the  picture  for  myself 
and  the  staff.  Played  to  lowest  gross  since  in  busi- 
ness. Running  time,  75  minutes.  Played  March  10. — 
Esther  Schaber,  Senator  Theatre,  Ashley,  N.  D, 
Small  city  and  rural  patronage. 

COLLEGE  RHYTHM:  Joe  Penner,  Jack  Oakie— 
This  has  what  it  takes  to  bring  them  in  and  send 
them  out  happy.  Not  for  the  sophisticated  trade,  but 
right  up  the  alley  for  a  ten-strike  with  the  small 
town  trade.  Lots  of  pep,  good  music  and  of  course 
Joe  and  Goo- Goo.  Put  'em  all  together  and  what 
do  you  get?  Box  office.  Running  time,  84  minutes. 
Played  March  1-2.— M.  R.  Harrington,  Avalon  Thea- 
tre, Clatskanie,  Ore.  Small  town  and  rural 
patronage. 

COLLEGE  RHYTHM:  Joe  Penner,  Lanny  Ross— 
We  played  this  picture  on  Sunday  and  Monday  and 
had  a  nice  crowd.  It  pleased  all  and  proved  to  be  a 
good  box  office  attraction.  Running  time,  83  min- 
utes. Played  February  24-25. — Sherman  Hart,  Palace 
Theatre,  Colorado,  Tex.    General  patronage. 

COLLEGE  RHYTHM:  Joe  Penner.  Lanny  Ross— 
This  proved  the  best  drawing  card  in  some  time. 
This  is  a  worthy  successor  to  "College  Humor."  It 
seems  as  if  Paramount  could  profitably  adopt  the 
making  of  a  college  picture  annually,  similar  to 
Warner's  "Gold  Diggers."  Paramount  is  on  the 
right  track  with  the  "Big  Broadcast  of  1935."  The 
annual  college  picture  could  either  be  called  College 
Humor  of  1935  or  1936  or  College  Rhythm  of  the  dif- 
ferent years.  How  much  Joe  Penner  was  responsible 
for  the  drawing  power  of  this  can  better  be  told  in 
his  next  picture,  but  I  assume  he  had  considerable  to 
do  with  it  for  without  him  a  big  part  of  the  enter- 
tainment would  be  lacking. — J.  E.  Stocker,  Myrtle 
Tlieatre.  Detroit,  Mich.    Neighborhood  patronage. 

HERE  IS  MY  HEART:  Bing  Crosby,  Kitty  Car- 
lisle—Not as  good  as  "All  the  King's  Horses."  Kitty 
has  a  nice  voice  but  she  wouldn't  do  in  a  beauty 
show.  Is  Bing  getting  tiresome  or  am  I  getting  old? 
At  any  rate  he  wasn't  an  extra  draw  in  this  picture. 
Played  March  16-17.— Harold  C.  Allison,  Baldwin 
Theatre,  Baldwin.  Mich.    Small  town  patronage. 

HERE  IS  MY  HEART:  Bing  Crosby— About  on 
par  with  other  Crosby  pictures.  Did  average  business 
here  with  no  audible  complaints.  So  it  must  be  pass- 
able. Played  March  3,— B.  Hollenbeck,  Rose  Theatre. 
Sumas,  Wash.    Small  town  patronage. 

HOME  ON  THE  RANGE:  Jackie  Coogan,  Ran- 
dolph Scott — There's  magic  in  the  name  of  Zane 
Grey  as  far  as  small  town  patrons  are  concerned.  Then 
too  they  apparently  remember  Jackie  Coogan  and 
the  combination  of  the  two  worked  to  a  decided  ad- 
vantage. Business  plenty  good  and  audience  reaction 
most  favorable.  Running  time,  58  minutes.  Played 
March  8-9.— M.  R,  Harrington,  Avalon  Theatre,  Clats- 
kanie, Ore.    Small  town  and  rural  patronage. 

HOME  ON  THE  RANGE:  Jackie  Coogan,  Ran- 
dolph Scott — Did  something  I  never  did  before.  Ran 
this  on  Sunday  and  Monday,  and  in  a  downpour  of 
rain  did  the  best  Sunday  business  for  some  time.  And 
the  picture  pleased  the  customers,  so  everybody  was 
happy.  Played  February  10-11. — Henry  Sparks.  Grand 
Theatre,  Cooper,  Texas.  Small  town  and  rural 
patronage. 

IT'S  A  GIFT:  W.  C.  Fields,  Baby  LeRoy— Good 
comedy  but  away  below  average  draw.  Played 
March  9-10.— Harold  C.  Allison,  Baldwin  Theatre, 
Baldwin,  Mich.     Small  town  patronage. 

IT'S  A  GIFT:  W.  C.  Fields— Take  a  two-reel 
comedy,  stretch  it  out  to  seven  reels  and  what  do 
you  get,  me  maties?  First  you  get  a  bill  for  a 
feature,  then  you  get  the  royal  razz  from  the 
patrons,  and  then  you  get  mad.  Sure  it's  funny  but 
you  can't  stretch  two  reels  of  laughs  into  seven  with- 
out spreading  them  pretty  thin.  No  business  and 
audience  reaction  mildly  favorable.  Running  time,  68 
minutes.  Played  March  6-7. — M.  R.  Harrington. 
Avalon  Theatre,  Clatskanie,  Ore.  Small  town  and 
rural  patronage. 

MRS.    WIGGS    OF    THE    CABBAGE  PATCH: 

Pauline  Lord,  W.  C.  Fields,  Zasu  Pitts,  Kent  Taylor, 
Evelyn  Venable — We  made  the  mistake  in  booking 
this  for  three  days  only.    It's  good  for  solid  week  in 


^  INSTALL; 

RQ!  VICTOR 

PHOTOPHONE  FOR 


•  A  Sound  Box-Office  Attracfion 
©  Complete  Ownership 

•  A  Self-Liquidating  Investment 


PHOTOPHONE  DIVISION 

RCA  MANUFACTURING  CO.,  Inc. 

Camden,  N.  J. 
A  Radio  Corporation  of  America  Subsidiary 


64 


MOTION    PICTURE  HERALD 


March    30,  1935 


any  size  theatre.  Even  now  it  has  greater  box  office 
value  than  anything  we .  have  shown  excepting 
"Broadway  Bill."  Tell  'em  about  it  and  sit  back 
and  take  in  the  money. — W.  H.  Brenner,  Cozy  Thea- 
tre, Winchester,  Ind.    General  patronage. 

MRS.    WIGGS    OF    THE    CABBAGE  PATCH: 

Pauline  Lord — Wonderful  picture  but  a  great  dis- 
appointment at  box  office.  The  work  of  Pauline  Lord 
cannot  be  excelled.  Why  they  did  not  turn  out  to 
see  it  is  beyond  me,  but  they  didn't.  Played  March 
3-4. — Henry  Sparks,  Grand  'Theatre,  Cooper,  Texas. 
Small  town  and  rural  patronage. 

NOW  AND  FOREVER:  Shirley  Temple— If  you 
have  not  shown  this  one  as  yet,  do,  as  it  almost 
topped  my  best  Sunday's  business,  which  goes  to 
show  this  little  star  is  still  at  her  peak.  Used  2  days, 
Sunday  and  Monday. — W.  H.  Brenner,  Cozy  Theatre, 
Winchester,  Ind.    General  patronage. 

PURSUIT  OF  HAPPINESS,  THE:  Francis  Led- 
erer,  Joan  Bennett — Tliis  picture  was  shown  on  Bar- 
gain Night  and  our  customers  expected  to  be  greatly 
disappointed  because  of  it  being  a  Colonial  picture. 
Everyone  came  out  smiling  and  were  greatly  pleased. 
Running  time,  72  minutes.  Played  Feb.  12-13. — Sher- 
man Hart,  Palace  Theatre,  Colorado,  Tex.  General 
patronage. 

SHOOT  THE  WORKS:  Jack  Oakie— Rather  a 
weak  sister.  Didn't  draw  and  didn't  please.  Played 
February  21-22. — Henry  Sparks,  Grand  Theatre, 
Cooper  City,  Texas.    Small  town  and  rural  patronage. 

WINGS  IN  THE  DARK:  Myrna  Loy,  Gary 
Grant — Entertaining  story  which  has  improbable  situ- 
ations and  yet  is  a  good  picture.  Well  received  here. 
Enough  thrills  for  weekend. — John  A.  Milligan,  Broad- 
way Theatre,  Schuylerville,  N.  Y.  Small  town 
patronage. 

Pathe 

KING  OF  KINGS:  H.  B.  Warner— I  booked  this 
one  for  two  days  and  did  40  per  cent  above  average 
business.  This  picture  is  in  sound  but  draws  as  good 
as  it  did  when  it  was  first  made.  Sunday  classes 
attended  the  show  in  groups  of  30,  and  saw  many 
strange  faces  in  the  audience.  All  who  saw  it  said 
it  was  the  best  picture  of  that  type  they  had  ever 
seen.  Hung  out  SRO  sign  th  esecond  day  of  the 
picture. — Al  Johnston.  Rialto  Theatre,  Jacksonville, 
Te.xas.     Small  town  patronage. 


RKO  Radio 

AGE  OF  INNOCENCE,  THE:  Irene  Dunne,  John 
Boles — Somewhat  disappointed  in  this.  Not  as  good 
as  I  expected  from  these  stars.  Business  only  aver- 
age. Played  January  22-23. — Henry  Sparks,  Grand 
Theatre,  Cooper.  Texas.  Small  town  and  rural 
patronage. 

ANNE  OF  GREEN  GABLES:  Anne  Shirley- 
Very  good  picture  but  not  enough  action  to  suit  most 
patrons.  Did  just  average  business  here.  Played 
February  23. — B.  Hollenbeck,  Rose  Theatre,  Snmas, 
Wash.    Small  town  patronage. 

GIGOLETTE:  Adrienne  Ames — This  one  lets  you 
down  at  the  end  like  a  load  of  brick.  Has  some 
mighty  clever  lines  and  shows  signs  at  times  of  going 
to  town  but  something  I  cannot  explain  makes  it  a 
very  poor  picture,  poor  from  entertainment,  poor  from 
box  otiice  angle.  It  is  my  opinion  you  could  spend 
all  the  money  in  the  world  trying  to  put  this  across 
and  fail. — W.  H.  Brenner,  Cozy  Theatre,  Winchester, 
Ind.    General  patronage. 

KENTUCKY  KERNELS:  Wlieeler  and  W^oolsey- 
A  nutty  comedy  but  the  cash  customers  liked  it  so 
that's  all  that's  necessary.  Very  good  business  here. 
Played  February  28.— B.  Hollenbeck,  Rose  Theatre, 
Sumas,  Wash.     Small  town  patronage. 

LITTLE  MINISTER,  THE:  Katharine  Hepburn— 
A  very  good  picture  of  its  kind  but  we're  getting 
too  many  of  the  same  type.  The  public  is  getting 
tired  of  these  socalled  nice  pictures.  I  don't  mean 
that  we  must  have  a  lot  of  smut  but  something  with 
a  little  pep  and  good  clean  comedy.  However,  this 
is  a  better  picture  than  "Little  Women"  and  will 
please  better.  Done  a  fair  business.  Running  time, 
102  minutes.  Played  February  24. — Esther  Schaber. 
Senator  Theatre,  Ashley,  N.  D.  Small  city  and  rural 
patronage. 

ROMANCE  IN  MANHATTAN:  Francis  Lederer, 
Ginger  Rogers — Story  value  in  this  seems  worthy  of 
the  effort  and  Lederer.  who  has  one  of  the  most 
fascinating  voices  heard  in  a  long  time,  does  re- 
markably well.  Ginger  Rogers,  as  you  must  know, 
handles  a  part  like  she  has  here  as  well  as  she  does 
the  musical  ones.  The  picture  to  me  at  times  reaches 
the  very  heights,  but  the  weak  spots  tear  it  down, 
so  that  you  have  a  poor  picture  which  will  not  do 
average  business  for  you  unless  you  can  think  up 
something  better  than  I  did  to  put  it  over.  Played 
4  days  first  part  of  week. — W.  H.  Brenner,  Cozy 
Theatre,  Winchester,  Ind.    General  patronage. 

ROMANCE  IN  MANHATTAN:  Francis  Lederer, 
Ginger  Rogers — This  picture  was  shown  on  bargain 
night  and  our  customers  were  well  pleased  with  it. 
Rogers  being  well  known  needed  no  introduction  to 
the  public  but  Lederer  made  a  great  hit  and  is  be- 
coming popular.  Running  time,  78  minutes.  Played 
Feb.  5-6. — Sherman  Hart,  Palace  Theatre,  Colorado, 
Tex.     General  patronage. 

ROMANCE    IN    MANHATTAN:     Ginger  Gogers, 


HELP  FOR  EXHIBITORS 
PLAYING  "SPOT'  FILMS 

"1  have  always  read  these  items  in 
the  Herald  but  never  took  time  out 
to  write  you,"  reports  Ted  Siler  of 
the  Dickinson  Theatre  at  Hiawatha, 
Kan.  "They  seem  to  be  too  far  behind 
to  do  me  much  good  as  I  am  playing 
the  picttire  'Hot'. 

"Maybe  some  of  the  rest  of  the 
exhibitors  can  derive  a  little  help  from 
me." 


Francis  Lederer — This  is  a -mighty  good  picture  and 
satisfied  all  we  got  in  to  see  it.  But  it  did  not 
draw  any  business  as  a  special.  If  I  had  played  as 
a  program  picture,  would  have  done  better.  Story 
very  interesting  and  both  stars  and  balance  of  cast 
fine.  Us  guys  out  in  the  sticks  have  no  chance  to 
preview  these  pictures  and  the  reports  from  the  big 
towns  are  no  good  to  us.  Played  March  10-11.— Bert 
Silver,  Silver  Family  Theatre,  Greenville,  Mich.  City 
and  town  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix— A  very 
good  action  picture.  Dix  always  draws  well  here. 
This  is  different  from  the  ordinary  westerns  and  was 
very  well  liked.  Played  to  a  good  business.  Running 
time,  70  minutes.  Played  March  7.— Esther  Schaber. 
Senator  Theatre,  Ashley,  N.  D.  Small  city  and  rural 
patronage. 

WOMAN  IN  THE  DARK:  Fay  Wray,  Ralph 
Bellamy — A  very  good  program  picture  that  did  not 
draw  film  rental.  Good  but  not  strong  enough  to 
draw  any  business.  Satisfied  the  few  we  got  in. — 
Bert  Silver,  Silver  Family  Theatre,  Greenville,  Mich. 
City  and  country  patronage. 


United  Artists 

COUNT  OF  MONTE  CRISTO,  THE:  Robert 
Donat,  EHssa  Landi — This  picture  being  United  Art- 
ists' master  production,  pleased  everyone  who  came 
to  see  it.  If  well  advertised  this  picture  will  prove 
to  be  one  of  the  greatest  box  office  attractions  of 
the  year  and  no  one  will  be  disappointed  with  it. 
Running  time,  113  minutes.  Played  March  3-4.— 
She  rman  Hart,  Palace  Theatre,  Colorado,  Tex.  Gen- 
eral patronage. 

MIGHTY  BARNUM,  THE:  Wallace  Beery. 
Adolphe  Menjou — Just  fair.  Not  a  big  draw.  Up  to 
this  picture  Beery  was  one  of  the  best  draws  we 
ever  had.  Played  March  6-7. — Harold  C.  Allison, 
Baldwin  Theatre,  Baldwin,  Mich.  Small  town 
patronage. 

SCARLET  PIMPERNEL,  THE:  Leslie  Howard- 
Very  good  costume  picture  but  no  draw  at  box  office. 
Running  time,  95  minutes.  Played  March  11-12. — 
J.  T.  Justice,  Jr.,  Pickfair  Theatre,  Kernersville, 
N.  C.    Small  town  patronage. 

TRANSATLANTIC  MERRY-GO-ROUND:  Gene 
Raymond.  Nancy  Carroll,  Jack  Benny — A  mighty  fine 
piece  of  entertainment.  'The  story  is  held  together 
better  than  most  "Grand  Hotel"  type  of  story.  The 
musical  and  spectacular  numbers  are  well  worth 
while.  I  hadn't  seen  Jack  Benny  in  quite  some  time 
and  I  hope  he  will  be  seen  in  pictures  more  fre- 
quently. Mitzi  Green  shows  real  possibilities  and 
in  time  may  occupy  top  place  if  properly  cast.  Busi- 
ness above  average. — ^J.  E.  Stocker,  Myrtle  Theatre, 
Detroit,  Mich.    Neighborhood  patronage. 


Universal 

CRIMSON  TRAIL,  THE:  Buck  Jones— To  date 
this  is  the  best  picture  Buck  Jones  ever  played  in. 
Hung  out  SRO  sign  the  two  days  that  I  played  it 
here.  If  your  Western  fans  like  action  pictures,  dont" 
fail  to  boo'k  this  one. — Al  Johnston,  Rialto  Theatre. 
Jacksonville,  Texas.    .Small  town  patronage. 

EMBARRASSING  MOMENTS:  Chester  Morris, 
Marian  Nixon — As  clever  a  comedy  drama  as  you 
could  wish  for,  yet  it  had  no  drawing  power.  Pleased 
all  those  we  could  get  out  to  see  it.  Played  March 
12-13. — Henry  Sparks,  Grand  Theatre,  Cooper,  Tex. 
Small  town  and  rural  patronage. 

GIFT  OF  GAB:  Edmund  Lowe,  Gloria  Stuart, 
Alice  White — With  all  the  opportunity  and  stars  that 
Universal  had  in  this  one,  it  should  have  been  a 
"wow"  at  the  box  office.  It  seems  all  Universal  did 
on  this  one  was  "sluff"  off  lots  of  dough  on  the 
actors  but  didn't  think  about  the  story.  Did  fair  at 
the  box  office  the  first  two  days  but  on  the  third 
day  "flopped."  Played  December  17-18. — Al  John- 
ston, Rialto  Theatre,  Jacksonville,  Texas.  Small  town 
patronage. 

HALF  A  SINNER:  Joel  McCrea.  Sally  Blaine— A 
fair   program    picture    which    our    patrons    enjoyed. — 


J.  W.  Noah,  New  Liberty  and  Ideal  theatres.  Fort 
Worth,  Texas.    General  patronage. 

I  GIVE  MY  LOVE:  Wynne  Gibson— A  nice  pro- 
gram picture.  Wynne  Gibson  extra  good  in  the  role 
she  portrays.  Business  below  average  but  no  fault 
of  picture.  Played  February  28,  March  1 — Henry 
Sparks,  Grand  "Theatre,  Cooper  City,  Texas.  Small 
town  and  rural  patronage. 

IMITATION  OF  LIFE:  Claudette  Colbert,  War- 
ren William — This  picture  is  one  of  the  finest  I  have 
ever  seen.  It  is  original,  marvellously  acted  and 
superbly  produced.  It  has  both  class  and  mass  ap- 
peal and  went  over  100  per  cent  with  our  patrons.— 
J.  W.  Noah,  New  Liberty  and  Ideal  theatres.  Fort 
Worth,  Texas.    General  patronage. 

IMITATION  OF  LIFE:  Qaudette  Colbert,  War- 
ren William — "A  masterpiece"  describes  it  fully  and 
it  is  a  drawing  card  at  the  box  office. — J.  E.  Stocker, 
Myrtle  Theatre,  Detroit,  Mich.  Neighborhood 
patronage. 

LET'S  TALK  IT  OVER:  Chester  Morris,  Mae 
Clark — A  nice  little  program  picture  that  failed  at 
the  box-office.  Played  January  29-30. — Henry  Sparks, 
Grand  Theatre,  Cooper,  Texas.  Small  town  and  rural 
patronage. 

NOTORIOUS  GENTLEMAN,  A:  Charles  Bick- 
ford,  Helen  Vinson — Used  as  a  surprise  preview  fea- 
ture, this  filled  the  bill  nicely.  It's  a  murder  mystery 
with  the  audience  in  on  the  secret  all  the  time. 
Cleverly  worked  out  plot  that  held  the  interest.  Run- 
ning time,  75  minutes.  Played  March  9. — M.  R.  Har- 
rington, Avalon  Theatre,  Clatskanie.  Ore.  Small 
town  and  rural  patronage. 

RENDEZVOUS  AT  MIDNIGHT:  Ralph  Bellamy— 
This  one  is  just  another  picture.  The  actors  did  the 
best  they  could  with  the  story  they  had.  Universal 
could  make  a  better  picture  than  this  one  with  little 
effort. — Al  Johnston,  Rialto  Theatre,  Jacksonville, 
Texas.    Small  town  patronage. 

ROMANCE  IN  THE  RAIN:  Roger  Pryor, 
Heather  Angel — Above  average  program  picture. 
Didn't  draw  but  no  fault  of  picture.  Those  that  came 
liked  it.  Played  February  19-20. — Henry  Sparks, 
Grand  Theatre,  Cooper  City,  Texas.  Small  town  and 
rural  patronage. 

STRANGE  WIVES:  June  Clay  worth,  Roger 
Pryor — Good  program  comedy  type  offering,  used  as 
a  preview  and  getting  by  nicely  as  such.  Farce  in 
character.  This  started  out  slowly,  but  gained  speed, 
and  laughs  came  thick  and  fast.  Well  liked  by  our 
patrons.  Running  time,  75  minutes.  Played  March 
2. — M.  R.  Harrington,  Avalon  Theatre.  Clatskanie, 
Ore.    Small  town  and  rural  patronage. 

Warner 

BORDERTOWN:  Paul  Muni,  Bette  Davis— Won- 
derful acting  and  pleased.  Muni  is  great  and  Bette 
Davis  gives  a  fine  performance.  A  rather  depressing 
story  but  the  good  acting  saves  it.  Running  time,  90 
minutes.  Played  March  6-7. — Gladys  E.  McArdle, 
Owl  Theatre,  Lebanon,  Kansas.  Small  town  patronage. 

DESIRABLE:  George  Brent,  Jean  Muir— A  dandy 
program  picture  but  somehow  it  failed  to  register  at 
the  box  office.  Played  February  5-6. — Henry  Sparks, 
Grand  Theatre.  Cooper,  Texas.  Small  town  and 
rural  patronage. 

FIRE  BIRD:  Warner  Brothers  may  know  why 
they  made  this  but  I  don't.  Nothing  to  it.  Played 
March  2. — Henry  Sparks,  Grand  Theatre,  Cooper 
City,  Texas.    Small  town  and  rural  patronage. 

KANSAS  CITY  PRINCESS:  Joan  Blondell, 
Glenda  Farrell. — They  will  like  these  "gold  digging 
blondes"  and  will  turn  out  to  see  'em.  Business  very 
satisfactory  and  picture  good.  Played  Mar.  5-6. — 
Henry  Sparks,  Grand  Theatre.  Cooper,  Texas.  Small 
town  and  rural  patronage. 

RIGHT  TO  LIVE,  THE:  George  Brent,  Colin 
Clive,  Josephine  Hutchinson — Mighty  good  acting  and 
seemed  to  please  the  patrons.  Colin  Clive  is  the 
real  star  of  this  one.  Played  March  2-3. — Gladys  E. 
McArdle,  Owl  Theatre.  Lebanon.  Kansas.  Small  town 
patronage. 

SECRET  BRIDE,  THE:  Barbara  Stanwyck— Good 
entertainment.  Complicated  plot  and  counter  plots 
that  held  the  interest  of  patrons.  Stanwyck  deserves 
better  opportunities  for  her  talents  but  she  does  a 
nice  job  in  this  one.  Business  good  and  audience  re- 
action very  favorable.  Running  time,  64  minutes. 
Played  February  27-28.— M.  R.  Harrington,  Avalon 
Theatre,  Clatskanie,  Ore.  Small  town  and  rural 
patronage. 

ST.  LOUIS  KID:  James  Cagney.  Allen  Jenkins— 
This  is  a  wow  of  a  picture  for  this  size  town.  Action 
and  lots  of  it.  This  team  works  well  together  in 
this  type  of  picture.  Lots  of  laughs  and  no  smut. 
More  like  it  what  we  need.  Comedy  is  what  they 
want,  without  smut. — Bert  Silver.  Silver  Family  Thea- 
tre, Greenville,  Mich.    City  and  town  patronage. 

ST.  LOUIS  KID:  James  Cagney,  Allen  Jenkins— 
A  knockout  for  midweek  where  you  want  action  and 
comedy.  Business  above  average.  Played  February 
7-8. — Henry  Sparks,  Grand  Theatre,  Cooper,  Texas. 
Small  town  and  rural  patronage. 

SWEET  ADELINE:  Irene  Dunne,  Donald  Woods 
— A  very  good  picture  of  the  time  of  the  Gay  Nineties. 
Not  a  special  but  pleased  those  who  came.  Struck 


March    30,  1935 


MOTION    PICTURE  HERALD 


65 


the  worst  storm  of  the  year  Sunday  night  and  only 
five  patrons  came.  Running  time,  S2  minutes. 
Played  February  23-24.--Gladys  E.  McArdle,  Owl 
Theatre,  Lebanon,  Kansas.    Small  town  patronage. 

WHITE  COCKATOO,  THE:  Jean  Muir,  Ricardo 
Cortez — A  bang-up  good  mystery.  It  has  a  lot  of 
suspense,  is  well  directed,  and  Jean  Muir  was  very 
good.  Metro  might  as  well  know  it,  the  audience 
went  for  it  and  liked  it  better  than  their  high- 
priced  percentage  picture,  "Forsaking  All  Others." — 
A.  E.  Hancock,  Columbia  Theatre,  Columbia  City, 
Ind.     General  patronage. 


Miscellaneous 

WYOMING  WHIRLWIND:  Lane  Chandler— Riding 
and  shootin'  and  then  some  more  ridin'  and  shootin' 
and  so  on  for  six  reels.  Played  February  9. — Henry 
Sparks,  Grand  Theatre,  Cooper,  Texas.  Small  town 
and  rural  patronage. 


Short  Features 


Columbia 

CONCERT  KID:  Scrappy  Cartoons— Good  cartoon 
for  the  youngsters. — Harold  C.  Allison,  Baldwin  Thea- 
tre, Baldwin,  Mich.    Small  town  patronage. 


Educational 

SHE'S  MY  LILLY:  Musical  comedies- A  darn  good 
comedy  that  will  get  the  laughs.— Henry  Sparks, 
Grand  Theatre,  Cooper,  Texas.  Small  town  and  rural 
patronage. 

SLOW  BUT  SURE:  Terry-Toons— This  was  a  very 
fine  cartoon  and  was  truly  done  in  a  very  fine  fash- 
ion. Recording  good.  Running  time,  six  minutes. — Al- 
bert Hefferan,  Owl  Theatre,  Grand  Rapids,  Mich.  Spe- 
cial patronage. 

WAY  DOWN  YONDER:  Song  Hit  Stories— Went 
over  big  with  our  patrons.  Negro  songs  with  a  little 
story  to  carry  it  along  and  a  group  of  pickaninnies 
who  can  sing  like  veterans. — M.  R.  Harrington,  Ava- 
lon  Theatre,  Clatskanie,  Ore.  Small  town  and  general 
patronage. 

First  Division 

MEXICAN  IDYL:  Color  short— A  beautiful  one- 
reeler  in  color.  No  talking  but  very  good  music.  I 
didn't  think  it  would  go  over  so  good  but  they  ap- 
plauded it,  which  is  unusual  here.— Harold  C.  Allison, 
Baldwin  Theatre,  Baldwin,  Mich.  Small  time  patron- 
age. 

OLD  FAITHFUL  SPEAKS:  Color  short— Good  of 
its  kind.— Harold  C.  Allison,  Baldwin  Theatre,  Bald- 
win, Mich.    Small  town  patronage. 


Fox 

FOX  NEWS:  This  is  far  the  best  newsreel  on  the 
market.  I  and  my  patrons  like  it  very  much,  indeed. 
It  is  edited  and  made  so  very  dignified;  other  sound 
news  can't  be  compared  with  Fox  because  it  seetns 
that  Fox  has  the  right  idea  of  presenting  the  news  in 
the  right  way.  Fox,  you  have  given  us  a  newsreel  to 
be  proud  of.  Running  time,  10  minutes. — Albert  Ref- 
feran.  Owl  Theatre,  Grand  Rapids,  Mich.  Special 
patronage. 


MGM 

BALLAD  OF  PADUCAH  JAIL:  Irvin  S.  Cobb— 
Another  excellent  comedy  featuring  Irvin  S.  Cobb. 
These  shorts  go  over  good  here.  And  don't  forget 
the  dog.  Running  time,  two  reels. — Gladys  E.  Mc- 
Ardle, Own  Theatre,  Lebanon,  Kansas.  Small  town 
patronage. 

BUM  VOYAGE:  Todd-Kelly— A  ridiculous  plot  but 
kept  them  laughing  and  that  is  what  we  want.  This 
team  pleases  most  of  the  patrons.  Running  time,  two 
reels. — Gladys  E.  McArdle,  Own  Theatre,  Lebanon, 
Kansas.    Small  town  patronage. 

DONE  IN  OIL:  Todd-Kelly— Another  goofy  Todd- 
Kelly  that  seemed  to  please.  Running  time,  two  reels. 
— Gladys  E.  McArdle,  Own  Theatre,  Lebanon,  Kansas, 
Small  town  patronage. 

DONKEY  BASEBALL:  Oddities-^Very  good  single 
of  the  game  of  donkey  baseball  with  cotnedy  added. 
Your  audience  should  get  a  "kick"  out  of  it.  (Apolog- 
ies to  Peter  Smith) — John  A.  Milligan,  Broadway 
Theatre,  Schuylerville,  N.  Y.    Small  town  patronage. 

OPENED  BY  MISTAKE:  Todd-Kelly— This  is  a 
wow.  Best  from  this  pair  for  a  long  time. — B.  Hollen- 
beck.  Rose  Theatre,  Sumas,  Wash.  Small  town  pat- 
ronage. 

SHRIMPS  FOR  A  DAY:  Our  Gang— Just  average 
comedy  with  Spanky  McFarlane  drawing  the  laughs — 
as  he  always  does  here,  be  the  comedy  what  it  may. — 
John  A.  Milligan,  Broadway  Theatre,  Schuylerville, 
N.  Y.   Small  town  patronage. 

STAR  NIGHT   AT  THE   COCOANUT  GROVE: 

Musical  Revue — This  shown  being  a  color  was  enter- 
taining and   many   customers   came   back   to   see  it 


again. — Sherman  Hart,  Palace  Theatre,  Colorado,  Tex. 
General  patronage. 

TIT  FOR  TAT:  Laurel  and  Hardy— This  is  one 
of  Laurel  and  Hardy's  best  comedies.  It  kept  our 
patrons  laughing  from  start  to  finish. — Sherman  Hart, 
Palace  Theatre,  Colorado,  Tex.    General  patronage. 

TOYLAND  BROADCAST:  Happy  Harmonies- 
These  colored  cartoons  are  sure  good.  This  one  got 
as  many  favorable  comments  as  the  feature.  They 
please  the  adults  almost  as  much  as  the  kiddies.  Run- 
ning time,  one  reel. — Gladys  E.  McArdle,  Owl  Thea- 
tre, Lebanon,  Kansas.    Small  town  patronage. 

Paramount 

HOLLYWOOD  RHYTHM:  Headliner  Series— Some 
left  over  footage  from  "College  Rhythm"  which  makes 
a  good  trailer  if  used  just  before  the  showing  of  that 
feature.  Otherwise,  not  much  to  it.  Running  time, 
ten  minutes.— M.  R.  Harrington,  Avalon  Theatre,  Clat- 
skanie, Ore.    Small  town  and  general  patronage. 

MILES  PER  HOUR:  Grantland  Rice  Sportslights-^ 
Very  good  sport  reel  with  plenty  of  action.  Running 
time,  10  minutes. — M.  R.  Harrington,  Avalon  Thea- 
tre, Clatskanie,  Ore.  Small  town  and  general  patron- 
age. 

OLD  KENTUCKY  HOUNDS:  Paramount  Varieties- 
Dog-gone  clever  short  that  got  the  laughs.  Running 
time,  10  minutes. — M.  R.  Harrington,  Avalon  Theatre, 
Clatskanie.  Ore.    Small  town  and  general  patronage. 

SCREEN  SOUVENIRS:  No.  1— Interesting  and 
funny. — M.  R.  Harrington,  Avalon  Theatre,  Clat- 
skanie. Ore.    Small  town  and  general  patronage. 

RKO  Radio 

HENRY  THE  APE:  Bert  Lahr— A  very  severe 
pain. — Henry  Sparks,  Grand  Theatre,  Cooper.  Texas. 
Small  town  and  rural  patronage. 

Universal 

AT  THE  MIKE:  Mentone  No.  3-A— Plenty  good. 
These  Mentone  productions  are  a  bright  spot  on  any 
program. — M.  R.  Harrington,  Avalon  Theatre,  Clat- 
skanie. Ore.    Small  town  and  general  patronage. 

Vitaphone 

ALL  SEALED  UP:  Ben  Blue— Personally,  I  thought 
this  one  a  waste  of  film  but  judging  from  the  laughs 
the  patrons  did  not  agree  with  me.  A  trained  seal 
helps  to  put  this  one  over.  Running  time,  two  reels. — 
Gladys  E.  McArdle,  O'wl  Theatre,  Lebanon,  Kansas. 
Small  town  patronage. 

ANIMATED  PUPPET  NOVELTY:  Pepper  Pot— An 
average  cartoon. — Henry  Sparks,  Grand  Theatre,  Coop- 
er, Texas.    Small  town  and  rural  patronage. 

BUDDY  OF  THE  LEGION:  Looney  Tunes— Just 
another  cartoon. — Henry  Sparks,  Grand  Theatre,  Coop- 
er, Tex.    Small  town  and  rural  patronage. 

BUDDY  THE  DENTIST:  Looney  Tunes— A  clever 
little  cartoon. — Henry  Sparks.  Grand  Theatre,  Cooper, 
Texas.    Small  town  and  rural  patronage. 

DON  REDMAN  AND  HIS  BAND:  Melody  Mas 
ters — A   good   musical   number.     Running   time,  one 
reel. — Gladys    E.    McArdle,    O'wl    Theatre,  Lebanon, 
Kansas.    Small  town  patronage. 

FLAME  SONG,  THE:  Bernice  Claire— Pretty  poor 
musical  fare.  Looks  like  a  rehash  of  "The  Song  of 
the  Flame,"  made  several  years  ago.  Running  time, 
20  minutes.— M.  R.  Harrington,  Avalon  Theatre,  Clat- 
skanie, Ore.    Small  town  and  general  patronage. 

GOOD  BADMINTON:  Pepper  Pot— A  very  unique 
one-reel  subject. — Henry  Sparks.  Grand  Theatre, 
Cooper,  Texas.    Small  town  and  rural  patronage. 

HEAR  YE!  HEAR  YE!:  Broadway  Brevity -Read 
where  some  exhibitor  gave  this  a  boost  but  he  and 
I  can't  agree  on  this  one. — Henry  Sparks,  Grand 
Theatre,  Cooper,  Texas.  Small  town  and  rural  pat- 
ronage. 

MR.  AND  MRS.  IS  THE  NAME:  Merrie  Melodies 
— All  these  colored  cartoons  are  good.  This  one  has 
some  beautiful  undersea  eflfects.  Coloring  is  beautiful. 
Running  time,  one  reel. — Gladys  E.  McArdle,  Owl 
Theatre,  Lebanon,  Kansas.    Small  town  patronage. 

MR.  AND  MRS.  JESSE  CRAWFORD:  Pepper  Pot 
Series — A  lot  of  good  pipe  organ  music  which  was 
appreciated  by  audience. — Henry  Sparks,  Grand  Thea- 
tre, Cooper,  Tex.    Small  town  and  rural  patronage. 

MY  MUMMY'S  ARMS:  Harry  Gribbon— Screened 
this  in  advance  of  showing  and  didn't  run.  Would 
advise  you  to  lay  off  this  one.  Running  time,  two 
reels. — Harry  Sparks.  Grand  Theatre,  Cooper,  "Texas. 
Small  town  and  rural  patronage. 

PAREE,  PAREE:  Dorothy  Stone,  Bob  Hpoe— An 
excellent  two-reel  short  featuring  Dorothy  Stone. 
Comedy,  dancing  and  music  that  pleased.  Running 
time,  two  reels.— Gladys  E.  McArdle,  Owl  Theatre, 
Lebanon,   Kansas.    Small  town  patronage. 

A  PEACH  OF  A  PAIR:  Daphne  Pollard— Rough- 
house  slapstick  but  it  got  some  laughs. — M.  R.  Har- 
rington. Avalon  Theatre.  Clatskanie,  Ore.  Small  town 
and  general  patronage. 

PILGRIM  DAYS:  See  America  First,  E.  M.  New- 
man—Another of  the  "See  America  First"  series  with 
some  very  interesting  views.    This   series   would  be 


great  with  a  good  announcer.— Gladys  E.  McArdle, 
Owl  Theatre,  Lebanon,  Kansas.  Small  town  patron- 
age. 

RADIO  SCOUT:  El  Brendcl— How  the  patrons  roar- 
ed at  this  one.  Running  time,  20  minutes. — M.  R. 
Harrington,  Avalon  Theatre,  Clatskanie,  Ore.  Small 
town  and  general  patronage. 

RICHARD    HIMBER    AND    HIS  ORCHESTRA: 

Melody  Masters — A  swell  musical  number.  "Melody 
Masters"  are  a  credit  to  any  program.  Running  time, 
one  reel. — Gladys  E.  McArdle,  Owl  Theatre,  Lebanon, 
Kansas.    Small  town  patronage. 

SEE,  SEE,  SEiNORITA:  Broadway  Brevities— War- 
ner's Broadway  Brevities  not  as  good  as  they  used 
to  be.  This  one  will  barely  get  by.— Henry  Sparks, 
Grand  Theatre,  Cooper,  Tex.  Small  town  and  rural 
patronage. 

SOFT  DRINKS  AND  SWEET  MUSIC:  George 
Price,  Sylvia  Froos— A  good  Broadway  Brevity  that 
will  add  to  your  program.  Running  time,  two  reels. — 
Henry  Sparks,  Grand  Theatre,  Cooper,  Texas.  Small 
town  and  rural  patronage. 

VAUDEVILLE  REEL:  No.  3— These  Vaudeville 
reels  are  all  to  the  good.  They  give  a  varied  program 
that  pleases.  Running  time,  one  reel. — Gladys  E.  Mc- 
Ardle, Owl  Theatre,  Lebanon,  Kansas.  Small  town 
patronage. 


Serials 
Mascot 

LAW  OF  THE  WILD:  Re.x,  Rin  Tin  Tin,  Jr.,  Ben 
Turpin,  Bob  Custer — I  have  run  the  fourth  episode 
of  this  interesting  chapter  play  and  it  seems  to  get 
"hotter."  The  human  actors  in  this  serial  are  all  O. 
K  and  the  animal  act  is  in  a  class  by  themselves. 
Nearly  everyone  likes  a  good  dog  or  horse  so  that 
makes  this  an  a  No.  1  serial,  none  better.  Running 
time,  two  reels. — J.  A.  Klink,  Primghar  Theatre, 
Primghar,  Iowa.    Small  town  and  rural  patronage. 

LOST  JUNGLE,  THE:  Clyde  Beatty— Have  run 
three  chapters  and  it  seems  to  be  going  over  good. 
This  pleases  a  lot  of  the  adults  that  do  not  usually 
like  serials  on  account  of  the  wild  animal  acts.  Run- 
ning time,  two  reels. — Gladys  E.  McArdle,  Owl  Thea- 
tre. Lebanon.  Kansas.    Small  town  patronage. 


Albany  Variety  Club 
Plans  Buckley  Testimonial 

The  Variety  Club  of  Albany  on  April  1 
will  hold  a  testimonial  dinner  at  its  club 
rooms  to  honor  Chris  Buckley,  retiring  as 
chief  barker.  The  following  new  officers  are 
to  be  installed  at  the  dinner :  Ralph  Pielow, 
chief  barker ;  C.  R.  Halligan,  first  assistant 
chief  barker ;  Charles  Smakwitz,  second  as- 
sistant chief  barker ;  Henry  Freider,  wagon 
master ;  Joe  Garry,  property  man ;  E.  Hol- 
lander, financial  secretary ;  M.  J.  Kallet,  M. 
Schine,  William  Benton,  Jack  Bulwinkle, 
Moe  Grassgreen,  William  C.  Smalley,  can- 
vasman ;  C.  H.  Buckley,  chairman  of  the 
board  of  governors. 


Raze  Rialto  May  15 

The  razing  of  the  Rialto  theatre-  on 
Broadway,  on  the  site  of  which  a  new 
Rialto  will  be  built,  will  begin  May  15. 


66 


MOTION    PICTURE  HERALD 


March    30,  1935 


IIIIIIIIIHI 


THEATRE  RECEIPTS 


The  total  of  theatre  receipts  for  the  calendar  week  ended  March  23,  1935,  from 
98  theatres  In  17  major  cities  of  the  country,  reached  $1,012,450,  a  decrease  of 
$58,474  from  the  total  for  the  preceding  calendar  week,  ended  March  16,  when 
107  theatres  in  18  major  cities  aggregated  $1,070,924. 

(Copyright,  193S:   Reproduction  of  material  from  this  department  without  credit  to  Motion  Picture  Herald  expressly  forbidden) 


Theatres 

Boston 

Boston                    3,246  25c-50c 

Fenway                   1,382  30c-50c 

Keith   Memorial..  2,907  25c-65c 

Loew's  State   ...  3,537  2Sc-55c 

Metropolitan            4,332  3Sc-6Sc 

Paramount               1,793  25c-S0c 


Current  Week 


Previous  Week 


Picture 


Gross  Picture 


Gross 


"Captain  Hurricane"  (Radio)   9,000      "Great  Hotel  Murder"   (Fox)   9,000 


"Love  in  Bloom"  (Para.)  and   3,( 

"Car  99"  (Para.) 


"Roberta"    (Radio)    30,000 

"The  Wedding  Night"  (U.A.)  and  11,000 
"Shadow  of  Doubt"  (MGM) 

"Gold  Diggers  of  1935"  (F.  N.)..' 22,000 

"Love  in  Bloom"   (Para.)   and   4,000 

"Car  99"  (Para.) 


"Under  Pressure"  (Fox)  and   3,500 

"While  the  Patient  Slept"  (W.  B.) 


"The  Little  Colonel 

(2nd  week) 
"Folies  Bergere"  (U.A.)  and 
"Death  Flies  East"  (Col.) 


(Fox)   12,00-0 

.  14,000 


"Ruggles  of  Red  Gap"  (Para.)....  29,000 

"Under  Pressure"  (Fox)  and   4,500 

"While  the  Patient  Slept"  (W.B.) 


High  and  Low  Gross 

(Tabulation  covers  period  from  Janiuuy,  1934.) 
(Dates  are  1934  unless  otherwise  specified.) 

High  12-29  "West  of  Pecos"   23,000 

Low  2-2-35  "One  Exciting  Adventure"..  8,500 
High  1-6  "Lady  Killer"  I 

and  "Girl  Without  a  Room"  j  12,000 
Low  3-9-35  "One  More  Spring"  and  ! 

"Lottery  Lover"  j  2,500 

High    3-23-35    "Roberta"   30,000 

Low  1-19-35  "Evergreen"   7,000 

High  4-7  "Riptide"    22,000 

Low  3-9-35  "Whole  Town's  Talking"  I 

and  "Society  Doctor"       J  9,000 

High  1-27  "All  of  Me"   39,000 

Low  1-19-3S  "The  County  Chairman"....  21,000 
High  1-6  "Lady  Killer"  ) 

and  "Girl  Without  a  Room"  |  12,000 
Low  3-23-35  "Love  in  Bloom"  and  ( 

"Car  99"  ]  4,000 


Buffalo 

Bufifalo                 3,500  30c-5Sc 

Century                  3,000  2Sc 

Great  Lakes           3,000  2Sc-40c 

Hippodrome            2,100  25c-40c 

Lafayette                3,300  2Sc 

Chicago 

Apollo                     1,400  25c-S0c 

Chicago                  4,000  2Sc-68c 

Garrick                     900  25c-40c 

Oriental                  3,940  25c-40c 

Palace                    2,509  2Sc-50c 

Roosevelt                1,591  25c-50c 

State-Lake  ......  2,776  20c-3Sc 

United  Artists...  1,700  30c-60c 


"Life  Begins  at  40"   (Fox)   16,600 

"West  of  the  Pecos"  (Radio)  and  5,400 
"The  White  Cockatoo"   (W.  B.) 


'The  Little  Colonel"  (Fox)   6,700 

(2nd  week) 

'Vanessa:    Her  Love  Story"   5,900 

(MGM)  and  "The  Winning  Ticket" 
(MGM) 

"Carnival"    (Col.)    and   6,300 

"Girl  in   Danger"  (Col.) 


'David  Copperfield"   (MGM)   6,000 

•Life  Begins  at  40"   (Fox)   36,030 

■'The   Little   Colonel''    (Fox)   8,000 

■'Mills  of  the  Gods"  (Col.)   15,000 

■'It  Happened  in  New  York"   21,000 

(Univ.) 

"Ruggles   of  Red  Gap"    (Para.)..  11,000 
(3rd  week) 

"The  Little  Minister"   (Radio)....  17,000 

•The  Scarlet  Pimpernel"   (U.A.)..  18,000 


"Ruggles  of  Red  Gap"  (Para.)...  14,800 
'David  Copperfield"   (MGM)   7,500 


■'The  Little  Colonel"  (Fox). 
(1st  week) 


"Folies  Bergere"  (U.  A.). 


10,700 


8,300 


"The  Mystery  of  Edwin  Drood"..  7,000 
(Univ.)  and  "Fugitive  Lady"  (Col.) 


"Society    Doctor"    (MGM)   7,000 

"The  Little  Colonel"  (Fox)   37,000 

'The  Right  to  Live"  (W.  B.)....  4,000 

'Under  Pressure"  (Fox)   17,000 

'Gigolette''  (Radio)    24,000 


'Ruggles  of  Red  Gap"  (Para.). 

(2nd  week) 
'The  Best  Man  Wins"  (Col.)... 


15,000 
14,000 


High  1-6  "Design  for  Living"  

Low  12-29  "Music  in  the  Air"  

High  4-21  "The  Lost  Patrol"  and  ) 

"Three  on  a  Honeymoon' 
Low  12-29  "I  Am  a  Thief"  and 

"Side  Streets" 
High  9-29  "Belle  of  the  Nineties".... 
Low  12-22  "Gentlemen  Are  Bom"  and  I 

"Marie  Galante"  ) 
High  5-19  "The  House  of  Rothschild". 
Low  7-28  "Here  Comes  the  Navy  - 


'David  Copperfield"   (MGM)   9,000 

(9  days-5th  week) 


High  3-10  "It  Happened  One  Night"  } 

and  "Before  Midnight"  f 

Low  11-17  "Jane  Eyre"  and  i 

"Young  and  Beautiful"  f 


High  9-8  "The  Cat's  Paw"  

Low  11-24  "The  Captain  Hates  the  Sea" 

High  8-11  "She  Loves  Me  Not"  

Low  5-26  "Thirty  Day  Princess"  

High  2-23-35  "Baboona"  

Low  3-16-35  "The  Right  to  Live"  

High  1-5-35  "Big  Hearted  Herbert".... 

Low  6-16  "Registered  Nurse  

High  3-9-35  "Murder  on  a  Honeymoon" 

Low  12-1  "Kentucky  Kernels"  

High  1-5-35  "Forsaking  All  Others".... 

Low  8-18  "Paris  Interlude"  

High  9-8  "The  Most  Precious  Thing  in 

Life"   

Low  5-2-35  "Helldorado"   

High  5-5  "House  of  Rothschild"  

Low  4-28  "Looking  for  Trouble"  


26,000 
5,000 

8,100 

4,000 
18,800 

3,800 
18,000 
4,800 


16,700 
4,200 


16,000 
5,000 
66,000 
19,000 
8,500 
4,000 
25,000 
12,000 
30,000 
8,000 
27,000 
6,000 

19,000 
11,000 
30,000 
10,000 


Cleveland 

Allen    3,300  25c-35c 

Circle    1,875  20c-30c 

Hippodrome   3,800  30c-42c 

RKO  Palace  ....  3,100  30c-60c 

State    3,400  30c-42c 

Stillman    1,900  25c-35c 

Denver 

Aladdin    1,500  2Sc-S0c 

Broadway    1,500  25c-40c 

Denver    2,500  25c-50c 

Paramount    2,000  25c-40c 


'Mystery  of  Edwin  Drood"  (Univ.)  2,200 
(6  days) 

'The   Best  Man  Wins"   (Col.)....  5,000 


'Roberta"    (Radio)    13,500 

(2nd  week) 
'Murder  on  a  Honeymoon"  (Radio) 


'Ruggles  of  Red  Gap"  (Para.)... 
'Enter  Madame"  (Para.)  


"The  Iron  Duke"  (GB  Pictures).. 


"The  Little  Colonel"  (Fox).... 

(3  days) 
"The  Whole  Town's  Talking"  . 

(4  days) 
"After  Office  Hours"  (MGM). 

"The  Good  Fairy"  (LTniv.)  


27,554 
12,000 
3,000 

2,500 
9G0 
1,200 
8.00O 
5,000 


"Night  Life  of  the  Gods"  (Univ.)  1,600 

(5  days) 

"Dangerous   Corner"   (Radio)   6,000 


"Roberta"  (Radio)   

(1st  week) 
"Living  on  Velvet"  (F.  N.). 


23,000 
17,500 

"Folies  Bergere"  (U.  A.)   6,000 

"Sequoia"  (MGM)    4,800 


"The  Scarlet  Pimpernel"  (U.A.)..  3,000 
(2nd  week) 


"Folies  Bergere"  (U.A.)   6,000 

"The  Whole  Town's  Talking''  (Col.)  5,000 
(25c-50c) 


High  10-27  "Six-Day  Bike  Rider". 
Low  12-15  "Silver  Streak"   


7,000 
1,400 


High  3-16-35  "Roberta"....  

Low  3-17  "Journal  of  a  Crime"  

High  3-23-35  "Murder  on  a  Honeymoon' 

Low  5-19  "Where  Sinners  Meet"  

High  1-12-35  "Forsaking  All  Others".. 
Low  12-29  "Private  Life  of  Don  Juan".. 

High  9-15  "Chained"  

Low  1-12-35  "Our  Daily  Bread"  


High  5-S  "House  of  Rothschild" 
Low  8-11  "I  Give  My  Love".... 


23,000 

2,900 
27,554 

4.000 
28,000 

3,500 
10,000 

2,000 


9.000 
1.200 


High  1-13  "Roman  Scandals"    17,S0O 

Low  9-29  "British  Agent"   4,000 

High  1-13  "Dinner  at  Eight"   S,SOO 

Low  6-9  "Uncertain  Lady"   400 


Hollywood 

Chinese    2,500  30c-55c 

Pantages    3,000  2Sc-40c 

W.  B.  HoDywood  J.OOO  2Sc-6Sc 


'The  Little  Colonel"  (Fox)   8,500 

(6  days) 

"It  Happened  In  New  York"  (Univ.)  2,950 
and  "Sweepstake  Annie"  (Liberty) 

"Roberta"    (Radio)    12,000 

(6  days -2nd  week) 


"Biography  of  a  Bachelor  Girl".. 
(MGM)  (6  days) 

"Transient  Lady"  (Univ.)  and  

"The  Nut  Farm"  (Mono.) 

"Roberta"  (Radio)   

(6  days-lst  week) 


6,000      High  4-14  "House  of  Rothschild"   2S.m 

Low  12-29  "Music  in  the  Air"   4.292 

3,300      High  12-8  "Imitation  of  Life"   12,200 

Low  3-3  "Fugitive  Lovers"  and  I 

"The  Poor  Rich"  (  1.S00 

14,300      High  9-8  "Dames"    25,000 

Low  12-29  "Sweet  Adeline"   6,300 


March    3  0,     19  3  5 


MOTION    PICTURE  HERALD 


67 


ETHCATCE  CECCIPTS—CONT'DJ 


Theatres 


Current  Week 


Previous  Week 


Indianapolis 

ApoUo                     1.100  2Sc-40c 

Cirde                     2,800  2Sc-40c 

Indiana                   3,133  2Sc-*)c 

Lyric                      2,000  2Sc-40c 

Palace                    3,000  25c-40c 

Kansas  City 

Mainstreet              3,049  lSc-40c 

Midland                 4.000  15c-40c 

Newman                 1,800  25c-40c 

Tower                     2,200  2Sc 

Uptown                  2,000  25c-40c 


Picture 


Gross  Picture 


'Little  Colonel"   (Fox)   2,500 

(2nd  week) 

'Love  in  Bloom"   (Para.)   3,750 

'Roberta"    (Radio)    10,000 

'Great  Hotel  Murder"  (Fox)   5,000 

•The   Wedding   Night"    (U.   A.)..  4,500 


"Roberta"    (Radio)    5,500 

(6  days-3rd  week) 

"The   Wedding  Night"   (U.A.)....  7,200 

"Love    in    Bloom"    (Para.)   5,500 

(6  days) 

"Night   Life  of   the   Gods"   7,000 

(Univ.) 

"The    Little    Colonel"    (Fox)   4,100 

(2nd  week) 


(Fox). 


"Little  Colonel" 
(1st  week) 
'Transient  Lady"  (Univ). 


Gross 


7.00O 
2,000 


"Ruggles  of  Red  Gap"  (Para.)....  6,500 
"Night  Life  of  the  Gods"  (Univ.)  5,500 
"Folies    Bergere"    (U.A.)   5,000 


"Roberta"   (Radio)    7,0lX) 

(2nd  week) 

"Folies  Bergere"  (U.  A.)   7,800 

"Ruggles  of  Red  Gap"  (Para.)....  3,000 
(3  days-2nd  week) 

"The  Whole  Town's  Talking"  (Col.)  9,000 

"The  Little  Colonel"  (Fox)   6,400 

(1st  week) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January.  U34.) 
(Dates  are  1934  unless  otherwise  specified.) 

High  2-23-35  "One  More  Spring"   7,500 

Low  2-9-35  "Baboona"   2,000 

High  12-lS  "Lady  By  Choice"   8,500 

Low  1-19-35  "The  President  Vanishes"  1 

and  "Enter  Madame"       )  2,000 

High  3-2-35  "Woman  in  Red"   12,000 

Low  1-12-3S  "Uttle  Women"   1,500 

High  12-22  "Murder  in  the  Clouds"....  11,000 
Low  7-28  "Half  a  Sinner"  and  ) 

"Embarrassing  Moments"    !  2,000 

High  2-3  "Sons  of  the  Desert"   12,500 

Low  12-12  "The  Gay  Bride"   2,750 

High  6-23  "Glamour"   23,000 

Low  1-12-35  "I  Sell  Anything"   2,000 

High  4-7  "Riptide"    21,4<» 

Low  12-22  "Private  Life  of  Don  Juan"  4,000 

High  9-29  "Belle  of  the  Nineties"   14,000 

Low  8-25  "Ladies  Should  Listen"  and  1 

"Call  It  Luck"  I  3,600 

High  1-12-35  "Broadway  BiU"   14.000 

Low  5-5  "Let's  Fall  in  Love"   4,006 

High  10-27  "Judge  Priest"   9,200 

Low  1-27  "Good  Bye  Again"   1,700 


Los  Angeles 

Filmarte    800  40c-5Sc 

Four  Star    900  30c-55c 

Loew's  State         2,416  30c-5Sc 

Paramoimt   3,596  30c-S5c 

RKO    2,700  2Sc-6Sc 

United  Artists...  2,100  2Sc-SSc 

W.  B.  Downtown  3,400  25c-40c 


"Unfinished  Symphony"   1,450 

(GB  Pictures)  (4th  week) 

"Sequoia"    (MGM)    4,500 

(3rd  week) 

"The   Little   Colonel"   (Fox)   11,000 

(6  days) 

"Ruggles  of  Red  Gap"  (Para.)....  19,000 

"Roberta"    (Radio)    12,000 

(6  days-2nd  week) 

"Great  Hotel  Murder"  (Fox)  and  2,946 
"Enter  Madame"  (Para.) 

(6  days) 

"Gigolette"    (Radio)    and   6,200 

"Let's  Live  Tonight"  (Col.) 
(6  days) 


"Unfinished  Symphony"   2,003 

(GB  Pictures)  (3rd  week) 

"Sequoia"    (MGM)    5,000 

(2nd  week-5  days) 

"Biography  of  a  Bachelor  Girl"..  7,400 

(MGM)  (6  days) 

"All  the  King's  Horses"  (Para.)..  13,500 

"Roberta"   (Radio)    16,000 

(6  days-lst  week) 

"Shadow  of  Doubt"  and   2,634 

"Cimarron"  (Radio) 

(6  days) 

"While  the  Patient  Slept"  (F.N.)  6,700 
and  "Captain  Hurricane"  (Radio) 
(6  days) 


High  4-14  "Moon  Over  Morocco"   7,600 

Low  6-30  "Island  of  Doom"   160 

High  3-3  "Devil  Tiger"   7,800 

Low  12-15  "Have  a  Heart"   2,500 

High  4-7  "Riptide"    28,500 

Low  12-29  "Music  in  the  Air"   4.206 

High  9-1  "Now  and  Forever"   29,998 

Low  12-22  "One  Hour  Late"   12,500 

High   3-16-35    "Roberta"   16,000 

Low  1-27  "Let's  Fall  in  Love"   1,800 

High  1-20  "I'm  No  Angel"   13,000 

Low  5-12  "Sorrell  and  Son"   2,500 

High  9-8  "Dames"    20,000 

Low  12-29  "White  Lies"  and  ) 

"The  Last  Wilderness"       (  4.900 


Minneapolis 

Century    1,650 

Lyric   1.238 

Palace    900 

RKO  Orpheum...  2,900 

State  2,300 

World    400 


2Sc-40c      "Ruggles  of  Red  Gap"  (Para.).... 


5,000 


20c-25c      "Society  Doctor"  (MGM)   1,500 

15c-25c      "School  for   Girls"   (Liberty)   2,000 

25c-40c      "Roberta"    (Radio)    7,000 

25c-40c      "Clive  of  India"  (U.  A.)   6,000 

2Sc-75c      "Narcotic"  (State  Rights)   2,000 

(25c -55c) 


"Rumba"  (Para.)    4,000 

"Baboona"  (Fox)    2,000 

"White  Lies"  (Col.)   2,500 

"Transient  Lady"  (Univ.)....   6,000 

"The  Little  Colonel"  (Fox)   6,000 

"The  Iron  Dtike"  (GB  Pictures)..  3,000 
(3rd  week)  (25c-35c) 


High  10-20  "Barretts  of  Wimpole 

Street"    6,500 

Low  9-29  "The  Cat's  Paw"   2,500 

High  3-16-35  "Baboona"    2,000 

Low  1-27  "Jimmy  and  Sally"   500 

High  1-5-35  "Romance  in  the  Rain"   3,000 

Low  3-23-35  "School  for  Girls"   2,000 

High  3-23-35  "Roberta"    ..'  '   7,000 

Low  8-25  "The  Lady  is  Willing"   2,700 

High  8-18  "She  Loves  Me  Not"   7,000 

Low  7-28  "Here  Comes  the  Navy"   5,000 

High  4-14  "Private  Life  of  Henry  VHI"  4,000 

Low  3-23-35  "Narcotic"   2,000 


Montreal 

Capitol    2,547  25c-60c 

Imperial    1,914  25c-40c 

Loew's    3,115  30c-60c 

Princess    2,272  30c-6Sc 


'The  Scarlet  Pimpernel"  (U.A.)..  13,000 
'Ehnor   Norton"    (Fox)   3,500 


"Man  of  Aran"  (GB  Pictures)  and  9,500 
"Gentlemen  Are  Born''  (F.  N.) 

"The  Whole  Town's  Talking"  (Cbl.)  7,500 
and  "Mills  of  the  Gods"  (Col.) 


"David  Copperfield"   (MGM)   9,000 

(2nd  week) 

"Under  Pressure"  (Fox)   3,000 

"Gilded  Lily"  (Para.)  and   10,000 

"The  Silver  Streak"  (Radio) 

"Chve  of  India"  (U.  A.)  and   7,000 

"Carnival"  (Col.)  (2nd  week) 


High  2-24  "Queen  Christina"   13,500 

Low  12-22  "Great  Expectations"  and  \ 

"Wake  Up  and  Eh-eam"      |  3,500 
High  6-23  "Wine,  Women  and  Song"  ( 

and  "Pride  of  the  Legion"  j  6,500 

Low  3-3  "Fanny"    1,500 

High  12-8  "Six  Day  Bike  Rider"   14,500 

Low  7-21  "Fog  Over  Frisco"  and  ) 

"Affairs  of  a  Gentleman"     f  4,500 
High  1-5-35  "Kid  Millions"  and  ! 

"Fugitive  Lady"              (  10,500 
Low  8-4  "House  of  Rothschild"  and  j 

"Most  Precious  Thing  in  Life"  (  4,500 


New  York 

Aitor    1.012  25c-75c 

Capitol    4,700  3Sc.$1.65 

Mayfair    2,300  3Sc-65c 

Palace    2,500  25c-75c 

Paramount    3,700  35c-99c 


"High  School  Girl"  (Foy  Prod.) 

"After   Office   Hours"  (MGM).. 

(2nd  week) 
"Times  Square  Lady"  (MGM).. 


'Sweet  Music"  (W.  B.)  

"Ruggles  of  Red  Gap"  (Para.). 
(2nd  week) 


4,200      "Transient   Lady"   (Univ.)   4,000 

20,000      "After  OfTice  Hours"   (MGM)....  40,000 
(1st  week) 

6,300      "Shadow  of  Doubt"  (MGM)   7,500 

8,000      "One  More  Spring"   (Fox)   8,000 

38,000      "Ruggles  of  Red  Gap"  (Para.)....  50,000 
(1st  week) 


High  3-31  "House  of  Rothschild"   23,600 

Low  2-23-35  "Uttle  Men"   6,000 

High  10-6  "Barretts  of  Wimpole  Street"  65,860 

Low  12-29  "The  Band  Plays  On"   4,500 

High  1-27  "Sixteen  Fathoms  Deep"   15,300 

Low  6-2  "Unknown  Soldier  Speaks"....  1,250 

High  7-21  "Of  Human  Bondage"   16,200 

Low  12-22  "Babbitt"    6,500 

High  8-25  "Qeopatra"    72,000 

Low  8-11  "Elmer  and  Elsie"   10,500 


68 


MOTION    PICTURE  HERALD 


March    3  0,     19  3  5 


tTHEATCE  RECEIPTS— CONT'Cl 


Theatres 


Current  Week 


Previous  Week 


New  York  (Cont.) 

Rialto                     2.200  25c-6Sc 

Rivoli                     2,200  40c-99c 

RKO  Music  Hall  5.945  3Sc-$1.6S 

Roxy   6 JOG  25c -55c 

Strand                    3.000  25c-55c 

Oklahoma  City 

Capitol                    1,200  10c-41c 

Criterion                  1,700  10c-55c 

Liberty                   1,500  10c-36c 

Midwest                  1,500  I0c-56c 

Omaha 

Brandeis                 1,200  25c-40c 

Omaha                    2.200  25c-40c 

Orpheum                 3.000  25c -40c 

Paramount              2,800  3Sc-S5c 


Picture 


Gross  Picture 


••The  Mystery  of  Edwin  Drood"..  13,000 
(Univ.) 

"The   Wedding-  Night"    (U.A.)....  32,000 

"Roberta"    (Radio)    91,000 

(2nd  week) 

"Let's    Live   Tonight"    (Col.)   26,200 

"Gold  Diggers  of  1935"  (F.  N.)  ..24,500 


"The  Scarlet  Pimpernel"   (U.  A.)  1,800 

"Sequoia"    (MGM)    5,300 

"Keep  'Em  Rolling"   (Radio)   1,800 

(4  days) 

"The  Winning  Ticket''  (MGM)....  400 

(3  days) 

"Ruggles  of  Red  Gap"  (Para.)....  5,400 


"The  Woman  in  Red"  (F.  N.)  and  3,300 
"The  Best  Man  Wins"  (Col.)  (6  days) 

•'Ruggles  of  Red  Gap"  (Para.)...  5,700 

"Wings  in  the  Dark"  (Para.)  and  7,800 
"Lottery  Lover"  (Fox) 

"Society  Doctor"  (MGM)  and   2,000 

"White  Lies"  (Col.)  (4  days) 


Gross 


"McFadden's    Flats"    (Para.)   8,000 

"Folies  Bergere"  (U.  A.)   12,000 

(3rd  week) 

"Roberta"   (Radio)    S8,00O 

(1st  week) 

"Enchanted  April"   (Radio)   28,000 

"Living  on  Velvet"  (F.  N.)   11,000 


"When  a  Man's  a  Man"  (Fox)....  1,800 

"After  Office  Hours"   (MGM)....  8,000 

"A  Notorious  Gentleman''  (Univ.)  1,800 
(4  days) 

"White  Cockatoo"  (Warners)   500 

(3  days) 

"One  Night  of  Love"  (Col.)   5,500 

"Roberta"   (Radio)    5,100 

(2nd  week-6  days) 

"One  More  Spring"  (Fox)   6,000 

"Sweet  Music"  (W.  B.)  and   6,000 

"The  Winning  Ticket"  (MGM) 

"The  President  Vanishes"  (Para.)  7,100 
(3  days) 

"The  White  Cockatoo"  (W.  B.)  ..  2,100 
and  "Sorrell  and  Son"  (U.A.) 
(4  days)   (25c -35c) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  imless  othervriaa  apecilied.) 

High  4-7  "The  Lost  Patrol"   32,800 

Low  5-12  "Success  at  Any  Price"   7,700 

High  11-17  "Kid  Millions"   51.000 

Low  2-23-35  "The  Right  to  Live''   15,000 

High  1-5-35  "The  Little  Minister"   110,000 

Low  1-19-35  "Evergreen"   52,000 

High  12-1  "Imitation  of  Life"   44,000 

Low  6-30  "Affairs  of  a  Gentleman"   13,700 

High  3-10  "Wonder  Bar"   43,863 

Low  1-20  "Easy  to  Love"   9,271 

High  1-6  "Going  Hollywood"   4,100 

Low  9-8  "You  Belong  to  Me"   800 

High  1-27  "Dinner  at  Eight"   9,000 

Low  10-13  "Madame  Du  Barry"   3,000 

High  8-11  "Great  Flirtation"  and  ) 

"I  Give  My  Love"  j  3,700 

Low  3-23-35  "The  Winning  Ticket"....  400 

High  12-29  "Bright  Eyes"   9,540 

Low  S-26  "Merry  Wives  of  Reno"   2,000 

High  1-12-35  "The  Little  Minister"   9,100 

Low  2-16-35  "Babbitt"  and  \ 

"Murder  in  the  Qouds"   J  3,000 

High  3-10  "Easy  to  Love"   17,250 

Low  12-29  "Babes  in  Toyland"  and  I 

"Home  on  the  Range  J  5,000 

High  2-16-35  "The  Secret  Bride"   13,200 

Low  2-24  "Six  of  a  Kind"  and  ) 

"Good  Dames"  |  5,250 


Philadelphia 

Aldine    1,200  3Sc-55c 

Arcadia    600  25c-50c 

Boyd    2.400  35c-55c 

Earle    2,000  25c-55c 

Fox    3.000  40c-65c 

Karlton    1,000  2Sc-40c 

Keith's    2,000  30c -50c 

Stanley    3,700  3Sc-55c 

Stanton    1,700  30c-50c 

Portland.  Ore. 

Broadway    1,912  25c-40c 

Mayfair    1,700  25c-40c 

Oriental    2,040  25c -40c 

Orpheum    1,700  2Sc-40c 

Paramount    3,008  2Sc-40c 

United  Artists...    945  25c-40c 


"The   Wedding  Night"   (U.A.)....  9,500 
(6  days) 

■'Society  Doctor"   (MGM)    1,800 

(5  days) 

'Roberta"    (Radio)    19,000 

(6  days-2nd  week) 

'Times  Square  Lady"  (MGM)....  14,300 

(6  days)  (40c-50c) 

"Life  Begins  at  40"  (Fox)   24,000 

(6  days) 

"The  Scarlet  Pimpernel"   (U.A.)..  3,000 
(6  days) 

"Vanessa:  Her  Love  Story"   2,903 

(MGM)  (6  days) 

"Gold  Diggers  of  1935"  (F.N.)....  11,500 

(6  days)  (40c-55c) 

"Captain    Hurricane"    (Radio)   1,800 

(3  days) 


"The   Winning  Ticket"    (MGM)..  6,900 

"Rumba"    (Para.)    and    2,400 

'Mystery  Woman''  (Fox) 

'Romance  in  Manhattan"  (Radio))  1,700 
and  "Bordertown"  (W.  B.)  (15c-25c) 

"Roberta"  (Radio)    5,000 

(2nd  week) 

"All  the  King's  Horses''  (Para.)..  9,400 

"Folies  Bergere"  (U.  A.)   5,300 


"Folies    Bergere"    (U.A.)   6,500 

(6  days-2nd  week) 

"Rumba"   (Para.)    2,200 

(6  days) 

"Roberta"   (Radio)    24,000 

(6  days-lst  week) 

"Night  Life  of  the  Gods"  (Univ.)  13,500 
(6  days) 

"The  Little  Colonel"  (Fox)   18,500 

(6  days-3rd  week) 
"Shadow  of  Doubt"   (MGM)   2,800 

(6  days) 

"After  Office  Hours"   (MGM)....  3,600 
(6  days) 

"Ruggles  of  Red  Gap"  (Para.)....  12,000 
(6  days) 

"All  the  King's  Horses"  (Para.)..  4,500 
(6  days) 


"Gold  Diggers  of  1935"  (F.  N.)..  5,000 
(2nd  week) 

'The  President  Vanishes"  (Para.)  2,S0C 


"Enchanted  April"  (Radio)   1,800 

"Roberta"    (Radio)    8,000 

(1st  week) 

"Life  Begins  at  40"  (Fox)   10,000 


"The  Wedding  Night"  (U.  A.)..  4,000 


High  S-S  "House  of  Rothschild"   23,000 

Low  6-9  "Sorrell  and  Son"   4,000 

High  1-6  "Duck  Soup"   6,500 

Low  1-27  "Women  in  His  Life"   400 

Hign  1-6  "Little  Women"   30,000 

Low  2-23-35  "The  Night  Is  Young"....  6,500 
(5  days) 

High  4-7  "Harold  Teen"   40,000 

Low  7-21  "Cockeyed  Cavaliers"   11,000 

High  12-29  "Bright  Eyes"   28,500 

Low  7-28  "She  Was  a  Lady"   7,000 

High  11-3  "One  Night  of  Love"   8,500 

Low  11-24  "Wednesday's  Child"   2,200 

High  3-3  "Carolina"    8,000 

Low  1-5-35  "Sweet  Adeline"   1,500 

High  1-5-35  "Broadway  Bill"   22,000 

Low  12-29  "Behold  My  Wife"   7,500 

High  3-31  "The  Lost  Patrol"   9,000 

Low  1-5-35  "Man  Who  Reclaimed  His 

Head"    2,000 

High  4-7  "Wonder  Bar"    13,000 

Low  7-14  "The  Circus  Down"  and  | 

"I  Give  My  Love"               i  3,900 

High  3-2-35  "The  Little  Colonel"   4,000 

Low  1-19-35  "Behold  My  Wife"  and  ( 

"Defense  Rests"               t  1,600 

High  5-26  "Merry  Wives  of  Reno"   4,800 

Low  10-6  "The  Human  Side"  and  ) 

"Hat,  Coat  and  Glove"        5  1.500 

High  12-1  "Kentucky  Kernels"   8,000 

Low  11-10  "Wednesday's  Child"   3,500 

High  3-24  "David  Harum"  and  ) 

"Once  to  Every  Woman    |  12,000 
Low  6-30  "Now  I'll  Tell"  and  ( 

"Springtime  for  Henry"         )  4,000 

High  4-28  "House  of  Rothschild"   9,800 

Low  8-4  "Paris  Interlude"   3,700 


Seattle 

Blue  Mouse    9S0  25c-55c 

Fifth  Avenue  ...  2,500  25c-55c 

Liberty    1,800  15c-50e 

Music  Box    950  25c-55c 

Orpheum    2,450  25c-50c 

Paramount    3,050  2Sc-35c 


"The  Wedding .  Night"  (U.  A.)....  4,300 

"The  Little  Colonel"  (Fox)   8,600 

(9  days) 

"Among  the  Missing"  (Col.)  and..  3,750 
"When  a  Man's  a  Man"  (Fox)  (10c-25c) 

"Roberta"    (Radio)    5,200 

(2nd  week) 


"The  Scarlet  Pimpernel"  (U.  A.).. 
"After  Office  Hours"  (MGM).... 


"Broadway  Bill"  (Col.). 
(6th  week) 


"Roberta"  (Radio)   

(25c-50c)  (1st  week) 


"Night  Life  of  the  Gods"  (Univ.)     5,400      "While  the  Patient  Slept"  (F.N.)  5.300 


"Shadow  of  Doubt"  (MGM). 


8,700      "One  More  Spring"  (Fox).... 
"The  Winning  Ticket"  (MGM) 


3,100      High  2-17  "Roman  Scandals"   7,500 

Low  7-7  "Tomorrow's  Children"   2,550 

6,300      High  4-14  "Riptide"   12,750 

Low  3-24  "Fashions  of  1934"   3,500 

4,100      High  2-16-35  "Broadway  Bill"  (2d  week)  7,100 
Low  10-6  "Jane  Eyre"  and  ) 

"King  Kelly  of  U.  S.  A."    J  3,100 

6,100      High  4-14  "Spitfire"   6,500 

Low  1-26-35  "Man  Who  Reclaimed  His 

Head"    2,850 

High  12-1  "Kentucky  Kernels"   8.400 

Low  4-21  "Two  Alone"  and  ) 

"I  Believed  in  You"           (  3,750 

5,400      High  3-23-35  "Shadow  of  Doubt"   8,700 

Low  12-8  "Peck's  Bad  Boy"  and  ) 

"Menace"                           )  3,300 


March    3  0,     19  3  5 


MOTION    PICTURE  HERALD 


69 


/«Jr-'  MOTION  ^^c, 
u<  PICTURE 
O^'     HERALD  Ijiii 


MANAGE 


ROUND  TAB"  E  CLUB 

(L/fn  international  association  of  showmen  meeting  weekly 
in  MOTION  PICTURE  HERALD  for  mutual  aid  and  progress 


NOT  TO  BE  PENALIZED 

To  be  expected  following  our  recent  bargain-nnanager  edi- 
torial, there  has  been  discussion,  and  among  the  queries  pro- 
pounded is:  "what  particular  virtues  go  into  the  nnakeup  of 
the  successful  theatreman?"  There  are  many  points  to  be  con- 
sidered in  determining  a  manager's  capabilities  but  in  the 
final  analysis,  it  needs  no  genius  to  discover  whether  or  not  a 
man  is  capable  of  holding  down  the  job  he  is  hired  to  do. 

If  he  is  rated  sufficiently  able  then  by  all  means  the  manager 
is  entitled  to  considerations  such  as  a  reasonable  working  day, 
regular  day  off,  salary  sufficient  to  maintain  himself  and  family 
in  comfort. 

However,  if  he  is  not  doing  the  very  best  kind  of  a  job,  the 
lack  of  ability  or  effort  should  not  penalize  the  manager  at 
least  so  far  as  the  number  of  hours  he  works.  Yes,  good  men 
should  be  compensated  proportionately.  The  worker  who  re- 
turns the  most  in  ability  and  effort  should  receive  the  most. 
But  these  differences  should  not  be  carried  further  as  concerns 
the  time  put  in  on  the  job. 

Too  many  exhibitors  work  on  the  theory  that  the  lack  of 
savvy  obligates  the  less  fortunate  theatreman  to  make  up  his 
deficiencies  by  a  longer  stretch  at  the  machine.  It  does  not 
follow  that  a  manager  who  accomplishes  less  in  10  hours  than 
his  abler  brother  will  do  as  much  by  laboring  12  hours  or  more. 
Showmanship  Is  not  to  be  measured  by  the  length  of  a  work- 
ing day. 

V    V  V 

AUDIENCES  SHOULD  APPLAUD 

The  sweetest  music  in  ihe  world  to  an  artist's  ears,  brought 
forth  by  the  rapid  and  energetic  Impact  of  palm  upon  palm, 
has  long  been  denied  the  screen.  No  matter  how  excellent  the 
entertainment  or  skilled  the  portrayal  of  any  characterization, 
motion  picture  audiences  are  not  inclined  to  express  their 
approval  of  what  the  screen  offers  In  the  manner  usual  in  the 
legitimate  theatre. 

Thus  Sid  Dannenberg's  trailer  suggestion  on  "Roberta"  In 
which  patrons  are  invited  to  "express  themselves  as  they  do 
when  viewing  a  stage  play"  Is  ingenious  and  constructive,  for 
not  only  does  it  enhance  the  entertainment  value  of  this  par- 
ticular production  but  in  general  is  excellent  propaganda  to 
restore  to  the  cinema  the  glamor  with  which  the  theatre  has 
long  been  identified. 

The  primary  purpose  of  the  screen  is  to  entertain.  Pictures 
score  best  when  audiences  are  relaxed,  at  ease.  It  follows  then 
that  emotional  release  will  induce  this  desired  relaxation  and 
thus  patrons  Invited  to  let  themselves  go  by  beating  their 


palms  should  make  the  problem  of  satisfactory  entertainment 
easier  to  solve. 

Sid  thinks  he  has  struck  an  advance  Idea  that  will  help  in 
letting  down  the  bars.  We  agree. 

V  V  V 

TOO  IMPORTANT  TO  IGNORE 

Managers  who  can  speak  on  their  feet,  from  the  stage,  before 
club  meetings  and  on  the  radio  are  securing  for  their  theatres 
a  lot  of  valuable  publicity  and  good  will.  The  opportunity  of 
spreading  the  good  word  Is  a  distinct  advantage,  not  to  be 
sneezed  at,  and  among  those  who  do  not  "sneeze"  we  list  such 
Round  Tablers  as  Ken  Grimes,  John  McManus,  Gene  Curtis, 
Harry  Botwick,  John  Trewheia,  among  others,  who  rarely  pass 
up  a  chance  to  "say  a  few  words"  regarding  the  motion  pic- 
ture, their  theatres  or  attractions. 

While  everyone  of  course  Is  not  endowed  with  a  ready  com- 
mand of  words  or  facility  of  expression,  the  ability  to  address 
an  audience  when  called  upon  is  too  Important  to  ignore.  The 
business  of  the  theatre  is  such  that  the  manager  cannot  afford 
to  shrink  from  such  openings,  for  in  so  doing  he  displays  a 
timidity  that  reacts  against  his  best  interests. 

V  V  V 

AN  INDUSTRY  "SHOW" 

In  view  of  the  spontaneous  approval  from  every  quarter  that 
greets  the  announcement  of  the  coming  of  the  "Show  of  Show- 
manship," we  wonder  slightly  why  industry  leaders  have  not 
given  consideration  before  to  a  national  exposition.  Other 
industries  set  great  store  by  the  prestige  and  good  will  ob- 
tained by  such  events  and  go  to  great  effort  in  setting  their 
wares  before  the  public. 

The  film  business  would  do  Itself  a  great  service  by  pre- 
senting Its  own  story  directly  In  this  fashion.  There  Is  too  much 
bad  publicity  turned  loose  from  uncontrolled  sources,  much  of 
which  is  accepted  as  gospel  by  the  man  on  the  street — our 
best  customer. 

Undoubtedly  there  is  room  for  an  annual  motion  picture  ex- 
position and  it  may  be  that  the  first  "Show  of  Showmanship" 
will  give  the  necessary  impetus  to  such  a  movement. 


70 


MOTION    PICTURE  HERALD 


March    3  0,     19  3  5 


"LA  VEUVE  JOYEUSE"  IN  PARIS.  Front  of  the  Madeleine  Cinema  on  "The  Merry 
Widow,"  showing  giant  panels  of  the  stars  and  reproduction  In  color  of  the  dance  se- 
quence. Note  taxi  In  foreground,  one  of  the  fleet  of  old-timers  used  as  street  bally. 
Manager   Sillen    Is   credited   with   the  campaign. 


Audience  Hears  Hunter 
Talk  With  Johnsons 

Taking  full  advantage  of  the  fact  that 
Chanute,  Kansas,  was  the  former  residence 
of  the  Martin  Johnsons,  G.  I.  Hunter,  Peo- 
ples Theatre,  arranged  for  a  personal  ap- 
pearance via  telephone  for  his  opening  of 
■'Baboona."  Hunter  had  long  distance  tele- 
phone connected  to  his  sound  system  and 
audience  listened  in  on  conversation  with 
the  Johnsons,  who  were  in  Rochester,  N.  Y., 
at  the  time.  Stunt  drew  plenty  of  news- 
paper breaks. 

Another  break  for  Hunter  was  personal 
appearance  of  the  local  resident  who  was 
pilot  for  the  Johnsons  in  Africa  during 
filming  of  picture.  In  addition  the  flyer  put 
on  some  stunt  stuff  during  which  he  dropped 
heralds  and  free  tickets. 

Make  193  5  Your  Award  Year 


FREDDY  JABLONS  WINS 
SILVER  CITATION 

It  has  been  decided  to  bestow 
Quigley  Award  recognition  upon  the- 
atre publicity  men  cooperating  with 
managers  winning  Silver  or  Bronze 
plaques,  and  to  Freddy  Jablons,  there- 
fore, goes  the  first  Silver  Citation 
Certificate  on  Manager  Harry  Crull's 
January  campaign  at  Loew's  Valencia. 

Where  managers  win  a  Bronze,  the 
publicity  man — if  any — will  be  given 
a  Bronze  Citation,  only,  however,  if 
his  name  is  included  in  the  credits, 
and,  further,  if  he  is  attached  only  to 
the  one  theatre.  This  goes  for  divi- 
sional publicity  men  as  well  as  those 
attached  to  only  one  theatre. 


Henderson  Stages  Clue  Hunt 
For  "President  Vanishes" 

A  Clue  Hunt  was  engineered  by  Leo 
Henderson,  Idaho,  Twin  Falls,  Idaho,  for 
his  "President  Vanishes"  date  with  cards 
made  up  from  discarded  wallpaper  books 
and  distributed  to  merchants.  Leo  scattered 
sentences  on  the  card,  underlining  one  let- 
ter in  each  sentence ;  underscored  letters 
when  properly  assembled  would  spell  Craig 
Stanley,  star's  name.  The  sentences  he  used 
were :  jS^omething  for  Spring ;  The  latest 
styles;  .4sk  for  easy  money;  A^ew  styles  and 
fabrics ;  Look  at  these  values ;  .Everything 
for  the  home ;  your  new  spring  suit  is 
here ;  Compare  our  prices  with  others ; 
/Seal  values  are  our  rule ;  .41ways  the  latest 
styles ;  /f  it  isn't  right  bring  it  back ;  and 
(rifts  for  all  occasions.  Twenty  passes  were 
awarded. 

Another  stunt  Leo  used  was  to  place  cards 
in  various  restaurants  where  pin  games  were 
installed  reading:  "Notice,  the  president  has 
vanished  and  authorities  believe  he  is  being 
held  prisoner  at  6000  Riverside  Boulevard. 
Any  person  playing  this  game  and  equaling 
the  number  in  above  address  will  receive 
guest  ticket  to  see,  etc.,  etc."  The  address 
being  that  of  the  theatre. 

Make  193  5  Your  Award  Year 

Keene's  "Folies"  Parade 

Lionel  Keene,  Loew  district  manager, 
State  Theatre,  Houston,  Texas,  on  "Folies 
Bergere"  arranged  a  parade  of  Chevvies  to 
tour  town  with  group  of  girls  and  theatre 
ushers  all  wearing  miniature  straw  hats  and 
carrying  huge  reproduction  of  hat  Chevalier 
wears  in  picture. 

For  street  bally,  mechanical  man  dressed 
to  look  like  Maurice  with  black  trousers, 
mess  jacket  and  hat  was  placed  in  five  and 
ten  window.  Later  man  paraded  streets 
dropping  cards  with  theatre  billing. 


Smith  Spreads  Nine 
Bucks  Very  Widely 

What  $9  in  cash  can  do  to  put  over  a 
Quigley  First  Mention  campaign  is  capably 
illustrated  by  Manager  Cress  Smith,  Jr., 
Palace,  Pittsburgh,  Pa.,  on  the  last  local  run 
of  "Flirtation  Walk"  at  this  350-seat  double- 
feature  downtown  house,  a  rubber  stamp  be- 
ing about  the  most  expensive  item. 

With  this,  Cress  stamped  outgoing  mail, 
checked  pages,  restaurant  napkins,  beer 
coasters  in  cafes  and  reverse  side  of  meal 
checks  at  all  food  and  drink  spots  in  his 
area.  Such  as,  for  instance,  a  nearby  cafe 
with  small  orchestra  and  singing  waiters 
who  in  exchange  for  passes,  plugged  the 
song  hits.  Smith  also  printed  up  personal 
endorsements  distributed  by  restaurant 
cashiers,  hotels  and  posted  on  bulletin 
boards.  He  also  used  the  "summons"  throw- 
away  placed  under  windshield-wipers  of 
parked  cars',  and  all  printing  was  promoted. 

Sign  work,  and  there  was  plenty,  was  also 
promoted  in  exchange  for  space  in  theatre 
cellar  to  artist  who  lacked  quarters.  Simple 
animations  worked  with  ordinary  oscillating 
fans  and  other  effective  displays  drew  at- 
tention, as  did  a  three-sheet  poster  in  lobby 
with  plug  message  to  Dick  Powell  and  re- 
quest for  photo,  signed  by  Smith.  Patrons 
were  requested  to  write  down  their  names 
and  addresses  to  receive  the  photos.  Cut- 
outs of  Powell  and  Keeler  promoted  from 
another  house  bordered  the  bally. 

Windows  were  not  neglected,  and  out- 
standing was  full  animated  display  in  impor- 
tant downtown  spot  with  dancing  figures 
(see  photo)  moving  on  belt.  This  was  salv- 
aged from  a  previous  showing.  Street  ballys 
and  stunts  using  ushers  also  clicked,  one  of 
the  latter  being  an  ordinary  closed  trunk 
with  "do  not  open"  copy  outside  and  picture 
plug  inside. 

Personal  letters  to  all  fraternities  at  local 
colleges  were  forwarded  and  helpful  also 
was  a  chain  letter  to  the  effect  that  only 
good  luck  would  come  from  sending  letter  to 
friend  and  seeing  the  picture. 

Make  19 iS  Your  Award  Year 

Ketchum  Offers  Refund 

Ralph  Ketchum  at  the  Ritz  Theatre  in 
Tifton,  Ga.,  recently  sent  a  signed  govern- 
ment postcard  to  his  mailing  list  with  copy: 
"If  I  were  city  manager  I'd  declare  Thurs- 
day a  holiday  to  celebrate  our  Show  of 
Shows.  But  since  I  am  not  city  manager  I 
can  only  guarantee  a  refund  to  anyone  who 
does  not  agree  that  this  show  is  grand 
entertainment." 

Make  193  5  Your  Award  Year 


Smith's  "Flirtation"  Window  Dancing  Figures 


March    30,  1935 


MANAGERS'    ROUND  TABLE 


71 


Dannenberg  Invites 
Patrons  to  Applaud 

Noting  that  preview  audiences  broke  out 
spontaneously  during  certain  sequences  of 
"Roberta,"  Sid  Dannenberg,  Warner  Thea- 
tres Cleveland  ad  head,  conceived  the  idea 
of  informing  patrons  at  the  Hippodrome 
they  were  at  liberty  to  express  themselves 
during  the  run  of  the  picture  as'  they  would 
were  they  at  a  regular  stage  play. 

Sid  put  this  in  the  form  of  a  trailer,  copy 
along  these  lines  :  "Experience  has  taught  us 
that  'Roberta,'  the  picture  you  are  about 
to  see,  is  so  entertaining  that  it  prompts 
audiences  to  want  to  express  themselves 
such  as  they  do  when  viewing  a  play  .  .  . 
therefore  when  you  feel  the  urge  to  applaud 
the  dancing  of  Fred  Astaire  and  Ginger 
Rogers,  the  singing  of  Irene  Dunne  .  .  .  just 
go  right  ahead  and  applaud.  .  .  ." 

The  idea  went  over  very  well  indeed  with 
patrons  and  also  landed  in  the  Cleveland 
papers,  drama  editors  devoting  lots  of  space 
to  a  discussion  of  the  trailer's  merits. 

Make  193  5  Yo2ir  Award  Year 

S+ores  Cooperate  with 
Suess  on  "Here's  My  Heart" 

Five-and-ten  chain  cooperated  with  Louis 
Suess,  Loew's  Fairmont  Theatre,  Bronx, 
N.  Y.,  by  featuring  a  Bing  Crosby  sundae 
on  "Here's  My  Heart."  Drug  stores  also 
distributed  numbered  sundae  cards,  win- 
ning numbers  being  posted  in  window  for 
"lucky"  winners. 

For  street  bally,  Louie  used  sandwich  man 
with  board  of  large  red  heart  with  life-sized 
cutouts  of  Crosby  and  Carlisle  were  placed 
in  various  windows.  Music  store  windows 
featured  song  hits  and  used  cutouts  of  stars. 

Make  193  J  Your  Award  Year 

Irwin  Distributes  Novelty 
"County  Chairman"  Heralds 

George  Irwin,  Lyceum  Theatre,  Duluth, 
Minn.,  for  his  "County  Chairman"  date  dis- 
tributed a  novelty  folded  herald,  front  page 
copy  reading:  "How  to  save  money  on  gas, 
water  and  electricity."  Inside  copy  read 
"turn  off  the  water  gas  and  electricity  and 
bring  the  whole  family  to  see,  etc.,  etc." 

Daily  ran  coloring  contest  on  Will  Rogers 
and  newsboys  wore  Rogers'  aprons  calling 
attention  to  story  running  in  paper  and  date. 
George  took  advantage  of  snow  banks  to 
plant  picture  plugs  (see  photo)  with  a  mix- 
ture of  shoe  polish  and  red  paint  applied 
with  flit  gun. 


^^-Twe  CoyHTY 

CYC  Ei/      -  '^Rt«5^ 


The  Big  Show- 


Starts  on  the  coming  Monday,  April  I ,  and  continues  for  four  days 
ending  Thursday  night,  April  4.  The  place  —  Motion  Picture  Club, 
1560  Broadway.  New  York  City  .  .  .  Time— 10  to  10  daily  and  you 
are  all  invited. 

Time  and  again  we  have  been  queried  on  the  possibilities  of  an 
exposition  where  Quigley  Award  entries  and  other  campaigns  for- 
warded by  theatremen  from  all  over  the  world  could  be  examined 
at  length.  We  have  long  intended  something  along  these  lines  and 
now  with  the  splendid  cooperation  of  Motion  Picture  Herald  and 
Motion  Picture  Club  the  first  annual  "Show  of  Showmanship"  makes 
its  bow. 

The  majority  of  the  campaigns  in  the  show  have  been  publicized 
in  these  pages  and  now  these  excellent  exploitations  will  be  viewed 
not  only  by  brother  showmen  but  also  by  executives  in  allied  lines, 
advertising  agency  heads  and  others  interested  in  how  the  theatre- 
man  promotes  his  house  and  his  attractions. 

It  is  our  earnest  wish  that  everyone  within  reaching  distance  who 
reads  these  lines  will  make  it  his  business  to  attend.  Invitations  have 
been  forwarded  to  Round  Tablers  and  to  other  showmen.  To  those 
who  have  been  inadvertently  missed  we  say:  excuse  it,  and  please 
come  anyhow.    There  is  no  charge  for  admission.  — A-MIKE 


Irwin's  "Chairman"  Snow  Bally 


Harrison  Gets  YMCA 
To  Sponsor  Plane  Contest 

A  model  airplane  contest  was  put  on  by 
Ed  Harrison,  Capitol  Theatre,  Pittsfield. 
Mass.,  for  "Devil  Dogs"  on  which  local 
YMCA  sponsored  and  distributed  entry 
blanks  to  schools.  Blanks  mentioned  picture 
and  playdates. 

Baker  put  out  special  cookie  and  used 
large  cutout  plane  for  window.  Display  also 
included  platter  of  Quaker  Oats  on  con- 
test for  those  guessing  nearest  to  number  of 
cups  of  oats  in  dish.  Coooerative  store  ad 
tied  in  with  ad  on  Lindsay  hairdress. 
Make  193  5  Your  Award  Year 

Melniker  Uses  Couple 
To  Bally  "Wedding  Nite" 

Ed  Melniker,  Loew's  Grand,  Atlanta. 
Ga.,  for  his  opening  of  "Wedding  Night" 
used  a  man  and  woman  dressed  in  wedding 
attire  to  tour  streets  in  bannered  car. 

Bus  company  and  railroads  were  plastered 
with  cards  and  standees  and  displays  were 
placed  in  leading  jeweler,  beauty  salon,  flor- 
ist and  fashion  shop  windows. 

Make  193  5  Your  Award  Year 

Myers  Plants  "Red  Gap" 
Stills  on  Bulletin  Boards 

Taylor  Myers,  Loew's  Broad  Theatre, 
Columbus,  Ohio,  secured  cooperation  of 
Journal  building  officials  to  post  stills  from 
scenes  in  "Ruggles  of  Red  Gap"  on  bulletin 
boards  in  front  windows.  Dormitories  of 
State  University  campus  carried  displays. 

Teaser  ads  such  as  "a  gentleman's  gentle- 
man who  became  a  ladies'  man,"  etc.,  etc., 
were  spotted  in  papers  week  before  and 
street  bally  consisted  of  man  dressed  in  eve- 
ning clothes  and  topper  riding  through  town 
on  bannered  horse. 


School  Head  Cooperates 
With  Ryan  on  "World  War" 

L.  Joseph  Ryan,  Grand  Theatre,  St. 
Cloud,  Minn.,  secured  the  cooperation  of 
superintendent  of  schools  to  put  on  essay 
contest,  to  stress  pacifist  angles  in  "First 
World  War."  Superintendent  was  so  well 
sold  he  would  not  permit  award  of  passes 
for  best  essays,  but  insisted  they  be  written 
as  class  assignment.  Discussion  periods 
were  devoted  to  subject  of  war  with  teach- 
ers recommending  classes   see  the  picture. 

Ryan  further  approached  public  library 
head,  who  agreed  to  mimeograph  suitable 
list  of  war  books,  including  picture  credits 
on  front  page  of  booklets  distributed  at 
schools  and  libraries.  Lobby  of  theatre  con- 
tained stack  of  rifles,  machine  guns  and 
other  accoutrements  of  warfare. 

Make  193  5  Your  Award  Year 


MARCH  DEADLINE 
AND  MARCH  JUDGES 

Midnight  of  Saturday,  April  6 — 
that's  deadline  for  Quigley  Award 
March  entries,  and  campaigns  must 
he  delivered  by  that  time.  Address: 
1790  Broadway,  New  York. 

March  judges:  Arthur  W.  Kelly, 
vice-president  in  charge  of  foreign 
distribution,  United  Artists;  Harry 
Arthur,  Fanchon  and  Marco,  or  John 
J.  Friedl,  general  division  manager, 
Minnesota  Amusement  Co.;  Paul 
Gulick,  publicity  director.  Univer- 
sal Film  Corp. 


72 

Alper  Dresses  Lobby 
For  "Mighty  Barnum" 

Murray  Alper  at  the  Commodore  The- 
atre, Brooklyn,  N.  Y.,  forwards  us  the  ac- 
companying photo  of  his  atmospheric 
"Mighty  Barnum"  lobby  with  wax  figure 
barker  pointing  to  Pip  and  Flip  the  well- 
known  twins.  Another  24  sheets  depicts 
Jolly  Irene,  the  fat  lady. 

Make  193  5  Yonr  Award  Year 

Cafe  Pays  for  Patchen's 
"Office  Hours"  Stunt 

A  no  cost  herald  for  office  distribution  on 
"After  Office  Hours"  at  the  Stuart  Theatre 
in  Lincoln,  Nebraska  was  secured  by  E.  A. 
Patchen,  publicity  director,  who  sold  cafe 
manager  idea  of  paying  for  printing  and 
distribution  of  calendar  pages  with  copy  in 
short  hand  reading  "Important — lunch  with 
the  boss  at  the  Central  Cafe  and  then  go  to 
see  Clark  Gable  in  'After  Office  Hours.'  " 

Make  193  5  Your  Award  Year 

Phillips  Promotes  Ad 

Ralph  Phillips,  Paramount,  Mitchell,  S.  D., 
promoted  half  page  ad  from  dairy  on  "Kid 
Millions,"  center  of  which  carried  telegram 
purported  to  have  come  from  Cantor  with 
message  that  his  favorite  ice  cream  would 
be  given  to  all  attending  show. 

Make  193  5  Your  Award  Year 

Scouts  Parade  to  Theatre 

Irma  Williams  of  the  Trans-lux  Theatre 
in  Brooklyn,  arranged  for  a  Boy  Scout 
parade  to  theatre  accompanied  by  American 
Legion  Band  (see  photo)  in  connection  with 
the  showing  of  "Pilgrim  Days,"  the  first 
of  the  "See  America  First"  shorts. 

Make  193  5  Your  Award  Year 

Merchants  Cooperate  With 
Loew  on  "Flirtation  Walk" 

Henry  Loew,  Loew's  National  Theatre, 
Bronx,  N.  Y.,  secured  several  window  dis- 
plays on  "Flirtation  Walk,"  one  of  which 
was  in  five  and  ten  with  large  framed  pic- 
ture of  Keeler  and  Powell  with  crossed 
sabres  atop  and  cadet  standees  at  bottom. 
Another  window  was  attractive  floral  dis- 
play, center  of  which  carried  large  standee 
of  Powell  in  dress  uniform. 

For  his  street  ballys,  Henry  had  man 
dressed  as  cadet  with  banner  on  his  back, 
army  mule  led  by  cadet  toured  streets  and 
special  float  with  large  cutouts  and  sound 
equipment  covered  neighborhood. 

Perry  Spencer,  Loew  New  York  and 
Bronx  publicity  director  cooperated. 

Make  193  5  Your  Award  Year 

Mel  Morrison  Introduces 
Beautiful  Baby  Contest 

Mel  Morrison,  Strand  Theatre,  Dover, 
N.  H.,  secured  the  cooperation  of  nine  lead- 
ing merchants  to  put  over  baby  contest  on 
a  prorated  basis,  each  merchant  contributing 
for  prizes,  newspaper  ads,  trailer,  heralds, 
ballots,  etc.  Only  cost  to  theatre  was  $20 
toward  cost  of  first  prize  cup. 

Winning  babies  were  chosen  by  votes  dis- 
pensed by  cooperating  merchants,  one  vote 
for  every  cent  of  merchandise  purchased, 
for  instance,  50  votes  for  each  50  cent  pur- 
chase, etc.  Newspapers  tied  in  with  daily 
publicity  and  ran  standing  of  contestants 


MOTION    PICTURE  HERALD 


Alper's  "Barmim"  Lobby  Display 


Irma  Williams'  Scout  Parade 


Seff's  Cntoiif  Atop  Marquee 


Souttar's  "Imitation"  Supper  Show 


from  time  to  time.  Co-op  ads  carried  infor- 
mation advising  where  votes  could  be  se- 
cured. 

Ballot  box  was  placed  in  lobby  together 
with  photos  of  contestants,  baby  merchan- 
dise and  credit  cards.  For  two  weeks  ahead, 
each  merchant  carried  full  window  displays 
plugging  contest  and  distributed  heralds. 


March    30,  1935 

Rosenthal  Places  "Sequoia" 
Heralds  at  Sports  Dinner 

When  the  Fish  and  Game  Association  of 
Bridgeport,  Conn.,  very  conveniently  held 
Its  annual  dinner  while  Morris  Rosenthal  at 
the  Majestic  was  playing  "Sequoia,"  he  con- 
tacted officials  and  had  heralds  placed  under 
each  plate.  Announcement  was  read  during 
dinner  and  officials  invited  to  opening.  Dur- 
mg  evening  several  pictures  were  screened 
and  Morris  "graciously"  loaned  them  his 
'Sequoia"  trailer. 

Boy  Scout  organization  sent  out  post- 
cards with  endorsement  of  scout  officials 
to  entire  membership.  Stills  and  cards  were 
displayed  at  public  libraries  and  school 
heads  distributed  study  guide  pamphlets. 
Capt.  Phyfer,  animal  trainer,  toured  schools 
with  MGM  bally  truck  making  talks  at  vari- 
ous schools. 

Make  193  5  Your  Award  Year 

Claudette  Atop  Marquee 

For  main  display  atop  marquee  (see 
photo)  on  "Imitation  of  Life,"  Manager  E. 
E.  Seff,  Granada  Theatre,  Sioux  Falls,  s! 
D.,  used  head  of  Claudette  Colbert  takeri 
from  the  24-sheet  on  the  picture. 

Make  19}S  Your  Award  Year 

Cinderella  Theme  Given 
New  Variation  by  Di  Pesa 

Under  supervision  of  Joe  Di  Pesa  at 
Loew's  State,  Boston  for  "Wedding  Night," 
jeweler  tied  in  with  co-op  ad  and  window 
display  of  wedding  ring  worn  by  Anna  Sten 
m  picture.  Tickets  were  given  to  women 
havmg  same  size  finger.  Another  gag  was 
awarding  of  tickets  to  first  25  women  pre- 
senting marriage  certificates  at  boxoffice  on 
opening  day. 

Newspaper  tied  in  on  guessing  contest  in 
which  cash  and  tickets  were  given  persons 
naming  all  pictures  in  which  Cooper  ap- 
peared. 

Make  19  iS  Your  Award  Year 

There's  Competition,  Louie 

We're  afraid  we  have  to  report  that  Louis 
Charninsky  has  a  rival  in  Sid  Scott  at  the 
Capitol  in  Windsor,  Canada.  Sid  recently 
crashed  the  editorial  page  of  his  daily  with 
caricature  of  himself  dressed  as  a  lancer  on 
"Lives  of  a  Bengal  Lancer,"  for  which  he 
pulled  his  own  bally  in  front  of  house.  Bet- 
ter look  to  your  laurels,  Louie. 

Make  19  iS  Your  Award  Year 

Souttar  Works  Hard 
On  "Showman  Week" 

Steve  Souttar,  Auditorium  Theatre,  Mar- 
shall, Mo.,  used  various  stunts  for  his 
"Showman  Week."  On  "Evelyn  Prentice," 
Steve  mailed  cards  to  all  lawyers  recom- 
mending the  picture,  newspapers  with  red 
overprint  were  distributed  and  newsboys 
with  imprinted  "Prentice"  sacks  stationed 
at  main  traffic  points  cried  out  the  catch 
copy. 

On  "Kentucky  Kernels"  for  the  street 
bally  Steve  stationed  sandwich  man  in  front 
of  theatre  with  card  reading  "Theatre  unfair 
to  gloom  with  the  world's  greatest  nuts." 
And  another  bally  was  man  dressed  as  Ken- 
tucky Colonel  carrying  lettered  hand  bag. 

For  his  "Imitation  of  Life"  date,  Steve 
put  on  what  he  called  an  Aunt  Jemima  Pan- 
cake supper  show  with  colored  couple  dis- 
pensing waffles  (see  photo)  in  lobby. 


March    30,  1935 


MANAGERS'    ROUND  TABLE 


73 


Joffee  Ties  Airport 
To  "Town's  Talking" 


When  the  TWA  recently  inaugurated  new 
schedule  of  runs  out  of  Kansas  City,  Barney 
Joffee,  Tower  Theatre  tied  in  on  "Whole 
Town's  Talking."  Broadcast  which  took 
form  of  interviews  with  passengers  aboard 
ship  was  conducted  by  radio  movie  editor, 
entire  theme  of  which  contained  •  "whole 
town's  talking"  buildup  on  the  new  trans- 
portation. 

Accompanying  photo  shows  airline  ready 
for  take-off  with  members  of  Tower  Theatre 
orchestra  supplying  music  from  air.  TWA 
ads  and  stories  all  carried  theatre  and  pic- 
ture mention. 

Make  193  5  Your  Award  Year 

Shaffer's  Staff  Puts  On 
"Folies  Bergere"  Prologue 

A  highlight  of  Frank  Shaffer's  Virginia 
Theatre,  Harrisonburg,  Va.,  campaign  on 
"Folies  Bergere"  was  the  use  of  his  house 
staff  for  a  prologue  (see  photo)  with  boys 
dressed  as  Chevalier,  hats  and  all,  and  girl 
doing  piano  solo.  Tuneful  hits  from  picture 
were  sung  and  Frank  reports  the  stunt  well 
accepted. 

Make  193  5  Your  Award  Year 

Newspaper  Cooperates  With 
Schreiber  on  Letter  Contest 

Newspaper  tied  in  with  C.  H.  Schreiber, 
RKO  Palace,  Columbus,  on  "Scarlet  Pim- 
pernel," with  letter  contest  on  "What  is  the 
best  means  of  capital  punishment?"  Theatre 
offered  cash  prizes  for  best  letter  and  papers 
played  it  up  by  carrying  daily  interviews 
with  prominent  locals. 

Schreiber  also  arranged  with  chain  grocer 
for  distribution  of  lucky  number  heralds, 
stores  carrying  streamers  in  all  their  win- 
dows. Few  days  before,  papers  played  up 
engagement  with  feature  stories  on  stars 
with  art  work  on  Howard. 

Make  193  5  Your  Award  Year 

Gettier  Puts  Over 
"Imitation"  Broadcasts 

On  "Imitation  of  Life"  at  the  Fox 
Gillioz,  Springfield,  Mo.,  Vogel  Gettier  se- 
cured cooperation  of  Little  Theatre  group 
which  broadcast  dramatization  of  picture. 
Another  broadcast  was  sponsored  by  head 
of  circulating  library  who  reviewed  the 
book. 

Life  size  cutouts  of  Colbert  stood  at 
either  side  of  box  office,  inner  lobby  carried 
large  cutout  head  of  the  star  and  boxes  of 
pancake  flour.  Library  distributed  book 
covers  and  book  marks. 

•  Make  193  5  Your  Award  Year 

Newspaper  Ties  In  With 
"Sweet  Music"  Song  Contest 

Manager  Rodney  Collier  and  George 
Browning,  publicist  at  the  Stanley,  Balti- 
more, for  their  "Sweet  Music"  date  put 
over  a  song  contest  with  local  daily  in 
which  entrants  were  asked  to  identify  vari- 
ous theme  songs  and  radio's  popular  slogans 
used  by  well-known  stars  on  air. 

Florist  featured  window  display  of  "red 
roses  for  Rudy  Vallee"  and  skating  rink 
distributed  "Sweet  Music"  cards  to  be  de- 
posited in  box  for  drawing  of  grand  door 
prize,  theatre  donating  passes. 


Taylor's  "Sequoia"  Rustic  Front 


Joffee's  Band  at  TWA  Airport 


•  •  • 


Shaffer's  "Folies  Berf^ere"  Stuff 


Friedman's  "Barnum"  Freak  Cutouts 

On  "Devil  Dogs"  squadron  of  eight  ban- 
nered planes  flew  over  city.  Display  of 
marine  blue  men's  shirts  and  ties  for  spring 
wear  was  featured  by  local  haberdasher. 
Tickets  were  awarded  for  best  "Aviation" 
waltz  dancers  at  Knights  of  Columbus  dance, 
and  cadet  corns  paraded  from  headquarters 
to  theatre  dulv  bannered. 


Taylor  Mails  Chain 
Letters  on  "Sequoia' 

As  part  of  his  "Sequoia"  campaign  while 
at  the  State  in  Houston,  Texas,  Bill  Taylor 
mailed  chain  letter  to  selected  list  of  women 
reading  "some  extremely  good  fortune  will 
come  to  you  if  you  send  a  copy  of  this  letter 
to  each  of  your  three  best  friends  within 
twenty-four  hours.  The  same  good  fortune 
will  be  theirs  if  they  do  likewise  and  'Se- 
quoia' will  give  you  your  greatest  experi- 
ence in  a  motion  picture  theatre." 

Tieup  with  dairy  brought  distribution  of 
heralds  with  theatre  copy,  one  large  letter 
from  title  with  instructions  to  save  heralds 
until  a  set  spelling  out  "Sequoia"  had  been 
obtained  for  guest  ticket. 

New  rustic  front  was  constructed  (see 
photo)  entirely  of  pine  logs  and  decorated 
with  heads  and  skins  of  deer  and  lion.  Im- 
printed silk  badges  were  worn  by  all  railroad 
station  porters,  waitresses'  and  cashiers. 

Make  193  5  Your  Award  Year 

Church  Official  Praises 
"Aran"  for  Pete  Egan 

Pete  Egan  secured  unusual  editorial  men- 
tion on  "Man  of  Aran"  at  the  Palace,  Cal- 
gary, Canada,  as  a  result  of  sermon  preached 
by  Archdeacon  C.  Swanson  of  St.  Stephens 
Church,  who  had  been  invited  to  showing. 

Special  colored  heralds  were  inserted  and 
distributed  with  leading  papers  through  tieup 
with  News  Company.  Daily  radio  program 
consisted  of  Irish  songs  with  theatre  and 
picture  mentioned,  and  PTA  was  circular- 
ized before  opening. 

Make  193  5  Your  Aivard  Year 

Friedman's  "Barnum"  Display 

Ben  Friedman,  Marboro  Theatre,  Brook- 
lyn, N.  Y.,  forwards  "Mighty  Barnum"  dis- 
play made  by  Artist  Jack  Meyer  (see 
photo),  all  forms  being  individual  cutouts 
and  were  placed  on  platform.  For  street 
bally  midget  sandwich  man  covered  school 
neighborhoods  distributing  heralds. 

Make  193  5  Your  Award  Year 

Thomason  Ties  "Lancers" 
Into  Boy  Scout  Parade 

Publicity  director  J.  S.  Thomason,  Ritz 
Theatre,  McPherson,  Kansas,  for  his  "Ben- 
gal Lancers"  date  arranged  with  Boy 
Scouts  staging  their  25th  anniversary  parade 
to  wear  "Lancer"  hats  and  banners. 

Tommy  arranged  for  cutouts  to  be  placed 
at  practice  baskets  and  signs  at  score  boards 
of  various  athletic  associations.  Lancer 
flags  were  planted  on  curbstones  in  down- 
town districts  and  at  theatre. 

Make  193  5  Your  Award  Year 

Davis  Runs  Personal 
Ads  on  "Imitation" 

On  "Imitation  of  Life"  Walter  Davis, 
Orpheum,  Ft.  William,  Canada,  ran  a  series 
of  personal  ads  such  as  "Come  home  son, 
we  want  you  to  go  to  the  Orpheum  with 
us  to  see."  Another  began,  "Where  were 
you  the  night  of,"  etc.,  etc. 

Hot  cakes  were  served  in  tieup  with  con- 
fectioner, trailer  copy  inviting  patrons  on 
leaving  theatre  to  partake  of  the  refresh- 
ments. For  street  bally,  Walter  promoted 
700-pound  piece  of  ice.  Stills  and  cutouts 
of  Aunt  Jemima  were  pasted  on  ice  and  cov- 
ered with  cellophane,  giving  appearance 
that  stills  were  inside  ice. 


74 


MOTION    PICTURE  HERALD 


March    30,  1935 


MORE  "HINDS"  OPINIONS 


AD  HEAD  AGREES 
WITH  HINDS'  VIEW 

Dear  Mike: 

I  fully  agree  with  Mr.  Hinds  in  his  claim 
that  it  is  the  picture  that  determines  a  suc- 
cessful engagement  rather  than  the  com- 
munity in  which  it  is  shown. 

This  is  something  I  have  always  con- 
tended and  while,  as  Mr.  Hinds  says,  occas- 
ionally there  are  some  pictures  that  cater  to 
big  city  audiences,  the  successful  pictures 
are  successful  everywhere.  As  he  says, 
"Anne  of  Green  Gables,"  which,  according 
to  the  rating  of  all  the  experts,  is  a  small 
town  picture,  has  a  definnite  drawing  power 
in  the  big  cities.  It  ran  three  weeks  at  the 
old  Roxy  Theatre  and  did  a  landslide  busi- 
ness, as  records  prove.  The  same  thing 
happened  in  the  case  of  '"David  Copper- 
field,"  "Little  Women,"  the  Shirley  Temple 
and  Will  Rogers  pictures,  "A  Girl  of  the 
Limberlost"  and  others'  of  homespun  calibre. 

Then,  on  the  other  hand,  so-called  sophis- 
ticated pictures  like  "The  Thin  Man"  have, 
according  to  box-ofifice  checkups,  proved 
very  successful  throughout  the  country  at 
large  as  well  as  the  key  cities. 

I  think  Mr.  Hinds'  point  is  well  taken 
and  the  problem  is  more  a  question  of  ad- 
vertising and  selling  pictures  to  specific 
audiences  than  it  is  producing  a  special 
brand  of  product  for  every  type  of  com- 
munity. Mr.  Hinds  is  right — there  are  no 
small  towns. — Ed  Finney,  Adv.  Dir.. 
Monogram  Pictures  Corp. 


WILL  PRESTIGE  PICTURE 
OFFSET  CASH  LOSS? 

Dear  Mike: 

Have  read  with  interest  the  article  of 
Mr.  Hinds,  of  Whitewater,  Wis.,  reference 
success  or  failure  of  pictures  in  villages  or 
cities. 

My  experience  runs  only  from  towns  of 
a  little  less  than  1,000  to  one  of  4.000,  but 
checking  the  matter  over  in  my  memory 
am  inclined  to  believe  that  Mr.  Hinds'  last 
paragraph  tells  the  whole  story.  That  is,  so 
far  as  my  own  experience. 

In  every  "wide  spot"  in  the  road  are  folks 
who  appreciate  higher  class  pictures ;  those 
with  educational  as  well  as  entertainment 
value.  They  are  in  the  city  in  greater  num- 
bers. In  every  community  are  the  folks 
who  pay  their  money  with  the  desire  merely 
for  entertainment  that  will  pass  the  time. 
Naturally  they  far  outnumber  the  other 
class,  and  this  applies  in  large  and  small 
spots. 

So  it  comes  down  to  this :  are  there 
enough  of  the  "class  picture"  element  to 
make  a  certain  picture  pay  its  way,  plus 
a  profit  ?  In  the  large  town  there  will  doubt- 
less be  that  necessary  number.  In  the  small 
spot  it  is  very  unlikely.  In  that  case  the 
exhibitor  must  decide  whether  the  prestige 
of  the  class  picture  will  off-set  the  cash  loss 
and  allow  him  to  make  a  greater  profit  on 
following  pictures. 

The  "entertainment"  picture  will  natur- 
ally make  a  better  net  for  both  the  large 
and  the  small  town  show.  For  the  big 
town  "class"  rank  in  per  cent  to  popula- 
tion about  the  same  as  the  little  town 
"class." 


Our  own  experience  has  been  that  an 
occasional  picture  on  which  we  expected 
and  did  sustain  a  loss  paid  out  on  later  show. 
One  in  three  or  four  months  has  been 
plenty  for  us. 

What  we  all  search  for  is  that  rare  piece 
of  merchandise,  a  picture  that  pleases  all 
classes,  combining  romance,  action  and  a 
real  "story."  I  said  "rare."  They  are  not 
as  rare  as  in  the  past.  During  the  last 
six  months  we  have  had  several  that  brought 
in  and  pleased  the  extreme  of  both  classes. 
Those  kind  of  pictures  are  becoming  more 
common  we  believe,  for  on  our  booking 
sheet  are  several  more  on  which  we  are 
prepared  to  gamble  our  last  hat. 

Then  there  are  some  that  will  draw  only 
the  action  or  romance  lovers.  Good  pic- 
tures of  their  kind.  And  then  about  two 
or  three  features  that  will  bring  in  less 
money  than  we  pay  out  for  them — and  they 
will  be  good  pictures,  too. 

Parker  is  a  town  of  1,225,  located  in  a 
farming  community. — P.  G.  Estee,  S.  T. 
Theatre. 


IS  UNSUCCESSFUL  WITH 
"DIALOGUED"  PICTURES 

Dear  Mr.  Vogel: 

Mr.  Hinds  is  picking  all  the  outstanding 
pictures  for  his  example.  I  can  go  along 
with  him  on  all  of  his  list  but  "Barretts." 
This  picture  was  liked  only  by  the  socalled 
intelligentsia,  of  whom  there  are  few  in  the 
rural  towns. 

I  cite  another  arty  picture,  "Barkley 
Square,"  the  English  pronunciation,  "Caval- 
cade," both  of  which  were  acclaimed  as 
"tops"  by  the  critics.  But  our  audiences 
had  another  name  for  both  of  them. 

We  have  no  success  with  pictures  that 
are  dialogued  to  death,  but  dialogue,  with 
some  modicum  of  action,  we  can  get  by 
with. 

Mr.  Hinds  is  forgetting  the  in-between 
pictures,  that  flop  like  no  ones  business. — 
A.  E.  Hancock,  Columbia  Theatre,  Co- 
lumbia City,  Ind. 

Make  193  5  Your  Award  Year 

Cardo's  Lobby  Display 

Accompanying  photo  shows  attractive 
lobby  display  by  Spyros  G.  Cardos,  Loew's 
State,  Los  Angeles,  Cal.,  on  "One  More 
Spring."  Large  shadow  box  was  used  with 
transparent  mirror,  behind  which  was  gar- 
den set  with  cutouts  of  Gaynor  and  Baxter. 
Flasher  lights  enhanced  appearance. 


Cardos'  "Spring"  Lobby  Display 


Looking  Back 
With  Bill  Levee 

Taking  himself  a  jaunt  down  Memory 
Lane,  Round  T abler  Bill  Levee,  of  the 
New  Strand,  White  Plains,  N.  Y.,  sets 
down  a  few  wistful  jottings  that  come  to 
mind  in  the  course  of  his  varied  and  ex- 
citing career  in  showbusiness.  Bill  is  go- 
ing to  do  us  a  "Looking  Back"  every  now 
and  then.  This  is  his  first.  .  .  . 

V 

"I  remember,  I  remember."  .  .  .  "Back- 
ward, turn  backward,  Oh !  Time  in  thy 
flight."  .  .  .  Let's  travel  down  memory 
lane.  Remember  the  Unique  Theatre  on 
Fourteenth  Street  in  little  old  New  York? 
It  is  1905.  The  barker  outside  the  Unique 
(the  same  type  of  barker  you  see  today  in 
front  of  the  Broadway  cinema  palace)  is 
shouting  to  the  curious  throngs,  "Step  right 
inside  folks,  here  we  have  the  foist  talkin' 
pitchers,  only  a  dime  folks,  one-tenth  of  a 
dollar.  Be  the  foist  ones  to  see  talkin' 
movin'  pitchers."  Three  decades  have  rolled 
merrily  on  since  that  memorable  event. 
What  changes  time  has  wrought ! 

V 

Here  on  Fourteenth  Street  motion  pic- 
ture history  was  being  nnade.  Recall  the 
Edison  Talking  Machine?  It  was  via  this 
apparatus  that  the  "foist  talkin'  pitcher" 
nnade  its  debut  on  Fourteenth  Street.  That 
good  old  street,  the  Times  Square  of  an- 
other era.  The  street  which  lays  clainn  to 
being  the  street  mentioned  as  "the  corner 
on  the  square"  in  that  famous  poem,  "The 
Face  on  the  Barroom  Floor". 

Old  timers  who  read  this  column  will 
remember  how  the  Edison  talking  machine 
was  placed  behind  the  screen  and  how  hard 
they  tried  to  keep  the  cylinder  record  in 
synchronization  with  the  film.  How  mis- 
erably their  efforts  failed,  those  of  us  who 
remain  to  tell  the  tale  can  testify.  But  it 
was  the  beginning  of  that  marvel  of  today. 
The  Talking  Screen. 

Fourteenth  Street  in  1905  boasted  of  six 
theatres.  Of  these  six  only  two  remain.  On 
the  present  site  of  the  Gas  and  Electric 
company's  steel  structure  stood  the  most 
famous  of  all  New  York  theatres.  The 
Academy  of  Music. 

A  meeting  place  for  the  elite  of  another 
generation.  Many  famous  stars  tread  the 
boards  of  the  old  Academy,  and  among 
these  were  George  Arliss,  Robert  Edeson, 
Montgomery  and  Stone,  Richard  Bennett, 
Amelia  Bingham,  Priscilla  Knowles,  Louise 
Gunning. 

The  14th  Street  theatre,  now  known  as 
the  Civic  Repertory,  housed  stage  produc- 
tions, whJie  the  City  theatre  and  the 
Unique  theatres  were  picture  and  vaudeville 
houses.  The  Dewey  theatre,  also  on  th<* 
old  street,  sometimes  ran  Jewish  shows. 

V 

It  was  here  on  this  street  at  the  City 
theatre  that  William  Fox  presented  his  first 
big  film  production,  Theda  Bara  in  "The 
Vampire."  It  was  on  this  street  and  in  the 
old  Academy  of  Music,  that  the  writer  of 
this  memory  lane  column  was  initiated  into 
the  mysteries  of  show-business.  It  was  his 
first  love  in  the  theatre  world. 

More  later  folks.  .  .  . 


March    30,    1935  MANAGERS'    ROUND    TABLE  75 


THE  FALLACY  OF  THE  ''ART''  THEATRE 


AinH  No  Sech  Thing,"  Shoivman 
Opines;  Details  the  Difficulties  in 
Path  of  Successful  Operation 

by  HERMAN  G.  WEINBERG 

Managing  Director,  Little  Theatre,  Baltimore 


There  is  no  such  thing  as  the  "art"  the- 
atre, though  the  word  is  bandied  about  a 
good  deal  still.  That  term  died  with  the 
passing  of  the  silent  film.  The  sudden  ad- 
vent of  the  talking  pictures  spelled  once  and 
for  all  the  doom  of  that  plucky  little  group 
of  intimate  theatres  that  comprised  "the 
little  cinema  movement"  in  America  be- 
tween the  sadly  lamented  years  of  1927  and 
1931-2.  Then,  anything  that  came  from 
Europe  bearing  the  label  "Made  in  France," 
"Made  in  Russia"  or  "Made  in  Germany" 
was  treasure  to  be  gobbled  up  by  the  cinema 
elect,  the  socalled  high-brows,  the  intelli- 
gentsia (horrid  word !). 

A  lot  of  celluloid  junk  was  palmed  off  in 
those  days  under  the  hallowed  aegis  of  art. 
It  was  comparatively  easy  to  make  a  small 
fortune  running  these  films,  usually  obtained 
at  cheap  rental,  and  sometimes  running  two, 
three,  four  and  five  weeks  with  almost  no 
efifort.  Advertising  space  was  cut  to  an 
absolute  minimum.  A  personally  subscribed 
mailing  list  took  care  of  the  minority  clien- 
tele anyway  And  the  critics,  fed  up  with  the 
sameness  of  the  Hollywood  opera  were  most 
kind.  The  result  was  a  boom  time  in  minia- 
ture for  those  half  dozen  or  so  entrepreneurs 
(easily  recognizable  but  most  of  them  since 
fallen  into  a  kind  of  disrepute)  who  fos- 
tered this  enterprise. 

Sound  Brought  Changes 

With  the  advent  of  the  talking  pictures, 
those  who  still  had  enough  zeal  in  "the 
little  cinema  movement"  found  that  they 
had  to  compete,  in  a  certain  measure,  with 
the  best  that  Hollywood  could  do  in  the 
talkies,  and  that  best  was  very  good.  Holly- 
wood, which  had  never  caught  up  to  Ger- 
many in  point  of  photography  and  lighting, 
in  the  silent  era,  and  to  Russia  in  dramatic 
vitality,  passed  them  at  the  starting  post  in 
sound  reproduction  and  is  still  so  far  ahead 
of  the  rest  of  the  world  in  sound  recording 
that  it  seems  as  if  Europe  will  never  have  a 
chance  to  catch  up. 

Now  that  the  little  cinema  houses  had  to 
compete  with  Metro  and  Paramount,  and 
the  rest  of  them,  the  situation  changed  per- 
ceptibly. Pictures  had  to  be  sold.  No  longer 
was  a  foreign  label  enough.  The  foreign 
language  barrier  was  a  high  enough  hur- 
dle to  put  a  crimp  in  the  works  right  from 
the  start.  Certain  foreign  language  films, 
on  grounds  of  sheer  merit,  hurdled  the  lan- 
guage barrier,  and  became  famous  for  long 
runs.  The  majority  played  their  week  or  so 
first  run  and  a  spot  or  two  elsewhere  and 
were  relegated  to  cinema  limbo. 

Today,  for  a  foreign  language  film  to 
be  any  kind  of  a  commercial  success  in 
America  it  has  to  be  so  good  as  to  really 
challenge  the  supremacy  of  Hollywood.  As 
these  are  few  and  far  between,  Hollywood 
need  have  (and  probably  does  not  have) 
any  fears  on  that  score. 


HERMAN  WEINBERG  is  by 

all  means  ably  equipped  to  speak  on 
the  vagaries  of  the  art(?)  theatre. 
His  years  are  many  in  the  conduct 
of  such  operations,  including  the 
popular  Little  Theatre,  in  Baltimore, 
where  he  now  holds  forth.  On  this 
page,  Herman  endeavors  to  correct 
what  he  feels  are  misconceptions  re- 
garding the  scope  of  the  "art"  pic- 
ture, among  which  is  an  impression 
of  your  chairman  that  there  may  be 
untapped  sources  of  revenue  in  va- 
rious parts  for  this  class  of  enter- 
tainment. — A-MIKE 


With  the  increased  overhead  (royalty  on 
sound  equipment;  consistent  newspaper  ad- 
vertising, they  must  advertise  regularly  now 
or  they  don't  stand  a  chance ;  increased  film 
rentals  which  have  jumped  up  astonish- 
ingly from  the  silent  days — -as  much  as 
1,000  per  cent!)  the  owner  of  a  little 
cinema  house  must  literally  grab  the  bull  by 
the  horns  and  on  his  own  scale  do  exactly 
what  his  big  brothers  of  the  2,000-3,000- 
seat  cinema  palaces  are  doing,  and  sell  his 
pictures.  .  .  . 

Nor  does  it  end  there.  He  must  sell  his 
policy  of  foreign  films  (not  even  necessarily 
French,  German — a  few  exhibitors  are  play- 
ing successfully  with  fire  here — and  Rus- 
sian) but  even  British  made  films.  And  he 
must,  above  all  sell  his  house.  Here's  where 
most  of  them  go  off  on  a  tangent  from  which 
they  never  return  except  to  fold  up  and 
silently  steal  away,  as  was  evidenced  re- 
cently by  a  certain  exhibitor  who  lasted 


exactly  two  and  a  half  weeks  under  a  policy 
of  foreign  films  in  a  city  that  has  supported 
another  smaller  house  for  six  years  and  is 
still  supporting  it ! 

For  the  same  reason  that  he  could  not 
make  a  go  of  it,  I  do  not  see  how  the  con- 
templated move  on  the  part  of  another  New 
York  exhibitor  to  arrange  for  sporadic 
showings  (perhaps  one  night  a  week)  of 
foreign  films  in  his  house  (which  shows 
third  and  fourth  run  Hollywood  film  with 
three  or  four  changes  a  week)  can  be  suc- 
cessful. The  financial  returns  won't  be  worth 
the  bother — and  bother  it  is,  my  friends, 
bother  it  is !  To  audiences  to  whom  a  thrice 
weekly  change  of  neighborhood  movie  stuff 
has  appealed,  the  sudden  devotion  of  one 
day  a  week  to  a  foreign  film  will  be  neither 
here  nor  there.  It  seems  to  me  that  the  best 
that  could  be  hoped  for,  and  that  would  in- 
deed be  fortunate,  would  be  that  the  gross 
for  that  day  on  a  foreign  film  would  not 
average  less  than  if  the  said  exhibitor  had 
his  regular  program  on.  To  make  for  any 
kind  of  greater  returns,  he  would  have  to 
start  taking  space  in  the  newspapers,  al- 
ways an  expensive  procedure,  send  out  let- 
ters to  special  lists,  arrange  tieups  with 
organizations,,  clubs,  societies,  museums, 
schools,  intellectuals,  etc.  The  people  to 
whom  foreign  films  appeal,  usually  don't 
go  to  movies  as  a  rule — at  least  not  to  the 
general  run  of  the  Hollywood  variety.  They 
don't  want    to    mix  with  movie  morons. 

Must  Cater  to  Audiences 

They  want  their  house,  with  a  quiet, 
distinctive  atmosphere.  They  want  coffee 
and  cigarettes.  They  want  to  be  able  to 
sit  around  in  a  soft,  luxurious  lounge  and 
smoke  and  read  and  chat.  They  want  a 
wide  variety  of  foreign  films,  but  they  must 
be  first  rate.  They  want  you  to  keep  them 
informed  of  your  change  of  programs. 
(Newspaper  advertising  in  the  foreign  film 
field  is  taken  on  the  long  chance  of  getting 
the  mob — your  real  clientele  wants  a  special 
announcement  from  you  in  the  mail,  person- 
ally addressed  to  them.)  You  can  show 
them  five  ace  foreign  films  in  a  row,  but  bring 
one  on  that  is  something  short  of  the  mas- 
terpiece they  expect  from  you  and  you'll  get 
the  sweetest  boycott  for  that  week  of  your 
life  !   The  pampered  darlings  ! 

But  it's  either  that — or  the  straight  neigh- 
borhood policy.  The  two  can't  mix.  You 
have  to  train  them,  educate  them,  mould 
their  opinions,  introduce  new  stars  so  that 
they  may  recognize  them  in  future  pictures 
and  look  forward  to  seeing  them.  You've 
got  to  do  yourself  everything  that  Metro 
and  Paramount  spend  millions  a  year  doing 
for  the  other  exhibitors  who  are  on  the  well 
beaten  path  of  the  Hollywood  movie.  .  .  . 

But  you  can't  do  all  this  successfully  if 
you  are  going  to  limit  your  showings  of 
foreign  films  to  one  night  a  week.  Even  a 
[Continued  on  following  page] 


76 


MOTION    PICTURE  HERALD 


March  30 


9  3  5 


'*Sell  Your  Masses'' 
Declares  Weinberg 

[Continued  from  preceding  page'\ 
tenth  rate  Hollywood  film  gets  a  two  or 
three-day  showing  at  a  neighborhood  movie, 
to  give  those  interested  a  chance  to  see  it. 
And  what  must  it  be  with  the  smart  "ultra" 
crowd  who  usually  have  quite  a  number  of 
functions  to  attend  to  and  can't  always  re- 
serve a  specific  night  for  what  always  must 
remain  in  the  final  analysis,  "just  a  movie. 
.  .  ."  I  have  held  pictures  for  three  and 
four  weeks,  only  to  be  told  by  friends  of 
mine,  who  keep  in  closer  touch  with  me 
than  my  regular  patrons,  that  they  "simply 
don't  get  a  chance  to  come  around  to  see  it." 

Mike  Vogel  suggests  that  the  potentiali- 
ties for  profit  are  not  extensive  for  this  form 
of  operation  on  a  weekly  basis,  therefore,  he 
believes  that  "in  quite  a  few  situations  the 
better  class  of  programs  .  .  .  could  be  put 
over  successfully  one  day  a  week.  .  .  ." 

The  potentialities  for  profit  for  this  form 
of  operation  are  not  only  not  extensive  for 
this  kind  of  operation,  but  are  practically 
non-existent  for  the  one-day  stand  showings. 

My  answer  to  the  whole  problem  of  the 
Little  Theatre  movement  lies  in  the  salient 
fact  that  my  own  Little  Theatre  in  Balti- 
more has  become  an  extended  run  house  this 
season,  almost  50  per  cent  of  the  product 
having  played  at  least  two  weeks  each,  with 
another  35  per  cent  playing  from  three  to 
four  weeks  each.  We  have  widened  our  po- 
tential audience  for  this  sort  of  thing  to 


such  an  extent  that  this  is  entirely  possible. 

Cease  talking  about  drawing  the  "intellec- 
tuals" and  learn  to  sell  your  house  and  its 
policy  over  a  long  period  of  time  to  the 
great  mass  of  movie  goers.  You'll  only  get 
a  small  fraction  of  them  at  best,  but  a  small 
fraction  of  half  a  million  potential  movie- 
goers is  preferable,  from  a  box  office  stand- 
point, to  a  few  hundred  "intellectuals"  who 
might  be  induced  to  expect  a  foreign  film  on 
Wednesday  nights  at  your  theatre  (for  the 
one-day  stand  exhibitor)  or  to  the  two  or 
three  thousand  die-hards  (for  the  exhibitor 
of  foreign  films  on  a  weekly  basis)  who  are 
all  that  he  expects  can  be  relied  on  to  sup- 
port him  and  his  precarious  adventure. 

Make  193  S  Your  Aiuard  Year 


EAST  INDIES  BALLY.  Front  of  Luxor  The- 
alre,  Soerabia,  Dutch  East  Indies,  on 
"Scarlet  Empress",  created  by  Round  Tabler 
Fred    Young.     Note    natives    in  costume. 


Contest  Built  On 
Mark 's  Short  Story 

Written  by  Manager  Mark  Solomon,  Em- 
bassy, Mt.  Vernon,  N.  Y.,  was  an  original 
short  story  with  a  theme  of  frustrated  love 
similar  to  that  of  "Anne  of  Green  Gables." 
And  this  served  as  a  contest  idea  on  the 
date  of  that  picture,  with  a  main  prize  of  a 
promoted  radio  and  guest  tickets  to  other 
winners. 

Mark  ran  the  story,  the  ending  of  which 
had  an  unusual  twist,  on  front  page  of  his 
program  and  invited  patrons  to  submit  what 
they  considered  fitting  endings  in  no  more 
than  50  words.  Required  also  was  that  the 
last  two  words  spoken  by  Anne  Shirley  in 
the  picture  be  included  in  the  entries,  which 
contestants  could  learn  by  seeing  the  show. 

The  idea  was  entirely  successful  to  the 
extent  that  Mark  reports  difficulty  in  clear- 
ing his  house  as  patrons  remained  over  in 
order  to  make  sure  of  the  two  necessary 
last  words.  Hundreds  of  entries  were  re- 
ceived, with  many  close  to  the  original  so- 
lution. 

In  addition  to  program  notice,  lobby  dis- 
plays and  other  buildup,  Solomon  also 
crashed  the  local  paper  for  a  story  on  the 
contest,  unusual  publicity  he  states,  as  the 
daily  does  not  give  very  much  additional 
space  to  subsequent  run  houses. 

Exploitation  built  around  the  submission 
of  short  stories  and  fitting  endings  such  as 
Solomon  describes  should  make  good  ex- 
ploitation in  interesting  budding  authors 
and  might  be  tied  in  with  book  editors. 


March    30,  1935 


MANAGERS'    ROUND  TABLE 


77 


Showmen 's 
Calendar 


MAY 

1st 


5th  to  1 2th 
6th 

7th 


9th 

nth 

12th 


13th 
15th 

16th 
17th 
18th 


19th 
21st 


22nd 
23rd 


24th 


26th 

27th 
28th 

29th 

30th 
31st 


May  Day 

Leila  Hyam's  Birthday 
Josephine  Dunn's  Birthday 
National  Music  Week 
Peary    (Discoverer    of  North 

Pole)  Born— 1854 
Lusitania  Torpedoed   by  Ger- 
many— 1915 
Gary  Cooper's  Birthday 
Commander    Byrd    at  North 

Pole— 1926 
Richard   Barthelmess'  Birthday 
Minnesota  Admitted  to  Union 

—  1858 

Florence  Nightingale  (Founder 
of   Modern    Nursing)  Born 

—  1820 
Mother's  Day 

Jamestown,  Va.,  Settled — 1607 
Mississippi  Flood  Bill  Signed — 
1928 

Lincoln  Nominated — 1860 
Maureen  O'Sullivan's  Birthday 
Peace  Day 

Napoleon  Proclaimed  Emperor 

—  1804 

Mexican  -  U.    S.    Peace  De- 
clared— 1849 
Lindbergh's    Non-Stop  Flight 

to    Paris— 1927 
Robert  Montgomery's  Birthday 
Richard  Wagner's  Birthday 
South   Carolina   Admitted  to 

Union — 1788 
Douglas  Fairbanks'  Birthday 
Dorothy  Lee's  Birthday 
Capt.  Kidd  (Pirate)  Executed 

in  London — 1701 
First  Telegraph  Message  Sent 

—  1844 

Brooklyn  Bridge  Opened — 1883 
Paul  Lucas'  Birthday 
Walter  Huston's  Birthday 
Nathaniel  Green  Born — 1742 
Yanks'   First  Victory  at  Can- 

tigny — 1918 
Wisconsin  Admitted  to  Union 

—  1848 
Memorial  Day 

Jack  Holt's  Birthday 


Anofher  from  the  brush  of  Archie 
Clark,  Liberty  Theatre,  Horton,  Kan., 
is  this  "Treasure  Island"  poster.  Back- 
ground, white;  faces,  natural  colors; 
••■rees,  green,  and  the  island  back- 
ground yellow. 


Original  "Barnum"  Clown 
Ballys  for  Caldwell 

Wally  Caldwell,  Loew's  Valentine  Thea- 
tre, Toledo,  Ohio,  was  fortunate  in  securing 
the  services  of  resident  Jimmy  Sprigg-s,  one 
of  Barnum's  original  clowns,  to  ballyhoo 
for  the  picture  in  original  costume.  Spriggs 
made  tour  of  department  stores  plugging 
date. 

Wally  distributed  regular  colored  circus 
heralds,  devoting  space  to  each  freak  with 
cut  and  copy.  Distributed  also  were  the 
"Barnum"  tracing  pictures. 

On  "Sequoia"  Wally  held  a  special  pre- 
view for  women's  clubs  and  humane  society, 
essay  booklets  were  distributed  to  students 
and  notices  tacked  on  bulletin  boards. 


ROUND  TABLE  BIRTHDAY  GREETINGS 

Eli  H.  Arkin 

Charles  B.  Hann,  Jr. 

L.  Novy 

Jack  E.  Austin 

George  Heeley,  Jr. 

R.  H.  Ouelleete 

Antonio  Balducci 

Bert  Henson 

Roy  Patience 

Thomas  J.  Bogan 

Raymond  L.  Jones 

Fred  Perry 

Pierre  Boulogne 

Ross  A.  Jones 

Burton  L.  Prince 

A.  Birk  Binnard 

J.  J.  Kalix 

C.  Clifford  Reed 

Sidney  W.  Blumenstock 

R.  T.  Kemper 

Carl  J.  Rindcen 

Austin  C.  Bray 

Phil  Kielpinski 

Harry  A.  Salisbury 

Charlie  Brennan 

Raymond  Kinery 

N.  H.  Salyer 

Fahnley  Bridges 

Theodore  K.  Kraft 

Ernest  Sanzo 

Johnnie  Burrell 

Karl  Kruger 

1.  J.  Segall 

Larry  J.  Carkey 

Joseph  F.  Lackey 

George  Sofia 

H.  Cavanagh 

George  W.  Lake 

E.  E.  Seibel 

David  Dallas 

Julius  Lamm 

J.  R.  Smith 

John  M.  Divnsy 

Robert  L.  Lippert 

Henry  Spiegel 

Joseph  Dondis 

Orville  E.  Lockreim 

Henry  A.  Steibing 

Glen  Downing 

J.  Howell  Luter 

J.  E.  Stribling,  Jr. 

Lorna  Dunham 

John  G.  McGee 

E.  W.  Thomas 

Ira  E.  Epstein 

Sam  Mandelbloom 

Walter  Tooley 

Art  K.  Farrell 

A.  J.  Matthews 

N.  L.  Tower 

George  Fishman 

Harold  P.  Midgley 

J.  H.  Voerster 

Emanuel  Friedman 

George  A.  Miller 

Lou  Wasserman 

George  A.  Gookin 

Fred  Montgomery 

S.  D.  Weinberg 

Harry  Greenman 

Bob  Murray 

Sam  J.  Wheeler 

Sid  Hahn 

E.  P.  Nelson 

Leonard  Workman 

Some  New 
Members 


BOB  ATKINSON, 

Manager,  Rialto,  Beeville,  Texas. 

PETE  BATHORY, 

Manager,  State,  Youngstown,  Ohio. 

JAY  N.  BURTEN, 

Manager,  Rex,  West  Liberty,  Ky. 

JOHN  M.  DIVNEY, 
Manager,  Maine,  Portland,  Me. 

E.  V.  CASSAWAY, 

Manager,  Rex,  Kingsville,  Texas. 

ESTEBAN  C.  GONZALEZ, 
Manager,  Nogales,  Nogales,  Ariz. 

WILL  HARPER, 
Manager,  Liberty,  Trail,  B.  C. 
JOHNNY  HARVARD, 
Manager,  Princess,  Baxley,  Ga. 

J.  W.  HILL, 

Manager,  Washington,  Washington,  N.  J. 

HERBERT  JAMES, 
Manager,  Newman,  Chicago,  III. 
GEORGE  KALHURST, 
Manager,  Park,  East  Orange,  N.  J. 

IGO  KRON, 

Publicity,  Apollo,  Warsaw,  Poland. 
ED  LACHMAN, 

Manager,  Jersey,  Morristown,  N.  J. 
STANLEY  LAMBERT, 
Manager,  Shore,  Chicago,  III. 
AL  LEVER, 

Manager,  Majestic,  San  Antonio,  Texas. 

C.  L.  McFARLING, 

Publicity  Director,  Tompkins, 

Colorado  Springs,  Colo. 

W.  H.  MAC  DONALD, 

Manager,  Liberty,  Great  Falls,  Mont. 

HARRY  MINTZ, 

Manager,  Parthenon,  Hammond,  Ind. 

ROBERT  HICKS  PAGE 
Manager,  Strand,  Altoona,  Pa. 

A.  C.  PATTERSON, 

Manager,  MuWaTu,  Coshocton,  Ohio. 

JACK  PURVES, 

Manager,  Capitol,  Sudbury,  Canada. 

THOMAS  R.  REILLY, 

Manager,  Granada,  Milwaukee,  Wis. 

MARY  M.  ROSS, 

Manager,  Strand,  St.  George,  S.  C. 

S.  H.  SHWIDELSON, 

Manager,  Venetian,  Milwaukee,  Wis. 

TED  STUMP, 

Manager,  Elted,  Absarokee,  Mont. 

JOHN  G.  TOWNSEND, 
Manager,  Star,  Sutherland,  Neb. 

WILLIAM  J.  TUBBERT, 
Manager,  Keith,  Syracuse,  N.  Y. 

HERMAN  D.  WOOD, 
Manager,  Colonial,  Belfast,  Me. 

C.  L.  ("BILL")  YEARSLEY, 
Manager,  Smoot,  Parkersburg,  W.  Va. 

NICK  ZOMPOLIS, 

Assistant,  Sequoia,  Redwood  City,  Calif. 


Sold  1 

620 

You  and 

379 

others  can 
still  gol 

IT 


N  A  K  E  D 
T  R  U  T  H 
DIN NER 


Lucky  Francois  .  •  •  he's  got  his! 
Have  you  got  yours?  Only  1,000 
tickets  at  $7.50  each  will  be  sold, 
with  a  written  guarantee  of  no 
speeches  or  speaker's  table.  Paul 
Benjamin  at  National  Screen 
Service,  630  9th  Avenue,  will 
take  your  cash  with  the  greatest 
of  easel 


A.  M.  P.  A. 


Copy  and  lorout  by  Columbia  Plctwtt  Corporotloa 


Typovrarhy  by  AdrarlUlng  Avndn'  Swrlc*  Co. 


EngniTod  by  City  Photo  EavraTinq  Coip. 


March    3  0,     19  3  5 


MOTION    PICTURE  HERALD 


79 


THE  I^ELEASE  CHART 


Productions  are  listed  according  to  the  names  of  distributors  in  order  that  the  exhibitor  may  have  a  short-cut  towards  such 
information  as  he  may  need,  as  well  as  information  on  pictures  that  are  coming.  Features  now  in  work  or  completed  for  release 
later  than  the  date  of  this  issue  are  listed  under  "Coming  Attractions."  Running  times  are  those  supplied  by  the  companies. 
Asterisk  indicates  running  time  as  made  known  by  West  Coast  studio  before  announcement  by  home  office  in  New  York.  Varia- 
tions also  may  be  due  to  local  censorship  deletions.  Dates  are  1934,  unless  otherwise  specified.  Letter  in  parentheses  after 
title  denotes  audience  classification  of  production:  (A)  Adult,  (S)  General.  Numerals  following  audience  classification  are  pro- 
duction numbers. 


AMBASSADOR  PICTURES 


FIRST  DIVISION 


I, '35  57. Mar. 

l3.'3S....*58.Mar. 


9. '35 
I6.'35 


Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Fighting  Trooper.  The  Kermit  Maynard-Barbsra  Worth.. Nov.  15 

Northern  Frontier  <G)  Kermit  Maynard-Eleanor  Hunt.. .Feb. 

Wilderness  Mall  (G)  Kermit  Maynard-Fred    Kshler  Mar. 

Coming  Attractions 

Hit  Fighting  Bleed   Kermit  Maynard   July 

Red  Blood  of  Courage  Kermit  Maynard   Apr. 

Sandy  of  the  Mounted  Kermit  Maynard   Sept, 

Timber  War   Kermit  Maynard   May 

Trails  of  the  Wild  Kermit  Maynard   Aug. 


(Releases  Monogram,  Liberty,  Chesterfield  and  Invincible  pictures  In  certain  territories.) 

Features  Running  Tlmt 

mie                             star                        DIst'r          Rel.  Date  Minutes  Reviewed 

Convention   Girl  Rose  Hobart    Oct.  31  

Flirtation   Jeannette  Loft- 

Ben   Alexander  Nov.  9.................... 

Hel  Tiki  (G)   (All  Native  Cast) ...  Principal   Feb.  I,'35.  86.  Feb.  9,'35 

,  Little  Damozel   Anna  Neagle  Dec.  I  

  Return  of  Chandu  Maria  Alba- 

Bela  LugosI  Principal   Oct.  4  

Sunset  Range  (G)   Hoot  Gibson-  ..J 

Mary  Doran   May  l,'35..  .55.Mar.  9.35 

White  Heat   Virginia    Cherrill  Oct.  t 


20,'35 
I2,'35 
27/35 
6,'35 


CHESTERFIELD 


Features 

Title 


Star 


Running  Time 
Rel.  Date      Minutes  Reviewed 


Curtain  Falls,  The  (A)  Henrietta  Crosman   Oct.      I  67. 

Green  Eyes  (G)   Charles  Starrett-Shirley  Grey.... June    15  67. 

Shot  In  the  Dark,  A  Charles  Starrett-Marlon  Shilling  .Feb.    I5.'35  68. 

Sons  of  Steel  C.  Starrett  -  Polly  Ann  Young.. Dec.  15. 


.Oct. 
. .  Dec. 


World  Accuses,  The  Dickie  Moore  -  Russell  Hopton 

Coming  Attractions 

Circumstantial  Evidence   Chick  Chandler-Shirley  Grgy. 

Girl  Who  Came  Back  

Happiness  C.O.D  


Nov.  12. 


.63. 


COLUMBIA 

Features 

Title  Star  Rel. 

Against  the  Law  (A)  John  Mack  Brown-Sally  Blane. .  .  .Oct. 

Behind  the  Evidence  (6)  Norman  Foster-Sheila  Mannort. .  .Jan. 

Beit  Man  Wins,  The  (G)  Tim  McCoy-Shirley  Grey  July 

Beyond  the  Law  (G)  J.  Holt-Florence  Rice-E.  Lowe... Jan. 

Broadway  BUI  (G)  Warner  Baxter-Myrna  Loy  Dec. 

J.  Durante  -  Lee  Tracy  -  Sally 

Carnival  (G)    Filers  -  Florence  Rice  Feb. 

Death  Filet  East  (G)  Florence  Rice-Conrad  Nagtl  Feb. 

Fugitive  Lady  (G)   Neil   Hamilton-Florence  Rlea  Oil. 

Girl  in  Daagar  (A)  Ralph  Bellamy-Shirley  Grey  Aug. 

I'll  Fix  It  Jack  Holt-Mona  Barrle......  Oct. 

I'll  Love  You  Always  Nancy  Carroll-George  Murphy — Mar. 

(Sea  "In  the  Cutting  Room,"  Feb.  23,'35.) 
In  Spit*  ef  Danger  Marian  Marsh-Wallace  Ford  Mar. 

(See  "Devil's  Cargo"  "In  the  Cutting  Room,"  Jan.  26,'35.) 

Jealousy  (G)   Nancy  Carroll-Donald  Cook  Nov. 

Lady  by  Choice  (G)  Carole  Lombard  -  May  Robson  • 

Walter  Connolly- Roger  Pryor..Oet. 

Law  Beyond  the  Range  Tim  McCoy-Biilie    Seward  Feb. 

Let's  Live  Tonight  (G)  Lilian  Harvey-Tulllo  Garmlnatl. . Mar. 

(See  "Once  A  Gentleman"  "In  the  Cutting  Room,"  Dee.  29.) 

Men  of  the  Night  (G)  Bruce  Cabot-Judith  Allen   Nov. 

Mills  ef  the  Gods  (G)  May  Robson  -  Victor  Jory  -  Fay 

Wray   Dee. 

Proseott  Kid   Tim  McCoy-Shella  Mannort  Nov. 

Revenge   Rider   Tim  McCoy-Bltlle  Seward  Mar. 

(See  "Alias  John  Law"  "In  the  Cutting  Room,"  Dee.  8.) 

Square  Shooter  (G)   Tim  McCoy   Jan. 

That's  Gratitude  (A)  Frank  Craven-Sheila  Mannort  Oct. 

Voice  In  the  Night  Tim  McCoy-Billie  Seward   Apr. 

Westerner,  The   Tim  McCoy-Marian   Shilling  Dee. 

White   Lies   (A)  Victor  Jory- Fay  Wray   Nov. 

Whole  Town's  Talking,  The  (G).Edw.  G.  Robinson-Jean  Arthur.. . Feb. 


Running  Time 
Date      Minutes  Reviewed 

25  61  Dee.  I 

20,'35  57.  Feb.  2.'35 

20  57  Dec.  20 

5,'35  68.  Jan.  5,'35 

27  "105  Nov.  10 

I0,'35  75.  Feb.  23,'35 

28,  '35....*65.Mar.  9.'35 
n  .68.  Mar.  I6.'35 

29  61  Dec.  I 

15  69  Nov.  17 

20,'35  68  


8,'35. 
20.... 


.60. 


.Dee.  IS 


15  •85.... Oct.  I 

I5,'35  58  

I,'35  69. Mar.  23. '35 

26  58  Dec.  I 

15  67. Jan.  I*,'S5 

8  56  

I8,'35  57  

21,  '35  57. Mar.  9,'35 

6  64....  Nov.  17 

6  59  

10  

27  74.  Jan.  5,'3S 

22,  '35. .  ..'■93.Jan.  26,'35 


Coming  Attractions 

Air  Fury   Ralph  Bellamy-Tala  Blrtll  Apr.  30,'35. 

Black  Room  Mystery  Boris  Karlotf    

Call  to  Arms  Wlilard  Maek-Ben  Lyon-8hl«la 

Mannors-Wera  Engelt   

(See  "In  the  Cutting   Room,"   Nov.  3.) 

China  Roars   

Depths  Belov   

Eight  Bells   Ann  Sothern-Ratph  Bellamy  Apr.  Il,'35. 

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 

Feather  In  Her  Hat,  A  : .---.ii- 

Fighting  Shidowt  Tim  McCoy-Geneva  Mitchell  Apr.  I8.'S$. 

Frisco  Fury   lack  Holt   

Georglana   *nn  Sothorn   

Girl   Friend,  Th«  Lupe  Velez-Jack  Haley   

Hot  Newt   .!!!!!!'.!!!".. !!'.!'.!Ricliard'ci-omwelNBrMlo  Seward  .Apr.  25,'35. 

If  You  Could  Only  Cook  Claudette  Colbert   

Jim  Burko'i  Boy  Florence  Rice-Jack  Holt  

Lady  Beware   ■   

Love  Me  Forever   (Srace  Moore  -  Leo  Carrlllo  - 

Robert  Allen   Apr.  27.'35. 

Maid  of  Honor  •  

Party  Wire   Juan  Arthur- Victor  Jory  .   Apr.  27.35. 

Range  Raiders   Tim  McCoy-Billie  Seward  

Sure  Fire   Gene   Raymond-Ann  Sothem  

Swell  Head   Wailare  Ford-Barbara  Kent  Apr.  8,'35. 

Unwelcome  Stranger   Jack  Holt-Mona  Barrle   Apr.  20/35. 

(See  "Gimpy"   "In  the  Cutting   Room/'  Mar.  2,'35.) 


DU  WORLD  PICTURES 


Rel. 


Running  Time 
Date      Minutes  Reviewed 

15  90  

15  


Features 

Title  Star 

Blue  Light  5029   Leni  RIefenstahl   Oct. 

Cranquebllle   5038  •  •,  ■  •  •  •  ■  •  •  

Girl  In  the  Case  5005   Jimmy  Savo-Eddle  Lambert- 

Dorothy  Darling   •  :  

Kocha.  Lubl  Sranule  5041 ...  .(Polish)      {<•»•   'i 

L'AgonIo  des  Algles  (A)  5032. Pierre  Renoir   D«.     I  Hu 

Man  Who  Changed  Hit  Name, 

Tha  (A)  5036   tyn  Harding   ii,;- '  •  Y  ^SS 67 

Marie  5043   Annalieila   ..^  J«n.     1.85  B7 

Old  Bill  5038   Anatole  France  ttory  Fob.    lo,  as. 

Vleinat*  Lovi  Song  Maria  Jorltza   ii—  ■" 

World  In  Rovfit   Graham  McNamt*   Mar.  i,30. 

Cominq  Attractions  ■  »  . 

Camlll*   Y.  Printemps-Plerro  Freinay . .    A  or.  15.35 

Dream  of  My  People  Cantor  Rosenblatt   June     1.  .. 


. .  Dee. 
..Oct. 


70. . 
72.. 


FIRST  NATIONAL 


Features 

Title  Star  ^  Re'- 

Babbitt  (G)  869  Aline  MacMahon-Guy  Kibbee  Dec. 

Flirtation  Walk  (G)  752  Dick  Powell  •  Ruby  Keeler-Pal 

O'Brien   Dec. 

Gentlemen  Are  Bom  (G)  872. .  Franchot  Tone-Jean   Muir  Nov. 

Gold  Diggers  of  1935  (G)  851. Dick  Poweli-GIoria  Stuart  Mar. 

Happiness  Ahead  (G)  854  Dick   Powell-J.   Hutchinson  Oct. 

I  Sell  Anything  (G)  873  Pat  O'Brien  -  Ann   Dvorak  -  C. 

Dodd   Oct. 

Living  On  Velvet  859  (G)  Kay  Francis  -  George  Brent  - 

Warren  William  Mar. 

Maybe  It's  Love  (G)  876  Gloria  Stuart-Ross  Alexander  Jan. 

Murder  In  the  Clouds  (G)  877.Lyle  Talbot-Ann  Dvorak   Dec. 

Red  Hot  Tires  (G)  878  Lyie  Talbot-Mary  Astor   Feb. 

Six  Day  Bike  Rider  (G)  864.. Joe  E.  Brown-Maxino  Doyle  Oct. 

While  the  Patient  Slept  (G)  874 Aline  MacMahon-Guy  Kibbee  Mar. 

Woman  in  Red,  The  863  B.  Stanwyck-Gene  Raymond  Feb. 

(See  "Northshore"  "In  the  Cutting  Room,"  Dec.  8.) 


Running  Time 
Date      Minutes  Reviewed 
8  *75  Nov.  17 

1  97  Nov.  10 

17  *75  Oct.  20 

I6,'35  95. Mar.  23,'33 

27  86  Sept.  22 


20. 


.70. 


.Oct.  20 


2/35  80.  Mar.  16/35 


I2,'35. 
15  

2,35... 
20  

9/35... 
I6,'35... 


.62  Nov.  24 

.61.  Jan.  5,'35 
66. Mar.  9,'35 

.69  Nov.  10 

.6 1.  Mar.  9/35 
.68  


13/35. 
20/35. 


Coming  Attractions 

Alibi  Ike   Joe  E.  Brown    • 

Black  Fury   Paul  Muni-Karon  Morley  May  4,35. 

(See  "In  the  Cutting  Room."  Jan.  I9,'35.) 

Captain  Blood   Robert  Donat-Jean  MuIr  

Case  of  the  Curious  Bride  879.  Warren  William   Apr. 

Go  Into  Your  Dance  (G)  853..  Al  Jolson-Ruby  Keeler  Apr. 

(See  "in  the  Cutting  Room,"  Jan.  19/35.)  , 
In  Callente  856   Dolores  Del  Rio-Pat  O'Brien  May   25,  35. 

(See  "In  the  Cutting  Room."  Feb.  2/35.) 
Mary  Jane's  Pa  875  Alino  MacMahon-Guy  Kibbee. .  .  Apr.   27,  35. 

(See  "Wanderlust"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Napoleon   Edw.  G.  Robinson-Betto  Davis  

Oil  for  the  Lamps  of  China  867. .  J.   Hutchinson-Pat  O'Brien  

Singer  of  tlaples  Enrico  Caruso,  Jr  

Traveling  Saleslady  870  Joan  Blondell   Apr. 

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 


.97. 


•100. Mar.   23. '35 


8,'35. 


FOX  FILMS 

Features 

Title 


Star 


Rel. 


Baboona  (G)  530   Mr.  &  Mrs.  Martin  Johnson  Feb. 

Bachelor  of  Arts  520  Tom  Brown-Anita  Louise  Nov. 

(See  "In  the  Cutting   Room/'  Nov.  3.) 

Bright  Eves  (G)  524  Shirley  Temple-James  Dunn  Dee. 

Charlie  Chan  In  Paris  (G)  526.  Warner  Oland   Fen- 
County  Chairman,  The  (G)  525.  Will  Rogers   ""j 

Dude  Ranger,  The  (G)  507..  .  George  O'Brien   i-Ui.V 

Elinor  Norton  (A)  510  Claire  Trevor  -  Normaii  Foster  - 

^^^^  Wllllamt-G.  Roland  Nov. 

First  World  War,  Tha  (A)  519.  •■■•v:  jjjj- 

Gambling   (A)   512   George  M.  Cohan   Nov. 

George  Whito't   1935  Seandalt 

534   Alice  Faye-Jamot  Dunn  Mar. 

(See' "In  the  Cutting  Room/'  Feb.  23/35.) 
Great  Hotel  Murder  (G)  522  .  Edmund  Lowo-VIctor  iWcLaglen . . Mar. 

Helldorado  (G)  522  Richard  Arien-Madge  Evans  Dec. 

Hell  in  the  Heavens  (A)  517.  Warner  Baxter-C.  Montenegro. .  .  .Nov. 

Life  Begins  at  40  (G)  533..  . Will   Rogers   Mar. 

Liliom    (A)   Charles  Boyer   ..Mar. 

L  ttio  Colonel  (Q)  531  Shirley  Temple-L.  Barrymora. . .  .Feb. 

LoHorv  Lover  (6)  523  "Pat"  Paterson-Lew  Ayres   Jan. 

Loto  Time  (G)  506   "Pat"  Paterson-Nili  Asther  Sept. 

Marl*  oTlante  (A)  511..          Spencer  Tracy- KettI  G.lllan  Oct. 

Music  In  the  Air  (G)  513  Gloria  Swanson  -  John  Boles  - 

Douglass  Montgomery  Dec. 

Myttery  Woman  (G)  515  Mona  Barrie-Gilbert  Roland  Jan. 

One  Mor*  Spring  (G)  529  Janet  Gaynor-Warner  Baxter  Feb. 

Peek's  Bad  Boy  (Q)  518  Jackie  Cooper-Thomas  Melghan- 

"  '  ^  Dorothy  Pelerson-Jaeklo  Searl..Oet. 

Spring  Tonle  535  Lew  Ayres-Claire  Trevor  Mar. 

(See  "Man  Eating  Tiger"  "In  the  Cutting  Room,"  Mar.  9,'35 
365  Nights  in   Hollywood  (G) 

514   Alice  Faye-James   Dunn  Oct. 

Under  Pressure  521  Edmund  Lowe-Victor  MtLaglon.  . . Jan. 

(Reviewed  under  the  title  "Man  Lock") 

When  a  Man's  a  Man  (0)  527. George  O'Brien  Feb. 

White  Parade,  The  (6)  518...  John   Boles-Loretta  Young  Nov. 

Coming  Attractions 

Argentina   Alice  Faye-Gilbert  Roland  

Dante's  Inferno   Claire  Trevor-AIIco  Fay*  

(See  "in  the  Cutting  Room/'  Mar.  2,'35.) 

Doubting  Thomat   Will  Rogers   May   31. '35. 

It's  a  Small  World  536  Spencer  Tracy-Wendy  BarrI*  Apr.  I2,'35. 

(See  "in  the  Cutting  Room."   Mar.  16/35.) 

Kiss  and  Wake  Up  Edmund  Lowe-Claire  Trevor  

Ladles   Love    Danger  Gilbert  Roland-Mona  BarrI*  Apr.  26,'35. 

Man  Proposes    James   Dunn-Mao  Clark*  May  i7,'35. 

Our  Little  Girl  Shirley  Temple   .....May 

Redheads  *n  Parade  538  1.  Bnlfs-Claire  Trevor-Allt*  Fay  

$10  Raise  (G)  537  Edward  Everett  H*rton  Apr. 

(See  "In   the  Cutting   Room."   Mar.  9.'35.) 
Under  the  Pampas  M**n          Warner  Baxter-KattI  ealllaa  May 


Running  Time 
Date      Minutes  Reviewed 
8/35  72.  Jan.  2C/S5 

23  74  

28  83  Dee.  II 

l,'35....''70.Jan.  5,'S5 

ll,'35  78. ...Dee.  tt 

21  65  ...Sept.  U 

2  72....0tt.  a 

23  78.... Nov.  17 

3  80  Dee.  II 

8,'35  


I, '35  70.  Feb.  23/35 

21  74  Dee.  IS 

9  80. ...Nov.  S 

22,'35....'78.Mar.  23.'35 

16/35  90. Mar.  23.'35 

22/35  80.  Feb.  I6,'S5 

4,'35  82.  Feb.  9/35 

21  73.... Nov.  24 

28  88....N**.  24 

7  81....  Doe.  22 

I8,'35  69. Jan.  28,'S5 

IS.'35  90.  Feb.  t,'35 

19  70.... Sept.  8 

15/35  


12  

25/35. . 


I5,'35  68. Mar.  2/35 

16  83  Oct.  27 


.  74....N»V.  17 
•65.  Jan.  I9,'S5 


3,'35. 
'5/35! 
24.'35. 


•70.  Mar.  23.'S5 


80 


MOTION    PICTURE  HERALD 


March    3  0,     19  3  5 


ITHC  RELEASE  CtiACT—CONT't)) 


GB  PICTURES 

Features 

Title 

Chu  Chin  Chow  (G)  3401 

Evensons  (A)  3406  

Evergreen    (A)  3405  

Farewell  to  Love  (A)... 
Iron  Duke,  The  (G)  3407. 

Jack  Ahoy  (G)  3404  

Little  Friend  (A)  3403  

Lover  Divine  3410   

(Reviewed  under  the  title 
Man  Who  Knew  Too  Much,  The 

(G)  3415   

Man  of  Aran  (A)  3413  

My  Heart  Is  Calling  (G)  3409 

My  Sono  for  You  3414  

Power   (A)  3402  

Princess  Charming  3408  


Star  Rel. 
Anna  May  Wong-George  Robey...Oct. 

Evelyn  Laye   Dec. 

Jessie   Matthews-Sonnie  Hale. ...Dec. 

Clive  Brook   Apr. 

George  Arliss   Jan. 

Jack  Hulbert   Feb. 

Nova  Pilbeam-Matheson  Lang. ...Nov. 

Marta   Eggerth   Mar. 

"Unfinished  Symphony") 

Peter  Lorre-Nova  Pilbeam  Apr. 

Robert  Flaherty   Dee. 

Jan  Kiepura   May 

Jan  Kiepura   June 

Conrad  Veidt-Benita  Hume  Nov. 

Evelyn  Laye-Henry  Wilcoxon  Jan. 


Running  Time 
Date      Minutes  Reviewed 

15  95  Sept.  2t 

15  82  Nov.  S 

31  98  June  23 

I, '35  95.  Feb.  I«,'85 

'35  90  Dee.  22 

8,'35  70. Feb.  I6,'35 

18  88.... Oct.  2t 

30,'35  Oct.  IS 

15,'35  80  Dee.  29 

 77.... Oct.  27 

l,'35  90.  Feb.  2,'35 

I, '35  Nov.  10 

I  103. ...Oct  IS 

'35  81  


INVINCIBLE  PICTURES 

[Distributed  through  Chesterfield] 
Features 


Running  Time 

jUlj  Star  Rel.  Date      Minutes  Reviewed 

Ghost  Walks,  The  i?''".J*'''i^r,-J""?.  ^'^l^'^'^ P.'„'»' 

One  In  a  Million  (G)  Dorothy  Wllson-C.  Starrett  Sept 

Port  of  Lost  Dreams  (G)  Wm.  Boyd-Lola  Lane   .Oct. 

Public  Opinion   Lois  Wilson-Shirley  Grey  Mar. 

Symphony  for  Living  Evelyn  Brent-AI  Shean  ...Jan. 

Coming  Attractions 

Death  from  a  Distance  

Room  and  Board   


15  66. ...Not,  M 

15  68  Nov.  24 

I5.'35  66  

20.'35  75  


LIBERTY  PICTURES 


Features 

Title  Star 

No  Ransom  (A)  1004  Leila  Hyams-Phillips  Holmes.. 

Once   to    Every    Bachelor  (A)   

1005   Marian  Nixon-Neil  Hamilton.. 

School  For'Glrls  (A)  1007  Sidney  Fox-Paul  Kelly  

Sweepstake  Annie  (G)  Marian  Nixon-Tom  Brown  

Two  Heads  on  a  Pillow  (A)  . 

1006   Neil  Hamilton-Mlriam  Jordan.. 

When  Strangers  Meet  1002. ...  Richard  Cromwell-Arline  Judge. 

Coming  Attractions  ^     ^,  , 

Dizzy  Dames   M.  Rambeau-Florlne  McKinney 

Old  Homestead,'  ihi".'.'.'.'.'.'.'.'.'.  wiry'  Cari  isle -Lawrence  Gray .... . . . . 

Without  Children   1008  M.  Churchill-Bruce  Cabot  Apr, 


Running  Time 
Rel.  Date      Minutes  Reviewed 


..Oct.  8. 


..70.... July  21 


.  Dec. 
Feb. 
Mar. 

.Oct. 
.July 


14  72... May  10 

I9,'35  73. Mar.  9,'35 

5,'35  81.  Feb.  23,'35 


2.. 
20.. 


 71.... Oct. 

 74  


13 


May     I, '35. 


15,'35. 


MAJESTIC 


Features 

Title 
Night  Alarm 


(G) 


Star 


..65.. 
.*63.. 


Running  Tim 
Rel.  Date  Minutes 

505  Bruce' Cabot- Judith  Allen-H.  B.    (New  York) 

Warner  -  Fuzzy  Knight  Dec.  15   

Perfect  Clue,  The  (G)  512  David  Manners-Dorothy  LIbaIre . .  Mar.  10.35 

She  Had  to  Choose  (G)  504... Larry  ''Buster"  Crabbe  -  Isabel 

Jewell  -  Sally  Blane  Sept.  14... 

Coming  Attractions 

Motive  for  Revenge  Donald  Cook-Irene  Hervey. . . . 

(See  "Thunder  in  the  Streets"  ''In  the  Cutting  Room. 
Mutiny  Ahead   Neil  Hamilton- Kathleen  Burke 

(See  "In  the  Cutting  Room,"  Jan.  26,'35.) 


Reviewed 

..Sept.  22 
. .  Dee.  I 


65  Aug. 


Mar.  9,'35.) 


MASCOT  PICTURES 


Features 

Title 


Star 


Behind  the  Gren  Lights  (G)... Norman  Fo?*o'--Judith  Allen  Mar. 

Crimson  Romance  (A)  Ben  Lvon-Sarl  Marltza.   oci. 

in  Old  Santa  Fe  (G)  Ken  Maynard-Evalyn  Knapp  Nov. 

Little  Men"  (G)"^  . . .  1  .  .  V.  Erin  O'Brien-Moore- R.  Morgan  .  .  Dec 

Lost  Jungle,  The  Clyde  Beatty   -"""^ 

Marines  Are  Coming.  The  wm.am^  Ha.ne^^^^^^^^^^ 

Young  and  Beautiful  (A)  William  Haines-Judlth  Allen. ..  .Sept. 

Coming  Attractions  ...      „  ,  ., 

One  Frightened  Ni.ght  Chas.  Grapewin-Mary  Carlsilo. . .  Apr. 

METRO-GOLDWYN-MAYER 


Running  Time 
Rel.  Date      Minutes  Reviewed 
1.'35  70. Mar.  23,'35 


I... 
15.... 
14.... 
13.... 

'ia'.'.'.'. 

2.... 

20, '35. 


.67  Oct. 


.63. 
..72. 
.  .68. 

'.'.70. 
.68.. 


. .  Nov. 
Dec. 


..Dm. 
. .Sa»t 


IS 


Rel. 


Features 

Title  Star 

After  Office  Hours  (G)  C.   Bennett-Clark  Gable    j.  Fet 

Babes  In  Toyland  (G)  Laurel  and  Hardy-C.  Henry .....  Nov. 

Barretts  of  Wimpole  Street  (A). Norma  Shearer-Charles  Laugh- 

ton-Fredrie   March   Sept. 

Band  Plays  On.  The  (G)  Robt.  Young-Betty  Furness  Dec. 

Biography  of  a  Bachelor  .  .. 

Girl  (A)   R-   Montgomery- Ann  Harding.. 

Casino  Murder  Case  Paul  Lukas   

(See   "In  the  Cutting   Room,"    Feb.    16, 35.) 

Chained   (A)   Joan  Crawford-Clark  Gable  

David  Copperfield  (G)   Frank  Lawton-  Freddie  Bar- 
tholomew -  W.   C.    Fields  -  L- 


Running  Time 
Date      Minutes  Reviewed 

22.'35  73.  Feb.  I6.'35 

30  79  Nov.  24 


21... 
21 ... 


...Ill  Aug.  4 

 85  Dee.  2t 


Evelyn  Prentice   (A)  William  Powell-Myrna  Loy... 

Forsaking  All  Others  (A)  Joan  Crawford  -  Clark  Gable 


Have  a  Heart  (G)   Jean  Parker  -  James  Dunn  - 

Stuart  Erwin  -  Una  Merkel. 


Naughty  Marietta  (G)   J.   MacDonald-Nelson  Eddy  

Night  Is  Young,  The  (G)  Ramon  N oyarro- Evelyn  Laye .  . . 

Painted  Veil,  The  (A)  Greta  Garbo-Herbert  Marshall- 


Sequoia  (G)   Jean  Parker- Russell  Hardie  

Shadow  of  Doubt  (G)   Ricardo  Cortez-Virglnia  Bruce... Feb 

Society  Doctor   Chester  Morris-V.   Bruce  Jan, 

(Reviewed  under  the  title  "Only  8  Hours") 


Coming  Attractions 

Age  of  Indiscretion  May  Robson-Madge  Evans. 


.Jan. 

4.'35.. 

...84. 

...  Dee.  29 

Mar. 

31  

.  .*74. 

...Sept.  1 

.Jan. 

I8,'35.. 

..133. 

Jan.  I9,'35 

14  

...72. 

...Sept.  29 

Nov. 

9  

...80. 

...Nov.  3 

28  

.. .84. 

 Dee.  S 

.Dec. 

14  

.. .82. 

...Nov.  !7 

.Sept. 

7  

.. .82. 

...Oct.  27 

.Nov. 

2 

100. 

...Sept.  8 

.  Mar. 

29,'35.. 

.  .106. 

Mar.  2.'3S 

11,'35.. 

. . .82. 

 Dec.  29 

23  

...86. 

...Nov.  10 

Feb. 

I,'35.. 

.  .  .72 

...Nov.  17 

.Feb. 

I5,'35.. 

...75. 

Feb.  9,'35 

68, 

Jan.  12,'35 

Oct. 

5  

...87. 

...Nov.  10 

.Mar. 

8,'35  , 

69. 

Mar.  2.'35 

.Mar. 

l,'35 

77. 

Feb.  23,'35 

Oct. 

19  

...92. 

...Oct.  13 

.  Dec. 

7  

...74 

 Dec.  1 

Feb. 

8,'35.. 

.  ..70 

Jan.  19,'35 

Apr. 

(See  "Public  Enemy  No.  2"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

China  Seas   Wallace  Beery-Clark  Gable....  

Flame  Within.  The  Ann   Harding-Herbert  Marshall..^.  

Garden  of  Allah,  The  Joan    Crawford  ....   

Mark  of  the  Vampire  L.  Barrymore-Bela  Lugosl  Apr 

(See  "In  the  Cutting  Room,"  Mar.  16,'35.) 


26, '35. 


Title  Star 

Mutiny  on  the  Bounty  Clark  Gable-Charles  Laughton 

Robert  Montgomery   

No  More  Ladies  Joan  Crawford   

One  New  York  Night  Franchot  Tone-Una   Merkel  Apr.  5,'35... 

(See  "Mystery  In  Room  309"  "In  the  Cutting  Room,"  Mar.   16, '35.) 
Reckless   Jean  Harlow-Wm.  Powell  Apr.  I9,'35... 

(See  "in  the  Cutting  Room,"  Feb.  I6,'35.) 

Typee   Mala,  Lotus  Long  

Vagabond  Lady   Robert  Young-Evelyn  Venable  

(See  "In  the  Cutting  Room,"   Mar.   16, '35.) 
West  Point  of  the  Air  (G)  Wallace  Beery-Robert  Young  Mar.  22,'35... 

MONOGRAM  PICTURES  CORPORATION 


Running  Time 
Rel.  Date      Minutes  Reviewed 


.Mar.  I6.'25 


Features 

Title 

Flirting  With  Danger  (G)  3023, 
Girl   of  the  Limberlost  (G) 

3001   , 

Girl  0'  My  Dreams  (G)  3015.. 

Happy  Landing  (G)  3029  

Lawless  Frontier  (G)  3035  

Lost  in  the  Stratosphere  (G) 

3020   

Million  Dollar  Baby  (G)  


Running  Time 

Star  Rel.  Date  Minutes  Reviewed 
Robert  Armstrong-Marion  Bums. .Dec.     I  70  Nov.  17 


Marian  Marsh-Ralph  Morgan  Oct.  15... 

Mary  Carlisle-Creighton  Chaney..Nov.  17... 

Ray  Waiker-Jacaueiine  Wells  Sept.  1... 

John  Wayne-Sheila  Terry  Nov.  22... 


Monte  Carlo  Nights  (A)  2024.. 
Mysterious    Mr.   Wong,  The 

(A)  3022   

'Neath  Arizona  Skies  (G)  3032, 

Rainbow  Valley  (G)  

Reckless  Romeos  (G)  3019  

Redhead   (A)  3012  

Sing  Sing  Nights  (A)  , 

Star  Packer,  The  2041  

Successful  Failure,  A  (G)  3024 


Texas  Terror   

Tomorrow's  Youth  3021 . 


Trail  Beyond.  The  (G)  3031.. 
Women  Must  Dress  (G)  


June  Collyer-William  Cagney. .  .  .Nov.  15  

Arllne  Judge  -  Ray  Walker  - 

Jimmy  Fay  Jan.  15,'35. 

Mary  Brian-John  Darrow  May  20.... 

Bela  Lugosi-Wallace  Ford  Jan.  25,'35. 

John  Wayne-Sheila  Terry  Dec.  5  

John   Wayne-Lucille   Brown  Mar.  I5,'35. 

Robt.  Armstrong-Wm.  Cagney  

Bruce  Cabot-Grace  Bradley  Nov.  I.... 

Conway  Tearle-Mary  Doran  Dee.  15.... 

John  Wayne-Verna  Hillle  July  30  

Wm.   Collier,  St.  -  Lucille 

Gleason   Oct.  15  

John  Wayne   Feb. 

Dickie  Moore  •  Martha  Sleeper  • 

John  Miljan-Gloria  Shea  Sept, 

John  Wayne-Verna  Hillie  Oct. 

Minna  Gombell-Gavin  Gordon. ...  Feb. 


.86. ...Sept.  I 
.65. ...Nov.  it 
.63....Auf.  4 
.54.  Feb.  2,'3S 

.64. ...Oct  27 

.Dee.  M 


.65... 
.62... 


...68.  Jan.  I«.'3S 
...52.... Dm.  is 
...52.  Mar.  I6.'35 


..  .76....8ept  22 
...60.  Feb.  2,'3S 
....54  


,•35. 
•35! 


....62... 
....51... 


,Oet. 


.63..... ....... 

.55.... Sept.  22 

..77.  Jan.  26,'3$ 


Coming  Attractions 

Cheers  of  the  Crowd  

Dawn   Rider.  The  John  Wayne-Marion  Burns   

Desert  Trail   John  Wayne-Mary  Kornman  Apr.  22,'35  

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 

Great  God  Gold  (A)  Sidney  Blackmer-Gloria  Shea  Apr.    I5,'35  72. Mar.  9,'35 

Healer,  The   Ralph  Bellamy-Karen  Moriey  

Honeymoon  Limited   Neil   Hamilton-Irene  Hervey  

Hoosier  Schoolmaster,  The  Charlotte  Henry-Norman  Foster  

(See  "in  the  Cutting   Room."   Mar.  9. '35.) 

Keeper  of  the  Bees,  The  Neil  Hamilton   

Mystery  Man  (G)  Robert  Armstrong   Apr.   25,'35...  .62. Feb.  I6,'3S 

Nut  Farm,  The  (G)  Wallace  Ford   Mar.  25.'35...   65.F«b.  S.'SS 

Paradise  Ranch   John   Wayne-Marion  Burns  

PARAMOUNT 

Features 

Title 

All  the  King's  Horses  (G)  3430. 
Behold  My  Wife  (A)  3419.... 
Belie  of  the  Nineties  (A)  3353. 

Car  99  (G)  3432  

Cleopatra  (A)  3410   


Star 


College  Rhythm  (G)  3417.... 

Enter  Madame  (A)  3414  

Father  Brown,  Detective  (G) 
3420   


Gilded  Lily,  The  (G)  3426... 
Here  Is  My  Heart  (G)  3423.. 
Home  on  the  Range  (G)  3421. 

it's  a  Gift  (G)  3418  

Limehouse  Blues  (A)  3415.... 
Lives  of  a  Bengal  Lancer  <6) 

3427   

Love  in  Bloom  (G)  3434  

Menace  (A)  3413   

Mrs.  Wiggs  of  the  Cabbage 

Patch   (G)  3407   


One  Hour  Late  (G)  3422  , 

President  Vanishes  (G)  3416. 
Pursuit  of  Happiness,  The 

(A)  3409   

Ready  for  Love  (G)  3412  

Rocky  Mountain  Mystery  3428 
(See  "Vanishing  Pioneer" 
Ruggles  of  Red  Gap  <G)  3431 


Rumba  (A)  3429  

Wings  In  the  Dark  (G)  3424. 


Mary  Ellis-Carl  Brisson  Feb, 

Sylvia  Sidney-Gene  Raymond  Dec. 

Mae  West   Sept. 

Fred  MacMurray-Ann  Sheridan. .. Mar. 
Claudette  Colbert  -  Henry  Wll- 

coxon-Warren  William   Oct. 

Joe  Penner-Lanny  Ross  Nov. 

Elissa  Landi-Cary  Grant  Jan. 

Walter  Connolly-Paul  Lukas- 

Gertrude  Michael   Dee. 

C.  Colbert-Fred  MacMurray  Jan. 

Bing  Crosby-Kitty  Carlisle  Dec. 

Jackie  Coogan- Randolph  Scott.  ...Dec. 

W.  C.  Fields-Baby  LeRoy  Nov. 

George  Raft-Jean  Parker  Nov. 

.Gary  Cooper- Franchot  Tone  Jan. 

Joe   Morrison- Dixie  Lee  Mar. 

Paul  Cavanagh   Oct. 

Pauline  Lord  -  W.  C.  Fields  - 
Zasu  Pitts  -  Kent  Taylor  - 
Evelyn  Venable   Oct. 

Joe  Morrison-Helen  Twelvetrees . .  Dec. 
.Arthur  Byron-Janet  Beecher  Jan. 

.Francis  Lederer-Joan  Bennett. ...  Nov. 

.Richard  Arlen-lda  Lupine  Oct. 

.  R.  Scott-Chas.  "Chic"  Sale  Feb. 

"In  the  Cutting  Room."  Nov.  10.) 
,  Charles  Laughton-Mary-Boland- 

Charles  Ruggles-Zazu  Pitts  Mar. 

.George  Raft-Carole  Lombard  Feb. 

Gary  Grant-Myrna  Loy  Feb. 


Running  Time 
Rel.  Date      Minutes  Reviewed 


22,  '35...,*85.Feb.  23,'35 
7  79.  Feb.  23,'35 

21   .75  Aug.  IS 

l,'35....*75.Feb.  I6.'35 

5  101. ...Aug.  25 

23  *83....Nov.  10 

4,'35          83. ...Nov.  S 


21.... 
25,'35. 
25.... 
21.... 

30.... 


I8.'35. 
I5,'35. 
26.... 


19.... 
14.... 
II, '35. 

16.... 
12.... 
8.'35. 


.*65....Dae.  I 
.•80.  J  an.  5,'35 

,..76  Dee.  S 

,..55  Mar.    2, '35 

...68  Nov.  24 

..66  Dee.  22 

..89. Jan.  5. '35 
.*77.Mar.  9.'35 
..58....0et.  IS 


.73. ...Aug.  23 

..75  Dee.  S 

..83. ...Nov.  24 

.72. ...Sept.  15 
.*65....0ct.  6 
..63  


8,'35. 
i5,'35. 
I. '35. 


•90.  Feb.  16.'3a 
.•70.  Feb.  2,'35 
..75. Jan.  lt,'Sf 


Coming  Attractions 


Crusades,  The   Loretta  Young-Henry  Wilcoxon  

Devil  Is  a  Woman,  The  (A) . . . Marlene  Dietrich-Cesar  Romero. .May     3,'35  *90.Mar.  2.'35 

Four  Hours  To  Kill  Richard  Barthelmess   Apr.   26, '35  

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 

Glass  Key.  The  George  R^ft   May   3 1, '35  

Coin'  to  Town  Mae  West   May  17,'35  

(See  "How  Am  I  Doin'?"  "In  the  Cutting  Room,"  Feb.  23, '35.) 
Hold  'Em  Yale  Patricia  Ellis-Larry  Crabbe  Apr.  I2,'35  

(See   "In   the  Cutting   Room,"    Feb.    16. '35.) 

McFadden's  Flats  (G)  Betty  Furness-Rlchard  Cromwell.  .Apr.   22,'35  *67.Mar.    9, '35 

Milky  Way,  The  Jack  Oakie-Adolphe  Meniou  

Mississippi  (G)  3433  Bing  Crosby-Joan  Bennett  Mar.  22. '35  •BO. Mar.  2,'35 

Once  in  a  Blue  Moon  3425....  I.  Savo-Michael  Dalmatoff  May    10, '35  

Paris   in   Spring  Tulllo  Carminati-Mary  Ellis  

(See  "In  the  Cutting  Room,'^  Feb.  23, '35.) 
People  Will  Talk  Chas.  Ruggles-Mary  Boland  May  24,'35  

(See  "In  the  Cutting   Room,"   Mar.  9, '35.) 

Private  Worlds  (A)  3435  C.  Colbert-J.  Bennett-C.  Boyer..Apr.  19,'35. . .  *84.  Mar.  I6,'35 

Scoundrel,   The  Noel  Coward-Julie  Haydon  Apr.  26,'35  

Stolen  Harmony   George  Raft-Ben  Bernie  Apr.  I9,'35  

(See  "In  the  Cutting   Room,"   Feb.  2,'35.) 

PRINCIPAL 

Features  Running  Time 

Title'                                     star                                   Rfil.  Date      Minutes  Reviewed 

Little  Damozel  722   Anna  Neagle-James  Rennle  June    II  59  

Peck's  Bad  Boy  (G)  Jackie  Cooper-Thomas  Meighan- 

Dorothy  Peterson-Jackie  SearL.Oct.     19  70  Sept.  " 

Return  of  Chandu,  The 
300-312    Bela  Lugosi-Maria  Alba  Oct.      I  65  


March    3  0,     19  3  5 


MOTION    PICTURE  HERALD 


81 


CTHE  RELEASE  CliACT"C€NT'D) 


RKO  RADIO  PICTURES 


Features 

Tills  Star  Rel. 

Anne  of  Green  Gables  (G)  507.  Anne  Shirley-Tom  Brown  Nov. 

Csptaln  Hurricane  (G)  James  Bartoji-Helen  Westley  Mar. 

Dangerous  Corner  (A)  506  Melvyn  Douglas- Virginia  Bruce- 
Conrad  Nagel   Oct. 

Dog  of  Flanilers  (G)  Frankie  Thomas- Helen  Parrish. . .  Mar. 

Enchanted  April,  The  (A)  Ann   Hardlng-Franl(  Morgan  Feb. 

Gay  Divorcee,  The  (G)  505....  Fred  Astaire-Ginger  Rogers  Oct. 

Gigolette   Adrienne  Ames-Ralph  Bellamy.  .. Feb. 

Grand  Old  Girl  (G)  519  May  Robson-Hale  Hamilton  Jan. 

Gridiron  Flash  (G)  511  Eddie  Quillan-Betty  Furness  Oct. 

Kentucky  Kernels  (G)  508  Wheeler  &  Woolsey  Nov. 

Lightning   Strikes   Twice  (G) 

517   Ben  Lyon-Pert  Kelton  Dec. 

Little  Minister  (G)  512  Katharine  Hepburn-John  Seal. ...Dec. 

Murder  on  a  Honeymoon  (G)..Edna  May  Oliver-J.  Gleason  Feb. 

People's  Enemy   Preston  Foster-Melvyn  Douglas. ..  Mar. 

Red  Morning  515   Steffi   Duna-Regis  Toomey  Dec, 

(See  "Girl  of  the  Islands,"   "In  the  Cutting  Room,"  Sept. 

Roberta  (G)   Irene  Dunne  •   Fred  Astaire  - 

Ginger  Rogers   Mar, 

Romance  in  Manhattan  (G)  518.  Francis  Lederer-Ginger  Rogers. .  .Jan. 

Silver  Streak,  The  (G)  513  Sally  Biane-Charles  Starrett  Dec. 

West  of  the  Pecos  (G)  516  Richard  Oix-Martha  Sleeper  Jan. 

Woman  in  the  Dark  (G)  Fay  Wray-Ralph  Bellamy  Nov. 


Running  Time 
□ate      Minutes  Reviewed 

23  79  Oct.  27 

I, '35  72.  Feb.  I6.'SS 

5  67.  Jan.  I8,'35 

22,'35....*72.Mar.  2,'35 

l,'35....*78  Dec.  15 

19  *l07....Oet.  13 

I5.'35  

I8,'35  72. Jan.  I2,'35 

26  64.  Jan.  26,'35 

2  75.... Oct.  27 

7  66.  Mar.  2,'35 

28  1 10....  Dee.  22 

22.'35...  .731/2. Feb.  2.'S5 

I5.'35  

14  66  

29.) 

8,'35...  1 051/2 Feb.  23,'SS 

ll,'35  78. ...Dee.  I 

21  72. ...Dec.  8 

4,*35  69. Jan.  5,'35 

9  70  Dec.  8 


Coming  Attractions 


Becky  Sharp    Miriam  Hopkins   

(See  "In  the  Cutting  Room,"   Mar.  9,'35.) 

Break  of  Hearts  K.  Hepburn-Charles  Beyer  

Chasing  Yesterday   Anne  Shirley   

(See  "Sylvestre  Bonnard"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Hooray  for  Love  Gene  Raymond-Ann  Sothern  

Laddie  (G)   John  Beal-Gloria  Stuart  Mar.  29,'35  *82.Mar.  9,'35 

Informer,  The   Victor  McLaglen-Margot  Graham  

(See  "In  the  Cutting  Room,"   Mar.  I6,'35.) 

Nit  Wits,  The  Wheeler  and  Woolsey  

She   Helen  Gahagan- Randolph  Scott  

Star  of  Midnight  William  Powell-Ginger  Rogers  

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 
Sflrangers  All   May  Robson   

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 
Werewolf  of  London  8015  Randolph  Scott-Kay  Johnson  

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 


STATE  RIGHTS 


Features 

Title  Star 

Are  You  a  Mason?  (A)  Sonnie  Hales  

Calling  All  Cars  (G)  Jack  LaRue  

Cowboy  Holiday  (G)  Big  Boy  Williams 

Dealers  in  Death  (A)  

Life  In  the  Congo  (G)  

Lost  City,  The  (G)  Wm.  Boyd  -  Claudia 

Dell   

Loyalties   Basil  Rathbone 

Man  of  Courage  (G)  

Norah  O'Neale   ....Lester  Mathews 

Maryjka   Ina  Benita   

Sangen  Till  Heine  (G)  Martin  Osman.. 

Ticket  to  a  Crime  (G)  Ralph  Graves  .. 

War  Is  a  Racket  (A)  

Woman  Condemned   Claudia  Dell  . . 


Running  Time 
Dist'r             Rel.  Date      Minutes  Reviewed 
M.  J.  Kandel  Oct.    29  85. ...Nov.  3 


Empire  Films  . .  .  .Jan. 

Syndicate   Jan. 

Topical  Films  . .  .  .Dec. 
Kinematrade   Nov. 

Regal   PIcturos  Feb. 

Harold  Auten   Oct. 

Eureka   Nov. 

 Oct. 

Principal  Film  .  . .  Dec. 


25,'35. .  .67.Jan.  26,'35 
I, '35. .  .57.  Jan.  26,'35 

13  68  Dec.  22 

29  60  Dec.  29 

l4,'3S...74.Mar.  9.'35 

24  74  Nov.  3 

12  95  Nov.  24 

24  66  Nov.  3 

I  65  Dee.  15 


Scandinavian   75. Mar.   16, '35 

Syndicate   Dec.    15  67  Dec.  29 

Eureka  Prod  Dec.     8  68  Dec.  29 

Marcy  Pictures. ..  .Apr.     4  66  


UNITED  ARTISTS 

Features 

Title 

Cllve  of  India  (G)  

Folies  Bergere  (G)  

Kid  Millions  (G)  

Last  Gentleman.  Tha  (G)  

Mighty  Barnum,  The  (G)  

Private  Life  of  Don  Juan,  The. 

Runaway  Queen   

Scarlet  Pimpernel,  The  (G).... 
Transatlantic  Merry-Go-Round 
(A)   

Wedding  Night,  The  (G)  

We  Live  Again  (A)  


Star 

Ronald  Colman-Loretta  Young... 
Maurice  Chevalier-Merle  Oberon. 
Eddie    Cantor  •  Ann    Sothern  - 

Ethel  Merman   

George  ArlTss   

Wallace  Beery  -  Adolphe  Men- 
Jou-Janet  Beecher-V.  Bruce.. 
Douglas  Fairbanks,  Sr.  ■  Merle 

Oberon   

Anna  Neagle-Fernand  Graavey. . 
Leslie  Howard-Merle  Oberon.... 


Running  Time 
Rel.  Date      Minutes  Reviewed 
.Jan.    25,'35....''90.Jan.  26,'33 
.Feb.   22,'35....*85.Feb.  23.'35 


.  Dee. 
.Sept. 


28.. 
21.. 


.Dee.  25. 


.Nov. 
.  Dec. 
Feb. 


..•92.... Oct.  27 

...72. ...May  12 

.•105  Dee  I 

  22 


30  

21  

I5,'35  95. Jan. 


26,'35 


Gene    Raymond-Nancy  Carroll- 
Sydney  Howard-Jack  Benny.. 

Anna  Sten-Gary  Cooper  

Anna  Sten-Fredric  March  


Nov.     2  .92. ...Mat.  IT 

.Mar.  8, '35...  *90.Feb.  23,'35 
.Nov.    16   *83....Sopt.  29 


Coming  Attractions 

Brewster's  Millions   Jack  Buchanan-LIII  Damlta  May  20,'35  

Call  of  the  Wild,  The  C.  Gable-Loretta  Young  May  6,'35  

(See  "In  the  Cutting  Room,"  Mar.  2, '35.) 
Cardinal  Richelieu   George  Arliss   Apr.  28,'35  

(See  "In  the  Cutting   Room."   Mar.  9,'35.) 

Congo  Raid   Leslie  Banks  -  Paul  Robeson  - 

Nina  Mae  MacKinney  

Legion   of   Valor  Richard  Arlen- Virginia  Bruce  

Les  Miserables   Fredric  March-C.  Laughton  Apr.  2l,'35  

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Nell  Gwyn  (AJ  Anna   Neagle-Cedric   HardwIcke  75. July  I4,'35 

Thunder  in  the  East  Charles   Boyer-Merie  Oberon  May    I3,'35  75  Dec.  I 

(Reviewed  under  the  title  "The  Battle") 


UNIVERSAL 


Features  Running  Time 

Title                                     Star                                   Rel.  Date      Minutes  Reviewed 

Cheating  Cheaters  (G)  8022. ..Cesar  Romero-Fay  Wray  Nov.     S   .67  Dot.  tt 

Crimson  Trail,  The  (G)  8083. .Buck  Jones   Feb.  I8,'35...    58  Mar.  I6.'35 

Gift  of  Gab  (G)  8030  Edmund  Lowe  -  Gloria  Stuart - 

Alice  White   Sept.  24  •7l....8e»t.  19 

Good  Fairy,  The  (G)  8003  Margaret  Suliavan-H.   Marshall ..  Feb.    I8,'35  98.  Feb.  9,'35 

Great  Expectations  (G)  8029.. Henry  Hull-Jane  Wyatt-Phlllips 

Holmes   Oct.    22  102  Oct.  20 

Imitation  of  Life  (G)  7003  Claudette  Colbert-W.  William. ...  Nov.    26  Ill  Dae.  I 

I've  Been  Around  (A)  8025  Chester  Morris   Dec.    31  *75  Dee.  29 

Man  Who  Reclaimed  His  Head 

(G)  8028   Claude  Rains-Joan  Bennett  Dec.    24  *80  Dee.  9 

Mystery  of  Edwin  Drood  8024. .Claude  Rains-Heather  Angel  Feb.     4,'35  87  

(See  "In  the  Cutting  Room,"  Dec.  15.) 
Night  Life  of  the  Gods  (G) 
8008   Alan  Mowbray   Mar.  II, '35  *75.Jan.  I2.'35 


Title  star  Rel. 

Notorious  Gentleman,  A  8032. . Charles  BIckford-Helen  Vinson. .  .Jan. 
One  Exciting  Adventure  (G) 

8027   Binnie    Barnes-Neil    Hamilton..  .Oct. 

Rendezvous  at  Midnight  8031.. Ralph  Bellamy    .Feb. 

(See  "In  the  Cutting  Room,"  Nov.  17.) 

Secret  of  the  Chateau  (G)  8033. Claire  Dodd-Clark  Williams  Dec. 

Straight  from   the   Heart  (A) 

8036   Mary  Aster- Roger  Pryor-Baby 

Jane   Jan. 

Strange  Wives  (G)  8020  June  Clayworth-Roger  Pryor  Dec. 

Rocky  Rhodes  (G)  8001  Buck  Jones-Sheila  Terry  Sept, 

There's  Always  Tomorrow  (A) 
8035   Frank  Morgan-Elizabeth  Young- 
Lois  Wilson-Binnie  Barnes  Sept, 

Transient  Lady  (G)  8019  Gene  Raymond-Henry  Hull  Mar. 

Wake  Up  and  Dream  (G)  8021.  Russ  Columbo  -  June  Knight  Oct. 

When  a  Man  Sees  Red  (G)  8082.Buck  Jones   Nov. 


Running  Time 
Date      Minutes  Reviewed 
21. '35  '75. Jan.  l9.'3o 

15  •73. ...Oct.  S 

1 1, '35  

3  69.... Sept.  IS 


I4.'35. . .  *68.  Feb.  I8,'3» 

10  75  Dee.  8 

24  60  Dee.  22 


10  87.      Nov  17 

4,'35  72. Mar.  23,'35 

1  78  Oct.  20 

12  60. Jan.  26,'3S 


Coming  Attractions 

Bride  of  Frankenstein  8009... Boris  Karloff   Apr.  22,'35. 

(See  "In  the  Cutting  Room,"  Feb.  I6,'35.) 

Frisco  Nights  8017  Lyie  Talbot- Valerie  Hobson  

Great  Ziegfeld,  The  8005  William  Powell-Fanny  Brice  

It  Happened  in  New  York  8023.  LyIe  Talbot- Heather  Angel  Mar.  I8,'35. 

(See  "In  the  Cutting  Room,"  Jan.  26, '35.) 

Life  Returns  (G)  Onslow  Stevens-Lois  Wilson  

Mister  Dynamite  8012  Edmund  Lowe-Esther  Ralston ...  .Apr.  22,'35. 

(See   "In   the   Cutting   Room."   Mar.  9,'35.) 
Princess  O'Hara  8013  Jean  Parker-Chester  Morris  Apr.     I. '35. 

(See  "In  the  Cutting  Room,"  Jan.  26,'35) 

Raven.  The   Karloff-Bela  Lugosi   

Sing  Me  a  Love  Song  8026  

Stone  of  Silver  Creek  8084  Buck  Jones-Noel  Francis  Apr.  i5.'35. 

Unholy  Hour,  The  8015  Henry  Hull   May  6,'35. 

(See  "Werewolf  of  London"  "In  the  Cutting  Room,"  Mar.  2,'35.) 


•60.  Jan.  I2,'35 


WARNER  BROS. 


Running  Time 
Date      Minutes  Reviewed 

5,'35  90.  Feb.  2,'35 

15  

9, '35  86.  Feb.  9.'35 

3  *75  Oct.  13 

24  64....  Nov.  17 

26,'35  66. Feb.  23,'35 

10  67.... Oct.  28 

22  64.  Feb.  9,'35 

29  *82  Dee.  15 

23.'35  95.  Mar.  2.'36 

I9,'35  70. Jan.  2t,'3B 


F eatures 

Title  Star  Rel. 

Bordertown  (A)  806  Paul  Muni-Bette  Davis  Jan. 

Churcb  Mouse  881  Laura  La  Plante  Dec. 

Devil  Dogs  of  the  Air  (G)  816. James  Cagney-Pat  O'Brien  Feb. 

Firebird,  The  (A)  825  Verree  Teasdale-Ricardo  Cortez..Nov. 

I  Am  a  Thief  (G)  826  Mary  Astor-Ricardo  Cortez  Nov. 

Right  to  Live  (A)  828  George  Brent-J.  Hutchinson  Jan. 

St.  Louis  Kid,  The  (G)  817... James  Cagney   Nov. 

(Reviewed  under  the  title,  "A  Perfect  Week-End") 

Secret  Bride,  The  (G)  811  B.  Stanwyck-Warren  William. ...  Dec. 

Sweet  Adeline  (G)  802  Irene  Dunne-Donald  Woods  Dec. 

Sweet  Music  (G)  805  Rudy  Vallee-Ann  Dvorak  Feb. 

White  Cockatoo  (G)  827  Jean  Muir-Ricardo  Cortez  Jan. 

Coming  Attractions 

Broadway  Gondolier   Dick  Powell-Joan  Blondell  

Crashing  Society   Guy  Kibbee-Zasu  Pitts  

Dinky   Jackie  Cooper-Mary  Aster  May    1 1, '35  

Florentine  Dagger,  The  829  Donald  Woods-Margaret  Lindsay. .Mar.  30,'35  69. 

(See  "In  the  Cutting  Room,"  Jan.  26,'35) 

G  Men,  The   James  Cagney-Margaret  Lindsay. .May    18, '35  

Goose  and  the  Gander  Kay  Francis-George  Brent  

(See  "In  the  Cutting   Room."   Mar.  9,'33.) 

Green  Cat   Bette  Davis   

Haircut   George  Brent-Jean  Muir  

Irish  in  Us,  The  James  Cagney-Pat  O'Brien  

Living  Up  To  Lizzie  Aline  MacMahon  

Men  on  Her  Mind  Bette  Davis-Ian  Hunter  

Midsummer  Night's  Dream... .All  Star  

Money  Man   Edw.  G.  Robinson-Bette  Davis  

Night  at  the  Ritz,  A  823  William  Gargan-Patricia  Ellis. ..Mar.  23,'35  62. 

(See  "King  of  the  Ritz,"  "In  the  Cuting  Room,"  Jan.  26,'35) 

Page  Miss  Glory  Marion  Davies-Dick  Powell  

Present  from  Margate,  A  Kay  Francis-Ian  Hunter  

Stranded   Kay  Francis-Geo.  Brent  

Women  Are  Bum  NewspapermenGlenda  Farrell   


OTHER  PRODUCT  (FOREIGN) 


Running  Time 
Dist'r                Rel.  Date      Minutes  Reviewed 
.  Gaumont-British  85. Jan.  5,'35 


Features 

Title  Star 

Bella  Donna  (A)  Mary  Ellis  .. 

Broken  Melody,  Tha   John  Garrick- 

Merle  Oberon  Oct.    30  68 — Dee.  I 

Chapayev  (AT   Amkino   Jan.    t2,'35..  .95.Jan.  26/35 

Cornflower    Irene  Agai   Danubia  Pictures. .Jan.  ll,'35...80  

(Hungarian  Dialogue) 

Czar  Wants  to  Sleep  (A).  M.  Yanshin   Amkino   Dec.     8  88.    .Dee.  23 

Dandy  Dick   (G)   Will  Hay   Assoc.  British  70. Mar.  I6.'35 

Death  at  Broadcasting 

House    Ian  Hunter   ABFD   British  90. Jan.  12,'SS 

Dirty  Work  (G)   Ralph  Lynn   Gaumont-British  80. Jan.  2S,'S5 

Forbidden  Territory,  The.  Gregory  Ratolf   Gaumont-British  87  N»y.  24 

Doctor's  Orders    Leslie  Fuller   British  Int'l   75. Jan.  5,'85 

Everything  for  the  Women  Tiber   Von    Halmay.  Danubia  Pictures.  .Oct.     10  84  

(Hungarian  Dialogue) 

Father  Knows  Best  Szoke  Szakall  Danubia  Pictures .  .Jan.  I8,'35...80  

(Hungarian  Dialoguo) 

House  of  Greed   V.  Gardin   Amkino   Aug.    II  74  

It's  a  Bet  (G)  Gene  Gerrard- 

Helen    Chandler. .  .British   Int'l  SO.JVIar.  I6,'35 

Lady  in  Danger  (A)   Tom  Walls   Gaumont-British  63  Dee.  29 

Lorna  Doone  (G)  John  Loder   ABFD   British  80. Feb.  2,'35 

Madame  Bevary  (A)  Pierre  Renoir   John   Tapernoux.  . .Nov.    17  100  Dae.  8 

Marionettes   L.  Leonidoff   Amkino   May 

Miracles   V.  Gardin   Amkino   Oct 

My  Wife  the  Mies  Irene  Agai  -  Paul 

(Hungarian  Dialogue)        Javor   Danubia  Pictures.  .Aug. 

Oh!    Daddy    (G)  Leslie  Henson   Gaumont-British  75. Mar. 

Old  Curiosity  Shop  Elaine  Benson   Assoc.  British  85.  Feb. 

One  Night   Ingert  Bluggren   Scandinavian   80.  Feb. 

Phantom  Light.  The  (Q). .Gordon  Harker   Gaumont-British  75. Feb. 

Radio  Parade  of  1935  Will   Hay  -  Helen 

Chandler   Assoc.  British  85. Jan. 

Rakoczi  March   Paul  Javor   Danubia  Pictures  ..  Nov.    12  89  

Rakoczy  Marsch   

(Hungarian  Dialogue)      Gustav  Froehlich- 

(German   dialogue)  Camilla   Horn   Danubia  Pictures .. Mar. 

Shepherdess'  Sweetheart      (Greek  Feature)   ...Frank  Norton  ....Feb. 

Soviet  Russia  Today  (G)  Amkino   Mar. 

Stella  BlolantI   (Greek  Feature)   ...Frank  Norton  ....Oct. 

Such  Is  Life  (Greek  Feature)   ...Frank  Norton  ....Jan. 

Strictly  Illegal    (G)  Leslie   Fuller   Gaumont-British  70.  Mar.  I6,'35 

Ta  Galazia  Keria  (Greek  Feature)    ...Frank  Norton  ....Oct.     15  85  

Ten  Minute  Alibi  (A)  Phillips   Holmes   ...British  Lion  80. Feb.  9,'35 

Three  Songs  About  Lenin  Amkino   Nov.     8  64  Nov.  17 

They  Are  Looking  Up  (G)  Cicely  Courtneidge  .Gaumont-British  100. Feb.     9, '39 

Thunderstorm  (A)   A.  K.  Tarasova   Amkino   Sept.  28  80  Oct.  t 

Triumph  of  Sherlock  Holme! 

The  (A)   Arthur  Wontner   Gaumont-British  87. Mar.  9.'35 

Victor  and  Victoria  (G)..  Renate  Mueller   Ufa   Jan.    26,*35. .  .84.  Feb.  2,'S5 

Wandering  Jew,  The  (A). .Conrad    Veldt  Olympic  Pictures  83. Jan.  I9,'38> 


5. 
19. 


26. 


.83.... 
.68. 


.79. 


I, "35.  ..82  

I7,'35..II8. 
3,'35....67.Mar. 

15  115  

I9,'35..II9. 


I6,'35 
2,'35 
9,'35 
9,'35 

I2,'38 


I6.'35 


82 


MOTION    PICTURE  HERALD 


March    30,  1935 


(THE  RELEASE  CHACT"C€NT'D) 


lAll  dates  are  1934  unless 
otherwise  stated^ 

CELEBRITY  PROD'TIONS 

Title  R«l-  OtAe  Min. 

COMICOLOR  CARTOONS 

Ja«k  and  the  Beanstalk  Jan.    2  8  

The  Little  Red  Hen  Feb.  16  7  

The  Brave  Tin  Soldier  Apr.    7  7.... 

Pu<s  in   Boots  May  17  In.. 

The  Queen  of  Hearts  Juno  25  7  

Aladdin   AuB.  10  7.... 

The  Headless  Horseman  Oct.    I   ri.. 

The  Valiant  Tailor  Oct.  29  1  rl.. 

Don  auixoto   Nov.  28  8.... 

Jack  Frost   Dec.  24..... 8.... 

Little  Black  Sambo  Feb.  6,  35.. I  r  . . 

Bremen  Town  Musicians  Mar.  6,  35..lrl.. 

Old   MWher  Hubbard  Apr.  3.'35..lrl.. 

Mary's  Little  Lamb  May  l,'35..lrl.. 


R«l.  Date 


Mln. 


I, '35 


10,'35. 
7,'35. 


I. 
II. 


8. 


COLUMBIA 

Title  R«l-  Date 

BROADWAY  COMEDIES 

Gum  Shoes   Mar 

(A"  Star) 
His  Bridal  Sweet  Mar.  15,  35 

Harry  Lanodon 
His  Old  Flame  ian.  25,  35. 

Charlie  Murray 
Horse  Collars   J«n. 

(3  Stooges) 
I'm  a  Father  Feb, 

Andy  Clyde  _ 
In  the  Dog  House  Dec. 

Andy  Clyde 
It's  the  Cat's  Oct. 

Andy  Clyde 
Men  in  Black  Sept. 28.... 

(3  Stooges) 
Old  Sawbones   Apr.  Il,cib. 

Andy  Clyde 
One  Teo  Many  Dee.  28.. 

Leon  Errol 
Perfectly  Mismated   Nov.  20.. 

Leon  Errol 
Pop  Goes  the  Easel  Mar.  29,'35. 

(3  Stooges)  -  ^   on  -as 

Restless  Knights   Feb.  20,35 

(3  Stooges) 
Shivers   Dec.  24... 

Harry  Langdon 
Three  Little  Pigskins  Deo, 

(Stooge  Comedy) 

COLOR  RHAPSODIES 

1934*35 

A  Cat,  a  Bell  and  Meuse  

Babes  at  Sea  Dec.  12... 

Holiday  Land   •  J; 

Make  Believe  Revue,  The.  .  Mar. 22,'35 
Shoemaker  and  the  Elves. ..Jan.  20.'35 

KRAZY  KAT  KARTOONS 

1 934-35 

3.  Krazy's  Waterloo   Nov.  16... 

4.  Birdman   Feb.    I, '35 

5.  Hoteha  Melody   Mar.  15/35 

6.  Goofy  Gondolas   Dee.  21... 

LAUGHING  WITH 

MEDBURY   

1934-35 

Among  the  Caccons  Nov.    9  — 

At  a  County  Fair....  Dee.  7... 

Medbury  in  Hollywood  Jan.  Il,'35 

In  the  Old  Days  Mar.  22,'35 

LIFE'S  LAST  LAUGHS 

1934-35 

No.    1—  Sept.  15.... 

No.    2—  Oct.  12 

No.    3—  Nov.  - 

No.   4—  Dee. 

No.   5—  Jan. 

No.    6—  Feb 

SCRAPPY  CARTOONS 

Gloom  Chasers,  The  Jan. 

Happy  Butterfly   Dec. 

Serappy's  Experiment   

Scrappy's  Ghost   

1 934-35 

Concert  Kid   Nov.  2  

Gold  Getters   Mar.  1,'35. 

Graduation  Exercises   Apr.  I2,'35. 

SCREEN  SNAPSHOTS 

No.    1 —  Sept.  29  

No.    2—  Oct.  26  

No.  3 —  Nov.  23.... 

No.   4—  Dec.  21  

N«.  5 —  Jan.  18,'35. 

No.  6 —  Feb.  22,'35. 

No.    7  Mar.  I5,'35. 

No.  8 —  Apr.  I2,'35. 

SPICE  OF  LIFE 

1934-35 

N*.    2—  Sept.  29.... 

No.   3—  Dee.  13  

No.  4 —  Deo.  31  

Na.   5—   Jan.  20,'S5. 

H:   6—  Mar.  I,'35. 

WORLD  OF  SPORT 

Air  Thrills   Mar.  I. '35. 

Anything  for  a  Thrill  

Flying  Pigskins  Nov.  9  

Htlgh-Ho  the  Fox  June  20  

1934-35 

Hold  That  Shark  Mar.  29.'35. 

Good  Golfers  Start  Young. .  .Sept. 20  

Pardon  My  Grip  Feb.  I,'35. 

Polo    Thrills   Oct.  12  

Thrill  Flashes   Dec.  12.  .. 

When  Men  Fight  Jan.    4. "35. 


Min. 
21.... 

20  

20.... 
20.... 
20.... 
20.... 
20.... 
20.... 

20  

20.... 
20.... 
20.... 
16'/,.. 
20.... 
20.... 


.7... 
.7... 
.7... 

.8... 


.7.. 
.7.. 
.7.. 
.7.. 


9.... 
12.... 
4,'35. 
I,'35. 

18,'35. 
20.... 


10... 

10... 
10... 
10... 


10... 
10... 
10... 
10... 
10... 
10... 

.7... 
.7... 
.8... 


.7... 
.7... 
.7... 

10'/,. 
10'/,. 
lO'/i. 
10'/,. 
10... 
10... 
10 1/2. 
10... 


10... 
10... 
10... 
10... 
10. . . 

10. .  . 
.1  rl. 
10... 
.1  rl. 


10.  . . 
10... 
10... 
10... 
10... 
10... 


DU  WORLD  PICTURES 


Ral.  Date 


Title 

QUEST   OF  PERFECT 
WOMAN  SERIES 
(TOM  TERRIS) 

1.  Veiled  Dancer  of  Eleued.July  15. ...10, 

2.  Vampire  of  Marrakash. . .  Aug.   I  9 


Mln. 


...26.... 
...15  


.18.... 


.20.. 
.17.. 


Title 

SEMI-FEATURES 
AND  SHORTS 

Bride  of  Samoa  Mar.  1. 

Chump   Nov.  I. 

Frankie  and  Johnny  Oct.  I... 

Charles  Laughton 

Mire  Unga   Aug.  15... 

Prisoner   Sept.  15. . . 

Retribution  of  Clyde  Bar- 
row and  Bonnie  Parker. . .July  10... 

Stars  in  the  Making  Oct.  i... 

Frank  Albertson 

Sword  of  the  Arab  Sept.  15  28  

Duncan  Renaldo 

Yokel  Dog  Makes  Good  Sept.  1  18  

EDUCATIONAL 

[Distributed  through  Fox  Films] 

Title  Ral.  Date  Mln. 

SING  CROSBY 
SPECIALS 

1 —  I  Surrender  Dear  Aug.  3  22  

2—  One    More    Chance  Aug.  31  20  

3—  Billboard    Girl   Oct.     5  21  

1 — Dream    House   Sept.  28  19  

CORONET  COMEDIES 

An  Ear  for  Music  Mar.  8,'35.I8  

Easy  Money   Feb.  8.'35.I8  

Hello,  Sailors   Aug.  17  20  

Rural   Romeos   Nov.  16  20  

Second   Hand   Husband  Oct.  26  19  

Super-Stupid   Sept.  14. . . .  19  

Two  Lame  Ducks  Nov.  30  18  

FROLICS  OF  YOUTH 

Boosting  Dad   Dec.  21  21  

Campus  Hoofer,  The  Nov.    9  19  

Educating  Papa   Nov.    2  16  

Little  Big  Top,  The  Feb.    I, '35. 21.... 

MARRIAGE  WOWS 

SE  R I ES 

Domestic  Bliss-Ters   Oet.   12....  19.... 

Dumb  Luck   -Jan.  I8,'35.17  

How  Am  1  Doing?  Jan.  4,'35.20  

MUSICAL  COMEDIES 

Big  Business   .Dec.    7  19  

Girl  from  Paradise.  The...  Nov.  23  21  

Good  Luck— Best  Wishes. .  Aug.  24. ..  .21  

Hail    Brother   Mar.  22,'35. 19  

Nifty  Nurses    Oct.   19.... 20  

She's  My  Lilly    Sept.  7.... 22.... 

SONG    HIT  STORIES 

Bounding  Main,  The  -Nov.  16. ...10,... 

Fireman's  Day  Off   Apr-  12.'35..l  rl.. 

Gay  Old  Days  .Jan.  4,'35.I0.... 

House  Where  I  Was  Born, 

The   .Oct.  26  10  

Mountain  Melody   .Aug.  31  10  

Old  Camp  Ground,  The. ...  Mar.  15,'35..1  rl.. 

Song  Plugger    Jan.  18,'35..9  

Time  on  Their  Hands  .Sept.  14  II  

Way  Down  Yonder   Deo.    7  II  

STAR  PERSONALITY 

COMEDIES 

A    Nose  for   News   Apr.  5.'35..2rls. 

Gentlemen  of  the  Bar   Dee.  28....  18  

Hayseed  Romance   -Mar.  15, '35. 20  

His  Lucky  Day   Sept.  21 . . .  .20  

Mr.  Widget   -Jan.  25, '35. 21  

Object   Not   Matrimony         Mar.  1,'35.18  

One-Run  Elmer   Feb.  22,'35. 19  

Palooka  From  Paducah         Jan.  ll,'35.20  

TERRY-TOONS 

Black  Sheep,  The   Oct.    5  6  

Bull  Fight,  The   Feb.  8,'35..6  

Busted    Blossoms   .Aug.  10  6  

Dog  Show.  The   Dec.  28  6  

Fireman  Save  My  Child. . .  .  Feb.  22,'3S.  .6  

First  Snow.  The   Jan.  Il,*35..6  

Five  Puplets   Apr.  I9.'35. .  1  rl. . 

Flying  Oil   Apr.  5,'35..l  rl.. 

Hot  Sands   Nov.    2  6  

Jack's  Shack   Nov.  30  6.... 

Jail  Birds   Sept.  21  6  

Magle  Fish.  The  Oet.   19  6  

Mice  In  Council  Aug.  24  6  

Modem  Red  Riding  Hood, 

A   May  17.'35..l  rl.. 

Moth  and  the  Spider.  The.  Mar.  8.'35..lrl.. 

My  Lady's  Garden  July  13  8  

Old  Dog  Tray  Mar. 21  ,'35. .1  rl.. 

Peg  Leg  Pete,  the  Pirate. .May  3,'35..1rl.. 

South  Pole  or  Bust  Dee.  14  6  

Tom  Tom  the  Piper's  Son.  Nov.  16  6  

What  A  Night  Jan.  25,'35..6  

Why  Mules  Leave  Home  Sept.  7  6  

TREASURE  CHEST 

Chums   Mar.   I, '35.. 9.... 

Harlem  Harmony   Dec.  21....  10.... 

Hollywood  Gad-About   Oet.    5  9  

Hollywood  Movie  Parade, 

The   Nov.    2  9  

Then  Came  the  Yawn  Aug.  10  8.... 

Your  Stars  for  1935  Oet.   19  II  

YOUNG  ROMANCE 

Moon  Over  Manhattan  Feb.  I5,'35.I7  

Three  Cheers  for  Love  Dee.  14  IS  

FIRST  DIVISION 

MARCH  OF  TIME 
(Technicolor) 

1.  In  a  Monallery  Garden.. Oct.    2  7.... 

2.  Mexican  Idyl   Oct.  16  

3.  Flngal's  Cave   Nov.  13  

I.  Lieberstraum   Nov.  3  

5.  Dance  of  the  Hours  .Dec.  15  

S.  Ava  Maria   Jan.  I.'35  

Air  for  the  G  String  

Barcarolle   8  

Countryside   Melodies  May  4,'35  

In  a  Mountain  Pass  

Irish  Melody   8  

Italian  Caprice   8.... 

Mediterranean  Songs   7.... 

October  Day   

Old  Faithful  Speaks  8.... 

Realm  of  Ghosts  

Waltz  in  A  Flat  Major  


FOX  FILMS 


Mln. 


Title  Rel.  Date 

ADVENTURES  OF  THE 

NEWSREEL  CAMERAMAN 

Casting  for   Luck  10.. 

Man's  Mania  for  Speed  10.. 

Marching  With  Science  9.. 

On  Foreign  Service   9.. 

Tracking  the  Explorers  10.. 

MAGIC  CARPET 

SERIES 

The  Coast  of  Catalonia  


Title  Rel.  Date  Min. 

Crossroads  of  the  World  9  

Geneva-By-The-Lake   10  

MOVIE  TINTYPE  SERIES 
The  Heart  of  Valeska  Mar.   9  10  


MASTER  ART  PRODUCTS 


Rel.  Date 

(Variable) 


.11. 


Title 

HUMAN  SIDE  OF 
THE  NEWS 
(EDWIN   C.  HILL) 
t.  Roosevelt  Family  in 
America   

2.  A  Visit  to  West  Point  10. 

3.  Carrie  Jacobs  Bond  9, 

MELODY  MAKERS 

Fields   and    McHugh  9 

ORGANLOGUES 
What's  In  a  Name  8 

RAIN  SONGS 
Irving  Kaufman-Lew  White  

SPECIAL 

Take  a  Letter  Please  

Eddie  Stanley- 
Evelyn  San 


METRO-GOLD\AnrN- 


Mln. 


MAYER 


Mln. 


Title  Rel.  Date 

ALL-STAR  COMEDIES 

Caretaker's  Daughter   Mar.  10  10..,. 

Movie  Daze   19  

Mrs.  Barnacle  Bill  Apr.  21  20  

CRIME  DOESN'T  PAY 
No.  1— Burled  Loot  19.... 


CHARLEY  CHASE 

Chases  of  Pimple  Street  Dec.  22  20  

Fate's   Fathead   Nov.  17  18... 

I'll  Take  Vanilla   May  5. ...19... 

It  Happened  One  Day  July    7  19... 

Something  Simple   Sept.  8  18... 

You  Said  a  Hatful  Oet.  13  19... 

IRVIN  S.  COBB 

Ballad  of  Paducah  Jail.... Oct.  20  19... 

Nosed  Out   Sept.  15  18... 

Speaking  of  Relations  19... 

You  Brings  the  Ducks  Nov.  24  16... 

FITZPATRICK 

TRAVEL  TALKS 

Africa,  Land  of  Contrast  

Citadels  of  the 

Mediterranean   I  rl. 

Colorful  Guatemala   

Colorful  Ports  of  Call  Jan. 

Cruising  in  the  South  Seas  

Glimpses  of  Erin  

Holland  In  Tulip  Time  Sept. 

Ireland,  The  Emerald  Isle..  Dee. 

Rainbow  Canyon   Feb. 

Switzerland.  The  Beautiful .  Oet. 
Zeeland.  The  Hidden 

Paradise   Jan.  5,'85..7. 

ZIon,  Canyon  of  Caltr  Nov.  10  t. 

GOOFY  MOVIES 


IS 


• 

I 

I 

15  9 

8  8 

2,'35..8 

IS  • 


No. 
No. 
No. 
No. 
No. 
No. 


.May  8 


.Sept. 
.Oet. 
Nov. 


t. 
t. 

 I  f 

8.. ..10. 
8  •. 

3.. ..10. 
 10. 


No.  10   

HAPPY  HARMONIES 
(Harman-lsing) 
t — The  Discentented  Canary.  Sept.  I  •  

2—  Old  Pioneer   Sept.  29  8  

3 —  A  Tale  of  the  Vienna 

Woods   Oet.  27  9.... 

4 —  Bosco's  Parlor  Praiilu. ..Nov.  24  9  

5 —  Toyiand   Broadeatt   Dee.  22  8  

6—  Hey,  Hey,  Fever  Jan.  9,'35..9.... 

7—  When  the  Caft  Avay...Feb.  I6,'35..9  

8—  The  Lost  ChIek  10  

LAUREL  A.  HARDY 

Fixer-Uppers   21.... 

Going  Bye-Bye   21.... 

Live  Ghosts   21.... 

Them  Thar  Hills   2  fls. 

Tit  for  Tat   Jan.  5,'35.20.... 

MUSICAL  COMEDIES 

Music  in  Your  Hilr  June   2. ...17.... 

Roamin'  Vandals   Apr.  28.. ..It.... 

MUSICAL  REVUES 

Gentlemen  of  Polish  2  ris. 

Grandfather's  Clock   Oet.  27. ...17.... 

Spectacle  Maker,  The  Sept.  22. ...20  

SUr  Night  at  tha  Caeewiut 

Grove   Dae.    I  21  

What  Price  JazzT  18.... 


ODDITIES 

Dartmouth  Days   Nov. 

Donkey  Baseball   

Motorcycle  Cossacke   Jan. 

Little   Feller   May 

Old  Shep   June 

Plehlannl  Troupe   Sept. 

Pro  Football   

Rugby   Dee. 

Strikes  and  Spares   Oct. 

Taking  Care  of  Baby  Aug. 

Trick  Golf   Mar. 

Vital  Victuals   Mar. 

(Color) 

Windy   

OUR  GANG 

Anniversary  Trouble   

Mama's  Little  Pirate  Nov. 

Shrimps  for  a  Day  

Mike   Fright   Aug. 

Wash-ee  Iren-ee   Sept. 

TODO-KELLY 

Bum  Voyage   Dee. 

Done  In  Oil  Nov. 

Maid  in  Hollywood  May 

Misses  Stooge,  The  

One  Horse  Farmers  Sept. 

Opened  by  Mistake  Oet. 

Sing.  Sister,  SInil  

Three  Chumns  Ahead  , 

Tin  Man,  The  , 

Treasure  Blues   


17. 


II. 
.8. 
I2.'35..9. 

28  8. 

23  0. 

22  9. 

 9. 

15. ...10. 


20., 
25. 
24. 
8. 


...». 

...9. 
...8. 
..10. 


25.. 
29.. 


.20. 
.18. 
.21. 
.18. 
.17. 


5... .20.... 
0....I8.... 
9.... 20.... 

 19.... 

I. ...18  

6  19  

 21.... 

 2  rIs. 

 16.... 

 19  


Title  Rel.  Date  Mil 

WILLIE  WHOPPER 

Cave  Man   7... 

Good  Scout   7... 

Insultln'  the  Sultan  Apr.  14  8... 

Jungle  Jitters   7... 

Raslin'  Round   

Reducing  Creme   May  19  8... 

Robin  Hood,  Jr  Mar.  10  8... 

(Color) 

Viva  Willie   7... 


MONOGRAM 

PORT  0'  CALL  SERIES 

10.  Dravidian  Glamour   Sept.  I  10. 

11.  Adventure    Isle   Oct.  I  10. 

12.  Queen  of  the  Indies  Nov.  I  10. 

13.  A  Mediterranean  Mecca.  Dec.  I  10. 


PARAMOUNT 

Title  Rel.  Date 

BETTY  BOOP 

CARTOONS 

Baby  Be  Good  Jan. 

Betty  Boop's  Life  Guard... July 

Betty  Boop's  Life  Pal  Sept 

Betty  Boop's  Prize  Show... Oct. 

Betty  Boop's  Trial  June 

Stop  That  Noise  Mar. 

Swat  the  Fly  Apr. 

Taking  the   Blame  Feb. 

Keep  in  Style  Nov. 

There's  Something  About  a 

Soldier   Aug. 

When  My  Ship  Comes  lB...Det. 


18,  '35. 
13.... 

21  

19.... 
15.... 
I5,'35. 

19,  '35. 
15,'35. 
16.... 


17.. 
21.. 


Min. 


7... 
7... 
7... 
7... 
.7... 
.7... 


.7.... 
.7.... 


COLOR  CLASSICS 

An  Elephant  Never  Foriets.Dee.  28  7.... 

Little  Dutch  Mill   Oet.  26  7..., 

Poor  Cinderella   Aug.   3  7..., 

Song  of  the  Birds  Mar.  1,'35..7... 

HEADLINERS 
Cab  Callaway's  Hl-De-Ha..  .Aug.  24  11... 

Feminine  Rhythm   Feb.  8,'35.I0... 

Ina  Ray  Hutton  and  Her 
Melodears 

Club  Continental   Oet,  S....II... 

Leon  Belasco  L  Orehestra 

George  Givet -Vivian  Janis 

Grace  Barry 
Hark  Ye,   Hark  M^r.  25,'35. 10. . . 

Ben   Bernie-Grace  Barry 
Hollywood  Rhythm   Nov.  IS....  10... 

Gordon  and  Revel  -  Lyda 

Robertl  -  Jack  Oakle-Ner- 

man  Taurog-LeRoy  Prlnz- 

Edith  and  Bill  Wllshire 
Ladles  That  Play  Dae.    7. ...It... 

Phli   Spltalny   and  Hit 

Musical  Ladles 

Melody  Magic   Apr.  12,'35  

Million  Dollar  Notes  Feb.  8.'35.ll... 

Red  Nichols  and  his  World 

Famous  Pennies 
Radio  Announcer's  Rnltw.  .Sept.  I4....I0... 
Rhythm  on  the  Roof  Oct.  26  II... 

Anson  Weeks  &  Orehaitra 

Society  Notes   Aug.   3.. ..It... 

Song  Writers  of  the  Gay 

Nineties   Mar.   I, '35. 10... 

Pat  Rooney 
Yacht  Club  Beys  Gardea 

Party   Dee.  28. ...It... 

PARAMOUNT  PICTORIAL 
(NEW  SERIES) 

No.  4— Tub  Boat  Ahey— Hat. Nov.    9. ...10... 
Dog — Mabel  Wayne 

No.  5 — Rose  of  Bulgaria — .Dee.    7  10... 

0.  Soglow — Coney  Island 

No.  6— Twilight  Melody  —.Jan.  4,'35.I0... 
Pets   from    the  Wild- 
Howard  Chandler  Christy 

No.  7— Queen  of  the  Waters. Feb.  I,'35.i0... 
—Billy  Blue  Gum— Merl- 
cano 

Mo.  8 — Aubrey  Rainier — Old  I  rl. 

Madiera — Rube  Goldberg, 
World  Famous  Humorlet. 

No.    9—   Mar.  29.'35  

No.  10 —   Apr.  26,'35  


PARAMOUNT  VARIETIES 

No.    7—   Feb.    I, '35. 10. 

No.    8—   Mar.  I,'35  

No.    9—   Mar.29,'35  

Baby  Blues  Oet.    5  10., 

(Teehnlcoler) 

Coo-Coo  News   Jan.  25,'35.I0. 

Jungle  Antles   Feb.  22,'35.10. 

Madhouse  Movies  He.  I  Au|.  24  t., 

Manhattan  Rhythm   Mar.  8.'35.I0. 

Monkey  Shines   Nov.  16  10. 

Movie  Sideshow   Jan.  II.'SS.II., 

Nerve  of  Some  Women,  The.  Nov.    2  10. 

Old  Kentucky  Houade  Sept.  7  10. 

Screen  Souvenirs  Na.  I  Sept.  21  10. 

Screen  Souvenirs  Na.  2  Nov.  30  10.. 

Screen  Souvenirs  Na.  3  Feb.  8,'35.I0. 

Screen  Souvenirs  No.  4  Apr.  19, '35.... 

Shorty  on  the  Farm  Apr.  5j'35  

Superstition  of  the  Black 

Cat   Aug.  10  10. 

Superstition  of  the  Rabbit's 

Foot   Mar.  8,'35..8. 

Superstition  of  Thre*  an 

a  Match   Oet  19  II. 

Superstition  of  Walking 

Under  a  Ladder  Dee.  28....II. 

POPEYE  THE  SAILOR 

A  Dream  Walking  Sept  28  7. 

Axe  Me  Another  Aug.  24  7. 

Be  Kind  to  Animals  Feb.  22/35.  .7. 

Beware  of  Bamaelt  Bill. ..Jan.  2S,'35..7. 

Dance  Contest   Nov.  23  7. 

Hyp-Nut-Tist   The  Apr.  26,'35  

Pleased  to  Meet  Cha!  Mar.  22,'35.  .7. 

Shiver  Me  Timbers  July  27  7. 

Shoeln'  Hosses   June    I  7. 

Strong  to  the  Ftnlch  June  29  7. 

Two  Alarm  Fire  Oct  26  7. 

We  Aim  te  Please  Dee.  28  7. 


March    30,  1935 


MOTION    PICTURE  HERALD 


83 


(THE  RELEASE  CtiACT—CONT'D) 


TItIa  Ral.  Data  MIn. 

PARAMOUNT  SOUND 
NEWS 
Two  Editions  Waakiy 

GRANTLAND  RICE 
SP0RTLIGHT8 
(NEW  SERIES) 
Ho.  2 — SprlRgbaard  Cham- 

ploni   Aug.  31  10  

N».  3 — Water    Rodeo  Sept.  28  10  

No.  4 — Keeping   Time  Oct.  26  II  

No.  5— Saddle    Champs  Nov.  30  II  

No.  6 — A  Sportlight  Cock- 
tall   Dec.  28  10  

No.  7 — King  of  the  Ever- 
glades  Jan.  25,'35.I0  

No.  8— Feline   Athletes  Feb.  22.'35. 10  

No.  9 — Nerve  Control  Apr.  1 9, '35  

TWO  REEL  COMEDIES 

Making  the  Rounds  July    6  21  

Pallette-Catlett 
New    Dealers,   Tha  Apr.    6  20  

Pallette-CaUett 
News  Hounds   June    I  20  

Pallette-Catlett 
No  More  Bridges   Mar.  16  21  

Leon  Errol 

Oil's  Well   May    4  22  

Chic  Sale 

Old  Bugler,  The  Jan.    5  20  

Chic  Sale 

Petting  Preferred   Apr.  27  10  

Pleased  to  Meet  Chal  Mar.  22,'35  

Sporting  Sounds   Mar.  22,'35  

Up  and  Down  Mar.  2,'35.2I  

Franklyn  Pangborn 


PRINCIPAL 

Title  Ral.  Date  Min 

Death  Day   Apr.  10  17... 

Glory  of  the  Kill...    .  ...May  23. ...28... 

Newslaugh— No.  2  Dec.  20,'33..9... 

Wonders  of  the  Tropics  Dec.  I3,'33.32... 

CONFLICTS  OF 

NATURE  SERIES 
Circle  of  Life  of  tha  Ant 

Lion.    Tha  Feb.  14  7... 

Farmer'!  FrlePd   Oct.  II  7... 

From  Cocoon  to  Butterfly. .  .Jan.  ID  7... 

Her  Majesty  tha  Quean  Bee. Dee.  I.'33..6. .. 

Insect  Clowns   Mar.   4  7... 

Oueen  of  tha  Underworld..  .Dec.  6,'33..7... 


RKO  RADIO  PICTURES 


Rel.  Date 


Min. 


Title 

BLONDE  and  RED 

HEAD  SERIES 

Dancing  MllllonaIra   Dec.  14  19.. 

Hunger  Pains   Feb.  22,'35.l7'/2 

Ocean  Swells   Oct.  12  21.. 

Rough  Necking   Apr.  27  20.. 

Undie  World,  The   June  15  21.. 

Wig  Wag   l9'/a 

CHICK  CHANDLER 

COMEDIES 

Big   Mouthpleea   Nov.    9.... 20.... 

Horst  Heir   Feb.    I,'35. 19i/j.. 

Raised  and  Called  Mar.  22,'35.20.... 

Unlucky  Strike   Aug.  31 . . . .20</s. . 

CLARK  &  McCULLOUGH 
SERIES 

Alibi  Bye  Bya  June 

Bedlam  of  Beards  Apr. 

Everything's  Ducky   Oct. 

Flying  Down  to  Zero  Apr. 

In  a  Pig's  Eya  Dec. 

In  the  Devil  Dog  Hause  Feb. 

Oder  In  the  Court  Aug. 


I4,'35 
13... 
19..., 
I9,'35. 
28.... 

2.... 

2.... 


21'/, 
18.. 
21.. 
19.. 
20'A 
21.. 
21'/, 


CUBBY  THE  BEAR 

CARTOONS 

Cubby's  Stratesphara  Flight. Apr.  20  7... 

FIddlin'  Fun  June  15  7... 

DUMBBELL  LETTERS 

Ne.   3   Aug.  17.... 

No.   4   Sept.  28.... 

No.    5   Oct.  26.... 

No.   6   Nov.  23.... 

Na.   7   Dee.  21.... 

Mt.   8   Jan.  4,'35. 

No.   9   Jan.  I8,'35. 

Nt.  10   Fob.  I,'35. 


.4... 

.4'/,. 
.5... 
.S'/». 
.5... 
.5... 


EASY  ACES 

Pharaohland   Feb.  22,'35.  .9  

Topnotchers   II  

FOUR  STAR 
COMEDIES 

Fixing  the  Staw  Nov.  2.. ..20.... 

Fuller  Gush  Man   Aug.  24  18  

How  to   Break  90 
at  Croquet   Jan.  4.'35.I5  

HEADLINER  SERIES 
No.  6— Well  Cured  Ham  June  22. ...19.... 

HEADLINER  SERIES 

(1934-35) 

No.  I — Songs  of  the  Colleges. Oct.    5  15  

No.  2 — Ferry  Go  Round. ...  Nov.  23  20  

No.  3— This   Band   Aga  Jan.  25,'3S.2l</2 . . 

No.  4 — Simp  Phoney  Coneart.Mar.  I5,'35.2I  

EDGAR  KENNEDY 

COMEDIES 

Blasted  Event   June  29  19... 

Brie-a-Brae   Jan.  I8,'35.I9... 

Love  on  a  Ladder  Sept.  7  201/2. 

Poisoned  Ivory   Nov.  16  21... 

South  Seasickness   20</2. 

Wrong  Direction   Nov.  16  21... 

MUSICALS 

Everybody  Likes  Music  Mar.  9. 

Hanry  tha  Apa  Jan.  26. 

Bert  Lahr 


TItl*  Rel.    Date  MIn. 

If  This  Isn't  Love  Sept.  28. . .  .2I>A . . 

Spirit  of  1976   Feb.  l5,'35.2l'/4  . . 

MUSICOMEDIES  SERIES 

CRuth  Ettlna) 

An  Old  Spanish  Onion  Mar.  I,'35.20  

Bandits  and  Ballads  Dec.    7  tV/2.. 

Southern   Style   Sept.  14  20  

Ticket  Or  Leave  It  May  26,'35  

PATHE  NEWS 
Released  twice  a  week 

PATHE  REVIEWS  (1933-1934) 
Released  once  a  month 

PATHE  TOPICS 
Released  seven  times  a  year 

RAINBOW 

PARADE  CARTOONS 

Japanese  Lantern   8  

Parrotville  Old  Folks  Jan.  25,'35..7  

Spinning  Mice   

Sunshine  Makera,  The  Jan.  II,'3S..8  

SOGLOW'S   "THE  KING" 
CARTOONS 

Cactus  King   June   8  Irl.. 

SPECIALS 

Century  of  Progress  June  15  22.... 

Grand  National  Irish 

Sweekstakes  Race,  1 934... Apr.    2  10  

La  Cucaracha   Aug.  31  20'/2.. 

Stem  Duna-Don  Alvarado 

(Technicolor) 

TODDLE  TALE 
CARTOONS 

A  Little  Bird  Told  Me  Sept.  7  S.... 

VAGABOND  ADVENTURE 
SERIES 

Damascus   June   8  Irl.. 

Eyes  on   Russia   Aug.   9  II  

Fakeers  of  the  East  Dec.    7  l8'/2.. 

Isle  of  Spice   Jan.  1 1,'35.  IO1/3 . . 

Jamaica   91/2.. 

Red  Republic   Sept.  21  10  

STATE  RIGHTS 

CARTOON  EXHIBITORS 

Of  All  Things  4.... 

CENTRAL 

Child  of  Mother  India  30.... 

Hindu   Holiday   9.... 

MARY  WARNER 
Olympic  Winter  Sports 

Capital  8  

METROPOLITAN  LIFE 
Once  Upon  a  Time  10  


UNITED  ARTISTS 


Rel.  Date 


MIn. 


Title 

MICKEY  MOUSE 

6.  Mickey's  Steamroller. ..  .June  15  7  

7.  Orphans'  Beneflt   Aug.  II  9  

8.  Mickey  Plays  Papa  Sept.  29  

9.  The  Dognappers   Ndv.  10  

10.  Two-Gun  Mickey   Dec.  25  8  

11.  Mickey's  Man  Friday. .. Jan.  17, '35.. 7  

12.  Band  Concert   Feb.  23,'35  

13.  Mickey's  Service  Station. Mar.  I5,'3S..8  

14.  Mickey's  Kangaroo  

SILLY  SYMPHONIES 

7.  The  Flying  Mouse  July  12  7  

8.  Peculiar  Penguins   Sept.  6  8.... 

9.  Goddess  of   Spring  Nov.  I  

10.  Tha  Golden  Touch  


UNIVERSAL 


Rel.  Date 


Min. 


Title 

CARTUNE  CLASSICS 

No.    I— Jolly  Little  Elves..  Oct.     I  «.... 

No.  2 — Toyland   Premiere. .  Dec.  10  9  


No. 
No. 
No. 
No. 
No. 
No. 


GOING  PLACES 

with  LOWELL  THOMAS 

2   Oct.    8  I  H. 

3   Nov.    5  1  rl. 

4   Dee.    3  1  rl. 

5   Dec.  31  1  rl. 

6   Jan.  I4,'35..9... 

7   Feb.  I8.'35.  .9... 


No.    8   Mar.  25.'35. 

GOOFYTONE  NEWS 
No.    7   Apr.  30. 


OSWALD  CARTOONS 

Do  a  Good  Deed   Mar.  2S,'3S.  .7. . 

Hill  Billys   Feb.  I,'35..9.. 

Robinson  Crusoe  IsIa  Jan.  7,'35..9.. 

Sky  Larks   Oct.  22  8.. 

Spring  In  the  Park  Nov.  12  7.. 

Two  Little  Lambs  Mar.  n,'35.  .81/2 

William  Tell   July    9  6.. 


STRANGER  THAN 
FICTION  SERIES 


No.    I— Novelty   Aug.  27 

No.   2— Novelty   Sept.  24 

No.   3— Novelty   Oct.  22 

4—  Novelty   Nov.  26 

5 —  Novelty   Dec.  17 

6 —  Novelty   Jan.  28, 

7—  Novelty   Mar.  4, 

8—  Novelty   Apr.  I 


.9. 
10. 

.9. 
.9. 


35.. 8. 
35. .8. 
35. 10. 
Apr.  22.'35.I0. 


.I9'/,.. 
..2rls. 


No. 
No. 
No. 
No. 
No. 

No.  9 — Novelty 

UNIVERSAL  COMEDIES 

At  the  Mike  Oct.  10.... 20... 

(Mentone  No.  3-A) 

Demi  Tasse   Oct.    3  2  ris 

(Doane  Musical  No.  I) 

Desert    Harmonies  Apr.  I0,'35.  .2  ris 

(Mentone  No.  12-A) 

Doin'  the  Town   Jan.  30,'35.I8... 

(Mentone  No.  9-A) 

Father  Knows  Best  Feb.  20,'35.  .2  rIs 

Sterling  Holloway 

Gus  Van  and  His  Neighbors.  .Sept.  19  18. . . 

(Mentone  No.  2-A) 


Title  Rel.  Date  Min. 
Henry's  Social  Splash  Deo.  19  21  

Henry  Armetta 
Here's  the  Gono  2  ris. 

(Mentone  No.  13-A) 

Hollywood  Trouble   .Jan.  9,'35.20  

Just  We  Two  Aug.    8....  19  

Knickerbocker  Knights   Dec.  12  20  

Mentone 

Meet  the  Professor   Feb.  I3,'35.I9  

(Mentone  No.  lO-A) 
Night  in  a  Night  Club,  A. .Sept.  2  18  

(Mentone  Ne.  I -A) 
Oh  What  a  Business  Nov.  26  2  ris. 

(Mentone  No.  5-A) 
Old  Age  Pension  Mar.  27,'3S.  .2  ris. 

Henry  Armetta 
Revue  a  la  Carte  Jan.  I6,'35.I7  

Tom  Patricola 

(Mentone  No.  8) 
Sterling's  Rival  Romeo  Nov.  14  2  ris. 

Sterling  Holloway 
Telephone   Blues   Mar.  1 3, '35. 1 9  

(Mentone  No.   1 1 -A) 
TId  Bits   Oct.   24  2  ris. 

(Doane  Musical  No.  2) 
Well,  By  George  Oct.  31  20  

(Mentone  No.  4-A) 

George  Price 
Whole  Show,  The  Dec.  26  20  

(Mentone  No.  7- A) 

James  Barton 
World's  Fair  and  Warmer.  . Oct.   17  22  


VITAPHONE  SHORTS 

Title  Rel.  Date  Min. 

BIG  V  COMEDIES 

No.  20 — Daredevil  O'Dare. .. Aug.  II  19... 

Ben  Blue 
1 934-35 

All  Sealed  Up  Sept.  15  19  

Ben  Blue 

Get  Rich  Quick  Apr.  20,'35.  .2  ria. 

Allen  Jenkins 
His  First  Flame  Mar.  9,'35.20  

Shemp  Howard 

Daphne  Pollard 
Oh  Sailor  Behave  Sept.  29  17  

El  Brendel 

Old  Gray  Mayor,  Tha  Apr.  6,'35..2rls. 

Bob  Hope 

Smoked  Hams   Oct.  20  18  

Shemp  Howard 

Daphne  Pollard 
So  You  Won't  T-T-T-Talk..Nov.    3.. ..20.... 

Roscoe  Ates 

Out  of  Order  Nov.  17  19  

Ben  Blue 

Vacation  Daze   2  ris. 

Jenkins  &  Donnally 
Dizzy  and  Daffy  Dec.  IS  19  

Dizzy  and  Dafly  Dean 
Once  Over  Lightly  Jan.  I2,'35..2  ris. 

Roscoe  Ates 

Radio  Scout   Jan.  26,'3S.I9  

El  Brendel 


BROADWAY  BREVITIES 

No.  32— The  Policy  Girl...  Aug.  II  20  

Mitzi  Mayfair-Roscoa  Alls 

1934-1935 

Syncopated  City   Sept.   I  20  

Hal  LeRoy- Dorothy  Dare 
Paree,  Parae   Sept.  8  21.... 

Dorothy  Stone-Bob  Hapa 
Good  Morning  Eva  Sept.  22  19  

Leon  Errol 

(Technicolor) 
No  Contest   Oct.     6  21  

Ruth  Etting 
Off  tiro  Beat  Oct.   18.... 20.... 

Morton  Downey 
The  Flame  Song  Oct.  27  19  

Bernice  Claire- 

J.  Harold  Murray 
Gem  of  the  Ocean  Nov.  19  20  

Jeanne  Aubert 
Gypsy  Sweetheart   Mar. 30,'3S.  .2  ris. 

Winifred  Shaw- 
Phil  Regan 

Hear  Ye!  Hear  Yol  Dec.  22  2  ris. 

Vera  Van  and  the 

Yacht  Club  Boys 
See,  See.  Senorlta  Jan.  I2,'35..2  ris. 

Tito  Gulzar  Armlda 
What,  No  Men7  Jan.  5,'35.2I.... 

El  Brendel-Phll  Regan 

(Technicolor) 
Soft  Drinks  &  Sweet  Music. Dec.    8  20  

George  Priea-Sylvia  Froos 
Show  Kids   Jan.  5,'35.20  

Maglln  Kiddles 

Tad  Alexander 
Radio  Silly   Jan.    9,'35..2  ris. 

Cross  &  Dunn 
Cherchez  La  Femme  Fab.  2,'35..2rls. 

Jeanne  Aubert 
In  the  Spotlight  Feb.  22,'35..2  ris. 

Hal  LeRoy  &  Dorothy  Leo 
Mr.  &   Mrs.  Melody  Mar.  I6,'35  

Ilomay  Bailey — Lea  Sims 
Shoestring   Follies  Feb.  I6,'35.  .2  ris. 

Eddie  Peabody 
Singing  Silhouette,  Tha. . .  .  Mar.  I6,'35.  .2  ris. 

Olga  Baelanova 
Castle  of  Dreams,  The  Apr.   6/35.. 2  ris. 

Morton  Downey 
Cure  It  With  Music  Apr.  I3,'35..2  ris. 

Fifl  D'Orsay 
In  This  Corner  Apr.  27,'35..2  ris. 

Pick  and  Pat- Roscoe  Alls 


LOONEY  TUNES 


No.  II — Buddy's  Circus   Irl. 

No.  12 — Buddy  the  Detective  I  rl. 

No.  13— Viva  Buddy   I  rl. 

(1934-1935) 

No.    I — Buddy's  Adventures   I  rl. 

No.    2— Buddy  the  Dentist  I  rl. 

No.  3 — Buddy  of  the 
Legion   7... 


MIn. 

.in.. 


.1  rl.. 


27... 
17... 


20.... 
I9,'35. 

9,'35. 

2.'35. 
23,'35, 
I3,'35. 


.11... 
.11... 
10... 

.10... 
.10... 
10... 
10... 

.'i  vr. 


.9.. 
.9.. 
.9.. 
II.. 


Title  Rel.  Date 

No.  4 — Buddy's  Theatre  

No.  5 — Buddy's    Pony  Ex- 
press   

MELODY  MASTERS 
1934-1935 

Mirrors   Sept.  8  II  

Freddy  Rich  &  Orchestra 
Phil  Spltalny  and  HIa 

Musical  Queens   Oct.     6....  10.... 

Richard  Himber  and  His 

Orchestra   Nov.    3  10.... 

Don  Redman  and  His  Band.  Dec.  29  10  

Will  Osborne  and  His  Or- 
chestra  Deo.    I  10  

A  &  P  Gypsies  Jan.  26,'35.I0  

Harry  Horlick 

Charlie  Davis  and  Band  Feb.  I6,'35..l  rl.. 

Rimao's  Rhumba  Orchestra.  Apr.  13, '35. .  I  rl. . 
Barney  Rapp  and  His  New 

Englanders   Mar.  I6.'35. . I  rl. . 

Freddy    Martin    and  His 

Orchestra   May  II, '35.. I  rl.. 

MERRIE  MELODIES 

1934-35  (In  Color) 

No.    I — Those  Beautiful  Dames  7  

No.    2 — Pop  Goes  My  Heart  7  

No.    3— Mr.  &  Mrs.  Is  the 

Name   7.... 

No.  4 — Country  Boy   7.... 

No.    5—1  Haven't  Got  a  Hat  I  rl.. 

SEE  AMERICA  FIRST 

E.  M.  NEWMAN 

No.    I — Pilgrim  Days   Oct. 

No.    2 — Boston  Tea  Party.. Nov. 

No.  3 — Hall  Columbia   Dec. 

Ne.  4 — Remember  the 

Alamo   Dec. 

No.  5 — Trail  of  tha  49ers..Jan. 

No.  6 — Dixieland   Feb. 

No.  7 — Blue  and  tha  Gray.  Mar. 
No.  8 — The  Mormon  Trail. Mar. 
No.  9 — Westward  Bound  ..Apr. 
No.  10 — Remember  tha 

Maine   May  4,'35..l  rl. 

PEPPER  POT 

1934-35 

Little  Jack  Little  Sept.  I.... 

Radio  Reel  No.  I  Sept.  15  

Mr.  and  Mrs.  Jesse  Crawford . Sept.  29  

Vaudeville  Reel  No.  I  Oct.  13  

Movie  Memories   Oct.  27.... 

Songs  That  Live  Nov.  10  

Gus  Edwards 
Two  Boobs  in  a  Balloon  

Edgar  Bergen 

Good  Badminton   Nov.  24  

Stuffy's  Errand  of  Mercy... Dee.  15  

Listening  In   Dee.  8  

Radio  Reel  No.  2 

Vaudeville  Reel  No.  2  Dec.  29  

Harry  Von  Tllzer   Jan.  5,'35. 

Chas.  Ahearn   Jan.  19/35. 

A  Trip  Thru  a  Hellywaod 

Studio   Feb.  2,'35. 

Wo  Do  Our  Part  Feb.  9/35. 

Radio  Reel  No.  3 

Vaudeville  Reel  No.  3  Feb.  16/35. 

Guess  Stars   Mar.22,'3S. 

Radio  Ramblers 

Billy  Hill   Mar.  16/35  

Eggs  Marks  tha  Spot  Mar. 30/35  

Radio  Reel  No.  4 
Some  Bridge  Work  Apr.  I3/3S..I  rl. 

Easy  Aces 

Vaudeville  Reel  No.  4  Apr.  27/35. . I  rl. 


^EI^IALS 

12  Episodes  Each  Unless  Otherwisa  Specified 
Title  Ral.  Data  Mia. 

FIRST  DIVISION 

Young  Eagles   July    I  2  rIa. 

Bey  Scouts 

MASCOT 

Burn  'Em  Up  Barnes  Juno  16  2rlt. 

Jack  Mulhall-Lola  Lane-  (aaeb) 

Frankie  Darro 
Lost  Jungle,  The  Juno  13  2  rl*. 

Clyde  Beatty  (auh) 

Law  of  the  Wild  Sept.  5  2  ria. 

Rex,  Rin  Tin  Tin,  Jr.  (aaah) 

Ben  Turpin,  Bob  Custer 
Mystery  Mountain   Dee.    3  2  rla. 

Ken  Maynard-Verna  Hlllle  (aaah) 

Phantom  Empire   Feb.  23.'35.  .2  rla. 

Gene  Autry-Frankia  Darr*  (aaah) 


.9... 
10... 

10... 
10... 
10... 

.9... 
.1  rl. 


10. 


PRINCIPAL 


Chandu  on  the  Magic  Island  

Bela  Lugosl-Maria  Alba 

Return  of  Chandu,  The  Oct.  I  

Bela  Lugosl-MarIa  Alba  (Seven-reel  faator* 
followed  by  eight 
two-reel  aplsodaa) 


UNIVERSAL 


Call  of  the  Savage  Apr.  I5,'3S.20  

Noah  Beery,  Jr.  (each) 
Red  Rider,  The  July  16  20  

Buck  Jones  (aaeh) 

(15  episodes) 
Rustler's  of  Red  Dog  Jan.  21/35.20  

John  Mack  Brawn  (aaah) 
Tallspin  Tommy   Oct.  29  20  

Maurice  Murphy-  (eaeh) 

Noah  Beery,  Jr. 
Vanishing  Shadow,  The  Apr.  23  20  

Onslow  Stevens-Ada  Ince  (aaeh) 


84 


MOTION    PICTURE  HERALD 


March    30,  1935 


CLASSIFIED 
ADVERTISING 


the  great 
national  medium 
for  showmen 


ll!lli<'ill|l!iiill|||l|| 


i 


Ten  cents  per  word,  money-order  or  check  with  copy.  Count  initials,  box  number  and  address.  Minimum  insertion, 
$1.    Four  insertions  for  the  price  of  three.    Contract  rates  on  application.    No  borders  or  cuts.    Forms  close 
Mondays  at  5  P.M.    Publisher  reserves  right  to  reject  any  copy.   Address  correspondence,  copy  and  checks  to 
MOTION  PICTURE  HERALD,  Classified  Dept.,  1790  Broadway,  New  York  City 


USED  CCUIPMCNT 


UNUSUAL  BARGAINS  IN  USED  OPERA 
chairs,  sound  equipment  moving  picture  machines, 
screens,  spotlights,  stereopticons,  etc.  Projection 
machines  repaired.  Catalog  H  free.  MOVIE  SUPPLY 
COMPANY,   Ltd.,   844   So.    Wabash   Ave.,  Chicago. 


WISE  EXHIBITORS  KNOW  WHERE  TO  BUY 
those  good  guaranteed  rebuilt  Simplex  and  Powers 
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A  REAL  BARGAIN  ON  HIGHGRADE  PROJEC- 
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built  Bal  trunk.  These  are  brand  new.  Were  made 
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each  while  they  last.  Act  quick.  BOX  534,  MOTION 
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$1.50,  now  39c;  SO  ampere  Weston  meters  for  arcs, 
rectifiers,  generators,  regularly  $10.00,  now  $2.25;  sound 
screens.  Beaded,  diffusive  or  Ortho  Krome  regularly 
75c,  now  29c  square  foot;  enclosed  rewinds,  approved 
fireproof,  regularly  $75.00,  now  $29.75.  Cash  with 
order.    S.  O.  S.,  1600  Broadway,  New  York. 


CI^LISIiES  AND 
SUPPLIES 


SIGN  PAINTERS*  BRUSHES  AND  SUPPUES. 
Write  for  FREE  catalog.  DICK  BLICK  COMPANY, 
Box  43,  Galesburg,  Illinois. 


GENERAL 
ECLIIPAiENT 


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Walker.  Tampico,  Mexico.  "Entirely  satisfactory." 
Cinemaphone  will  please  you,  too.  S.  O.  S.,  1600 
Broadway,  New  York. 


SPEaAL!— ONLY  WHILE  THEY  LAST.  PAIR 
first  class  rebuilt  Peerless  low  intensity  lamps  with 
new  handy  30  ampere  rectifiers,  $375.00.  One  year 
guarantee.  MONARCH  THEATRE  SUPPLY  CO., 
Memphis,  Tenn. 


BUSINESS  DULL?  BRIGHTEN  YOUR  Pic- 
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current  costs.    S.  O.  S.,  1600  Broadway,  New  York. 


SUPPLIES,  EQUIPMENT,  REPAIR  PARTS  FROM 
30%  to  40%  off!  Lists,  catalogs  free.  TROUT 
THEATRE  EQUIPMENT  CO.,  Enid,  Okla. 


SENSATIONAL  BARGAINS:  REFLECTOR 
lamps,  $25.00;  rectifier  tubes,  $9.00.  Send  for  new 
literature.  WESTERN  MOTION  PICTURE  CO., 
Danville,  111. 


ST.  ANSELMS  COLLEGE  CHOOSES  SOS— 
Cinemaphone  Wide  Fidelity,  $179.70  up  complete! 
Soundheads,  $59.50  up;  unified  control  amplifiers,  $39.50 
up;  trades  taken.  S.  O.  S.,  1600  Broadway,  New  York. 


EDSINESS 
CPPCPTLINITIES 


TRADE  BEAUTIFUL  MISSISSIPPI  GULF 
coast  home  $6,000.00  for  theatre  or  interest.  Just  the 
thing  for  retiring  theatre  man.  BOX  536,  MOTION 
PICTURE  HERALD. 


CLISINESS  CCCSTEPS 


POPCORN  — MUSHROOM  $10.00  — JAP  $8.50- 
good  Burch  machine.    KLINKEL,  Albion,  Mich. 


ECUIPMENT 
EXCHANGE 


IF  YOU  WANT  TO  REPLACE  ANY  TYPE  OF 
equipment  with  brand  new  material  we  will  be  glad 
to  make  an  allowance  on  your  old  equipment  and  a 
better  price  on  new  equipment.  Let  us  know  what  you 
need  and  what  you  want  to  exchange  and  we  will  send 
complete  details  on  our  proposition.  EQUIPMENT 
EXCHANGE,  care  of  MOTION  PICTURE  HERALD, 
1790  Broadway,  New  York  City. 


BANK  ROLL.  THIN?— WE  PAY  "SPOT"  FOR 
used  equipment — trades  taken,  bargains  galore.  S.  O.  S., 
1600  Broadway,  New  York. 


SCLINP  ECLIiPyHENT 


LAST  ONE,  RCA  PG-31  COMPLETE,  DOUBLE 
power  amplifier,  2,500  seat  capacity,  reconditioned, 
$1,000.00.  Simplex  Acme,  sound  outfit,  semi-professional, 
2,000'  magazines,  2,000  seat  capacity,  value  $3,000.00, 
price,  $1,200.00.  RCA  type  PG-10  complete,  capacity 
300-400  seats,  price  $450.00.  Details  on  request. 
CINEMA  SUPPLY  CO.,  575  Eleventh  Ave.,  New 
York. 


WANTED  T©  BUT 


ORGANS— WE  BUY  ALL  MAKES  OF  USED 
organs  for  cash.  DELOSH  BROTHERS,  3508— 105th 
St.,  Corona,  L.  I. 


THEATRES  WANTED 


WANT  TO  BUY  OR  LEASE  THEATRE  IN 
Texas,  Colorado  or  Arizona  state.  BOX  538, 
MOTION  PICTURE  HERALD. 


DGSITIGNS  WANTED 


SOUND  PROJECTIONIST  —  EXPERIENCED, 
unmarried,  young,  will  go  anywhere.  BOX  517, 
MOTION  PICTURE  HERALD. 


PRINTING  SERVICE 


NEARGRAVURE— I2S  LETTERHEADS,  125  EN- 
velopes,  $1.89  delivered.   SOLLIDAYS,  Knox,  Ind. 


TRAINING  SCIiCCLS 


LEARN  MODERN  THEATRE  MANAGEMENT. 
Catalog  free.  THEATRE  MANAGERS  INSTITUTE, 
315  Washington  St.,  Elmira,  New  York. 


TECHNICAL 

Dccrs 


"RICHARDSON'S  HAND  BOOKS  OF  PROJEC- 
tion"  in  three  volumes.  Universally  accredited  as  the 
best  and  most  practical.  Aaron  Nadell's  "Projection 
Sound  Pictures."  Complete  information  on  sound 
equipment.  Both  text  books  complete  for  $12.80. 
QUIGLEY  BOOKSHOP,  1790  Broadway,  New  York. 


Day-after-Day 

EXCELLENCE 


EASTMAN  Super-Sensitive  ''Pan" 
Negative  has  played  a  part  in  pro- 
ductions that  marked  veritable  milestones 
in  cinematic  progress.  Yet  its  success 
in  these  outstanding  pictures  is  based 
upon  the  same  dependability  it  offers 
cameramen  and  producers  every  day  in  the 
year.  Unfailing,  day-after-day  excellence  is 
the  quality  that  makes  this  film  the  natural 
choice  for  the  screen's  greatest  ventures. 
Eastman  Kodak  Company,  Rochester, 
N.  Y.  (J.  E.  Brulatour,  Inc.,  Distributors, 
New  York,  Chicago,  Hollywood.) 


EASTMAN  Super-Sensitive 
Panchromatic  Negative 


MOTION  PICTURE 


THE  SHOW  of 
SHOWMANSHIP 


Wherein  Motion  Picture  Herald's  Round  Table 
brings  recognition  to  showmen's  creative  con- 
tributions to  screen  successes       »       »  » 


WHAT  EXHIBITORS  SAY  of 
PARENTS  &  TEA  CHERS  PLAN 


Revelations  of  Motion  Picture  Herald's  report 
on  project  to  take  screen's  best  product  away 
from  theatre  box  offices  draw  poignant  replies 


COMING  NEXT  WEEK-DETAILS  OF  THE  INVADERS'  PLAN 


In  Two  Sections  —  Section  One 


\ir\\  I  lO  Kir\  I  Lntcred  u,  second-class  matter.  January  12,  193!,  at  the  Post  Office,  n/  Vprr  V„rl.-.  ,V  1'  ,  u-.uirr  II,,-  art  of  Manh  ^.  1879.  Pub-  ADD  L  lO^R 
yyJL.   I  IV,  IN*^.   I        lijhed  Weekly  by  Quigley  PublishiHg  Co..  Inc..  ut  1790  Broadway,  N  'Mes.  25  cents.  w,  i/jj 


The  BIGGEST  space  in  the  BIGGEST  list  of  newspapers 
ever  used  in  motion  picture  history^  Leo's  unprecedented 
ad  campaign  appears  in  140  newspapers  covering  the  60 
BIGGEST  cities  of  America!  A  gift  from  Leo! 


EVER  a  dull  moment  with  Leo  the 
Showman  on  the  job!  He's  work- 
ing for  you  again  to  blanket  America 
with  the  good  news  that  "Naughty 
Marietta"  is  coming  to  your  show 
shop!  Think  it  over,  Mr.  Exhibitor... 
the  billboard  campaign  on  "Chained" 
...magazine  campaigns  on  "Barretts  of 
Wimpole  Street,"  "Treasure  Island," 
"David  Copperfield"and  other  M-G-M 
attractions.  Now  he  sets  a  new  all-time 
record  for  newspaper  campaigns  with 
"Naughty  Marietta." 

AND  LOOK  WHAT'S  COM- 
ING!  FREE  BILL-BOARDS! 

SEE  PAGE  19 


★  ★★★★  EXTRA/ 


FLASH/ 

The  Biggest  Event  in  New 
York's  Amusement  History! 
Crowds!  Crowds!  Crowds! 
Sensational  World  Premiere!^ 


FUL 
PAGE 
AD 

SMASH 

across  6- 
col.  width! 

This  is  /ust  one 
o/  the  sample 
advertisements* 
There  are  five 
/different  styles. 


DON'T  TAKE  OUR  WORD  FOR  IT' 
...READ  THESE  RAVE  REVIEWS! 


"A  netc  movie  star  emerged  from  the  Capilol  screen 
when  Nelson  Eddy  appeared  opposite  Jeanetle 
MacDonald  in  'Naughty  Marietta'  .  his  fine,  full 
powered  voice  is  admirably  suited  to  the  Herbert 
score .  .  a  welcome  addition  to  the  screen,  he 
'  brings  to  it  a  canny  sense  of  comedy  and  plenty  of 
savoir  faire."       —Kate  Cameron,  /V.  Y.  Daily  News 

'^Superlatives  for  'Naughty  Marietta'l  ICs  the  top, 
the  super-stratosphere  of  musical  motion  picture 
entertainment!  In  Nelson  Eddy,  who  debuts  so 
auspiciously  as  Jeanetle  MacDonald's  hero,  ihe 
screen  has  found  a  thrilling  thrush,  possessed  not 
only  of  rare  vocal  tone,  but  of  personality  and  form 
and  features  cast  in  the  heroic  mold.  Al  the  film^s 
Capitol  Theatre  world  premiere,  a  madly  enthusi* 
astic  audience  applauded  each  song  to  an  extent  that 
made  the  dialogue  immediately  ifollowing  inaudi- 
ble." — Regina  Crewe,  /V.  Y.  American 


**Tho8e  advance  enthusiasms  were  justified.  Nelson 
Eddy  is  a  find,  and  Metro-G old wyn -Mayer  has  wisely 
put  him  in  a  part  well  suited  to  his  acting  ability  and 
magnificent  voice.  Jeanetle  MacDonald  is  at  the  top! 
It  is  a  happy  part  for  her;  and  Mr.  Elddy  seems  the 
ideal  co-star.  This  handsome  version  of  his  operetta 
should  please  even  Victor  Herbert  himself." 

—Eileen  Creelman,  /V.  Y  Sun 


'^Virtually  perfection  of  cinema  light  opera.  The 
triumph  of  '"Naughty  Marietta'  is  registered  by  Nel- 
son Eddy,  who  has  a  brilliant  baritone  voice.  He  is 
engaging  and  good-looking  and  seems  to  me  a  far 
more  valuable  acquisition  than  even  the  celebrated 
Mr.  Tibbett." 

—Richard  Watts,  Jr.,  N.  Y  Herald-Tribune 


'^A'acreen  operetta  ichich  would  have  delighted  its 
composer.  Encountering  Jeanette  MacDonald  and 
Nelson  Eddy  in  splendid  voice,  W.  S.  Van  Dyke  has 
made  a  photoplay  which  is  gayly  romantic  and  rhap- 
sodically  tuneful.  Such  fortissimo  singing  as  Mr. 
Eddy  and  Miss  MacDonald  provide  for  tho»e  rap- 
turous love  songs  has  not  been  heard  in  a  motion 
picture  theatre  since  'One  Night  of  Love'.  Mr.  Eddy's 
distinguished  baritone  insures  him  a  spotlight  on 
the  screen.  Miss  MacDonald,  of  ccfbrse,  is  an  ac- 
complished actress  as  well  as  a  first-class  soprano. 
Then,  for  humor,  there  is  Frank  Morgan  as  Ihe 
hilariously  bafHed  Governor  of  New  Orleans." 

—Andre  Sennwald,  /V.  Y.  Times 


''^it^s  ter-rific.  MacDonaUl-Edrlv  are  the  new  team 
sensation  of  the  industry.  !  heir  duel  of  'feweel  Mys- 
tery of  Life'  IS  the  grandest  thing  ever  recor4le<l!" 

—Ed  Sullivan,  Daily  iS'ews 


"Naughty  Marietta*  is  a  personal  triumph  for  Nelson 
Eddy.  Alreaily  famous  on  the  concert  stage,  Mr. 
Eddy  is  e8tabliHh€^d  as  a  definite  screen  personality." 

—Rose  Pelswick,  N  V  Journal 


*'*Naughty  Marietta''  is  one  of  the  beat  musical  pic- 
tures that  has  ever  been  made  Victor  Herbert's 
music  rings  out  from  the  screen  with  that  same 
sweep  that  made  *One  Night  of  Love'  a  landmark. 
W.  S.  Van  Dyke  is  one  of  Hollvwood's  wonder  men 
.  his  uncanny  knack  of  swelling  every  inch  of  this 
picture  with  rich  orchestrations  and  of  disguising 
the  plot  with  such  music  as  will  make  you  jump  out 
of  your  seat  is  a  wonder  and  a  delight.  From  now  on, 
Jeanette  MacDonald  and  Nelson  Efldy  will  be  re- 
ferred to  as  'tops'." 

-E.  de  S.  Melcher,  Washington  btar 


"Great  entertainment!  An  exquisite  film,  so  rich 
musically,  and  strong  in  story,  it  makes  the  average 
musical  movie  seem  tawdry.  Handsomely  produced 
and  skillfully  directed,  it  features  the  splendid 
voices  of  soprano  Jeanetle  MacDonald  and  baritone 
Nelson  Eddy.  The  story  is  dramatic,  its  tender  charm 
contrasted  with  slirrmg  scenes  of  action  and  sus- 
pense." —Bland  Johaneson,  Daily  Mirror 


"Metro-Goldivyn-Mayer^s  latest  cinema  triumph  is  a 
complete  one.  Never  before  has  music  soared  so 
gloriously  from  the  screen.  Olillering  and  swiftly 
moving  musical.  Jeanelte  MacDonald  and  Nelson 
Eddy  duels  arc  inspiralional.  Eddy's  technique  is  al 
once  smoother  and  more  adaptable  to  the  screen, 
even  than  Tibbclt's.  'Naughty  Marietln'  is  the  per- 
fect marriage  of  operetta  with  the^-inema." 

—Edgar  Hay,  Miami  Herald 


HE'S  THE 

SCREEN'S 

NEW 

SINGING 
SENSATION! 


STAR  IS 
: BORN  OF  j 
A  GREAT 

PrCTURES' 


"A  great  screen  operetta  sung  to  perfection.  Pos- 
sessed of  a  brilliant  baritone  voice,  handsome  Mr. 
Eddy  has  a  way  about  him,  which,  with  hie  singing 
ability  should  make  him  one  of  cinema's  outstand- 
ing figures.  Not  even  the  great  Lawrence  Tibbett  has 
ever  sung  before  the  screen  microphone  with  more 
telling  e^ect  or  beauty.  MacDonald's  is  a  stunning 
performance  both  vocally  and  dramatically." 

—William  Boehnel,  World-Telegram 


VICTOR  HERBERT 

He  wrote  hit  bett-loved  mcto- 
diei  (or  "N»UB*iM'  M»ciMta"— 
hear  rhcm  *oar  iriuoiphantlv 
from  the  Krcenl 


W.  5.  VAN  DYKE 

...who  hai  ilwiTi  given  vou 
(omMhini  different  ("Trader 
Horn","Thio  M*n">.  now 
dot!  ir  with  ■  muduL 
id  Douglai  DumbrilU  •  Boot 


JEANETTE  MacOONAlO 
Never  before  hai  ihc  been  to 
lovelv  —  never  before  h»t  her 
loldcn  voice  been  to  perfeclly 
recorded  (or  (he  icrccnl 
id  IjffUt  bf  Rido  Johnion  Young  • 


NELSON  EDDY  FRANK  MORGAN 

Favorite  of  the  concert  world,  HllarioualT  funny  at  the  baffled 

hit  thriltlDi  pcnonaliiv  makei  Governor  of  New  Ocleana 

hltn  the  KRcn'a  firii  romaniie  who  tried  lo  umc  Nauthtv" 

(InglDK  (tar.  Marietta. 

Productd  br  HUNT  STROM8ERG 


Every  so  often  a  great  motion  picture  electrifies  the 
world  by  skyrocketing  a  star  to  immortality  Such  was 
the  case  with  "Tlie  Four  Horsemen"  and  Rudolph 
Valentino;  "Ben  Hur"  and  Ramon  Novarro;  Wallace 
Beery,  Ronald  Colman,  Clark  Gable  —  to  name  a  few  — 
each  stepped  out  into  the  spotlight  from  a  great  film  hit. 
Today  another  nation-wide  success,  "Naughty  Marietta" 
creates  a  new  popular  favorite  in  Nelson  Eddy,  its 
sensational  singing  ntar. 


THE  PRODUCERS  OF  "DAVID 
COPPERFIEtO"  HAVE  DONE  [T  AGAIN  I 

Oul  of  Victor  Herbert's  maslcrpiccc 
of  romance  and  thrill,  comes 

Metro-Go  Idioyn.  Mayer '» 
BCrcco  mueical  inaetcrpiec«. 


Watch  for  "RECKLESS"—  another  big  M-G-M  hit 
starring  JEAN  HARLOW,  WILLIAM  POWEILI 


I 


GET  READY  CLEVELAND 
It's  Your  Next  Big  Thrill ! 


STATE 


FRIDAY  APR.  5 

DOORS  OPEN  10  A.M.  f\ 


THEY  HAVEN'T  TAKEN  TH 

OUT  OF  MOVING 


F  you've  been  WORRIED  that 
pictures  were  going'  gooey  on 
you  .  . . 

If  you've  been  WONDER- 
ING whether  you'd  ever  get 
a  show  as  STRONG  as  '  'Fugi- 
tive" or  ''Public  Enemy"  or  "Little 
Caesar"  again  .  . . 

Take  a  look  at  Warner  Bros.'  new 
PAUL  MUNI  show,  and  you'll  feel  a  whole 
lot  better  about  the  future  of  motion  pic- 
ture DRAMA ! 

•I*  4? 

Here's  a  brand  new  type  of  screen  EX- 
PLOSIVE. Not  SEX— not  GANG  STUFF 
—but  brother,  it's  DYNAMITE ! 

With  one  clean-cut  wallop  it  arrests  the 
EMASCULATION  of  the  movies. 


With  the  scalpel  of  SINCERITY  it  re- 
stores the  screen  to  MANHOOD. 

4,      4*  4. 

Make  no  mistake!  This  is  no  Mother 
Goose  cartoon. 
If  you  set  off  a  FIRECRACKER  under 


Prais 


"An  entertainment  to  cause  talk  and  come-back  patronage 
equal  to  or  surpassing  'I  Am  a  Fugitive.'" — M.  P.  Daily 

"Both  a  prestige  builder  and  in  the  heavy  money  making 
class."—  Variety 

''Big  enough  to  lift  your  heart  into  your  throat." — Jimmie 
Fidler  in  his  national  radio  review 

"The  greatest  picture  to  come  out  of  this  studio." — Michael 
Jackson,  Liberty 

A  First  Nat 


E  INTESTINAL  FORTITUDE 
PICTURES . .  .YET! 


every  seat  in  your  theatre  you  wouldn't 
startle  your  patrons  any  more  than  you 
will  with  ''BLACK  FURY" ! 

No  wonder  TWENTY-ONE  major  critics 
who  have  seen  it  are  PROUD  that  the  in- 
dustry they  serve  has  made  this  picture  . . . 


No  wonder  they  predict  that  it  will  earn 
new  and  abiding"  respect  for  the 
MATURITY  of  the  movies. 

4'      4'  4? 

Paul  Muni  in  "Black  Fury"  is  Warner 
Bros.'  forthright  ANSWER  to  those  who 
ask  the  screen  to  be  HONEST,  CLEAN, 
INTELLIGENT,  and  a  guiding  force  for 
truth  and  right. 

So  don't  let  ANYONE  or  ANYTHING 
stop  you  from  showing-  ' '  Black  Fury. ' ' 

It's  just  what  the  doctor  ordered  for  an 
ailing  industry ! 


(ED.  NOTE — Immediately  following  "Black 
rury"  Warner  Bros,  will  release  "G  Men," 
starring  James  Cagney,  and  shortly  thereafter 
"Oil  For  the  Lamps  of  China."  The  screen 
marches  on ! ) 


"Smashing  human  picture  .  .  .  Warners  are  in  a  class  by 
themselves  for  making  it."— Jerry  Hoffman,  L.  A.  Examiner 

"Most  stirring  picture  I  have  ever  seen." — Mayme  Oher 
Peaks,  Boston  Globe 

"The  most  powerful  picture  I  have  ever  seen.  I  want  to  see 
it  again."— jPrecf  C.  Kelly,  Colliers  &'  United  Features 

"Puts  Paul  Muni  in  line  for  outstanding  performance  award 
of  year."— Gus  McCarthy,  Quigle^  Publications 
nal  Picture  ~ 


★  Success  Story  ★ 


ft'-'flELLO!  FOX  EXCHANGE?   I  WANT  A 
^  5CREEN1NG  OF  "$10.  RAISE*  THEY  TELL 
ME  \T&  TREMENDOUS.''' 


PROJECTION  ROOM 


& 


DOUBLE  MY  USUAL  ORDER.  EVERY 
BODY  IN  TOWN  15  GOING  TO  -HEAR 
ABOUT  TfllS  5-HOW  ,' 


''  SPEND  SOME  EXTRA  DOUGH  ON  THE 
HOUSE  FRONT.  .  .  1  WANT  A  TLASH  .' 
WE'VE  GOT  A  HIT  TO  SELL.'^' 


©"l  LOVE  iT.TOO/   IT  DOES  ALL  OF  US 
GOOD  TO  SEE  A  GOOD  SfiOW/'' 


Make  a  date  with 
yourself  to  see 


at  your  FOX  Exchange 


"$10  RAISE"  with  Edward  Everett  Horton,  Karen  Morley,  Alan  Dinehart,  Glen  Boles. 
Produced  by  Joseph  Engel.  Directed  by  George  Marshall.  Screen  play  by  Henry 
Johnson  and  Louis  Breslow.  Story  by  Peter  B.  Kyne. 


MOTION  PICTURE  HERALD 


Vol.  119.  No.  1 

OP 

April  6.  1935 

LOTTERIES  AND  SUCH 

THE  lottery  business  is  getting  a  vast  deal  of  encourage- 
ment from  the  American  press  and  the  newsreel  screen. 
The  lottery  business  is  a  catch  penny  device  operating 
in  precisely  those  brackets  of  buying  power  where  the  motion 
picture  must  look  for  the  bulk  of  its  revenues. 

The  lottery  is  competitive  thrill,  a  reaching  for  the  lure  of 
attainment  without  effort. 

That  is  just  exactly  what  the  motion  picture  sells,  in  a  vicari- 
ous but  very  real  fashion,  more  especially  down  in  those  strata 
where  the  lottery  tickets  sell. 

It  is  obviously  true  that  newspaper  readers  are  interested 
in  reading  the  get-rich-quick  stories  of  the  lotteries  and  it  is 
obvious  that  the  camera-and-microphone  antics  of  the  winners 
make  entertaining  newsreel  stories,  but  that  has  no  bearing  on 
the  wisdom  of  their  exploitation.  All  too  often  the  amusement 
business  makes  offer  of  excuse  that  "the  public  likes  it."  The 
industry's  production  practises  have  just  been  put  through 
the  wringer  of  reform  because  of  the  application  of  such  a 
policy  with  respect  chiefly  to  sex  morality. 

Also,  as  usual,  through  the  current  baseball  training  season 
the  newsreels  have  given  large  promotional  attention  to  the 
sport  which  will  be  competing  with  the  box  office  until  the 
world's  series  games  are  played  this  coming  autumn. 

It  is  relevent  to  observe  here  that  for  many  many  years  it 
has  been  the  firm  policy  of  the  Loew  Theatres  in  the  metro- 
politan area  to  refuse  to  put  on  the  screen  any  picture  con- 
taining scenes  from  Coney  Island,  on  the  basis  that  Coney 
Island  Is  competitive. 

But  Coney  Island  Is  not  the  only  competitor,  and  not  the 
most  important  competitor,  either.  Further,  the  newsreel  has 
no  news  coverage  obligations  comparable  with  those  of  the 
newspapers.  Twenty  minutes  of  screen  time  a  week  can  tell 
very  little  of  what  goes  on  in  the  world — besides  the  screen 
public  is  interested  not  in  news  but  entertainment.  Most 
newsreel  selections  represent  editorial  habits,  and  heritages  of 
habits.  A  case  in  point  is  afforded  by  the  vast  importance 
with  which  exhibitors  have  been  educated  to  view  first  pic- 
tures of  the  Kentucky  Derby.  The  Derby  was  not  a  national 
screen  event  until  the  newsreels  made  it  that — at  the  cost  of 
many  thousands  a  year  to  themselves,  with  not  an  additional 
dime  in  film  rental  or  box  office  draw. 

AAA 

MR.  HOWARD  SECEDES 

A FEW  weeks  ago  v/e  recorded  that  Mr.  Joseph  Herge- 
shelmer  was  entirely  fed  up  with  writing  novels,  and 
that  Mr.  Elmer  Rice  was  quite  through  with  the  Broad- 
way stage.  That  was  all  very  well,  especially  as  those  gentle- 


men merely  said  what  they  were  tired  of  and  through  with — 
that  being,  as  we  observed,  merely  evidence  that  they  had 
become  mature,  which  their  public  never  can. 

But  now  comes  Mr.  Leslie  Howard,  recorded  for  the 
Neu/  York  Times  of  Monday,  who  seems  to  care  for  nothing 
about  the  motion  picture  but  the  Hollywood  climate  and  the 
convenient,  pleasarit  hours  of  work,  saying: 

"I  have  no  desire  any  more  to  play  In  the  commercial 
theatre.  And  the  movies  are  purely  commercial.  My  plan 
would  be  to  use  that  economic  independence  which  the  movies 
can  give  to  an  actor  to  seek  to  elmlnate  the  commercial 
theatre  and  to  attempt  to  create  the  kind  of  a  theatre  in 
which  we,  as  actors,  could  find  the  opportunity  to  do  the 
sort  of  thing  we  want  to  do.  ..." 

Fortunately,  or  unfortunately,  as  you  may  view  it,  nothing 
will  happen  In  Mr.  Howard's  project  to  eliminate  the  com- 
mercial theatre  and  to  rebuild  the  amusement  world  to  the 
heart's  desire  of  the  actor. 

The  box  office  public  takes  care  of  all  such  matters,  with 
great,  automatic  efficiency. 

Meanwhile,  biting  the  hand  that  feeds  you  is  nothing  as 
compared  to  cutting  it  right  off. 

AAA 

"SINGLE  BILL"  MEANS  SINGLE 

IN  a  provocatively  interesting  discussion  of  exhibition  and  Its 
problems,  recorded  by  Mr.  Victor  Shapiro  in  Hollywood,  Mr. 
Harold  Franklin  says  In  substance  that  exhibitors  resort  to 
dual  bills  under  the  pressure  of  competition  with  houses  which 
surround  their  pictures  with  vaudeville. 

"But,"  says  Mr.  Franklin,  "distributors  can  do  something  .  .  . 
by  signing  contracts  with  exhibitors  that  certain  pictures  must 
be  played  single  bill." 

However,  this  able  exhibitor  does  not  go  on  to  say  that  such 
"single  bill"  contracts  would  also  stipulate  that  there  should  be 
no  presentation  acts,  stage  show  or  vaudeville  device  whatso- 
ever. Until  that  could  be  accomplished  nothing  would  be 
accomplished — and  how  probable  Is  it  that  distribution  would 
consider  such  dictation  to  Its  affiliates  and  other  first  runs. 

'    A    A  A 

MR.  RICHARD  WATTS,  Jr.,  of  the  New  York  Herald 
Tribune  leaves  In  a  fortnight  on   his  third  visit  to 
Russia,  according  to  the  Morning  Telegraph.    It  would 
seem  that  he  Is  almost  certain  to  enjoy  It. 

AAA 

If  there  should  arise  a  rival  in  type  for  Step'n  Fetchit,  we 
think  that  Tempus  Fugit  would  be  a  good  name. 

AAA 

Editor's  Interoffice  warning:  The  first  week  of  Connecticut 
trout  fishing  opens  April  6. 


MOTION  PICTURE  HERALD  MARTIN  QUIGLEY.  Edifor-in-Chief  and  Publisher 

Incorporating  Exhibitor's  Herald,  founded  1915;  Motion  Picture  News,  founded  1913.;  Moving  Picture  World,  founded  1907;  Motography,  founded  1909;  The  Film  Index, 
founded  1906.  Published  every  Thursday  by  Quigley  Publishing  Company,  1790  Broadway,  New  York  City.  Telephone  Circle  7-3100.  Cable  address  "Quigpubco,  New  York." 
Martin  Quigley,  Editor-in-Chief  and  Publisher;  Colvin  Brown,  Vice-President  and  General  Manager;  Terry  Ramsaye,  Editor;  Ernest  A.  Rovelstad,  Managing  Editor;  Chicago 
Bureau,  407  South  Dearborn  Street,  Edwin  S.  Clifford,  manager;  Hollywood  Bureau,  Postal  Union  Life  Building,  Victor  M.  Shapiro,  manager;  London  Bureau,  Remo  House,  310 
Regent  Street,  London  W  I,  Bruce  Allan,  cable  Quigpubco  London;  Berlin  Bureau,  Berlin-Templehof,  Kaiserin-Augustastrasse  28,  Joachim  K.  Rutenberg,  representative;  Paris 
Bureau,  19,  Rue  de  la  Cour-des-Noues,  Paris  20e,  France,  Pierre  Autre,  representative,  cable  Autre-Lacifral-20  Paris;  Rome  Bureau,  Viale  Gorizia,  Rome,  Italy,  Vittorio  Malpassuti, 
representative,  Italcable,  Malpassuti,  Rome;  Sydney  Bureau,  600  George  St.'eet,  Sydney,  Australia,  Cliff  Holt,  representative;  Mexico  City  Bureau,  Apartado  269,  Mexico  City. 
Mexico,  James  Lockhart,  representative;  Prague  Bureau,  Na  Slupi  8,  Prague  II,  Czechoslovakia,  Harry  Knopf,  representative;  Cape  Town  Bureau,  10  St.  George's  Villas,  Green 
Point,  Cape  Town,  South  Africa,  H.  Hanson,  representative;  Budapest  Bureau,  3,  Kaplar  -u,  Budapest,  Hungary,  Endre  Hevesi,  representative;  Buenos  Aires  Bureau,  Cuenca  52, 
Buenos  Aires,  Argentina,  N.  Bruski,  representative.  Member  Audit  Bureau  of  Circulations.  All  contents  copyright  1935  by  Quigley  Publishing  Company.  Address  all  corre- 
spondence to  the  New  York  Office.  Better  Theatres,  devoted  to  the  construction,  equipment  and  operation  of  theatres,  is  published  every  fourth  week  as  section  2  of  Motion 
Picture  Herald.   'Other  Quigley  Publications:  Motion  Picture  Daily,  the  Motion  Picture  Almanac,  published  annually,  and  the  Chicagoan. 


8 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


THIS  WEEK  - 


PRISON  DONOR 

Speaking  as  honor  guest  at  a  testimonial 
dinner  in  New  York  last  week,  Warden 
Lewis  E.  Lawes  of  Sing  Sing  prison  revealed 
that  Harry  M.  Warner,  president  of 
Warner  Brothers,  has  donated  the  prison's 
model  gymnasium,  seating  3,000,  in  mem- 
ory of  his  son,  Lewis,  the  gym  having  cost 
the  state  nothing.  ... 

CONSOLIDATED  BOARD 

For  three-year  terms,  Ben  Goetz,  J.  E. 
McPherson,  J.  W.  Coffman,  M.  J.  Siegel 
were  elected  members  of  the  board  of 
Consolidated  Film  Industries.  Mr.  Goetz 
and  Mr.  McPherson  were  reelected,  while 
Mr.  Coffman  succeeds  J.  D.  Egan  and  Mr. 
Siegel  succeeds  George  W.  Yates,  whose 
terms  have  expired.  .  .  . 

STUDIO  TO  CONVENT 

Abandoning  a  brilliant  screen  career, 
Jenny  Luxeuil,  who  strongly  resembles  Saint 
Therese  of  Liseux,  walked  calmly  out  of  a 
French  studio,  where  she  was  scheduled  to 
make  a  picture  of  the  life  of  the  "Little 
Flower"  of  Normandy,  and,  telling  no  one, 
entered  an  obscure  Dominican  convent  in 
Languedoc.  .  .  . 

HARRY  LEWIS 

Harry  Lewis,  who  operated  one  of  the 
first  film  exchanges  in  the  country,  the 
Chicago  Film  Exchange,  with  10  branches, 
died  in  New  York  last  week  at  83.  Mr. 
Lewis,  in  1906,  rented  the  program  for  a 
theatre  showing  'only  motion  pictures,  the 
Nickelodeon  in  Chicago.  His  long  drawn 
fight  with  the  Patents  Trust  was  finally 
settled,  he  receiving  about  $500,000.  .  .  . 

FOX  DEBUTANTES 

Called  the  studio's  debutantes  of  1935, 
considered  the  young  actresses  most  likely 
to  succeed,  Winfield  Sheehan,  Fox  produc- 
tion chief,  has  named  Rita  Cansino,  Fran- 
ces Grant,  Rosina  Lawrence  and  Barbara 
Blane,  ages  from  16  to  20.  .  .  . 

TECHNICAL  CREDITS 

The  executive  committee  of  the  Techni- 
cians' Branch  of  the  Academy  of  Motion 
Picture  Arts  and  Sciences  on  the  Coast  in 
the  future  will  make  the  technicians'  credits 
publication  a  complete  technical  history  of 
each  production.  The  first,  to  be  issued 
shortly,  will  include  all  technicians.  .  .  . 

NAMED  TO  BENCH 

Named  a  judge  to  fill  a  vacancy  on  the 
common  pleas  bench  of  Lackawanna 
County,  Pennsylvania,  was  Thomas  Linus 
Hoban,  general  counsel  in  the  state  for  the 
Comerford  theatre  interests.  .  .  . 


"LUNCHEON  MATINEE" 

To  appeal  to  workers  "out  to  lunch," 
Jack  S.  Truitt,  operating  the  new  Royal  in 
downtown  Kansas  City,  has  adopted  a 
"luncheon  short  subject  matinee,"  which, 
running  from  I  I  :30  a.m.  to  I  :30  p.m.,  will 
consist  of  newsreel  and  short  subjects,  with 
no  feature.  The  rest  of  the  day  will  be 
devoted  to  a  regular  run  program,  at  10 
cents  for  double  features.  .  .  . 

CENSOR  ACTION 

Banned  by  the  New  York  censor  is  the 
Mexican  film,  "Chucho  El  Roto,"  until  cer- 
tain changes  are  made.  The  objection  was 
based  on  a  sequence  showing  a  bandit 
committing  a  crime  in  the  garb  of  a  priest, 
which  was  held  derogatory  to  the  Catholic 
Church.  Mariano  Viamonte,  manager  of 
the  Teatro  Campoamor,  New  York  house, 
plans  to  revise  the  film  to  suit  the  censor.  .  . 

MUSICIANS  VOTE 

Voted  at  a  meeting  of  the  American 
Federation  of  Musicians  last  week  in  New 
York  were:  a  three  per  cent  tax  on  in- 
comes of  local  members,  a  change  in  sub- 
stitute laws  and  a  cut  in  insurance  benefits. 
The  tax  will  go  into  the  union  treasury,  the 
benefit  cut  from  $1,000  to  $500  was  an 
economy  move,  and  the  substitute  change 
makes  a  substitute  eligible  for  full  time 
and  full  pay,  and  is  designed  to  aid  em- 
ployment. .  .  . 


In  This  Issue 

The  "Show  of  Showmanship" — Hundreds 
of  campaigns  viewed  in  Motion  Pic- 
ture  hierald's   exposition   of  theatres' 

exploitation  achievements  Page  9 

Pictures  of  the  Exposition  Page  10 

What    Exhibitors    Say    of    Parents  and 

Teachers  Plan  Page  12 

Newsreels    cover    the    Grand  National 

amid  bomb  flares  and  smoke  Page  17 

Broadcasters  warned  by  U.  S.  commis- 
sioner against  "blood   and  thunder" 

juvenile  programs  Page  25 

FEATURES 

Editorial  Page  7 

The  Camera  Reports                    .  Page  15 

Tho  Hollywood  Scene  Page  60 

J.  C.  Jenkins — His  Colyum  Page  70 

Asides  and  Interludes  Page  33 

The  Cutting  Room  Page  58 

DEPARTMENTS 

What  the  Picture  Did  for  Me  Page  71 

Showmen's  Reviews  Page  46 

Managers'  Round  Table  Page  75 

Technological  Page  64 

Short  Features  on  Broadway  Page  84 

Letters  from  Readers  Page  66 

The  Release  Chart  Page  85 

Box  Office  Receipts  Page  67 

Classified  Advertising  Page  90 


EXTRAS'  VICTORY 

Eugene  H.  Marcus,  representing  six  Hol- 
lywood extra  organizations  at  registration 
conferences  with  Compliance  Director  Sol 
A.  Rosenblatt  in  Washington,  unofficially 
declared  on  his  return  to  Hollywood  that 
Mr.  Rosenblatt  had  acceded  to  all  the  de- 
mands of  the  extras.  Official  announce- 
ment is  to  come  from  Washington,  he  said. 
Only  the  Screen  Actors'  Guild  was  not  rep- 
resented. .  .  . 

CITY  AIDS  THEATRES 

The  Stratford,  Ontario,  city  council  has 
rallied  to  the  support  of  theatres  and  musi- 
cal organizations  in  their  protest  against 
the  recent  doubling  of  license  fees  on  copy- 
righted compositions  by  the  Canadian  Per- 
forming Rights  Society.  The  council  re- 
solved to  enlist  other  municipalities  in  a 
protest  to  the  federal  secretary  of 
state. .  .  . 

HAWAIIAN  CIRCUIT 

The  new  J.  J.  Franklin  Theatres,  Inc., 
Hawaiian  circuit,  with  Mr.  Franklin  and 
William  J.  Citron,  San  Francisco,  as  of- 
ficers, has  gone  into  action  with  one  thea  - 
tre in  operation  in  Honolulu,  leases  taken 
on  two  others  and  plans  afoot  to  build 
others.  A  film  exchange  will  be  operated 
in  conjunction  with  the  circuit.  .  .  . 

"NORDIC  CUNNING" 

When  the  Nazi  German  production  of 
"The  Old  King  and  the  Young,"  starring 
Emil  Jannings,  was  shown  in  Vienna  recent- 
ly, the  Austrian  authorities  saw  to  it  that 
when  provocative  Nazi  speeches  were 
made  by  Jannings,  his  lips  moved — but  he 
said  nothing.  Anti-German  papers  called 
the  film  "a  Nazi  propaganda  film,  camou- 
flaged with  Nordic  cunning."  .  .  . 

FILM  APPRECIATION 

Following  conferences  between  Mrs.  A. 
S.  Tucker,  New  Orleans  Better  Films  Com- 
mittee head,  and  Louisiana  state  super- 
intendent of  schools  Harris,  it  was  ordered 
that  Edgar  Dale's  "Motion  Picture  Ap- 
preciation'' be  one  of  the  books  included 
in  the  "required  reading"  for  students. 
Mrs.  Tucker  long  has  urged  film  apprecia- 
tion study  for  school  children.  .  .  . 

BYRD  CAMERAMEN 

After  two  years  with  the  Byrd  Antarctic 
Expedition  at  the  bottom  of  the  world. 
Paramount  cameramen  John  Herrmann 
and  Carl  Peterson  have  returned  to  the 
United  States.  A  welcome  home  luncheon 
at  the  studio,  with  Ernst  Lubitsch  as  host, 
and  players  in  attendance,  was  held  for 
them.  .  .  . 


April    6  ,  1935 


MOTION    PICTURE  HERALD 


9 


SHOW  OF  SHOWMANSHIP 
PRESENTED  BY  HERALD 

Exhibitors'  Own  Exposition  of  Selling  the  Pictures  Is 
Praised  by  Leaders  in  Film  and  Other  Industries 
and  Is  Made  Annual  Event;  Plaques  Are  Presented 

to  the  February  Winners  of  the  Quigley  Awards 


Among  Showmen 
And  Campaigns 


Among  the  shoivmen  whose  cam- 
paigns xvere  displayed  in  the  "Show 
of  Showmanship"  this  week  are  those 
named  below  and  on  page  18.  Listed 
after  the  name  of  the  individual  in 
each  instance  are  the  theatre,  city, 
the   motion  picture  and  distributor. 

Al  Reynolds,  Queen,  Austin,  Texas.  "Clive 
of  India,"  UA. 

Wally  Caldwell,  Valentine,  Toledo.  "Mys- 
tery of  Mr.  X,"  MGM. 

Les  Pollock,  Rochester,  Rochester,  N.  Y. 
"Kid  MilHons,"  UA:  "Painted  Veil," 
MGM. 

Harold  Evens,  State,  St.  Louis.  "Death  on 
the  Diamond,"  MGM;  "Affairs  of  CelHni," 
UA. 

Don  Nichols,  Broadway,  Charlotte.  "Little 

Man    What     Now,"    Universal;  "Here 

Comes  the  Navy,"  Warner. 
A.  H.  Eichenberg,  Rialto,  Colorado  Springs. 

"Murder  At  the  Vanities,"  Par. 
Dewey  Mousson,  Knickerbocker,  Nashville. 

"6  Day  Bike  Rider,"  Warner. 
J.  A.  Goodno,  Palace,  Huntington,  W.  Va. 

"Count  of  Monte  Cristo,"  UA. 
W.  V.  Taylor,  Loew's  Houston.  "Sequoia," 

MGM. 

Bill  Hendricks,  Warner,  Memphis.  "6  Day 
Biker  Rider,"  Warner;  "Mandalay," 
Warner. 

Mike  CuUen,  Penn,  Pittsburgh.  "Kid  Mil- 
lions," UA;  "Roman  Scandals,"  UA. 

R.  H.  Suits,  Colonial,  Reading,  Pa.  "What 
Every  Woman  Knows,"  MGM;  "Kid  Mil- 
lions," UA. 

Nat  Silver,  Strand,  Lowell,  Mass.  "College 
Rhvthm,"  Par.;  "White  Parade,"  Fox. 

S.  S.  Solomon,  Regent,  Newark.  "Judge 
Priest,"  Fox;  "Richest  Girl  In  The 
World,"  Radio. 

Mel  Morrison,  Strand,  Dover,  N.  H.,  Baby 
Contest. 

Matt    Saunders,    Poli,    Bridgeport,  Conn. 

"One  Night  of  Love,"  Columbia;  "Bright 

Eyes,"  Fox. 
Herb   Morgan,    Centurv.    Baltimore.  "Se- 
quoia," MGM. 
Bob    Wood,    Loew's    U.    A.,  Louisville. 

"Catherine  the  Great,"  UA. 
Ken  Reid,  Loew's,  Canton,  Ohio.  "Merry 

Widow,"  MGM. 
James  Reid,  New  Fruitvale,  Oakland,  Cal. 

"Circus  Clown,"  Warner. 
Irving  Windisch,  Strand,  New  York  City. 

"Devil  Dogs  of  the  Air,"  Warner. 
Gene  Ford  and  Lew  Brown,  Loew's  Fox, 

Washington,  D.  C.    "After  Office  Hours," 

MGM. 

Francis  Deering,  State,  Memphis.  "Clive 
of  India,"  UA. 

Jack  Simons,  Poli,  Hartford,  Conn.  "Se- 
quoia," MGM. 

E.  M.  Hart,  Strand,  Plainfield,  N.  J.  "David 
Copperfield,"  MGM;  "Old  Fashioned 
Way,"  Par. 

Sam  Gilman,  Loew's,  Harrisburg,  Pa. 
"David  Copperfield,"  MGM. 

(Continued  on  l>a(te  18) 


The  "Show  of  Showmanship" — written  in  terms  of  exploitation  by  the  exhibitors 
of  America  and  their  colleagues  in  foreign  countries — was  presented  by  Motion  Pic- 
ture Herald  this  week  to  packed  "houses"  at  the  New  York  Motion  Picture  Club. 
So  great  was  the  interest  shown  that  it  was  decided  to  make  it  an  annual  exposition, 
an  occasion  when  the  exhibitor's  own  show  of  selling  art  and  material  used  by  him  in 
the  promotion  of  his  theatre  and  its  attractions  will  be  put  on  view  for  all  the  industry 
to  study  and  appreciate. 

Sponsored  by  the  Herald  and  Motion  Picture  Club  and  executed  by  the  Round 
Table  Club,  the  exhibitor's  "Show  of  Showmanship"  concentrates  for  the  first  time  a 
cross  section  of  film  exploitation  in  the  United  States  and  abroad,  with  campaigns  for 
the  Quigley  Awards  entries  from  all  parts  of  the  world,  advertising  and  exploitation 
material  from  managers  in  the  field  and  every  conceivable  suggestion  or  method  for  pro- 
motion of  motion  pictures  exhibited  in    displays  calculated  to  interest  the  spectator. 

Showmen  in  all  branches  of  industry  activity,  distribution  and  advertising  ex- 
ecutives, and  the  advertising  representatives  of  other  industries,  were  there  this  week 
— all  interested  in  learning  something  of  the  motion  picture  showmanship  which  helps 
to  bring  dollars  to  the  box  office.  The  show,  which  had  an  estimated  attendance  of 
2,000  the  first  two  days,  has  been  scheduled  to  close  Thursday,  but  it  was  decided  to 
hold  it  over  through  Friday. 

WHALEN  PRESENTS  FEBRUARY  PLAQUES 
TO  ''FUZZY"  KNIGHT  AND  ED  DOUGLAS 

At  a  luncheon  Tuesday,  the  second  day  of  the  show,  the  Quigley  Awards  for  Feb- 
ruary were  presented  by  Grover  A.  Whalen,  president  of  the  New  York  Advertising 
Club  and  former  New  York  Police  Commissioner.  The  winner  of  the  silver  plaque 
was  R.  E.  "Fuzzy"  Knight  of  the  Fairmont  theatre,  Fairmont,  W.  Va.,  for  his  cam- 
paign on  Warner's  "Devil  Dogs  of  the  Air."  To  Mr.  Knight  also  went  the  distinc- 
tion of  being  the  only  theatre  manrger  to  have  won  the  Quigley  Award  twice.  The 
bronze  plaque  was  awarded  to  Ed  Douglas  of  Loew's  Kings  Theatre,  Brooklyn,  for 
his  campaign  on  MGM's  "Forsaking  All  Others." 

The  advertising  schools  of  Columbia  University  and  New  York  University 
were  to  participate  in  the  final  session,  in  addition  to  delegations  from  the  Advertis- 
ing Club  of  New  York,  leading  advertising  agencies  and  outside  theatre  circuits. 

The  luncheon  meeting  was  addressed  by  several  of  the  country's  outstanding  ad- 
vertising and  sales  executives,  both  in   the  motion  picture  and  other  industries 

In  introducing  Martin  Quigley,  the  chief  speaker  of  the  day,  Mr.  Nizer  paid  him 
special  tribute  when  he  said  that  Mr.  Quigley  has  been  "not  only  a  ptiblisher  but  the 
advisor  to  the  industry  as  well." 

"It  was  Martin  Quigley  who  forecast  the  storm  of  the  Legion  of  Decency,  and 
when  that  avalanche  occurred,  it  was  to  Mr.  Quigley  that  we  turned  for  advice  and 
guidance,  and  his  guidance  had  much  to  do  with  the  fact  that  the  industry  met  the 
Legion  of  Decency  on  its  own  grounds,"  Mr.  Nizer  said. 

QUIGLEY  POINTS  TO  NEED  OF  PROGRESS 
IN  METHODS  OF  EXPLOITING  PICTURES 

Mr.  Quigley,  in  the  spirit  of  the  occasion  of  showmanship,  pointed  out  that  there 
is  no  more  important  function  vital  to  the  welfare  of  the  industry  as  a  whole  than 
that  fulfilled  by  the  theatre  man  in  preparing  the  ways  to  present  films  to  the  public. 

"Roughly,  it  may  be  said  that  there  are  certain  motion  pictures  which  because  of 
some  essential  appeal  need  very  little  in  the  way  of  presentation  in  order  to  have 
the  public  response  of  a  character  that  is  wanted,"  Mr.  Quigley  pointed  out.  "Un- 
fortunately, it  seems  considerably  beyond  human  efifort  to  make  a  sufficient  number  of 

{Continued  on  Page  Fotirteen) 


10 


MOTION    PICTURE  HERALD 


April    6.    193  5 


Notes  on  First  Annual 


GROVER  WHALEN,  MARTIN  QUIGLEY  AND  R.  E.  KNIGHT  THE 
WINNER    OF    THE    QUIGLEY    AWARD    (SILVER)     FOR  FEBRUARY. 


TERRY  RAMSAYE,  PAUL  HOLLISTER,  AND  CHARLES  McCARTHY. 
DIRECTOR,   AND  ARCH    REEVE,   MANAGER,   OF   FOX  ADVERTISING! 


.- — ^ 


WARN 
ItOTNEIlS 


STUDIOUS  MANAGERS.  IN  FRONT:  PAUL  BINSTOCK  MONTY  MAC 
LEVY,    J.    BROWN,    MURRAY    ALPER,    SAM    FRIED,    IRVING  SACHS. 


WARNER  EXECUTIVES:  S.  CHARLES  EINFELD,  ADVERTISING;  H.  M. 
AND    ALBERT    WARNER;    JOSEPH    BERNHARD,    WARNER  THEATRES. 


April    6,    19  3  5  MOTION    PICTURE  HERALD 


HERALD  Show  of  Showmatisbip 


CONTINUING  LUNCHEON  HONOR  GUESTS  AS  SEATED  ON  DAIS  TO  THE  LEFT  OF  THOSE  SHOWN  ON  OPPOSITE  PAGE:  MARTIN  QUIGLEY, 
HARRY  HERSHFIELD,  FELIX  FEIST,  ALBERT  WARNER,  H.  D.  BUCKLEY,  TERRY  RAMSAYE,  A-MIKE  VOGEL,  AND  R.  E.  KNIGHT,   PLAQUE  WINNER. 


BELOW,  SUPERVISORS  OF  RANDFORCE  CIRCUIT:  MONTY  MAC  LEVY, 
HARRY  DAVIE,  GEORGE  DAVIS,  HAROLD  RINZLER,  SIDNEY  LEVINE,  GEORGE 
LANGBART,    J.    BERMAN,    ERWIN    GOLD  — AND    ADDING    A-MIKE  VOGEL, 


A  FURTIVE  RENDEZVOUS  AT  MGM'S  "SEQUOIA"  PUMA 
CAGE  — MESSRS.    RED    KANN    AND    S.   CHARLES  EINFELD. 


PAUL  BENJAMIN,  TREASURER  AMPA;  BILLY  FERGUSON,  PRESIDENT  AMPA; 
HARRY  BRANDT,  PRESIDENT  ITOA:  SI  SEADLER,  MGM  ADVERTISING  MANAGER. 


^  Here  Is  the  photographic  story  of  the  business 
of  showmanship  and  merchandising  in  this  pho- 
tographic industry  of  the  motion  picture.  The  camera 
tells  what  the  camera  sells,  and  how.  .  .  .  The  scene 
of  all  this  activity,  the  Show  of  Showmanship,  spon- 
sored by  Motion  Picture  Herald  and  the  Motion  Pic- 
ture Club,  and  executed  by  the  Round  Table  depart- 
ment of  the  Herald,  under  the  militant  administration 
of  A-Mike  Vogel,  showman  and  departmental  editor, 
is  the  Motion  Picture  Club's  sixth  floor  in  the  Bond 
Building  in  Broadway.  There,  for  the  whole  week,  this 
Show  of  Showmanship  played  to  capacity  to  showmen 
who  like  showmanship  and  who  consume  their  own  wares. 


!2  MOTION    PICTURE    HERALD  April    6,  1935 


What  Exhibitors  Say  of 


Typical  expressions  from  motion  picture  exhibitors,  circuit  operators, 
and  exhibitor  organization  leaders  and  others  of  the  industry,  addressed 
to  Motion  Picture  Herald  concerning  last  iveek's  presentations  of  the 
aunoiinced  program  of  the  National  Congress  of  Parents  and  Teachers  in 
connection  with  the  Pettengill  bill,  now  before  Congress,  follow: 


EDWARD  M.  FAY 
Fay's  Theatre, 
Providence,  R.  I. 

What  I  think  of  the  project  in  reference 
to  the  National  Congress  of  the  Parents 
and  Teachers  in  connection  with  their  con- 
templated scheme  of  entering  into  the  pic- 
ture business  would  not  be  fit  to  dictate 
to  my  stenographer,  and  assuming  you  use 
the  typewriter  yourself  anything  you  put 
on  paper  would  be  mild  in  comparison  to 
what  I  would  write.  .  .  .  After  consider- 
able experience  with  the  local  parent  and 
teachers  organization,  as  well  as  the  Con- 
gress of  Parents  and  Teachers  of  the  State 
of  Rhode  Island,  my  thoughts  go  double. 
»       »  » 

WALTER  VINCENT 

Wilmer  &  Vincent  Corporation, 

1776  Broadway,  Neif  York  City. 

If  the  passage  of  the  Pettengill  Bill  would 
give  to  this  Congress  (of  Parents  and 
Teachers)  the  power  that  they  expect  to 
grab,  the  motion  picture  exhibitor  would 
indeed  be  lost.  .  .  .  Personally,  !  think  that 
the  bill  cannot  possibly  be  passed,  although 
in  these  days  one  can  never  tell  what  may 
happen. 

»       »  » 

ABRAM  F.  MYERS 

Counsel,  Allied  States  Association  of 

Motion  Picture  Exhibitors, 

Securities  Building,  Washington,  D.  C. 

Your  telegram  to  Mrs.  Klock  rather  slyly 
suggested  the  answer  which  you  sought. 
I  am  sorry  that  Mrs.  Klock  did  not  sense 
the  purpose  of  the  inquiry  which  unwitting- 
ly afforded  you  an  utterly  irrelevant  argu- 
ment against  the  Pettengill  Bill.  No  ex- 
hibitor and  no  exhibitor  organization  would 
countenance  or  permit  a  program  such  as 
that  outlined  in  Mrs.  Klock's  telegram  and 
no  legislature  in  its  right  senses  would  sup- 
port such  a  program.  Aside  from  the  fact 
that  such  a  program  would  put  the  theatres 
out  of  business,  it  would  not  be  desirable 
from  the  standpoint  of  the  public,  for  the 
reason  that  all  informed  persons  know 
churches,  schools  and  similar  institutions 
are  not  built,  and  can  not  be  equipped,  to 
cope  with  the  fire  hazards  incident  to  the 
exhibition  of  motion  pictures  or  to  furnish 
proper  projection  and  reproduction  of 
sound. 

Coupling  the  Pettengill  Bill  with  the  ideas 
of  some  supporters  of  that  measure  relative 
to  putting  the  churches  and  schools  in  the 
motion  picture  business  is,  of  course,  a 
clever  stratagem  on  the  part  of  those  op- 


posing the  bill.  There  is  not  one  word  or 
sentence  in  the  bill  which  contemplates  ahy 
invasion  of  the  exhibition  field  by  non-the- 
atrical agencies  or  institutions. 

Let  me  repeat,  however,  that  in  my 
judgment  you  are  barking  up  an  empty 
tree.  Your  fears  with  respect  to  the  Pet- 
tengill Bill  remind  me  of  the  interpretation 
placed  on  chops  and  tomato  sauce  in  the 
celebrated  case  of  Bardell  vs.  Pickwick. 


» 


» 


» 


JACK  L.  WARNER,  Vice-President, 

Warner  Brothers 

Hollywood 

The  Motion  Picture  Herald  is  to  be  con- 
gratulated for  its  exposure  of  the  inten- 
tions of  those  behind  the  un-American 
Pettengill  bill  now  up  before  Congress. 

Experienced  showmen  today  are  finding, 
as  in  every  line  of  endeavor,  tough  enough 
sledding  to  keep  going.  To  burden  these 
exhibitors  with  the  unfair  competition  that 
the  Pettengill  bill  would  produce,  would 
mean  sounding  the  exhibitors'  death  knell 
and  would  soon  force  them  out  of  business. 


» 


» 


» 


E.  JOHN  GREER 

Salmon  is"  Greer,  Inc., 

Lensic  Theatre,  Santa  Fe,  New  Mexico. 

I  do  not  agree  with  Mrs.  Klock  and  am 
for  the  Block  Booking. 

And  as  to  the  schools  and  churches  go- 
ing into  the  showing  of  educational  pic- 
tures, we  the  theatre  owners  and  operators 
can  very  easily  handle  the  showing  of  any 
educational  pictures  that  may  be  made  and 
shown  to  the  public,  therefore  I  see  no 
reason  why  the  school  and  the  church 
should  go  into  the  exhibiting  game,  and 
do  hereby  state  that  I  am  against  it. 


» 


» 


» 


E.  L.  KUYKENDALL,  President, 

Motion  Picture  Theatre  Owners  of  America, 

1600  Broadway,  New  York  City. 

I  was  a  little  surprised  that  Mrs.  Klock 
would  openly  admit  the  purpose  behind 
their  support  of  the  Pettengill  bill.  How- 
ever, I  have  known  for  several  weeks  that 
that  was  the  motivating  influence.  You 
have  handled  the  subject  In  a  masterly  man- 
ner and  it  should  be  of  untold  benefit  in 
arousing  the  dumb-bell  exhibitors  of  this 
country  who  are  so  simple  minded  that 
they  are  actually  supporting  the  Pettengill 
bill.  I  have  seen  hundreds  of  letters  they 
sent  to  Congressmen  and  Senators  asking 
them  to  support  this  obnoxious  bill. 


SIDNEY  E.  SAMUELSON 

President,  Allied  States  Association  of 
Motion  Picture  Exhibitors, 
Hotel  Lincoln,  New  York. 

I  see  nothing  in  the  Pettengill  Bill  that 
will  alter  the  present  non-theatrical  status. 
After  all,  distributors  have  always  asserted 
their  right  to  choose  their  customers.  To- 
day they  are  serving  selective  contracts  to 
non-theatricals  while  the  competing  exhibi- 
tor  Is   compelled   to   exhibit  everything. 

I  am  opposed  to  non-theatricals  except 
for  shut-ins.  However,  if  you  will  search 
the  files  of  your  own  paper  you  will  dis- 
cover several  territories  where  distributors 
use  the  non-theatrical  threat  to  force  ex- 
hibitors to  buy  complete  feature  film  blocks. 

I  am  in  favor  of  the  Pettengill  Bill  and 
will  continue  to  work  for  its  enactment,  feel- 
ing certain  that  it  will  benefit  every  per- 
son and  enterprise  engaged  in  this  business. 
»        »  » 

JAY  MEANS 

The  Means  Theatres, 

Kansas  City,  Mo. 

In  the  face  of  the  amazing  frankness  of 
Mrs.  Klock  the  distributor  who  does  not 
heed  the  obvious  warning  to  work  with  the 
exhibitor  in  an  honest,  practical  way  will 
suffer  the  results. 

I  do  not  believe  that  the  exhibitors 
would  have  wanted  this  bill  if  the  distribu- 
tors had  granted  a  20%  cancellation  privi- 
lege. Even  the  10%  code  allowance  is 
blocked  by  all  the  technicalities  some  dis- 
tributors can  evolve;  when  operating  at  its 
best  the  code  provisions  are  very  unsatis- 
factory on  this  point.  The  distributors  did 
not  heed  the  years'  warning  of  the  exhibi- 
tors on  decency  in  pictures,  but  the  League 
of  Decency  gave  them  a  sock  that  meant 
something. 

If  Mrs.  Klock's  prediction  that  pictures 
will  be  made  available  for  schools,  church- 
es, and  clubs  comes  true,  it  would  be  a 
terrific  sock  to  exhibitors  as  well  as  distrib- 
utors, but  such  a  condition  will  result,  and 
with  the  support  of  the  exhibitors,  if  the 
distributors  do  not  give  a  liberal  cancella- 
tion allowance. 


» 


» 


» 


GUY  E.  MATTHEWS 
Allied  Theatres  of  Oregon, 
The  Dalles,  Oregon. 

The  Pettengill  Bill  is  sure  Death,  if  put 
over.  Obviously  I  am  opposed  to  it  the 
same  as  any  one  else  in  any  industry  would 
be  if  imposed  upon  them. 

Sooner  or  later,  all  connected  with  the 
motion  picture  industry  will  wake  up  and 
have  some  part  of  their  business  kept  a 
secret.  We  are  loath  to  exploit  what  we 
invested  In  such  and  such  a  theatre  (double 
our  investment  or  triple  it)  to  attract  the 
people.  Actors',  etc.,  salaries  are  published 
as  so  much  cigaret  advertising.  We  have 
followed  this  line  so  long  I  fear  now  we 


April    6  ,  1935 


MOTION    PICTURE  HERALD 


13 


Parents  - 

are  facing  a  proposition  where  we  have 
got  to  test  our  real  business  ability  and 
cut  out  publishing  the  heart  of  our  business. 

»       »  » 
M.  A.  LIGHTMAN,  President, 
Malco  Theatres,  Inc., 
Memphis,  Tenn. 

It  seems  that  most  people  don't  realize 
that  the  motion  picture  theatre  is  com- 
pelled to  carry  the  same  burdens  and  ob- 
ligations the  other  industries  carry  (or  I 
should  say  in  most  instances  a  great  deaJ 
more).  Mrs.  Klock  points  out  that  the  fine 
pictures  would  receive  wider  distribution 
if  such  organizations  were  permitted  to 
show  them.  She  overlooks  the  fundamental 
fact  that  these  splendid  productions  can 
be  made  only  if  it  is  profitable  to  make 
them  and  that  means  that  a  profit  can  be 
made  only  through  an  efficient  operation 
of  an  industry. 

»       »  » 

DAVID  BARRIST 
Secretary -Treasiirer, 
Mayfair  Theatres  Corp., 
Philadelphia,  Pa. 

I  think  your  concern  of  a  wholesale  in- 
vasion of  the  theatre  field  on  the  part  ol 
non-theatrical  institutions,  as  a  result  of 
the  elimination  of  block  booking,  is  an  ex- 
aggerated fear. 

I  fail  to  see  why  these  same  church  and 
civic  organizations,  with  block  booking 
eliminated,  will  be  better  enabled  to  buy 
film  than  they  are  today. 

In  this  entire  film  zone  there  is  not  a 
single  instance  of  a  non-theatrical  institu- 
tion which  has  made  a  success  as  a  regular 
purveyor  of  entertainment.  A  church  here 
and  there,  a  club  featuring  Sunday  night 
shows — and  you  have  the  whole  non-the- 
atrical situation. 

The  only  exhibitors  today  who  favor  block 
booking  are  those  In  highly  competitive 
situations  whose  chief  difficulty  is  getting 
film.  I  have  such  a  spot  myself,  but  I  am 
"agin"  block  booking.  I  think  If  the  mar- 
ket for  a  quality  product  were  intensified 
and  that  for  mediocre  product  contracted, 
that  it  would  result  in  more  class  "A" 
pictures. 

»       »  » 

FRED  WEHRENBERG,  President, 
M.P.T.O.  of  St.  Louis,  Eastern  Missouri  and 
Southern  Illinois, 
St.  Louis,  Mo. 

It  seems  to  me  that  Mrs.  Klock  was  left 
without  the  proper  contact  from  theatre 
owners  In  regards  to  public  relations. 

The  idea  of  putting  the  churches,  schools 
and  other  civic  organizations  on  a  par  with 
established  motion  picture  theatres,  giving 
them  the  right  to  exhibit  all  photoplays,  is 
all  wrong.  That  is  why  we  need  a  stronger 
non-theatrical  section  in  the  Code  for  the 
Motion  Picture  Industry. 


CARL  LAEMMLE 

President,  Universal  Pictures  Corp., 
Universal  City,  Cal. 

As  far  as  the  Universal  Company 
is  concerned  we  are  interested  first  in 
doing  business  with  theatres,  and  the 
only  time  when  we  are  ready  to 
serve  churches  or  schools  or  other 
non-theatrical  institutions  is  when 
such  a  service  cannot  hurt  the  busi- 
ness or  Income  of  our  natural  cus- 
tomers, namely,  the  motion  picture 
theatres.  This  has  been  my  stand  for 
over  a  quarter  of  a  century  and  it 
will  require  more  than  an  III  con- 
sidered Congressional  bill  to  upset  it. 


C.  E.  WILLIAMS,  President, 

MPTO  of  Nebraska  and  Western  Iowa 

Park  Theatre,  Omaha,  Neb. 

Should  the  effort  of  this  wedge  driving 
become  an  actuality  I  can  visualize  noth- 
ing but  ruin  for  the  small  exhibitor  in  the 
rural  districts.  The  larger  first  run  houses 
In  cities  of  importance,  the  producers  and 
the  distributors  could  not  possibly  be  in 
the  adverse  situation  of  the  small  towner. 

I  think  each  of  us  must  realize  that  over 
night  In  eight  or  ten  thousand  towns  and 
villages  a  competitive  theatre  would  be- 
come operative,  most  of  them  without 
taxation,  investment  or  "what  have  you." 
Each  lodge  member,  school  child  or  church 
member  would  become  a  ticket  salesman 
and  solicitor  for  their  own  particular  group. 

I  presume  Mr.  Pettenglll  and  his  bill  be- 
lieve they  are  shooting  at  the  producer. 
If,  however,  this  bill  should  actualize  Mrs. 
Kiock's  vision,  he  and  his  bill  would  be 
actually  shooting  the  exhibitor,  and  1  don't 
mean  shooting  at.  You  then,  Mr.  Ram- 
saye,  could  drive  to  many  thousand  vil- 
lages in  this  "Land  of  the  Free"  and  see 
an  epitaph  on  the  little  theatre  door 
something  such  as  this:  "My  boss  was  cru- 
cified and  has  gone  hence.  Through  trials 
and  tribulations,  sunshine  and  shadow, 
drought,  failures  and  famine,  busybodies 
and  chiselers,  he  carried  on.  Then  the 
government  went  feminine  and  they  car- 
ried him  away." 

»    »  » 

R.  X.  WILLIAMS,  JR., 

Secretary-Treasurer, 

Motion  Picture  Theatre  Owners  of 

Arkansas,  Mississippi  and  Tennessee, 

Oxford,  Miss. 

The  National  Congress  of  Parents  and 
Teachers  havn  as  their  officials  thore  who 
are  most  interested  in  breaking  into  the 
press,  motion  pictures  or  any  other  form 
of  advertising.  1  find  that  In  most  in- 
stances they  have  no  children  of  their  own, 
if  so  they  are  divorced  from  their  families 
and  have  made  little  or  no  success  of  their 
own  homes. 


P/an 


I  am  of  the  opinion  that  any  one  inter- 
ested in  the  motion  picture  industry  should 
get  into  the  industry  by  buying  a  building 
and  going  into  the  show  business.  They 
will  then  be  in  a  position  to  do  a  great 
good  for  the  business  and  will  not  be  in 
the  position  of  the  dog  barking  at  the 
moon.  People  who  try  to  tell  us  how  to 
operate  our  business  and  at  the  same  time 
have  no  business  of  their  own  make  little 
or   no  impression. 

Churches  and  schools  are  exempt  from 
all  forms  of  taxations  and  both  are  leaving 
their  fundamental  principles  of  religion  and 
education.  Those  are  the  two  things  most 
neglected  In  both  today.  If  they  are  In- 
terested In  going  into  the  amusement  world 
then  why  exempt  them  from  taxes,  pay 
preachers  and  school  teachers.  It  will  take 
only  one  manager  for  the  school  and  one 
for  the  church  and  this  will  save  money  on 
operation. 

The  theatres  in  any  community  will  al- 
ways show  the  pictures  the  public  demands. 

If  Mrs.  Klock  was  in  any  manner  inter- 
ested In  welfare  work  without  publicity  and 
enormous  pay  she  would  go  into  the 
grocery  business  and  do  some  real  welfare 
work.  I  have  done  quite  a  bit  of  welfare 
work  in  my  community  and  I  find  what  they 
are  In  need  of  and  most  desire  is  food, 
clothes  and  a  place  to  work,  and  have  never 
raised  the  question  of  the  amusement  of 
them,  to  say  nothing  of  a  complaint  of  the 
kind  offered  at  local  theatres.  Her  ex- 
pressions are  strictly  personal  and  not  from 
the  majority  of  the  parent-teachers  of  the 
nation.  None  of  the  local  groups  want 
movies  in  the  schools  or  churches  and  with 
a  checkup  on  the  local  groups  you  will  find 
that  they  want  their  children  out  of  the 
buildings  when  they  are  not  studying  their 
textbooks. 

1  believe  that  if  the  trade  journals  and 
papers  would  keep  the  names  of  these  In- 
terested in  reconstruction  of  the  motion 
picture  industry  out  of  print  they  would 
soon  fade  from  the  picture  as  what  they 
care  for  most  is  publicity. 

My  connection  with  the  entire  situation 
is  as  follows:  I  have  two  children,  one  10 
years  and  one  3,  both  girls,  I  am  a  member 
of  the  P.  T.  A.,  a  Rotarian,  college  gradu- 
ate and  mayor  of  the  city  in  which  I  live. 

»       »  » 

Among  others  who  commented  were 
Karl  Hoblltzelle,  head  of  Interstate  Circuit, 
Inc.,  Dallas,  Texas,  who  called  the  article 
"to  the  point  and  very  effective";  H.  E. 
Huffman,  president  and  general  manager 
of  General  Theatres,  Inc.,  Denver,  Col., 
who  said  the  article  "should  receive  a  vote 
of  thanks  from  every  exhibitor";  and  B.  F. 
Shearer,  of  the  circuit  bearing  his  name,  at 
Seattle,  Wash.,  who  declared  he  "appre- 
ciated particularly  what  the  article  will 
accomplish." 


14 


MOTION    PICTURE  HERALD 


April    6 ,  1935 


^BOX  OFFICE  DEPENDS  ON  SHOWMAN' 


(Continued  from  page  9) 

pictures  of  that  character  to  keep  the  the- 
atre supplied. 

"There  is  another  type  of  picture  which 
we  in  the  trade  frequently  refer  to  as  the 
exploitation  picture,  which  most  readily 
lends  itself  to  methods  of  promotion  and  ex- 
ploitation. Both  types  of  pictures  represent, 
however,  only  a  small  part  of  all  the  product 
which  theatres  need. 

"There  is  a  greater,  medium  class — that 
class  of  picture  upon  which  all  theatres  de- 
pend for  their  existence." 

Depends  on  Presentation 

Mr.  Quigley  said  that  in  a  great  many  in- 
stances, in  connection  with  the  medium  class 
of  picture,  what  the  production  will  amount 
to  in  the  public  mind  depends  to  a  great  ex- 
tent upon  the  spirit  and  intelligence  with 
which  the  exhibitor  presents  that  picture  to 
his  public. 

"Despite  anything  of  any  other  character 
that  might  be  done  anywhere  else,  through- 
out the  length  of  the  industry,  there  is  noth- 
ing to  suggest  continued  progress  and  de- 
velopment unless  there  is  continued  progress 
and  development  in  methods  of  promotion 
and  exploitation,"  he  said. 

Award  Made  Permanent 

Mr.  Quigley  concluded  by  saying  that  in 
developing  the  plan  of  Awards  for  excel- 
lence in  matter  of  promotion  and  exploita- 
tion. Motion  Picture  Herald  has  sought 
to  do  two  things :  first,  to  devise  a  means  in- 
tended to  stimulate  better  and  still  better 
activities  along  motion  picture  exploitation 
lines,  and,  secondly,  to  give  proper  recogni- 
tion to  theatre  men  whose  skill  and  efforts 
have  and  are  contributing  so  much  to  the 
industry's  welfare. 

"Motion  Picture  Herald  is  grateful  be- 
cause of  the  fine  recognition  which  has  been 
accorded  to  this  plan  throughout  the  indus- 
try," he  said.  "It  feels  well  rewarded  in  the 
recognition  which  it  has  received  and  I  am 
very  happy  to  announce  that  as  the  result  of 
this  first  year's  efforts.  Motion  Picture 
Herald  has  determined  to  keep  this  plan  of 
activity  as  a  permanent  Award." 

Challenge  Met,  Says  Whalen 

In  presenting  the  silver  and  bronze  plaques 
for  the  February  Awards,  Grover  A. 
Whalen  said  in  part : 

"I  would  not  think  of  presenting  the 
plaques  without  first  paying  a  compliment  to 
the  motion  picture  industry.  There  was  a 
challenge  given  to  the  industry  not  long 
ago  by  the  public,  and  it  is  to  the  great  credit 
of  this  industry  that  it  met  the  challenge 
and  successfully  cleaned  house  itself.  For 
that  accomplishment  you  deserve  the  great- 
est amount  of  praise  and  appreciation  on  the 
part  of  the  public,  because  any  industry  that 
can  handle  itself  the  way  you  did  on  this 
particular  occasion  deserves  the  applause  of 
the  general  public." 

Other  speakers  were  Barron  Collier,  Jr., 
Paul  Hollister,  Harry  Hershfield  and  John 
W.  Alicoate. 

The  complete  roster  of  speakers  and  others 
seated  on  the  dais  follows: 

Grover  A.  Whalen,  President,  New  York 


'DOLLAR  DAY  SALE' 
IDEA  IN  PREVIEWS 

Universal  has  adopted  Hollywood's 
'Dollar  Day  Sale'  idea.    Recently  it 
previewed  "Rendezvous  at  Midnight" 
at  two  Hollywood  theatres  on  the  same 
evening. 

Picking  the  Ritz  and  the  Fairfax 
theatres,  both  neighborhood  houses,  re- 
viewers were  left  to  choose  the  loca- 
tion nearest  their  dining  halls. 

In  spotting  the  preview  in  these 
two  theatres.  Universal  gave  extra 
work  to  helpers,  and  satisfied  two  the- 
atre managers,  which  is  something  or 
other. 


Advertising  Club ;  Louis  Nizer,  Counsel,  New 
York  Film  Board  of  Trade ;  Martin  Quigley, 
Editor  and  Publisher,  Quigley  Publications ; 
CoLviN  Brown,  Vice-President  and  General 
Manager,  Quigley  Publications ;  Terry  Ram- 
SAYE,  Editor,  Motion  Picture  Herald;  John 
W.  Alicoate,  Publisher,  Film  Daily ;  A-Mike 
Vogel,  Chairman,  Round  Table  Club ;  Harey' 
M.  Warner,  President,  Warner  Bros. ;  Maj. 
Albert  Warner,  Vice-President,  Warner 
Bros. ;  Felix  F.  Feist,  General  sales  manager, 
Metro-Goldwyn-Mayer  ;  Paul  Hollister,  Vice  - 
President,  R.  H.  Macy  &  Co. ;  Barron  Col- 
lier, Jr.,  Barron  Collier  Advertising  Co. ; 
Alden  J.  CusiCK,  General  Outdoor  Advertising 
Co. ;  Jules  Levy,  RKO  Radio  sales  manager ; 
John  D.  Clark,  Fox  Film  sales  manager ;  Lee 
OcHS,  New  York  theatre  operator ;  Joseph 
Bernhard,  Warner  Theatres  executive;  Harry 
Hershfield,  Humorist;  John  C.  Flinn,  Ex- 
ecutive Secretary,  Motion  Picture  Code  Author- 
ity ;  Ed  Douglas,  Exhibitor,  Winner  Bronze 
Plaque  for  February ;  R.  E.  Knight,  Exhibitor, 
Winner  Silver  Plaque  for  February. 

Everything  for  Exploitation 

The  "Show  of  Showmanship"  itself  was 
held  in  the  lounge  and  bar  of  the  Motion 
Picture  Club  and  comprised  in  the  main  the 
advertising  exhibits  of  all  major  companies; 
reproductions  of  lobby  displays  and  ticket- 
selling  fronts ;  national  tieups,  newspaper 
advertising  styles  and  suggestions,  accesso- 
ries and  press  books,  short  subject  exploita- 
tion suggestions,  poster  and  lobby  designs — 
in  short,  everything  it  takes  to  operate  the 
motion  picture  theatre  from  an  advertising 
standpoint. 

Metro-Goldwyn-Mayer  had  on  display  the 
puma  which  figured  prominently  in  its  pic- 
ture, "Sequoia,"  an  exhibition  of  stills  of 
exploitation  in  foreign  countries,  and 
specially  prepared  electrical  transcription 
records  of  songs  and  music  from  "Naughty 
Marietta"  and  "Reckless." 

The  lounge  and  bar  was  a  constantly  mov- 
ing mass  of  motion  picture  personalities.  A 
group  would  pause  at  the  Warner  exhibit 
just  inside  the  entrance  to  the  lounge  and 
before  it  could  properly  assimilate  every- 
thing therein  would  be  pushed  on  to  the 


MGM  and  RKO  Radio  displays  by  another 
incoming  group. 

In  the  RKO  Radio  exhibit  was  a  fashion 
show,  with  marionettes  in  miniature  copies 
of  gowns  worn  in  "Roberta."  A  large  card- 
board cut-out  of  Katharine  Hepburn  smiled 
at  the  crowds  and  pointed  to  a  needlework 
exhibit.  The  Dionne  quintuplets,  in  "minia- 
ture," were  in  the  RKO  section,  too,  testify- 
ing to  the  "scoop  of  scoops"  by  the  Pathe 
News  in  getting  the  first  pictures  of  the 
babies. 

In  another  corner.  United  Artists  was  rep- 
resented by  an  electric  train  rushing  around 
a  track  in  the  center  of  which  were  letters 
announcing  that  "United  Artists  Sets  New 
Speed  Records  With  Box  Office  Pace- 
makers." Each  Pullman  was  dedicated  to 
one  of  the  United  Artists  producers — Samuel 
Goldwyn,  London  Films,  20th  Century,  Brit- 
ish &  Dominions  and  Reliance. 

GB  Productions'  display  featured  bril- 
liantly colored  posters  of  productions  as  well 
as  pictures  of  Terry  Ramsaye  and  Red  Kann. 

Hundreds  of  Campaigns 

Fox's  exhibit  was  all  Shirley  Temple,  with 
lobby  cut-outs,  while  Columbia  went  all  out 
on  suggestions  for  its  current  campaign  on 
"The  Whole  Town's  Talking." 

Paramount  and  Universal  were  repre- 
sented with  helpful  hints  on  current  and 
forthcoming  productions. 

In  the  center  of  the  room  was  a  long  table, 
at  the  end  of  which  was  a  display  of  Quig- 
ley Publications,  with  an  8  ft.,  10  in.  by  7 
ft.,  6  in.  picture  of  Vice-President  Garner 
presenting  the  Quigley  Grand  Award  for 
1934. 

On  the  long  table  were  piled  the  cam- 
paigns of  several  hundred  theatre  men  as 
entries  for  the  Quigley  Awards — the  cam- 
paigns which  are  the  backbone  of  the  annual 
"Show  of  Showmanship." 

Boycott  Called 
In  New  Orleans 

New  Orleans  independent  exhibitors,  with 
theatre  men  from  the  surrounding  territory, 
this  week  decided  to  withhold  their  patron- 
age from  one  film  exchange  to  be  decided 
on  at  a  later  date  by  the  board  of  the  In- 
dependent Exhibitors  Association  as  punish- 
ment for  alleged  discriminatory  distribution. 

It  was  decided  that  the  withholding  of  at 
least  $25,000  of  business  from  one  exchange 
one  year,  and  the  same  amount  from  an- 
other the  following  year,  would  have  the 
effect  of  making  the  exchanges  accede  to 
the  independents'  demands. 


Inspectors  To  Unionize 

Film  inspectors  employed  in  local  ex- 
changes in  New  York  are  moving  to  union- 
ize. According  to  the  plan,  an  American 
Federation  of  Labor  charter  will  be  sought, 
with  subsequent  moves  to  be  made  for  a 
uniform  wage  scale  and  hours. 


April    6 ,  1935 


MOTION    PICTURE  HERALD 


15 


QP 


THE  CAMERA  CEDCCTS 


A  MODEL.  Was  Irene  Dunne,  RKO  Radio  star,  as 
she  posed  for  leading  artists  while  guest  of  honor 
at  a  reception  of  the  Society  of  Illustrators,  incident 
to  their  annual  exhibition,  which  was  held  at  Radio 
City  in  New  York  last  wee 


A  SILENT  STAR.  Mae  Busch,  a  star  years  ago, 
studies  the  script  of  Warner's  "Stranded,"  with 
Frank  Borzage,  director. 

ON  THE  WAY.   (Left)  Is  Dorothy  Thompson,  just 

given  a  stock  contract  by  Paramount. 


SECOND  GENERATION.  Of  screen  youngsters, 
have  their  pictures  taken.  Lee  and  Barbara  Nugent 
(at  top),  whose  daddy  is  Elliott  Nugent,  join  Para- 
mount children  David  Holt,  Virginia  Weldler,  Lois 
Kent,  Betty  Holt,  Baby  LeRoy  and  Billy  Lee. 


OH,  SEE!  OH,  GOSH!  Walls  Harry  Langdon,  as  he  casts  a  not  too  enthu- 
siastic eye  on  that  pile  of  spuds,  waiting  to  have  their  jackets  removed  by  Harry, 
the  poor  little  soldier  who  has  been  assigned  to  KP  (Kitchen  Police  to  you)  in 
the  Columbia  Pictures  short  subject,  "The  Leather  Necker,"  just  completed  on 
the  Coast,  and  one  of  the  Broadway  Comedies  series. 


16 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


ELECTED.  Reserve  Major  Rich- 
ard N.  Sears,  Pathe  cameraman 
in  Boston,  elected  president  of 
the  New  England  Signal  Post. 

CAST.  (Below)  In  Monogram's 
"The  Healer,"  is  Karen  Morley, 
wife  of  Charles  Vidor. 


ALL  EARS.  One  of  which  is  being  used  by 
Anita  Louise,  young  player  on  the  set  of  War- 
ner's "A  Midsummer  Night's  Dream,"  to  whisper 
a  secret  to — James  Cagney,  believe  it  or  not, 
who  is  the  man  behind  the  ears. 


SINGING  STAR.  Grace  Moore,  operatic  star 
who  scored  in  "One  Night  of  Love,"  here  ap- 
pears in  an  early  scene  from  her  latest  starring 
vehicle  for  Columbia,  "Love  Me  Forever,"  being 
directed  by  Victor  Schertzinger. 


A  KNOTTY  PROBLEM.  Apparently  both  in  front  of  him  and  be- 
side him,  is  encountered  by  Buster  Keaton,  the  awkward  recruit,  in 
the  navy  and  romance,  as  in  Educational's  comedy,  "Tars  and 
Stripes,"  which  has  just  been  completed  at  the  San  Diego  Naval 
Training  Station. 


VISITING  ADMIRAL.  Greeted  at  the  Fox  Movietone  City  studio 
on  a  recent  visit  to  the  Coast  by  Warner  Baxter,  Fox  star,  was 
Admiral  Joseph  M.  Ree/es,  Commander  in  Chief  of  the  United 
States  fleet.  Baxter  came  off  the  set  of  "Under  the  Pampas  Moon," 
costumed  for  his  leading  role. 


April    6,     19  3  5 


MOTION    PICTURE  HERALD 


NEWSREELS  COVER  STEEPLECHASE; 

AND  THEN  THE  TROUBLE  STARTS 


A.  P.  Says  British  Cameramen 
Rushed  "Yankees'"  Towers, 
Set  Off  Flare  Bombs  Blamed 
for   Balk  of  Golden  Miller 

Associated  Press  sent  the  following  news 
cable  Monday  from  London  to  its  newspaper 
wire  franchise  holders  in  the  United  States, 
as  published  in  the  New  York  Times: 

A  feud  between  British  and  American  newsreel 
photographers  was  blamed  tonight  by  competent 
spokesmen  for  the  failure  of  Golden  Miller,  red- 
hot  favorite,  to  finish  in  the  Grand  National 
steeplechase  at  Aintree,  Friday. 

It  was  said  that  a  flash  of  light  and  a  billowing 
cloud  of  smoke  from  a  photographer's  old-fash- 
ioned flash  gun  startled  Golden  Miller  just  as  he 
was  getting  ready  to  make  a  jump,  causing  the 
horse  to  "refuse"  and  spill  Jockey  Gerry  Wilson, 
thus  saving  British  bookmakers  some  $10,000,000. 

Certain  British  newsreel  interests,  it  was  stated, 
had  purchased  exclusive  official  photographing 
rights  on  the  inside  course,  paying  £1,500,  but 
enterprising  American  rivals  had  rushed  up  with 
high  platform  towers  at  the  last  minute  and 
stationed  them  at  strategic  points  on  the  outside 
course. 

When  British  cameramen  discovered  this  "Yan- 
kee trick"  it  was  claimed  they  attempted  to  storm 
one  of  the  towers,  rocking  it  violently  and  attempt- 
ing to  pull  it  down  while  American  photographers 
were  grinding  away  on  it. 

British  policemen  drove  off  the  assailants, 
whereupon  the  British  movie  men  were  said  to 
have  resolved  upon  some  strategy  of  their  own. 
This  was  revealed  when  a  flare  bomb  suddenly 
burst  at  a  crucial  moment,  just  as  the  rest  of 
the  field  approached  the  American  cameras,  cut- 
ting off  their  view  and  incidentally,  it  was  said, 
prompting  Golden  Miller's  $10,000,000  balk. 

Reproductions  of  the  American  photographers' 
shots  were  published  in  London  newspapers  over 
those  of  their  British  rivals,  showing  Golden 
Miller  approaching  the  jump,  one  of  the  smallest 
of  the  course,  and  subsequent  scenes,  somewhat 
obscured  by  smoke,  showing  a  riderless  horse  with 
Jockey  Wilson  on  the  ground. 

The  running  of  the  97th  annual  British  Grand 
National  Steeplechase  last  Friday  at  Aintree 
found  Gaumont-British  News,  British  Movie- 
tone (Fox),  and  British  Metrotone  (Hearst- 
Metrotone),  described  by  Associated  Press  as 
"certain  British  newsreel  interests,"  pitted 
against  Pathe,  Paramount  and  Universal,  which 
would  represent  the  "Yankees." 

Poaching  a  Normal  Procedure 

In  England  poaching  is  accepted  by  virtually 
all  companies  as  quite  normal  procedure.  News- 
reel  rights  are  awarded  over  there,  for  a  price, 
to  one  company  exclusively,  or  to  a  combination 
of  interests,  for  practically  every  public  event 
that  can  be  controlled  by  the  authorities,  from 
the  trooping  of  the  colors  at  the  Horse  Guards 
Parade  behind  their  stables  in  London,  to  a 
Grand  National  Steeplechase.  It  is  found  neces- 
sary to  follow  the  practice  with  some  consist- 
ency in  order  to  fulfill  their  obligation  as  a 
news  dispenser  both  to  theatre  owner  and  the 
public. 

The  British  parcel  out  these  exclusive  filming 
rights,  a  custom  of  their  own,  from  a  few  dol- 
lars for  the  rights  to  a  second-rate  tennis 
match  and  the  like,  to  $7,500  and  $10,000  for 
an  event  of  the  importance  of  the  Grand  Na- 
tional. 

However,  this  week's  episode  immediately 
revived  discussion  in  London  of  the  advisability 
of  abandoning  the  system  and  permitting  all 
newsreels  to  film  unmolested  in  the  open,  with- 
out charge,  a  condition  for  which  the  Ameri- 
can managements  have  fought  in  England  for 


years.  It  is  held  that  the  present  practice  does 
not  protect  the  reel  which  pays  for  the  fran- 
chise, and  compels  the  others  to  poach  on  the 
event  at  considerable  trouble  and  unnecessary 
expense. 

The  socalled  "feud"  so  internationally  flavored 
as  an  Anglo-American  controversy  by  the  As- 
sociated Press  was  nothing  more  than  the 
usual  strategy  to  prevent  competitive  camera- 
men from  stealing  pictures  to  which  others  had 
purchased  "exclusive"  rights.  It  probably  did 
result  in  a  more  realistic  "roughing  up"  of  the 
poachers  than  is  ordinarily  handed  out,  but  even 
that  is  not  a  new  experience  to  newsreel  cam- 
eramen who  are  ordered  and  determined  to 
cover  the  news  of  the  day  by  camera  and  micro- 
phone. 


Pathe  Gazette  Withdrew  Bid 

Pathe  Gazette,  which  gives  British  newsreel 
coverage  to  RKO's  Pathe  News,  had,  as  the 
highest  bidder,  controlled  the  Grand  National 
rights  alone  for  some  12  years,  withdrawing  its 
high  bid  for  last  week's  classic.  The  reason 
was  not  officially  disclosed,  but  it  was  intimated 
in  New  York  that  the  company  felt  it  had  paid 
for  the  franchise  long  enough,  while  the  others 
stole  the  same  pictures,  and  this  year  it  would 
take  its  chance  on  the  outside  while  some  other 
reel  footed  the  bill. 

Gaumont-British  News  and  British  Movie- 
tone had  purchased  the  franchise  together,  re- 
putedly for  $7,500.  This  gave  Hearst's  affiliate, 
British  Metrotone,  the  right  to  a  copy,  since 
Gaumont  in  England  and  Metrotone  in  the 
United  States  have  an  agreement  to  exchange 
all  material  between  them.  Gaumont-British 
News  is  the  only  newsreel  in  England  con- 
trolled by  a  British  corporation,  Gaumont- 
British  Pictures,  Ltd.,  largest  producing- 
distributing-exhibiting  company  in  Great 
Britain.  Fox  Film  Corporation  and  Gaumont- 
British  have  a  sympathetic  relation.  Fox  hav- 
ing a  $17,087,618  equity  in  Gaumont  through  its 
investments  in  Metropolis  and  Bradford  Trust 
Company,  of  London,  which  controls  Gaumont. 

"Poaching"  Jointly 

The  Fox-Gaumont-Hearst  combination  left 
Paramount,  Pathe  and  Universal  on  the  out- 
side, and  so  they  proceeded  to  "poach"  jointly, 
as  outsiders  have  always  done.  They  filmed  the 
race,  but  what  happened  at  the  course  is  an- 
other matter. 

Regardless  of  who  was  responsible  for 
the  "flare"  and  subsequent  smoke  dis- 
charge, and  the  reasons  involved  in  their 
use,  the  consensus  in  newsreel  circles  is 
that  neither  had  anything  to  do  with  the 
behavior  of  Golden  Miller.  Nor  were 
there  any  innuendos  forthcoming  from 
official  sources.  The  horse  threw  the  same 
jockey  at  another  race  the  next  day,  and 
there  Is  no  record  of  any  nearby  flares 
causing  that  incident. 

Truman  Talley,  producer  of  Fox  Movietone, 
in  New  York,  was  riled  at  the  Associated  Press 
account  of  what  took  place  at  Aintree,  and 
charged  the  news  service  with  "attempting  to 
build  up  in  the  newspapers  a  feud  between  Brit- 
ish and  American  newsreels." 

"Furthermore,"  he  declared,  "the  Associated 
Press  was  very  inconsistent  in  its  dispatch." 

Mr.  Talley  pointed  out  that  the  news  cable 
reported  in  one  place  that  "a  feud  between 
British  and  American  newsreel  photographers 
was  blamed"  for  the  accident  to  Golden  Miller, 
while  it  reported  in  a  subsequent  paragraph  that 
"a  flash  of  light  and  a  billowing  cloud  of  smoke 
from  a  photographer's  old-fashioned  flash  gun 
startled  the  favorite." 

"Everyone   knows,"   he   explained,    "that  a 


Americans  Say  Poaching  Is  Nor- 
mal Strategy,  Deny  "Feud", 
Blame  Newspaper  Photogra- 
pher's Oldstyle  Powder  Flash 

newsreel  cameraman  never  carries  artificial 
lighting  to  a  race  track.  Obviously  it  was  a 
newspaper  still  cameraman  who  shot  off  an  old- 
style  powder  flash  as  the  horse  was  about  to 
take  the  jump.  It's  probably  the  old  story  of  the 
newspapers  blaming  the  newsreels  for  something 
they  did  themselves. 

"The  Associated  Press  talks  about  a 
feud  between  British  and  American  news- 
reel  photographers,"  continued  Mr.  Talley, 
"whereas  there  are  no  American  newsreel 
photographers  in  England.  The  newsreel 
affiliates  over  there  are  separate  organi- 
zations, staffed  by  all-British  right  down 
to  the  office  boys." 

Fox  Movietone,  Hearst  Metrotone  and  Para- 
mount News  in  New  York  had  not  heard  from 
London  about  the  episode.  They  were  first  in- 
formed by  the  Associated  Press  dispatch  ap- 
pearing in  New  York  newspapers. 

M.  D.  Clofine,  editor-in-chief  of  Metrotone, 
held  to  the  same  opinion  as  Mr.  Talley,  that 
the  flare  was  set  off  by  newspaper  still  photog- 
raphers. 

W.  P.  Montague  of  Paramount  News  de- 
nounced the  British  system  of  selling  rights  to 
newsreels  to  film  public  events. 

The  five  newsreels  in  New  York  were  await- 
ing the  arrival  of  the  pictures  from  England, 
due  here  Thursday,  probably  on  the  Europa. 

Heated  Dispute  in  London 

The  unseating  of  Jockey  Gerry  Wilson  in  the 
Grand  National  caused  a  heated  dispute  in 
British  sporting  circles.  There  were  intima- 
tions that  large  book-making  interests,  standing 
to  lose  $10,000,000  if  the  favorite  Golden  Mil- 
ler won,  had  something  to  do  with  the  accident, 
but  these  were  quickly  discounted,  and,  on  the 
following  day.  Miss  Dorothy  Paget's  Golden 
Miller  lost  his  reputation  as  the  best  steeple- 
chaser in  recent  years  when  he  again  tossed 
Jockey  Wilson  in  the  Champion  Steeplechase 
race  at  the  same  track  at  Aintree,  near  Liver- 
pool. 

Nor  was  Miss  Paget  alone  in  ill  luck.  Her 
cousin,  John  Hay  (Jock)  Whitney,  millionaire 
sportsman  and  head  of  the  Pioneer  motion  pic- 
ture producing  and  Technicolor  enterprises  of 
New  York  and  Hollywood,  showed  the  "exas- 
perating luck"  that  always  has  followed  his 
efforts  to  win  the  blue-ribbon  event  of  steeple- 
chasing  when  in  the  Grand  National  his  Tho- 
mond  II  weakened  after  jumping  the  last  fence 
and  Major  Noel  Furlong's  Reynoldstown  and 
Lady  Lindsay's  Blue  Prince,  22-to-l  and  40-to-l 
outsiders,  respectively,  drew  away  to  finish  first 
and  second,  and  Mr.  Whitney's  Thomond  gal- 
loped in  eight  lengths  behind  to  finish  for  the 
second  year  in  succession  in  third  place. 

Mr.  Whitney's  Easter  Hero  was  second  in 
1929  and  his  Sir  Lindsay  ran  third  in  1930. 
In  last  Friday's  97th  running  of  the  classic  his 
Thomond  took  the  lead  from  Golden  Miller, 
"hottest"  favorite  on  record,  at  2-to-l,  and 
gained  steadily  on  the  others  until  he  was  run- 
ning right  behind  Reynoldstown. 

Royal  Ransom,  another  Jock  Whitney  entry, 
spilled  his  rider  early.  The  Associated  Press 
learned  that  he  had  a  10,000  pound  sterling 
(about  $47,000)  side  bet  with  Cousin  Dorothy 
Paget,  that  Thomond  would  beat  Golden  Mil- 
ler, although  neither  would  admit  making  the 
wager.  And  with  the  spills  neither  won  nor 
did  either  win  the  bet. 


18 


MOTION    PICTURE  HERALD 


April    6,  1935 


AMONG  SHOWMEN  AND  CAMPAIGNS 


(Continued  from  page  9) 

Don  Wermuth  and  Bill  Scott,  Stanley,  Pitts- 
burgh.   "Dames,"  Warner. 

Morris  Rosenthal,  Majestic,  Bridgeport, 
Conn.    "Sequoia,"  MGM;  "Barnum,"  UA. 

J.  M.  Armstrong,  Plaza,  London,  England. 
"Belle  of  the  90s,"  Par. 

J.  J.  Cahill,  Brockton,  Brockton,  Mass. 
"College  Rhythm,"  Par. 

A.  J.  Keenan,  Merrimac  Square  Theatre, 
Lowell,  Mass.  "Six  Day  Bike  Rider," 
Warner. 

E.  M.  Hart,  Oxford,  Plainfield,  N.  J.  "Circus 

Clown,"  Warner. 
Erie  Wright,  PoH's,  New  Haven.  "Mighty 

Barnum,"  UA. 

E.  J.  Melniker,  Grand,  Atlanta.  "Merry 
Widow,"  MGM;  "Kid  Millions,''  UA. 

Raymond  Jones,  Vendome,  Nashville.  "Kid 
Millions,"  UA. 

Gene  Curtis  and  Ken  Finlay,  Palace,  Mon- 
treal.   "20  Million  Sweethearts,"  Warner. 

J.  E.  Lykes,  Stillman,  Cleveland.  "What 
Every  Woman  Knows,"  MGM. 

Paul  Binstock,  Republic,  Brooklyn.  "Treas- 
ure Island,"  MGM. 

Arnold  Gates,  Park,  Cleveland.  "Forsakine 
All  Others,"'  MGM;  "Merry  Widow," 
MGM. 

Dwight   Van    Meter,    Aldine,  Washington, 

Del.     "Sweet  Adeline,"  Warner. 
R.  E.  Knight,  Fairmont,  Fairmont,  W.  Va. 

"Devil  Dogs  of  Air,"  Warner. 
R.  Edwin,  Royal,  Bloomfield,  N.  J.  "Little 

Minister,"  RKO. 
Bill    Novak,    Gaiety,    Winnipeg.  "Bright 

Eyes,'''  Fox. 
Louis  Lamm,  Capitol,  Elyria,  O.  "Dames," 

Warner. 

Nevin  McCord,  Orpheum,  Twin  Falls,  Idaho. 

"Lives    of    A    Bengal    Lancer,"  Par.; 

"Frontier   Marshal,"  Fox. 
Ed.  Douglas,  King's,  Brooklyn.  "Forsaking 

All  Others,"  MGM. 
G.    I.    Hunter,    Peoples,    Chanute,  Kan. 

"Baboona,"  Fox. 
Walter  Van  Camp,  Tower,  St.  Paul.  "First 

World  War,"  Fox. 
Philip   De  Petro,   Modern,   Boston,  Mass. 

"Mrs.  Wiggs  of  the  Cabbage  Patch,"  Par. 
Ken  Grimes,  Warner,  Morgantown,  W.  Va. 

"Devil  Dogs  of  the  Air,"  "Six  Day  Bike 

Rider,"  Warner. 
Russ  Bovim,  Loew's,  Columbus,  O.  "David 

Copperfield,"  MGM. 
John  McManus,  Midland,  Kansas  City,  Mo. 

"Kid  MilHons,"  UA. 
J.  M.  Totman,  Warner,  Erie,  Pa.  "Dames,'' 

Warner;      "20      Million  Sweethearts," 

Warner. 

Bill  Hendricks,  Warner,  Memphis.  "Six 
Day  Bike  Rider,"  Warner. 

W.  Lee  Byers,  Ritz,  Clarksburg,  W.  Va. 
"Dames,"  Warner. 

Harry  Goldberg,  Stanley,  Philadelphia. 
"Dames,"  Warner. 

Cress  Smith,  Jr.,  Palace,  Pittsburgh.  "FHrta- 
tion  Walk,"  Warner. 

Walter  Morris,  Stanley,  Baltimore.  "She 
Loves  Me  Not,"  Par. 

Harry  Thomas,  Schenley,  Pittsburgh.  Open- 
theatre  campaign. 

M.  C.  Burnett,  Loew"s,  Dayton,  O.  "Se- 
quoia," MGM. 

Wally  Caldwell,  Valentine,  Toledo,  O.  "Kid 
Millions,"  UA. 

F.  W.  Westfall,  Winter  Garden,  Jamestown, 
N.  Y.    "Dinner  at  Eight,"  MGM. 

Irv  Blumberg,  Stanton,  Philadelphia.  "Con- 
vention City,"  Warner. 

Albert  Donovan,  Capitol,  Lynn,  Mass.  "One 
Night  of  Love,"  Columbia. 

J.  Lloyd  Dearth,  Capitol,  Vancouver,  B.  C. 
"Kid  Millions,"  UA. 

Frank  La  Falce,  Metropolitan,  Washington, 
D.  C.    "Footlight  Parade,"  Warner. 


Harry  Crull,  Valencia,  Jamaica,  L.  I.  "Foot- 
light  Parade,"  Warner. 

E.  E.  Whitaker,  Fox,  Atlanta.  "Mrs.  Wiggs 
of  the  Cabbage  Patch,"  Par. 

Mike  Cullen,  Penn,  Pittsburgh.  "Roman 
Scandals,"  UA. 

T.  H.  Read,  Paramount,  Atlanta.  "Cleo- 
patra," Par. 

Will  J.  Conner,  Music  Box,  Tacoma.  "Six 
Day  Bike  Rider,"  Warner. 

EUis  Brodie,  Paramount,  Haverhill,  Mass. 
"Cleopatra,"  Par. 

Arthur  Swanke,  Saenger,  Hope,  Ark.  "One 
Night    of    Love,"  Columbia. 

Frank  Boucher,  Maryland,  Hagerstown,  Md. 
"British  Agent,"  Warner;  "Lives  of  a 
Bengal  Lancer,"  Par. 

Leo  Henderson,  Idaho,  Twin  Falls.  "Presi- 
dent Vanishes,"  Par. 

L.  Joseph  Ryan,  Grand,  St.  Cloud,  Minn. 
"First  World  War,"  Fox. 

Walter  Davis,  Orpheum,  Ft.  Williams,  Cana- 
da.   "Imitation  of  Life,"  Univ. 

Mark  Solomon,  Embassy,  Mt.  Vernon,  N.  Y. 
"Anne  of  Green  Gables,"  Radio;  "Mrs. 
Wiggs  of  the  Cabbage  Patch,"  Par. 

Vogjel  Gettier,  Fox,  Springfield,  Mo. 
"Roberta,"  Radio. 

Charles  Zinn,  Uptown,  Minneapolis.  "Pop- 
eye  Carnival,"  Par. 

Art  Abelson,  Roxy,  Glasgow,  Mont.  "Gilded 
Lily,"  Par. 

Raymond    Hodgon,    Greenpoint,  Brooklyn. 

"Man  of  Aran,"  GB. 
Louis   Chaminsky,   Capitol,   Dallas,  Texas. 

"West  of  the  Pecos,"  Par.;  "Girl  of  the 

Limberlost,'"  Mono. 
Arthur  Esberg,  Aztec,  San  Antonio.  "One 

More  Spring,"  Fox.  ' 
Victor    Meyer,    Orpheum,    New  Orleans. 

"Roberta."- 

Flynn      Stubblefield,      Strand,  Louisville. 

"Baboona,"  Fox. 
Sid   Jacobs,    Sheridan    Square,  Pittsburgh. 

"Belle  of  Nineties." 
George  Rotsky,  Palace,  Montreal.  "Evelyn 

Prentice,"  MGM;  "Chained,"  MGM. 
Mickey  Gross,  Orpheum,  Sioux  City,  Iowa. 

"One  Night  of  Love,"  Col. 
Homer  Harman,  Rialto,  St.  Louis.  "Gilded 

Lily,"  Par. 

M.  T.  Messeri,  Coliseum,  Barcelona,  Spain. 

"Cleopatra,"  Par. 
Joe  Salmon,  Riverside,  New  York.  "County 

Chairman,"  Fox. 
Abe  Frank,  Lyric,  Camden,  N.  J.  "Richest 

Girl  in  the  World,"  Radio. 
William  Greenfield,  Paramount,  Manchester, 

England.    "Nell  Gwynn." 
Robb  Lawson,  Pavilion,  London,  England. 

"Mighty  Barnum,"  UA. 
Seymour  Mayer,  Pitkin,   Brooklyn.  "Belle 

of  the  Nineties,"  Par. 
Boyd  F.  Scott,  Palace,  Crane,  Texas.  "Foot- 
ball Queen"  Contest. 
Dave    Walsh,    Paramount,    North  Adams, 

Mass.    "Barretts,"  MGM. 
Peter   De   Camac,   Globe,    Calcutta,  India. 

"Queen  Christina,"  MGM. 
J.  Remi  Crasto,  RKO,  Calcutta.  "Flying 

Down  to  Rio,"  Radio. 
A.   L.   Caplan,   Fox,    Hong    Kong,  China. 

"Baby,  Take  a  Bow,"  Fox. 
Charles   Curran,   Strand,    New   York  City. 

"Here  Comes  the  Navy,"  Warner. 
W.  W.  Adams,  Colonial,  Brockton,  Mass. 

"Dames,"  Warner. 
Wally    Akin,    Paramount,    Abilene,  Texas. 

"Six  Day  Bike  Rider,"  Warner. 
Bert  Albright,  State,  Cortland,  N.  Y.  "David 

Harum,"  Fox. 
Don  Alexander,  Minnesota  Amusement  Co., 

Minneapolis.     Fred    Waring   and  Band, 

personal  appearance. 
H.   A.   Bishop,   Capitol,   Calgary.  "Roths- 
child," UA. 


Harry   Black,    Rialto,    Glens    Falls,   N.  Y. 

"Happiness    Ahead."    Warner;  "County 

Chairman,"  Fox. 
Harry  Botwick,  State,  Portland,  Me.  "Mrs. 

Wiggs  of  the  Cabbage  Patch,"  Par. 
Elmer  Brient,  Loew's,  Richmond.  "Queen 

Christina,"  MGM. 
Harry    Brown,    Jr.,    Paramount,  Boston. 

"Cat's  Paw,"  Fox. 
J.  L.  Cartwright,  Empire,  Daytona  Beach, 

Fla.    "No  Greater  Glory,"  Col. 
Ben    M.    Cohen,    College,    New  Haven. 

"Palooka,"  UA. 
M.    A.    Cooper,    Fox,    Hackensack,    N.  J. 

"Death  Takes  Holiday,"  Par. 
Bob   Deitch,   Stanley,  Jersey   City.  "Wild 

Cargo,"  Radio. 
Jim    Dezendorf,     Palace,     Marfa,  Texas. 

"Viva  Villa,"  MGM. 
Roy   P.    Drachman,    Fox,    Tucson.  "Gay 

Divorcee,"  Radio. 
Roscoe      Drissel,      Loew's,  Wilmington. 

"Painted  Veil,"  MGM. 
Jules    Fields,    DeWitt,    Bayonne,     N.  J. 

"Dames,"  Warner. 
Walter  L.   Golden,  Riverside,  Jacksonville. 

"Nana,"  UA. 
Milt   Harris,    State,    Cleveland.  "Treasure 

Island,"  MGM. 
S.  S.  Holland,  Elco,  Elkhart,  Ind.  "Baby, 

Take  A  Bow,"  Fox. 
Geo.  N.  Himt,  Jr.,  State,  Louisville.  "Treas- 
ure Island,"  MGM. 
Harold  Janecky,  Jamaica,  Jamaica,  L.  1.  "I 

Am  Suzanne,"  Fox. 
George  Kann  and  H.  M.  Addison,  Jr.,  Wil- 

lard,  Woodhaven,  L.  I.    "Treasure  Island," 

MGM. 

Ben  R.  Katz,  Warner,  Milwaukee.  "Madame 
DuBarry,"  Warner. 

Julius  Lamm,  Uptown,  Cleveland.  "Harold 
Teen,"  Warner. 

William  Leggiero,  Ritz,  San  Bernardino,  Cal. 
"Circus  Clown,"  Warner. 

Monty  MacLevy,  Savoy,  Brooklyn.  "Caro- 
lina," Fox. 

Jack    Nelson,    Capitol,    North    Bay,  Can. 

"Happiness  Ahead,"  Warner. 
Bob  Paskow,  Stanley,  Jersey  City.  "Wild 

Cargo,"  Radio. 
John  F.  Pival,  Senate,  Detroit.  "Registered 

Nurse,"  Warner. 
William  Powell,  Paramount,  Newport,  R.  L 

"Cleopatra."  Par. 
Fred   Reeths,  Jr.,   Sheboygan,  Sheboygan, 

Wis.    "Fashions  of  1934,"  Warner. 
Leo  Rosen,  Troy,  Troy,  N.  Y.  "Bolero," 

Par. 

Jos  Rosenfield,  Modjeska,  Milwaukee.  "The 

Mystery  Squadron,''  Mascot  serial. 
J.  J.  Rosenfield,  Paramount,  Omaha,  Neb, 

"Tarzan,"  MGM. 
Tom    Schmidt,    Palace,    Blackwell,  Okla. 

"Viva  Villa,"  MGM. 
Bill  Scott,  Stanley,  Pittsburgh,  Pa.  "Dames," 

Warner. 

Sonny    Shepherd,    Mayfair,     Miami,  Fla. 

"House  of  Rothschild,"  UA. 
Louis  Stein,  Ritz,  Newark,   N.  J.  "Little 

Miss  Marker,"  Par. 
Howard  Sweet,  State,  East  Lansing,  Mich. 

"Queen  Christina,"  MGM. 
George  Tyson,  Ambassador,  St.  Louis,  Mo. 

"Fashions  of  1934,"'  Warner. 
R.  D.  Walsh  and  George  Mackenna,  Lafay- 
ette, Buffalo,  N.  Y.    "It  Happened  One 

Night,"  Col. 
Burgess  Waltmon,   Orpheum,   Fulton,  Ky. 

"Treasure  Island,"  MGM. 
Alfred    F.    Weiss,    Jr.,    Olympia,  Miami. 

"Dames,"  Warner. 
Fred  Weimar,  Orpheum,  Sioux  Falls,  S.  D. 

"Little  Miss  Marker,"  Par. 
Al  Zimbalist,  St.  Louis  Amusement  Co.,  St. 

Louis.    "March  of  Hits.'" 
Anna  Bell  Ward,   Strand,   Lexington,  Ky. 

"Kentucky  Kernels,"  Radio. 


Mmo-oaiammitcs 


IMOr|kMUSICAL«HEIODi(AM^ 


WITH  "RECKLESS''  M-G-M  TOPS  ITS  GREAT  BILLBOARD  CAMPAIGN  ON  'CHAINED/'  MORE  THAN 
1,500  CITIES  STRETCHING  ACROSS  AMERICA  DISPLAYING  8,000  GAY  POSTERS  TO  A  POPULATION 
OF  53,388,000,  TELLING  YOUR  PATRONS  ABOUT  THE  BRILLIANT  MELODY-DRAMA  "RECKLESS." 

ACROSS 


THANK  YOU 
MR.QUIGLEY 


FOR  STOPPING 
THE  PRESSES!" 

The  exhibitors  of 
America  are  wait- 
ing for  the  first 

FLASH! 
RECKLESS 

PRESS  NOTICES! 

By  Direct  Wire  from  California 
Preview!  Turn  to  next  page  and  see— 


RECKLESS !  WOW! 

■  :  \  , 


MOTION  PICTURE  DAILY'S  RAVE! 

Hollywood,  Cal. 

'''Reckless'  superb  production  plus  big  draw  cast 
names  makes  this  a  certain  money  picture.  Story 
gives  Jean  Harlow,  William  Powell,  Franchot  Tone 
great  opportunities.  Dialogue  sparkles  and  action 
speeds  along.  Three  musical  numbers.  Production 
lavish.    Hits  all  types  of  audiences.'' 

HOLLYWOOD  REPORTER  GOES  WILD! 

Hollywood,  Cal. 

"M-G'M's  'Reckless'  certain  hit!  Powell,  Harlow, 
Tone  tops !  Swell  audience  picture  ripped  right  out 
of  the  headlines.  Literally  jammed  with  entertain- 
ment value,  music  and  production  numbers  in  a 
story  that  could  have  stood  by  itself.  William 
Powell  further  distinguishes  himself  for  the  fans. 
Jean  Harlow  gives  herself  a  lift  way  up.  Writing  is 
bright.  Direction  has  tempo.  Fleming  has  directed 
a  swell  picture,  paced  it  well  and  has  gotten  excel- 
lent performances  out  of  the  players.  All  the  music 
is  good.  The  money  poured  into  this  picture  is 
evidenced  at  every  point." 

)  ^CO  AST  VARIETY  DOES  HANDSPRINGS! 

Hollywood,  Cal. 

"A  picture  that  will  live  up  to  most  anything  press 
agents  can  say.  Top  notch  entertainment  expertly 
produced  and  directed.  Everything  in  it  for  both 
male  and  female  patrons." 


RECKLESS  spells  RECORDS! 


April    6  ,  1935 


MOTION    PICTURE  HERALD 


25 


^BLOOD  AND  THUNDER'  BROADCASTS 
FOR  CHILDREN  BRING  U.S.  WARNING 


Federal  Commission  Chairman 
Charges  Some  of  La+e  After- 
noon Programs  Have  Delete- 
rious Effect  on  the  Child  Mind 

Accused  of  not  completely  fulfilling  its 
obligations  with  regard  to  the  probable  effect 
of  broadcasting  upon  the  juvenile  mind,  the 
radio  broadcasting  industry  last  week  was 
called  upon  by  Anning  S.  Prall,  chairman 
of  the  Federal  Communications  Commission, 
to  eliminate  all  "blood  and  thunder"  features 
from  specified  children's  programs  and  gen- 
erally to  "clean  house"  if  broadcasting  is  to 
continue  successfully.  Mr.  Prall  spoke  over 
a  nationwide  hookup  from  Washington. 

Mr.  Prall  said  that  while  he  believes  radio 
presents  an  unequaled  opportunity  for  the 
development  of  juvenile  talent,  he  is  not 
entirely  certain  that  it  is  living  up  to  its 
obligations  with  respect  to  its  ef¥ect  upon 
the  average  American  child. 

"In  some  cases  I  am  certain  1+  is  having 
a  deleterious  effect  because  of  some  of 
the  programs  that  are  being  presented," 
he  said.  Mr.  Prall  said  he  referred  to 
programs  heard  in  the  late  afternoon,  and 
that  while  he  did  not  condemn  all  of  them, 
he  did  not  approve  of  those  that  can  be 
compared  to  the  "dime  novels  of  the 
'Dead-eye  Dick'  or  'Boy  Smuggler'  variety." 

"It  is  my  view,"  said  Mr.  Prall,  "that  the 
radio  people  themselves  would  do  well  to 
eliminate  programs  that  arouse  the  imagina- 
tions of  children  to  the  point  where  they  can 
not  eat  or  sleep.  Good  clean  adventure  pro- 
grams can  be  made  educational,  and  even 
their  commercial  messages  can  be  helpful. 
We  cannot  censor  what  is  said  on  the  air. 
That  is  right  and  proper,  for  you  can  readily 
see  the  political  consequences  if  any  govern- 
mental agency  were  invested  with  such  bu- 
reaucratic powers  while  any  one  party  is  in 
the  ascendancy. 

Can  Refuse  Licenses 

"What  we  can  do  is  maintain  a  general 
surveillance  over  radio  stations  and  net- 
works under  our  broad  authority  in  the  pub- 
lic interest,  convenience  and  necessity.  We 
can  take  into  account  the  public  interest  as 
a  whole,  or  in  part,  of  the  general  program 
structures  of  the  radio  stations.  If  they  are 
consistent  violators,  we  can  refuse  to  renew 
their  licenses.  As  you  know,  about  a  half 
dozen  stations  have  been  taken  off  the  air  in 
recent  years  because  of  their  failure  to  live 
up  to  proper  standards  of  public  service." 

Mr.  Prall  said  that  the  fullest  possible  use 
of  radio  as  an  educational  medium  has  not 
yet  been  found  and  that  from  the  records  of 
hearings  before  the  Commission's  broadcast 
division  last  autumn  both  educators  and  the 
broadcasters  were  forced  to  admit  they  have 
not  cooperated  in  this  respect. 

"Whoever  is  to  blame,"  Mr.  Prall  con- 
cluded, "the  fact  remains  that  they  must  get 
together  for  a  unified  program  of  action.  It 
is  our  plan  to  get  them  together  for  a  na- 
tional conference  under  our  auspices  begin- 
ning May  15.  In  my  opinion,  radio  cannot 


supplant  the  classroom,  but  it  can  supplement 
classroom  instruction  very  appreciably  if 
properly  handled  by  proper  persons." 

Last  week  came  the  collapse  of  American 
Broadcasting  Company,  an  outgrowth  of  the 
American  Broadcasting  System  formed  by 
George  B.  Storer  as  a  group  of  local  sta- 
tions in  cities  throughout  the  East. 

The  network  was  disbanded  primarily,  it 
was  said,  because  the  expense  load  fell  upon 
station  WNEW,  New  York,  which  is  84 
per  cent  locally  sold  commercially,  and  in 
order  to  feed  the  network  this  station  has 
had  to  build  double  programs,  with  extra 
technicians,  artists,  clerical  help  and  other 
expenses. 

The  few  remaining  stations  on  the  ABC 
network  at  the  time  of  its  dissolution  last 
week  were,  in  addition  to  WNEW,  stations 
WTNJ,  Trenton;  WDEL,  Wilmington; 
WCBM,  Bahimore;  WOL,  Washington; 
WIP,  Philadelphia;  WIXBS,  Waterbury, 
Conn.;  WPRO,  Providence,  and  WMEX 
and  WHDH,  Boston. 

Temporarily,  WNEW  will  continue  to 
feed  sustaining  programs  to  a  few  stations 
in  New  England,  namely,  WPRO,  WHDH 
and  WIXBS.  Unless  these  stations  decide 
to  pay  wire  charges,  this  arrangement  will 
be  dropped,  it  was  said. 

Stories  which  have  appeared  from  time 
to  time  indicating  that  Columbia  Broadcast- 
ing System  is  "interested"  in  the  ABC  sta- 
tions with  a  view  to  creating  a  "junior"  net- 
work from  them,  were  denied  by  ABC 
executives. 

Showmanship  at  WHN 

The  motion  picture  industry  and  the  radio 
broadcasters  came  one  step  closer  together 
when  it  was  announced  that  the  Loew- 
controlled  station  WHN  in  New  York, 
whose  new  directing  head  is  Louis  K.  Sid- 
ney, who  succeeded  Major  Edward  Bowes, 
will  inaugurate  a  "policy  of  showmanship" 
as  practiced  in  the  motion  picture  business. 
Mr.  Sidney  long  has  been  affiliated  in  execu- 
tive capacity  with  both  Loew's,  Inc.,  and  its 
film  subsidiary,  Metro-Goldwyn-Mayer. 

One  of  Mr.  Sidney's  first  moves  was  to 
enter  into  an  arrangement  with  the  William 
Morris  Agency,  largest  actor  representative, 
which  makes  the  Morris  ofiice  the  control- 
ling operator  and  equal  partner  in  the  WHN 
talent  department,  thus  giving  the  station 
first  call  on  the  Morris  talent  lists. 

Mr.  Sidney  plans  further  to  bring  about 
close  coordination  between  WHN  and  its 
film  and  theatre  affiliates  and  to  this  end  the 
MGM  studies  are  reported  to  have  agreed 
to  encourage  all  its  contract  stars  and 
players  to  broadcast  over  WHN  when  they 
are  in  New  York.  Among  players  who  are 
said  to  have  agreed  to  broadcast  shortly  are 
Una  Merkel,  Robert  Young,  Lewis  Stone, 
Stuart  Erwin  and  Jean  Parker,  all  of  whom 
will  be  in  New  York  within  the  next  two 
weeks,  and  Norma  Shearer,  Clark  Gable  and 
Joan  Crawford,  who  also  are  expected  in 
New  York  soon. 

WHN's  theatre  connection  with  Loew's 
gives  the  station  a  stage  outlet  such  as  few 
other  stations  enjoy  through  contractual 
arrangements. 


Bill  Asks  Extension 
of  Recovery  Act 

Extension  of  the  industrial  recovery  act 
for  two  years  from  June  16  next,  is  pro- 
vided for  in  a  bill  introduced  in  the  Senate 
last  week  by  Senator  Pat  Harrison  of  Mis- 
sissippi. 

Although  the  measure  materially  amends 
the  present  law,  by  sharply  restricting  ex- 
emptions from  the  antitrust  acts  and  limit- 
ing codes  to  interstate  industries  or  those 
whose  activities  substantially  affect  inter- 
state commerce,  there  are  indications  that 
a  further  rewriting  of  the  bill  will  be  sought 
before  it  is  passed. 

General  belief  is  that  the  general  outline 
of  the  motion  picture  code  would  be  re- 
tained with  amendments. 

Automatic  extension  of  all  existing  codes 
for  90  days  is  provided  in  the  bill  and  within 
that  period  they  are  to  be  exhaustively 
analyzed.  A  long  controversy  is  foreseen 
if  the  film  code  is  reopened. 

The  penalty  provisions  of  the  present  law 
are  to  be  eased  materially,  and  all  threat 
of  imprisonment  for  violations  eliminated. 

No  date  will  be  set  for  a  conference  be- 
tween the  Motion  Picture  Theatre  Owners 
of  America  code  revision  committee,  headed 
by  Ed  Kuykendall,  MPTOA  president,  and 
the  Code  Authority,  pending  Congressional 
action  on  new  NRA  legislation.  Mr.  Kuy- 
kendall said  the  request  by  the  Code  Author- 
ity for  a  conference  was  simply  a  "serving 
notice"  that  the  subject  is  pending. 

Los  Angeles  exhibitors  were  scheduled  to 
meet  to  discuss  the  troublous  clearance  and 
zoning  schedule,  which  again  was  held  up 
by  the  Code  Authority.  One  obstacle  to  ac- 
ceptance of  the  plan  is  that  it  does  not  em- 
brace first-run  admission  prices  and  there- 
fore conflicts  with  the  consent  decrees  ef- 
fected through  the  United  States  district 
court  of  the  Southern  District  of  California, 
in  1930  and  1932.  The  decrees,  signed  fol- 
lowing agreement  between  Fox  West  Coast 
and  various  distributors,  require  that  clear- 
ance of  first-run  houses  in  the  zone  be  re- 
duced when  they  cut  their  admission  prices. 

The  Code  Authority  has  $40,897  cash  on 
hand,  disbursing  $20,132  in  February.  Re- 
ceipts included  $18,000  from  exhibitors. 
February  disbursements  were  as  follows: 
home  office  in  New  York,  $7,748;  Holly- 
wood office,  $2,770;  field  boards,  $9,614. 
The  principal  expense  was  $13,668,  for 
salaries. 

Loew's  Select  Chicago  Site 
In  New  Expansion  Drive 

First  tangible  move  made  by  Loew's,  Inc., 
in  its  proposed  expansion  drive  for  city- 
wide  representation  in  Chicago,  came  last 
weekend  with  the  decision  to  spend  $200,000 
on  a  1,500-seat  theatre,  it  was  learned  un- 
officially. Thomas  Lamb,  architect,  already 
had  prepared  sketches  for  submission  to  the 
New  York  home  office  as  soon  as  the  lease 
is  signed. 


26 


MOTION    PICTURE  HERALD 


April    6,  1935 


Paramount  Assent 
Past  Two  -  Thirds 

Creditor  assents  to  the  plan  of  reorgani- 
zation for  Paramount  Publix  Corporation 
this  week  passed  the  required  two-thirds 
mark  when  deposits'  of  Paramount  Broad- 
way were  made.  It  is  estimated  that  hold- 
ers of  approximately  $33,000,000  of  the  $46,- 
000,000  of  claims  qualified  to  vote  have  now 
assented.  In  addition,  a  majority  of  Para- 
mount stockholders  has  approved  the  plan. 

Formal  confirmation  of  the  plan  was  gen- 
erally expected  at  the  final  hearings  starting 
Thursday,  before  Federal  Judge  Alfred  C. 
Coxe. 

Federal  reorganization  statutes  require 
confirmation  of  a  reorganization  plan  by 
two-thirds  in  amount  of  all  classes  of  cred- 
itors and  a  majority  of  stockholders. 

Expect  Opposition  Defeat 

The  Paramount  Broadway  bonds,  out- 
standing in  the  amount  of  $8,875,000,  were 
the  last  to  reach  the  required  two-thirds 
quota,  and  the  deposits  of  these  bonds  on 
Monday  passed  the  $6,300,000  mark,  or  more 
than  70  per  cent  of  the  issue. 

Acceptances  of  the  plan  by  the  creditors  are 
taken  as  final  assurance  that  no  eiYort  will 
be  made  to  change  the  proposed  new  Para- 
mount board  of  directors.  Opposition  to 
the  board  is  expected  to  be  raised  this  week, 
but  lack  of  strength  behind  the  objections 
is  seen  as  discrediting  their  efforts. 

A  list  of  objections  to  the  proposed  board, 
together  with  the  suggestion  of  five  alternative 
names,  was  completed  Monday  by  Louis  M. 
Levy,  who  claimed  he  represented  Paramount 
stockholders,  for  presentation  on  Thursday  of 
this  week  before  Judge  Coxe  in  New  York. 
Mr.  Levy  asserted  that  some  of  the  nominees 
are  associated  with  companies  whose  interests 
extend  to  the  aifairs  of  Paramount's  film  com- 
petitors; that  only  three  of  the  proposed  board 
of  16  have  had  film  experience,  and  that  some 
of  the  nominees  were  identified  with  the  forma- 
tion in  Paramount  of  policies  which  led  to  the 
company's  financial  embarrassment. 

Vatner  Attack  Ignored 

Unless  directed  to  do  so  by  Special  Master 
John  E.  Joyce,  counsel  for  the  Paramount 
trustees  will  not  answer  the  affidavit  attack- 
ing the  terms  of  Paramount's  new  domestic  re- 
cording license  agreement  with  Electrical  Re- 
search Products,  Inc.,  it  was  revealed. 

It  was  disclosed  that  Eastern  Service  Studios 
will  terminate  its  tenancy  of  Paramount's  As- 
toria studio  immediately  on  confirmation  of  the 
plan  of  reorganization  for  Prudence  Bonds.  Inc.. 
holder  of  the  first  mortgage  of  $930,000  on  the 
propert}-.  The  new  plan  provides  for  leasing 
of  the  studio  by  Paramount  News. 

Motions  to  expunge  claims  against  Para- 
mount Publix  totaling  $191,972  were  granted 
by  Special  Master  Joyce  following  a  hearing 
last  week.  The  claims  included  that  of  Tobis- 
Tonbild  for  $11,119;  Warner  Bros.,  $75,000 ; 
Eastman  Kodak,  $4,740,  and  minor  claims  total- 
ing $1,113.  The  trustees  were  granted  leave  to 
sue  A.  C.  Blumenthal  for  $56,000  claimed  paid 
to  him  in  1932,  and  for  $25,000  of  Paramount 
bonds. 

An  order  allowing  the  claim  of  Olympia 
Theatres'  stockholders  against  Paramount  Pub- 
lix at  $1,824,562  upon  delivery  to  Paramount 
of  52,234  shares  of  Olvmpia  common  stock  and 
6,509  of  preferred,  was  signed  last  week  in 
New  York  by  Judge  Coxe. 

The  petition  of  the  Paramount  trustees  for 
leave  to  adopt  181  executor)-  contracts  made 
prior  to  the  company's  bankruptcy  was  unop- 
posed' at  a  hearing  Monday. 


Columbia  Buys  Story 
By  Johnston  and  Mines 

Columbia  Pictures  has  purchased  the 
story,  "The  Butler,"  written  by  William  A. 
Johnston  and  Johnny  Hines.  It  will  be 
placed  in  production  at  an  early  date. 

Mr.  Johnston  has  been  on  the  editorial 
boards  of  various  magazines,  including 
Harper's,  American  Magazine,  Munsey  and 
Century,  and  was  for  years  editor  of  Mo- 
tion Picture  News.  Mr.  Hines  has  been  an 
actor  on  the  screen  and  stage  for  some 
years. 

Protests  Censor's 
Action  on  Picture 

If  the  New  York  censor  eliminates  a 
single  scene  from  Warner's  "Black  Fury," 
Judge  M.  A.  Musmanno,  of  the  common 
pleas  court  in  Pittsburgh  and  co-author  of 
the  original  story,  will  issue  an  injunction 
to  stop  them,  he  declared  in  Pittsburgh  last 
week. 

Judge  Musmanno  wired  a  protest  to  the 
New  York  board  when  he  learned  it  was 
demanding  the  elimination  of  "inflammatory 
scenes."  The  scene  to  which  there  is  said 
to  be  the  greatest  objection  is  that  showing 
the  brutal  murder  of  a  coal  miner  by  a 
policeman.  This,  Judge  Musmanno  insists, 
is  based  entirely  on  fact,  detailing  exactly 
how  John  Barcosky,  a  miner  at  one  of  the 
outlying  Pittsburgh  mines,  died  several  years 
ago  at  the  hands  of  the  police  during  a 
strike. 

The  jurist  charged  that  "the  coal  barons 
of  Pennsylvania  have  sought  to  prevent  the 
production  of  this  picture  and  have  failed," 
and  declared  he  hoped  "the  industrial  barons 
of  New  Y'ork  state  will  not  attempt  to  keep 
from  the  people  of  the  Empire  State  the  facts 
which  went  into  the  crucible  from  which  re- 
sulted 'Black  Fury'." 

"There  is  no  reason,"  he  said,  "why  the 
incidents  surrounding  the  killing  of  John 
Barcosky  should  not  be  retained  in  all  their 
brutal  vigor  in  the  cinema  production.  The 
picture  is  not  an  exaggeration  but  portrays 
the  shambles  of  the  Pennsylvania  coal 
fields." 

He  said  the  picture  has  already  been 
changed  from  the  original  draft  to  take 
some  of  the  "sting"  from  it. 

Harry  R.  Irving,  author  of  "Bohunk," 
the  play  on  which  "Black  Fury"  is  based, 
in  a  letter  to  the  judge,  declared  he  does  not 
desire  to  be  a  party  to  "any  intrusion,  legal 
or  otherwise,  upon  the  rights  and  preroga- 
tives of  the  New  York  board  of  censors.  .  .  . 
I  do  not  believe  that  it  lies  within  the 
province  of  either  of  us  to  contest  any  ac- 
tion taken  by  a  public  or  quasi-public  body." 


MPPDA  Takes  Space 
To  Coordinate  Offices 

The  Motion  Picture  Producers  and  Dis- 
tributors of  America  has  taken  additional 
space  at  its  New  York  headquarters  at  28 
West  44th  Street,  on  the  22nd  floor,  in  order 
to  coordinate  its  departments.  The  main 
offices  are  on  the  21st  floor,  and  the  produc- 
tion and  advertising  councils  and  public  re- 
lations department  will  he  moved  from  the 
15th  to  the  22nd  floor. 


Bank  Nights  'Gain 
In  New  England 

"Bank  nights  '  are  spreading  throughout 
New  England.  From  Boston  came  reports 
that  more  than  a  dozen  contracts  have  been 
signed  with  theatres.  Theatres  in  Vermont, 
New  Hampshire  and  Rhode  Island  were 
evidencing  interest. 

The  Boston  grievance  board  has  not  as 
yet  been  called  upon  to  decide  on  a  case  re- 
garding the  legality  of  "bank  nights." 

In  Chicago  this  week  "Screeno"  experi- 
enced a  setback  when  stop  orders  were  is- 
sued in  two  cases  by  the  grievance  board. 

Injunction  suits  restraining  the  local 
grievance  board  from  outlawing  "bank 
nights'"  will  be  filed  in  several  territories, 
it  was  said  in  Detroit  this  week,  following 
the  filing  of  a  similar  suit  by  A.  H.  Blank. 
It  is  understood  theatres  in  several  states 
are  contemplating  such  actions. 

Hearing  on  a  permanent  restraining  order 
against  the  Detroit  board  is  scheduled  for 
April  6  by  Judge  Charles  A.  Dewey  in  U. 
S.  district  court  there.  The  action  is  based 
on  a  cease  and  desist  order  against  a  Cen- 
tral States  theatre  at  Fort  Dodge,  Iowa. 

The  theatre  contends  that  the  awarding 
of  the  prize  does  not  constitute  a  violation 
of  the  NRA  and  the  suit  also  attacks  the 
NRA's  constitutionality. 

Sixty  per  cent  of  theatres  in  Detroit  are 
giving  away  premiums  of  one  sort  or  an- 
other, most  of  them  two  nights  weekly.  A 
year  ago  less  than  10  per  cent  of  Detroit 
theatres  had  giveaways. 

Spreading  to  the  majority  of  independent- 
ly operated  suburban  theatres  in  the  last 
few  weeks,  the  premium  vogue  will  reach  its 
peak  in  Kansas  City  about  April  20  when 
Fox  Midwest  plans  to  inaugurate  a  coupon 
plan  at  its  local  theatres,  including  its  first- 
run  Uptown. 

Mrs.  A.  Baier  of  the  suburban  Lindbergh 
in  Kansas  City  plans  to  ask  a  representative 
to  introduce  a  state  bill  banning  premiums 
at  theatres  or  making  it  illegal  to  give  added 
inducements  when  playing  a  picture  day  and 
date  with  equally  priced  houses  not  adopt- 
ing the  practice. 

Projectionists  Would  Benefit 
By  Two  Proposed  State  Bills 

Projectionists  would  benefit  by  bills  pro- 
posed in  Pennsylvania  and  Rhode  Island. 
Assemblyman  John  Yourishin  in  Pennsyl- 
vania proposed  24  consecutive  hours'  rest 
each  week,  not  including  the  Sunday  holi- 
day, while  in  Rhode  Island  Senator  William 
Troy  asked  for  compulsory  employment  of 
an  operator  for  each  machine. 

In  New  York  Compliance  Director  Sol 
Rosenblatt  failed  to  indicate,  upon  return- 
ing to  NRA  Washington  headquarters, 
when  he  would  call  another  meeting  of  the 
NRA  fact-finding  committee  which  has  been 
attempting  to  iron  out  local  labor  difficul- 
ties. 

The  NRA  Labor  Relations  Board  ap- 
pointed Charles  C.  Moskowitz,  of  Loew's  as 
a  member  of  the  regional  board  in  New 
York. 


Ketcham  Opens  Office 

Howard  Ketcham,  color  engineer,  has 
opened  New  York  offices  at  545  Fifth  Ave. 


April    6  ,  1935 


MOTION    PICTURE  HERALD 


27 


BROADWAY  SETS  THREE-YEAR  HIGH 
FOR  SIMULTANEOUS  STAGE  SHOWS 


41  Legitimate  Plays  Run  in  One 
Week;  Fluctuation  in  Num- 
ber of  Theatres  Open  and 
Closed    Returns   to  Normal 

by  FRED  AYER 

A  new  three-year  high  for  simultaneous 
Broadway  showings  is  being  set  by  the 
legitimate  stage  this  season  and  the  fluctua- 
tion in  the  number  of  theatres  open  and 
closed  approximates  the  normalcy  of  pre- 
depression  years.  Only  four  times  in  the 
season — which  in  about  six  weeks  will  be 
officially  at  a  close — has  the  number  of  shows 
running  simultaneously  fallen  below  corre- 
sponding periods  of  1933-34,  the  other  weeks 
showing  activity  far  in  advance  of  either 
of  the  past  two  seasons. 

In  addition,  the  peak  for  the  season  was 
reached  in  the  week  ended  just  after  Christ- 
mas when  there  were  41  productions  run- 
ning at  one  time.  The  previous  high  was 
in  the  same  period  of  1931  when  there  were 

42  legitimate  attractions  on  Broadway. 
Although  the  usual  Broadway  season  gets 

underway  the  first  week  in  August,  the  cur- 
rent season  showed  little  indication  of  ac- 
tivity until  the  second  week  of  September. 
During  the  first  three  weeks  of  August  there 
were  only  five  productions  running.  One 
of  these  was  a  musical,  "Life  Begins  at 
8:40,"  which  closed  only  three  weeks  ago, 
and  another  was  "Tobacco  Road,"  still  run- 
ning. 

In  the  1933-34  cycle  the  peak  for  simul- 
taneous production  was  33,  as  against  the 
current  season  high  of  41  for  the  week 
ended  Dec.  30,  1934. 

February  of  the  1933-34  season  was  when 
the  peak  of  33  was  reached,  an  unsual  time, 
producers  consider.  This  season  the  figures 
for  February  were  normal,  fluctuating  be- 
tween 23  and  26  each  week. 

On  March  30  of  this  season,  the  Broad- 
way show  calendar  listed  30  productions 
running,  three  ahead  of  the  same  weekend 
of  the  previous  season.  For  the  current 
week,  ending  April  6,  there  are  26  produc- 
tions, including  the  three  scheduled  to  open 
this  week,  bringing  the  season  again  back 
to  normal. 

V 

That  National  Theatre  Idea 

The  legitimate  theatre's  annual  debating  tour- 
ney about  creation  of  a  National  Theatre  on 
the  European  plan  got  away  to  an  early  start 
this  week  when  Harry  Moses,  currently  pro- 
ducer of  "The  Old  Maid,"  launched  himself 
via  the  columns  of  the  New  York  Times  as 
opposed  to  any  project  which  has  as  its  central 
idea  the  establishment  of  a  National  Theatre. 
Mr.  Moses  believed  that  influential  persons  real- 
ly interested  in  promotion  of  the  theatre's  gen- 
eral welfare  and  prepared  to  do  something, 
would  be  much  more  interested  in  giving  their 
support  if  they  became  financially  interested 
themselves  rather  than  if  simply  called  upon  to 
assist  in  the  spending  of  money  bestowed  by  a 
f  kindly  and  beneficent  state. 

"I  am  fearful  of  the  paralyzing  hand  of 
bureaucracy  were  an  attempt  made  to  establish 
a  National  Theatre,"  said  Mr.  Moses. 

Mr.  Moses'  plan,  he  said,  is  far  more  compre- 


The  Broadway 
Stage  Parade 


(Figures  Through  April  6) 


Per- 

DRAMATIC PLAYS 

formances 

Opened 

585 

Dec.  4. '33 

205 

Oct.  17, '34 

The  Children's  Hour  

165 

Nov.  20,  '34 

Post  Road   

146 

Dec.  4. '34 

123 

Dec.  25,  '34 

103 

Jan.    7, '35 

The  Old  Maid  

103 

Jan.    7,  '35 

Laburnum  Grove   

97 

Jan.  15. '35 

97 

Jan.  15, '35 

88 

Jan.  21,  '35 

Three  Men  on  a  Horse... 

79 

Jan.  30,  '35 

Moscow  Art  Players  (Reper- 

45 

Feb.  16,  '35 

55 

Feb.  19. '35 

The  Bishop  Misbehaves ... . 

54 

Feb.  20,  '35 

The    Green    Pastures  (Re- 

47 

Feb.  26,  '35 

Petticoat  Fever   

40 

Mar.  4. '35 

The  Black  Pit  

22 

Mar.  20,  '35 

A  Woman  of  the  Soil.... 

16 

Mar.  25,  '35 

Two  One-Act  Plays: 

Waiting  for  Lefty  

15 

Mar.  26,  '35 

Till  the  Day  1  Die  

15 

Mar.  26,  '35 

Lady  of  Letters  

12 

Mar.  28,  '35 

MUSICAL  PRODUCTIONS 

The  Great  Waltz   225  Sept.22, '34 

Anything  Goes!    160  Nov.  2 1. '34 

Revenge  With  Music   134  Nov.28, '35 

Thumbs  Up    116  Dec.  27, '34 


Opened  Week  of  April  I : 

The  Dominant  Sex  

Mansion  on  the  Hudson  

(Monodrama:  Skinner) 
Potash  and  Perlmutter  

*  Scheduled  to  close,  April  13. 
t  Closed  April  1. 


hensive  than  the  Theatre  Guild  subscription  plan 
in  force  in  a  few  Eastern  and  Middlewestern 
cities.  It  is  a  plan  to  make  a  group  of  sub- 
scribers in  each  of  20  or  more  cities  participat- 
ing partners  in  the  productions  which  would 
be  launched  from  a  central  headquarters  such 
as  New  York.  The  plan  would  provide  for 
showing  in  each  city  a  series  of  new  plays 
each  year  with  first-class  casts,  guaranteeing  a 
season  of  at  least  40  weeks  for  every  produc- 
tion", with  minimum  intake  assured. 

The  New  York  or  central  headquarters  en- 
gagement would  be  limited,  Mr.  Moses  ex- 
plained, by  the  number  of  pledged  supporters. 
This  might  be  four,  six  or  eight  weeks,  accord- 
ing to  road  bookings,  and  the  same  rule  prob- 
ably would  apply  to  the  other  cities,  although 
there  undoubtedly  would  be  a  minimum  of  one 
week. 

Mr.  Moses  said  the  response  from  repre- 
sentative groups  in  half  a  dozen  cities  has  been 
favorable. 

*     H=  * 

"Tobacco  Road"  opened  at  the  Forrest  The- 
atre Dec.  4,  1933.  Since  that  date  the  play, 
which  has  had  three  different  leading  men, 
has  been  seen  by  462,682  persons. 


Samuelson  Picks 
Regional  Leaders 

Sidney  E.  Samuelson,  president  of  Allied, 
last  week  announced  the  organization's  six 
regional  vice-presidents  for  his  cabinet  and 
the  territories  each  will  supervise.  The  six 
are : 

Walter  B.  Littlefield  of  Boston,  to 
supervise  Maine,  New  Hampshire,  Vermont. 
Massachusetts,  Rhode  Island,  Connecticut, 
New  York,  New  Jersey,  eastern  Pennsyl- 
vania, Maryland,  Delaware  and  the  District 
of  Columbia. 

Martin  G.  Smith,  Toledo,  to  supervise 
western  Pennsylvania,  Michigan,  Ohio,  West 
Virginia  and  Kentucky. 

Aaron  Saperstein  of  Chicago,  for 
Indiana,  Illinois,  and  Wisconsin. 

W.  A.  Steffes  of  Minneapolis,  for  North 
and  South  Dakota,  Minnesota,  Nebraska 
and  Iowa. 

Newman  H.  Waters,  Birmingham,  for 
North  and  South  Carolina,  Tennessee, 
Georgia,  Alabama,  Mississippi  and  Florida. 

CoL.  Harry  A.  Cole  of  Dallas,  for  Texas, 
Louisiana,  Arkansas,  Oklahoma,  Missouri 
and  Kansas. 

Harry  Brandt  was  renamed,  as  expected, 
as  head  of  the  New  York  Independent  The- 
atre Owners'  Association  last  week,  without 
opposition.  Bernard  Barr  was  elected  first 
vice-president;  Charles  Schwartz,  second 
vice-president,  and  Maurice  Brown,  re-elect- 
ed treasurer. 

The  Tri-State  Motion  Picture  Theatre 
Owners  will  hold  its  spring  convention  at 
the  Hotel  Chicsa  in  Memphis,  Tenn.,  April 
14-15,  R.  X.  Williams,  secretary  and  treas- 
urer, announced. 

Allied  Owners  Creditors 
Vote  on  Plan  April  19 

Creditors  of  Allied  Owners  Corporation 
will  vote  April  19  on  confirmation  of  the 
company's  plan  of  reorganization  which 
provides  for  theatre  purchase  agreements 
with  Loew's  and  Paramount,  it  was  decided 
last  week  at  a  hearing  before  Federal  Judge 
Robert  Inch  in  Brooklyn. 

Although  a  preponderance  of  the  credi- 
tors represented  indicated  sufficient  strength 
for  ultimate  confirmation,  the  adjournment 
was  taken  to'lromply  with  agreements  which 
permit  dissenting  creditors  to  withdraw 
from  committees  which  favor  the  plan.  In- 
asmuch as  the  plan  received  the  tentative 
approval  of  the  court  only  ten  days  ago,,;  it 
was  felt  that  insufficient  time  had  been  af- 
forded to  dissenting  out-of-town  creditors 
for  withdrawal. 

Italian  Cabinet 
Grants  Film  Subsidy 

The  Italian  cabinet  at  Rome  last  week 
granted  a  five-year  annual  subsidy  of  $1,- 
000,000  to  motion  picture  producers  to  en- 
courage Italian  film  production. 


★ 


TWO  BIG  BOX-OFFICE 
NAMES  .  .  .  TOGETHER 
FOR  THE  FIRST  TIME  I . . . 

The  master  of  all  screen  detectives  .  .  . 
joined  by  the  heart- disturbing  charmer 
of  ''Divorcee''  and  "Roberta"  .  .  .  bring- 
ing to  your  theatre  an  amazing  new  ad- 
venture in  movie  excitement!  .  ,  .  Baffling, 
breathless  drama,  bristling  with  crisp 
dialog  .  .  .  surcharged  with  electric  action 
.  .  .  bursting  with  laughs  and  romance! 

.  The  swiftest-paced  mystery-comedy 
in  the  history  of  heart  thrills! 


* 
★ 
* 


RKO-RADIO 
PICTURE 


PAUL  KELLY 
GENE  LOCKHART 

RALPH  MORGAN  ★  LESLIE 
FENTON  ★  J.  FARRELL  MacDONALD 

FROM       THE       NOVEL  BY 

ARTHUR  SOMERS  ROCHE 

Directed   by   Stephen  Roberts 


^  A 


RFUL  PEMtSE  FROM  THE  PRESS 


EMDS  F0; 


Htm-POMT  fi 


**  *Laddie'  will  go  down  in  the  history  of  the  business  as  an^ 
other  unexpected  hit , » *  It  should  he  shown  in  every  theatre, 
to  all  members  of  the  family,  on  any  day  of  the  week « • . 
CLASS  A,  both  in  quality  and  suitability.**  ''Harrison's  Reports 

**yyere  Gene  Stratton- Porter  alive  today,  she  would  thrill  to 
RKO  -  Radio's  picturixation  of  the  famous  novel  in  which  her 
characters  are  re-created.**  '^Motion  Picture  Daily 


4* 


99 


Aimed  straight  at  the  heart. . .  with  special  sock  for  women. 

"Variety  (Daily) 

box-office  knockout . . .  a  far  better  picture  than  *Anne  of 
Green  Gables.*  **  Holly  wood  Reporter 

**The  kind  of  a  picture  whose  presentation  should  be  a  plea- 
sure  to  audiences.**  " Motion  Picture  Herald 


S  TRA  TTON-POR  TER*S 


One  of  the  six  best  sellers  of  all  time ...  screened 
in  all  its  sweeping  sentiment,  glorious  romance, 
and  dramatic  power.  ..A  love  story  whose  heart- 
warming glory  throbs  anew  to  thrill  the  soul  of 
the  nation* s  millions. 


-     \  / 


with 

JOHN  DEAL 

GLORIA  STUART 

VIRGINIA  WEIDLER 

Directed  by  Ge&rge  Stevens 
A  Pandro  S.  Derman  production 


32 

Newsreel  Crews 
Call  Code  Failure 

Dissatisfied  with  working  conditions  and 
failure  of  the  motion  picture's  NRA  code 
to  provide  an  increase  in  employment,  news- 
reel  cameramen  are  demanding  revisions  of 
those  code  clauses  which  cover  maximum 
working  hours  and  clarification  of  a  camera- 
man's working  hours.  A  committee  of  five, 
representing  cameramen's  locals  and  the 
newsreel  companies,  was  appointed  in  New 
York  this  week  to  confer  with  William  P. 
Farnsworth,  deputy  administrator  of  the 
amusement  codes. 

The  Code  Provisions 

Under  provisions  of  the  motion  picture  code, 
newsreel  cameramen  are  not  permitted  to  work 
more  than  320  hours  in  eight  weeks,  or  40  hours 
weekly,  but  the  code  stipulates  that  these  hours 
are  to  be  computed  from  the  time  such  em- 
ployees leave  their  base  of  operation  with  their 
equipment  until  the  time  of  their  return,  or 
are  required  to  remain  in  a  designated  place. 

The  clause  states  further  that  "contacting  and 
planning  shall  not  be  computed  as  working 
hours,  which,  according  to  O.  V.  Johnson,  busi- 
ness manager  of  Local  644,  New  York,  of  the 
International  Photographers  of  the  Motion  Pic- 
ture Industry  and  I.  A.  T.  S.  E..  means  in 
effect  that  a  cameraman  may  sit  in  the  newsreel 
office  for  four  hours  waiting  for  an  assignment, 
be  called  on  a  job  for  two  hours  and  then  be 
credited  with  only  two  hours'  work. 

"In  spite  of  the  NRA  code,"  Mr.  Johnson 
said  Wednesday,  "no  men  have  been  put  to 
work.  In  fact,  we  have  lost  men  in  all  sections 
of  the  country. 

More  Reels,  Fewer  Jobs 

"In  Chica  go  since  the  first  of  this  year,  five 
newsreel  cameramen  have  been  let  out  of  jobs 
and  in  the  East  at  least  two  have  been  dropped 
in  that  time.  The  same  situation  prevails  in 
Hollywood. 

"When  the  code  was  drawn  there  were  only 
four  reels  operating  with  independent  camera 
crews  throughout  the  world.  Today  there  are 
five  and  still  there  has  been  no  increase  in  em- 
ployment." 

The  committee,  in  addition  to  Mr.  Johnson, 
consists  of  William  H.  Strafford,  business  man- 
ager of  Local  666,  Chicago;  Jack  Connolly, 
Pathe  News ;  A.  J.  Richards,  Paramount  News, 
and  Lou  Krouse  of  the  lATSE.  Mr.  Connolly 
and  Mr.  Richards  have  authority  to  act  for  all 
the  newsreel  companies. 

_  The  first  conference  between  these  representa- 
tives took  place  late  last  week  and  another  meet- 
ing to  draw  up  proposals  to  be  presented  to  Mr. 
Farnsworth  was  set  for  Thursday  of  this  week. 
The  committee  is  a  permanent  group. 

Eastman  Kodak  Reports 
Salaries  to  Commission 

In  connection  with  applications  on  "Form 
10"  for  permanent  registration  of  securities 
on  stock  exchanges,  the  Eastman  Kodak 
Company,  reporting  with  other  corporations 
filing  with  the  Securities  and  Exchange 
Commission  in  Washington,  reported  remu- 
neration of  officers  this  week  as  follows: 
Frank  W.  Lovejoy,  president  and  general 
manager,  $90,903.90;  William  G.  Stuber, 
chairman  of  board,  $61,230.76;  Thomas  J. 
Hargrave,  vice-president  and  secretary,  and 
C.  E.  Kenneth  Mees,  vice-president,  $45,000. 

Eleven  other  officers  received  an  aggre- 
gate of  $228,928.43.  George  H.  Clark,  di- 
rector, as  of  March  14  was  listed  as  the 
heaviest  stockholder,  with  2,000  preferred 
and  15,000  common. 


MOTION    PICTURE  HERALD 

Cantor's  Collaborator 
Sues  Him  for  $250,000 

An  eight-year  friendship  on  Broadway 
between  Eddie  Cantor  and  David  Freed- 
man,  script  writer  and  Cantor  collaborator, 
ended  this  week  when  the  comedian  was 
sued  by  the  writer  for  $250,000  for  alleged 
breach  of  contract. 

Mr.  Freedman  charged  that  an  oral  con- 
tract existed  whereby  he  would  receive  10 
per  cent  of  Cantor's  radio  earnings.  Four 
years  ago,  Cantor's  radio  earnings  were 
said  to  be  $2,000  weekly ;  now  they  ap- 
proximate $10,000  a  week.  Freedman  esti- 
mated the  comedian  had  earned  $3,000,000 
in  the  eight  years  of  their  association,  where- 
as his  own  income  from  their  joint  en- 
deavors had  been  about  $50,000. 

Mr.  Cantor,  denying  the  charges  to  news- 
papers, explained  there  were  weeks  in  which 
he  had  paid  Freedman  15  to  18  per  cent 
of  his  radio  salary. 


Boycott^  Myers ' 
Reply  to  Circuits 

Abram  F.  Myers,  general  counsel  of 
Allied  States  Association  of  Motion  Picture 
Exhibitors,  this  week  in  Minneapolis  sug- 
gested a  nationwide  boycott  of  distributors 
who  threaten  the  building  of  theatres  to 
efifect  the  sale  of  product.  Mr.  Myers, 
speaking  before  the  annual  convention  of 
Northwest  Allied  States,  aimed  his  remarks 
directly  at  the  planned  theatre  building  pro- 
gram of  Loew's,  Inc.,  in  Chicago  and  else- 
where, and  described  a  united  front  by  ex- 
hibitors against  any  company  forcing  the 
purchase  of  its  product  by  threats  as  not 
only  defensible  but  practical  as  well. 

"While  a  boycott  is  illegal,"  Mr.  Myers 
admitted,  "so  is  murder,  except  in  self- 
defense,  and  independents,  no  matter  how 
few,  are  still  powerful  enough  to  bankrupt 
any  company  using  such  tactics,  if  they  stick 
together." 

-  The  Allied  general  counsel  characterized 
the  motion  picture  code  as  "the  most  scan- 
dalous" of  all  codes  under  NRA.  He  said 
that  the  continuation  of  NRA  is  inevitable 
and  that  theatres  must  work  for  code  amend- 
ments and  a  balanced  Code  Authority. 

Nathan  Yamins,  head  of  Allied's  New 
England  unit  and  a  Code  Authority  member, 
said  the  code  was  drawn  and  administered 
by  producer-distributor  interests,  with  the 
exhibitor  "on  the  short  end  of  the  deal." 
He  recommended  complete  revision  of  the 
code  and  a  Code  Authority  made  up  equally 
of  both  producer-distributor  and  exhibitor 
interests,  both  major  and  independent. 

Mr.  Myers  predicted  that  Congress  will 
pass  the  Pettengill  bill  prohibiting  compul- 
sory block  booking  at  this  session,  and  de- 
scribed the  measure  as  the  only  possible 
means  of  breaking  "the  film  monopoly." 
During  the  convention  Mr.  Myers  received 
word  from  Washington  that  the  Senate 
finance  committee  would  hear  him  on  the 
motion  picture  code  next  Monday. 

J.  B.  Clinton,  Duluth,  was  elected  presi- 
dent of  Northwest  Allied,  and  was  also 
named  a  member  of  the  board  of  five  to 
govern  the  organization.  Others  named  to 
the  board  were  S.  B.  Lebedoff,  El  Peasley, 
Gus  Baehr  and  Bill  Glazer. 


April    6  ,     1  9  3  5- 

Exhibition  Ruled 
Intrastate  Action 

Ruling  on  the  motion  of  Harry  Huffman, 
Denver  exhibitor,  to  strike  out  certain  por- 
tions of  the  government's  answer  in  his 
effort  to  have  made  permanent  an  injunction 
preventing  distributors  from  stopping  ser- 
vice to  his  theatres  as  directed  by  the  local 
grievance  board,  Judge  J.  Symes  in  United 
States  district  court,  Denver,  ruled  last  week 
that  when  films  arrive  in  a  state  and  are 
received  by  a  distributor,  they  cease  to  be 
in  interstate  commerce  and  are  not  subject 
to  federal  regulations.  He  called  exhibition 
purely  intrastate  commerce,  and  said  the 
NRA  had  no  power  to  interfere. 

Judge  Symes  declared  he  will  hear  further 
argument  on  the  government's  contention 
that  Mr.  Huffman  is  in  violation  of  the  anti- 
monopoly  laws,  in  his  operation  of  a  lottery. 
The  court  ruled  the  Colorado  state  NRA  act 
unconstitutional.  A  state  court  judge  had 
previously  ruled  similarly.  Judge  Symes 
said :  "The  whole  proposition  of  NRA  codes 
being  set  up  as  law  is  unconstitutional,  in 
my  opinion.  Legislating  of  socalled  codes  of 
fair  competition  is  done  by  a  group  of  pri- 
vate industries." 


Pathe's  Air  Newsreel 
Will  Start  April  8 

The  Pathe  Newsreel  of  the  Air  will 
begin  on  a  twice  weekly  basis  April  8  over 
the  Mutual  network,  with  station  WOR, 
Newark,  as  the  key  outlet.  Last  week  it 
was  reported  the  program  would  be  heard 
over  the  NBC  network,  but  both  NBC  and 
the  Columbia  System  have  a  prohibition  on 
recorded  programs  and  the  Pathe  sound 
track,  which  will  play  a  prominent  part  in 
the  broadcasts,  is  considered  in  the  same 
classification  as  a  record. 

Other  stations  which  will  carry  the  pro- 
gram are  WLW,  WXYL  and  WGN.  WGN, 
WOR  and  WXYZ  will  broadcast  the  news- 
reel  at  9:45  P.  M.  Eastern  Standard  time 
and  WLW  at  7  P.  M.  on  Tuesday  and 
Thursday  evenings. 

Bromo-Seltzer  has  begun  a  billboard  cam- 
paign on  the  Pathe  broadcast. 

Reports  of  New  Plans  for 
Fox  Metropolitan  Doubted 

With  the  creditors'  hearing  on  the  Joseph 
M.  Schenck-Fox  Theatres  plan  of  reorgan- 
ization for  Fox  Metropolitan  Playhouses  set 
for  April  15,  reports  were  circulating  in 
New  York  this  week  that  an  established  the- 
atre company  is  planning  to  present  another 
plan  of  reorganization  or  purchase  of  the 
86  Fox  Metropolitan  properties  in  Greater 
New  York.  Si  Fabian  was  said  to  be  con- 
sidering submission  of  a  bid.  One  ver- 
sion of  a  reported  new  plan  said  it  would  be 
supported  by  Fox  Metropolitan  bondholders 
who  are  dissatisfied  with  the  25  per  cent 
write-down  of  the  circuit's  bonds  proposed 
in  the  Schenck-Fox  Theatres  plan.  Another 
report  had  the  supposed  offer  backed  by  the 
Greenblatt  financial  interests  of  Philadel- 
phia. 

Fox  Midwest,  as  Fox  Midcontinent  with 
Elmer  Rhoden  in  charge,  and  Fox  Rocky 
Mountain  as  Associated  Theatres  with  Rick 
Ricketson  in  charge,  will  emerge  from  bank- 
ruptcy May  4. 


A 


r  I 


19  3  5 


MANAGERS'    ROUND  TABLE 


33 


ASIDES  &  INTEI^LUDES 

 By  JAMES  CUNNINGHAM   


Terr}'  Ramsaye's  remarks  concerning  the 
Parent-Teachers'  plan  to  take  the  motion  pic- 
ture out  of  the  theatre  and  put  it  in  the  class- 
room recalls  a  story  which  has  been  going  the 
rounds  of  Kansas  legislative  circles. 

It  seems  a  member  was  haranguing  the  state 
assembly  about  the  necessity  of  consolidating 
rural  schools  in  the  interest  of  efficiency  and 
economy. 

"We  have  some  schools  with  only  four  or  five 
pupils,"  he  orated.  "Why,  I  even  know  of  a 
school  where  there  is  only  one  pupil,  and  he's 
a  half-wit.    What'll  we  do  with  him?" 

"Send  him  to  the  legislature!"  thundered  back 
someone  in  the  somnolent  chamber. 

V 

Floyd  Fitzimmons,  managing  Century  Cir- 
cuit's Grove  theatre  at  Freeport,  on  Long 
Island,  verifies  the  authenticity  of  our  recent 
observation  on  this  page  that  it's  a  wife's 
second  nature  to  take  charge  of  all  her  hus- 
band's winnings;  and  so  it  must  be  a  ter- 
rible strain  on  the  women  whose  husbands 
are  called  as  the  winners  of  "bank  night" 
money  in  our  motion  picture  theatres. 

It  seems  that  a  male  patron  at  Floyd's 
Grove  theatre  left  the  auditorium  for  a  few 
moments,  and,  while  he  was  enjoying  a 
smoke  in  the  loimge  on  the  mezzanine  floor 
his  name  was  called  as  the  winner  of  a  $250 
"bank  night"  award.  The  allotted  time 
passed  with  no  one  answering  to  claim  the 
prize.  Therefore,  as  is  customary,  it  was  for- 
feited, to  be  awarded  at  another  time.  Some 
few  minutes  later  the  patron  strolled  down 
the  stairs  with  a  very  peaceful  and  contented 
expression,  only  to  be  pounced  upon  by  his 
wife,  who  shouted  "Where  the  hell  were 
you.  You're  a  nincompoop;  you  walked  out 
on  $250.  It  would  have  bought  so  many 
dresses." 

V 

Dixie  Lee,  wife  of  Bing  Crosby,  and  mother 
of  their  three  children,  was  playing  an  unin- 
terrupted love  scene  with  John  Boles  for  "Red- 
heads on  Parade,"  at  the  Fox  studio.  Standing 
on  the  sidelines  observing  her  was  the  eldest 
son,  Gary  Cooper  Crosby,  who,  believing  it  was 
improper  for  his  mother  to  be  in  another  man's 
arms,  shattered  the  silence  with  a  lotid  yell, 
"Ma-Ma!" 

The  explanation  probably  convinced  the 
young  fellow  that  every  day  he's  learning  more 
about  less. 

V 

Comedian  Joe  Cunningham,  rushing  out 
of  Levy  s  in  Hollywood,  bumped  into  Pub- 
licist Harry  Brand,  telling  him  he  was  off 
to  the  races  at  Santa  Anita. 

"But  the  track  closed  three  days  ago,"  ex- 
plained Harry. 

"Yes,  I  know  that,"  answered  Joe.  "But 
I'm  going  anyway  to  see  if  my  horse  finished 
yet." 

V 

Faith  Baldwin  is  another  novelist  who  will 
"never"  return  to  Hollywood.  They  had  her 
out  there  for  a  zveek  and  she  nearly  died.  Seems 
they  gave  her  a  \2-cylinder  car  with  fcnir  ash 
trays  and  she  almost  choked  to  death  trying  to 
fill  'em  up  zmth  cigarette  dust.  Besides,  she 
went  west  fully  expecting  never  to  see  the 
studio,  never  to  see  the  people  who  hired  her, 
never  to  see  anyone  but  the  paymaster,  and  they 
actually  made  her  spend  15  minutes  on  the  lot 
explaining  that  they  had  made  the  hero  of  her 
novel,  who  was  a  radio  engineer,  a  horticultur- 
ist. 

V 

Instead  of  "Smoke  Gets  In  Your  Eyes," 
from  "Roberta,"  the  grapevine  reports  in  the 
middle  west  the  dust  gets  in  your  eyes,  from 
Kansas. 


PERHAPS  IT  WAS  THE 
TYPEWRITER'S  FAULT 

].  A.  Tannenbatim,  president  of 
S.O.S.  Theatre  Equipment  Company, 
tcalked  into  his  office  at  the  north 
end  of  Longacre  Square,  on  Broad- 
way, the  other  morning,  and  felt  the 
confusion  of  a  hangover  when  he 
read  the  following  letter  from  a 
prospective  customer: 

DEAR  SIR.  Will  You  Plese  Send  Me  a 
Copy  of  Listed  of  Some  of  your  Sylond 
Suitcas  moddles  Moving  Putchurs  Mechines. 
Also  some  of  your  Sylond  Putchurs;  as  soon 
as  you  send  me  a  List  of  these  things  i  will 
rite  and  send  you  a  letter  right  back  and 
send  the  money  for  what  i  wont: 
YOURSI/2  VERY,  TRULLY, 


JOSEPH  MITCHELL  interviewed  Miss 
Rochelle  Hudson,  18-year-old  Fox  Film 
actress,  and  her  mother,  Mrs.  Mae  Hudson, 
upon  their  arrival  in  New  York  from  Movie- 
tone city,  for  the  Scripps-Howard  newspapers, 
which  published  the  net  results  in  this  partial 
fashion: 

MISS  HUDSON 

"/  think  my  home  town  stinks!"  .  .  ." 
Rochelle  referred  to  Claremorc ,  Oklahoma, 
home  of  Will  Rogers,  who  will  have  her  in  the 
cast  of  his  next,  "Life  Begins  at  Forty." 

"Yes,  I  never  liked  the  place.  They  have 
radium  water  there.  It  comes  from  mineral 
springs,  or  something ,  and  it  turns  the  bath- 
tubs black.  .  .  ." 

"I  am  going  up  to  the  top  of  the  Empire 
State  Building.  I  don't  know  why,  but  Fm 
going.  ..." 

"No,  there  have  been  no  scandals  in  my  life 
yet,  but  I  still  have  hopes.  .  .  ." 

"I  make  hooked  rugs  and  keep  two  cats.  .  .  ." 

"I  got  in  pictures  because  my  mother  had  a 
friend  who  had  a  friend  who  was  a  friend  of 
the  ex-wife  of  somebody  at  one  of  the  studios. 
Anyway,  this  frietid  knew  the  voice  coach  for 
the  Fox  Film,  the  people  I  work  for  now,  and 
she  got  me  tested.  .  .  ." 

MRS.  HUDSON 

"/  developed  all  the  talent  she  had.  .  .  ." 

"I  did  not  go  out  there  to  commercialize  Ro- 
chelle. .  .  ." 

"I  know  I  was  prettier  than  she  is  when  I 
zms  her  age;  all  my  friends  say  so.  .  .  ." 

"Many  young  girls  out  there  have  been 
ruined  by  their  mothers.  I  stay  in  the  back- 
ground. .  .  ." 

MISS  HUDSON 

"IVe  call  oivrselves  'Hudson,  Limited.'  Fm 
the  executive  and  mother  is  the  brain  trust." 
V 

Radio's  studio  in  California  has  a  direc- 
tor. His  name  is  Irving  Pichel.  Now,  Irv- 
ing Pichel  has  a  son.  His  name  is  Pichel 
Pichel.  Little  Pichel  Pichel  has  a  peculiar 
peculiarity.  He  tows  in  discarded  automo- 
biles, fixes  them  up  and  then  sells  them  to 
his  fellow  students  at  Flintride  School  for 
Boys  at  $10  per  fix. 

V 

Headline  on  page  one  of  Eli  Sugarman's 
Billboard : 

AMATEURS  SWEEP  NATION 


Skouras    Circuit  in 
National  Deal  with 
Feenamint 


Lou  Sobol,  Broadway  reporter  for  Hearst, 
sends  back  from  his  vacation  in  Hollywood,  an 
account  of  colored  Bill  Robinson's  visit  to 
Mississippi,  when,  dropping  in  to  see  a  picture, 
he  walked  up-stairs  to  the  balcony,  in  keeping 
with  the  Jim  Crow  ruling  of  segregation,  and 
observed  that  every  so  often  a  bell  clanged  out 
loudly.  Later  he  inquired  and  learned  that 
whenever  there  was  a  situation  in  the  picture 
which  brought  a  laugh  from  the  white  folks, 
an  attendant  would  hit  the  gong  as  a  signal 
that  then  the  colored  folks  had  permission  to 
laugh  too ! 

Mr.  Robinson,  the  pride  of  Harlem,  has, 
since  "The  Little  Colonel,"  become  one  of 
filmdom's  noted  performers.  He  is  reputed  to 
have  enough  important  film  assignments  ahead 
to  keep  him  out  there  for  many  months.  For 
publicity  purposes  Bill  has  posed,  at  the  re- 
quest of  the  studios,  with  many  white  stars — 
Katharine  Hepburn,  Janet  Gaynor,  Warner 
Baxter,  Shirley  Temple,  Evelyn  Venable,  John 
Boles,  Fred  Astaire,  Harriet  Hoctor  and  others 
— -none  of  whom  objected  to  being  photographed 
with  the  sepian.  Only  one  actor  refused  to  pose 
with  him — Stephin'  Fetchit,  who  is  blacker  than 
Pittsburgh  soot ! 

V 

The  producer  of  a  mystery  story  in  Holly- 
wood was  in  the  projection  room  looking  over 
the  daily  rushes.  At  the  finish  he  couldn't  un- 
derstand the  purpose  of  one  scene  shown  him, 
so  he  asked  the  director  about  it. 

"Oh  that's  fnst  throwing  them  a  herring," 
explained  the  director. 

"You  mean  they're  going  fishing!"  asked  the 
producer. 

"No,"  answered  the  director,  "that's  just 
draiving  a  herring  over  the  trail  to  foil  the  de- 
tective so  he  won't  find  the  murderer." 

"Oh,  that's  all  right,"  said  the  producer,  "only 
there's  nothing  in  the  script  about  fishing." 

V 

Americans  in  England  have  much  trouble 
with  the  King's  English.  The  latest  story 
concerning  the  agonies  of  our  people  touring 
the  Kingdom  is  about  the  rough  and  ready 
American  student  who,  when  visiting  Ox- 
ford University,  was  told  that  he  must  pro- 
nounce Magdalen  College  as  if  he  were  say- 
ing "maudlin."  The  name  Cholmondeley.  he 
was  informed  by  horrified  Britishers  who 
had  just  heard  him  give  every  syllable  in 
the  name  its  fullest  play,  simply  must  be 
pronounced  "Chtmiley."  The  fadeout  came 
when  the  American,  already  disgusted, 
packed  his  bags  to  return  home  after  seeing 
a  billboard  sign  which  read: 

FOX  FILMS,  LTD. 
Presents 

"CAVALCADE,"  Pronounced  Success 

V 

Regal  discourse  as  overheard  by  Read  Ken- 
dall on  Cecil  Blount  DeMille's  "Crusaders"  set 
at  Paramount's  studio  : 

Joseph  Schildkraut,  resplendent  as  Conrad  of 
Montferrat,  to  Paid  Satoff,  zvho  plays  Michael 
of  Russia:  "Hey,  Buddie,  got  a  match!" 

"Haz'en't  got  any  pockets  in  these  ermine 
robes,"  replied  Satroff,  "but  you'll  find  some 
stowed  under  my  throne." 

"Hey,  you-  kings,"  interpolated  the  booming 
voice  of  bold  DeMille.  "No  smoking.  And  that 
goes  for  assistant  directors,  too!" 

V 

Knee-deep  in  "muggs"  who  had  been  en- 
gaged to  play  gangster  roles  in  "The 
G-Men,"  Jimmy  Cagney,  Lloyd  Nolan  and 
other  members  of  the  Warner  cast  were  en- 
gaged the  other  afternoon  in  a  discussion  of 
feats  of  strength.  Up  stepped  one  of  the 
"muggs,"  with  the  statement  he  could  lift 
"tree  hunnerd  pounds."  Cagney  bet  him  he 
couldn't  spell  it.   And  he  couldn't. 


34 


MOTION    PICTURE  HERALD 


April    6 ,  1935 


US.  COURT  DEFINITELY 
CLOSES  TRI- ERGON  CASE 


Supreme  Bench  Refuses  to  Al- 
low William  Fox  Rehearing 
of  "Flywheel"  Patent  Case 

The  United  States  supreme  court  at 
Washington  on  Monday  put  a  final  halt  to 
William  Fox's  attempts  to  collect  possible 
millions  in  royalties  on  his  Tri-Ergon 
sound  patents  when  it  refused  to  grant  him 
a  rehearing.  Mr.  Fox  had  refused  to  believe 
that  his  patents  were  "lacking  in  invention," 
as  ruled  last  month  by  this  tribunal.  Chal- 
lenging the  propriety  of  the  decision  he  filed 
last  week  a  petition  for  a  rehearing  in  the 
Altoona-Publix  and  Wilmer  and  Vincent 
"flywheel"  case,  involving  theatre  reproduc- 
ers. The  court  acted  with  unusual  swift- 
ness in  refusing  to  rehear. 

Barely  getting  under  the  wire  before  the 
final  hour  of  the  30-day  period  within  which 
the  petition  could  be  filed,  Mr.  Fox's  Ameri- 
can Tri-Ergon  Corporation  answered  the 
speculation  in  the  industry  as  to  whether  he 
would  continue  the  fight  on  the  outcome  of 
which  he  stood  to  win  or  lose  possibly  scores 
of  millions  in  royalties. 

Monday's  decision  had  not  been  expected 
before  April  8th. 

Three  Contentions  Fail 

Mr.  Fox's  lost  plea  was  based  on  three 
contentions : 

(1)  That  in  deciding  the  flywheel  claim 
invalid  for  want  of  invention,  the  court 
had  made  statements  unsupported  by  or 
in  contradiction  with  the  formal  record; 

(2)  that  the  court  erred  in  throwing  out 
the  disclaimers  in  the  flywheel  case,  and 

(3)  that  as  a  result  of  this  action,  con- 
fusion has  been  created  which  makes  it 
impossible  for  the  lower  courts  to  deter- 
mine whether  a  disclaimer  is  valid  when 
it  adds  a  "new  element"  to  a  claim. 

The  whole  question  of  whether  the  Tri- 
Ergon  patents  made  sound  film  feasible 
hinged  upon  the  first  point,  and  it  was  on 
this  that  Fox's  petition  laid  greatest  stress. 
It  was  contended  that  the  exhibitor-defend- 
ant's own  experts, '  during  trial  of  the  case, 
had  admitted  there  was  a  demand  for  sound, 
and  that  this  demand  was  in  existence  as 
early  as  1913,  when  Thomas  A.  Edison  at- 
tempted to  use  a  phonograph  in  the  theatres, 
but  that  no  system  proved  workable  until 
the  Tri-Ergon  method  was  developed. 

Over  a  period  of  a  number  of  years,  the 
court  was  told,  investigators  sought  dili- 
gently to  develop  sound  pictures,  among 
them  DeForest,  Fox,  Western  Electric  and 
General  Electric. 

"Certainly  these  people  were  not  inter- 
esting themselves  and  spending  their  money 
for  the  fun  of  it,"  the  petition  declared. 
"There  was  a  great  public  demand  ever 
since  1913.  And  yet  this  court  states  that 
there  was  no  public  demand  until  1926  and 
that  'when  the  need  arose  for  a  mechanism 
suitable  to  move  film  records  with  such 
speed  constancy  as  to  produce  sound  suc- 
cessfully, it  was  forthcoming.'  It  was  forth- 
coming, but  from  these  patentees,  and  as 


early  as  1921,  who  were  the  first  to  give 
sound-on-film  sound  pictures  to  the  world, 
and  their  work  has  now  been  appropriated 
by  the  great  corporations  of  this  country 
and  with  impunity  under  this  court's  treat- 
ment of  what,  we  respectfully  submit,  was 
a  pioneer  invention." 

Cited  Supreme  Court  Cases 

Contending  that  the  court  erred  in  re- 
jecting the  disclaimers,  the  petition  cited  a 
number  of  cases  in  which  the  supreme  court 
had  "recognized  the  validity  of  disclaimers 
in  limitation  of  a  claim  to  a  species  of  a  gen- 
eral class  covered  by  the  claim"  and  de- 
clared this  to  be  precisely  the  nature  of  the 
disclaimer  involved  in  the  suit  when  prop- 
erly applied. 

"This  court  in  the  present  opinion  as  we 
read  it  has  broadly  condemned  the  disclaimer 
here  because  it  added  a  new  element,  re- 
gardless of  what  it  was  and  regardless  of 
whether  the  subject  matter  was  disclosed  as 
part  of  the  original  invention,"  it  was  argued. 

"If  we  are  correct  in  our  analysis  of  the 
disclaimer  cases  approved  by  this  court  in 
its  opinion,  as  we  firmly  believe  we  are,  it 
will  be  quite  impossible  for  the  lower  courts 
to  determine  whether  a  disclaimer  which 
adds  'a  new  element  to  a  combination  pre- 
viously claimed'  is  valid  or  invalid." 

It  was  also  pointed  out  that  the  court  in 
its  opinion  asserted  that  the  courts  below 
paid  no  attention  to  the  question  of  the  dis- 
claimer, yet  the  lower  court,  it  was  con- 
tended, stated  expressly  that  "all  the  other 
defences"  were  considered  and  rejected  as 
not  "substantial." 

The  Tri-Ergon  case  had  been  before  the 
Supreme  Court  since  last  fall,  and  had  re- 
ceived more  attention  than  do  most  of  the 
disputes  which  come  to  Washington.  Fol- 
lowing an  adverse  decision  in  the  lower 
courts,  the  producers  and  exhibitors  involved 
in  the  initial  suits  appealed  to  the  Supreme 
Court,  only  to  have  their  plea  rejected, 
which  would  have  affirmed  the  decision.  An 
application  for  reconsideration  was  filed  and 
the  court  reversed  itself  and  set  the  case  for 
argument,  halting  a  number  of  suits  which 
Tri-Ergon  had  instituted  on  the  basis  of  the 
court's  previous  action. 


New  Copyright  Bill 
Introduced  in  Congress 

The  State  Department's  new  draft  of 
copyright  legislation  was  brought  before 
Congress  this  week  as  part  of  a  bill  intro- 
duced by  Senator  DufTy  of  Wisconsin,  as 
chairman  of  the  foreign  relations  committee 
which  investigated  copyrights. 

Senator  Tydings  of  Maryland  also  brought 
the  copyright  question  before  Congress  this 
week  when  he  submitted  a  resolution  calling 
for  an  investigation  of  the  American  Society 
of  Composers,  Authors  and  Publishers  be- 
cause of  alleged  abuses  upon  "hundreds"  of 
Maryland  business  establishments.  Senator 
Tydings  charged  that  "under  certain  rulings 
of  the  supreme  court,"  ASCAP  and  its  sub- 
sidiaries are  "exercising  dictatorial  powers, 
developing  a  'racket'  that  could  never  have 
been  intended  to  be  endowed  upon  any  or- 
ganization by  any  court." 


Seton  Selects  43 
Screen  'Immortals ' 

Of  the  Silent  Era 

A  certain  "immortality"  has  been  be- 
stowed upon  43  players  of  the  silent  era  of 
the  motion  picture,  by  virtue  of  the  fact  that 
Harold  Seton,  champion  first-nighter  and 
owner  of  a  collection  of  10,000  theatrical 
photographs,  has  given  their  photos  to  the 
New  York  Historical  Society.  Mr.  Seton 
called  his  gift  to  such  a  conservative  group 
as  the  Society,  "the  most  dignified  compli- 
ment that's  ever  been  paid  to  the  movies." 

Mr.  Seton  selected  from  his  vast  collec- 
tion those  players  whom  he  considered  most 
representative  of  the  silent  day  of  the  screen. 
He  has  attended  every  first  night  for  the  past 
26  years  and  revealed  that  he  had  become  a 
motion  picture  "fan"  many  years  ago,  when, 
he  said,  "Everybody  said,  'You  ought  to  see 
the  movies,  but  they  will  hurt  your  eyes,'  so 
I  went  to  a  nickelodeon  on  Fourteenth  street. 
Adolph  Zukor  sold  me  a  ticket  for  a  nickel." 

"One  of  the  first  film  stars  to  attract  my 
attention,"  he  said,  "was  Mary  Pickford. 
Her  trademark  was  the  golden  curls.  Wil- 
liam S.  Hart,  he  was  the  idol  of  American 
kids.  Twenty-five  years  ago  Douglas  Fair- 
banks was  a  successful  juvenile  on  the 
Broadway  stage. 

"1  saw  the  first  appearance  in  America  of 
Charlie  Chaplin.  It  was  at  Hammerstein's 
Victoria,  where  the  Rialto  is  now.  I  remem- 
ber Marion  Davies  as  the  prettiest  girl  in 
Ziegfeld's  Follies." 

The  43  "immortals"  are: 
Roscoe  Arbuckle  Sessue  Hayakawa 

Theda  Bara  Taylor  Holmes 

John  Barrymore  Alyce  Joyce 

Lionel  Barrymore  Doris  Kenyon 

Richard  Barthelmess       Mae  Marsh 
Carlyle  Blackwell  Adolphe  Menjou 

Lon  Chaney  Antonio  Moreno 

Charlie  Chaplin  Mae  Murray 

Lew  Cody  Alia  Nazimova 

Dorothy  Daltbn  Marshall  Nielan 

Viola  Dana  Virginia  Pearson 

Bebe  Daniels  Mary  Pickford 

Marion  Davies  Ruth  Roland 

Marie  Dressier  Anita  Stewart 

Mr.  and  Mrs.  Sidney      Gloria  Swanson 

Drew  Constance  Talmadge 

Douglas  Fairbanks          Norma  Talmadge 
Mae  Murray  Olive  Thomas 

Corinne  Griffith  Rudolph  Valentino 

David  W.  Griffith  Florence  Vidor 

Texas  Guinan  Bryant  Washburn 

William  S.  Hart  Clara  Kimball  Young 


RCA  Denies  Monopoly 
Charge  of  Government 

Radio  Corporation  of  America  this  week 
in  Wilmington,  Del.,  filed  an  answer  in  de- 
nial of  the  government's  charge  that  it  and 
RCA  Communications,  Inc.,  an  RCA  sub- 
sidiary, have  a  monopoly  on  international 
communications. 

RCA's  answer,  filed  in  United  States  dis- 
trict court,  stated  that  it  is  faced  with  keen 
competition  from  companies  that  carry  80 
per  cent  of  telegraphic  communications 
throughout  the  world  and  99.9  per  cent  of 
domestic  traffic.  The  company  denied  fur- 
ther that  its  purpose  is  to  prevent  any  com- 
petitor from  engaging  in  the  business  of 
transmitting  messages  by  radio  and  that  any 
of  its  international  contracts  have  been  made 
to  restrain  communications  between  the 
United  States  and  foreign  countries. 


IHIERi  IMEY  COM 


FOR  YOUR 

1935=1936 

BOX  ©FIFDCi 


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WDTH  AINI  ALL  STAI^  CAST 


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THE  HUNCHBACK  OF  NOTRE  DAMf 


WATCH  FOR  THE  OTHERS 


38 


MOTION    PICTURE  HERALD 


April    6 ,  1935 


BRITISH  BOOKING  BY  EXHIBITORS' 
OFFICIAL  ASSOCIATION  PROPOSED 


Odeon  Circuit  Planning  to  Build 
50  More  Before  End  of  Year; 
14  Starting  Soon,  Each  with 
An   Architect   of   Its  Own 

by  BRUCE  ALLAN 

London  Correspondent 

If  a  sufficient  number  of  exhibitors  were 
to  decide  to  have  their  booking  done  by  the 
General  Council  of  the  Cinematograph  Ex- 
hibitors Association,  the  renters'  society 
"could  bluster  and  threaten  until  it  was 
blue  in  the  face,"  declared  W.  R.  Fuller, 
general  secretary,  in  the  annual  report  of 
the  CEA. 

Premising  that  "a  combination  of  circum- 
stances has  enabled  the  renters  to  force 
film  hire  to  uneconomic  heights,"  Mr.  Fuller 
said  that  a  failure  of  exhibitors  to  hold  to- 
gether in  enforcing  a  resolution  to  pay  no 
more  than  40  per  cent  for  the  whole  pro- 
gram, is  a  cause  of  present  evils. 

Other  significant  references  were  that  "as  a 
result  of  mergers  amongst  the  American  rent- 
ing houses  the  relatively  few  individuals  who 
control  the  major  portions  of  supplies  were 
able  to  impose  their  wishes  upon  a  number  of 
exhibitors  many  times  greater.  ...  It  may  be 
anticipated  from  now  onwards  that  there  will 
be  groupings  of  exhibitors  in  order  to  create 
equal  bargaining  powers  with  the  renters,  and 
permit  the  laws  of  supply  and  demand  to  oper- 
ate freely." 

Significant  in  these  remarks  is  the  insistence 
on  the  value  of  booking  combinations,  within 
or  without  the  CEA,  for  the  purpose  of  low- 
ering prices. 

In  view  of  the  KRS  action  in  questioning  the 
recent  deals  whereby  Gaumont-British  bought 
interests  in  Union  Cinemas  and  H  &  G  Cinemas 
and  proposed  to  book  for  these  halls,  there 
can  be  little  doubt  that  distributors  would  be 
disposed  to  accept  any  such  challenge  as  an 
invitation  to  a  battle  royal. 

It  is  symptomatic  ot  the  tension  in  the 
trade  that  the  CEA  has  already,  in  a  Man- 
chester court,  sought  to  obtain  an  injunc- 
tion to  restrain  the  KRS  -from  exercising  a 
booking  boycott,  under  its  credit  restriction 
scheme,  against  a  local  exhibitor. 

There  was  a  suggestion  of  anti-climax  in 
Mr.  Fuller's  comment  on  another  outstanding- 
problem.  "As  there  seems  to  be  a  disposition 
on  the  part  of  the  renters  to  recognize  the 
value  of  a  standard  contract,"  he  remarked, 
"no  useful  purpose  would  be  served  by  an  ac- 
count of  the  discussions  that  are  past."  Trade 
history  rather  suggests  that  there  will  be  plenty 
of  interest  in  the  discussions  on  this  point  that 
have  still  to  come. 

V 

Doubt  Direct  Tax  Remission 

The  experts  now  are  predicting  there  will  be 
no  remission  of  direct  taxation,  and  undoubtedly 
the  trade's  hopes  have  received  a  severe  blow. 
Possibly  they  are  not  dead,  but  even  the  assist- 
ance of  a  committee  of  Members  of  Parliament, 
in  the  House  itself,  seems  now  to  be  much  less 
important  than  it  did  before  the  announcement 
of  the  increases  of  Navy,  Army  and  Air  Force. 

V 

A  new  major  British  circuit  is  shaping 
rapidly,  concurrently  with  considerable  official 


alarm  about  "redundancy."  Oscar  Deutsch, 
creator  of  the  Odeon  circuit,  who  has  erected 
50  theatres  in  all  parts  of  the  country,  expects 
to  make  the  total  100  before  the  end  of  the 
year. 

Fourteen  are  scheduled  for  early  erection, 
and  each  will  have  its  own  architect.  This  is 
just  another  indication  of  Deutsch's  liking  for 
experiment.  Expansion  is  by  erection  and  not 
by  purchase ;  wben  his  circuit  is  completed  it 
will  be  100  per  cent  modern.  Every  hall  is  a 
"super,"  with  the  common  feature  that  they  are 
designed  on  the  stadium  one-tier  system  or  a 
slight  modification  of  it.  Practically  every 
building  is  a  neighborhood  house. 

Mr.  Deutsch  is  the  man  who  put  the  British 
Thompson-Houston  sound  system  on  the  mar- 
ket, selling  through  F.  A.  Enders,  of  the  now 
defunct  FBO,  Ltd.,  in  the  first  instance. 
V 

ABFD  Expansion 

Associated  British  Film  Distributors,  sell- 
ing end  of  Associated  Talking  Pictures  of  the 
Ealing  studio,  has  just  issued  details  of  its  ex- 
pansion program,  consequent  upon  the  recipro- 
cal deal  with  First  Division.  With  twenty 
Mascots  for  British  distribution,  on  top  of  the 
First  Division  product,  and  the  security  of  its 
own  American  release  through  First  Division, 
ABFD  will  also  have  a  much  bigger  lineup 
from  ATP.  Basil  Dean  is  going  to  Hollywood 
in  September  to  discuss  ioint  production. 
V 

News  Briefs 

James  B.  Sloan  one  of  the  best  known  pro- 
duction managers  in  the  British  field,  has  joined 
British  National  Films. 

*  *  * 

Herbert  Wilcox's  personally  directed  "Peg 
of  Old  Drury"  went  on  to  the  floor  at  B  &  D, 
Elstree,  with  Sir  Cedric  Hardwicke  and  Anna 
N  eagle. 

*  >K 

The  practice  of  British  distributing  houses  of 
making  a  double  release  date  in  London  has 
long  been  questioned  by  the  London  and  Home 
Counties  Branch  of  the  CEA,  and  the  KRS 
has  now  agreed  to  appoint  members  to  a  joint 
committee  with  exhibitors  to  try  to  find  a  solu- 
tion. 


May  Raise  Federal 
Housing  Aid  Limit 

Congress  is  expected  shortly  to  approve 
legislation  which  will  increase  from  $2,000 
to  $50,000  the  amount  which  may  be  loaned 
to  business  properties,  including  theatres, 
under  the  Federal  Housing  Act. 

The  House  already  has  indicated  support 
of  the  increase,  and  Housing  officials  antici- 
pate that  similar  support  can  be  obtained 
in  the  Senate,  which  would  simplify  passage. 
Administration  officials  have  contended  con- 
sistently that  the  maximum  of  $2,000  has 
made  virtually  impossible  any  extensive  use 
of  the  government's  assistance  by  business 
men,  whereas  it  is  believed  that  a  $50,000 
maximum  will  greatly  extend  the  field. 

Cooperating  in  the  Federal  Housing  Ad- 
ministration's program,  the  Johns-Manville 
Company,  building  material  manufacturers, 
have  prepared  a  five-reel  film,  "Before  and 
After,"  showing  to  building  contractors. 


Reginald  Berkeley 
Dies  in  Hollywood 

Reginald  Berkeley,  English  dramatic 
writer,  who  was  under  contract  as  a  Fox 
scenarist,  and  who  came  to  Hollywood  to 
adapt  "Cavalcade"  for  the  screen,  died  at 
Good  Samaritan  Hospital,  Los  Angeles,  last 
week,  of  pneumonia  which  developed  after  a 
major  operation  performed  several  days  be- 
fore.   Mr.  Berkeley  was  45  years  old. 

At  one  time  a  member  of  Parliament,  Mr. 
Berkeley  was  also  a  member  of  the  British 
delegation  to  the  League  of  Nations.  After 
the  war,  during  which  he  received  several 
decorations  for  gallantry  in  action,  he  re- 
sumed his  writing,  "French  Leave,"  a  play, 
enjoying  a  long  run.  Winfield  Sheehan, 
head  of  Fox  production,  was  responsible  for 
Mr.  Berkeley  coming  to  Hollywood,  where 
he  was  also  known  as  a  player.  He  recently 
returned  to  Hollywood,  after  signing  a  new 
Fox  contract,  from  a  vacation  in  England, 
where  his  widow  and  three  children  are 
living. 

Mr.  Berkeley  was  born  in  London,  taken 
to  Australia  as  a  child,  and  practiced  law 
in  New  Zealand  for  several  years,  return- 
ing to.  England  shortly  before  the  outbreak 
of  the  war.  Stories  he  adapted  in  addition 
to  "Cavalcade,"  which  won  the  1933  award 
of  the  Academy  of  Motion  Picture  Arts  and 
Sciences,  were  "The  World  Moves  On," 
"Carolina"  and  "Marie  Galante." 


Session  on  Barring 
Doubles  April  9th 

Harry  Brandt,  president  of  the  New  York 
Independent  Theatre  Owners'  Association, 
who  has  launched  a  campaign  to  eliminate 
double  features  in  the  Greater  New  York 
exchange  territory,  this  week  sent  invita- 
tions to  26  exhibitor  and  distributor  execu- 
tives in  New  York  to  participate  in  a  round 
table  discussion  on  doubles  and  on  increased 
admission  prices.  The  meeting  is  to  be  held 
April  9  at  the  New  York  Motion  Picture 
Club. 

Mr.  Brandt's  plan  is  to  bring  about  an  in- 
crease in  admission  prices  in  the  territory  which, 
he  contends,  would  normally  result  from  the 
abolition  of  twin  bills. 

RKO,  Loew's  and  Skouras  Theatres  have 
formally  declared  themselves  in  favor  of  Mr. 
Brandt's  plan. 

In  Canton,  Ohio,  all  nine  houses  went  over 
to  the  dual  bill  policy.  The  Cleveland  Motion 
Picture  Exhibitors  Association  Monday  voted 
to  prepare  for  signatures  an  agreement  to  con- 
tinue with  single  features  in  all  member  the- 
atres, efifective  July  8. 

A  ban  on  double  bills  in  Flint,  Mich.,  got 
underway  in  accordance  with  an  agreement 
reached  early  last  month. 

In  Kansas  City,  with  the  single  exception  of 
Paramount,  all  distributors  have  agreed  to  per- 
mit double  billing,  according  to  a  report. 


April    6,    1935  MOTION    PICTURE    HERALD  39 


U.S.  COMPANIES  AWAIT  NEXT  MOVE 
IN  BELGIAN  QUOTA  DEMAND  FIGHT 


Protest  They  Do  Not  Intend  to 
Dub  Pictures  Twice  in  French, 
Once  for  France  and  Second 
Time  for  the  Belgian  Market 

by  PIERRE  AUTRE 

Special  Correspondence 

Whether  Belgium  will  have  its  own  quota 
is  the  wannh'  discussed  question  which  is 
giving-  the  Belgium  cinema  industry,  and  the 
French  as  well,  much  to  ponder  over. 

The  issue  had  its  beginning  when  the 
French  quotas  issued  on  July  1932,  July 
1933,  July  1934  and  November' 1934  stopped 
all  importation  into  France  of  any  kind  of 
foreign  pictures  dubbed  in  French  in  the 
outside  countries. 

Two  languages  are  used  in  Belgium : 
French  in  the  territory  touching  the  French 
border,  and  Flemish  in  the  other  part  along 
the  Dutch  border.  Thus  half  of  Belgium, 
including  Brussels,  speaks  French ;  the  other 
half,  -with.  Antwerp,  speaks  Flemish.  Until 
now,  all  the  pictures  shown  in  Belgium  have 
been  foreign  pictures ;  there  virtually  is  no 
home  production.  Since  sound  came  in, 
there  have  been  three  or  four  Belgium  pic- 
tures with  French  dialogue,  three  or  four 
with  either  French  or  Flemish  dialogue. 

Thus  the  Belgian  market  has  been  entirely 
in  the  hands  of  foreign  companies.  The 
kinds  of  pictures  shown  in  Belgium  are 
mainly : 

(1)  French  pictures  with  Flemish  titles 
for  the  Flemish  territory. 

(2)  American,  British,  German  and  others 
in  the  original  version,  with  superimposed 
French  and  Flemish  titles. 

(3)  American,  British,  German  and  others 
In  French  dubbings  with  Flemish  titles. 

(4)  A  few  American  or  German  pictures 
dubbed  in  Flemish.  These  dubbings  were 
made  In  Belgium  or  Holland. 

Most  of  the  pictures  have  been  French  or 
foreign  dubbed  in  French. 

As  the  French  quota  required  dubbing  in 
French  territory  and  foreign  pictures  which 
would  be  shown  in  France,  all  the  foreign 
pictures,  including  those  to  appear  in  Bel- 
gium, were  dubbed  in  the  French  language 
once  and  for  all  in  the  French  studios. 
American  distributors  did  not  care  to  dub 
their  pictures  in  Belgium,  as  they  knew  they 
could  not  import  them  into  France. 

In  December,  1933,  some  Belgian  distribu- 
tors sent  a  letter  to  the  minister  of  foreign 
affairs  of  Belgium  asking  that  in  the  case  of 
all  foreign  pictures  to  be  shown  in  their 
countries  as  French  or  Flemish  dubbings, 
the  government  should  decree  that  they  be 
dubbed  in  Belgium. 

This  demand  had  no  Immediate  effect 
and  the  question  was  left  In  abeyance. 
Then  on  November  24,  1934,  the  French 
Government  Issued  a  new  quota  proclama- 
tion effective  for  six  months.  Under  this 
decree,  as  In  the  previous  ones,  foreign 
pictures  of  more  than  three  reels  had  to 
be  dubbed  on  French  territory  and  could 


not  exceed  94  pictures  for  six  months. 

The  French  Government,  asked  by  the 
Belgium  cinema  organizations  to  allow  free 
entrance  into  France  of  pictures  dubbed 
In  Belgium,  refused  to  make  this  exception 
to  the  French  quota. 

So  the  Belgian  distributors,  the  same  who 
had  asked  for  a  Belgian  quota,  addressed  a 
report  to  the  King  of  Belgium,  Leopold  III. 
Out  of  this  came  three  weeks  ago  a  royal 
decree  which  regulates  the  importing  of 
foreign  pictures  into  Belgium,  with  these 
stipulations : 

For  Importation  of  motion  pictures 
(printed)  will  be  required  a  special  license 
delivered  by  the  Minister  of  Economic  Af- 
fairs. 

The  Ministers  of  Finance  and  Economic 
Affairs  are  charged  with  execution  of  the 
decree. 

On  issuance  of  this  decree,  which  concerned 
not  only  dubbings,  but  all  kinds  of  pictures, 
the  directors  of  the  Belgium  branches  of 
MGM,  Paramount,  Warner,  United  Artists, 
Universal  and  Fox  addressed  a  solemn  pro- 
test to  the  minister  of  economic  affairs. 

Americans  Protest 

The  American  companies  argued  that  it 
is  impossible  for  them  to  dub  their  pictures 
in  Belgium,  that  they  organized  special 
studios  for  dubbing  in  France  and  they  do 
not  intend  to  dub  a  picture  in  French  twice, 
once  in  Paris  and  the  second  time  in  Bel- 
gium, that  they  would  prefer  to  drop  the 
Belgian  market. 

After  a  stormy  meeting  of  the  Chambre 
Syndicale  of  the  Belgium  Cinematography, 
the  American  companies  resigned. 

The  issue  is  clear  cut.  On  one  side  are 
those  who  would  like  to  create  in  Belgian  a 
national  cinema  industry;  on  the  other  side 
stand  the  American  companies  adamant 
against  dubbing  their  pictures  in  Belgium 
when  they  already  have  been  dubbed  in 
France  for  the  French  market. 

It  will  be  impossible  to  recover  the  price 
of  a  dubbing  in  French  made  especially  in 
Belgium  for  the  French  speaking  segment 
of  Belgium. 

A  Hungarian  picture,  dubbed  in  French  in 
Belgium,  has  not  yet  been  admitted  by  the 
French  censorship. 

The  French  Chambre  Syndicale  de  la 
Cinematographic  proposes  that  the  French 
Government  allow  an  entirely  free  exchange 
between  France  and  Belgium.  It  might  be 
an  eventuality  that  the  French  Government, 
in  agreement  with  the  French  and  Belgium 
distributors,  would  allow  free  importation 
into  France  of  all  Belgian  pictures  produced 
in  Belgium,  or  foreign  pictures  dubbed  in 
French  or  Flemish  on  Belgian  soil.  These 
pictures  would  be  considered  as  produced 
or  dubbed  in  France.  And  that  would  be  the 
end  of  the  Belgian  Quota. 

Steffes  Opens  Theatre 

Al  Steffes  will  open  the  Shubert  in  Min- 
neapolis this  week  under  the  name  of  the 
Alvin.  Vaudeville  and  films  will  be  the 
policy.  Mr.  Steffes  has  spent  $60,000  in  re- 
modeling the  house. 


Leslie  Howard  Is 
Oppressed  by  the 

Films^He  Declares 

Leslie  Howard,  star  of  the  screen  and 
stage,  told  a  conference  on  acting  in  New 
York  last  week  that  he  had  no  desire  to 
continue  to  play  in  the  commercial  theatre, 
including  the  motion  picture.  The  con- 
ference was  arranged  by  the  Beekman  Hill 
Neighbors  and  Leighton  Rollins',  director 
of  the  Studio  of  Acting. 

Mr.  Howard,  who  is  playing  in  "The 
Petrified  Forest"  successful  Broadway  play, 
contrasted  the  New  York  theatre  and  his 
work  for  the  motion  picture  in  Hollywood. 
Some  things  about  Hollywood,  the  climate, 
the  fact  that  there  were  no  long  runs,  and 
working  hours  which  permitted  an  actor  to 
keep  the  normal  hours  of  most  persons,  Mr. 
Howard  liked,  but,  he  declared  there  is 
something  oppressing  in  the  realization  that 
a  motion  picture  was  just  a  vast  machine 
that  controlled  everyone  connected  with  it. 

Scripts  Mr.  Howard  called  "fantastic  ef- 
fusions," and  the  actor,  he  said,  is  given 
no  consideration  in  the  selection  of  a  script, 
and  really  knows  little  or  nothing  about  it 
until  he  is  called  upon  to  act. 

"I  have  no  desire  any  more  to  play  in 
the  commercial  theatre,"  he  said.  "And  the 
movies  are  purely  commercial.  Mjf  plan 
would  be  to  use  that  economic  independence 
which  the  movies  can  give  to  an  actor,  to 
seek  to  eliminate  the  commercial  theatre  and 
to  attempt  to  create  the  kind  of  a  theatre  in 
which  we,  as  actors,  could  find  the  oppor- 
tunity to  do  the  sort  of  thing  we  want  to  do. 

"I  noticed  the  other  day  that  Miss  Helen 
Hayes  had  announced  her  withdrawal  from 
the  movies  and  said  she  didn't  particuarly 
like  herself  in  the  movies.  Like  Miss 
Hayes,  I  don't  particularly  like  myself  in 
the  movies  either.  But  the  movies  remain 
the  chance  the  actor  has  to  become  econom- 
ically independent  of  the  movies,  and  of 
Broadway,  too,  in  the  commercial  sense." 


Feist  Honored  by  MGM 
On  Tenth  Year  in  Post 

Felix  M.  Feist  was  tendered  a  surprise 
party  last  week  by  MGM  at  the  Motion  Pic- 
ture Club  in  New  York,  in  honor  of  his 
tenth  year  as  general  sales  manager  of  the 
company.  In  attendance  were :  David  Bern- 
stein, J.  Robert  Rubin,  Tom  J.  Connors,  E. 
M.  Saunders,  J.  S.  MacLeod,  W.  R. 
Rodgers,  Joe  Vogel,  David  Loew,  Arthur 
Loew,  Howard  Dietz,  Si  Seadler,  William 
R.  Ferguson,  C.  C.  Moskowitz,  Leopold 
Friedman,  Louis  K.  Sidney,  Jay  Gove,  Wil- 
liam Scully,  Sidney  S.  Braunberg,  Dave 
Levy,  Mort  Spring,  Charles  K.  Stern,  Fred 
Mitchell,  Eugene  Picker,  William  Kelly, 
Edward  W.  Aaron,  J.  Bizhaler,  M.  L. 
Simons,  Jessie  Mills,  Jack  E.  Flynn,  Frank 
McRoy,  Charles  Deeson  and  H.  Cleary. 


From  Hollywood,  to  Every  Part  ot 


DARRYL  ZANUCK  TRIUMPH! 


"ONE  OF  THE  MOST  IMPORTANT  PICTURES  OF  RECENT 
YEARS."— Welford  Bea+on,  Spectator. 

"RICHELIEU— FOUR  STARS."— Mary  Burgum,  Editor,  Mod- 
ern Screen, 

"ARLISS  GIVES  PERFECT  PORTRAYAL."— Joe  Blair,  Show- 
nnan's  Trade  Review. 

"ONE  OF  THE  MORE  ARRESTING  OF  THE  CURRENT 
SEASON'S  CINEMATIC  OFFERINGS."— Douglas  Churchill, 
Motion  Picture  Reviewer,  Screen  and  Radio  Weekly. 

"HE  RULES  HIS  AUDIENCE  AS  RICHELIEU  RULED 
FRANCE." — Eugene  Chrisman,  Western  Editor,  Motion  Pic- 
ture and  Motion  Picture  Classic. 

"YEAR'S  MOST  BRILLIANT  PERFORMANCE."  —  Jimmy 
Fidler,  N.B.C.  Weekly  Reviewer  and  Screenland  Magazine. 

"WILL  ELEVATE  MOTION  PICTURES  IN  THE  EYES  OF 
THOSE  FEW  WHO  STILL  LOOK  ON  THE  MOVIES  WITH 
SCORN."— Hollywood  Reporter. 

"IMPRESSIVE  FROM  EVERY  ANGLE.  IS  DISTINGUISHED 
IN  ITS  ARTISTRY.  GOOD  TASTE.  EMOTIONAL  AND 
SPECTACULAR  ASPECTS."— Hollywood  Variety. 

"MOUNTED  MAGNIFICENTLY.  RETAINING  DIGNITY. 
AND  YET  CRAMMED  WITH  EXCITING  DRAMA."— Jerry 
HofFman,  Motion  Picture  Reviewer,  L.  A.  Examiner. 

"THIS  STORY  OF  FRANCE'S  RED  KING  SHOWS  ARLISS 
AT  HIS  BEST." — Mollie  Merrick.  Hollywood  Correspondent, 
North  American  Newspaper  Alliance. 

"20+h  CENTURY  RINGS  THE  BELL  AGAIN!"  —  Mayme 
Ober  Peake,  Hollywood  Correspondent,  Boston  Globe. 

"SUPREME  ENTERTAINMENT!  WE  BOW  AGAIN  TO  THE 
ARTISTRY  OF  MR.  ARLISS."— Photoplay  Magazine 

"GEORGE  ARLISS  HAS  GIVEN  HIS  SUPREME  PERFORM- 
ANCE."—Eileen  Percy,  Block  Publications. 

"SCORE  ANOTHER  HIT  FOR  GEORGE  ARLISS."— Wallace 
X.  Rawles,  International  News  Service. 


"DANIEL  WEBSTER  WOULD  HAVE  A  TOUGH  TIME  FIND- 
ING  WORDS  ADEQUATE  TO  JUSTLY  PRAISE  "CARDI- 
NAL RICHELIEU'."— Warren  Stokes,  Box  Office  Associated 
Publications. 

"A  NOTABLE  CONTRIBUTION  TO  GEORGE  ARLISS' 
GALLERY  OF  FAMOUS  HISTORICAL  CHARACTERS." 

— Herb.  Sterne,  Rob  Wagner's  Script. 

"  'CARDINAL  RICHELIEU'  LIVES  UP  TO  EXPECTATIONS 
IN  AFFORDING  THE  BEST  PERFORMANCE  THAT 
GEORGE  ARLISS  HAS  OFFERED  SINCE  'THE  HOUSE  OF 
ROTHSCHILD'."— Edwin  Schallert,  L.  A.  Times  Drama  Editor. 

"A  WORTHY  SUCCESSOR  TO  'THE  HOUSE  OF  ROTHS- 
CHILD'."—J.  D.  Spiro,  Detroit  News. 

"COMPARES  FAVORABLY  WITH  'THE  HOUSE  OF 
ROTHSCHILD'."— Dan  Thomas,  Motion  Picture  Editor,  News- 
paper Enterprise  Association. 

"  'RICHELIEU'  IS  A  GORGEOUS  EFFORT.  PICTORIALLY 
BEAUTIFUL  AND  BEAUTIFULLY  ACTED."— Leicester  Wag- 
ner, United  Press. 

"WILL  PLEASE  THE  ARLISS  FANS  FULLY."— Ralph  Wilk. 
Western  Manager,  Film  Daily. 

"GEORGE  ARLISS"  MOST  MAGNIFICENT  PERFORM- 
ANCE."— Elizabeth  Wilson,  Western  Editor,  Silver  Screen 
Magazine. 

"  'CARDINAL  RICHELIEU'  IS  A  MASTERPIECE  OF  WELL- 
TOLD  HISTORY  MIXED  WITH  GREAT  ENTERTAINMENT." 

— Carlos  Borcosque,  Correspondent  Sintonia,  Buenos  Aires 
and  Astro,  Chile. 

"ANOTHER  GREAT  ARLISS  PICTURE."— William  Farquhar, 
London  Era. 

"GEORGE  ARLISS  IN  A  SUPERB  CHARACTERIZATION." 

— Harold  Salemson,  Pour  Vous,  Paris. 

"GEORGE  ARLISS  LEADS  A  PARADE  OF  FINE  CHARAC- 
TERIZATIONS CRISPLY  ETCHED  AGAINST  THE  GLIT- 
TERING PAGEANT  OF  FRANCE  OF  THE  SEVENTEENTH 
CENTURY."— J.  Maurice  Ruddy,  Film  Pictorial,  London. 


1 


CENTURY 
PICTURE 


A^eLas.Flfru  UNIT  ED     A  R  T  I  SIS 


the  World,  the. News  im  forth i 


ICHEUEU 


MAUREEN  O'SULLIVAN 
EDWARD  ARNOLD  •  FRANCIS  LISTER 
DOUGLASS  DUMBRILLE  •  CESAR  ROMERO 

Directed  hy  Rowland  V.  Lee 


42 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


"LEADING  PICTURES" 

"The  itiidios  arc  rcs[)oiidiiig  to  the  dviiniinls  for  cleaner,  more  interesting  and  more 
dramatic  [Pictures  as  well  as  productions  truer  to  life,"  says  the  office  of  Mrs.  T.  G. 
Winter,  public  relations  department  of  the  Hollyivood  office  of  the  Motion  Picture 
Producers  and  Distributors  of  America,  in  announcing  its  compilation  of  foremost 
productions  for  the  month  ended  February  \Sth.  Following  are  the  titles  and  details 
as  to  distributor,  director,  cast,  and  audience  suitability: 


Best  of  the  Month 

The  Blue  Light.  Du  World  Pictures.  Coop- 
eratively produced  and  directed  by  Leni  Rei- 
fenstahl  and  Bela  Balacz.  Cast :  Leni  Reifen- 
stahl  and  Bela  Balacz,  with  cast  of  native 
villagers.  Family. 

Clive  of  India.  U.A.-T.C.  Director,  Richard 
Boleslavsky.  Cast :  Ronald  Colman,  Loretta 
Young,  Francis  Lister,  Lumsden  Hare. 
Family.  Some  scenes  overly  exciting  for  sen- 
sitive children. 

Man  of  Aran.  Gaumont-British.  Produced, 
written,  directed  and  photographed  by  Robert 
Flaherty.  Cast :  Colman  King,  Maggie  Dir- 
rane,  Michale  Killane,  Pat  Mullin.  Family. 

RuGGLEs  OF  Red  Gap.  Paramount.  From  the 
story  by  Harry  Leon  Wilson.  Director,  Leo 
A'IcCarey.  Cast :  Charles  Laughton,  Mary 
Boland,  Charlie  Ruggles,  Zasu  Pitts,  Roland 
Young.  Family. 

The  Scarlet  Pimpernel.  London  Films- 
United  Artists.  Produced  by  Alexander 
Korda.  Director,  Harold  Young.  Story  by 
Baroness  Orczy.  Cast :  Leslie  Howard,  Merle 
Oberon,  Nigel  Bruce,  Raymond  Massey. 
Family.  Not  understandable  to  young 
children. 

Social  Comedy 

Carnival.  Columbia.  Director,  Sam  Stoloff. 
Cast :  Lee  Tracy,  Sally  Filers,  Jimmy 
Durante.  Family. 

The  Good  Fairy.  Universal.  Original  play  by 
Ferenc  Molnar.  Director,  William  Wyler. 
Cast :  Margaret  Sullavan,  Herbert  Marshall, 
Frank  Morgan,  Reginald  Owen,  Alan  Flale. 
Adults  and  young  people. 

Little  Colonel.  Fox.  From  the  stories  by 
Annie  Fellows  Johnston.  Director,  David 
Butler.  Cast :  Shirley  Temple,  Lionel  Bar- 
rymore,  Evelyn  Venable,  John  Lodge,  Bill 
Robinson.  Family. 

CVi\L,  More  Spring.  Fox.  From  novel  by  Rob- 
ert Nathan.  Director,  Henry  King.  Cast . 
Janet  Gaynor,  Warner  Baxter,  Walter  King, 
Jane  Darwell,  Grant  Mitchell.  Family. 

Straight  From  the  Heart.  Universal.  Direc- 
tor, Kurt  Neumann.  Cast :  Baby  Jane,  Roger 
Pryor,  Mary  Astor,  Robert  McWade.  Adults. 

The  Winning  Ticket.  MGM.  Director, 
Charles  Reisner.  Cast :  Leo  Carillo,  Louise 
Fazenda,  Ted  Healy,  Irene  Hervey,  Luis 
Alberni.  Family. 

Social  Drama 

Vanessa  :  Her  Love  Story.  MGM.  From 
the  novel  by  Hugh  Walpole.  Director,  Wil- 
liam K.  Howard.  Cast :  Robert  Montgom- 
ery, Helen  Hayes,  Otto  Kruger,  May  Robson, 
Lewis  Stone,  Henry  Stephenson.  Mature 
audiences. 

Musical 

All  the  King's  Horses.  Paramount.  From 
the  operetta  "Carlo  Rocca."  Director,  Frank 
Tuttle.  Cast :  Carl  Brisson,  Mary  Ellis, 
Katherine  DeMille,  Edward  Everett  Horton. 
Adults  and  young  people. 

Rumba.  Paramount.  Director,  Marion  Gering. 
Cast :  George  Raft,  Carole  Lombard,  Lynne 
Overman,  Margo,  Monroe  Owsley.  Adults 
and  young  people. 

Mystery 

^Iurder  on  a  Honeymoon.  RKO.  Director, 
Lloyd  Corrigan.  From  the  novel  by  Stuart 
Palmer.  Cast :  Edna  May  Oliver,  James 
Gleason,  Lola  Lane,  George  Meeker.  Family. 

Mystery  of  Edwin  Drood.  Universal.  From 
the  unfinished  novel  by  Charles  Dickens. 
Director,  Stuart  Walker.  Cast:  Claude 
Rains,  Douglass  Montgomery,  Heather  Angel, 


David  Manners,  E.  E.  Clive.  Not  for  young 
children.    Otherwise — family. 

Rocky  Mountain  Mystery.  Paramount. 
Director,  Charles  Barton.  From  the  story  by 
Zane  Grey  and  E.  E.  Paramore.  Cast :  Ran- 
dolph Scott,  Chic  Sale,  Anne  Sheridan,  Mrs. 
Leslie  Carter.  Family. 

Shadow  of  Doubt.  MGM.  Director,  George 
B.  Seitz.  From  the  story  by  Arthur  Somers 
Roche.  Cast :  Ricardo  Cortez,  Virginia 
Bruce,  Constance  Collier,  Arthur  Byron, 
Isabel  Jewell,  Regis  Toomey.  Not  for 
children.    Otherwise — family. 

Tfie  Whole  Town's  Talking.  Columbia. 
From  the  story,  "The  Jail  Breaker,"  by  W.  R. 
Burnett.  Director,  John  Ford.  Cast :  Edward 
G.    Robinson,   Jean    Arthur,    Arthur  Hohl, 

-  Arthur  Byron.    Adults  and  young  people. 

Travel  Adventure 

Baboon  a.     Fox  release.     A   Martin  Johnson 

travelogue.  Familj'. 
Recommended  Short  Subjects 

{* — The  best  arc  stLincd.) 
Note:  Wherever  the  names  of  two  producing  com- 
panies are  sjiven  in  the  following  list,  the  first  indicates 
the  producer  and  the  second  the  distributor.  F.  in- 
dicates suitability  for  Family.  J.  M.,  interest  and 
suitability  for  children's  matinees.  A.,  for  adults  only. 
V.  P..  young  people. 

Travel 

*Jungle  Antics.  Paramount.  Studies  of  small 
animal  life  in  South  America.    J.  M. 

Medbury  Among  Cocoons.  Columbia  Travc- 
laugh.  Silk  manufacture,  from  worms  to 
hose.  F. 

*Rainbow  Canyons.  MGM.  Fitzpatrick  Color 
Traveltalks.  Grand  and  Brice  Canyons. 
Everyone. 

*Tracking  the  Explorers.    Fox.  F. 

Traveling  in  the  Emerald  Isle.  Amity. 
Will  Rogers.  F. 

*Zeeland,  the  Hidden  Paradise.  MGM.  Fitz- 
patrick Color  Traveltalks.  F. 

Sport 

*Casting  for  Luck.  Fox.  With  cameramen 
in  around-the-world  haunts  of  fishermen.  F. 

*King  of  the  Everglades.  Paramount.  Grant- 
land  Rice  Sportlight.  Huntmg  panthers  in 
Florida.  F. 

N.  Y.  Giants-Chicago  Bears.    Stanley  Sim- 

mins.    Professional  football  with  yesterday's 

field  heroes.  F. 
When  Men  Fight.    Columbia.    Lure  of  the 

prizefight  ring,  whether  in  alley  or  Madison 

Square  Garden.    A.  Y.  P. 
Comedies  and  Musicals 

Boosting  Dad.  Educational-Fox.  Frolics  of 
Youth  series.  High  school  students  in  a 
political  campaign.  F. 

Gay  Old  Days.  Educational-Fox.  Mountain 
Melodeers  sinsing  old-time  favorites.  F. 

*I.,ixtle  Big  Top.  Educational-Fox.  Frolics  of 
Youth  series.  High  school  students  give  bene- 
fit circus  with  aid  of  Poodles  Hanneford  and 
his  sawdust  troupe.  F. 

Listening  In.  W.B.  Radio  stars  in  perform- 
ance.  A.,  Y.  P. 

Moon  Over  Manhattan.  Educational-Fox. 
Sylvia  Froos  musical  drama.  A. 

Palooka  from  Paducah.  Educational-Fox. 
Buster  Keaton's  adventures  as  a  hill-billy.  F. 

*Show  Kids.  W.B.  In  color.  Meglin  Kiddies 
in  revue.  F. 

Song  Plugger.  Educational-Fox.  Sylvia 
Froos  musical  romance-    A.,  Y.  P. 

*Star  Night  at  Cocoanut  Grove.  MGM. 
Singing,  dancing,  laughing  with  Hollywood 
stars  at  play.    Color.   A.,  Y.  P. 

Tit  for  Tat.  AIGM.  Laurel  and  Hardy  in 
slaostick.  F. 


Cartoons 

.\\  Elephant  Never  Forgets.  Paramount. 
Jungle  animals  go  to  school.    Color,  h. 

*Babes  at  Sea.    Columbia.    Color  fantasy.  F. 

Baby  be  Good.    Paramount.    Betty  Boop.  b'. 

Beware  of  Barnacle  Bill.  Paramount.  Pop- 
eye.  F. 

The  Bird  Man.   Columbia.    Krazy  Kat.   J.  M. 
Buddy  the  Dentist.    W.B.    Looney  Toons.  F. 
Bull    Fight.     Educational-Fox.  Terrytoon. 
A.,  Y.  P. 

First    Snow.     Educational-Fox.  Terrytoon. 

Dog  children.    J.  M. 
Gloom  Chasers.    Columbia.    Scrappy.    J.  M. 
Goofy  Gondolas.    Columbia.    Krazy  Kat.  F. 
Happy  Butterfly.    Columbia.    Scrappy.  J.  M. 
Taking    the    Blame.      Paramount.  Betty 

Boop.  F. 

What  a  Night.  Educational-Fox.  Terrytoon. 
A.,  Y.  P. 

*When  the  Cat's  Away.  MGM.  Color.  J.  M. 
Novelties 

*BosO'M  P'riends.  -  Educational-Fox.  "Natural 
enemies"  of  animal  kingdom  in  evidences  of 
friendliness.    J.  M. 

*CiTY  OF  Wax.  Educational-Fox.  Studies  of 
activities  and  life  cycle  of  bees.    J.  M. 

End  OF  THE  World.  Harold  Auten,  producer. 
Victor  Francen  as  the  great  scientist.  Martial 
Novalic.  Director,  Dr.  V.  Ivanofif.  A  two- 
reel  version  of  the  feature-length  French  pro- 
duction. Mature. 

*Man's  Best  Friend.  Amity.  Edwin  C. 
Hill.  F. 

*PiCTORiAL  No.  7.  Paramount.  \'ictoria  Falls. 
Australian  Koala  Bear.  "Mericano,"  new 
dance.  F. 

Screen  Souvenir  No.  3.  Paramount.  Old  time 
screen  stars  and  old  time  songs.    A.,  Y.  P. 

S.O.S.  FocH.  Regal  Pictures,  Inc.  French 
war  vessels  as  angels  of  mercy  to  ships  in  dis- 
tress off  French  coast.    A.,  Y.  P. 

Thrill  Flashes.  Columbia.  Daredevils  of  all 
kinds.  F. 

Movie  Side  Show.  Paramount.  Sensational 
performers  in  exciting  exhibitions.  F. 


Empire  Plans  Program 

Empire  Film  Distributors,  Inc.,  recently 
formed  by  Roman  Rebush,  plans  to  supply 
a  full  year's  program  for  affiliated  ex- 
changes. Fifteen  films,  for  two  producing 
units,  Mayfair  and  Kinematrade,  are  on 
the  schedule  now. 


Ohio  Majestic  Formed 

Majestic  Film  Exchanges  of  Ohio,  Inc., 
has  been  incorporated  by  Alvin  H.  Rowe, 
Martha  T.  Sherritt  and  Claire  Rowe,  as  an 
Ohio  subsidiary  to  distribute  product  of 
Majestic  Pictures  Corporation. 


Ambuter  Takes  Partners 

David  Ambuter,  head  of  the  Ambuter 
Film  Laboratories,  Boston,  has  entered  into 
an  association  with  William  Wool,  former 
Paramount  newsreel  man,  and  George  Sell- 
man,  former  independent  exchange  owner. 
The  firm  will  concentrate  on  16  mm.  work. 


Typhoon  Opens  Branch 

Typhoon  Air  Conditioning  Company,  Inc., 
has  opened  a  Philadelphia  office  to  handle 
eastern  Pennsylvania,  southern  New  Jersey, 
Delaware,  Maryland  and  the  District  oj 
Columbia.  Charles  S.  Dingleman,  former 
Stanley  Company  chief  engineer,  is  in 
charge. 


Schine  Pays  Dividend 

Schine  Theatrical  Company  has  declared 
a  dividend  of  75  cents  per  share  on  the  pre- 
ferred stock,  payable  March  1  to  stock- 
holders of  record  February  20. 


April    6  ,  1935 


MOTION    PICTURE  HERALD 


43 


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The  chart,  based  on  Motion  Picture  hHerald's  tabulation  of  box  office  grosses,  compares  the  business 
done  in  each  of  twelve  key  cities  during  the  five  week  period  from  February  23  to  March  23,  1935, 
with  the  receipts  from  the  same  cities  during  the  corresponding  preiod  in  1934.  The  gross  for  the 
first  week  of  the  1934  period  for  each  city  is  taken  as  100  per  cent  for  that  city. 


Stage  Show  Use 
Grows  in  IV est 


Vaudeville  and  presentation  shows,  in 
their  comeback  niaixh,  have  now  extended 
their  lines  in  the  South,  West  and  North- 
west. Where  Chicago  and  Cincinnati  had 
been  the  outposts  of  the  Middlewest,  contact 
is  being  established  throughout  the  ter- 
ritory. In  the  South,  many  motion  picture 
theatres  of  Alabama  have  taken  on  regular 
unit  shows  for  one  or  two  nights  a  month, 
while  midnight  revues  are  solidifying  their 
position. 

Omaha's  Nebraskans  had  their  first  view 
of  "live"  talent  on  the  Paramount  stage 
when  A.  H.  Blank  booked  in  A.  B.  Marcus' 
"Continental  Revue,"  and  the  circuit  is  con- 
tinuing the  experiment  but  at  the  Para- 
mount it  now  is  being  limited  to  weekends. 
Theatre  managers  from  the  sector  report 
there  is  a  slight  profit  to  be  gained  from 
the  policy,  and  a  negative  reaction  is  no- 
ticed after  the  stage  show  weekend. 

Well  Received  at  Sioux  City 

In  Sioux  City,  Iowa,  stage  shows  have  been 
playing  the  Mort  Singer  Orpheum  to  good 
business,  with  straight  pictures  on  the  other 
four  days  holding  up  fairly  well. 

Weekend  vaudeville  has  been  prospering  at 
the  Orpheum  in  Lincoln,  Neb.,  for  several 
months,  while  spasmodic  booking  of  small  units 
is  indulged  in  by  the  Blank  circuit  in  the  Rivoli 
at  Hastings  and  the  Capitol  at  Grand  Island. 

The  Palace  Theatre  in  Minneapolis,  which 
had  been  operating  at  10  cents  with  second- 


run  product,  had  found  itself  under  compulsion 
of  other  houses  to  raise  its  prices.  It  went  to 
15  cents  and  a  first-run  policy,  then  added  five 
acts  of  what  used  to  be  called  standard  vaude- 
ville.   Business  moved  forward. 

But  the  supply  of  vaudeville  suitable  for 
large  houses  was  limited,  and  the  prices  of  the 
lesser  houses  were  already  around  20  to  25 
cents.  So  the  de  luxe  houses  inaugurated  big 
stage  productions  at  prevailing  prices.  Some 
of  these  noted  a  substantial  increase  in  busi- 
ness, but  not  enough  to  increase  the  net  ap- 
preciabl}'  after  the  added  overhead. 

Far  Northwest  Activity 

In  Portland,  Ore.,  a  number  of  theatres 
sponsoring  the  policy  reported  considerably 
increased  returns.  The  Paramount  was  the  first 
in  Portland  to  come  back  to  vaudeville  shows 
and  Hamrick's  Orpheum  since  its  opening  has 
used  regular  circuit  vaudeville.  The  Capitol 
for  several  years  has  been  showing  vaudeville. 

Stage  shows  in  Seattle  and  other  Pacific 
Northwest  territory  are  running  in  full  swing. 
In  Seattle,  two  of  the  six  first-run  houses  offer 
regular  vaudeville.  Hamrick's  Music  Hall 
often  is  open  for  a  stage  attraction  and  sev- 
eral second  and  even  third-run  houses  also  are 
offering  stage  shows. 


Audio  Has  New  Jersey  Film 

Audio  Productions  is  making  an  indus- 
trial film  for  the  state  of  New  Jersey's 
Public  Service,  which  will  feature  sequences 
illustrative  of  the  activity  at  the  plants  of 
various  large  industrial  firms  in  the  state. 


nter  for  Films 
In  Canadian  Post 


The  appointment,  by  King  George  of 
England,  of  Colonel  John  Buchan  as  gover- 
nor general  of  Canada,  is  the  first  royal 
recognition  of  a  writer  for  the  motion  pic- 
ture. Colonel  Buchan  is  the  editor,  author 
and  war  correspondent  whose  novel  "Thirty- 
nine  Steps,"  was  recently  filmed  by  GB. 
Robert  uonat  and  Madeleine  Carroll  play 
the  leading  roles. 

The  novel,  in  the  best-seller  classification, 
is  the  story  of  spies  plotting  access  to  air 
ministry  secrets,  with  Scotland  Yard  in- 
volved in  a  murder  mystery.  Alfred  Hitch- 
cock directed. 

Colonel  Buchan  has  had  a  varied  career 
as  a  newspaper  man,  soldier,  intelligence 
officer  and  statesman.  In  all  he  has  written  50 
books,  and  has  lived  in  South  Africa  and 
Canada.  He  visited  the  United  States  three 
months  ago.  Prior  to  his  appointment,  he 
was  a  member  of  Parliament.  It  is  said  he 
may  be  elevated  to  the  peerage  before  he 
leaves  England  for  Canada. 


Monogram  Shifts  Frazer 

David  Frazer  has  been  appointed  branch 
manager  for  Monogram  in  Denver,  having 
been  transferred  from  the  Salt  Lake  ter- 
ritorv,  where  he  was  branch  manager. 


Century  Loss  $127,470 

Century  Circuit,  Inc.,  of  Delaware,  and 
subsidiaries,  has  reported  a  loss  of  $127,470 
for  the  year  ended  August  31,  1934.  The 
figure  is  reached  after  $30,223  excessive  de- 
preciation for  prior  years,  expenses  and 
other  charges.  The  loss  compares  with  loss 
of  $80,825  for  the  previous  year. 


EDGAR  RICE  BURROUGHS'  BRAND  NEW  THRILLER- 
FILMED  IN  GUATEMALA,  CENTRAL  AMERICA— BY  THE 
ASHTON  DEARHOLT  EXPEDITION  —  2  VERSIONS  —  A 
7-REEL  FEATURE  AND  A  12-EPISODE  CHAPTER  PLAY- 
GEARED  FOR  CAPACITY  PERFORMANCES— BACKED  BY  THE 
WORLD-WIDE  PUBLICITY  OF  "TARZAN"  NOW  RUNNING  IN 
278  NEWSPAPERS  — NATIONAL  RADIO  BROADCAST  TIE-UPS- 
MERCHANDISE  TIE-UPS  — GET  A  COPY  OF  THE  SMASH  PRESS 
BOOK-PICTURES  COME  AND  PICTURES  GO  BUT  "TARZAN" 
CONTINUES  TO  MOP  UP  FOR  THE  WORLD'S  THOUSANDS  OF 
EXHIBITORS— BOOK  THRU  EXCHANGES  SHOWN  AT  RIGHT. 

BURROUGHS-TARZAN  ENTERPRISES,  INC. 

HOLLYWOOD,  CALIF. 

Geo.  W.  Stout,  Pres.;  Ben  S.  Cohen,  Vice-Pres.;  Ashton  Dearholt,  Vice-Pres.    In  Charge  of  Production:  Nat  G.  Rothstein,  Adv.  Director. 

Harry  Rathner — Eastern  Representative — Room  1718 — 1270  6th  Ave.,  N.  Y.  C.  • 


TWO 

VERSIONS 

A  7  REEL 
FEATURE 

AND 

A  12  EPISODE 

CHAPTER  PLAY 

RELE*ASED 
APRIL  29  th 


ADAMS  FILM  EXCHANGES,  INC. 
Dallas,  Texas 

AFFILIATED  PRODUCERS,  INC. 
Atlanta,  Georgia 

AFFILIATED  PRODUCERS,  INC. 
Charlotte,  No.  Carolina 

AFFILIATED  PRODUCERS,  INC. 

New  Orleans,  Louisiana 

BIG  FEATURE  RIGHTS  CORP. 
Indianapolis,  Indiana 

BIG  FEATURE  RIGHTS  CORP. 
Louisville,  Kentucky 

COOPERATIVE  FILM  EXCHANGE 
Los  Angeles 

COOPERATIVE  FILM  EXCHANGE 
San  Francisco 

EMPIRE  FILMS,  LIMITED 
Canada 

LIBERTY  FILM  EXCHANGE 
V^ashington,  D.  C. 

MAJESTIC  EXCHANGES,  INC. 
Albany,  New  York 

MAJESTIC  EXCHANGES.  INC. 
Buffalo,  New  York 

MAJESTIC  FILM  DISTRIBUTING  CORP. 
New  York.  N.  Y. 

MAJESTIC  FILM  EXCHANGE 
Cincinnati.  Ohio 

MAJESTIC  PICTURES 
Boston,  Mass. 

MAJESTIC  PICTURES 
Pittsburgh.  Pa. 

MAJESTIC  PICTURES  CORP. 
Oklahoma  City.  Okla. 

MAJESTIC  PICTURES.  INC. 
Detroit.  Michigan 

PREFERRED  PICTURES 

Philadelphia.  Pa. 

PREMIER  PICTURES  CORP. 
St.  Louis.  Missouri 

SECURITY  PICTURES.  INC. 
Chicago,  Illinois 

SECURITY  PICTURES.  INC. 

Milwaukee,  Wisconsin 

SELECTED  PICTURES  COMPANY 
Cleveland,  Ohio 


46 


MOTION    PICTURE  HERALD 


April    6,  1935 


$HOWMEN*$  REVIEWS 


lii'ii 


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This  department  deals  with  new  product 
from  the  point  of  view  of  the  exhibitor 
who  is  to  purvey  it  to  his  own  public 


Les  Miserabies 

(U. A. -20th  Century) 
Drama 

Sure  to  find  high  rank  among  pictures,  "Les 
A'liserables"  is  all  that  any  exhibitor  could  want 
to  sell  or  patron  wish  to  see.  Solid  and  sub- 
stantial entertainment,  it  completely  captures, 
via  great  acting,  intelligent  direction  and  pro- 
duction values  rich  in  realism  and  illusion,  the 
full  emotionally  dramatic  spirit  of  the  literary 
classic  upon  which  it  is  based.  By  its  support 
of  recent  quality  pictures,  the  public  has  demon- 
strated its  appreciation  of  and  anxiety  for  the 
kind  of  entertainment  "Les  Miserabies"  is. 

Fundamentally,  "Les  Miserabies"  is  the  char- 
acter drama  of  Jean  Valjean  and  Javert.  It 
graphically  establishes  these  characters  in  a 
manner  to  make  lucid  all  that  is  to  follow. 
Valjean  is  sentenced  to  the  galleys  for  stealing 
to  feed  hungry  mouths.  Javert  is  sworn  into 
the  gendarmerie,  dedicating  himself  to  uphold 
the  law,  tempered  neither  by  mercy  nor  justice. 

Then  in  bold  strokes  it  plunges  into  the  core 
of  the  Victor  Hugo  novel.  Valjean  in  the  gal- 
leys, more  animal  than  man,  first  brought  to 
Javert's  attention  when  he  lifts  a  beam  that 
might  crush  out  a  fellow  convict's  life.  Sen- 
tence completed,  Valjean.  still  a  shunned  ani- 
mal, comes  to  the  home  of  Bishop  Bienvenue. 
Amazed  at  the  kind  treatment,  he  steals  again 
and  then  in  one  of  the  picture's  most  moving 
sequences,  learns  from  the  sympathetic  priest 
the  lesson  "it  is  better  to  give  than  take"  that 
changes  his  whole  life. 

Valjean  becomes  M.  Madeline,  successful 
manufacturer,  high  minded  citizen,  chosen  to  be 
town  magistrate.  His  path  and  Javert's  cross 
again  as  the  latter  is  assigned  as  his  inspector 
of  police.  Madeline  befriends  Fantine ;  takes  her 
child,  Cosette,  from  a  life  of  heartless  cruelty 
and,  when  the  mother  dies,  makes  the  girl  his 
ward. 

Another  feat  of  strength,  similar  to  that  of 
the  galleys,  seen  by  Javert,  raises  dim  suspicion 
in  his  mind  that  Madeline  and  Valjean  are  one 
and  the  same.  Ruthlessly  following  every  shred 
of  evidence  that  might  link  t'-^  two,  his  case  is 
almost  complete  when  another  man  is  arrested 
as  \^aljean.  To  Javert  the  full  letter  of  the  law 
demands  that  Madeline  punish  him.  Mercifully, 
but  with  fear  in  his  heart,  Madeline  refuses  and 
then,  before  judges  who  will  not  believe,  con- 
fesses that  he,  Madeline,  is  Valjean. 

With  Cosette,  he  flees  from  fate  that  is  sure 
to  the  sanctity  of  a  convent.  Cosette,  under  the 
sisters'  care,  grows  to  maturity  as  Valjean 
serves  as  gardener.  Javert  lives  for  the  day 
when  he  will  see  Valjean  again. 

Cosette  falls  in  love  with  Marius,  student 
revolutionary  leader.  Javert  is  assigned  to  learn 
who  is  financing  the  anti-government  forces. 
.\gain  the  Valjean- Javert  trails  cross.  Wish- 
ing to  flee  to  England,  Cosette  cannot  bear  to 
leave  Marius.  Word  brought  to  her  by  Eponine 
that  Marius  is  in  danger,  Valjean  goes  forth 
to  rescue  him.  Javert  sees  and  follows. 
Wounded  in  a  barricade  battle,  Marius  is  found 
by  Valjean.  To  escape  the  trailing  Javert,  he, 
carrying  the  wounded  boy,  takes  to  the_  Paris 
sewers.  Here  suspense  reaches  its  most  intense 
moments.  This  great  acting  by  March  and 
Laughton  is  followed  by  a  meeting  in  Valjean's 
home,  where  with  Cosette  and  Marius  together 
and  their  future  happiness  assured,  Valjean 
offers  to  surrender  to  his  nemesis.  Requesting 
a  moment's  time,  Valjean  leaves  Javert  alone. 


In  that  short  interval,  Javert,  learning  the  dif- 
ference between  the  justice  of  the  law  and  its 
mercy,  walks  forth  to  suicide  and  Valjean  is 
forever  free. 

This  is  a  picture  that  must  be  sold  with  a 
dignity  and  power  that  not  only  convinces 
patrons  that  they  will  see  drama  of  the  finest 
character  and  be  thrillingly  entertained  thereby 
but  should  learn  object  lessons  that  will  be 
elevating  and  inspiring. — McCarthy,  Holly- 
wood. 

Distributed  by  United  Artists.  Produced  by  20th 
Century  Pictures.  Darryl  Zanuck.  producer.  Directed 
by  Richard  Boleslawski.  Associate  producers,  Wil- 
ham  Goetz,  Raymond  Griffith.  Screen  play  by  W.  P. 
Lipscomb.  Photographed  by  Gregg-  Toland.  ^  Sound. 
Frank  Maher,  Roger  Heman.  Musical  direction,  Al- 
fred Xe-wman.  Film  editor,  Barbara  McLean.  Art 
director.  Richard  Day.  Costumes  designed  by  Omar 
Kiam.  Assistant  director,  Eric  Stacey.  P.  C.  A.  Cer- 
tificate No.  686.  Running  time,  -when  seen  in  Holly- 
wood, 105  minutes  (to  be  cut).  Release  date,  April  21. 
1935.    General  audience  classification. 

CAST 

Jean  Valjean    Fredric  March 

Javert    Charles  Laughton 

Bishop  isienvenue    Sir  Cedric  Hardwicke 

Cosette   Rochelle  Hudson 

Eponine    Frances  Drake 

Marius    John  Beal 

Fantine    Florence  Eldridge 

Mme.   Magloire    Jessie  Ralph 

Mile.  Baptiseme    Mary  Forbes 

Toussaint    Florence  Roberts 

Mme.   Thenardier    Jane  Kerr 

Thenardier    Ferdinand  Gottschalk 

Brevet    Charles  Haefeli 

Little  Cosette    Marilynne  Knowlden 

Chenildieu    John  Bleifer 

Genflou   Leonid  Kinskey 

Ccchepaille    Harry  Semels 

Mother  Superior    Eily  Malyon 

Head  gardener    Ian  MacLaren 

Brissac   Vernon  Downing 

Lamarque   ,.   Lyons  Wickland 

Enjolras    John  Carradine 


r.  Dynamite 


(Universal) 
Tmedy  Mystery 

The  ingredients  of  this  film  are  the  sort  of 
which  people  like  to  talk.  Essentially  it  is  melo- 
dramatic inystery,  but  while  this  quality  moti- 
vates, the  hectic  comedy  which  it  precipitates 
is  of  equal  if  not  more  interest  from  an  enter- 
tainment and  amusement  standpoint.  Speedily 
paced,  blending  its  two  qualities  in  such  a  way 
that  there  is  a  laugh  for  every  tense  moment, 
the  show  is  of  that  character  that  quickly 
catches  and  holds  interest. 

Adapted  from  a  Dashiell  Hammett  story, 
which  legitimately  permits  a  commercial  asso- 
ciation with  "The  Thin  Man"  as  a  business 
booster  for  this,  the  yarn  has  Edmund  Lowe 
in  a  typical  role.  Bounced  off  a  police  force 
as  his  superiors  think  he's  a  little  slicker  than 
the  slickest  crooks,  he,  as  Mr.  Dynamite,  and 
his  wife,  Lynn,  are  invited  to  leave  town  for 
good. 

While  this  is  going  on  it  is  revealed  that 
Mona,  daughter  of  gambling  house  owner 
Lewis,  is  .infatuated  with  Dvorjak,  concert  pian- 
ist, whose  wife,  Charmion,  doesn't  care  as  long 
as  the  checks  come  rolling  in.  A  young  man 
in  the  gambling  casino  practically  breaks  Lewis' 
bank  and  is  killed  as  he  leaves  the  place.  Lewis 
wants  to  locate  Dynamite,  who  he  knows  is  just 
the  kind  of  man  to  have  in  his  corner,  as  local 
police  threaten  dire  things.  Simultaneously 
Dynamite  reads  about  the  killing  and  decides 
to  cut  himself  in. 

From  that  point  on,  W'ith  Dynamite  taking 
over  in  characteristic  fashion,  the  plot  becomes 


n-iore  and  more  complicated,  erupting  when 
Dvorjak,  in  his  home  playing  for  Mona,  is 
killed.  As  hokum  that  brings  countless  laughs 
is  mingled  with  formula  realism.  Dynamite 
proves  just  a  step  ahead  of  the  cops  and  the 
dastardly  plotters,  and  while  another  death  en- 
sues, solves  the  case  and  gets  himself  a  healthv 
fee. 

As  there  is  plenty  of  stuff  with  which  to 
work,  stirring  up  public  curiosity  and  desire  to 
see  this  attraction  should  not  be  difficult.  The 
combination  of  comedy,  complicated  romantic 
drama  and  melodramatic  mystery  appears  to  be 
one  assuring  popularity  among  those  enjoying 
a  novel  detective  yarn  as  well  as  those  who  just 
seek  an  evening's  entertainment. — McCarthy, 
Hollywood. 

Produced  and  distributed  by  Universal.  Directed  by 
Alan  Crosland.  Associate  producer,  E.  M.  Asher. 
Original  story  by  Dashiell  Hammett.  Screen  play  by 
Doris  Malloy  and  Harry  Clork.  Sovind  supervision. 
Gilbert  Kurland.  Photographed  by  George  Robinson. 
Film  editor.  Hurray  Seldeen.    Art  director.  Harrison 

B.  Wiley.    Editorial  supervision.  Mavirice  Pivar.  P. 

C.  A.  Certificate  No.  692.  Running  time,  when  seen 
in  Hollywood.  65  minutes.  Release  date,  April  22,  1935. 
General  audience  classification. 

CAST 

Mr.   Dynamite    Edmund  Lowe 

Lynn    Jean  Dixon 

Charmion    Esther  Ralston 

Dvorjak    Victor  Varconi 

Mona    \'erna  Hillie 

Lewis   Minor  Watson 

Kin,g    Robert  Gleckler 

Williams    Jameson  Thomas 

Sunshine    Matt  McHu.gh 

Rod   G.   Pat  Collins 

Jans    Greta  Meyer 

Felix    Bradley  Page 

Joe    James  Burtis 


Four  Hours  to  Kill 

(  Paramount) 
Drama 

"Four  Hours  to  Kill''  is  tense,  gripping,  sus- 
pense-packed drama.  The  love  interest  is  dra- 
matic. The  comedy  relief  is  drama  with  a  heart 
sock.  The  principal  dramatic  theme  is  melo- 
dramatic to  the  last  degree.  Essentially  it  is 
an  expertly  blended  series  of  personal  episodes 
involving  many  difi'erent  people,  all  happening 
in  one  major  locale — a  theatre  lounge.  It  is  nar- 
ra.ted  in  "Grand  Hotel"  technical  style,  yet  the 
show  is  not  episodic. 

The  film  is  an  adult  attraction.  With  rigid 
realism  characterizing  every  episode,  each  is 
highly  theatric  without  being  obtrusively  so. 
Thus  its  entertainment  values  are  for  those 
mentally  attuned  to  understand  and  appreciate, 
as  are  its  showmanship  qualities.  Exhibitors 
wishing  to  capitalize  its  full  worth  should  first 
see  for  themselves  before  trying  to  tell  patrons 
about  it.  In  so  doing  an  understanding  should 
come  which  printed  description  is  incapable  of 
conveying. 

There's  drama  to  the  first  sequence ;  the  meet- 
ing of  the  young  lovers,  check  room  boy  Eddie 
and  his  girl  Helen.  The  drama  between  Eddie 
and  Usherette  Mae  threatens  to  become  dan- 
gerous when  audiences  understand  why  the  girl 
is  trying  to  blackmail  him.  Johnson's  comedy 
as  he  telephones  the  hospital  inquiring  whether 
his  baby  has  arrived  is  dramatic.  There's  some- 
thing mysteriously  dramatic  about  the  arrival 
of  Detective  Taft,  who  with  Tony  handcuffed 
to  him,  has  four  hours  to  kill,  ere  he  escorts 
his  prisoner  to  the  death  house.  Highly  dra- 
matic are  the  sequences  involving  the  ineeting 
of  the  philandering  Carl  and  his  paramour  Syl- 
via. When,  during  the  intermission  of  the  show 


THAT'S 
NEWS! 


BECAUSE  THEIR  SHORTS  ARE  REAL  CLASS  M-G-M  GETS  PLAUDITS"  says  JAY-EMMANUEL  PUBLICATIONS 
Laurel -Hardy;  Pete  Smith;  Charlie  Chase;  Todd-Kelly;  Our  Gang;  M-G-M  Musical  Revues  {Technicolor); 
M-G-M  Cartoons  (Technicolor);  Crime  Doesn't  Pay;  M-G-M  Oddities;  Fitzpatrick  Traveltalks  {Technicolor) 


MOTION    PICIURE  HERALD 


April    6,  1935 


wli.ch  is  always  going  on  but  never  seen,  Tony 
tells  Taft  that  he'd  be  happy  to  die  if  he  first 
could  have  a  few  moments  with  squealer  An- 
derson and  then  gives  the  cop  $300  to  buy  a 
graduation  present  for  his  daughter,  the  drama 
is  sympathetic.  It  is  that  as  Eddie  tries  to 
borrow  |200  to  pay  off  Mae  from  doorman 
Mac  just  as  that  person  is  thinking  of  hitting 
Eddie  for  the  rent  money. 

Drama  becomes  exciting  as  Sylvia  notices  her 
diamond  brooch  missing  and  Carl  accuses  Ed- 
die of  stealing  it.  It  reaches  a  seething  pitch 
when  Tony,  seeing  Mae,  recognizes  her  as  An- 
derson's wife.  It  explodes  entirely  when  Tony, 
first  lifting  Mac's  gun,  escapes  from  Taft.  It 
takes  a  different  twist,  but  the  excitement  is 
still  maintained,  as  Johnson,  calling  the  hospital, 
begs  that  his  wife's  life  be  saved  no  matter  what 
the  cost. 

Then  as  Tony,  while  the  hue  and  cry  is  on, 
slips  back  into  the  lounge  and  phones  Anderson 
that  his  wife  needs  him  the  stage  is  set  for  the 
thrilling  climax.  Suspense  dominating  all,  as  he 
hides  in  the  phone  booth,  practically  every  char- 
acter now  appears.  Captain  Seaver  raises  fury 
with  Taft  for  permitting  his  prisoner  to  escape. 
Sylvia  and  Carl  in  suspecting  Eddie  of  stealing 
the  brooch  find  themselves  in  a  terrible  predica- 
ment that  changes  the  girl's  infatuation  to  hate. 
Hidden  Tony  waits,  then  when  Anderson,  who 
has  arrived,  learns  that  he  is  loose,  he  realizes 
how  he  has  been  duped.  Cringing,  he  stands 
before  the  emerging  Eddie,  pleading  for  his  life 
only  to  die  as  bullets  rip  into  him  and  Tony 
dies  from  bullets  from  Taft's  gun.  Everything 
is  righted  save  for  Sylvia  and  Carl,  who  still 
must  have  some  explaining  to  do  to  the  in- 
surance company  and  the  woman's  husband  as 
all  admit  that  Eddie  found  the  pin  on  the  floor. 
With  the  menace  of  Mae  eliminated,  it's  happi- 
ness ahead  for  Eddie  and  Helen,  as  there  is 
happiness  for  Johnson,  who  now  has  a  baby 
and  wife,  and  for  Pa  and  Ma  Herman,  who 
can  go  back  to  the  high  priced  seats  into  which 
they  had  sneaked. 

The  picture  is  all  meat  into  which  any  ag- 
gressive showman  can  sink  his  teeth  and  come 
up  with  a  campaign  that  should  convince  the 
patron  that  this  will  thrill  and  interest  him  as 
seldom  before. — McCarthy,  Hollywood. 

Produced  and  distributed  by  Paramount.  Producer, 
Arthur  Hornblow,  Jr.  Directed  by  Mitchell  Leisen. 
Assistant  director,  Edgar  Anderson.  Original  and 
screen  play  by  Norman  Krasna.  Music  by  Ralph 
Rainger.  Lyrics  by  Leo  Robin.  Film  editor,  Doane 
Harrison.  Sound,  Harold  C.  Lewis.  Art  directors, 
Hans  Dreier  and  John  Goodman.  Photographed  by 
Theodor  Sparkuhl.  P.  C.  A.  Certificate  No.  629.  Run- 
ning time,  when  seen  in  Hollywood,  70  minutes.  Re- 
lease date,  April  26,  1935.  Adult  audience  classifica- 
tion. 

CAST 

Tony    Richard  Barthelmess 

Eddie   -   Joe  Morrison 

Helen    Helen  Mack 

Sylvia    Gertrude  Michael 

Mae  Danish    Dorothy  Tree 

Johnson    Roscoe  Karns 

Carl    Ray  Milland 

Taft    Charles  C.  Wilson 

Mac.   Mason    Henry  Travers 

Captain  Seavers    Paul  Harvey 

Anderson    Noel  Madison 

Pa  (Herman)    Lee  Kohlmar 

Ma    Bodil  Rosing 

Little  girl    Lois  Kent 

Healy    Bruce  Mitchell 

Mrs.   Madison    Olive  Tell 

Stanley    John  Huettner 

Donald    Alfred  Delcambre 

Harris    Sam  Ash 

Assistant  house  manager    Frank  Losee,  Jr. 

George  Nelson   Douglas  Biackley 

Frank    Hugh  Enfield 

Phone  repairman    Paul  Gerrits 

Assistant  repairman    John  Cox,  Jr. 

Little  girfs   mother  Gertrude  Aster 


Star  of  Midnight 

(Radio) 
Comedy  Mystery 

Here's  something  new  in  the  line  of  comedy 
mystery  melodrama  with  a  companionate  ro- 
mantic angle  as  popularly  intriguing  as  the 
basic  subject  matter.  Novel  and  new  in  treat- 
ment, is  is  however,  entirely  made  up  of  tried 
and  true  amusement  elements.  A  laugh  in  al- 
most every  line  of  dialogue,  bit  of  action  and 
situation,  it  is  essentially  a  comedy.  Yet  by  the 
smart  manner  in  which  the  supporting  elements 


have  been  applied,  it  is  legitimate  to  term  it 
either  a  mystery  melodrama,  a  semi-gangster, 
a  detective  story,  a  romance  that  is  just  as 
modern  and  enervating  as  any  moderne  could 
desire  or  a  well-rounded  combination  of  all. 
As  each  quality  completely  fulfils  its  expected 
function  the  show  should  have  a  punchy  and 
interesting  appeal  to  all  classes  of  patrons. 

Moving  at  a  speedy  pace  with  William  Powell 
as  Dalzell,  a  character  decidedly  similar  to  that 
portrayed  by  him  in  "The  Thin  Man,"  interest 
is  created  immediately,  builds  continually  and 
winds  up  with  a  climax  that  is  likely  both  to 
baffle  and  thrill  those  who  have  made  advance 
conclusions. 

Suave  man-about-town  Dalzell  delves  into 
criminology  as  a  hobby.  Currently  agog  about 
Mary  Smith,  "Star  of  Midnight"  show  star, 
whom  he  has  never  met,  his  heart  stops  when 
over  the  phone  she  asks  him  to  use  his  influ- 
ence in  preventing  a  columnist  from  writing 
about  her.  Promising  help,  he  makes  a  date 
with  Tennant,  who  is  slain  en  route  to  Dal- 
zell's  apartment.  With  love  and  a  desire  to 
folow  his  hobby  spurring  him,  he  first  puts  the 
screws  on  gangster  Kinlan  by  demonstrating 
his  knowledge  of  that  worthy's  tax  evasions. 

Then  as  the  situations  become  dramatically 
complicated  and  the  two  policemen,  Doremus 
and  Cleary,  give  it  a  wild  comedy  tinge  by  their 
practical  crime  solution  antics,  and  Dalzell  gets 
mixed  up  with  a  high  powered  lawyer,  Cla«son, 
whose  wife,  Jerry,  turns  out  to  be  one  of  his 
old  friends,  the  yarn  takes  on  a  dramatic  mys- 
tery tinge  in  which  all  the  characters  scamper 
through  a  maze  that  plays  hob  with  any  sense 
of  logic.  The  lawyer  breaks  down  and  con- 
fesses that  he  is  the  killer  of  the  man  whom 
his  client  is  accused  of  slaying  and  that  his 
motive  is  that  he  had  been  tricking  his  wife, 
Jerry,  who  had  had  an  eye  on  Dalzell.  The 
amateur  detective  is  almost  on  the  spot,  only 
to  be  saved  by  the  quickness  of  his  butler, 
the  bullet  intended  for  Dalzell  killing  Jerry,  and 
all  the  menaces  to  Mary  Smith  (Donna)  be- 
ing eliminated,  back  she  goes  to  her  show  and 
eventual  marriage  with  Dalzell. 

Taking  advantage  of  cast  name  strength, 
story  and  production  values  and  getting  audi- 
ences in  the  proper  frame  of  mind  to  understand 
what  is  in  the  film  looks  to  be  the  best  selling 
plan. — McCarthy,  Hollywood. 

Produced  and  distributed  by  RKO  Radio.  Directed 
by  Stephen  Roberts.  Screen  play  by  Howard  J. 
Green,  Anthony  Veiller  and  Edward  Kaufman.  From 
the  novel  by  Arthur  Somers  Roche.  Photographed  by 
J.  Roy  Hunt.  Art  director,  Van  Nest  Polglase.  Asso- 
ciate. Charles  Kirk,  (jowns  by  Bernard  Newman. 
Musical  director,  Alberto  Colombo.  Recorded  by 
John  L.  Cass.  Edited  by  Arthur  Roberts.  Running 
time,  when  seen  in  Hollywood,  90  minutes  (to  be  cut). 
Release  date,  April  19,  1935.  General  audience  classi- 
fication. 

CAST 

Clay  Dalzell   William  Powell 

Donna  Mantin   Ginger  Rogers 

Kinland   Paul  Kelly 

Swayne   Gene  Lockhart 

Mr.  Classen   Ralph  Morgan 

Tim  Winthrop   Leslie  Fenton 

Doremus   J.    Farrell  MacDonald 

Tommy  Tennant   Russell  Hopton 

Mrs.  Classen   Vivien  Oakland 

Cleary   Robert  Emmett  O'Connor 


Mark  of  the  Vampire 

(MGM) 
Melodrama 

This  is  a  picture  which  should  give  the  "hor- 
ror" fans  all  they  want.  It's  full  of  shrieks  and 
screams,  gasps  and  shudders.  The  stuff  com- 
monly supposed  to  change  red  blood  to  ice 
water  starts  right  at  the  beginning;  a  little 
slowly,  perhaps,  as  the  explanatory  ground 
work  is  being  laid.  When  the  film  really  gets 
down  to  cases,  attempting  to  demonstrate  how 
completely  it  can  scare  folks  with  devilish  melo- 
drama, the  shivers  and  shakes  should  come 
thick  and  fast.  Approaching  the  climax,  weird 
and  eerie  suspense  supercharging  all  action  and 
reaction,  audiences  are  likely  to  be  nervously 
perched  on  chair  edges. 

The  whole  show  is  played  for  one  purpose, 
apparently — to  raise  the  maximum  amount  of 
goose  flesh.  Although  there's  some,  there  isn't 
much  dramatic  love  interest,  just  enough  to 


justify  the  use  of  the  term  as  a  supporting 
element,  and,  of  course,  to  fix  it  so  that  the 
girl  in  the  story  is  the  focal  point  of  all  that  is 
dastardly  in  the  anti-climax,  just  before  the 
menace  is  eliminated.  There  is  little  straight 
comedy,  although  there  are  any  number  of 
laughs.  However,  they  come  as  the  result  of 
fiendish  plans  and  tricks  going  awry  and  an- 
ticipations failing  of  realization. 

For  practical  showmanship  purposes,  this, 
other  than  telling  the  people  it  is  a  horror  pic- 
ture, seems  to  be  the  kind  of  attraction  that 
one  shouldn't  let  the  public  know  too  much  about. 
As  the  yarn  unfolds,  it  will  be  difficult  enough 
for  them  to  believe  what  they  actually  see,  much 
less  what  they  think  they  see,  or  care  to  antici- 
pate, without  giving  them  any  advance  informa- 
tion as  to  all  the  nerve- jerking  melodramatic 
mystery  that  is  conjured  up. 

Locale  is  a  mid-European  country  where  a 
queer  superstition  holds  the  people  in  iron 
grip.  That  superstition  is  that  the  dead — vam- 
pires of  a  spirit  world  taken  form — bring  terror 
to  the  living.  The  only  safeguard  against  their 
depredations  is  the  wearing  of  a  sprig  of  magic 
herb  about  the  person.  In  telling  of  the  story, 
full  as  has  been  stated  of  spine-tingling  activity, 
a  reason  for  these  vampires,  which  after  all  are 
humans,  is  given.  It  takes  a  bit  of  hypnotic 
mesmerism  on  the  part  of  the  production's 
leading  character  to  further  the  wierd  atmos- 
phere, but  in  the  end,  but  not  in  a  way  chat 
might  be  expected,  everything  is  righted  and 
audiences  can  pull  themselves  together  and 
realize  that,  after  all,  it  was  all  in  fun. 

There  is  plenty  of  opportunity  for  tricky  gag 
exploitation  stunts  with  which  to  create  a  not 
too  revealing  interest  in  the  picture.  Straight 
advertising  and  publicity,  however,  which 
capitalize  upon  the  name  values  presented  and 
at  the  same  time  broadly  hint  at  the  show's 
"shock"  quality,  seem  to  be  the  method  that 
will  best  sell  it. — McCarthy,  Hollywood. 

Produced  and  distributed  by  Metro-Goldwyn- 
Mayer.  Directed  by  Tod  Browning.  Screen  play  by 
Guy  Endore  and  Bernard  Schubert.  Recording  direc- 
tor, Douglas  Shearer.  Art  director,  Cedric  (jibbons. 
Associates,  Harry  Oliver,  Edwin  B.  Willis.  Photo- 
graphed by  James  Wong  Howe.  Film  editor,  Ben 
Lewis.  Assistant  director,  Harry  Sharrock.  Running 
time,  when  seen  in  Hollywood,  80  minutes.  Release 
date,  April  26,  1935.  Adult  audience  classification. 
CAST 

Professor   Lionel  Barrymore 

Irena   Elizabeth  Allan 

Count   Mora   Bela  Lugosi 

Inspector  Neumann   Lionel  Atwill 

Baron  Otto   Jean  Hersholt 

Fedor   Henry  Wadsworth 

Dr.   Doskil   Donald  Meek 

Midwife   Jessie  Ralph 

Jan   Ivan  Simpson 

Chauffeur   Franklin  Ardell 

Maria   Leila  Bennett 

Annie  June  Gittelson 

Luna   Carroll  Borland 

Sir  Karell   Holmes  Herbert 

Innkeeper   Michael  Visarof? 


It's  a  Small  World 

(Fox) 

Comedy  Romance 

Refreshing  fun  is  this  show's  entertainment 
and  showmanship  quality.  Essentially  an  all 
laugh  show,  it  is  continuously  light,  gay  and 
airy  and  as  it  tells  a  catchy  comedy  romance 
story,  there  is  never  a  serious  moment.  Com- 
posed entirely  of  materials  that  ordinarily  en- 
thuse the  masses,  it  calls  upon  good  old-fash- 
ioned hokum  in  dialogue,  action  and  situations 
in  creating  its  amusement.  Moving  speedily,  it 
continually  concentrates  attention  on  its  basic 
story,  but  in  the  meantime  introduces  numerous 
comedy  asides  that  add  to  its  merry  color  and 
atmosphere. 

While  dealing  with  familiar  materials,  smart 
direction  dolls  them  up  with  a  novelty  that 
gives  the  show  a  unique  swing.  Then  as  the 
picture  is  acted  in  a  spirit  that  seeks  to  get  the 
most  laughs  and  smiles  it  rolls  along  in  a  man- 
ner that,  while  everyone  may  know  just  what 
is  going  to  happen  there  is  a  lot  of  enjoyment 
watching  it  work  out.  Additionally,  while  the 
show  is  the  kind  of  entertainment  in  which 
audiences  always  seem  to  find  amusement,  the 
various  production  values  that  are  brought 
in  open  the  door  for  showmanship  and  exploi- 


Thank  Mr.  and  Mrs. 
MacFarland  for  this 

SHORT  SUBJECT! 


FILM  DAILY— MARCH  28 


n      MOHkC  THE 

^^SSm'^      ■'Hit  M  DALY 


iOut  goes         ntite  P^"  tittveW 

loot  on  otv  s^eep- 

l last  one  ^g^p^ta^f      ^^ov^  Qn^ 

field  M  Ct*  tnocko^^  s 

I  topical  i^"^,      'fnes  i^o^  stud^^H 

yo^*""  ftr^ctions  at^  tlve  juvenjl 
\eA  *^S\^an\nn|^,  tTae^ar^ 

\  cute  P;,  carl  pBntl^^ 

'"w  M 


 meaning  "Spanky         ^"7"        the  style  for  young- 

.reatest  kid  find  --VaTRo\c'hTa?go^^  to  town  with  him  xn 
sters  in  films    -        r^Lt^Av  "Beginner's  Luck  • 

the  latest  Our  Gf^^  ^"^///craze  now^  sweeping  the  country 

trr&rdurof^^^^^^^ 

.    .    .    IT'S  ONE  V^^^ 

appreciate        '^^^\^^^J^'^%^B^Menv  Nite  program  at  a 
who  is  out  to  win  the  P"^,!?^  the  front  row  they  give  hir 
naborhood  house.     ,  f ge^  Mclarland  Uke.a  real.trouper 
the  royal  razz...  ^^but  Mister    ^^^^^  ^.^  Tlhem  AU" 

carries  on  . .  .    ana  wows          Greatest  Roman  of  Them  All 
dynamic  characterization  of  The  urea^         ^  j^^ics  and  Gales 

^.  it  carries  li?™^"^^^,'^^^"^^;*  every  mother  with  an  eligible 
of  Laughter  it  ^^f^Kamrcrashing  your  gate  to  find 
child  seeking  sc^en  or  radio  tame  c  practically  every 

out  how  "Spanky"  does  it.  .  •  -^V"^',  „q  to  it,  Showmen 

mother  with  a.child  in  y^^^^t^^^e  lights  with  your  feature 
stick  this  short  up  m  "marquee  ub"       praver      .  and 
:.:;;::forit's  the  Answer  to  evenr  Moth^^s  Prayer^ -^^^ 
it's  honest  f.<;awd  feature  Cal^^''^     ^^^^^^^  entire  pro- 

derby  to  Hal  Roach  once  Hours    .  . .  with  millions 

Suction  field  to  cashing         ^^Sdy  sold   so  follow 

of  folks  in  radio  --^^^^^^^.X  ^Syv^itY^iovVAY  anJ 

thru,  Showmen! ,  ^  .  . -^^Lil  ever  was  one   J 

exploitation  natural  if  ^here  ever  wds,  ^  ^ 


50 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


tation  that  should  be  just  as  fresh  as  the  pic- 
ture's amusement. 

Locale  is  the  Southern  back  country.  Two 
autos  crash.  Naturally  there  is  the  expected 
Hare-up  of  tempers  and  accusations  of  every- 
thing from  just  plain  carelessness  to  murder- 
ous intent.  The  fiery  socialite,  Jane  Dale,  and 
the  equally  fiery  young  lawyer.  Bill  Shevlin, 
are  towed  into  the  one  horse  town  by  Mr. 
Julius  B.  Clummerhorn.  It  turns  out  that  Mr. 
Clummerhorn  is  the  whole  works— sheriff , 
judge,  taxi  driver,  barber,  game  warden,  hotel 
and  garage  owner  and  everything  else  that 
might  be  productive  of  a  stray  nickel. 

As  the  small  town  characters.  Cyclone,  the 
Snake  Brown  family  trio,  Lizzie,  Nancy  and 
Back  have  their  inning  in  contributing  to  the 
colorful  hilarity,  the  court  trial  of  the  bumping 
autoists  is  a  riot  of  nonsense.  But  not  for 
nothing  is  Shevlin  a  lawyer  bitten  by  the  love 
bug,  and  the  manner  in  which  he  hornswoggles 
Clummerhorn  into  paroling  the  girl  in  his 
charge  is  a  gem  of  amusing  trickery  and  gib- 
berish. However,  it  is  not  until  he  proves  his 
ability  as  a  dog  trainer  that  the  girl  finally  ac- 
cepts him. 

In  connection  with  this  picture,  there  is  am- 
ple opportunity  for  digging  up  much  of  the 
old  fashioned  brand  of  hokum  showmanship. 
There  is  plenty  of  material  inherent  in  the  pic- 
ture with  which  to  work.  Exploitation  should 
carry  the  main  burden  of  selling  the  show,  but 
where  names  are  the  necessary  requirement 
there  are  quite  a  few  old  standbys  to  talk  about 
as  well  as  a  newcomer,  Wendy  Barrie,  whose 
work  here  promises  much  for  future  appear- 
ances.— McCarthy,  Hollywood. 

Produced  and  distributed  by  Fox.  Producer.  Ed- 
ward Butcher.  Directed  by  Irving-  Cummings.  Screen 
play  by  Sam  Hellman  and  Gladys  Lehman.  From  the 
story  "  -'Highway  Robbery."  by  Albert  Treynor. 
Photographed  by  Arthur  Miller.  Sound.  S.  G.  Chap- 
man. Art  director,  William  Darling.  P.  C.  A.  Cer- 
tificate No.  709.  Running  time,  when  seen  in  Holly- 
wood. 70^  minutes.  Release  date,  April  12,  1935.  Gen- 
eral audience  classification. 

CAST 

Bill  Shevlin   Spencer  Trecy 

Tane  Dale   Wendy  Barne 

Judge  Julius  B.  Clummerhorn  Raymond  Walburn 

Lizzie   Virginia  Sale 

Nancy  Naylor  Astrid  Allwyn 

Cal   Irving  Bacon 

Cyclone   Charles  Sellon 

Motor  Cop   Nick  Foran 

Mrs.  Dale   Belle  Daube 

Snake  Brown.  Jr  Frank  McGljnn,  Sr. 

Snake  Brown.  Ill  ...Frank  McGlynn.  Jr. 

Snake  Brown.  Sr  Bill  Gillis 

Buck   Bogardus   Ed  Brady 

Freddie   Thompson  Harold  Minjir 


Chasing  Yesterday 

(  Radio  ) 

Dramatic  Romance 

As  may  be  understood  from  the  title  tone, 
this  picture  has  a  sentimental  motivation.  It 
tells  an  unusual  but  nevertheless  understandable 
and  interesting  love  story,  embellished  by  drama 
that  consolidates  the  sympathy  naturally  gen- 
erated for  the  two  central  figures.  It  is  high- 
lighted by  contrasting  comedy  that  eases  the 
dramatic  tenseness  and  as  the  whole  moves  in 
appealing,  whimsical  vein,  the  resulting  enter- 
tainment is  wholesome  and  inspiring.  The  in- 
telligent manner  in  which  it  is  directed  and 
acted  makes  it  readily  possible  for  astute  show- 
men to  pick  out  and  commercialize  values. 

Because  of  its  character,  the  show  should  be 
more  interesting  to  women  than  it  is  to  men. 
Treating  of  conditions  and  situations  which 
are  close  to  the  feminine  heart,  it  does  so  in 
understandable  and  non-theatric  fashion.  As 
hokum  is  eschewed,  an  air  of  humanness  makes 
the  story  real  and  something  that  could  happen. 

The  locale  is  Paris.  Bonnard,  a  writer-book 
collector,  has  been  searching  almost  a  lifetime 
for  one  book.  In  a  batch  which  he  buys  from 
an  agent,  he  discovers  a  note  written  by  the 
sweetheart  of  his  youth  on  a  torn  page.  His 
search  for  the  complete  book  leads  him  to  a 
library  in  Lausance.  There  he  meets  Jeanne, 
daughter  of  his  old  love.  The  happiness  that 
comes  to  the  old  man  and  the  young  girl  is 
rudely  halted  by  her  guardian,  Mouche,  who 
packs  the  girl  off  to  a  rigidly  conducted  private 


school.  Life  for  her  is  bitter  under  the  watch- 
ful surveillance  of  Mile.  Prefere  and  Mouche. 
Mer  only  happiness  is  when  she  is  able  to  be 
secretly  in  Bonnard's  company.  Her  misery 
touching  Bonnard  deeply,  he  takes  her  away 
from  the  school.  He  is  threatened  by  Mouche, 
who  accuses  him  of  kidnaping.  As  the  situa- 
tion builds  to  strong  drama,  the  old  book  agent, 
who  in  the  meantime  has  prospered,  comes  to 
Bonnard,  telling  him  that  he  now  has  a  copy 
of  the  book  which  Bonnard  has  sought  so  long. 
In  the  climax  it  is  revealed  that  Mouche  had 
stolen  the  book  years  ago  from  the  library  and 
also  that  he  had  forged  the  papers  making  him 
Jeanne's  guardian.  The  situation  being  righted, 
the  road  for  romance  is  cleared  for  Jeanne  and 
Henri,  a  love  match  that  Bonnard  has  always 
fostered,  and  he  returns  to  the  classification  of 
his  library,  the  sale  of  which  will  insure  the 
voung  folks  ample  funds  for  a  happy  married 
life. 

The  tender  quality  of  the  story  which  com- 
pletely ignores  heroics,  appears  to  be  the  ele- 
ment to  concentrate  on  in  selling  the  picture. 
Although  there  are  no  outstanding  names,  prac- 
tically all  of  the  cast  has  been  recently  asso- 
ciated with  pictures  that  have  brought  their 
talents  to  favorable  public  attention.  By  sell- 
ing it  with  dignity,  but  without  too  much  seri- 
ousness, it  is  distinctly  possible  that  audiences 
will  talk  about  it  in  a  way  that  will  go  far 
towards  giving  the  picture  general  popularity. — 
McCarthy,  Hollywood. 

Produced  and  distributed  by  RKO  Radio.  Directed 
by  George  Nicholls,  Jr.  Associate  producer,  Cliff 
Reid.  Screen  play  by  Francis  Edwards  Faragoh.  From 
the  novel.  "The  Crime  of  Sylvestre  Bonnard,"  by 
Anatole  France.  Photographed  by  Lucien  Andriot. 
Art  director.  Van  Nest  Polglase.  Associate.  Carroll 
Qark.  Musical  director.  AlbertO'  Colombo.  Recorded 
by  George  D.  Ellis.  Edited  by  Arthur  Schmidt.  Run- 
ning time,  when  seen  in  Hollywood.  80  minutes.  Re- 
lease date.  April  2,  1935.  General  audience  classifica- 
tion. 

CAST 

Jeanne    Anne  Shirley 

"Sylvestre  Bonnard    O.   P.  Heggie 

Therese   Helen  Westley 

Mile.  Prefere    Elizabeth  Patterson 

Coccoz    John  Qualen 

Henri    Trent  Durkin 

Mouche    Etienne  Girardot 

Mme.  De  Gabry    Doris  Lloyd 

The  slavey    Hilda  Vaughn 


Black  Fury 

(First  National) 


Drama 

The  time  to  realize  the  great  entertainment 
and  commercial  value  of  "Black  Fury"  is  before 
it  is  played.  It  may  well  be  considered  one  of 
the  greatest  dramatic  pictures  of  this  or  any 
other  year.  Different  drama,  without  any  ex- 
cusing or  qualifying  concessions,  it  rips,  tears 
and  crashes  in  honest,  straight  from  the  shoul- 
der style  into  the  powerful  story  it  tells.  In 
so  doing,  it  is  attention-holding  and  heart- 
quickening  with  a  definite  appeal  for  both  class 
and  mass  and  to  the  emotions  and  to  reason. 
This  is  the  kind  of  picture  about  which  the 
truth  must  be  told. 

"Black  Fury"  is  two  stories  ;  a  story  of  shat- 
tered, disillusioned  love,"  which  under  savage 
circumstances,  is  reborn  in  triumph  and  glory, 
and  a  story  of  a  new  kind  of  warfare — indus- 
trial war  in  the  Pennsylvania  coal  fields.  In- 
telligently handled  in  every  phase,  it  is  as 
timely  a.nd  important  as  today's  news.  Yet 
selling  it  properly  will  require  just  as  much 
showmanship  finesse  and  craft  as  its  making- 
did  of  production  intelligence. 

First  analysis  might  lead  to  the  opinion  that 
"Black  Fury"  is  not  a  woman's  picture.  But 
if  reactions  of  women  in  the  preview  audience 
are  any  gauge,  its  moving  love  story,  in  which 
sympathy  is  concentrated  upon  the  man,  makes 
it  just  as  much  a  woman's  attraction  as  its 
dynamic  action  drama  makes  it  a  man's. 

The  picture's  essential  commercial  and  enter- 
tainment value  is  the  powerful  simplicity  of  its 
pa.rallel  stories.  The  full  atmosphere  of  its 
coal  mining  locale  being  established,  hunky 
miner  Joe  Radek,  dumb,  illiterate,  jovial,  sees 
his  roseate  dreams  of  married  bliss  with  Anna 
Novak  shattered  when  she  runs  away  with 
state  trooper  Slim.   Stunned  beyond  his  power 


to  understand,  unwilling  to  believe,  he  drinks. 
E)runk,  he  attends  a  miners'  meeting.  The  age 
old  question — capital  and  labor — is  being  furi- 
ously debated.  Under  the  vicious  lashing  of 
agitator  Steve  the  old  order  is  howled  down 
and  drunken  Radek,  easy  prey  to  Steve's  blan- 
dishments, is  elected  president  of  the  new  by 
acclimation. 

A  befuddled  "big  shot,"  he  sees  in'  ways 
Steve  was  careful  to  point  out,  ways  to  make 
someone  pay  for  his  love  tragedy.  The  opera- 
tors lock  the  men  out.  Racketeer  company 
police,  the  "cossacks"  of  all  industrial  strife, 
are  brought  in.  Steve  disappears.  The  miners 
and  their  families  starve,  freeze  and  are  evicted. 
Deserted  by  Steve,  alone,  unable  to  do  anything, 
president  Joe,  once  so  popular  with  his  co- 
workers, but  now  universally  hated,  seeks  the 
solace  of  more  drink. 

Mike,  once  Joe's  best  friend,  it  killed  by 
McGee's  "cossacks"  as  he  tries  to  protect  a 
girl  from  Lefty'  attack.  Radek  learns  of  it. 
Into  his  dull  brain  comes  the  realization  that 
he  alofie  is  responsible  for  all  the  horror  that 
has  come  to  his  kind.  Followed  by  the  returned 
and  contrite  Anna,  who  pleads  ineffectually 
with  him,  Joe,  after  raiding  a  store  and  pow- 
der magazine,  enters  the  mine.  With  Anna  as 
his  liason,  he  tells  his  plan — to  destroy  himself 
and  the  mines  unless  the  operators  call  off  the 
lockout.  One  or  two  blasts  convincing  the  own- 
ers of  his  sincerity,  McGee  goes  down  to  get 
him  only  to  be  made  the  mad  miner's  prisoner 
after  a  terrific  battle.  For  days,  as  Washington 
mediates  and  the  nation's  press  thunders  re- 
ports of  Joe's  doings,  he  holds  out.  Then,  the 
owners,  bowing  to  the  force  of  public  opinion, 
capitulate.  Joe  is  the  real  hero  he  always 
visioned  himself  from  whom  Anna  will  never 
run  away  again. 

This  picture  is  neither  preachment  nor  propa- 
ganda ;  rather  dramatic,  showmanship  enter- 
tainment, realistically  yet  humanly  acted  and 
directed.  Those  who  see  it  should  understand 
and  appreciate.  Finely  and  authentically  pro- 
duced, all  that  seems  necessary  to  sell  it  any- 
where, any  time,  is  a  straightforward  revealing 
advance  telling  of  what  the  picture  treats.— 
McCarthy,  Hollywood. 

Produced  and  distributed  by  First  National. 
Directed  by  Michael  Curtiz.  From  an  original  story, 
"Jan  Volkanik."  by  Judge  M.  A.  Musmanno  and  -  a 
play,  "Bohunk,"  by  Harry  R.  Irving.  Screen  play  by 
Abem  Finkel  and  Carl  Erickson.  Dialogue  director, 
Frank  MacDonald.  Photography  by  Byron  Haskm. 
Film  editor.  Thomas  Richards.  Supervisor,  Robert 
Lord.  Art  director,  John  Hughes.  Assistant  director, 
Russ  Saunders.  P.  C.  A.  Certificate  No.  579.  Run- 
ning time,  when  seen  in  Hollywood,  90  minutes.  ^  Re- 
lease date.  May  4.  1935.  General  audience  classifica- 
tion. 

CAST 

Joe  Radek   Paul  Muni 

Anna  Novak   Karen  Morley 

Slim   William  Gargan 

McGee  '  Barton  MacLane 

Mike   ....John  T.  Qualen 

Steve   J.   Carroll  Naish 

Kubanda"   Vince  Barnett 

Tommy   Poole   TuUy  Marshall 

J.   W.   Hendricks  Henry  O'Neill 

Johnny  Farrell   Joe  Crehan 

Mary  Novak   Mae  Marsh 

Sophie   Sarah  Haden 

Welsh   Willard  Robertson 

The   Bubitchka  Efifie  Ellsler 

Mulligan   Wade  Boteler 

Alec  Novak   ■  Egon  Brecher 

Lefty   GeO'.  Pat  Collins 

Mac   Ward  Bond 

Sokolsky  '   Akin  Tamirofl:' 

Jenkins   Purnell  Pratt 

"Butch   Eddie  Shubert 


People  Will  Talk 

(Paramount) 
Comedy  Drama 

A  domestic  comedy  drama,  this  attraction 
possesses  showmanship  values.  Family  type  in 
character,  blending  humorous  fun  in  action  and 
dialogue,  it  again  teams  two  characters  whose 
recent  appearances  have  been  favorably  received. 
The  story,  which  is  fast  moving,  is  uniquely, 
yet  familiarly,  premised  and  has  many  novel 
twists. 

In  the  yarn,  happily  married  Mr.  and  Mrs. 
Wilton  have  a  problem  on  their  hands.  Mar- 
ried daughter  Peggy,  having  quarreled  with 
husband  Bill,  comes  home  to  mother.  To  show 


Learn  the  sensational  new  step  called ''Dancing  In 
the  Streets"!  It's  going  to  be  all  the  vogue  with 
Warner  showmen  as  soon  as  they  get  a  glimpse  of 
our  latest  and  greatest  musical!  You  can  learn  all 
the  steps  in  four  easy  lessons,  starting  now  with 

step  no.  1  •  •  • 

Get  the  press  sheet,  just  out,  and  plant  publicity  mats 
and  stories  that  will  tell  the  town  you're  going  to 
bring  them  AL  JOLSON  and  RUBY  KEELER 

together  iox  the  first  time  in ''Go  Into  Your  Dance". 

A  First  National  Picture 


52 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


the  youngsters  the  futility  of  such  antics,  Henry 
and  Clarice  plan  a  fake  quarrel  of  their  own, 
the  intensity  of  which  will  scare  the  youngsters 
into  sense.  However,  as  Henry  leaves  the  house, 
he  innocently  becomes  involved  with  Doris,  the 
vampire  in  Peggy's  and  Bill's  life.  Gossip 
reaching  Clarice's  ears,  she  gets  the  impression 
that  friend  hubby  is  pulling  a  fast  one  and  as 
Bill  seems  to  be  the  only  family  friend  Henry 
has  left,  Peggy  comes  to  think  that  her  hus- 
band is  aiding  and  abetting  her  father  in  his 
philanderings. 

As  a  comedy  wrestling  match  is  tossed  in  to 
heighten  the  hilarity,  the  peace-making  tables 
are  turned.  Bill  frames  a  stunt  whereby  Henry 
by  proving  himself  a  super-hero  restores  him- 
self to  Clarice's  good  graces. 

The  title,  having  definite  exploitation  value, 
particularly  as  it  applies  to  the  story's  theme 
and  development  with  gossip  proving  the  dyna- 
mite for  well  laid  plans,  there  is  also  much  that 
is  comercially  valuable  in  the  Charlie  Ruggles- 
Mary  Roland  names.  While  hardly  a  big  pic- 
ture, audiences  in  the  neighborhood  and  smaller 
theatres,  where  the  atmosphere  and  feeling  is 
more  familiar,  should  find  the  show  pleasing. — 
McCarthy,  Hollywood. 

Produced  and  distributed  by  Paramount.  Produced 
by  Douglas  MacLean.  Directed  by  Alfred  Santell. 
Assistant  director,  Vernon  Keays.  Original  by  Sophie 
Kerr  and  F.  Hugh  Herbert.  Screen  play  by  Herbert 
Fields.  Sound,  A.  VV.  Singley.  Film  editor,  Richard 
Currier.  Art  directors,  Hans  Dreier  and  Bernard 
Herzbrun.  Photographed  by  Alfred  Gilks.  P.  C.  A. 
Certificate  No.  671.  Running  time,  when  seen  in  Holly- 
wood, 68  minutes.  Release  date.  May  24,  1935.  Gen- 
eral audience  classification. 

CAST 

Henry  Wilton    Charlie  Ruggles 

Clarice  Wilton    Mary  Boland 

Peggy  Trask    Leila  Hyams 

Bill  Trask    Dean  Jagger 

Doris  McBride    Ruthelma  Stevens 

Strangler  Martin    Hans  Steinke 

Prettyboy  Plotsky    Constantine  Romanoff 

Pete  Ranse    Edward  Brophy 

Spider  Murphy      John  Rogers 

Mr.  Quimby    Sam  Flint 

Willis  McBride   Stanley  Andrews 

Harriett    Aileen  Carlyle 

Nellie  Simpson    Cecil  Cunningham 

Sam  Baxter    Jack  Mulhall 

Helen  Baxter    Marina  Schutiert 


George  White  s  1935 
Scandals 

(Fox) 
Musical 

Comparisons  being  inevitable,  this  picture 
retains  and  embellishes  all  the  lavish  eye  and 
ear  glamour  of  the  first  George  White's  "Scan- 
dals." The  motivating  story  is  entirely  new  and 
different.  Handsomely  and  artistically  mounted, 
elaborately  costumed,  it's  a  stage  and  backstage 
show.  It  features  many  musical  and  dance  num- 
bers, several  of  which  are  thematic  to  the  story, 
others  specialties.  Colorful,  moving  at  a  moder- 
ate pace  so  that  the  full  value  of  each  sequence 
may  be  realized,  it  improves  on  the  previous 
effort. 

While  the  more  spectacular  features  are  the 
central  point  of  interest,  there  is  also  interest 
in  the  story,  its  motive,  the  manner  in  which  it 
runs  its  course  and  the  happy  ending.  As  a 
musical  it  comprises  practically  all  the  values 
that  have  made  this  character  of  entertainment 
successful.  As  a  light  dramatic  romance,  it 
makes  good  use  of  all  the  necessary  ingredients. 

Opening  with  the  concluding  scene  of  the 
first  show,  White  takes  a  trip  south.  At  a  hick 
town  stop,  Manya,  who  has  tagged  along,  calls 
his  attention  to  a  billing  "White's  Scandals — 
entire  production  conceived,  produced  and  di- 
rected by  Elmer  White."  Dropping  in  on  the 
hick  show  being  presented,  he  sees  a  diamond 
in  the  rough,  Honey  Walters,  performing  with 
Eddie  Taylor.  Wanting  her  for  his  show,  after 
appreciating  Elmer's  gag.  Aunt  Jane  persuades 
him  to  take  Eddie,  Elmer  and  Dude  along  with 
Honey.  Honey  and  Eddie,  in  love,  are  an  in- 
stantaneous success.  Then  as  Eddie  falls  for 
tap  dancer  Marylin  and  to  pay  him  back.  Honey 
picks  up  with  Daniels,  the  inevitable  happens. 
Both  get  big-headed  and  White  fires  them. 

Weeks  of  walking  the  streets  finally  get 
Eddie  a  part  in  a  show  booked  for  tanktown 
presentation  where  he  finds  Honey  playing  the 


rehearsing  lead.  In  the  meantime.  Aunt  Jane, 
who  still  thinks  her  children  are  the  stars  of 
White's  show,  lands  in  town.  That  she  may 
not  be  disapiKjinted,  White  turns  the  town  in- 
side out  searching  for  them.  Found  just  as 
they  are  about  to  board  a  train  for  Altoona, 
they  return  to  become  the  hits  of  the  show  and 
thrill  Aunt  Jane  and  White  when  they  announce 
they  are  married. 

Lavish  on  stage  musical  comedy,  with  the 
expected  class  of  singing  and  dancing  being  the 
principal  selling  qualities,  the  comedy  provided 
by  Ned  Sparks,  the  tap  dancing  of  Eleanor 
Powell,  the  singing  and  dancing  of  Alice  Faye 
and  James  Dunn,  Lyda  Roberti's  characteristic 
contributions  and  Clifif  Edwards'  fantastic  dream 
sequence  are  assets  that  should  not  be  over- 
looked. 

"According  to  the  Moonlight"  is  the  theme 
song,  along  with  "Old  Southern  Custom."  Most 
spectacular  chorus  group  feature  is  "Hunka- 
dola."  The  fantastic  dream  song  feature  is  "I 
Was  Born  Too  Late." 

Exploitation  opportunities  are  almost  unlim- 
ited. Particular  care  should  be  taken  to  con- 
vince patrons  that  everything  is  new  but  the 
title. — McCarthy,  Hollywood. 

Produced  and  distributed  by  Fox.  Conceived,  pro- 
duced and  directed  by  George  White.  Screen  play 
by  Jack  Yellen  and  Patterson  McNutt.  Songs  by  Jack 
Yellen,  Cliff  Friend  and  Joseph  Meyer.  Additional 
lyrics  by  Herb  Magidson.  Photographed  by  George 
Schneiderman.  Sound,  A.  L.  Von  Kirbach.  Dance 
ensembles  by  George  White.  Art  director,  Gordon 
Wiles.  Costumes  by  Charles  LeMaire.  Musical  direc- 
tion, Louis  DeFrancesco.  P.  C.  A.  Certificate  No.  674. 
Running  time,  when  seen  in  Hollywood,  90  minutes. 
Release  date,  March  29,  1935.  Adult  audience  classi- 
fication. 

CAST 

Honey   Walters    . .    Alice  Faye 

Eddie  Taylor    James  Dunn 

Elmer  White    Ned  Sparks 

.Vlanya    Lyda  Roberti 

Dude  Holloway    Clifif  Edwards 

Midgie    Arline  Judge 

Marilyn  Collins    Eleanor  Powell 

r^ouie  Pincus    Benny  Rubin 

-Vunt  Jane    Emma  Dunn 

Harriman    Charles  Richman 

Officer  Riley    Roger  Imhof 

Lee    Jed  Prouty 

Stage  manager    Thomas  Jackson 

.Secretary    Iris  Shunn 

Madame  DuBarry    Lois  Eckhart 

Sam   Fogel    Fuzzy  Knight 

Grady    Donald  Kerr 

Daniels     Walter  Johnson 

Master  of  ceremonies    Fred  Shantley 

Ticket  seller    Jack  Mulhall 

Dispatcher    Harry  Dunkinson 

Lady-in-waiting    Esther  Brodelet 

Porter    Sam  McDaniels 

Jean     Marbeth  Wright 

Chorus  girl    Aloha  Wray 

Hoops  sisters  Edna  Mae  Jones.  Madelyn  Earle 

Do's  four  gals — 

Florine   Dickson,   Marbeth    Wright.   Kay  Hughes, 
Mildred  Morris 
George  White   Himself 


Traveling  Saleslady 

(First  National) 
Comedy 

A  lively,  fast-paced  comedy  feature,  this  has 
several  assets  in  the  way  of  cast  names,  some 
genuinely  amusing  comedy  moments,  in  situation 
and  dialogue,  and  a  story  element  which  may 
well  result  in  exploitation  tieups  by  the  alert 
exhibitor  which  may  prove  really  valuable  at 
the  box  office. 

Joan  Blondell,  lively  and  popular  player,  has 
the  title  role,  supported  by  Glenda  Farrell,  Wil- 
liam Gargan  and  particularly  Hugh  Herbert, 
who  supplies  the  backbone  of  the  film's  outright 
comedy,  and  whose  appearance  on  the  screen, 
when  this  film  was  seen  on  Broadway,  was  con- 
tinuously greeted  with  anticipatory  giggles 
which  never  failed  to  materialize  into  hearty 
laughter.  Al  Shean,  Grant  Mitchell  and  Ruth 
Donnelly  are  other  familiar  names. 

The  exploitation  possibility  enters  in  the 
story  development  which  has  Miss  Blondell 
selling  toothpaste  of  a  new  kind,  cocktail  tooth- 
paste, in  all  flavors  of  wines  and  liquors  and 
various  mixtures  incident  thereto.  What  the 
exhibitor  may  do  with  this  wide-open  oppor- 
tunity largely  depends  on  his  own  alertness. 
The  idea  is  excellent  and  highly  ingenious  ex- 
ploitation stunts  may  well  be  developed  from  it. 
Another  angle  in  the  story  which  may  be  sold 
is  that  of  the  daughter  of  a  magnate  toothpaste 


manufacturer,  who  goes  to  work  for  a  rival 
company  when  her  father  refuses  to  believe  a 
girl  can  have  any  idea  of  business  or  any  ability 
in  selling.  She  teaches  him  an  expensive  lesson, 
and  incidentally  gets  herself  all  tied  up  in  a 
romance  with  her  father's  star  salesman. 

Miss  Blondel  is  refused  a  job  by  her  father, 
Mitchell,  and  runs  into  Herbert,  eccentric  and 
absent  minded  "scientist"  with  a  cocktail  tooth- 
paste idea.  Her  father  will  not  even  see  him, 
and  Miss  Blondell  signs  herself  as  Herbert's 
manager,  then  sells  herself,  Herbert  and  the  idea 
to  Shean,  rival  manufacturer.  Changing  her 
name,  she  goes  on  the  road  with  the  new  tooth- 
paste, determined  to  teach  her  old-fashioned 
father  a  lesson. 

Traveling,  she  meets  Gargan,  her  father's 
best  salesman,  and  the  two  proceed  to  fall  in 
love  with  one  another,  after  8  P.  M.  During 
the  day  it  is  strictly  business,  and  they  hit  back 
at  each  other  in  every  conceivable  way,  Gargan 
of  course  not  knowing  who  she  is.  He  soon 
stops  kidding  the  saleslady  when  she  begins  to 
take  away  his  best  customers.  Miss  Farrell, 
owner  of  a  chain  of  drug  stores,  is  in  love  with 
Gargan,  who  is  in  a  desperate  state,  what  with 
losing  all  his  best  customers,  and  to  the  girl 
with  whom  he  is  in  love.  He  can't  quite  decide 
whether  to  love  or  hate  her,  but  makes  up  his 
mind  when  she  ruins  his  business  completely 
at  the  druggists'  annual  convention,  through  a 
series  of  tricks. 

Back  home,  Mitchell's  business  is  so  bad  that 
he  goes  to  Shean  and  offers  to  merge.  Shean 
fails  to  see  the  advantage,  but  offers  Gargan 
the  sales  managership,  with  power  to  fire  any 
sales  person  he  wishes.  Then  Miss  Blondell 
walks  in,  and  holding  the  cocktail  toothpaste 
contract,  insists  Shean  and  Mitchell  merge  their 
companies,  while  she  takes  care  of  a  merger 
with  Gargan. — Aaronson,  New  York. 

Produced  and  distributed  by  First  National.  Direc- 
tor, Ray  Enright.  Story  by  Frank  Howard  Clark. 
Screen  play  by  F.  Hugh  Herbert  and  Manuel  Seflf. 
Additional  dialogue  by  Benny  Rubin.  Dialogue  direc- 
tor. Gene  Lewis.  Photography  by  George  Barnes. 
Film  editor,  Owen  Marks.  Art  directors,  Anton  Grot 
and  Arthur  Gruenberger.  P.  C-  A.  Certificate  No. 
665.  Running  time,  60  minutes.  Release  date,  April 
8,  1935.    General  audience  classification. 

CAST 

Angela   Twitchell    Joan  Blondell 

Claudette    Glenda  Farrell 

Pat  O'Connor    William  Gargan 

Elmer    Hugh  Herbert 

Rufus  K.  Twitchell    Grant  Mitchell 

Schmidt    Al  Shean 

Millicent    Ruth  Donnelly 

Melton    Johnny  Arthur 

Harry    Bert  Roach 

Murdock    Joseph  Crehan 

Miss   Wells    Mary  Treen 

McNeill    James  Donlan 

Freddie    Gordon  Elliott 

Burroughs    Carroll  Nye 

O'Connor,  Sr   Harry  Holman 

Scoville    Selmar  Jackson 


ril  Love  You  Always 

(Columbia) 
Drama 

A  simple  and  dramatic  story  of  a  young 
couple,  who  thought  they  could  live  on  love, 
ran  into  the  results — on  ambitious  college  gradu- 
ates— of  the  depression,  and  finally  discovered 
they  needed  each  other,  this  should  be  found 
interesting  material,  telling  its  story  in  direct 
fashion,  with  a  rather  considerable  portion  of 
pathos  and  comparatively  little  comedy. 

Nancy  Carroll  has  the  lead,  with  George 
Murphy,  personable  and  an  able  performer, 
playing  opposite.  Arthur  Hohl  and  Jean  Dixon 
are  the  most  familiar  among  the  supporting 
players.  Selling  the  names  for  what  they  may 
be  worth  in  the  community,  and  developing 
whatever  sales  material  suggests  itself  from 
the  story's  theme  and  the  title,  appears  to  be 
the  most  acceptable  method  of  merchandising. 

Murphy,  graduating  in  engineering  with  high 
honors,  meets  Miss  Carroll,  playing  feminine 
leads  in  her  father's  broken-down  Shakespearian 
stock  company,  when  the  company  plays  the 
university  town.  They  are  married,  and  with 
references  from  his  dean  to  big  engineers,  they 
set  out  for  New  York  with  high  hopes  and  very 
little  cash. 

The  stumbling  blocks  appear,  as  _  Murphy 
finds  the  companies  he  visits  not  waiting  anxi- 


Clap  hands!  .  .  .  .Yea,  man!  ....  Strut  yo'  stuff! 
You'll  want  to  start  dancing  in  the  streets  when 
you  catch  a  screening  of  Warner  Bros.'  ''Go  Into 
Your  Dance"— so  we're  giving  you  the  routine 
in   four  easy  lessons  ....  Here  we  have 


step  no*  2  •  •  • 

Start  planning  ads  and  lobby  displays  that  will  shout 
the  news  that  AL  JOLSON  sings  7  sock  Warren 
&  Dubin  songs,  including  sure-fire  radio  hits  like 
''Latin  From  Manhattan"  and  "About  a  Quarter 
to  Nine,"  in  his  first  show  with  RUBY  KEELER. 

A  First  National  Picture 


54 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


ously  for  an  lionor  graduate  from  engineering 
scliool.  He  refuses  a  road  gang  job  offered  by 
Paul  Harvey,  head  of  a  large  firm,  and  the 
couple  land  in  a  furnished  room,  with  Murphy 
loading  a  truck  for  a  furniture  store.  Miss 
Carroll  meets  Miss  Dixon  and  her  friend, 
Walburn,  she  having  been  on  the  stage  with 
Miss  Carroll  at  one  time.  His  pride  hurt.  Mur- 
phy quarrels  with  Miss  Carroll,  and  leaves  her, 
while  she,  about  to  have  a  child,  lives  with  Miss 
Dixon  and  takes  a  stage  position. 

Murpliy  visits  Harvey  again,  is  refused,  and 
steals  a  large  sum  of  money.  He  buys  Miss 
Carroll  clotlies  for  her  stage  work,  not  know- 
ing of  the  approaching  child,  and  tells  her 
he  is  going  to  Russia.  They  have  a  last  fling 
in  Atlantic  City,  where  Hohl,  detective,  finds 
him.  Hohl  arranges  with  Harvey  that  it  shall 
appear  that  the  letters  Murphy  writes  from  his 
prison  cell  shall  come  from  Russia,  Harvey's 
office  being  the  transmission  point.  Murphy  is 
released,  takes  the  road  job  offered  by  the 
friendly  Harvey,  and  visits  Miss  Carroll  at 
Miss  Dixon's  insistence,  to  make  a  final  break. 
He  discovers,  of  course,  that  he  loves  his  wife 
as  much  as  always,  and  she  cares  nothing  for 
his  jail  record. 

It  is  straightforward  material,  well  handled, 
and  may  best  be  sold  in  an  equally  straightfor- 
ward manner. — Aaronson,  New  York. 

Produced  and  distributed  by  Columbia.  Directed  by 
Leo  Bulgakov.  Story  by  Lawrence  Hazard.  Screen 
play  bv  Vera  Caspary  and  Sidney  Buchman.  Assistant 
director,  C.  C.  Coleman.  Cameraman,  Joseph  August. 
Sound  engineer,  George  Cooper.  Film  editor.  Richard 
Cahoon.  P.  C.  A.  Certificate  No.  636.  Running  time, 
68  minutes.  Release  date,  March  20,  1935.  General 
audience  classification. 

CAST 

Nora  Clegg    Nancy  Carroll 

Carl  Brent    George  Murphy 

Charlie    Raymond  Walburn 

Jergens    Arthur  Hohl 

Mae  Waters    Jean  Dixon 

Joe    Robert  Allen 

Henry  Irving  Clegg    Harry  Beresford 

Sandstone    Paul  Harvey 


The  Cyclone  Ranger 

(Spectrum  Pictures) 
Western 

A  western  film  with  a  dift'erence,  this  is  rather 
lacking  in  the  exact  type  and  quantity  of  fast 
action  found  in  the  western  film,  but  tends  to 
to  make  up  for  that  deficiency  by  something 
more  of  story  backbone  than  is  usually  the  case 
in  most  westerns.  There  is  sufficient  action  and 
atmosphere,  however,  to  warrant  playing  the 
film  in  the  weekend  position,  when  the  followers 
of  action  material  look  for  westerns. 

Bill  Cody  is  the  star,  and  he  appears  a  capa- 
ble rider  and  a  reasonably  satisfactory  per- 
former in  his  role  of  the  Pecos  Kid.  The  sup- 
porting players  are  for  the  most  part  unknown. 
Concentration  on  combination  of  the  western 
locale,  the  star  and  a  hint  of  the  story  content 
appears  to  be  the  most  acceptable  selling  method 
to  adopt. 

Unusual  in  the  case  of  the  western,  in  this 
instance,  the  story's  the  thing,  rather  than  the 
action  thrown  against  a  background  of  western 
mountain  scenery  and  a  stereotyped  story. 

Cody,  with  two  Mexican  companions,  oper- 
ate near  the  border  in  the  cattle  rustling  "busi- 
ness," though  they  appear  chiefly  concerned  with 
taking  cattle  from  those  who  had  previously 
fleeced  them,  it  is  understood  in  rather  a  round- 
about fashion.  One  of  the  Mexicans  had  left 
his  home  rancho  and  mother  years  before  and 
the  other,  an  elderly  man,  who  had  worked  at 
the  rancho,  is  in  the  nature  of  a  guardian,  self- 
appointed. 

They  learn  that  the  boy's  mother  is  very  ill, 
and  determine  to  return  with  Juan  to  his 
mother.  But  Eddie  Gribbon,  one  of  the  gang, 
kidnaps  a  man  from  a  neighboring  town,  and 
as  the  three  break  with  the  gang  and  start 
south,  they  are  mistaken  for  the  kidnapers  and 
Juan  is  shot  by  a  posse. 

He  dies  as  they  make  their  escape,  and  Cody 
and  Pancho  go  on  alone.  They  find  the  mother 
blind  and  she  mistakes  Cody  for  her  long  miss- 
ing son.  He  has  not  the  heart  to  tell  her  his 
identity,  and  he  and  Pancho  continue  the  pre- 
tense. Cody  is  attracted  to  the  mother's  ward. 


Nena  Quai'taro,  and  she  believes  he  is  Juan. 
The  jarring  note  enters  when  Gribbon  and  his 
gang  arrive  on  the  scene,  and  strike  a  bargain, 
that  Cody  shall  permit  them  to  run  off  with  the 
rancho  cattle,  and  they  will  not  reveal  his 
identity.  Cody  accepts,  but  sets  a  trap  for  the 
gang. 

A  pitched  battle  and  lively  sequence  ends  in 
the  cleaning  up  of  the  gang,  and  Cody  is  about 
to  give  himself  up  to  the  sheriff,  who  has  ar- 
rived from  Arizona  on  the  trail  of  the  gang. 
But  the  sheriff  accepts  the  death  of  Gribbon  as 
that  of  the  Pecos  Kid,  and  Cody  is  left  free 
to  pursue  his  romance  with  Nena  and  con- 
tinue to  pose  as  Juan  for  the  mother's  sake. — 
Aaronson,  New  York. 

Produced  and  distributed  by  Spectrum  Pictures.  A 
Ray  Kirkwood  production.  Directed  by  Bob  Hill. 
Photographed  by  Donald  Keyes.  Supervised  by  Ray 
Kirkwood.  Running  time.  60  minutes.  Release  date 
not  determined.  General  audience  classification. 
CAST 

Pecos   Kid  Bill  Cody 

Nita    Garcia  Nena  Ouartaro 

Duke    Eddie  Gribbon 

Donna  Castelar    Solidad  Jimines 

Pancho  Gonzales    Earl  Hodgins 

Martha    Zara  Tazil 

Juan  Castelar    Donald  Reed 

Luke  Saunders    Colin  Chase 

Clem  Rankin    Bud  Buster 

Pete    Jerry  Ellis 

Felipe    Anthony  Natale 

Countryside  Melodies 

( First  Division — A  udio ) 
Splendid 

Featured,  as  are  all  of  the  Musical  Moods 
series,  by  the  most  attractive  picturization,  in 
natural  Technicolor,  of  scenic  beauties,  this 
visual  accompaniment  moves  from  the  Irish 
country  side,  about  the  shores  of  Lake  Killar- 
ney,  to  scenes  of  the  Iroquois  Hunt  Club  of 
Kentucky  in  active  pursuit  of  the  fox.  The 
music  of  the  first  part  is  based  on  Percy 
Grainger's  "Country  Gardens,"  the  latter  part 
featuring  a  glee  club  rendition  of  "John  Peel." 
The  hunting  scenes,  with  the  riders  in  their 
red  coats  following  the  dogs,  are  particularly 
effective.  The  subject  as  a  whole  is  appealing 
and  excellently  produced,  and  should  be  pro- 
vocative of  audience  appreciation. — Running 
time,  eight  minutes. 


Kool  Penguins 

(Brown  &  Williamson — Audio) 
Amusinq  Cartoon 

A  highly  amusing  novelty  cartoon  subject, 
this  was  produced  by  Audio  Productions  for 
Brown  &  Williamson,  manufacturers  of  Kools, 
and  is  designed  for  theatrical  showing.  Cleverly 
handled,  it  contains  an  absolute  minimum  of  the 
advertising  "sting"  and  becomes  virtually  an 
entertaining  novelty  cartoon  subject  which  is  a 
burlesque  on  the  manufacture  of  cigarettes.  The 
penguins  flee  from  the  north,  hit  sweltering 
New  York,  go  on  to  the  south  and  the  cigarette 
factory  and  return  with  aid  for  the  city.  The 
factory  sequences  are  especially  clever  and 
amusing.  The  subject  is  available  to  the  ex- 
hibitor, entirelv  without  charge,  from  Brown  & 
Williamson. — Running  time,  eight  minutes. 


Old  Doq  Tray 

(  Educational ) 
Fair 

A  fair  cartoon,  against  a  background  of  the 
song  "Old  Dog  Tray,"  in  which  the  dog,  tossed 
out  by  his  farmer  master,  stays  about  the  house. 
The  mice  come  out  at  night,  indulge  in  their 
usual  antics,  and  sail  about  in  soap  bubbles.  The 
dog  induces  his  master  to  join  him  in  the  same 
sport,  but  the  bubbles  meet  with  disaster,  and 
the  two  land  in  the  mud. — Running  time,  six 
minutes. 


Star  Night  at  Cocoanut  Grove 

(MGM) 

Highly  Entertaining 

There  is  real  and  diversified  entertainment,  as 
well  as  the  draw  value  of  star  names  and  nat- 
ural color  photography  here,  which  should  com- 
bine to  make  the  subject  genuinely  worthy  of 


special  exhibitor  attention.  At  the  famed  Co- 
coanut Grove  on  the  Coast  Ted  Fio  Rita  and 
his  band  supply  the  music,  Leo  Carrillo  is  mas- 
ter of  ceremonies,  such  stars  as  Gary  Cooper, 
Arline  Judge,  Jack  Oakie,  Richard  Cromwell 
are  seen  at  tables,  Bing  Crosby  sings  after  an 
introduction  by  Mary  Pickford,  and  there  is  a 
touch  of  girl  dance  routine  material  and  a 
specialty  dance  in  Spanish  style  further  to  add 
to  the  subject. — Running  time,  21  minutes. 


A  Nose  for  News 

(Educational) 
Good 

A  good  comedy,  featuring  Joe  Cook,  star  of 
the  musical  comedy  stage,  as  a  would-be  news- 
paper reporter,  and  indulging  largely  in  his 
expected  nonsense,  much  of  which  is  amusing. 
Joe  is  sent  to  interview  a  notorious  gangster  in 
jail,  and  the  gangster  takes  Joe's  police  card, 
which  makes  Joe  the  gangster.  Every  time  he 
escapes  from  jail,  the  real  thug  is  waiting  to 
force  him  to  give  himself  up,  each  time  to  the 
same  cop.  Eventually,  on  trial,  Joe  turns  the 
trick  on  the  entire  courtroom,  including  the 
visiting  gangster.— Running  time,  17  minutes. 


October  Day 

( First  Division — Audio ) 
Excellent 

Another  of  the  Musical  Moods  series,  this 
has  the  expert  symphonic  rendition  of  Schu- 
bert's "Autumn,"  with  the  visual  accompani- 
ment, in  beautiful  natural  Technicolor,  by  Rob- 
ert Bruce,  confined  to  the  countryside  of  Ver- 
mont in  the  fall  of  the  year.  There  certainly 
must  be  universal  appeal  in  the  pictured  beau- 
ties of  nature  in  the  Vermont  hills  at  their 
most  colorful.  A  touch  of  the  human  is  added 
in  the  indicated  love  of  a  farmhand  and  a  girl, 
merely  indicated  but  expressively  blended  with 
the  background. — Running  time,  nine  minutes. 


Buddy  of  the  Legion 

(Vitaphone) 
Good 

An  entertaining  number  of  the  Looney  Tunes 
cartoon  series,  in  which  Buddy,  working  in  a 
bookstore,  comes  across  a  story  of  the  foreign 
legion,  and  proceeds  to  live  it.  As  captain  of 
the  troop,  which  is  lured  into  the  fort  of  the 
Amazons,  he  goes  to  the  rescue,  frees  his  men 
and  other  enslaved  soldiers,  and  comes  back  to 
earth  to  be  fired  from  his  job. — Running  time, 
seven  minutes. 


Anniversary  Trouble 

(MGM) 

Very  Good 

One  of  the  Our  Gang  comedies,  this  virtually 
features  the  chubby  Spanky,  who  with  his  nat- 
ural acting  and  almost  too  precocious  comments, 
provides  real  amusement  and  entertainment. 
Spanky  is  made  treasurer  of  his  club,  the  money 
is  in  an  envelope  and  is  confused  with  an  enve- 
lope of  money  left  by  Spanky's  forgetful  father 
on  the  breakfast  table  as  an  anniversary  present 
for  Spanky's  mother.  The  club  comes  after  its 
money,  and  his  parents  think  something  is 
wrong  with  their  offspring,  until  Spanky  finally 
straightens  things  out,  with  his  father  the 
"goat."  Really  entertaining. — Running  time,  18 
minutes. 


Do  a  Good  Deed 

(Universal) 
Lively  Cartoon 

It's  a  Scout  camp  and  they're  all  doing  their 
daily  good  turn — a  whistle  for  the  baby  bird,  a 
sipping  tube  for  the  corpulent  bee,  a  corkscrew 
for  the  woodpecker.  The  common  enemy,  Mr. 
Bear,  rumbles  into  a  raid  on  the  camp.  The 
bees  turn  into  a  collective  riveting  machine  on 
his  hide,  the  woodpeckers  time  their  rolling  of 
a  bowlder  so  that  it  plops  him  flat  on  the  re- 
bound. There's  interest  throughout. — Running 
time,  seven  minutes. 


go  into  your  dance 

Here's  a  Warner  musical  you  can  step  out  with  to  the  tune  of  the  hi-de- 
highest  grosses  since  'H2nd  Street"  days!  To  make  your  stepping  easier 
we're  showing  you  these  four  simple  steps  absolutely  free.  This  is 


step  ne  w  3  •  •  • 


Start  plastering  the  papers  and  your  programs  with  the  news  that  in ''Go 
Into  Your  Dance"  RUBY  KEELER  does  the  mosta  of  the  swellest  step- 
ping in  her  screen  career— dancing  in  7  different  languages  to  the  rhythm  of 
AL  JOLSON'S  great  songs  and  Bobby  Connolly's  rich  chorus  numbers. 


A  First  National  Picture 


56 


-MOTION    PICTURE  HERALD 


April    6  ,  1935 


FILM  MEASURES  DIE 
IN  13  LEGISLATURES 


General  Sales  Taxes  Passed  in 
Five  States  Instead  of  Pro- 
posed   Adnnission  Levies 

Thirteen  state  legislatures  concluded  their 
programs  of  taxation  and  other  measures  last 
week  without  enacting  laws  directly  aimed  at 
the  motion  picture  industry.  In  five,  general 
sales  taxes  were  passed  instead  of  proposed 
levies  on  theatre  admissions. 

The  13  legislatures  which  completed  their 
sessions  are  North  and  South  Dakota, 
Georgia,  Idaho,  West  Virginia,  Utah,  Ore- 
gon, New  Mexico,  Indiana,  Kansas,  Wyom- 
ing, Montana  and  Arizona.  In  Arizona  a 
special  session  is  to  be  called  April  10  to 
settle  the  question  of  a  possible  theatre  tax. 

Legislative  battles  continued  acute  in 
four  states — Tennessee,  Pennsylvania,  Mich- 
igan and  Delaware.  Exhibitors  were  oppos- 
ing admission  tax  bills  in  Tennessee  and 
Pennsylvania,  and  a  censorship  bill  in 
Michigan,  modeled  after  that  in  Ohio. 
Delaware  exhibitors  were  battling  a  dog 
race  measure. 

From  California  came  news  that  Governor 
Merriam  will  veto  any  of  the  socalled  "puri- 
fying" film  measures  which  provide  for  state 
boards  of  control.  A  substitute  budget  bal- 
ancing program  offered  in  the  Assembly 
Wednesday  calls  for  gross  transaction  taxes 
at  scaled  rates,  drops  the  10  per  cent  admis- 
sion tax  but  affects  the  film  ljusiness  with  a 
one  per  cent  tax  on  manufactured  articles, 
one-fourth  of  one  per  cent  on  wholesale  ar- 
ticles, and  other  charges. 

The  legislative  situation  in  other  states 
during  the  week  was  : 

Connecticut:  The  MPTO  met  to  discuss 
five  bills.  One  of  them  provides  for  a  5  per 
cent  tax  on  gross  admissions ;  another  seeks  a 
SO  per  cent  increase  in  the  seat  tax ;  a  third 
calls  for  two  men  in  a  booth ;  a  fourth,  a  com- 
pulsory control  projection  device  for  each  ma- 
chine ;  the  fifth,  censorship. 

Maryland:  Fees  charged  by  Maryland  cen- 
sors would  be  increased  from  $2  to  $3.50  for 
each  1,000  feet  of  master  print  and  from  $1  to 
$2  for  each  additional  print,  under  the  Baile 
bill.  The  House  committee  reported  unfavora- 
bly two  of  four  Sunday  bills.  The  House  passed 
the  Mulliken  racetrack  bill  to  reduce  the  daily 
license  fee  of  $6,000  to  $1,000  and  raise  the  tax 
on  money  bets. 

Michigan:  A  bill. providing  for  a  state  cen- 
sorship board  of  three,  to  be  appointed  by  the 
governor  for  three-year  terms,  was  introduced 
in  the  House.  Cost  of  administration  would  be 
paid  by  fees  of  $1  for  every  1,000  feet  of  film 
from  distributors. 

Missouri  House  Passes  Sales  Tax 

Missouri:  After  a  month  of > bitter  fighting 
the  House  passed  the  2  per  cent  sales  tax,  to 
be  passed  on  to  the  consumer,  but  defeated  an 
emergency  clause  to  put  the  measure  into  imme- 
diate eft'ect.  Admissions,  advertising  and  other 
services  come  under  the  provisions.  The  bill 
faces  several  obstacles  in  the  Senate.  A  meas- 
ure was  introduced  in  the  Senate  for  a  4  per 
cent  levy  on  all  transactions  and  services  ren- 
dered. 

Nebraska  :  The  fate  of  Sunday  shows  comes 
up  for  balloting  April  9  in  Beatrice,  the  last 


major  Nebraska  town  to  have  a  ban  on  Sunday 
showings. 

New  York  State  :  The  Senate  passed  the 
Julius  Berg  bill  which  permits  Sunday  perform- 
ances in  legitimate  theatres,  but  requires  that 
theatres  be  closed  one  day  in  every  week  if 
they  are  open  on  Sundays.  The  measure  then 
went  to  the  Governor  for  signature.  Under  pro- 
visions of  a  bill  introduced  by  Senator  Thomas 
F.  Burchill  and  referred  to  the  Codes  Commit- 
tee, the  penal  law  is  amended  by  making  it  lar- 
ceny to  conduct  a  show  or  other  public  exhibi- 
tion advertised  for  charitable  purposes,  without 
turning  over  to  that  cause  or  charity  at  least 
75  per  cent  of  the  net  receipts. 

Ohio:  The  Senate  passed  a  bill  to  prohibit 
dance  marathons,  walkathons  and  other  endur- 
ance contests  lasting  more  than  24  hours.  It 
is  expected  the  House  will  concur. 

New  Pennsylvania  Sunday  Bill 

Pennsylvania  :  With  the  10  i>er  cent  ticket 
tax  defeated  in  the  Senate,  Pennsylvania  the- 
atre men  were  concentrating  their  strength  to 
fight  the  proposed  state  sales  tax.  Representing 
a  consolidation  of  several  Sunday  bills,  a  new 
measure  was  presented  in  the  House  under 
which  a  referendum  would  be  held  in  each 
municipality  at  the  next  municipal  elections,  in 
November.  If  passed,  Sunday  shows  would  be 
permitted  after  2  p.  m.  Another  bill  calls  for 
24  hours  of  rest  each  week  for  projectionists. 

Rhode  Island  :  Operators  have  a  bill  in  the 
House  providing  for  one  man  to  every  machine. 
Another  measure  pending  provides  that  all  films 
must  be  projected  from  machines  on  the  ground 
floor,  or  the  entrance  floor,  except  in  regulation 
booths. 

Tennessee  :  Theatre  owners  of  Tennessee 
converged  on  Nashville  to  fight  the  proposed 
10  per  cent  amusement  tax  favorably  reported 
out  of  the  finance  committee. 

Wisconsin  :  A  broad  tax  bill,  designed  to 
abolish  the  state's  general  property  tax,  which 
would  place  a  4  per  cent  levy  on  theatres'  gross 
incomes,  has  been  introduced  in  the  Assembly. 

Meyer  Named  Universal 
Studio  Business  Manager 

Fred  S.  Meyer  last  week  was  named  ex- 
ecutive business  manager  of  the  Universal 
Studio,  in  an  unexpected  appointment  by 
Carl  Laemmle,  president  of  the  company. 
The  post  was  expected  to  go  to  Julius  Bern- 
heim.  Henry  Clark,  studio  comptroller,  has 
taken  over  Mr.  Meyer's  former  position  as 
executive  assistant  to  Mr.  Laemmle. 


Is  Macfadden  Ad  Manager 

William  Cunningham  of  the  Chicago  stafY 
of  Macfadden  Women's  Group  publications, 
has  been  promoted  to  western  advertising 
manager. 


Columbia  Toy  Deal 

Columbia  has  granted  a  franchise  to 
Transogram,  Inc.,  toy  manufacturer,  New 
York,  to  use  the  "Scrappy"  cartoon  charac- 
ters in  all  lines  of  merchandise. 


Puritan  Pictures  Formed 

Puritan  Picture  Corporation  has  been 
chartered  at  Albany  by  Louis  A.  Solomon, 
David  Gross  and  Jean  Krausl  of  New  York 
City. 


Can '/  Storm  U.  S. 
Into  English  Films^ 
Says  Capt.  Norton 

The  British  film  industry,  if  it  wishes  to 
make  any  appreciable  headway  with  its  prod- 
uct in  the  American  market,  must  not  try  to 
proceed  too  fast,  said  Capt.  Richard  Norton, 
director  of  British  and  Dominions  Film  Cor- 
poration, Ltd.,  before  returning  to  England 
last  week.  During  his  five  weeks  in  New 
York,  which  included  a  Canadian  visit,  he 
discussed  the  company's  1935-36  product 
with  the  American  distributor,  United 
Artists. 

"I  am  glad  to  find  that  the  word  "British' 
is  becoming  less  unattractive  to  American 
audiences  every  year,  but  we  in  England 
must  recognize  that  it  will  take  time  to  con- 
quer the  provincial  sectors  of  the  United 
States,"  he  said.  "American  pictures  have 
been  pleasing  English  audiences  for  20 
years." 

Captain  Norton  said  he  believed  the  Eng- 
lish appeal  to  the  American  box  office  must 
rely  for  some  time  on  the  draw  of  Ameri- 
can "name"  players,  but  that  in  the  long  run 
British  stars,  independent  of  Hollywood, 
would  be  built  up  in  such  fashion  as  to 
please  American  audiences  as  much  as  their 
own  favorites. 

The  British  and  Dominions  executive  de- 
clared technical  facilities  and  talent  sources 
for  British  studios  today  are  identical  with 
those  of  Hollywood  and  New  York. 

British  and  Dominions,  he  said,  will  re- 
lease three  features  in  this  country  in  1935- 
36.  The  company  does  not  plan  to  hasten 
distribution  of  more  than  a  few  pictures  for 
the  next  two  or  three  years,  because  "we 
want  to  get  the  right  business." 

"For  a  long  time  there  will  be  a  more  or 
less  superficial  difference  in  thought  between 
American  and  British  audiences',"  Capt. 
Norton  said.  "Until  this  difference  is  over- 
come in  this  country,  British  producers  can- 
not hope  to  accomplish  financial  miracles 
here.  The  American  public  simply  cannot 
be  stormed  into  liking  British  pictures." 

Arrangements  which  will  permit  exhibi- 
tion in  this  country  of  "Nell  Gwyn,"  made 
by  British  and  Dominions,  including  the 
addition  of  a  new  prologue  and  epilogue, 
were  completed  between  Capt.  Norton  and 
the  Motion  Picture  Producers  and  Distribu- 
tors of  America  during  his  stay. 

He  said  no  successor  to  the  late  Hubert 
Marsh  as  chairman  of  the  board  has  been 
selected  as  yet. 

Capt.  Norton  also  said  that  as  a  result 
of  his  conferences  with  Will  H.  Hays  he 
will  carry  to  British  producers  an  appeal 
for  compliance  with  the  American  Produc- 
tion Code  of  Ethics.  He  will  acquaint 
British  studios  with  production  problems  en- 
countered under  the  code. 

One  step  he  said  would  be  the  supplying 
of  British  producers  with  details  of  Ameri- 
can censorship  eliminations  in  an  effort  to 
make  them  familiar  with  the  type  of  ma- 
terial to  be  avoided.  A  second  step  would 
be  establishment  of  a  system  whereby 
scripts  of  proposed  British  pictures  could 
be  cleared  by  the  Production  Code  Admin- 
istration at  a  speed  which  would  not  delay 
actual  camera  work. 


Jump  with  JOLSON— kick  with 
KEELER!  You'll  be  that  happy 
over  the  box-office  g^oods  they've 
given  you  in  ''Go  Into  Your 
Dance."  And  when  you' re  strut- 
ting your  showmanship  on  this 
great  show,  don't  slip  up  on 

step  no.  4  •  •  •  • 

24-sheet  the  fact  that  "42nd 
Street's"  famous,  author  has 
given  this  big  Warner  musical  a 
real  human -interest  story— and 
that  8  supporting  stars  like 
Glenda  Farrell,  Helen  Morgan 
and  Patsy  Kelly  help  tell  it, 
under  Archie  Mayo's  direction. 

A  First  National  Picture 


58 


MOTION    PICTURE  HERALD 


April    6,  1935 


THE  CUTTING  ROO^ 


Advance  ouflines  of  productions  neerring 
connpletion  as  seen  by  Gus  McCarthy  of 
Motion  Picture  Herald's  Hollywood  Bureau 


MAN  PROPOSES 

Fox 

A  good  cast  and  a  good  story  form  the  show- 
manship basis  of  this  production.  Modern,  up- 
to-date,  a  blend  of  fact  and  fiction  which  cre- 
ates many  comedy  situations,  it's  the  story  of 
a  woman-hating  newspaper  reporter  who  falls 
when  the  right  girl  comes  along  only  to  rush 
from  the  altar  to  jail  and  there  spend  his  honey- 
moon covering  one  of  the  most  sensational  jail 
exposure  stories  of  the  generation.  Although 
much  of  its  action,  romance,  comedy,  drama, 
excitement  and  action  occur  behind  stone  walls 
and  steel  bars,  it  is  not  a  "jail"  story. 

The  original  is  by  Claude  Binyon,  credited 
with  many  successful  picture  yarns,  and  Sid- 
ney Skolsky,  newspaper  columnist.  Screen  play 
is  by  William  Hurlburt.  It  is  directed  by  Wil- 
liam Seiter,  maker  of  "Richest  Girl  in  the 
World"  and  the  current  "Roberta." 

In  the  production,  James  Dunn,  last_  in 
"Bright  Eyes"  and  soon  to  be  seen  in  "White's 
Scandals,"  is  the  reporter.  Mae  Clarke,  absent 
from  the  screen  since  "Operator  13,"  is  the 
deserted  bride.  Third  angle  to  the  triangle  ro- 
mance is  Neil  Hamilton,  last  in  "Mutiny  Ahead" 
and  "Fugitive  Lady."  The  supporting  cast  be- 
ing lengthy,  those  of  prominence  are  Sidney 
Toler,  Warren  Hymer,  Stanley  Fields,  Jack 
LaRue,  Raymond  Hatton,  Madge  Bellamy,  Ar- 
thur Treacher  and  Frank  Melton.  Others  in- 
cluded are  Dorothy  Christy,  Robert  Gleckler, 
William  Pawley,  James  Donlan  and  Phil  Tead. 

Although  there  is  plenty  of  dramatic  excite- 
ment in  the  story,  comedy  seems  to  be  the  sell- 
ing quality  upon  which  most  concentration 
should  be  placed. 


ALIBI  IKE 

Warner 

This  is  a  baseball  story,  written  by  Ring 
Lardner,  whose  "You  Know  Me  Al"  series 
first  put  the  spark  of  comic  humanness  in  the 
game's  oddest  characters.  It  stars  Joe  E. 
Brown,  who  before  he  became  a  motion  picture 
actor  was  quite  a  ball  player  himself  and  re- 
tains all  this  enthusiasm  for  the  national 
pastime.  In  it  he's  a  combination  Rube  Wad- 
dell-Dizzy  Dean-Babe  Ruth-Ty  Cobb,  who  does 
everything  perfectly  but  always  has  a  glib  alibi 
for  not  doing  it  better ;  that  is,  until  he  falls 
in  love  with  the  club  captain's  sister  and,  by 
making  an  alibi  for  the  ring  she  wears,  loses 
the  girl,  goes  into  a  slump,  almost  wrecks  the 
team's  pennant  hopes,  but  finally  emerges  from 
the  fog  under  the  inspiration  of  understanding 
love,  and  by  his  diamond  prowess  wins  the  flag 
and  the  world  series. 

Situations  on  the  playing  field  and  in  the 
field  of  romance  are  just  the  kind  in  which 
Brown  appears  to  best  advantage.  The  screen 
play  is  by  William  Wister  Haines,  and  the 
production,  which  is  being  made  in  the  local 
big  league  training  camps,  is  directed  by  Ray 
Enright,  who  handled  Brown  in  a  previous 
baseball  picture,  "Fireman,  Save  My  Child," 
and  is  also  the  maker  of  "Circus  Clown," 
"Dames"  and  "The  St.  Louis  Kid." 

While  the  action  presents  a  lot  of  big  league 
baseball  stuff  and  shows  many  famous  players 
of  the  Cubs,  Cardinals  and  Braves  teams,  the 
cast  has  wellknown  screen  names  with  the  ex- 
ception of  Olivia  de  Vaviland,  making  her  fea- 
ture debut.  Supporting  players  listed  are  Eddie 


Schubert,  Ruth  Donnelly  and  Henry  O'Neill, 
who  have  been  seen  in  many  Warner  produc- 
tions, and  Roscoe  Karns  and  William  Frawley. 

To  be  released  simultaneously  with  the  open- 
ing of  the  baseball  season,  the  diamond  action  of 
the  production  is  a  natural  to  sell  to  baseball 
fans ;  the  romance,  comic  and  hectic,  should 
have  an  appeal  to  women  and  the  general  all- 
around  fun,  action  and  excitement,  a  magnet 
for  comedy  fans. 


OUR  LITTLE  GIRL 

Fox 

The  combination  of  Shirley  Temple  and  this 
title  is  a  direct  tip  as  to  the  show's  entertain- 
ment character  and  exploitation  potentialities. 
The  story,  being  essentially  a  domestic  drama, 
is  something  new  for  Shirley,  but  on  the  basis 
of  past  performances  in  various  kinds  of  pic- 
tures, she  should  have  no  difficulty  in  deliver- 
ing in  the  expected  manner.  Fundamentally  and 
in  direct  relation  to  title  significance,  it's  a  story 
of  a  separated  father  and  mother  who  are  re- 
united by  the  charm  and  sweetness  of  their 
little  girl.  Accompanying  production  values, 
however,  give  the  picture  vivid  color,  as  one  of 
the  outstanding  features  is  the  presentation  of  a 
circus.  Shirley  again  dances,  this  time  with 
Jack  Donohue. 

The  production  is  adapted  from  the  story 
"Heaven's  Gate,"  by  Flyorence  Leighton  Pfalz- 
graf.  The  screen  play  is  by  Stephen  Avery  and 
Allen  Rivkin.  It  is  being  directed  by  John  Rob- 
ertson, who  recently  made  "Little  Orphan  An- 
nie" and  "Captain  Hurricane." 

While  the  name  Shirley  Temple  is  the  out- 
standing cast  feature,  it  is  noticeable  that  her 
support  is  composed  of  players  who  have  not 
appeared  with  her  previously.  The  roles  of  the 
mother  and  father  are  assumed  by  Rosemary 
Ames,  seen  in  several  Fox  pict'ures,  and  Joel 
McCrea,  now  in  "Private  Worlds."  Lyle  Tal- 
bot, Erin  O'Brien-Moore,  Warren  Hymer,  Mar- 
garet Armstrong,  Rita  Owen,  Leonard  Carey 
and  Jack  Baxley  form  the  straight  support. 

From  an  additional  exploitation  viewpoint, 
there  is  Poodles  Hanneford,  a  circus  favorite 
all  over  the  land,  who  brings  his  complete  tum- 
bling-riding act  together  with  half  a  dozen 
clowns  for  added  fun  and  excitement.  Further- 
ing this  atmosphere  are  the  Clarkonians,  famous 
mid-air  trapeze  swing  troupe.  Also  there  are 
the  dancer.  Jack  Donohue,  and  Gus  Van,  sur- 
vivor of  the  noted  vaudeville  team,  with  whom 
Shirley  does  a  number. 

With  the  name  values,  quality  of  the  dramatic, 
comedy  action,  contrasted  story  content,  plus 
production  values,  the  field  for  unique  show- 
manship is  wide. 


BREAK  OF  HEARTS 

Radio 

A  drama  of  regenerated  love,  this  produc- 
tion offers  much  in  story  content,  personnel  and 
entertainment  values  upon  which  to  construct 
a  strong  interest-creating  campaign.  The  in- 
gredients have  many  times  demonstrated  their 
entertainment  quality.  In  addition  there  is  a 
novelty  in  development,  atmosphere  and  action 
as  well  as  reactions,  that  quickly  establishes  the 
fundamental  idea  as  different. 

Basically  it  is  a  story  of  two  persons,  one 
a  musician,  the  other  a  composer,  whose  love 
path  is  upset  by  menacing  jealousy.  As  the  man 


sinks  lower  and  lower  in  the  social  and  artistic 
scale,  the  woman  rises  to  fame  and  prestige. 
Brought  together  again  and  inspired  by  their 
old  love,  the  girl  sacrifices  the  ease  and  afflu- 
ence that  could  be  hers  to  help  her  man  beat  his 
way  back  to  a  high  position  in  the  music  world. 

The  title  giving  an  adequate  hint  as  to  the 
story's  sympathetic  dramatic  quality,  it  is  an 
original  by  Lester  Cohen,  with  the  screen  play 
by  Sarah  Y.  Mason,  Victor  Heerman  and  An- 
thony Veiller,  a  trio  who  have  contributed  to 
several  Radio  successes.  The  direction  is  by 
Phillip  Moeller,  maker  of  "Age  of  Innocence." 

The  cast  is  headed  by  Katharine  Hepburn, 
last  in  "Little  Minister,"  and  Charles  Boyer, 
seen  first  in  "Caravan"  and  currently  in  "Pri- 
vate Worlds,"  where  his  work  is  almost  sure 
to  create  a  wide  interest.  Principals  in  the  sup- 
porting cast  include  John  Beal,  seen  with  Miss 
Hepburn  in  "Little  Minister,"  Jean  Hersholt 
and  Jean  Howard  and  Telene  Millard. 

In  theme  and  action  there  is  a  certain  simi- 
larity of  entertainment  quality  to  "One  Night 
of  Love."  While  straight  music  doesn't  figure 
much,  the  drama  and  romance  which  it  inspires 
are  not  to  be  overlooked  in  substantiating  the 
appeal  of  the  personalities  and  direct  story 
value. 


PARTY  WIRE 

Columbia 

Th  is  is  a  love  story.  While  that  quality  pre- 
dominates, there  is  also  a  full  quota  of  drama 
and  comedy  and  just  a  suggestion  of  tragedy. 
The  whole  is  spun  about  a  unique  premise.  Lo- 
caled  in  a  small  town,  modernly  timed,  all  the 
theatrics  are  the  outcome  of  the  great  small 
town  habit  of  listening  on  the  party  telephone 
wire  and  then  via  gossip  placing  the  strangest 
and  most  weird  interpretations  upon  simple  and 
innocent  remarks  overheard. 

The  story  is  an  original  by  Bruce  Manning 
and  Vera  Caspary,  noted  short  story  writers 
who  recently  have  cooperated  on  several  Co- 
lumbia pictures.  The  screen  play  is  by  John 
Howard  Lawson  and  Ethel  Hill.  Direction  is 
by  Erie  Kenton,  recent  maker  of  "The  Best 
Man  Wins." 

While  the  featured  cast  is  rather  small,  it  is 
made  up  of  favorably  known  screen  names.  In- 
cluded are  Jean  Arthur  and  Victor  Jory  as  the 
heroine  and  hero,  about  whom  all  the  romance 
centers  as  well  as  the  maliciously  gossip-inspired 
drama  and  semi-tragedy.  In  the  supporting  cast 
are  Helen  Lowell,  seen  in  many  Warner  and 
several  Columbia  features ;  Charley  Grapewin, 
Robert  Allen,  Clara  Blandick,  now  in  "Prin- 
cess O'Hara" ;  Geneva  Alitchell,  seen  in  many 
Columbia  pictures,  mostly  recently  "Behind  the 
Evidence,"  and  Maude  Eburne,  now  being  fea- 
tured in  "Ruggles  of  Red  Gap." 

The  essence  of  the  story  has  the  entire  eligi- 
ble feminine  population  of  Rockridge,  dairy 
center,  making  plans  to  snare  the  wealthy  bach- 
elor, Jory,  into  marriage.  As  romance  develops 
between  him  and  Jean  Arthur,  an  innocent  iDut- 
overheard  bit  of  telephone  conversation  puts 
the  girl  in  bad  light.  With  the  lovers'  dreams 
apparently  exploded,  Jory's  aunt,  Helen  Lowell, 
takes  the  town  to  task,  puts  a  finis  to  its  listen- 
ing in  on  other  folks'  phone  conversations,  and' 
fixes  up_  everything  for  the  hero  and  heroine. 

Familiarly   small   town    in   atmosphere  and 
action  of  story  content,  the  production  should^ 
inspire  much  of  familiar  and  potent  exploita- 
tion ideas. 


THE  SIGN  OF  THE  BIGGEST  SHOW  IN  TOWN 


Screen  play  by  Jack  Yellen  and  Patterson  McNutt.  Based  on  a  story  by  Sam  Hellman  and  Gladys  Lehman. 
Songs  by  Jack  Yellen,  Cliff  Friend,  Joseph  Meyer.  Additional  lyrics  by  Herb  Magidson.  The  Songs: 
"According  to  the  Moonlight/'  "It's  An  Old  Southern  Custom/'  "Hunkadola/'  "Oh,  I  Didn't  Know  You'd 
Get  That  Way,"  "I  Was  Born  Too  Late,"  "I  Got  Shoes — You  Got  Shoesies." 


60 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


THE  HOLLYWOOD  SCENE 


by  VICTOR  M.  SHAPIRO 
Hollywood  Correspondent 

HOLLYWOOD  filmland  promises  to 
hie  itself  elsewhere  if  California's 
legislature  picks  out  Pictureville  on 
which  to  levy  confiscatory  or  unreasonable 
personal  income  or  property  taxes. 

Hollywood,  and  a  good  part  of  the  state, 
is  now  in  an  uproar.  On  street  corners,  in 
Chambers  of  Commerce,  restaurants,  saloons 
and  homes,  from  a  personal,  economic  and 
business  viewpoint,  the  debate,  pro  and  anti, 
waxes  warmly  and  furiously.  Newspapers 
have  started  publishing  aerial  photos  show- 
ing what  Hollywood  looked  like  twenty 
years  ago  and  how  it,  its  environs  and  Cul- 
ver City  look  today.  Columns  are  full  of 
statistics.  Editorials  intended  now  to  win 
sympathy  for  filmland,  paint  word  pictures 
of  a  ghost  town  that  may  be.  The  whole 
hullabaloo  is  intended  to  convince  Mr.  John 
J.  Public  that  if  he  permits  these  alleged 
exorbitant  taxes  to  be  imposed,  the  country 
might  just  as  well  be  given  back  to  the 
Mexicans. 

This  isn't  the  first  time  Mr.  Picture  Busi- 
ness has  yanked  out  the  old  prop  bogeyman 
to  give  John  the  jitters.  As  recently  as  last 
summer  when  Upton  Sinclair  wandered  up 
and  down  the  state  promising  John  and  his 
kind  a  veritable  Utopia,  and  the  fair-haired 
though  baldheaded  statesman  chosen  to  op- 
pose him  seemed  doomed  to  political  anni- 
hilation, Mr.  Picture  Business  said  to  the 
man  on  the  street,  "Elect  Sinclair  AND  we 
move." 

Evidencing  its  sincerity,  the  Picture  Busi- 
ness raised  a  war  chest,  rallied  its  heaviest 
oratorical  artillery,  brought  in  high-powered 
outsiders  and  really  gave  the  locals  the  jit- 
ters. Chuckling,  immediately  after  election, 
Sinclair  pointed  at  Mr.  Picture  Business, 
told  his  cohorts  "there's  the  guy  who  licked 
us." 

Thereby  hangs  a  parable.  An  administra- 
tion and  legislature  elected  by  the  efforts  of 
the  industry,  now  biting  the  hand  that  put 
them  in  power. 

Sonne  commentators  see  California's 
Governor  ogling  the  White  House  two 
years  hence,  using  the  picture  business 
as  a  temporary  football  on  his  way  to 
achieve  that  goal.  Talk  of  Governor 
Werriam's  self-seeking  future,  revolves 
around  his  endorsement  of  the  Townsend 
Bill,  which  sought  national  favor  by  memo- 
rializing the  bill  to  Congress,  and  Mer- 
riam's  outspoken  candidacy  for  the  na- 
tion's chief  executive  post  by  the  Young 
Republican  League  of  California. 

At  the  moment,  Legislature  and  Filmland 
are  cordial.  Each  measures  the  other  with 
socks  of  publicity.  Catlike,  the  move  of  one 
is  countered  by  the  other.  A  saner  mood 
prevails  on  all  fronts. 

Acting  as  spearheads  for  the  picture  busi- 
ness are  Louis  B.  Mayer  and  Joseph  M. 
Schenck,  both  of  whom  know  their  way 
around  politically. 

V 

Al  Jolson  and  the  Brothers  Warner  will 
continue  to  make  pictures  together  for  some 


SEE  FILMS  FOOTBALL  TO  WHITE  HOUSE  GOAL 
WARNERS  RUSHING  REBUILDING  AND  STAGES 
VIDOR  STAYS  AT  PARAMOUNT  FOR  TWO  YEARS 
SEVEN  PICTURES  START,  SIX  ARE  COMPLETED 


time.  Just  before  training  for  New  York 
the  "mammy  singer"  put  his  name  on  the 
dotted  line  of  a  long  term  contract.  .  .  . 

King  Vidor,  who  hopped  over  to  Para- 
mount for  a  one  picture  deal,  remains 
there  on  a  two  year  ticket  and  gets  the 
tag  of  director-producer.  He'll  work  di- 
rectly under  Ernst  Lubitsch,  .  .  . 

Joseph  Schenck,  Al  Lichtman  and  Will- 
iam Philips  are  back  in  town  following  a 
quick  plane  trip  from  Manhattan.  Mr. 
Schenck  immediately  grabbed  front  page 
space  in  the  daily  newepapers  with  his  state- 
ment that  the  film  studios  would  continue 
with  their  plans  to  move  out  of  Hollywood, 
locating  in  a  state  where  they  were  assured 
that  at  no  time  would  they  be  threatened  by 
tax  legislation.  .  .  .  New  plans  for  First 
Division  are  now  being  mapped  out  in  New 
York  by  John  Curtis,  William  Fiske  and 
Nick  Ludington,  executive  heads  of  the  firm. 
The  trio  checked  out  of  Hollywood  this 
week.  .  .  .  $1,000,000  is  being  spent  by  War- 
ner on  reconstruction  of  buildings  destroyed 
in  the  recent  studio  fire  and  on  new  sound 
stages.  Plans  are  being  rushed  for  the  early 
completion.  .  .  .  Nicholas  Schenck  hopped 
into  town  for  two  weeks  of  conferences 
with  MGM  executives. .  .  .  More  fireworks 
in  the  extra  registration  muddle.  Three 
Hollywood  extra  talent  organizations  have 
mailed  protests  to  Sol  Rosenblatt,  claiming 
the  new  list  now  awaiting  Mr.  Rosenblatt's 
signature  has  not  been  handled  according  to 
code  regulations.  The  organizations  firing 
the  bombshell  are  Hollywood  Picture  Play- 


MAY  DRAFT  RYSKIND  AS 
FOURTH  MARX  BROTHER 

Morrie  Ryskind,  co-author  of  the 
Pulitzer  play  "Of  Thee  I  Sing"  and 
"Let  'Em  Eat  Cake,"  will  make  the 
barnstorming  vaudeville  tour  with  the 
three  Marx  Brothers  when  they  try 
out  their  screen  material  in  the  outly- 
ing houses  before  filming  their  "Night 
at  the  Opera"  at  the  M-G-M  Studios. 

In  case  a  befuddled  public  expects 
to  see  the  Four  Marx  Brothers,  instead 
of  three,  Morrie  is  likely  to  be  drafted 
to  transform  the  trio  into  a  quartet. 
He  is  ready  to  change  his  name  to 
"Marx"  Ryskind,  if  and  when  he  dons 
grease  paint,  and  as  one  of  the  co- 
authors of  the  opera,  the  fourth  Marx 
Frere  shouldn't  have  any  difficulty 
with  his  lines — and  Marx,  the  fourth, 
is  ftmny,  too. 

"Risko,"  as  Marxo  fourth  here- 
after will  be  known,  once  played  the 
part  of  an  office  boy  in  a  "Naked 
Truth"  dinner  sketch  entitled  "Fifty- 
Fifty  or  Fight." 


ers  Association,  Picture  Players  Alliance 
and  Troupers,  Inc. 

Seven  Pictures  Start 

Nearing  the  time  when  one  intensive  pro- 
duction drive  will  clear  up  the  1934-35  sched- 
ules, seven  new  pictures  started  this  week  as 
six  were  finished.  Universal,  which  has  been 
comparatively  inactive  for  a  few  weeks,  be- 
came busy  again  as  three  new  features  started. 
Fox,  which  has  had  an  intensive  program 
under  way,  finished  three. 

Most  important  of  the  new  Universal  group, 
"The  Raven,"  based  upon  the  Edgar  Allan 
Foe  poem,  went  before  the  cameras.  Louis 
Friedlander  is  directing  and  the  screen  play 
is  credited  to  Jim  Tully.  Boris  Karloff  and 
Bela  Lugosi  are  teamed  in  the  leading  parts, 
with  Ian  Wolfe.  Also  on  the  stages  is  'Frisco 
Lady,"  a  dramatic  romance  being  directed  by 
Murray  Roth.  The  cast  features  Valerie  Hob- 
son,  Lyle  Talbot,  Hugh  O'Connell,  Henry 
Armetta,  Clay  Clement,  Ruthelma  Stevens, 
Andy  Devine  and  Leslie  Fenton.  "I'll  Bet  You" 
is  the  third  starring  picture.  Onslow  Stevens, 
Maxine  Doyle,  H.  B.  Warner  and  Eric  Linden 
are  featured. 

Monogram  put  "Honeymoon  Limited"  into 
work.  The  picture  is  a  romantic  comedy.  The 
cast  included  Neil  Hamilton,  Irene  Hervey. 

Fox  started  "Black  Sheep,"  an  original  by 
Allan  Dwan,  who  is  also  directing.  The  cast 
presents  Edmund  Lowe,  Claire  Trevor,  Ad- 
rienne  Ames,  Tom  Brown,  Eugene  Pallette,  Jed 
Prouty,  Herbert  Mundin  and  Johnny  Rogers. 

At  Paramount,  shooting  started  on  "College 
Scandal."  A  topical  collegiate  yarn,  the  cast 
to  date  including  Arline  Judge,  Kent  Taylor, 
Benny  Baker,  Douglas  Blackley,  Wendy  Bar- 
rie,  William  Frawley,  Bill  Benedict,  Joyce 
Compton  and  Mary  Nash.  ' 

MGM's  contribution  to  the  new  activity  is 
"Murder  in  the  Fleet."  A  mystery  romance 
tinged  melodrama,  the  cast  includes  Robert 
Taylor,  Madge  Evans  and  Johnnie  Hyams. 

Fox  Completes  Three 

Two  or  three  completed  Fox  pictures  ap- 
pear to  be  important.  "Our  Little  Girl,"  a 
drama,  stars  Shirley  Temple.  In  the  support 
are  Joel  McCrea,  Rosemary  Ames,  Lyle  Tal- 
bot, Erin  O'Brien-Moore,  Jack  Donohue, 
Poodles  Hanneford,  Gus  Van,  Margaret  Arm- 
strong, Rita  Owen,  Leonard  Carey,  Warren 
Hymer  and  Jack  Baxley.  "Red  Heads  on 
Parade,"  a  Lasky  production,  has  romance 
and  comedy,  plus  music  and  spectacle,  with 
John  Boles  and  Dixie  Lee  starred.  Featured 
are  Jack  Haley,  Raymond  Walburn,  Alan  Dine- 
hart,  Jane  Withers,  Herman  Bing,  William 
Austin  and  Wilbur  Mack.  Direction  is  by 
Norman  McLeod.  The  third  picture  completed 
is  "Ladies  Love  Danger,"  a  romantic  drama, 
again  teaming  Mona  Barrie  and  Gilbert  Roland. 

Columbia  completed  "Air  Fury,"  a  topical 
dramatic  story  of  commercial  aviation  which 
Al  Rogell  directed.  Players  include  Ralph 
Bellamy,  Tala  Birell  and'  Victor  Kilian. 

With  Katharine  Hepburn  and  Charles  Boyer 
in  the  leads.  Radio  finished  "Break  of  Hearts," 
a  dramatic  romance.  Phillip  Moeller  is  the 
director.  John  Beal,  Jean  Hersholt,  Helene 
Millard  and  Jean  Howard  head  the  support. 

Monogram  finished  active  shooting  on  "The 
Healer."  A  dramatic  romance,  directed  by 
Reginald  Barker,  the  cast  includes  Ralph  Bel- 
lamy, Karen  Morley,  Mickey  Rooney,  Judith 
Allen,  Robert  McWade,  Bruce  Warren,  J. 
Farrell  MacDonald  and  Bessie  Farrell. 


4**** 


IN  THIS 
THRILLER 
AND  THAT'S 


NEWS 


"'•''"'Hi 


HELD  OVER  MAYFAIR,  N.  Y. 

"Swiftest  screen  melodrama  this  column 
can  recall."  —Times 

"Best  shocker  Broadway  has  seen  in 

months."  —WoHd-Telegram 

"Fast-moving  thriller  packed  with  action." 

— Journal 

"Holds  audience  spellbound  with  terror 

and  suspense."  -American 


Public  Enemy  No,  1  of  all  the  world! 


fHf  wm  mno 

lUf  Eir  TOO  MUCH 

NOVA  PILBEAM  •  PETER  LORRE 
LESLIE  BANKS  •  EDNA  BEST 

DIRECTED  BV  ALFRED  HITCHCOCK 


PHrSICU  DISnHBOTIM  '  FOX  EXCHANCES  ■  CWMM  REMl  FILMS,  LID. 


62 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


PC€DUCTI€N$  IN  W€Cr 


TITLE 
CHARLES  CHAPLIN 

Chaplin  Prod.  No.  5 

COLUMBIA 

•'Jim  Burke's  Boy" 

"Range  Raiders" 
■•|,i,ve  -Me  Forever'' 

FOX 

•■buder  the  Pampas  Moon'" 

"Ladies  Love  Danger" 
"Black  Sheep" 

MASCOT 

"One  Frightened  Night" 

METRO-GOLDW  YN-MAY  ER 

Lhma  Seas" 

"No  More  Ladies" 
"Flame  Within,  The'' 
"Public  Hero,  No.  1" 
"Anna  Karenina" 

"Mutiny  on  the  Bounty" 
"Murder  in  the  Fleet" 

MONOGRAM 

"The  Healer" 

PARAMOUNT 

"College  Scandal" 

RKO  RADIO 

"Hooray  for  Love" 

"She" 

UNIVERSAL 

"The  Raven" 

"Chinatown  Squad" 

"Alias  Mary  Dow" 

WARNER  BROS.- 
FIRST  NATIONAL 

"The  G  Men" 
"Broadway  GondoHer" 
"Crashing  Society'' 
"Stranded" 


WRITER    AND  DIRECTOR 


Original  screen  play,  Charles  Chaplin.  Director- 
Charles  Chaplin. 


Story,  C.  Gardner  Sullivan.  Screen  play,  Michael 
L.  Simmons.    Director:  Lambert  Hillyer. 

Original  screen  play.  Ford  Beebe.  Director; 
David  Selman. 

Original,  Sidney  Buchman.  Screen  play,  Robert 
Riskin,  Sidney  Buchman.  Director;  Victor 
Schertzinger. 


From  an  original,  Gordon  Morris.  Adaptation, 
screen  plav,  Ernest  Pascal.  Bradley  King. 
Director:    James  Tinling. 


From  a  story,  Tlya  Zorn.  Adaptation,  Robert 
Ellis,  Helen  Logan.  Screen  p'''v,  Samson 
Raphaelson.    Director:  H.  Bruce  Humberstone. 

Based  on  original  storv.  Allan  Dwan.  Screen 
play,  Allen  Rivkin.     Director:    Allan  Dwan. 


Original,   Stuart   Palme'-.     Screen   play.  Wellyn 
Totman.     Director:     Christy  Cabanne. 


Novel,  Croshie  Garstin.  Adaptation,  Julet  FurtH 
man.    Director:    Tay  Gamett. 


Play,     A.     E.     Thomas.      Adaptation,  Rachael 
Crothers.     Director:    E.   H.  Griffith. 

Storv.    Edmund    Goulding.     Director;  Edmund 
Goulding. 

Story.  J.  Walter  Ruben,  Wells  Root.  Director; 
J.  Walter  Ruben. 

Fr'^m  the  novel  by  Tolstoy.    Director;  Clarence 
Brown. 


Novel,  Charles  Nordhoff.  James  Norman  Hall. 
Adaptation,  Jules  Furthman,  Talbot  Jennings. 
Director;    Frank  Lloyd. 

Original,  Edward  Sedgwick.  Adaptation,  Com- 
mander Frank  Wead.  Joseph  Sherman.  Di- 
rector;   Edward  Sedgwick. 


Novel,  Robert  Herrick.  Adaptation,  John  Good- 
rich, John  Lee  Martin.  Director:  Reginald 
Barker. 


Original,  Beulah  Marie  Dix.  Bertram  Milhnus'"-. 
Screen  plav.  Marguerite  Roberts,  Charles 
Brackett,  Frank  Partos.  Director:  Elliott 
Nugent. 


Screen  play.  Lawrence  Hazard,  Ray  Harris. 
Director:   Walter  Lang. 

Novel,  Sir  Rider  Haggard.  .Screen  play,  Ruth 
Rose.  Directors;  Irving  Pichel  and  L.  C. 
Holden. 


By  Edgar  Allen  Poe.  Screen  play,  Jim  Tullv. 
Continuity,  David  Boehm.  Director:  Louis 
Friedlander. 

Story,  L.  G.  Blochman.  Screen  play,  Dore 
Schary.    Director:  Murray  Roth. 


Original  screen  play  "Dark  Crossing."  Wm.  A. 

Johnston,  Forrest  Halsey.  Adaptation.  Gladys 

Unger.  Continuity,  Rose  Franken.  i)irector: 
Kurt  Neumann. 


Sto'v.  Gre<Tory  Rogers.  Screen  play,  Seton  I. 
Miller.     Director:    Wm.  Keighley. 

Story.  E.  Y.  Harburg,  Sig  Hersig.  Hans  Kralv. 
Screen  play.  Warren  Duff.  Director.  Lloyd 
Bacon. 

Original,   Ralph   Spence.     Screen    play,  Edward 

Kaufman,   Sy   Bartlett.     Added   dialogue,  Ben 

Markson.    Director:  Robert  Florey. 
Based  on  story.  Frank  Wead,  Ferdinand  Reyher. 

.'Screen  play,  Delmar  Daves.    Director:  Frank 

Borzage. 


CAST 


Charles    Chaplin,   Paulette    Goddard,    Carter  DeHaven, 

Henry  Bergman,  Chester  Conklin. 


Jack    Holt,    Florence    Rice,    Jimmy    Butler,  Kathleen 
Burke,  George  McKay,  Robert  Middlemass. 

Tim  McCoy,  Billie  Seward. 


Grace  Moore.  Leo  Carrillo,  Robert  Allen,  Michael 
Barlett.  Spring  Byington,  Luis  Alberni,  Douglas 
Dumbrille. 


Warner  Baxter,  Ketti  Gallian,  John  Miljan,  Armida. 
J.  Carrol  Naish,  Blanca  Vischer,  Rita  Cansino,  Soledad 
Jiminez,  George  Irving,  Jack  LaRue. 


Mona  Barrie.  Gilbert  Roland.  Hardie  Albright,  Herbert 
Mundin,  Nick  Foran,  Donald  Cook.  Adrienne  Ames. 

Edmund  Lowe.  Claire  Trevor,  Herbert  Mundin.  Tom 
Brown,  Eugene  Pallette,  Adrienne  Ames,  Jed  Prouty, 
Ford  Sterling. 


Charles  Grapewin,  Mary  Carlisle,  Arthur  Hohl,  Evalyn 
Knapp,  Wallace  Ford,  Hedda  Hopper,  Lucien  Little- 
field.  Regis  Toomey. 


Wallace  Beery,  Clark  Gable,  Jean  Harlow,  Dudle^ 
Digges,    Lewis    Stone,    Charles    Butterworth,  Robert 

Benchley,    Rosalind  Russell.   Lillian  Bond. 

Joan  Crawford.  Robert  Montgomery,  Charles  Ruggles. 
Edna  May  Oliver,  Reginald  Denny. 

Ann  Harding.  Herbert  Marshall,  Maureen  O'Sullivan, 
Henry   Stephenson,  Louis  Hayward. 

Chester  Morris,  Joseph  Calleia.  Jean  Arthur,  Lewis 
Stone,   Lionel   Barrymore,    Paul   Hurst,   Bert  Roach. 

Greta  Garbo,  Fredric  March.  Basil  Rathbone.  Maureen 
O'Sullivan,  Freddie  Bartholmew,  May  Robson,  Regi- 
nald Denny,  Reginald  Oiven,  Phoebe  Foster,  Constance 
Collier. 

Charles  Laughton,  Clark  Gable,  Robert  Montgomery. 


Robert  Taylor,  Jean  Arthur,  Ted  Healy,  Nat  Pendleton. 


Ralph  Bellamy,  Karen  Morley,  Mickey  Rooney,  Judith 
Allen,  Robert  McWade,  J.  Farrell  MacDonald. 


Arline  Judge.  Kent  Taylor,  Benny  Baker,  Douglas 
Blackley,  Wendy  Barrie,  Wm.  Frawley,  Bill  Benedict, 
Joyce  Compton,  Mary  Nash. 


Ann  Sothern,  Gene  Raymond.  Pert  Kelton,  Bill  Robin- 
son, Jenni  LeGon,  Lionel  Stander. 

Randolph   Scott,   Helen   Gahagan,   Helen   Mack,  Nigel 
Bruce,  Gustav  Von  Seyffertitz,  Nobel  Johnson. 


Karloff,  Bela  Lugosi,  Irene  Ware,  Inez  Courtney. 


Lyle  Talbot.  Valerie  Hobson.  Hugh  O'Connell,  Andy 
Devine,  Henry  Armetta,  Leslie  F'enton,  E.  Alyn 
Warren,  Clay  Clement. 

Sally  Eilers.  Henry  O'Neil,  Ray  Milland,  Lola  Lane, 
Chic  Chandler,  Katharine  Alexander. 


James  Cagney.  Ann  Dvorak,  Robert  Armstrong,  Lloyd 

Nolan,    Margaret    Lindsay,    Edward    Pawley.  Russell 

Hopton,   Barton  MacLane. 
Dick    Powell.    Joan    Blondell,    Louise    Fazenda,  Wm. 

Gargan,    Adolphe    Menjou,    Grant    Mitchell.  Hobart 

Cavanaugh. 

Guv  Kibbee,  June  Martel.  Phil  Regan,  Edward  Everett 
Horton.  Nella  Walker.  Gordon  Westcott,  Judy  Canova, 
Zasu   Pitts,   Ross  Alexander. 

Kay  Francis,  George  Brent,  Patricia  Ellis,  Barton  Mac- 
Lane,  Donald  Woods,  Mae  Busch,  Frankie  Darro. 


<=TACE  OF 
PRODUCTION 

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Editing 
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■CO  DJ 


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Drize  babv  of  the  industrv! 


o4 


MOTION    PICTURE  HERALD 


April    6,     193  5 


TECHNCLCeiCAL 


TALKS  WITH  MANAGERS  ON  PROJECTION 


By  F.  H.  RICHARDSON 


It  is  amazing  how  many  theatre  managers 
seem  unaware  of  the  fact  that  a  screen  surface 
that  looks  quite  white  and  in  excellent  condi- 
tion, may  be  sadly  lacking  in  reflection  power 
because  of  evenly  distributed  deposits  of  dust, 
carbon  and  particles  and  the  like  gathered  from 
the  air,  as  well  as  by  discoloration  set  up  by 
admixtures  of  gases  contained  in  the  atmos- 
phere. 

People  patronize  theatres  to  be  entertained. 
Some  of  them  are  "picture  fans"  who  attend 
rather  regularly,  regardless  of  how  lacking  in 
excellence  the  entertainment  may  be.  Others 
attend  regardless  when  their  favorite  star  is 
booked.  But  back  of  these  is  that  large  group 
of  people  who  can  take  their  screen  entertain- 
ment or  leave  it.  This  group,  which  is  in  the 
majority,  is  very  critical,  both  of  visual  effect 
and  sound. 

The  question  is,  how  able  are  you,  as  a  man- 
ager, to  analyze  results  and  determine  whether 
or  not  they  are  the  best  that  can  be  produced 
from  the  class  of  prints  you  receive,  and  with 
the  equipment  at  hand? 

However,  we  are  not  yet  done  with  screens. 
When  you,  Mr.  Manager,  are  about  to  select  a 
screen,  just  what  means  will  you  take  to  deter- 
mine whether  or  not  the  one  selected  will  dis- 
tribute the  reflected  light  evenly  to  all  parts  of 
your  auditorium?  The  requirements  for  a  deep, 
narrow  theatre  are  vastly  different  from  those 
for  a  wide,  shallow  auditorium,  as  you  doubt- 
less know.  The  screen  that  will  distribute  the 
light  quite  evenly  for  a  wide  or  narrow  the- 
atre having  either  a  low  balcony  or  none  at 
all,  might  be  quite  inadequate  in  a  theatre  hav- 
ing a  high  balcony. 

The  wise  manager  will  determine  from  the 
theatre  plans  or  by  actual  measurement  just 
what  the  maximum  horizontal  and  vertical 
viewing  angles  will  be.  He  will  then  demand 
actual  photometric  measurements  of  the  reflec- 
tion powers  of  screens  under  consideration  at 
those  angles,  to  be  made  by  some  responsible 
optical  engineer  attached  to  responsible  organ- 
ization— the  Eastman  Company  for  example — 
which  company  will,  I  am  advised,  make  such 
measurements  upon  request  for  a  very  reason- 
able fee. 

Another  point  highly  important  to  theatre 
managers  is  screen  image  dimensions.  This  is 
a  subject  upon  which  widely  diverging  views 
are  held.  From  the  viewpoint  of  box  office 
receipts,  however,  the  question  instantly  resolves 
itself  into  what  size  screen  image  will  provide 
for  theatre  audiences,  viewed  as  a  whole,  the 
most  pleasing  entertainment,  in  which  the  least 
amount  of  visual  strain  is  involved. 

In  this  several  points  are  involved.  First  it 
may  be  conceded  by  any  thoughtful  manager 
that,  for  several  reasons,  too  large  a  screen 
image  detracts  from  the  value  of  front  seats, 
one  of  which  is  the  wide  viewing  angles  in- 
volved. Following  action  over  a  large  field 
of  action  at  close  range  for  one  to  one  and  a 
half  hours  fatigues  the  eye  muscles.  This  may 
be  conceded  by  even  the  most  confirmed  big- 
picture  manager.  Also  it  may  be  agreed  that 
the  viewing  of  a  large  screen  image  at  close 
range  adds  to  eye  strain  because  the  whole 
image  not  only  appears  coarse  grained,  but  also 
in  effect,  out  of  focus.  Still  another  element 
of  damage  lies  in  the  unquestioned  fact  that  a 
large  screen  image  at  close  range  is  almost  any- 
thing but  beautiful. 

On  the  other  hand,  always  providc^d  sufficient 


TO  RESUME  THE 
BLUEBOOK  SCHOOL 

Next  week  the  Bluebook  School 
will  be  resumed,  with  questions  pre- 
pared by  engineering  departments  of 
sound  organizations,  which  also  have 
appended  correct  answers.  The  usual 
course  will  be  pursued  in  selecting 
answers  for  publication,  except  that 
in  the  event  no  correct  answer  is 
received  that  of  the  engineers  will  be 
published.  —F.  H.  R. 


illumination  can  be  had  to  illuminate  brilliantly, 
a  large  screen  image  (doubtful  unless  high  am- 
perage high  intensity  arcs  be  used),  will  be 
found  to  better  serve  the  rear  seats  if  they 
be  in  excess  of  100  feet  from  the  screen.  How- 
ever, as  against  this  advantage  must  be  placed 
the  further  fact  that  added  magnification  makes 
every  defect  in  the  screen  image  more  plainly 
visible.  Then,  too,  in  considering  this  phase 
we  must  remember  that  patrons  who  cannot  see 
the  smaller  image  well  from  the  rear  seats 
may  select  seats  closer  to  the  screen. 

As  to  illumination,  we  may  say  broadly  that 
8  to  10  foot  candles  at  the  screen  center  should 
be  regarded  as  the  minimum,  as,  particularly 
in  dark  scenes,  less  will  not  be  sufficient  to 
bring  out  all  photographic  details  at  their  full 
value.  As  to  the  maximum,  it  should  not  ex- 
ceed 12  to  14  foot  candles,  photometric  meas- 
urement, since  above  that,  at  medium  to  short 
viewing  distances,  the  whites  in  the  picture  tend 
to  produce  brilliancy  approaching  glare  that 
is  painful  to  sensitive  eyes. 

Sound  is  one  of  the  most  abused  items  in 
modern  projection  practice.  It  is  the  duty  of 
theatre  managers  to  know  whether  or  not  sound 
is  as  it  should  be,  which  is  far  from  being  a 
simple  task.  Sound  excellence  involves  both 
volume  and  quality.  Sound  should  be  checked 
for  volume  level  frequently,  as  volume  require- 
ment alters  with  every  change  in  the  audience 
itself.  It  is  extremely  poor  procedure  to  en- 
trust sound  observation  to  an  usher  or  to  any 
one  else  having  other  duties  to  perform.  Ex- 
cellence in  sound  is  of  such  importance  and  the 
volume  requirement  is  likely  to  change  so  often 
and  so  suddenly  that  a  constant  check  is  highly 
advisable.  In  the  end  it  will  more  than  pay. 

As  to  quality,  I  make  the  statement  that  in 
but  few  theatres  is  it  all  it  could  and  should  be. 
In  a  very  great  many  it  is  lacking  in  varying 
degree  in  excellence,  while  in  no  small  number 
it  is  very  bad,  indeed.  In  this  connection  it 
must  be  remembered  that  sound  changes,  both 
in  volume  requirement  and  in  quality,  with 
changed  atmospheric  conditions. 

Theatre  managers  who  want  the  best  results 
in  sound  must  study  sound,  learning  whether  or 
not  that  produced  in  their  theatre  duplicates  the 
original  with  respect  to  naturalness.  The  only 
way  is  to  train  oneself  to  observe  sound 
critically. 

As  to  equipment  used  in  sound  reproduction 
and  projection,  there  are  many  things  the  the- 
a.tre  manager  can  and  should  do.  It  is  the  duty 


of  the  manager  to  employ  a  competent  projec- 
tionist, confining  himself  thereafter  largely  to 
one  thing,  results. 

It  is  perfectly  proper  for  the  manager  to  make 
occasional  visits  to  the  projection  room,  ob- 
serving the  general  condition  of  equipment. 
Cleanliness  is  very  important  in  sound  equip- 
ment. Batteries,  for  example,  should  be  spot- 
lessly clean.  If  a  projector  mechanism  is  found 
smeared  with  oil  or  dirt,  or  the  interior  of 
lamphouses  not  at  least  reasonably  clean,  a 
severe  reprimand  is  very  much  in  order. 

It  is  well  occasionally  to  look  at  the  motor 
generator  commutators,  which  should  be  i>er- 
fectly  smooth,  and  when  operating  at  load,  pre- 
sent no  sparking  except  possibly  a  very  few  fine 
ones.  Unless  the  commutators  have  been 
cleaned  off  quite  recently  they  should  present  a 
smooth,  dark  brown  surface. 

Feel  of  the  brushes  when  not  in  operation. 
They  should  be  free,  but  not  loose  in  their 
holders.  Pressure  of  brushes  on  commutator 
is  of  large  importance.  It  should  be  approxi- 
mately one  and  one-quarter  jxiunds  per  square 
inch  of  brush  contact  surface.  Less  will  make 
for  poor  contact,  sparking,  roughening  of  the 
commutator  and  inefficient  operation.  More  will 
tend  to  groove  the  commutator  surface  and 
cause  excessive  wear.  It  is  perfectly  permissible 
for  managers  to  ask  the  projectionists  what  the 
brush  pressure  is,  and  to  ask  him  to  explain, 
in  detail,  just  how  he  knows  the  pressure. 

While  the  manager  is  not  presumed  to  be  a 
projectionist,  it  is  his  right  to  determine  whether 
or  not  projection  affairs  are  being  taken  care 
of  efficiently. 

It  is  the  height  of  financial  folly  to  "save" 
money  by  refusing  to  supply  needed  replace- 
ment parts,  or  refusing  needed  repairs.  Such 
procedure  does  not  represent  true  economy.  In- 
stead, it  means  loss,  for  it  brings  about  a  low- 
ering in  quality  in  either  visual  results  or  sound. 

The  condition  of  projector  mechanisms  may 
be  judged  by  holding  the  rotating  shutter  sta- 
tionary, with  the  intermittent  movement  "on 
the  lock"  and  rotating  the  intermittent  move- 
ment flywheel.  If  it  can  be  moved  in  excess 
of  7/32  of  an  inch,  measured  at  the  rim,  the 
gear  train  and  its  various  bearings  are  too  much 
worn  and  in  need  of  overhauling. 


Arcturus'  Attempt  to 
Halt  RCA  Suit  Dismissed 

Arcturus  Radio  Tube  Company's  bill  of 
complaint  against  Radio  Corporation  of 
America  in  which  the  former  sought  to  have 
the  chancery  court  at  Wilmington,  Del.,  en- 
join the  defendant  from  prosecuting  a  suit 
against  it  in  the  New  Jersey  supreme  court 
is  dismissed  in  an  opinion  filed  by  Chan- 
cellor Josiah  O.  Wolcott  at  Wilmington. 

RCA  brought  suit  against  Arcturus,  one 
of  15  companies  licensed  to  manufacture 
tubes  under  RCA  patents,  on  July  24,  1933, 
to  recover  from  the  licensee  the  difference 
between  five  per  cent  royalties  paid  by  the 
licensee  in  1932  and  the  minimum  royalty 
of  $50,000  set  forth  in  the  license  agree- 
ment. Arcturus  contended  that  while  the 
minimum  royalty  provision  is  in  the  agree- 
ment it  had  an  understanding  with  RCA 
it  was  not  to  be  enforced. 


bank 


er 


brok 


er 


producer 


distributor 


ex 


hibitor 


player 


director 


writer 


artist 


technician 


journalist 


cameraman 


legislator 


casting  agent 


lawyer 


Everybody 

for  authentic 
information  on  any 
phase  of  the  motion 
picture  industry 


turns  to 


MOTION  PICTURE  ALMANAC 


1935-36     Edition     Now    in  Preparation 


66 


MOTION    PICTURE  HERALD 


April    6  ,     I  9  3  S 


AN  OPEN  LETTER  AND  SOME  ANSWERS 


FINE  ARTS  THEATRE 
BOSTON,  MASS. 

AN  OPEN  LETTER  TO: 

MR.  TERRY  RAMSAYE 
Editor  Motion  Picture  Herald 
New  York  City 

May  I  be  permitted  a  little  space  to  point 
out  some  discrepancies  in  Mr.  James  P. 
Cunningham's  "Exhaustive  Examination  of 
Soviet  Films  in  this  Country"  (February 
23  issue  of  the  Motion  Picture  Herald). 

•Mr.  Cunningham  lists  the  Fine  Arts 
Theatre  in  Boston  as  one  of  Amkino's  "fore- 
most accounts."  For  your  information,  we 
played  only  two  of  their  pictures  the  entire 
year  of  1934  and  none  this  year. 

Russian  Films  at  Fine  Arts 

4  in  1931 

5  in  1932 

6  in  1933 
2  in  1934 
0  in  1935 

Is  that  his  idea  of  a  "foremost  account?" 

{ANSWER:  Being  the  Fine  Arts  in  Bos- 
ton— yes.) 

He  lists  the  Fine  Arts'  capacity  as  750, 
while  we  only  have  587.  First  he  lists  two 
theatres  in  Boston  "showing  Russian  films 
regularly,"  and  then  he  becomes  enthusiastic 
with  the  idea  and  lists  three.  Where  are 
these  theatres  in  Boston?  I  know  this  town 
pretty  well  and  I  have  no  such  inforination. 
The  Fine  Arts  did  show  an  occasional  Rus- 
sian film  as  stated  above,  but  recently  Matty 
Radin's  group  obtained  from  Amkino  the 
Boston  franchise,  thus  eliminating  even  our 
occasional  Russian  film,  which  leaves  the 
Majestic  Theatre  as  the  only  Boston  theatre 
showing  Russian  films.  What  can  he  mean 
by  "elsewhere  ?" 

He  lists  twenty-five  theatres  "elsewhere" 
in  Massachusetts  showing  Russian  films 
regularly.  Where  is  this  place  "elsewhere?" 
There  are  no  theatres  in  Massachusetts, 
outside  of  the  Majestic  Theatre  in  Boston 
at  present,  that  can  be  listed  as  "showing 
Russian  films  regularly."  I  challenge  this 
"exhaustive  examination."  If  he  is  going 
to  give  us  facts,  verify  them  first. 

(ANSWER — A  reporter  asked  Amkino.) 

Again,  he  first  lists  eighteen  theatres  as 
"Amkino's  foremost  accounts,"  and  then 
without  rhyme  or  reason,  he  heads  a  list 
"Showing  Russian  films  regularly,"  and  in- 
creases the  number  to  one  hundred  and  fifty- 
two.  How  does  he  differentiate  between 
"foremost  accounts"  and  "showing  Russian 
films  regularly  ?"  Is  not  any  house  that 
shows  Russian  films  regularly  a  foremost 
account?  According  to  Mr.  Cunningham's 
own  statement,  "Russian  films  are  generally 
shown  in  the  so-called  art  theatres."  I  know 
about  art  theatres  in  the  United  States ;  he 
would  be  nearer  the  mark  if  he  listed  about 
ten,  with  two  in  New  York  showing  a  ma- 
jority of  Russian  films  and  the  others  show- 
ing an  occasional  Russian  film. 

If  he  claims  that  "in  audience  hours,  the 
red  Russian  product  would  appear  to  rate 
in  the  vicinity  of  one-half  of  one  per  cent," 
then  why  the  panic  about  the  "red"  menace 
in  the  film  industry?  "One-half  of  one  per 


cent"  can't  be  much  of  a  menace  against 
993^  per  cent,  can  it  ? 

(ANSWER — Mr.  Kraska,  like  others,  con- 
fused the  Hearst  newspaper  excitement 
on  the  subject  with  the  Herald's  article 
of  fact.  The  Herald  indicated  no  im- 
pression of  panic,  but  quite  the  con- 
trary.) 

Haven't  you  underestimated  the  intelli- 
gence of  your  readers  by  encouraging  Mr. 
Cunningham  to  dismiss  such  screen  achieve- 
ments as  "Potemkin,"  "Road  to  Life," 
"Chapayev,"  "The  End  of  St.  Petersburg," 
etc.,  etc.,  by  shouting  "Propaganda  ?"  No 
true  student  of  the  cinema  can  honestly  deny 
the  above  named  Russian  films  were  a  great 
contribution  to  motion  pictures. 

(ANSWER — The  Herald's  news  story  ex- 
pressed no  opinions  on  the  quality  of  the 
pictures  named.  The  editor  will  now, 
however,  state  his  opinion  that  the  pic- 
tures named,  had  they  emanated  from 
Hollywood,  would  not  have  rated  or  won 
a  mention  in  the  critical  press. — T.  R.) 

In  his  efforts  to  create  a  "red  menace"  he 
ignored  the  fact  that  all  Russian  films  are 
primarily    made    for    Soviet  consumption. 

(ANSWER — Mr.  Cunningham's  news  story 
had  nothing  to  say  inferring  a  "red 
menace''.  It,  by  recital  of  facts,  show- 
ing trivial  circulation  for  red  pictures, 
could  be  intelligently  read  as  indicating 
that  there  is  no  menace  in  that  quarter. 
The  Herald  has  been  editorially  explicit 
in  its  statement  that  metropolitan  critics 
have  paid  excessive  and  extravagant  at- 
tention to  insignificant  product  because 
of  its  red  accent. — T.  R.) 

Here  again  I  will  quote  his  own  words : 
"The  Soviet  cinema  industry  has  enlarged 
its  audience  to  include  the  very  youngest 
members  of  society.  'The  Dirtiest  of  Them 
All,'  the  first  of  a  series  of  films  for  chil- 
dren, tells  the  story  of  little  Vania,  who  re- 
fused to  wash,"  and  then  he  continues  by 
saying  that  this  film  "comes  at  a  time  when 
the  Soviet  Government  is  trying  to  induce 
its  adult  citizenry  to  shave,  wear  clean  col- 
lars, and  wash  their  hands  before  sitting 
down  to  eat,"  then  ends  with  a  bit  of  propa- 
ganda by  saying,  "There  is  a  bit  of  praise 
for  Soviet  hog  raising  thrown  in."  Since  he 
admitted  that  this  film  is  part  of  a  campaign 
to  teach  its  adult  citizenry  sanitary  condi- 
tions, how  can  he  intelligently  criticize  any- 
thing that  concerns  the  Russians  only? 

(ANSWER — Again,  tve  must  point  out, 
Mr.  Cunningham  expressed  no  opinions 
in  his  news  article.  As  to  Mr.  Kraska's 
phrase  "concerns  Russians  only",  he  is 
begging  the  question.) 

Is  not  the  attack  on  the  critics  far-fetched 
when  he  bases  his  claims  on  the  facts  that 
they  praise  films  that  receive  only  "one-half 
of  one  per  cent  in  screen-time  audience 
hours  ?"  Does  not  the  same  situation  exist 
in  the  showing  of  German  or  French  films  ? 
Does  not  the  same  condition  exist  in  operas 
any  symphony  concerts  ?  Why  attack  the 
critics  on  the  Russian  films  only?  Who  is 
guilty   of  propaganda   now  ?    Would  Mr. 


Cunningham  want  the  critics  to  analyze 
a  film  or  production  on  the  basis  of  the 
number  of  people  in  the  theatre  at  the 
time  the  reviewer  happened  to  be  there? 
Is  this  his  and  your  idea  of  a  critic?  Is 
that  the  basis  upon  which  the  reviews  in 
the  Motion  Picture  Herald  are  written? 

(ANSWER — Mr.  Cunningham  made  no 
attack  on  the  critics,  but  the  editor  of 
the  Herald  has  written  in  criticism  of 
the  critics  on  the  editorial  page  where 
opinions  are  expressed.  Reviews  in  the 
Herald  are  reviews  for  showmen  con- 
cerned only  with  the  qualities  of  the 
film  as  amusement  merchandise.  The 
policy  is  revealed  rather  directly  to  such 
persons  as  read  the  reviews  concerned.) 

To  Mr.  Cunningham  this  may  be  an  "ex- 
haustive examination."  This  is  a  rather 
comprehensive  phrase,  and  one  that  will  bear 
scrutinizing. 

(ANSWER — Both  Mr.  Cunningham  and 
Motion  Picture  Herald  regret  having 
stated  that  Mr.  Kraska's  theatre  seats 
750  whereas  he  finds  its  capacity  to  be 
only  5  87.) 

Geo.  Kraska,  Manager, 
Fine  Arts  Theatre, 
Boston,  Mass. 

Member  Managers'  Round  Table,  No.  4724. 

March  6,  1935. 

(Mr.  Kraska  is  advised  to  differentiate  be- 
tween what  he  reads  in  the  public  daily 
press  and  the  columns  of  the  Motion 
Picture  Herald,  and  in  the  Herald 
between  articles  in  the  news  pages  and 
expressions  of  the  editors  on  the  editorial 
page. — Terry  Ramsaye.) 

Sears  Heads  New  England 
Signal  Corps  Post  in  Boston 

Richard  N.  Sears,  with  Pathe  News  in 
Boston,  and  a  major  in  the  Signal  Corps 
of  the  United  States  Army  Reserve,  last 
week  was  elected  president  of  the  New 
England  Signal  Post,  Boston,  which  is 
composed  of  members  of  various  military 
and  civilian  organizations  who  are  inter- 
ested in  any  phase  of  Signal  Corps  work. 
Motion  picture  work  is  included.  (Picture 
in  Pictorial  Section.) 

Mr.  Sears  has  just  completed  a  term  as 
commander  of  the  Oliver  Ames,  Jr.,  Post 
of  the  American  Legion,  also  in  Boston. 


Shows  Syrian  Picture 

"The  White  Rose,"  a  Syrian  picture  that 
has  been  dubbed  in  English,  will  be  road- 
shown  in  Boston  by  Alex  Tradd,  who  is 
opening  a  new  exchange  there.  He  con- 
templates establishing  an  international  dis- 
tribution concern  for  Arabic  and  Syrian 
films. 


Hurley  Forms  Screen  Firm 

Albert  Hurley,  former  designer  of  the 
Ortho-Krome  Screen,  has  formed  a  new 
screen  manufacturing  concern,  under  his 
own  name,  and  located  in  Long  Island  City. 
M.  A.  Shea  is  associated  with  Mr.  Hurley 
in  the  firm,  known  as  the  Hurley  Screen 
Company,  Inc. 


April    6  ,  1935 


MOTION    PICTURE  HERALD 


67 


THEATRE  RECEIPTS 


The  total  of  theatre  receipts  for  the  calendar  week  ended  March  30,  1935,  fronn 
108  theatres  in  18  major  cities  of  the  country,  reached  $1,450,625,  an  increase  of 
$438,175  over  the  total  for  the  preceding  calendar  week,  ended  March  23,  when  98 
theatres  in  17  major  cities  aggregated  $1,012,450. 

(.Copyright,  1935:   Reproduction  of  material  from  this  department  without  credit  to  Motion  Picture  Herald  expressly  forbidden) 


Theatres 

Boston 

Boston    3,246  2Sc-S0c 

Fenway    1,382  30c -50c 

Keith  Memorial..  2,907  25c-65c 

Loew's  State  ...  3,537  25c- 55c 

Metropolitan   ....  4,332  3Sc-6Sc 

Paramount    1,793  25c- 50c 


Current  Week 


Picture 


"It  Happened  in  New  York"   9,000 

(Univ.) 

"Riiggles  of  Red  Gap"  (Para.)  and  5,500 
"Baboona"  (Fox) 


"Roberta"    (Radio)   22,000 

(2nd  week) 
"West  Point  of  the  Air"  (MGM)  13,000 
and  "Times  Square  Lady"  (MGM) 


"Mississippi"  (Para.) 


"Ruggles  of  Red  Gap"  (Para.)  and 
"Baboona"  (Fox) 


24,000 
8,000 


Previous  Week 


Gross  Picture 


Gross 


"Captain  Hurricane"  (Radio)   9,000 

"Love  in  Bloom"  (Para.)  and   3,000 

"Car  99"  (Para.) 


"Roberta"   (Radio)    30,000 

(1st  week) 

"The  Wedding  Night"  (U.A.)  and  11,000 
"Shadow  of  Doubt"  (MGM) 

"Gold  Diggers  of  1935"  (F.  N.)..  22,000 

"Love  in  Bloom"  (Para.)  and....  4,000 
"Car  99"  (Para.) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  unless  otherwrisa  specified.) 

High  12-29  "West  of  Pecos"   23,000 

Low  2-2-35  "One  Exciting  Adventure"..  8,500 
High  1-6  "Lady  Killer"  ) 

and  "Girl  Without  a  Room"  ] 
Low  3-9-35  "One  More  Spring"  and  1 
"Lottery  Lover"  j 

High   3-2i-iS    "Roberta"   30,000 

Low  1-19-35  "Evergreen"   7,000 

High  4-7  "Riptide"    22,000 

Low  3-9-35  "Whole  Town's  Talking"  I 
and  "Society  Doctor"  J 

High  1-27  "All  of  Me"  

Low  1-19-35  "The  County  Chairman"..., 
High  1-6  "Lady  Killer"  j 

and  '^Girl  Without  a  Room"  1 
Low  3-23-35  "Love  in  Bloom"  and  ) 

"Car  99"  j  4,000 


12,000 
2,500 


9,000 
39,000 
21.000 

12,000 


Buffalo 

Buffalo                  3,500  30c-55c 

Century                 3,000  2Sc 

Great  Lakes  ....  3,000  25c-40c 

Hippodrome            2,100  25c-40c 

Lafayette               3,300  2Sc 

Chicago 

Apollo                   1,400  25c-50c 

Chicago                  4,000  2Sc-68c 

Garrick                    900  25c-40c 

Oriental                  3,940  25c-40c 

Palace                   2,509  25c-S0c 

Roosevelt               1,591  25c- 50c 

State-Lake             2,776  20c-35c 

United  Artists...  1,700  30c-60c 

Cleveland 

Allen                      3,300  25c-35c 

Orde                    1.875  20c-30c 

Hippodrome   3,800  30c-42c 

RKO  Palace  ....  3,100  30c-60c 

State                     3,400  30c-42c 

Stillraan                  1,900  25c-3Sc 

Denver 

Aladdin                  1.500  2Sc-50c 

Broadway                1,500  25c-40c 

Denham                  1,500  25c-50c 

Denver                   2,500  25c-40c 

Orpheum                  2,600  25c-40c 

Paramount               2,000  25c-50c 

Hollywood 

Chinese                   2,500  30c-55c 

PanUies                3.000  2Sc-40c 

W.  B.  Hoflywood  3.000  25c-6Sc 


"West  Point  of  the  Air"  (MGM) 


"Car  99"  (Para.)  and... 
'Enter  Madame"  (Para.) 


17,000 
5,000 


'Roberta"    (Radio)   '   10,400 


"Enchanted   April"    (Radio)  and..  6,600 

"Murder  on  a  Honeymoon"  (Radio) 

"Evergreen"  (GB  Pictures)  and..  7,200 
"Jealousy"  (Col.) 


■'Ruggles  of  Red  Gap"  (Para.)....  7,000 

"Gold  Diggers  of  1935"  (F.  N.)..  40,000 

"The   Little  Colonel"   (Fox)   5,000 

(2nd  week) 

"The  Firebird".  (W.   B.)    15,000 

"Roberta"    (Radio)    30,000 

"Sequoia"    (MGM)    12,000 

"Schools  for  Girls"  (Liberty)   14,000 

"The  Scarlet  Pimpernel"  (U.A.)..  11,000 
(2nd  week) 

"Helldorado"   (Fox)    950 

(3  days) 

"Roberta"    (Radio)    4,300 

(4  days)  (30c-42c) 

"Lottery  Lover"  (Fox)    5,500 

"Life  Begins  at  40"   (Fox)   14,500 

"The   Whole  Town's   Talking"....  19,000 
(Col.) 

"West  Point  of  the  Air"  (MGM)  12,500 


"Life  Begins  at  40"  (Fox)   16,600 

"West  of  the  Pecos"  (Radio)  and  5,400 
"The  White  Cockatoo"  (W.  B.) 


"The  Little  Colonel"  (Fox)   6,700 

(2nd  week) 

"Vanessa:    Her  Love  Story"   5,900 

(MGM)  and  "The  Winning  Ticket" 

(MGM) 

"Carnival"    (Col.)    and   6,300 

"Girl  in   Danger"  (Col.) 


"David  Copperfield"  (MGM). 
"Life  Begins  at  40"  (Fax)... 


"The  Little  Colonel"  (Fox). 

(1st  week) 
"Mills  of  the  Gods"  (Col.).. 


"It  Happened  in  New  York"  

(Univ.) 

"Ruggles  of  Red  Gap"   (Para.) . 

(3rd  week) 
"The  Little  Minister"  (Radio)... 


"The  Scarlet  Pimpernel"  (U.A.). 
(1st  week) 


"Mystery  of  Edwin  Drood"  (Univ.) 
(6  days) 


6,000 
36,000 

8,000 
15,000 
21,000 
11,000 
17,000 


18,000 


2,200 


"The  Best  Man  Wins"  (Col.)....  5,000 

"Roberta"   (Radio)    13,500 

(2nd  week) 
"Murder  on  a  Honeymoon"  (Radio) 


"Ruggles  of  Red  Gap"  (Para.)... 


27,554 
12,000 


'Car  99"    (Para.)    3,300      "Enter  Madame"   (Para.)   3,000 


"Let's  Live   Tonight"    (Col.)   2,000 

800 
600 
4,000 

'Life  Begins  at  40"  (Fox)    13,000 

"Roberta"   (Radio)    10,000 

"Living  on  Velvet"   (F.    N.)   3,500 


"After   Office   Hours"  (MGM).... 
(3  days) 

"Power"   (GB  Pictures)  

(4  days) 

"All  the  King's  Horses"  (Para.) 


"The  Iron  Duke"  (GB  Pictures)..  2,500 

"The  Little  Colonel"  (Fox)   9C0 

(3  days) 

"The  Whole  Town's  Talking"    1,200 

(4  days) 


"After  Office  Hours"  (MGM). 


8,000 


"The  Good  Fairy"  (Univ.). 


5,000 


(MGM)....  6,900 


"After  Office  Hours" 
(6  days) 


"Princess  O'Hara"  (Univ.)  and..  3,000 
"The  Ghost  Walks"  (Invincible) 

"Roberta"    (Radio)    9,125 

(6  days-3rd  week) 


"The  Little  Colonel"  (Fox)   8,500 

(6  days) 

"It  Happened  In  New  York"  (Univ.)  2,950 
and  "Sweepstake  Annie"  (Liberty) 

"Roberta"   (Radio)    12,000 

(6  days-2nd  wedk) 


High  1-6  "Design  for  Living"  

Low  12-29  "Music  in  the  Air"  

High  4-21  "The  Lost  Patrol"  and  } 

"Three  on  a  Honeymoon"  f 
Low  12-29  "I  Am  a  Thief"  and  J 

"Side  Streets"  J 

High  9-29  "Belle  of  the  Nineties"  

Low  12-22  "Gentlemen  Are  Bom"  and  1 

"Marie  Galante"  J 
High  5-19  "The  House  of  Rothschild".. 
Low  7-28  "Here  Comes  the  Navy  


High  3-10  "It  Happened  One  Night"  ) 

and  "Before  Midnight"  | 

Low  11-17  "Jane  Eyre"  and    _  ( 

"Young  and  Beautiful"  J 


High  9-8  "The  Cat's  Paw"  

Low  11-24  "The  Captain  Hates  the  Sea" 

High  8-11  "She  Loves  Me  Not"  

Low  5-26  "Thirty  Day  Princess"  

High  2-23-35  "Baboona"  

Low  3-16-35  "The  Right  to  Live"  

High  1-5-35  "Big  Hearted  Herbert".... 

Low  6-16  "Registered  Nurse  

High  3-30-35  "Roberta"  

Low  12-1  "Kentucky  Kernels"  

High  1-5-35  "Forsaking  All  Others".... 

Low  8-18  "Paris  Interlude"  

High  9-8  "The  Most  Precious  Thing  in 

Life"   

Low  5-2-35  "Helldorado"   

High  5-5  "House  of  Rothschild"  

Low  4-^  "Looking  for  Trouble"  


26.000 
5.000 

8,100 

4,000 
18,800 

3,800 
18.000 
4,800 


16.700 
4.200 


16,000 
5,000 
66.000 
19,000 
8,500 
4,000 
25,000 
12.000 
30,000 
8.000 
27,000 
6,000 

19,000 
11,000 
30,000 
10,000 


High  10-27  "Six-Day  Bike  Rider"   7.000 

Low  12-15  "Silver  Streak"    1.400 


High  3-16-35  "Roberta"   23,000 

Low  3-17  "Journal  of  a  Crime"   2,900 

High  3-23-35  "Murder  on  a  Honeymoon"  27,554 

Low  5-19  "Where  Sinners  Meet"   4.000 

High  1-12-35  "Forsaking  All  Others"..  28,000 

Low  12-29  "Private  Life  of  Don  Juan"..  3,500 

High  9-15  "Chained"   10,000 

Low  1-12-35  "Our  Daily  Bread"   2,000 


High  5-5  "House  of  Rothschild"   9,000 

Low  8-11  "I  Give  My  Love"   1,200 


High  9-29  "Belle  of  the  Nineties"   16,500 

Low  4-7  "She  Made  Her  Bed"   800 

High  1-13  "Roman  Scandals"    17.500 

Low  9-29  "British  Agent"   4.000 

High  2-17  "Hi  Nellie"    19,500 

Low  12-29  "Hat,  Coat  and  Glove"   1,000 

High  1-13  "Dinner  at  Eight"   5,500 

Low  6-9  "Uncertain  Lady"   400 


High  4-14  "House  of  RothschUd"   25,171 

Low  12-29  "Music  in  the  Air"   4,292 

High  12-8  "Imitation  of  Life"   12.200 

Low  3-3  "Fugitive  Lovers"  and  ) 

"The  Poor  Rich"                   (  1,500 

High  9-8  "Dames"    25,000 

Low  12-29  "Sweet  Adeline"   6.300 


68 


MOTION    PICTURE  HERALD 


April    6,  193? 


CTHCATCE  RECEIPTS— C€NT'D1 


Theatres 


Current  Week 


Previous  Week 


Picture 


Gross  Picture 


Gross 


Indianapolis 

Apollo    1.100  250-400 

Circle    2,800  2Sc-40c 

Indiana    3.133  2Sc-«)c 

Lyric    2,000  2Sc-40c 

Palace    3.000  2Sc-40c 

Kansas  City 

Mamstreet    3,100  15c-40c 

Midland    4.000  15c-40c 

Newman    1,800  2Sc-40c 

Tower    2.200  25c 

Uptown    2.000  25c-40c 

Los  Angeles 

Filmarte    800  40c-S5c 

Four  Star    900  30c-55c 

Loew's  State         2,416  30c-SSc 

Paramount    3,596  30c-55c 

RKO    2,700  25c-65c 

United  Artistt...  2.100  25c-5Sc 

W.  B.  Downtown  3,400  2Sc-40c 

Minneapolis 

Century    1,650  2Sc-40c 

Lyric    1,238  20c-25c 

Palace    900  15c-25c 

RKO  Orpheum...  2,900  2Sc-40c 

State   2,300  25c-40c 

World    400  25c-5Sc 

Montreal 

Capitol    2.547  2Sc-60c 

Imperial    1,914  25c-40c 

Loew's    3,115  30c-60c 

Palace    2,600  30c-6Sc 

Princess    2,272  30c-6Sc 

New  York 

Aitor    1,012  2Sc-75c 

Capitol    4.700  35c-$1.65 

Mayfair    2.300  35c-65c 

Palace    2,500  25c-7Sc 

Paramount    3,700  3Sc-99c 

Rialto    2,200  2Sc-6Sc 

RivoU    2,200  40c-99c 

RKO  Music  Hall  5,945  3Sc-$1.6S 

Roxy    6,200  25c-S5c 

Strand    3,000  2Sc-5Sc 


■'Gold  Disgers  of  1935"  (F.N.)....  S.OOC' 

'Laddie"  (Radio)    4,500 

'Roberta"  (Radio)    6,000 

(2nd  weelc) 

■'In  Spite  of  Danger"   (Col.)   5,500 

"West  Point  of  the  Air"   (MGM)  4,500 


"The  Mystery  of  Edwin  Drood"..  7,200 

(Univ.)  (25c-40c) 

"West  Point  of  the  Air"  (MGM)  9.400 

"Mississippi"    (Para.)    8,500 

"Transient    Lady"    (Univ.)   6,300 

■'The  Little  Colonel"  (Fox)   2,200 

(6  days-3rd  week) 


'Little   Friend"   (GB  Pictures).... 


2,000 
S,9CC 
9,000 
13,000 


"The  Scarlet  Pimpernel"  (U.A.). 

(6  days)  (40c-55c) 
'After   Office   Hours"  (MGM)... 

(6  days) 

"Ruggles  of  Red  Gap"  (Para.).. 

(2nd  week) 
"Roberta"    (Radio)    12,000 

(6  days-3rd  week) 
"The  Little  Colonel"   (Fox)    4,900 

(6  days) 

"A  Night  at  the  Ritz"  (W.  B.)  and 
"Death   Flies   East"  (Col.) 
(6  daj's) 


'Ruggles  of  Red  Gap"  (Para.)....  4,300 
(2nd  week) 

■'Shadow  of  Doubt"   (MGM)   1,500 

■'The   Mystery   Man"    (Mono.)....  2,500 

"Roberta"    (Radio)    6,500 

(2nd  week) 
'Devil   Dogs  of  the  Air"  (W.B.) 


'The  Scarlet  Pimpernel"  (U.A.).. 


5,000 
3,000 


'The  Scarlet  Pimpernel"    (U.  A.)  9,000 
(2nd  week) 


"Little  Colonel"   (Fox)   2,500 

(2nd  week) 

"Love  in  Bloom"   (Para.)   3,750 

"Roberta"   (Radio)    10,000 

(1st  week) 

"Great  Hotel  Murder"  (Fox)   5,000 

"The   Wedding   Night"   (U.   A.)..  4,500 

"Roberta"   (Radio)    5,500 

(6  days-3rd  week) 

"The   Wedding  Night"   (U.A.)....  7,200 

"Love   in    Bloom"    (Para.)   5,500 

(6  days) 

"Night   Life  of  the  Gods"   7,000 

(Univ.) 

"The    Little    Colonel"    (Fox)   4,100 

(2nd  week) 

"Unfinished  Symphony"   1,450 

(GB  Pictures)  (4th  week) 

"Sequoia"   (MGM)    4,500 

(3rd  week) 

"The   Little   Colonel"   (Fox)   11,000 

(6  days) 

"Ruggles  of  Red  Gap"  (Para.)....  19,000 

(1st  week) 

"Roberta"   (Radio)    12,000 

(6  days-2nd  week) 

"Great  Hotel  Murder"  (Fox)  and  2,946 
"Enter  Madame"  (Para.) 

(6  days) 

"Gigolette"   (Radio)   and   6,200 

"Let's  Live  Tonight"  (Col.) 
(6  days) 


"Ruggles  of  Red  Gap"  (Para.)....  5,000 

(1st  week) 

"Society  Doctor"  (MGM)   1,500 

"School  for  Girls"   (Liberty)   2,000 

"Roberta"   (Radio)    7,000 

(1st  week) 

"Clive  of  India"  (U.  A.)   6,000 

"Narcotic"  (State  Rights)   2,000 


"The  Scarlet  Pimpernel" 

(1st  week) 


(U.A.)..  13,000 


'Young   and    Beautiful"    (Mascot)     3,500      "Elinor   Norton"    (Fox)   3,500 


'Life  Begins  at  40"  (Fox)  and...  9,500 
"Charlie  Chan  in  Paris"  (Fox) 

'After   Office   Hours"   (MGM)....  12,000 


'Power"    (GB   Pictures)   and   7,000 

"Things  Are  Looking  Up"  (British) 


"It  Happened  One  Night"  (Col.)..  10,000 

"Naughty  Marietta"  (MGM)   38,000 

"The  Man  Who  Knew  Too  Much"  13,00fl 

(GB  Pictures) 

"Living  on  Velvet"  (F,  N.)   7,500 

"Private  Worlds"  (Para.)   34,000 

"Ruggles  of  Red  Gap"  (Para.)....  16,500 

"The  Wedding  Night"  (U.  A.)....  20,500 

(2nd  week) 

"The    Little    Colonel"    (Fox)   84,000 

"The  Woman  in  Red"  (F.  N.)   26,000 

"Gold  Diggers  of  1935"  (F.  N.)....  13,500 
(2nd  week) 


■'Man  of  Aran"  (GB  Pictures)  and 
"Gentlemen  Are  Born"  (F.  N.) 


9,500 


"The  Whole  Town's  Talking"  (Col.) 
and  "Mills  of  the  Gods"  (Col.) 


7,500 


"High  School  Girl"  (Foy  Prod.)..  4,200 

"After  Office  Hours"  (MGM)....  20,000 

(2nd  week) 

"Times  Square  Lady"  (MGM)....  6,300 

"Sweet  Music"  (W.  B.)   8,000 

"Ruggles  of  Red  Gap"  (Para.)   38,000 

(2nd  week) 

"The  Mystery  of  Edwin  Drood"..  13,000 

(Univ.) 

"The  Wedding  Night"   (U.A.)....  32,000 
(1st  week) 

"Roberta"    (Radio)    91,000 

(2nd  week) 

"Let's  Live  Tonight"   (Col.)   26,200 

"Gold  Diggers  of  1935"  (F.  N.)  ..24,500 

(1st  week) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  UM.) 
(Dates  are  1934  unless  otherwise  wecified.) 

High  2-23-35  "One  More  Spring"   7,500 

Low  2-9-35  "Baboona"   2,000 

High  12-15  "Lady  By  Choice"   8,500 

Low  1-19-35  "The  President  Vanishes"  ) 

and  "Enter  Madame"       )  2.000 

High  3-2-35  "Woman  in  Red"   12,000 

Low  1-12-35  "Little  Women"   1,500 

High  12-22  "Murder  in  the  Clouds"....  11.000 
Low  7-28  "Half  a  Sinner"  and  } 

"Embarrassing  Moments"    (  2,000 

High  2-3  "Sons  of  the  Desert"   12,500 

Low  12-12  "The  Gay  Bride"   2,750 

High  6-23  "Glamour"   23.000 

Low  1-12-35  "I  Sell  Anything"   2.000 

High  4-7  "Riptide"    21.400 

Low  12-22  "Private  Life  of  Don  Juan"  4,000 

High  9-29  "Belle  of  the  Nineties"   14.000 

Low  8-25  "Ladies  Should  Listen"  and  \ 

"Call  It  Luck"  (  3,600 

High  1-12-35  "Broadway  BiU"   14,000 

Low  5-5  "Let's  Fall  in  Love"   4.009 

High  10-27  "Judge  Priest"   9.200 

Low  1-27  "Good  Bye  Again"   1.700 

High  4-14  "Moon  Over  Morocco"   7,600 

Low  6-30  "Island  of  Doom"   160 

High  3-3  "Devil  Tiger"   7,800 

Low  12-15  "Have  a  Heart"   2,500 

High  4-7  "Riptide"    28.500 

Low  12-29  "Music  in  the  Air"   4,206 

High  9-1  "Now  and  Forever"   29,998 

Low  12-22  "One  Hour  Late"   12,500 

High   3-16-35    "Roberta"   16,000 

Low  1-27  "Let's  Fall  in  Love"   1,800 

High  1-20  "I'm  No  Angel"   13,000 

Low  5-12  "Sorrell  and  Son"   2,500 

High  9-8  "Dames"    20,000 

Low  12-29  "White  Lies"  and  ) 

"The  Last  Wilderness"       f  4,900 

High  10-20  "Barretts  of  Wimpole 

Street"    6,500 

Low  9-29  "The  Cat's  Paw"   2,500 

High  3-16-35  "Baboona"    2,000 

Low  1-27  "Jimmy  and  Sally"   500 

High  1-5-35  "Romance  in  the  Rain"....  3.000 

Low  3-23-35  "School  for  Girls"   2,000 

High  3-23-55  "Roberta"   ..'  '   7,000 

Low  8-25  "The  Lady  is  Willing"   2,700 

High  8-18  "She  Loves  Me  Not"   7,000 

Low  7-28  "Here  Comes  the  Navy"   5,000 

High  4-14  "Private  Life  of  Henry  VHI"  4,000 

Low  3-23-35  "Narcotic"   2,000 

High  2-24  "Queen  Christina"   13,500 

Low  12-22  "Great  Ejci>ectations"  and  } 

"Wake  Up  and  Dream"      f  3,500 
High  6-23  "Wine,  Women  and  Song"  ) 

and  "Pride  of  the  Legion"  )  6,500 

Low  3-3   "Fanny"    1,500 

High  12-8  "Six  Day  Bike  Rider"   14,500 

Low  7-21  "Fog  Over  Frisco"  and  } 

"Affairs  of  a  Gentleman"     (  4,500 

High  12-1  "The  Merry  Widow"   14,000 

Low  7-21  "Shoot  the  Works"  and  I 

"Friday  the  13th"  ]  6,000 

High  l-S-35  "Kid  Millions"  and  } 

"Fugitive  Lady"  J  10.500 

Low  8-4  "House  of  Rothschild"  and  I 

"Most  Precious  Thing  in  Life"  »  4.500 


High  3-31  "House  of  Rothschild"   23.600 

Low  2-23-35  "Uttle  Men"   6,000 

High  10-6  "Barretts  of  Wimpole  Street"  65,860 

Low  12-29  "The  Band  Plays  On"   4.500 

High  1-27  "Sixteen  Fathoms  Deep"   15.300 

Low  6-2  "Unknown  Soldier  Speaks"   1,250 

High  7-21  "Of  Human  Bondage"   16,200 

Low  12-22  "Babbitt"    6,500 

High  8-25  "aeopatra"    72,000 

Low  8-11  "Elmer  and  Elsie"   10,500 

High  4-7  "The  Lost  Patrol"   32,800 

Low  5-12  "Success  at  Any  Price"   7,700 

High  11-17  "Kid  Millions"   51.000 

Low  2-23-35  "The  Right  to  Live"   15,000 

High  1-5-35  "The  Little  Minister"   110,000 

Low  1-19-35  "Evergreen"   52,000 

High  12-1  "Imitation  of  Life"   44.000 

Low  6-30  "Affairs  of  a  Gentleman"   13.700 

High  3-10  "Wonder  Bar"   43.S63 

Low  1-30  "Easy  to  Love"   9.271 


April    6  ,  1935 


MOTION    PICTU  RE  HERALD 


69 


ETHEATRC  RECEIPTS— CONT'Dl 


Theatres 


Current  Week 


Previous  Week 


Oklahoma  City 

Capitol    1,200  10c-41c 

Criterion    1,700  lOc-SSc 

Liberty    1,500  10c-36c 

Midwest    1,500  10c-56c 

Omaha 

Brandeis    1,200  2Sc-40c 

Omaha    2,200  25c-40c 

Orpheum    3,000  25c-40c 

Paramount    2,800  3Sc-5Sc 

Philadelphia 

Aldine    1.200  3Sc-5Sc 

Arcadia    600  25c-50c 

Boyd    2,400  3Sc-SSc 

Earle    2,000  2Sc-S5c 

Fox    3,000  40c-65c 

Karlton    1,000  25c-40c 

Keith's    2.000  30c-S0c 

Stanley    3,700  3Sc-55c 

Stanton    1,700  30c- 50c 

Portland,  Ore. 

Broadway    1,912  25c-40c 

Mayfair    1,700  2Sc-40c 

Oriental    2,040  2Se-40c 

Orpheum    1.700  2Sc-40c 

Paramount    3,008  2Sc-40c 


Picture 


Gross 


Picture 


Gross 


"Society    Doctor"    (MGM)   1,900 

•'Roberta"    (Radio)    8,000 

"Rocky    Mountain    Mystery"   2,300 

(Para.)    (4  days) 

"Adventure   Girl"    (Radio)   SUO 

(,>  days) 

"The  Little  Colonel"  (Fox)   6,000 


"The  Scarlet  Pimpernel"  (U.  A.)  1,800 

"Sequoia"   (MGM)    5,300 

"Keep  'Em  Rolling"  (Radio)   1,800 

(4  days) 

"The  Winninpr  Ticket"  (MGM)....  400 

(3  days) 

"Ruggles  of  Red  Gap"  (Para.)....  5,400 


"Gold  Diggers  of  mS"  (F.  N.)---  5,100 


"The  Woman  in  Red"  (F.  N.)  and  3,300 
"The  Best  Man  Wins"  (Col.)  (6  days) 


'West  Point  of  the 'Air"  (MGM)     6,000      "Ruggles  of  Red  Gap"   (Para.)...  5,700 


"The  Good  Fairy"  (Univ.)  and....  7,400 
"We  Live  Again"  (U.  A.) 

"Rumba"   (Para.)    9,500 

(2Sc-40c) 


"The  Wedding  Night"   (U.A.)....  8,500 

(6  days-2nd  week) 

"Sequoia"    (MGM)    3,400 

(8  days) 

"Roberta"    (Radio)    12,000 

(6  days-3rd  week) 

"Let's   Live   Tonight"    (Col.)   )4,00O 

(6  days)  (25c-50c) 

"Life  Begins  at  40"  (Fox)   :.  16,000 

(5  days-2nd  week) 

"The  Florentine  Dagger"  (W.  H.l  2,800 

(6  days) 

'Vanessa:    Her  Love  Story''   1,800 

(MGM)   (4  days-2nd  week) 

"Gold  Diggers  of  1935"  (F.  N.)..  5,000 
(6  days-2nd  week) 

'It  Happened  One  Night"  (Col.)..  9,500 
(9  days- revival) 


"The   Iron   Duke"    (GB   Pictures)  7,800 

"Life  Begins  at  40"   (Fox)   3,200 

"West  of   the  Pecos"   (Radio)....  1,700 

"Laddie"  (Radio)    7,500 

"Mississippi"    (Para.)    »,S00 


"Wings  in  the  Dark"  (Para.)  and  7,800 
"Lottery  Lover"  (Fox) 

"Society  Doctor"  (MGM)  and   2,000 

"White  Lies"  (Col.)  (4  days) 


"The  Wedding  Night"  (U.A.)....  9,500 

(6  days-lst  week) 

"Society  Doctor"   (MGM)    1.800 

(5  days) 

"Roberta"    (Radio)    19,000 

(6  days-2nd  week) 

"Times  Square  Lady"  (MGM)....  14,3C0 

(6  days)  (40c-50c) 

"Life  Begins  at  40"  (Fox)   24,000 

(6  days-lst  week) 

"The  Scarlet  Pimpernel"  (U.A.)..  3,000 

(6  days) 

"Vanessa:   Her  Love  Story"   2,900 

(MGM)    (6  days-lstweek) 

"Gold  Diggers  of  1935"  (F.N.)....  11,500 

(6  days-lst  week)  (40c-55c) 

"Captain    Hurricane"    (Radio)   1,800 

(3  days) 


'The    Winning   Ticket"    (MGM)..  6,900 


"Rumba"    (Para.)  and  

"Mystery  Woman''  (Fox) 


2,400 


"Romance  in  Manhattan"  (Radio))  1,700 
and  "Bordertown"  (W.  B.)  (15c-25c) 

"Roberta"  (Radio)    5,000 

(2nd  week) 
"All  the  King's  Horses"  (Para.)..  9,400 


High  and.  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  imless  otherwisa  specified.) 


High  1-6  "Going  Hollywood"   4,100 

Low  9-8  "You  Belong  to  Me"   800 

High  1-27  "Dinner  at  Eight"   9,000 

Low  10-13  "Madame  Du  Barry"   3,000 

Hisrh  8-11  "Great  Flirtation"  and  ) 

"I  Give  My  Love"             }  3,700 

Low  3-23-3S  "The  Winning  Ticket"....  400 

High  12-29  "Bright  Eyes"   9.540 

Low  5-26  "Merry  Wives  of  Reno"   2,000 


High  1-12-35  "The  Little  Minister"   9,100 

Low  2-16-35  "Babbitt"  and  ) 

"Murder  in  the  Qouds"    f  3,000 


High  3-10  "Easy  to  Love"   17.250 

Low  12-29  "Babes  in  Toyland"  and  I 

"Home  on  the  Range          $  5,000 

High  2-16-35  "The  Secret  Bride"   13,200 

Low  2-24  "Six  of  a  Kind"  and  1 

"Good  Dames"                     J  5,250 


High  5-5  "House  of  Rothschild"  

Low  6-9  "Sorrell  and  Son"  

High  1-6  "Duck  Soup"  

Low  1-27  "Women  In  Hii  Life"  

High  1-6  "Uttle  Women"  

Low  2-23-35  "The  Night  Is  Young".... 
(5  days) 

High  4-7  "Harold  Teen"  

Low  7-21  "Cockeyed  Cavaliers"  

High  12-29  "Bright  Eyes"  

Low  7-28  "She  Was  a  Lady"  

High  11-3  "One  Night  of  Love"  

Low  11-24  "Wednesday's  Child"  

High  3-3  "Carolina"   

Low  1-5-35  "Sweet  Adeline"  

High  1-5-35  "Broadway  Bill"  

Low  12-29  "Behold  My  Wife"  

High  3-31  "The  Lost  Patrol"  

Low  1-5-35  "Man  Who  Reclaimed  His 
Head"   


United  Artists...     945      2Sc-40c      "West  Point  of  the  Air"  (MGM)     5,000      "Folies  Bergere"  (U.  A.)   5,300 


High  4-7  "Wonder  Bar"   

Low  7-14  "The  Circus  Qown"  and  ) 
"I  Give  My  Love"  j 

High  3-2-35  "The  Little  Colonel"  

Low  1-19-35  "Behold  My  Wife"  and  ( 
"Defense  Rests"  { 

High  5-26  "Merry  Wives  of  Reno"  

Low  10-6  "The  Human  Side"  and  ) 
"Hat,  Coat  and  Glove"  ) 

High  12-1  "Kentucky  Kernels"  

Low  11-10  "Wednesday's  Child"  

High  3-24  "David  Harum"  and  ) 
"Once  to  Every  Woman  j 
Low  6-30  "Now  I'll  Tell"  and  ) 
"Springtime  for  Henry"  J 

High  4-28  "House  of  Rothschild"  

Low  8-4  "Paris  Interlude"  


23,000 
4,000 
6,500 
4O0 

30,000 
6,500 

40,000 
11.000 
28.500 
7,000 
8,500 
2,200 
8,000 
1,500 
22.000 
7,500 
9,000 

2.000 


13.000 

3.900 
4,000 

1.600 
4,800 

1.500 
8,000 
3,500 

12,000 

4,000 
9,800 
3,700 


San  Francisco 

Fox                        4,600  15c -40c 

Golden    Gate         2,800  25c-40c 

Orpheum                 3,000  15c-40c 

Paramount              2,670  25c-40c 

St.  Francis             1,400  15c-S5c 

United  Artists...  1,200  15c-S5c 

Warfield                 2.700  25c-65c 

Seattle 

Blue  Mouse             9S0  25c- 55c 

Vifth  Avenue  ...  2,500  25c-5Sc 

Liberty                   1.800  15c-50c 

Music  Box               950  25c-55c 

Orpheum                 2,450  25c- 50c 

Paramount              3,050  25c-3Sc 


"A  Night  at  the  Ritz"  (W.B.)  and  8,000 
"Behind    the    Evidence"  (Col.) 

"Roberta"    (Radio)    12,000 

(3rd  week) 

"Transient  Lady"   (Univ.)   and   6,000 

"Great  God  Gold"  (Monogram) 

"Gold  Diggers  of  1955"  (F.  N.)..  12,500 
(2nd  week) 


"Times  Square  Lady"  (MGM)  and  8,000 
"Crimson  Romance"  (Mascot) 

"Roberta"    (Radio)    17,500 

(2nd  week) 

"Night  Life  of  the  Gods"  (Univ.)  8,000 

and   "Death  Flies  East"  (Col.) 

"Gold  Diggers  of  1935"  (F.N.)....  10,500 
(1st  week) 


"Life  Begins  at  40"   (Fox)   7,000      "Sequoia"    (MGM)    5,000 


"The  Scarlet  Pimpernel"  (U.A.)..  6,500 
"Ruggles  of  Red  Gap"   (Para.)..  26,500 


"The  Wedding  Night"  (U.  A.)....  3,100 

(6  days-2nd  week) 

"Ruggles   of   Red   Gap"    (Para.)..  8,700 

"Monte  Carlo  Nights"  (Mono)....  3,600 
and  "Best  Man  Wins"  (Col.)  (10c-35c) 

"Roberta"    (Radio)    4,100 

(3rd  week) 

"It  Happened  In  New  York"   5.300 

(Univ.) 

"Mystery  Woman"  (Fox)  and....  5,250 
"McFadden's  Flats"  (Para.) 


"Folies  Bergere"  (U.  A.)   11,000 

"Life  Begins  at  40"   (Fox)   22,000 


"The  Wedding  Night"  (U.  A.)....  4,300 
(1st  week) 

"The  Little  Colonel"  (Fox)   8,600 

(9  days) 

"Among  the  Missing"  (Col.)  and..  3,750 
"When  a  Man's  a  Man"  (Fox)  (10c-25c) 

"Roberta"   (Radio)    5,200 

{2nd  week) 

"Night  Life  of  the  Gods"  (Univ.)  5,400 


"Shadow  of  Doubt"  (MGM). 


!,700 


High  3-3  "Son  of  Kong"   14,000 

Low  8-18  "Sin  of  Nora  Moran"  and  ) 

"Along  Came  Sally"            f  4,500 

High  3-16-35  "Roberta"   23,000 

Low  7-7  "Cockeyed  Cavaliers"   10,200 

High  6-9  "Sing  and  Like  It"   19,500 

Low  6-30  "Aflfairs  of  a  Gentleman"  ) 

and  "Orders  is  Orders"       J  5,000 

High  9-29  "Belle  of  the  Nineties"   19,000 

Low  1-20  "Four  Girls  in  a  Boat"  and  I 

"Fugitive  Lovers"                )  8,000 

High  1-19-35  "The  County  Chairman"..  11,000 
Low  4-14  "Registered  Nurse"  and  ) 

"Murder  in  Trinidad"           f  3,500 

High  1-6  "Roman  Scandals"   15,000 

Low  3-9  "Private  Life  of  Don  Juan"   4,000 

High  12-29  "Bright  Eyes"   29,000 

Low  3-31  "Gambling  Lady"   15.500 


High  2-17  "Roman  Scandals"   7,500 

Low  7-7  "Tomorrow's  Children"   2.550 

High  4-14  "Riptide"   12.750 

Low  3-24  "Fashions  of  1934"   3,500 

High  2-16-35  "Broadway  Bill"  (2d  week)  7,100 
Low  10-6  "Jane  Eyre"  and  ) 

"King  Kelly  of  U.  S.  A."    f  3,100 

High  4-14  "Spitfire"    6,500 

Low  1-26-35  "Man  Who  Reclaimed  His 

Head"    2,850 

High  12-1  "Kentucky  Kernels"   8.400 

Low  4-21  "Two  Alone"  and  J 

"I  Believed  in  You"           J  3,750 

High  3-23-35  "Shadow  of  Doubt"   8,700 

Low  12-8  "Peck's  Bad  Boy"  and  J 

"Menace"                           J  3,300 


70 


MOTION    PICTURE  HERALD 


April    6 ,  193b 


Corpus  Christi,  Texas 

DEAR  HERALD: 

We  got  here  last  night,  and  having  just 
gotten  here,  and  having  seen  no  one  on  the 
road  down  here  we,  of  course,  don't  have 
anything  to  write  about,  but  we  are  going 
to  do  a  little  kicking  just  the  same. 

Shine  Mason,  the  Longhorn  who  runs  the 
theatres  at  McAllen,  said  he  was  going  to 
write  the  boy  who  has  charge  of  the  theatres 
here  that  we  were  coming  down  here  and  for 
him  to  look  out  for  us  and  to  have  every- 
thing locked  up.  He  must  have  done  it,  for 
when  we  got  here  w^e  found  everything 
locked  up  but  one  fishhouse  and  a  filling 
station. 

He  had  the  mayor,  the  city  council  and 
two  brass  bands  out  to  meet  us  but  we  came 
in  on  a  side  street  and  were  ushered  to  a 
chili  joint  by  a  Mexican  fisherman. 

Gulf  Is  Full  of  Fish 

We  don't  know  how  big  Corpus  Christi 
is,  but  would  judge  it  to  be  about  the  size 
of  Muskegon,  Michigan,  and  Muskegon, 
Michigan,  is  a  pretty  good  sized  town,  and 
if  Corpus  Christi  has  as  many  fine  people 
in  it  as  Muskegon  has  we  ought  to  get  along 
all  right,  but  there  is  one  thing  about  Corpus 
Christi  we  have  observed  already,  and  that 
is  that  there  are  more  fish  here  in  the  Gulf 
than  there  are  in  the  Platte  river  in 
Nebraska.  We  haven't  met  any  of  the  the- 
atre boys  here  yet,  probably  because  we 
haven't  called  on  them,  but  most  likely  be- 
cause they  are  all  out  fishing. 

Before  coming  here  we  drove  down  to 
Harlingen  to  call  on  J.  C.  King  again. 
J.  C.  runs  both  theatres  in  Harlingen, 
which  accounts  for  the  reason  why  the 
people  of  Harlingen  wear  such  a  con- 
tented look  all  the  while.  A  well  managed 
theatre  will  come  about  as  near  curing 
this  depression  as  anything  we  know  of. 
People  must  have  something  to  think 
about  besides  mortgages  and  I.O.U.'s. 

While  we  were  down  to  Harlingen  calling 
on  J.  C.  King  we  met  E.  F.  Brady,  who 
operates  the  Rivoli  and  Palace  theatres  at 
San  Benito.  E.  F.  is  the  champion  golfer 
of  the  Rio  Grande  valley  and  has  held  the 
belt  for  several  years,  and  he  came  up  there 
to  Harlingen  to  play  golf  but  King  winked 
at  him  and  shook  his  head  at  him  to  warn 
him  not  to  play  us,  presumably  because  he 
wanted  him  to  hang  onto  that  belt.  Not 
knowing,  we  presume  most  people  would 
take  E.  F.  to  be  a  Pennsylvania  Dutchman 
but  that's  a  mistake,  his  parents  were  raised 
just  three  miles  northeast  of  Belfast,  Ire- 
land, and  they  came  to  this  country  to  help 
make  it  what  it  is,  and  that's  why  they  sent 
E.  F.  down  to  San  Benito  to  build  up  south- 
east Texas.  They  put  Bob  Smith  and  his 
Mission  theatre  up  at  the  west  end  of  the 
valley  and  E.  F.  Brady  with  his  theatres  at 
San  Benito  at  the  east  end  and  then  filled 
in  with  McAllen,  Pharr,  San  Juan,  Alimo, 
Donna,  Weslaco,  Mercedes,  Laferia,  and 
Harlingen  between,  and  that's  what  makes 
the  Rio  Grande  valley  such  an  important 
place.  E.  F.  says  that  havalenas  don't  stay 


SAM  RIDGE,  61, 
SEES  FIRST  FILM 

For  a  good  many  years,  for  he  ad- 
mits, when  pressed,  to  61,  Sam  Ridge, 
county  commissioner  of  Fort  Scott, 
Mo.,  has  resisted  the  wiles  of  screen 
femininity,  the  red  blood  of  film 
action,  and  the  spectacle  of  the  mod- 
ern screen,  but  he  finally  fell  last 
week,  and  it  was  the  diminutive  Shir- 
ley Temple  who  did  it.  It  is  expected 
in  Fort  Scott  that  Mrs.  Ridge  may 
have  something  to  do  with  it.  What- 
ever the  reason,  Mr.  Ridge  went  to 
see  Shirley  in  Fox's  "The  Little 
Colonel",  thoroughly  enjoyed  it,  by 
his  own  admission,  and  apparently  did 
not  damage  in  the  slightest  degree 
his  "democracy" ,  whatever  that 
might  be. 


around  San  Benito  because  they  are  afraid 
of  the  street  cars. 

V 

Miles  of  Red  Tape 

The  San  Antonio  Express,  in  today's 
issue,  has  this  to  say :  "When  Miss  Ada 
Erler,  employe  of  a  clothing  store  in  New 
Ulm,  Minn.,  was  advised  by  a  doctor  treat- 
ing her  for  stomach  trouble  to  rest  after 
meals,  she  asked  her  employer  for  an  extra 
half  hour  for  lunch." 

Her  employer  petitioned  the  NRA  ad- 
visory board  for  permission  to  grant  her 
an  hour  and  half  for  lunch.  The  petition 
went  to  all  NRA  advisory  boards  and  the 
national  retail  code  authority,  the  research 
and  planning  division,  the  legal  department, 
the  consumers  advisory  board,  and  having 
passed  all,  was  signed  by  the  acting  division 
administrator  and  sitting  deputy  administra- 
tor, and  permission  was  granted  seven  weeks 
after  the  application  had  been  made.  Some 
people  get  huckleberry  pie,  others  get  red 
tape.  We  are  a  little  surprised  to  read  this 
criticism  of  the  Red  Tape  department  in  a 
Texas  newspaper. 

V 

After  the  government  gets  to  work  on 
that  "shelterbelt"  and  finds  out  that  a 
tree  on  section  four  needs  some  water, 
they  will  call  a  special  session  of  the  ad- 
visory committee  to  inquire  into  the  mat- 
ter and  they  will  then  refer  a  complete 
record  of  the  case  to  Washington,  which 
in  turn  will  refer  it  to  the  "Brain  Trust" 
and  after  due  consideration  they  will  wire 
Bill  Jones  to  put  a  bucket  of  water  on  the 
aforesaid  tree.  All  of  which  makes  a  well 
man  pretty  damsick  when  he  thinks  about 
it. 

V 

Here  in  Corpus  Christi  they  have  one 
dock  that  is  said  to  be  nearly  a  half  mile 
long,  and  there  is  tier  upon  tier  of  lead  bars 
piled  up  in  one  shed  pretty  near  the  entire 
length  of  it,  ready  to  be  shipped  across  the 


water.  It  begins  to  look  at  this  time  like  they 
would  need  it,  but  if  they  shoot  all  this  lead 
away  there  won't  be  enough  of  'em  left  to 
put  in  the  garden,  and  should  they  shoot  it 
all  away  what  will  we  do  when  duck  season 
opens?  That's  what  worries  us. 

V 

Jobs  for  the  Party 

When  we  left  the  valley  we  put  a  box  of 
grape  fruit  in  our  car.  They  told  us  that 
we  couldn't  get  by  a  quarantine  station  above 
Edenburg  with  it  unless  we  had  an  inspec- 
tion tag  on  the  box,  so  we  were  sent  to  a 
packing  house  to  get  one  and  they  gave  us 
a  half  a  pad  of  them  and  we  put  one  of  them 
on  the  box.  When  we  got  to  the  inspection 
station  the  officer  in  charge  waved  us  to 
go  on.  He  didn't  even  stop  us  to  inquire 
what  we  had.  All  of  which  convinces  us 
all  the  stronger  that  the  whole  thing  is  a 
lot  of  bologna.  But  then,  somebody  has  to 
have  a  job,  under  these  depressing  times, 
especially  if  he  belongs  to  our  party. 
V 

Last  night  a  party  in  the  next  room  to  us 
turned  on  their  radio  and  got  a  symphony 
orchestra  program  from  San  Antonio.  This 
station  usually  puts  on  a  high-class  program 
and  we  thought  we  were  in  for  an  enjoyable 
evening  and  that  we  wouldn't  hear  a  love 
song  crooner,  but  pretty  soon  one  started 
and  then  the  dogs  began  to  howl. 

V 

Gala  Week  for  the  Town 

This  week  is  to  be  a  sort  of  a  homecoming 
week  for  the  Longhorns  down  here  in 
Texas.  It  is  said  to  be  an  agricultural  fair 
of  some  kind,  but  what  we'd  like  to  know  is 
where  are  they  going  to  get  their  agricul- 
tural products  for  a  display.  If  they  show 
any  Nebraska  stuff  down  here  we  are  going 
to  make  a  kick  about  it.  This  would  be  a 
fine  place  for  a  fish  carnival.  Betcha  the 
theatre  lobbies  will  all  have  a  display  of 
red  fish.  We  are  going  to  hang  around  here 
and  see  what  they  will  do.  Up  home  our 
agricultural  fairs  usually  consisted  of  six 
pumpkins,  three  Hubbard  squashes  and  a 
"boss  trot"  with  Cy  Buck  leading  the  race 
with  "Old  Smooky"  that  could  trot  a  mile 
in  thirty  minutes  without  stopping  for  oats 
more  than  twice.  This  is  probably  going  to 
be  a  gala  week  for  Corpus  Christi.  Maybe 
we'll  tell  you  about  it  next  time.  We  told 
you  at  the  start  that  we  didn't  have  any- 
thing to  write  about  and  now  we  ha,ve 
proven  it. 

COLONEL  J.  C.  JENKINS 
The  herald's  Vagabond  Colyumnist 


Start  Better  Films  Group 

A  Better  Films  Council  is  being  formed 
at  Hamilton,  Ohio,  where  the  Parent-Teach- 
ers' Association  is  organizing  a  motion  pic- 
ture division. 


Receivership  Lifted 

Federal  Judge  Robert  R.  Nevin,  in  Cin- 
cinnati, has  lifted  the  receivership  on  the 
Shubert  and  Cox  theatres,  in  effect  since 
August,  1934,  with  Ben  L.  Hiedingsfeld  as 
receiver. 


April    6,  1935 


MOTION    PICTURE  HERALD 


71 


WHAT  THE  PICTURE 
DID  E€l^  ME 


Columbia 


BROADWAY  BILL:  Warner  Baxter,  Myrna  Loy— 
A  dandy  picture  liked  better  by  men  than  women. 
Did  not  have  the  universal  appeal  of  "It  Happened 
One  Night,"  and  not  as  good  but  it  isn't  fair  to  com- 
pare all  pictures  with  this  one.  Step  on  it.  It's  good 
and  will  do  business.  Running  time,  105  minutes. 
Flayed  February  25-26.— A.  E.  Christian,  Wayne  The- 
atre, Monticello,  Ky.    Small  town  patronage. 

CALIFORNIA  TRAIL,  THE:  Buck  Jones— Just  an- 
other western.  The  dialogue  in  this  is  too  stiff  and 
stilted,  which  detracts  from  the  picture.  Otherwise, 
it's  a  fair  enough  western  and  it  did  very  good  busi- 
ness here.  Running  time,  70  minutes.  Played  March 
20.— B.  Hollenbeck,  Rose  Theatre,  Sumas,  Wash.  Small 
town  patronage. 

CAPTAIN  HATES  THE  SEA,  THE:  Walter  Con- 
nolly, Fred  Keating,  Wynne  Gibson — We're  still  wond- 
ering what  it  was  all  about.  Pulled  it  oyt  after  one 
day.  Offered  it  as  second  feature  Saturday  but  the 
first  nighters  gave  it  such  a  panning  that  not  one 
person  stayed  to  see  it. — Sam  A.  Kimball,  Cornish 
Theatres,  Inc.,  Limerick,  Maine.    General  patronage. 

FIGHTING  CODE,  THE:  Buck  Jones,  Diane  Sin- 
clair— My  8-year  old  son  said,  "best  Jones  to  date." 
In  spite  of  bad  roads  this  drew  the  most  people  we 
have  have  in  the  house  for  nearly  five  months.  It 
is  a  pleas^ure  to  run  a  show  for  the  country  folks  that 
really  pleases  them  a  whole  lot  as  this  one  did. — L.  V. 
Bergtold,  Opera  House,  Kasson,  Minn.  Rural  and 
small  town  patronage. 

FIGHTING  RANGER,  THE:  Buck  Jones,  Dorothy 
Revier — The  usual  Buck  Jones  picture  that  always 
pleases  the  class  of  people  that  come  out  for  horse 
drama. — L.  V.  Bergtold,  Opera  House,  Kasson,  Minn. 
Rural,  small  town  patronage. 

LAD"V  BY  CHOICE:  Carole  Lombard,  May  Robson,  , 
Roger  Pryor,  Walter  Connolly — Dandy  entertainment 
that  will  please  nearly  everyone.  Title  is  poor  and 
business  was  the  same.  (The  Columbia  title  writers 
seem  to  have  a  monopoly  on  most  of  the  worst  names 
for  pictures). — L.  V.  Bergtold,  Opera  House,  Kasson, 
Minn.    Rural  and  small  town  patronage. 

SQUARE  SHOOTER:  Tim  McCoy— A  good  western 
but  McCoy  never  did  draw  here  like  some  of  the 
other  western  stars.  Running  time,  57  minutes.  Played 
March  8-9.— A.  E.  Christian,  Wayne  Theatre,  Monti- 
cello,  Ky.     Small  town  patronage. 

THAT'S  GRATITUDE:  Frank  Craven,  Sheila  Man- 
nors — Far  from  what  we  expected.  Could  have  been 
made  into  a  good  two  reeler. — Sam  A.  Kimball,  Cornish 
Theatres,  Inc.,  Limerick,  Maine.    General  patronage. 

WESTERNER,  THE:  Tim  McCoy,  Marian  _  Shilling 
— Satisfactory  western  that  gave  poorest  business  on 
a  "horse-drama"  that  we  have  had  for  nearly  a  year. 
Roads  and  weather  partly  responsible.  However,  I  find 
it  hard  to  "sell"  McCoy  here.  The  other  western 
stars  draw  from  30  to  50  per  cent  more.— L.  V.  Berg- 
told. Opera  House,  Kasson,  Minn.  Rural  and  small 
town  patronage. 

WHOM  THE  GODS  DESTROY:  Walter  Connolly, 
Robert  Young.  Doris  Kenyon — Good  heavy  program. 
No  appeal  to  the  younger  set.  Needs  plenty  of  shorts. 
Runnmg  time.  63  minutes.— G.  Carey,  Strand  Theatre, 
Paris,  Ark.    Family  patronage. 


N  this,  the  exhibitors'  own  de- 
partment, the  theatremen  of  the 
nation  serve  one  another  with 
information  on  the  box  office  per- 
formance of  product  for  their  mu- 
tual benefit.  It  Is  a  service  of  the 
exhibitor  for  the  exhibitor.  Address 
all  communications  to — 

What  the  Picture  Did  for  Me 

MOTION  PICTURE  HERALD 
1790  Broadway,  New  York 


April  24-26.— W.  H.  Hardman,  Royal  Theatre,  Frank- 
fort, Kansas.     Small  town  patronage. 

LIVING  ON  VELVET:  Kay  Francis,  George  Brent, 
Warren  William — A  swell  show  that  every  one  praised 
very  hjghly.  In  fact,  I  think  it  to  be  the  best  picture 
that  either  of  the  stars  have  made  in  some  time. 
Played  March  11-12.— J.  R.  Patterson,  Majestic  Thea- 
tre, Fort  Mill,  S.  C.     Sniall  town  patronage. 

MURDER  IN  THE  CLOUDS:  Lyle  Talbot,  Ann 

Dvorak — Just  a  fair  picture  and  nobody  in  it  to  bring 
them  in.  Very  poor  business  for  Friday  and  Saturday. 
Warner  Brothers  not  delivering  as  good  as  last  year, 
not  by  a  wide  margin.  Hope  the  last  half  of  their 
product  is  better  than  the  first.  Running  time,  61 
minutes.  Played  March  22-23.— A.  E.  Christian, 
Wayne  Theatre^  Monticello,  Ky.  Small  town  patron- 
age. 

RED  HOT  TIRES:  Lyle  Talbot,  Mary  Astor— Lots 
of  action,  good  for  Saturday  or  double  bill.  Running 
time,  61  minutes.  Played  March  15-16. — Roy  C.  Irvine, 
Ritz  Theatre,  Ritzville^  Wash.     General  patronage. 

RED  HOT  TIRES:  Lyle  Talbot,  Mary  Astor— This 
picture  packed  with  action  and  a  lot  of  newsreel  shots. 
A  weak  story  but  passable  on  Friday  and  Saturday. 
Running  time,  61  minutes.  Played  March  15-16. — E. 
A.  Reynolds,  Strand  Theatre,  Princeton,  Minn.  Small 
town  and  country  patronage. 


First  National 


BABBITT:  Guy  Kibbee,  Aline  MacMahon— Good 
comedy  that  pleased.  Did  extra  business. — W.  H. 
Hardman,  Royal  Theatre,  Frankfort,  Kansas.  Small 
town  patronage. 

BABBITT:  Aline  MacMahon,  Guy  Kibbee— Average 
program  picture.  Way  behind  "Big  Hearted  Her- 
bert." Fair  drawing  power  here.  Running  time.  75 
minutes.  Played  March  20.— J.  T.  Justice,  Jr.,  Pick- 
fair  Theatre,  Kernersville,  N.  C.  Small  town  patron- 
age. 

GOLD  DIGGERS  OF  1935:  Dick  Powell.  Gloria  Stu- 
art—Good entertainment  but  not  a  special  so  far  as 
entertaining  qualities  are  concerned.  The  first  half 
of  this  picture  is  fast  and  thoroughly  amusing  but  the 
last  half  is  slowed  down  considerably  by  several  at- 
tractive but  overdone  musical  numbers  in  which  every 
chorus  girl  in  Hollywood  is  used.— J.  W.  Noah,  New 
Liberty  and  Ideal  Theatres,  Fort  Worth.  Texas.  Gen- 
eral patronage. 

HAPPINESS  AHEAD:  Dick  Powell,  Josephine  Hut- 
chinson—Everybody  pleased.  Has  everything  to  make 
a  good  show.— L.  G.  Tewsbury,  Opera  House,  Ston- 
ington,  Maine.     Small  town  patronage. 

LIVING  ON  VELVET:  Kay  Francis— Starts  out 
well,  but  slows  up  considerably.    Fair  picture.  Played 


Fox 


BRIGHT  EYES:  Shirley  Temple— Made  to  order.  It 
should  be  a  pleasure  and  great  satisfaction  to  any  ex- 
hibitor to  show  "Bright  Eyes"  for  it  contains  about 
every  known  ingredient  that  goes  to  make  satisfac- 
tory "mass  entertainment."  It  should  also  be  a  fair 
barometer  of  a  maximum  business  at  the  time  of  its 
showing  in  each  locality.  Played  January  27-28. — Chas. 
Born,  Elks  Theatre,  Frescott,  Ariz.  General  patron- 
age. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn— Ex- 
cellent picture  to  far  above  average  business.  Every- 
body pleased  including  myself.  However,  I  like  to 
hear  and  see  Shirley  dance  and  sing  and  there  was 
only  one  short  song  and  no  dancing.  I  do  not  beheve, 
however,  that  this  fact  hurt  the  picture  for  the  gen- 
eral run  of  patrons.  Step  on  it.  it's  plenty  good. 
Running  time,  83  minutes.  Played  March  20-21.— A.  E. 
Christian,  Wayne  Theatre,  Monticello,  Ky.  Small 
town  patronage. 

BRIGHT  EYES:  Shirley  Temple— Holds  our  house 
record  for  the  past  thtee  years.  Not  a  kick  from 
anyone.  Largest  children  attendance  the  house  ever 
had.— W.  H.  Hardman,  Royal  Theatre,  Frankfort, 
Kansas.     Small  town  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— Not  a 
"Judge  Priest"  or  "David  Harum,"  but  topnotch  en- 
tertainment just  the  same;  pleased  everyone.^  Rogers 
very  popular  with  my  patrons;  good  business  for 
three  days.  '  Played  March  10-12.— Roy  C.  Irvine, 
Ritz  Theatre,  Ritzville,  Wash.    General  patronage. 

FIRST  WORLD  WAR:  Disappointing  in  that  there 
were  too  many  pre-war  shots.  Will  go  well  in  a  double 
bill.  Be  sure  to  tell  folks  that  it  is  not  modern  nho- 
tography  and  has  a  back  screen  voice. — Sam  A.  Kim- 
ball, Cornish  Theatres,  Inc.,  Limerick,  Maine.  General 
patronage. 

GAMBLING:  George  M.  Cohan— Not  enough  action 
to  make  it  interesting.— W.  H.  Hardman,  Royal  The- 
atre, Frankfort,  Kansas.    Small  town  patronage. 


GEORGE  WHITE'S  SCANDALS  (1934):  Rujly  Val- 
lee,  Jimmy  Durante,  Alice  Faye.  Cliff  EMwards — This 
is  not  a  small  town  picture  and  this  statement  goes 
after  just  reading  Mr.  Fred  Hinds  article,  "There 
Aren't  Any  Small  Towns."  A  few  high  school  child- 
ren praised  this,  but  the  farmers  and  older  people 
"squawked"  and  said  "no  good."  My  own  opinion  is 
that  it  rates  about  average  for  this  type  of  show. — L. 
V.  Bergtold,  Opera  House,  Kasson,  Minn.  Rural  and 
small  town  patronage. 

HELLDORADO:  Richard  Arlen,  Madge  Evans— My 
folks  went  for  it  100  per  cent.  Nice  Friday  and  Sat- 
urday business.  Would  have  been  better  if  there  had 
not  been  so  much  rain  in  first  part. — Sam  A.  Kimball, 
Cornish  Theatres,  Inc.,  Limerick,  Maine.  General 
patronage. 

HELL  IN  THE  HEAVENS:  Warner  Baxter,  Con- 
chita  Montenegro — Good  air-action  picture. — Sam  A. 
Kimball,  Cornish  Theatres,  Inc.,  Limerick,  Maine. 
General  patronage. 

JUDGE  PRIEST:  Will  Rogers— Like  all  Rogers' 
pictures — answers  to  a  showman's  prayer. — Sam  A. 
Kimball,  Cornish  Theatres,  Inc.,  Limerick,  Maine. 
General  patronage. 

LITTLE  COLONEL,  THE:  Shirley  Temple— I  was 
wondering  if  this  would  compare  with  "Bright  Eyes." 
Had  no  doubts  after  the  box  office  had  been  open  one 
hour.  This  picture  has  everything  that  a  showman 
could  ask  for.  Passed  "Bright  Eyes"  at  the  box 
office  by  a  mile.  Bear  down  on  this  one.  You  won't 
disappoint  your  customers.  Every  exhibitor  that 
shows  this  picture  should  send  Shirley  a  Christmas 
present  in  appreciation.  Played  February  27-28. — F. 
Bernard  Money,  Jr.,  Carolina  Theatre,  Lexington,  N. 
C.    General  patronage. 

LITTLE  COLONEL,  THE:  Shirley  Temple,  Lionel 
Barrymore — One  of  the  finest  pictures  it  has  been  my 
privilege  to  show.  The  color  sequence  left  the  audi- 
ence gasping,  it  was  so  beautiful.  It  even  outgrossed 
"Bright  Eyes,"  so  why  say  more.  Played  March  7-8. 
—J.  R.  Patterson,  Majestic  Theatre,  Fort  Mill,  S.  C. 
Small  town  patronage. 

MARIE  GALANTE:  Spencer  Tracy,  Ketti  Gallian 
— Yes.  brother,  it  is  the  title  of  a  motion  picture  and 
regardless  of  its  merit,  it  will  be  about  as  hard  to  sell 
as  ice  skates  in  the  Canal  Zone.  Played  February  6- 
7. — Chas.  Born,  Elks  Theatre,  Prescott,  Ariz,  (jeneral 
patronage. 

MARIE  GALANTE:  Ketti  Gallian,  Spencer  Tracy- 
Played  it  in  spite  of  warnings  to  leave  it.  I  did  a 
nice  two  day  business.  First  nighters  gave  it  a  lift. 
Miss  Gallian  will  draw  when  she  comes  here  again. — 
Sam  A.  Kimball,  Cornish  Theatres,  Inc.,  Limerick, 
Maine.    General  patronage. 

MUSIC  IN  THE  AIR:  John  Boles.  Gloria  Swan- 
son — The  worst  picture  I  have  ever  received  from 
Fox  and  my  patrons  said  almost  in  unison,  "the  worst 
picture  we  have  ever  seen."  Get  rid  of  this  one  if 
possible,  especially  if  you  are  in  a  small  town.  You 
can't  imagine  how  terrible  this  really  is  but  we  all 
make  mistakes  and  Fox  has  given  us  some  good  ones 
to  make  up  for  it.  Running  time,  81  minutes.  Played 
March  4-5. — A.  E.  Christian.  Wayne  Theatre,  Monti- 
cello, Ky.    Small  town  patronage. 

MYSTERY  WOMAN:  Mona  Barrie— Rather  poor 
picture. — W.  H.  Hardman,  Royal  Theatre,  Frankfort. 
Kansas.    Small  town  patronage. 

PURSUED:  Rosemary  Ames.  Victor  Jory — ^"Boiler 
Plate."  Any  concern  that  puts  its  trade  mark  on 
such  offerings  should  know  where  to  put  them — but 
they  don't.  Played  January  9-10. — Chas.  Born,  Elks 
Theatre,  Prescott,  Ariz.    General  patronage. 

SERVANTS'  ENTRANCE:  Janet  Gay  nor.  Lew 
Ayres,  Walter  Connolly — Good  program  picture  only. 
Gaynor  liked  here,  but  not  in  this  foreign  stuff.  Run- 
ning time,  88  minutes. — G.  Carey,  Strand  Theatre, 
Paris.  Ark.    Family  patronage. 

365  NIGHTS  IN  HOLLYWOOD:  Alice  Faye,  James 
Dunn — Nothing  big,  but  a  good  little  program  picture. 
— Sam  A.  Kimball,  Cornish  Theatre,  Inc.,  Limerick 
Maine.    General  patronage. 

WHEN  A  MAN'S  A  MAN:  George  O'Brien— We 
stood  them  up  on  this  one  and  it  pleased. — W.  H. 
Hardman,  Royal  Theatre,  Frankfort,  Kansas.  Small 
town  patronage. 


GB  Pictures 


CHU  CHIN  CHOW:  Anna  May  Wong,  George  Ro- 
bey — A  lavish  picture.  Did  a  flop  at  the  box  office. 
Had  plenty  of  walkouts.  It's  a  good  picture  of  its 
kind  but  no  good  for  us. — W.  H.  Hardman,  Royal 
Theatre,  Frankfort,  Kansas.    Small  town  patroaage. 


72 


MOTION    PICTURE  HERALD 


April    6 ,  1935 


LITTLE  FRIEND:  Nova  Pilbeam— The  child  ac- 
tress was  good.  Picture  did  not  do  average  business. 
— W.  H.  Hardman,  Royal  Theatre,  Frankfort,  Kansas. 
Small  town  patronage. 


Mascot 

CRIMSON  ROMANCE:  Ben  Lyon,  Sari  Maritza— 
Did  a  nice  two  day  business  for  me.  Though  rated  as 
for  adults  it  seemed  to  me  OK  for  the  family. — Sam  A. 
Kimballj^  Cornish  Theatres,  Inc.,  Limerick,  Maine. 
General  patronage. 

LITTLE  MEN:  lialph  Morgan,  Erin  O'Brien-Moore, 
Junior  Durkin,  Cora  Sue  Collins,  Frankie  Darro-;- 
Should  be  played  in  every  theatre.  We  played  this 
picture  one  week  to  a  capacity  business.  Pleased 
our  patrons  100  per  cent. — Ned  Tweeden,  Princess 
Theatre,  Fargo,  N.  D.    Family  patronage. 

YOUNG  AND  BEAUTIFUL:  William  Haines,  Ju- 
dith Allen — One  nice  little  show.  Netted  more  than 
any  of  the  big  musicals.  Second  night  filled  the  house. 
— Sam  A.  Kimball,  Cornish  Theatres,  Inc.,  Limerick. 
Maine.     General  patronage. 


MGM 

DEATH  ON  THE  DIAMOND:  Robert  Young. 
Madge  Evans,  Ted  Healy— Best  baseball  story  we  re- 
member. Suited  our  Saturday  night  crowd.  Running 
time,  72  minutes. — G.  Carey,  Strand  Theatre,  Parisj 
Ark.    Family  patronage. 

FORSAKING  ALL  OJHERS:  Joan  Crawford,  Clark 
Gable,  Robert  Montgomery — A-1.  First  rate  in  every 
respect  and  fine  entertainment  for  all  classes.  An 
audience  picture.  Played  January  20-22. — Chas.  Born, 
Elks  Theatre,  Prescott,  Ariz.     General  patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford,  Clark 
Gable,  Robert  Montgomery — Excellent.  Plenty  of 
comedy  and  my  patrons  ate  it  up.  Personally,  I 
thought  it  just  a  trifle  silly  in  spots  but  it  was  good 
just  the  same  and  had  what  it  takes  to  bring  them 
in.  Running  time,  74  minutes.  Played  March  6-7. — 
A.  E.  Christian,  Wayne  Theatre,  Monticello,  Ky.  Small 
town  patronage. 

HAVE  A  HEART:  Jean  Parker,  James  Dunn,  Una 
Merkel,  Stuart  Erwin — Nothing  but  a  program.  Sec- 
ond night  flopped.  Running  time,  82  minutes. — G. 
Carey,  Strand  Theatre,  Paris,  Ark.  Family  patron- 
age. 

NIGHT  IS  YOUNG,  THE:  Ramon  Novarro,  Evelyn 
Laye — A  pleasing  musical  with  the  usual  Metro  exact- 
ness for  detail;  plenty  of  comedy  for  diversion.  Run- 
ning time,  82  minutes.  Played  March  13-14. — Roy  C. 
Irvine,  Ritz  Theatre,  Ritzville,  Wash.  Genera!  patron- 
age. 

PAINTED  VEIL,  THE:  Greta  Garbo— In  this  the 
great  Garbo  acts  Uke  a  real  flesh  and  blood  woman 
who  is  subject  to  human  emotions  even  as  you  and 
I.  The  first  half  of  the  picture  is  real  pleasing  enter- 
tainment. The  second  half  is  given  over  to  a  cholera 
epidemic,  showing  the  funerals  and  death  of  the  vic- 
tims. It  is  not  a  very  pleasant  subject  to  be  dealt 
with  in  such  lengthy  footage.  A  happy  ending  helps 
considerable.  No  special  drawing  power  to  this. — 
J.  E.  Stocker,  Myrtle  Theatre,  Detroit,  Mich.  Neigh- 
borhood patronage. 

SEQUOIA:  Jean  Parker — One  of  the  most  remark- 
able pictures  ever  produced.  "Sequoia"  is  unique  in 
story  substance,  interest  holding  and  appealing  enter- 
tainment qualities  as  well  as  the  most  beautiful  pho- 
tography ever  presented  in  an  "out-door"  picture. 
Give  it  a  longer  run  than  the  other  "stufif" — it  ad- 
vertises itself.  Played  March  22-23. — Chas.  Born, 
Elks  Theatre,  Prescott,  Ariz.    General  patronage. 

SEQUOIA:  Jean  Parker — An  excellent  picture.  Did 
better  than  average  business  and  all  cornments  were 
favorable.  This  picture  is  mostly  concerned  with  the 
friendship  of  a  puma  and  deer  and  the  human  love 
angle  is  merely  incidental.  It  is  refreshingly  new  and 
novel  in  theme  but  it  is  of  the  type  that  audiences 
would  very  soon  tire  of  due  to  the  preponderance  of 
animal  shots.  About  one  or  two  a  year  of  this  type 
is  okay.  Running  time,  71  minutes.  Played  March 
16. — B.  HoUenbeck,  Rose  Theatre,  Sumas,  Wash. 
Small  town  patronage. 

SEQUOIA:  Jean  Parker — Beautifully  photographed 
and  cleverly  produced  picture  dealing  with  the  friend- 
ship between  a  puma  and  a  deer.  Pleased  ninety  per 
cent.  Ideal  for  the  family.  Clean,  wholesome  and 
very  suitable  for  Lent. — John  A.  Milligan,  Broadway 
Theatre,  Schuylerville,  N.  Y.    Small  town  patronage. 

STUDENT  TOUR:  Charles  Butterworth,  Maxine 
Doyle,  Jimmy  Durante — Our  patronage  found  this  to 
be  an  entertaining  program  picture.  The  young  peo- 
ple especially  enjoyed  it. — J.  W.  Noah,  New  Liberty 
and  Ideal  Theatres,  Fort  Worth,  Texas.  General 
patronage. 

WHAT  EVERY  WOMAN  KNOWS:  Helen  Hayes, 
Brian  Aherne — A  beautiful  picture  and  a  flop  with  al- 
most a  record  low  at  the  box  office.  I  have  a  hunch 
that  the  Scotch  accent  is  partly  the  cause  of  its  lack 
of  drawing  power,  as  the  trailer  shown  a  week  in  ad- 
vance gives  a  very  liberal  sample  of  the  Scotch  dia- 
logue to  most  of  our  patrons.  It  is  my  opinion  that 
this  picture  should  have  been  made  with  clear  Ameri- 
can English.    I  know  that  it  is  a  story  with  its  locale 


CONTRIBUTES 
TO  AID  OTHERS 

"For  some  time  I  have  been  using 
this  Department  and  as  a  whole  find 
the  Herald  indispensable,"  writes 
Sam  Kimball,  manager  of  the  Cor- 
nish Theatres,  Limerick,  Me.  "I  felt 
that  as  I  was  getting  so  much  from 
the  columns  that  perhaps  my  contri- 
butions might  aid  someone  else." 


in  Scotland,  but  that  is  no  reason  why  the  characters 
could  not  speak  English  as  we  know  it.  When  the 
characters  are  French  or  Italian  we  have  them  speak 
English  instead  of  French  or  Italian  except  for  one 
who  is  definitely  a  foreigner  among  English  speaking 
people.— J.  E.  Stocker,  Myrtle  Theatre,  Detroit,  Mich. 
Neighborhood  patronage. 


Monogram 

GIRL  OF  THE  LIMBERLOST:  Marian  Marsh, 
^ialph  Morgan — Play  it,  if  it  is  a  bit  late.  Through 
Maine  it  has  done  business  wlierever  played. — Sam 
A.  Kimballj.  Cornish  Theatres,  Inc.,  Limerick,  Maine. 
General  patronage. 

SING  SING  NIGHTS:  Conway  Tearle,  Mary  Doran 
— Quite  an  original  theme  that  held  interest  all  the 
way.  Good  sound  and  well  photographed.  Business 
average. — J.  E.  Stocker,  Myrtle  Theatre,  Detroit, 
Alich.    Neighborhood  patronage. 


Paramount 

ALL  THE  KING'S  HORSES:  Carl  Brisson,  Mary 
Ellis — Picture  patterned  after  the  "Guardsman."  Only 
redeeming  part  of  the  picture  was  last  10  minute  se- 
quence, "Dancing  the  Vieimese."  Not  a  small  town 
picture.  Running  time,  85  minutes.  Played  March  12- 
14.— E.  A.  Reynolds,  Strand  Theatre,  Princeton,  Minn. 
Small  town  and  country  patronage. 

COLLEGE  RHYTHM:  Joe  Penner,  Launy  Ross- 
Step  on  this  one  plenty.  It  has  everything:  snappy- 
music,  good  dancing,  and  plenty  of  comedy.  Joe  Pen- 
ner is  a  riot.  Jack  Oakie  is  excellent  in  his  part,  and 
the  balance  of  the  cast  is  good.  It's  just  the  right 
kind  of  a  musical  for  small  towns.  It  did  excellent 
business  for  us  and  everybody  came  out  smiling.  Run- 
ning time,  83  minutes.  Played  March  18-19. — A.  E. 
Christian,  Wayne  Theatre,  Monticello,  Ky.  Small 
town  patronage. 

FATHER  BROWN,  DETECTIVE:  Paul  Lukas, 
Walter  Connolly,  Gertrude  Michael — Average  program 
picture.  Was  afraid  of  this  due  to  adverse  reports 
but  in  my  opinion,  it  is  a  fairly  good  picture.  The 
cash  customers  all  seemed  to  like  it  and  it  did  aver- 
age business.  Played  March  13. — B.  HoUenbeck,  Rose 
Theatre,  Sumas,  Wash.    Small  town  patronage. 

GILDED  LILY,  THE:  Claudette  Colbert,  Fred 
MacMurray — A  pleasant  romantic  comedy;  Colbert 
successfully  upholds  her  reputation  as  a  great  star. 
However,  the  studios  should  keep  an  eye  on  this  chap 
MacMurray.  The  best  new  screen  possibility  for  a 
long  time.  He  should  go  a  long  way.  Picture  and 
story  pleasant  and  entertaining.  Running  time,  82 
minutes.  Played  March  3-5. — E.  A.  Reynolds,  Strand 
Theatre,  Princeton,  Minn.  Small  town  and  country 
patronage. 

HOME  ON  THE  RANGE:  Randolph  Scott,  Jackie 
Coogan — Good  business  on  this  one.  My  patrons  like 
the  Zane  Grey  stories  and  I  get  some  customers  on 
these  that  usually  do  not  come  to  see  westerns.  Run- 
ning time,  55  minutes.  Played  February  22-23. — A.  E. 
Christian,  Wayne  Theatre,  Monticello,  Ky.  Small 
town  patronage. 

IT'S  A  GIFT:  W.  C.  Fields,  Baby  LeRoy— The  best 
W.  C.  Fields  has  made  to  date.  Everyone  liked  this 
one  and  business  was  above  average.  Running  time^ 
65  minutes.  Played  March  21-22.— J.  T.  Justice,  Jr., 
Fickfair  Theatre,  Kernersville,  N.  C.  Small  town 
patronage. 

IT'S  A  GIFT:  W.  C.  Fields,  Baby  LeRoy— Very 
funny  feature  comedy.  Majority  liked  it.  In  the 
pantomime  scenes,  Fields  was  just  as  good  as  Charlie 
Chaplin  ever  was. — L.  G.  Tewksbury,  Opera  House, 
Stonington,  Maine.    Small  town  patronage. 

LIVES  OF  A  BENGAL  LANCER:  Gary  Cooper, 
Franchot  Tone. — It's  the  tops.  While  this  picture 
lacks  a  feminine  star,  the  picture  still  has  an  appeal 
for  the  audience.  A  great  story,  marvelously  produced 
by  a  perfect  cast  makes  this  an  outstanding  picture. 
Cooper's  acting  absolutely  flawless.  I  repeat  it's  the 
tops.  Running  time,  108  minutes.  Played  March  24- 
26. — E.  A.  Reynolds,  Strand  Theatre,  Princeton,  Minn. 
Small  town  and  country  patronage. 

LIVES  OF  A  BENGAL  LANCER:  Gary  Cooper, 
Franchot  Tone — Nothing  but  words  of  praise  for  this 
one  from  my  patrons.    Lavishly  produced.    Great  cast. 


Plenty  of  action,  etc,  etc.  Step  on  it. — L.  (j.  Tewks- 
bury, Opera  House,  Stonington,  Maine.  Small  town 
patronage. 

MANY  HAPPY  RETURNS:  Gracie  Allen,  George 
Burns,  Joan  Marsh,  Veloz  and  Yolanda,  Guy  Lombar- 
do  and  The  Royal  Canadians — I  made  the  mistake  of 
using  this  in  place  of  a  newer  show.  Most  people 
like  comedy,  but  this  has  comedy  that  does  not  go 
oyer  as  it  is  too  silly.  While  it  is  not  really  a  poor 
picture,  it  pleased  about  as  little  as  a.ny  picture  we 
have  had  for  several  weeks. — L.  V.  Bergtold,  Opera 
House,  Kasson,  Minn.    Rural,  small  town  patronage. 

MRS.  WIGGS  OF  THE  CABBAGE  PATCH:  Paul- 
ine Lord,  W.  C.  Fields,  Zasu  Pitts,  Kent  Taylor,  Eve- 
lyn Venable — A  mighty  nice  picture;  clean  and  down 
to  earth.  Schools  and  churches  should  endorse  100 
per  cent.  Running  time,  73  minutes. — G.  Carey, 
Strand  Theatre,  Paris,  Ark.    Family  patronage. 

NOW  AND  FOREVER:  Gary  Cooper,  Carole  Lom- 
bard, Shirley  Temple,  Sir  Guy  Standing— This  fell 
below  my  expectations.  Not  half  the  entertainment 
that  "Little  Miss  Marker"  was.  The  famous  Temple 
kid  isn't  on  the  screen  nearly  enough  in  this  one. 
t£  you  haven't  played  it,  don't  expect  too  much.  We 
played  with  road  conditions  very  bad  and  did  normal 
business,  so  it  should  be  box  office  under  ordinary 
conditions.— L.  V.  Bergtold,  Opera  House,  Kasson, 
Minn.    Rural  and  small  town  patronage. 

OLD-FASHIONED  WAY,  THE:  W.  C.  Fields, 
Baby  LeRoy — Gave  this  a  return  engagement  as  we 
were  stormed  out  of  most  of  our  business  on  the  first 
showing.  Comments  were  numerous  and  gave  evi- 
dence that  the  picture  went  over  in  a  big  way.  Busi- 
ness was  about  average  in  spite  of  it  being  a  "re- 
peat."— L.  V.  Bergtold,  Opera  House,  Kasson,  Minn. 
Rural  and  small  town  patronage. 

ROCKY  MOUNTAIN  MYSTERY:  Randolph  Scott, 
"Chic"  Sale — Paramount  has  strayed  a  long  way  from 
the  once  successful  product  of  these  money  getting 
Zane  Grey  stores.  Call  them  horse  operas  if  you 
wish  but  last  year's  Zane  Greys  produced  by  Para- 
mount ojitgrossed  in  nearly  every  instance  their  top 
pictures.  "Rocky  Mountain  Mystery"  is  a  poorly 
made  picture  and,  in  fact,  hardly  a  western.  A  couple 
of  these  and  Zane  Grey  won't  mean  a  thing  to  the 
B.  O.  Running  time,  65  minutes.  Played  February 
17-19.— E.  A.  Reynolds,  Strand  Theatre,  Princeton, 
Minn.    Small  town  and  country  patronage. 

RUMBA:  George  Raft,  Carole  Lombard — George 
Raft  again  cast  as  a  partner  of  famous  dance  team. 
It's  too  bad  the  studios  in  casting  this  possible  star 
don't  give  him  a  story  like  he  had  in  "Scarface"  or 
"The  Bowery."  Tliat's  the  type  in  which  he  is  liked. 
Why  miscast  him  Running  time,  70  minutes.  Played 
February  20-21.— E.  A.  Reynolds,  Strand  Theatre, 
Princeton,  Minn.    Small  town  and  country  patronage. 

WINGS  IN  THE  DARK:  Myrna  Loy,  Gary  Grant 
— A  surprise  picture.  The  picture  clicked  at  the  box 
office  and  pleased.  A  novel  story  with  perfect  sup- 
porting cast.  Cary  Grant  is  passable  in  this  one. 
Running  time,  75  minutes.  Played  March  1-2. — E.  A. 
Reynolds,  Strand  Theatre,  Princeton,  Minn.  Small 
to\\'n  and  country  patronage. 

YOU  BELONG  TO  ME:  Lee  Tracy,  Helen  Mack- 
Just  a  program  picture  played  on  Bargain  Night. 
Helen  Mack  terrible  in  a  blond  wig.  Running  time, 
66  minutes.  Played  February  27-28. — A.  E.  Christian, 
Wayne  Theatre,  Monticello,  Ky.  Small  town  patron- 
age. 


RKO  Radio 

GAY  DIVORCEE,  THE:  Fred  Astaire,  Ginger 
Rogers — Is  playing  my  theatre  for  its  third  night  to- 
night and  its  big  scenes  with  its  pretty  girls  m  glit- 
tering clothes  make  it  an  outstanding,  gorgeous  screen 
attraction.  Fred  Astaire  and  Ginger  Rogers  will  bring 
happiness  to  you.  Very  good  in  their  great  dancing 
parts  they  play  in  this  picture.  Edward  Everett  Hor- 
ton  is  the  same  old  expression  man  who  gives  a  good 
many  laughs  to  your  audience.  The  Baptist  minister 
of  our  little  city  is  holding  protracted  meetings  and, 
of  course,  our  crowd  is  not  so  big.  I  had  almost 
given  up  the  pleasure  I  derived  in  writing  "What  the 
Picture  Did  for  Me"  through  the  kindness  of  the 
Motion  Picture  Herald  but  when  I  see  a  pic- 
ture like  "The  Gay  Divorcee"  and  the  general  pubUc 
enjoy  it  so  much  then  I  want  to  come  back  and  tell 
my  story,  hoping  and  honestly  hoping  that  our  pro- 
ducers will  see  it  and  do  their  very  best  to  give  us 
pictures  that  will  draw  for  us  a  full,  running-over 
cash  register  at  our  box  office  each  night,  365  days  in 
the  year.  Now,  Mr.  Picture  Film  Producer,  if  this 
is  asking  more  than  you  can  do  then  we  exhibitors  will 
have  to  make  up  our  minds  to  string  along  with  you 
and  take  what  you  give  till  its  all  over. — George  W. 
Odom  and  Sons,  Dixie  Theatre,  Durant,  Miss.  General 
patronage. 

GIGOLETTE:  Adrienne  Ames,  Ralph  Bellamy- 
Played  this  with  "La  Cucaracha"  for  an  Owl  show 
and  pleased.  "Gigolette"  better  than  .average  pro- 
gram from  RKO.  Running  time,  72  miujutes.  Played 
March  9-10.— G.  Carey,  Strand  Theatre,  Paris,  Ark. 
Family  patronage. 

GRAND  OLD  GIRL:  May  Robson— Ran  this  with 
the  Dionne  Quintuplets  and  "La  Cucaracha"  and  did 
a  good  business.  The  picture  pleased. — W.  H.  Hard- 
man,  Royal  Theatre,  Frankfort,  Kansas.  Small  town 
patronage. 

KENTUCKY  KERNEXS:   Wheeler  and  Woolsey— 


April    6  ,     19  3  5 


MOTION    PICTURE  HERALD 


73 


The  boys  are  coming;  back.  We  though  it  their  best. 
—Sam  A.  Kimball,  Coniish  Theatres,  Inc.,  Limerick, 
Maine.    General  patronage. 

LITTLE  MINISTER,  THE:  Katharine  Hepburn- 
Very  good.  Mostly  a  woman's  picture  and  will  not 
appeal  to  the  action  fans.  Did  slightly  better  than 
average  business.  The  photography  in  this  is  poor 
and  so  dark  that  you  have  to  giLcss  what's  going  on 
most  of  the  time.  Running  time.  109  minutes.  Played 
March  9.— B.  Hollenbeck,  Rose  Theatre.  Sumas,  Wash. 
Small  town  patronage. 

LITTLE  MINISTER,  THE:  Katharine  Hepburn, 
John  Beal— Grand  from  every  angle.— Sam  A.  Kim- 
ball. Cornish  Theatres,  Inc.,  Limerick,  Maine.  Gen- 
eral patronage. 

RED  MORNING:  Steffi  Duna— Did  OK  on  a  double 
bill.— W.  H.  Hardman,  Royal  Theatre.  Frankfort, 
Kansas.    Small  town  patronage. 

RICHEST  GIRL  IN  THE  WORLD,  THE:  Miriam 
Hopkins,  Joel  McCrea,  Fay  Wray.  Reginald  Denny— 
A  good  show  that  drew  a  nice  first  ^jght's  business 
and  for  some  unknown  reason  took  a  terrible  flop  the 
second  night  with  weather  and  road  conditions  de- 
cidedly favorable.  Should  be  good  entertainment  in 
any  theatre.  Comedy,  pathos,  and  romance  mixed  in 
about  the  right  proportions. — L.  V.  Bergtold,  Opera 
House.  Kasson,  Minn.  Rural  and  small  town  patron-  . 
age. 

RICHEST  GIRL  IN  THE  WORLD,  THE:  Miriam 
Hopkins,  Joel  McCrea — A  little  above  average.  A  pic- 
ture with  gay  parties,  pretty  clothes  and  plenty  of 
drinking.  Women  liked  it  better  than_  the  men.  Just 
average  at  box  office.  Running  time,  76  minutes. 
Played  March  11-12.— A.  E.  Christian,  Wayne  Thea- 
tre, Monticello,  Ky.    Small  town  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix— This  is  a 
dandy  western  picture  and  did  the  business. — W.  H. 
Hardman,  Royal  Theatre,  Frankfort,  Kansas.  Small 
town  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix— It  brought 
them  in  and  held  them.  If  they  like  westerns  step 
on  it. — Sam  A.  Kimball,  Cornish  Theatres,  Inc.,  Lim- 
erick. Maine.     General  patronage. 


United  Artists 


KID  MILLIONS:  Eddie  Cantor— Consider  this  one 
of  Cantor's  best.  Lots  of  action,  riotous  comedy  and 
a  glorious  color  sequence  makes  this  picture  pleasing 
to  any  audience.  Eve  Sully  is  exceptionally  good, 
supporting  cast  OK.  Running  time,  91  minutes. 
Played  March  17-19.— E.  A.  Reynolds.  Strand  Theatre, 
Princeton,  Minn.    Small  town  and  country  patronage. 

MIGHTY  BARNUM,  THE:  Wallace  Beery, 
Adolphe  Menjou — A  terrible  ^lc^p  at  the  box  office  and 
not  as  good  as  I  expected.  Beery  not  suited  to  such 
roles.  He  shines  in  such  roles  as  he  played  in  "Viva 
Villa"  and  "The  Big  House."  Running  time.  105  min- 
utes. Played  Mai-ch  1-2. — A.  E.  Christian,  Wayne 
Theatre,  Monticello,  Ky. 

OUR  DAILY  BREAD:  Tom  Keene,  Karen  Morley— 
The  picture  had  a  good  story  and  well  acted.  Did  not 
draw  so  well.  Some  scenes  overdone. — W.  H.  Hard- 
man,  Royal  Theatre,  Frankfort,  Kan.  Small  town 
patronage. 

PRIVATE  LIFE  OIF  DON  JUAN,  THE:  Douglas 
Fairbanks,  Sr. — This  picture  draws  like  a  broken 
cigar.  Eighty-four  minutes  of  misery  for  the  audi- 
ence, the  ushers  and  the  operator.  You  couldn't  break 
even  with  this  picture  if  they  shipped  it  out  with  a 
10-dolIar  bill  in  the  can.  Certainly,  recent  publicity 
hasn't  helped  Fairbanks  a  bit.  Running  time,  84  min- 
utes. Played  February  13-14. — E.  A.  Reynolds,  Strand 
Theatre,  Princeton,  Minn.  Small  town  and  country 
patronage. 


Uni 


niversai 

EMBARRASSING  MOMENTS:  Chester  Morris, 
Marian  Nixon — Played  this  in  place  of  "Secrets  of  the 
Chateau,"  and  it  proved  to  be  an  excellent  substitu- 
tion. This  drew  more  favorable  comments  than  any 
midweek  show  we  have  run  this  winter.  This  has  a 
little  of  everything  in  it  with  comedy  predominating. 
Any  exhibitor  can  play  this  in  place  of  something  on 
this  year's  contract  and  not  make  a  mistake.  A  real 
hit  for  the  midweek  nights! — L.  V.  Bergtold,  Opera 
House,  Kasson,  Minn.    Rural,  small  town  patronage. 

GOOD  FAIRY,  THE:  Margaret  Sullavan,  Herbert 

Marshall — Margaret  Sullavan  deserves  better  story 
material  than  this  picture  oflPers.  Frank  Morgan  good 
in  this  picture;  however,  picture  drags  its  entre  length. 
Patrons'  reaction  zero-zero.  Running  time,  95  min- 
utes. Played  March  5-7.— E.  A.  Reynolds,  Strand  The- 
atre, Princeton,  Minn.  Small  town  and  country  pat- 
ronage. 

GREAT  EXPECTATIONS:  Henry  Hull,  Jane 
Wyatt.  Phillips  Holmes — It  is  good  for  any  time.  Let 
the  schools  in  on  it. — Sam  A.  Kimball,  Cornish  The- 
atres, Inc.,  Limerick,  Maine.    General  patronage. 

MYSTERY  OF  EDWIN  DROOD,  THE:  Qaude 
Rains.  Heather  Angel — Slow  moving  mystery  type  of 
story.  Well  cast  and  ably  directed.  Yet  this  Dickens 
story  is  just  average  entertainment.  Running  time, 
85  minutes.    Played  February  27-28. — E.  A.  Reynolds, 


Strand  Theatre,  Princeton,  Minn.  Small  town  and 
coimtry  patronage. 

ONE  EXCITING  ADVENTURE:  Binnie  Barnes, 
Neil  Hamilton — Foreign  setting,  but  went  over  very 
well  in  spite  of  that.  Rather  an  unusual  type  of  story 
that  hasn't  any  draggy  scenes.  Will  rate  this  as  bet- 
ter than  average  program  show. — L.  V.  Bergtold, 
Opera  House,  Kasson,  Minn.  Rural  and  small  town 
patronage. 

ONE  EXCITING  ADVENTURE:  Binnie  Barnes, 
Neil  Hamilton — A  very  good  program  picture.  Run- 
ning time,  65  minutes.  Played  March  16. — G.  Carey, 
Strand  Theatre,   Paris,  Ark.    Family  patronage. 

ROMANCE  IN  THE  RAIN:  Roger  Pry  or.  Heather 
Angel — Here  is  a  real  picture  that  you  can  make  a 
fuss  about.  The  story  is  different  and  it  is  extra 
well  done.  Roger  Pryor  keeps  on  improving.  Get  them 
in,  the  picture  has  what  it  takes  to  please  the  cash 
customers.  Business  a  fair  average. — J.  E.  Stocker, 
Myrtle  Theatre,  Detroit,  Mich.  Neighborhood  pat- 
ronage. 

SMOKING  GUNS:  Ken  Maynard,  Gloria  Shea- 
Picked  this  one  up  in  place  of  a  percentage.  Wish  I 
had  let  it  lie.  Film  was  in  bad  shape.  Did  good  busi- 
ness, but  I  did  not  stand  around  main  exit,  for  I  knew 
some  one  would  be  asking  "Where  did  that  junk  come 
from" — Sam  A.  Kimball,  Cornish  Theatres,  Inc.,  Lim- 
erick, Maine.    General  patronage. 

STRANGE  WIVES:  Roger  Pryor— A  Tery  poor  pic- 
ture that  did  not  please.  Played  one  day  to  fair 
business.  Played  March  6. — J.  R.  Patterson,  Majestic 
Theatre,  Fort  Mill,  S.  C.    Small  town  patronage. 

THERE'S  ALWAYS  TOMORROW:  Frank  Mor- 
gan, Binnie  Barnes,  Lois  Wilson — Best  all  around 
picture  we  have  run  for  several  months.  Many  fine 
comments.  Will  please  all  classes.  Business  poor  on 
account  of  two  nearby  "Fairweather"  theatres  open- 
ing up  with  highly  advertised  pictures.  About  a  dozen 
reports  on  this  rate  it  from  very  good  to  excellent 
(Motion  Picture  Herald).  A  picture  has  to  be  good 
to  rate  nothing  lower  than  "very  good." — L.  V.  Berg- 
told, Opera  House,  Kasson,  Minn.  Rural  and  small 
town  patronage. 

THERE'S  ALWAYS  TOMORROW:  Frank  Morgan, 
Binnie  Barnes — A  fair  program  picture.  They  will  like 
it  if  you  can  get  them  in,  but  it's  not  a  family  pic- 
ture.— Sam  A.  Kimball,  Cornish  Theatres,  Inc.,  Lim- 
erick, Maine.    General  patronage.  > 

WHEN  A  MAN  SEES  RED:  Buck  Jones— A  good 
western  and  drew  well  on  Saturday.  Running  time, 
64  minutes.  Played  March  23.— J.  T.  Justice,  Pick- 
fair  Theatre,  Kernersville,  N.  C.  Small  town  pat- 
ronage. 


Warner  Bros. 


BORDERTOWN:  Paul  Muni,  Bette  Davis— An  tin- 
usually  good  feature.  Drawing  power  above  average. 
Running  time,  90  minutes.  Played  March  18-19. — J.  T. 
Justice,  Jr.,  Pickfair  Theatre,  Kernersville,  N.  C. 
Small  town  patronage. 

DEVIL  DOGS  OF  THE  AIR:  James  Cagney,  Pat 
O'Brien — This  picture  presents  the  famous  pair  of 
"Here  Comes  the  Navy"  in  their  usual  scrappy  style. 
An  interesting  plot  filled  with  comedy  and  some  in- 
teresting shots  of  the  San  Diego  Marine  Corps.  De- 
serves a  good  spot.  Running  time,  85  minutes.  Played 
March  10-12.— E.  A.  Reynolds,  Strand  Theatre,  Prince- 
ton, Minn.    Small  town  and  country  patronage. 

RIGHT  TO  UVE,  THE:  George  Brent,  Josephine 
Hutchison — A  very  slow  class  picture  that  did  not 
gross  film  rental  here.  What  few  saw  it  did  not  like 
it  and  told  me  so.  Played  March  4-5. — J.  R.  Patter- 
son, Majestic  Theatre.  Fort  Mill,  S.  C.  Small  town 
patronage. 

SWEET  ADELINE:  Irene  Dunne.    Donald  Woods— 


3-mile-a-minute  twin-engined  transports. 
Quiet,  spacious  cabins.  Stewardess  service. 

UNITED  AIR  LINES 


When  1  bought  Warner  Brothers  pictures,  1  figured 
"Sweet  Ailcline"  would  be  one  of  the  best  bets.  It 
proved  a  miserable  flop  and  the  high-class  singing 
does  not  go  over  here.  Only  musicals  with  popular 
and  jazz  music  will  draw  in  this  town.  Irene  Dunne 
sings  seven  songs  and  the  picture  would  have  been 
better  if  she  had  sung  about  three.  Running  time,  82 
minutes. — A.  E.  Qiristian,  Wayne  Theatre,  Monti- 
cello, Ky.    Small  town  patronage. 


Miscellaneous 


RICHARD,  THE  LION  HEARTED:  Wallace 
Beery — This  was  an  old  silent  picture  and  we  had  to 
cue  it  with  our  disc  sound  device.  It  went  over  fairly 
well  and  it  was  a  good  print  and  it  ran  through  very 
well.  Everybody  liked  it.  Running  time,  74  minutes. 
Played  March  21-22.— Albert  Hefferon,  Owl  Theatre, 
Grand  Rapids,  Mich.    Special  patronage. 


Short  Features 

Celebrity 


JACK  AND  THE  BEANSTALK:  Comicolor  Car- 
toons— The  audience  seemed  to  enjoy  this  color  car- 
toon. It  is  only  fair. — J.  W.  Noah,  New  Liberty 
and  Ideal  Theatres,  Fort  Worth,  Texas.  General  pat- 
ronage. 

LITTLE  RED  HEN,  THE:  Comicolor  Cartoons- 
While  this  is  far  from  being  a  "Silly  Symphony,"  it 
is  satisfactory  filler  material  for  your  best  days. — 
J.  W.  Noah,  New  Liberty  and  Ideal  Theatres,  Fort 
Worth,  Texas.    General  patronage. 


Columbia 


BACK  TO  THE   SOIL:    George   Sidney,  Charles 

Murray — Our  patrons  enjoyed  this  comedy. — J.  W. 
Noah,  New  Liberty  and  Ideal  Theatres,  Fort  'Worth, 
Texas.    General  patronage. 


Educational 


GIRL  FROM  PARADISE:  Musical  Comedies— Good 
peppy  comedy  with  music. — W.  H.  Hardman,  Royal 
Theatre,   Frankfort,  Kan.    Small  town  patronage. 

GOOD  LUCK,  BEST  WISHES:  Pickens  Sisters, 
Sally  Ward — Not  as  good  as  I  expected  and  the  songs 
weren't  very  good.  However,  we  have  played  a  lot 
of  worse  ones.  Running  time,  20  minutes. — A.  E. 
Christian,  Wayne  Theatre,  Monticello,  Ky.  Small 
town  patronage. 

MOUNTAIN  MELODY:  Song  hit  stories— A  very 
good  musical  act  of  its  kind.  Went  over  big  here. — 
J.  R.  Patterson,  Majestic  Theatre,  Fort  Mill,  S.  C. 
Small  town  patronage. 

ONE-RUN  ELMER:  Buster  Keaton— If  you  really 
want  a  comedy  try  this  one.  Had  more  comments 
on  this  than  on  the  feature  I  played  with  it.  Would 
be  excellent  for  Friday  and  Saturday  or  will  help  a 
weak  program.  Running  time,  20  minutes. — A.  E. 
Christian,  Wayne  Theatre,  Monticello,  Ky.  Small 
town  patronage. 

SHE'S  MY  ULLY:  Musical  comedies— One  of  the 
best  musical  comedies  made. — J.  R.  Patterson,  Ma- 
jestic Theatres,  Fort  Mill,  S.  C.    Small  town  patronage. 


MGM 


HEY,  HEY  FEVER:  Happy  Harmonies— Very  good 
Bosko  color  cartoon  which  will  appeal  to  youngsters 
and  grownups  alike. — John  A.  Milligan,  Broadway 
Theatre,  Schuylerville,  N.  Y.    Small  town  patronage. 

LIVE  GHOSTS:  Laurel  and  Hardy— About  the  same 
as  usual  for  the  Laurel  and  Hardys.  Where  they  like 
them,  it's  great  and  where  they  don't  it's_  punk. 
Opinion  seems  to  be  divided  here.  Running  time,  20 
minutes. — B.  Hollenbeck,  Rose  Theatre,  Sumas,  Wash. 
Small  town  patronage. 

LIVE  GHOSTS:  Laurel  and  Hardy— The  answer  to 

an  exhibitor's  prayer  for  good  comedies.  Running 
time,  two  reels. — Roy  C.  Irvine,  Ritz  Theatre,  Ritz- 
ville.  Wash.    General  patronage. 

NOSED  OUT:  Irvin  S.  Cobb— Just  fair.  I  guess 
Irvin  Cobb  better  go  back  to  his  writing  and  leave 
the  movies  alone  and  we  will  all  be  happier.  Running 
time,  20  minutes.— B.  Hollenbeck,  Rose  Theatre,  Su- 
mas.   Wash.    Small   town  patronage. 

STAR    NIGHT    AT    THE    COCOANUT  GROVE: 

Musical  Revues — Very  good  musical  revue.  About  the 
best  one  yet  from  Metro.  Running  time.  19  minutes. 
— B,  Hollenbeck,  Rose  Theatre,  Sumas,  Wash.  Small 
town  patronage. 

STAR   NIGHT   AT   THE  COCOANUT  GROVE: 

Musical  revues — The  fact  that  the  audience  actually 
applauded  this  musical  revue  in  color  and  I  held  it 
over  for  an  extended  run  speaks  for  its  quality. 
Book  it  and  boost  it.   Running  time,  two  reels— Roy 


74 


MOTION    PICTURE  HERALD 


April    6 ,  1935 


C.  Irvine,  Ritz  Theatre,  Ritz  Theatre,  Ritzville,  Wash. 
General  patronage. 

STAR    NIGHT    AT    THE    COCOANUT  GROVE: 

Musical  Revues— Very  goixl  two-reeler  with  well  rlone 
color  by  Technicolor.  Singing  and  dancing  with  Bing 
Crosby,  the  highlight  when  he  sings  "With  Every 
Breath  I  Take."  Ted  Fio  Rito's  orchestra  helps  a 
lot.  Altogether,  above  average.— John  A.  Milligan, 
Broadway  Theatre,  Schuylerville,  N.  Y.  Small  town 
patronage. 

ZION,  CANYON  OF  COLOR:  Fitzpatrick  Travel 
Talks— Beautiful,  with  a  couple  of  appropriate  songs 
that  add  greatly  to  its  effectiveness.  Running  time, 
eight  minutes.— Roy  C.  Irvine,  Ritz  Theatre,  Ritz- 
ville, Wash.    General  patronage. 


Paramount 

BABY  BE  GOOD:  Betty  Boop  Cartoons— This  car- 
toon started  out  swell.  Evidently  the  cartoonist  that 
drew  this  was  in  a  hurry  to  go  on  a  fishing  trip  as 
the  last  half  is  a  repetition  of  the  first  half  in  reverse 
motion.  Running  time,  seven  minutes. — E.  A.  Rey- 
nolds, Strand  Theatre,  Princeton,  Minn.  Small  town 
and  country  patronage. 

DANCE  CONTEST:  Popeye,  the  Sailor— One  of 
Popeye's  besi. — G.  Carey,  Strand  Theatre,  Paris,  Ark. 
Family  patronage. 

POOR  CINDERELLA:  Color  Classic— Very  good 
und  the  color  is  brighter  than  technicolor,  but  not 
quite  as  natural. — A.  E.  Christian,  Wayne  Theatre, 
Monticello,  Ky.    Small  town  patronage. 


RKO 

LA  CUCARACHA:  Steffi  Duna,  Don  Alvarado— 
A  really  beautiful  subject  in  color  and  the  Spanish 
costumes  and  settings  show  up  beautifully.  Not  much 
comedy  and  just  a  little  high-class  to  be  generally 
appreciated.  Running  time,  21  minutes. — A.  E.  Chris- 
tian, Wayne  Theatre,  Monticello,  Ky.  Small  town 
patronage.' 

LA  CUCARACHA:  This  is  extra  fine  in  color  and 
it  pleased.— W.  H.  Hardman,  Royal  Theatre,  Frank- 
fort, Kan.    Small  town  patronage. 

RKO'  COMEDIES:  Have  not  received  a  good  com- 
edy yet.  Mostly  very  silly. — W.  H.  Hardman,  Royal 
Theatre,  Frankfort,   Kan.    Small  town  patronage. 


United  Artists 

CHINA  SHOP,  THE:  Silly  Symphony— These  color 
cartoons  are  nice,  but  are  no  better  than  some  others 
we  play  and  which  cost  us  about  half  as  much.  The 
cartoons  seem  to  go  more  for  art  than  comedy  and 
my  patrons  like  them  funny.  Running  time,  eight 
minutes. — A.  E.  Christian,  Wayne  Theatre,  Monti- 
cello, Ky.    Small  town  patronage. 


Universal 

AT  THE  MIKE:  Universal  Comedies — Very  good. 
Our  patrons  like  these  acts  better  than  the  usual 
run  of  slapstick  comedies. — J.  R.  Patterson.  Majestic 
Theatre,  Fort  Mill,  S.  C.    Small  town  patronage. 

\yORLD'S  (FAIR  AND  WARMER:  Arthur  Lake— 
This  comedy  received  good  audience  response.  It  has 
plenty  of  action. — J.  W.  Noah,  New  Liberty  and  Ideal 
Theatres,  Fort  Worth,  Texas.    General  patronage. 


Vitaphone 

BUSINESS  IS  A  PLEASURE:  Broadway  Brevities 
— This  is  a  fine  musical  subject  in  color. — J.  W.  Noah, 
New  Liberty  and  Ideal  Theatres,  Fort  Worth,  Texas. 
'General  patronage. 

COUNTRY  BOY,  THE:  Merrie  Melodies— All  color, 
Merry  Melody  of  Peter  Rabbitt.  Swell— elegant.  Run- 
ning time,  eight  minutes. — E.  A.  Reynolds,  Strand 
Theatre,  Princeton,  Minn.  Small  town  and  country 
patronage. 

DARLING  ENEMY:  Broadway  Brevities— A  very 
good  inusical  comedy.  Running  time,  two  reels.— Roy 
C.  Irvine,  Ritz  Theatre,  Ritzville,  Wash.  General  pat- 
ronage. 

GOOD  MORNING,  EVE:  Leon  Erroll— Just  fair. 
These  musical  shorts  are  not  as  good  as  they  used  to 
be,  or^  my  patrons  are  getting  tired  of  them.  I  be- 
lieve it  is  mostly  a  case  of  the  former.  Running 
time,  18  minutes. — A.  E.  Christian,  Wayne  Theatre, 
Monticello,  Ky.    Small  town  patronage. 

I  HAVEN'T  GOT  A  HAT:  Merrie  Melodies— A  fair 
cartoon  in  color. — J.  W.  Noah,  New  Liberty  and  Ideal 
Theatres.  Fort  Worth,  Texas.    General  patronage. 

LITTLE  JACK  LITTLE:  Vitaphone  Pepper  Pot— 
These  Little  Jack  Little  one-reelers  are  as  good  as 
any  we  use.  We  have  played  two  of  them  and  both 
were  excellent  entertainment.  Running  time,  10  min- 
utes.—A.  E.  Christian,  Wayne  Theatre,  Monticello, 
Ky.    Small  town  patronage. 

MY  MUMMY'S  ARMS:   Harry   Gnbbon— A  very 


FIVE  MORE 
JOIN  RANKS 

To  the  ranks  of  the  reporters  to  the 
"What  the  Picture  Did  for  Me"  de- 
partment have  come  five  more  con- 
tributors,  from  the  northeast,  the 
northwest  and  the  south.  They  are: 

Sam  E.  Kimball,  Cornish  The- 
atres, Inc.,  Limerick,  Me. 

F.  Bernard  Money,  Jr.,  Caro- 
hna  Theatre,  Lexington,  N.  C. 

J.  B.  Patterson,  Majestic  Theatre, 
Fort  Mill,  S.  C. 

Roy  C.  Irvine,  Ritz  Theatre,  Ritz- 
ville, Wash. 

E.  J.  Pennell,  Berrien  Theatre, 
Berrien  Springs,  Mich. 


entertaining  two-reel  comedy.  Lots  of  laughs. — L.  G. 
Tewksbury,  Opera  House,  Stonington,  Maine.  Small 
town  patronage. 

OH  SAILOR,  BEHAVE:  El  Brendel- Just  fair.  Not 
many  laughs. — A.  E.  Christian,  Wayne  Theatre,  Mon- 
ticello, Ky.   Small  town  patronage. 

OUT  OF  ORDER:  Ben  Blu^Just  fair.— J.  R.  Pat- 
terson, Majestic  Theatre,  Fort  Mill,  S.  C.  Small  town 
patronage. 

PAREE,  PAREE:  Dorothy  Stone,  Bob  Hope— Just 
average  or  a  little  below. — A.  E.  Christian,  Wayne 
Theatre,   Monticello,   Ky.    Small  town  patronage. 

PEACH  OF  A  PAIR:  Big  V  Comedies— Awful  is 
the  word.  Running  time,  20  minutes. — E.  A.  Reynolds, 
Strand  Theatre,  Princeton,  Minn.  Small  town  and 
country  patronage. 

PHIL  SPITALNY  AND  HIS  MUSICAL  QUEENS: 

Melody  Masters — A  very  good  band  act  that  seemed 
to  please  all. — J.  R.  Patterson,  Majestic  Theatre,  Fort 
Mill,  S.  C.   Small  town  patronage. 

RADIO  SCOUT:  Big  V  Comedies— Reports  swell. 
Running  time,  20  minutes. — E.  A.  Reynolds,  Strand 
Theatre,  Princeton,  Minn.  Small  town  and  country 
patronage. 

SMOKED  HAMS:  Big  V  Comedies— The  poorest 
comedy  that  Vitaphone  has  ever  made.  Nuf  sed. — 
J.  R.  Patterson,  Majestic  Theatre,  Fort  Mill,  S.  C. 
Small  town  patronage. 

SOFT  DRINKS  AND  SWEET  MUSIC:  Broadway 
Brevities — A  very  good  musical  comedy.  A  little  bet- 
ter than  the  average. — J.  R.  Patterson,  Majestic  The- 
atres, Fort  Mill,  S.  C.    Small  town  patronage. 

STORY  CONFERENCE— Lillian  Roth— It's  a  shame 
to  waste  good  talent  on  such  shoddy  story  material 
as  this.  Poor. — J-  W.  Noah,  New  Liberty  and  Ideal 
Theatres,  Fort  Worth,  Texas.    General  patronage. 

VACATION  DAZE:  Big  V  Comedies— A  good  com- 
edy. Will  please  your  Friday  and  Saturday  audience. 
Running  time,  20  minutes. — E.  A.  Reynolds,  Strand 
Theatre,  Princeton,  Minn.  Small  town  and  country 
patronage. 

WHAT,  NO  MEN?:  El  Brendel,  Phil  Regan— El 
Brendel  does  not  have  much  to  do,  but  this  one  is 
far  above  average  and  the  color  scenes  are  very  nice. 
Running  time,  20  minutes. — A.  E.  Christian,  Wayne 
Theatre,  Monticello,  Ky.    Small  town  patronage. 

WHAT,  NO  MEN?:  Broadway  Brevities— All  color 
musical  featuring  El  Brendel.  Very  good.  Spicy. 
Running  time,  20  minutes. — E.  A.  Reynolds,  Strand 
Theatre,  Princeton,  Minn.  Small  town  and  country 
patronage. 

Serials 
First  Division 

YOUNG  EAGLES:  Boy  Scouts— Very  much  pleased 
with  opening  chapter  of  this  serial  and  if  rest  of 
serial  is  half  as  good,  will  be  more  than  satisfied.— 
L.  G.  Tewksbury,  Opera  House,  Stonington,  Maine. 
Small  town  patronage. 


Mascot 

LAW  OF  THE  WILD:  Rex,  Rm  Tin  Tin,  Jr.,  Ben 

Turpin,  Bob  Custer — If  you  want  serials  get  this  one. 
I  am  on  Chapter  No.  5.  It's  100  per  cent  ahead  of  "The 
Red  Rider"  and  that's  saying  a  lot. — Sam  A.  Kim- 
ball, Cornish  Theatres,  Inc.,  Limerick,  Maine.  General 
patronage. 


Universal 

TAILSPIN  TOMMY:  Maurice  Murphy,  Noah  Beery, 
Jr.— Have  almost  completed  this  serial,  and  having 
run  serials  almost  without  a  break  for  nearly  10  years, 
feel  that  I  know  a  little  about  them.  This  is  one 
of  the  very  best  and  has  built  up  as  we  started  the 
first  chapter  with  a  blizzard.  The  main  reason  why 
this  is  better  than  most  serials  is  because  it  has  a 
lot  of  comedy  in  each  chapter. — L.  V.  Bergtold,  Opera 
House,  Kasson,  Minn.  Rural  and  small  town  pat- 
ronage. 

TAILSPIN  TOMMY:  Maurice  Murphy,  Noah 
Berry,  Jr. — Builds  up  in  nice  shape  and  has  action 
enough  for  the  most  rapid  serial  fan.  If  you  run 
serials,  you'll  make  no  mistake  booking  "Tailspin." — 
Roy  C.  Irvine,  Ritz  Theatre,  Ritzville,  Wash.  General 
patronage. 


Unusual  Dispute 
Between  Erpi  and 
Owner  in  Courts 

The  United  States  circuit  court  of  appeals 
at  San  Francisco  will  soon  pass  upon  a 
petition  of  Electrical  Research  Products, 
Inc.,  for  an  appeal  in  a  somewhat  unusual 
contractual  dispute,  involving  the  awarding 
of  damages  to  an  exhibitor  whose  reproduc- 
ing equipment  had  been  replevened  for  al- 
legedly violating  his  license.  It  was  the 
first  decision  of  its  kind,  and  there  will 
not  be  another  like  it  for  there  exists  no 
other  similar  license  in  any  of  Erpi's  agree- 
ments with  exhibitors  for  the  rental  of  its 
equipment. 

In  the  Summer  of  1928,  when  exhibitors  were 
asking  for  reproducing  equipment,  W.  D. 
Gross,  exhibitor  in  Alaska,  requested  Erpi  to 
install  reproducers  in  his  Coliseum  theatres  at 
Juneau  and  Ketchikan.  At  that  time  the  de- 
mand for  equipments  in  the  United  States  was 
so  great  that  Erpi  did  not  desire  to  extend  its 
operations  to  Alaska.  In  the  following  Janu- 
ary, upon  Mr.  Gross  agreeing  that  the  amount 
to  be  charged  for  service  would  be  determined 
at  a  later  date,  Erpi  accepted  contracts  from 
him.  It  was  agreed  that  the  amount  to  be 
charged  for  service  would  be  above  the  scale 
of  charges  established  in  the  United  States 
but  would  be  for  a  reasonable  amount  since  the 
two  theatres  were  1,000  miles  from  the  nearest 
servicing  base  at  Seattle. 

Later,  it  was  concluded  that  the  company 
would  service  Mr.  Gross's  properties  at  the 
same  rate  charged  in  the  States.  Thereafter, 
Mr.  Gross,  while  on  a  film-buying  expedition 
to  Seattle,  is  alleged  to  have  signed  a  separate 
memorandum  agreeing  to  pay  a  specific  charge, 
and  on  this  basis  made  payment  for  servicing 
his  theatres  during  the  previous  months  when 
charges  had  been  allowed  to  accumulate  because 
of  the  non-existence  of  a  payment  scale. 

The  contract  was  subsequently  violated,  it 
was  alleged  by  Erpi,  when  Mr.  Gross  neglected 
to  make  regular  servicing  payments.  Erpi  then 
replevened  the  machines. 

The  case  of  Electrical  Research  Products, 
Inc.,  versus  W.  D.  Gross,  reached  Judge  George 
F.  Alexander's  United  States  District  Court 
at  Juneau  some  few  weeks  ago,  and  embraced 
counter  claims  made  by  Mr.  Gross  totaling 
$300,000.  The  court,  however,  is  said  to  have 
refused  permission  to  Erpi  to  introduce  certain 
evidence,  including  the  letters  in  which  Mr. 
Gross  agreed  to  fix  the  amount  of  the  service 
charge  after  the  main  contract  was  executed, 
and  a  jury  found  for  Mr.  Gross,  awarding  in  all. 
damages  of  $58,436. 

E.  J.  Moriarty,  general  attorney  for  Erpi  in 
New  York,  associated  with  R.  E.  Robertson 
and  Henry  Roden,  represented  Erpi,  while  H. 
L.  Faulkner  and  J.  A.  Hellenthal  represented 
Mr.  Gross. 

"We  are  confident  of  a  reversal  on  appeal," 
said  a  statement  from  Erpi  headquarters. 


April    6  ,  1935 


MOTION    PICTURE  HERALD 


75 


/V  MOTION 

PICTURE  ^Xv, 
HERALD  Im 


MANAGERS* 
ROUND  TARLE  CLUR 


z/fn  international  association  of  showmen  meeting  weekly 
in  MOTION  PICTURE  HERALD  for  mutual  aid  and  progress 


OP 


SHOWMEN  GO  STUDENT 

What  may  be  accepted  as  the  reaction  of  hundreds  in 
attendance  at  the  first  annual  Show  of  Showmanship  was  the 
opinion  of  a  visiting  Round  Tabler  who  exclaimed: 

"Boy,  it's  an  education!" 

Extravagant  praise  possibly  but  perhaps  not  overly  so  to 
judge  from  the  general  attitude  of  those  present.  Pad  and 
pencil  seemed  to  be  the  order  of  the  day  as  absorbed  theatre- 
men  closely  studied  the  scores  of  campaign  books  and  photos 
which  filled  the  exposition  halls. 

It  cannot  be  denied  that  this  response  is  gratifying.  Al- 
though it  was  not  the  purpose  of  the  sponsors  to  strive  unduly 
for  a  classroom  atmosphere,  so  to  speak,  the  eagerness  with 
which  attending  showmen  sought  to  add  to  their  store  of 
theatre  learning  Is  comparable  to  the  sincerity  of  any  group 
of  students  intent  on  getting  the  most  out  of  classes. 

That  the  Show  rated  so  high  in  educative  value  Is  perhaps 
another  indication  of  the  effectiveness  of  the  Round  Table 
pages  from  which  many  of  these  "lessons"  were  taken. 

V    V  V 

NEWS  MAKERS  MAKE  GROSSES 

Editors  do  not  always  confine  their  theatre  stories  and  com- 
ments to  the  screen  and  the  stage.  Oftimes  the  newspapers 
realize  the  reader  Importance  of  the  manager  outside  of  his 
theatre  activities. 

For  Instance,  Pete  Egan,  whose  appointment  to  the  presi- 
dency of  a  Calgary  hockey  league  brought  him  a  half-column 
story  and  picture  on  the  sport  page.  Dominion  sports  writers 
find  frequent  cause  to  refer  to  the  athletic  background  of  this 
Canadian  Round  Tabler. 

Louie  Charnlnsky  is  also  a  source  of  inspiration  to  the 
Dallas  news  hawks  who  realize  the  reader  interest  In  this  color- 
ful showman  and  devote  generous  space  to  Louie's  vagaries. 

Joe  Dougherty  was  recently  singled  out  to  receive  the  dis- 
tinguished service  citation  awarded  annually  by  the  Upper 
Darby  (Pa.)  post  of  the  American  Legion  to  that  locale's  out- 
standing citizen.  The  Philadelphia  papers  went  to  town  in  ful- 
some praise  of  the  selection. 

The  advantages  of  personal  publicity  are  gauged  incorrectly 
by  many  theatremen  seeing  in  It  a  form  of  self-aggrandizement 
injurious  to  themselves  and  their  theatres.  Too  few  realize 
that  the  manager  often  In  the  news  more  times  than  not  is  so 
because  of  his  value  to  the  community — an  asset  of  distinct 
worth  at  the  box  office. 

A  manager  who  makes  news  also  makes  grosses. 


NO  CAUSE  FOR  ALARM 

View  with  alarm  does  a  visiting  brother  the  numfcer  of  man- 
agerial shifts  made  recently  by  nearby  circuits.  This  must 
be  discouraged,  states  he,  lest  conditions  revert  to  the  old 
days  when  managers  were  forced  to  make  such  jumps  as  from 
Dallas  to  Duluth,  or  longer,  on  five  minutes'  notice. 

Be  that  as  it  may,  we  see  no  immediate  cause  for  undue 
trepidation.  Operation  that  depended  for  success  upon 
wholesale  and  expensive  shifting  of  theatremen  from  hell  to 
breakfast  and  back  again  Is  happily  gone  from  the  scene.  To- 
day the  merry-go-round  moves  at  a  more  sedate  and  less 
screwy  speed. 

Moreover,  any  shift  by  any  circuit  is  not  to  be  regarded 
exactly  with  holy  horror.  Fo.r  after  all,  gentle  reader,  there 
have  been  instances  of  mutual  benefit  come  about  by  trans- 
ferring managers  for  one  reason  or  another  to  different  situa- 
tions. 

Such  shifts  are  to  be  regarded  as  Incidental  to  the  business 
of  the  theatre.  In  many  Instances  they  are  the  only  milestones 
by  which  the  manager  may  mark  his  progress 

V    V  V 

BALANCING  THE  SCALE 

The  smart  manager  isn't  the  bird  who  goes  to  town  only  on 
his  sock  shows.  For  our  dough,  we'd  rather  have  the  theatre- 
man  who  knows  far  enough  ahead  how  much  he  can  expect  of 
any  picture  and  seeks  to  strengthen  the  draw  by  promoting 
inexpensive  added  local  attractions  to  bolster  the  pull  of 
his  weak  sisters. 

It's  being  done  right  along  with  amateur  nights,  fashion 
shows,  local  talent  revues  and  a  flock  of  other  slants  that  real 
managers  employ  to  give  full  entertainment  value  when  the 
screen  show  falters. 

All  pictures  cannot  be  naturals  at  the  box  office.  Patrons 
are  educated  to  anticipate  less  than  perfection  week  in  and 
week  out,  but  they  have  every  right  to  expect  something  extra 
from  time  to  time  to  balance  the  (admission)  scale. 

The  manager  who  endeavors  to  the  best  of  his  abilities  to 
fulfill  these  expectations  is  not  only  keeping  the  faith  but  also 
stands  a  better  chance  of  keeping  his  job. 


76 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


PRESENTS  FEBRUARY  AWARD.  Borough  President  Raymond  V.  Ingersoll  (center)  of 
Brooklyn,  N.  Y.,  honors  Manager  Ed  Douglas,  Loew's  Kings,  at  City  Hall  presen- 
tation of  February  Quigley  Bronze.  Also  present  were  A-Mike  Vogel  and  Loew 
publicists  Eddie  Dowden  and  Herbert  Levy.  Douglas  credits  cooperation  of  Sam 
Fromson,  assistant  manager;  Joseph  Samartano,  chief  usher;  Dowden  and  Levy  in 
putting  together  the  winning  campaign  on   MGM's  "Forsaking  All  Others". 


Schools  Aid  Bovim  in 
Selling  "Copperfield" 

Through  cooperation  of  superintendent  of 
schools,  Russ  Bovim,  Loew's  Ohio,  Colum- 
bus, Ohio  succeeded  in  having  "Copperfield" 
study  guides  distributed  to  all  teachers,  roto 
heralds  and  publicity  stories  posted  on  bul- 
letin boards,  and  special  invitations  sent  to 
selected  group  for  opening.  Several  schools 
gave  children  afternoon  off  to  see  picture 
and  came  to  the  theatre  in  bannered  busses. 

Art  gallery,  reported  oldest  in  America 
came  through  for  a  first-time  window  dis- 
play (see  photo)  with  various  scene  stills. 
For  a  street  bally,  Russ  promoted  bannered 
old-timey  tally-ho  which  covered  business 
sections.  Five-foot  star  cutouts  were  used  in 
various  windows  and  miniature  24-sheets 
were  scattered  in  stores  around  town. 


Bovim's  "Copperfield"  Art  Window 


History  Teachers  See 
"First  World  War" 

Approaching  the  history  teachers,  Walter 
Van  Camp,  Tower  Theatre,  St.  Paul,  Minn., 
arranged  for  them  to  attend  in  a  body  to  see 
"The  First  World  War"  bulletins  to  this 
effect  being  posted  on  all  school  boards. 
Preview  was  also  held  for  x\merican  Legion 
Posts  and  Veterans  of  Foreign  Wars. 

Drum  and  Bugle  Corps  paraded  to  the- 
atre with  gold  framed  theatre  banner  and 
sound  truck  loudspeaker  played  bugle  calls 
and  martial  music.  Book  stores  used  counter 
cards  tying  up  picture  with  Stallings'  book 
and  Armory  permitted  theatre  display.  Box 
office  had  sandbags  stacked  in  front  to  give 
additional  atmosphere. 

Make  193  5  Your  Aivard  Year 

Schools  Cooperate  with 
Edwin  on  "Little  Minister" 

Russell  Edwin,  Royal  Theatre,  Bloomfield, 
N.  J.,  contacted  superintendent  of  schools, 
who  permitted  questionnaire  for  children 
on  "Little  Minister"  to  be  mailed  to  English 
teachers — 25  tickets  offered  for  best  answers. 
In  lower  grades,  essay  contest  was  arranged 
with  pupils  writing  synopsis  of  picture. 
Special  one  sheets  were  posted  in  all  schools 
with  theatre  and  plaj^date  imprint. 

Guest  tickets  were  sent  to  all  clergymen 
and  Mayor  approached  for  telegram  en- 
dorsement which  was  enlarged  in  herald 
form  and  distributed.  Three  weeks  before 
children's  page  of  daily  was  tied  up  for 
coloring  contest  and  tickets  were  sent  to 
persons  finding  names  on  classified  page. 


Advance  Four  Week 
Drive  Sells  Star 

What  theatremen  consider  an  out  of  the 
ordinary  campaign  to  introduce  a  new  star 
was  the  series  of  newspaper  displays  put  to- 
gether by  Manager  Stanley  N.  Chambers, 
Fox  Uptown,  Kansas  City,  Mo.,  and  L.  J. 
McCarthy,  Fox  Midwest  division  chief  on 
"Evergreen"  to  promote  Jessie  Matthews. 

Drive  was  started  four  weeks  ahead,  copy 
appearingalmost  dailyasking  a  series  of  ques- 
tions on  "who  is  the  new  star?"  etc.  Star's 
identity  was  not  revealed  to  opening  day 
and  then  divulged  in  a  smash  three-column 
shot  headed  by  "The  Answer  to  the  series  of 
'who'  questions."  This  was  followed  with  a 
series  of  smaller  two-column  displays  further 
selling  the  voice,  looks  and  ability  of  Mat- 
thews with  smart  copy  calling  her  "the 
female  Fred  Astaire." 

Radio  was  also  employed  to  spread  the 
word  with  the  five  local  stations,  the  net 
results  being  sufficient  comment  and  busi- 
ness to  hold  the  attraction  over  for  a  second 
week. 

The  campaign  is  by  all  means  worthwhile 
and  Chambers  has  made  up  a  series  of  these 
mats  for  use  of  other  theatres  in  the  circuit. 
He  generously  offers  to  furnish  this  material 
to  managers  on  request,  at  cost,  and  readers 
who  are  acquainted  with  Chambers'  back- 
ground will  immediately  avail  themselves  of 
this  opportunity. 

Make  193  5  Your  Atvard  Year 

Dougherty  Honored  by  Legion 

Monty  Salmon,  district  manager  for 
Skouras  in  Philadelphia  forwards  tear  sheet 
from  Philadelphia  Daily  News  in  which 
Manager  Joseph  Dougherty,  Tower  The- 
atre, received  editorial  break  on  having  been 
singled  out  to  receive  the  distinguished  ser- 
vice citation  awarded  annually  by  Upper 
Darby  American  Legion  to  the  "outstand- 
ing citizen  of  the  community."  Two-column 
story  followed  on  Joe's  past  experiences  in 
show  business  and  prominent  mention  was 
made  of  his  present  connection. 

Make  193  5  Your  Award  Year 

Larson  Promotes  Deer 
For  "Sequoia"  Lobby 

Attractive  lobby  display  on  "Sequoia" 
(see  photo)  was  constructed  by  Frank  P. 
Larson,  Paramount  Theatre,  Idaho  Falls, 
Idaho,  who  promoted  deer  from  local  taxi- 
dermist, trees  from  greenhouses  and  artist 
arranged  display  with  additional  art  work. 
After  opening,  entire  set  was  moved  to 
truck  and  used  as  street  bally. 


Larson's  "Sequoia"  Lobby  Display 


April    6  ,  1935 


MANAGERS'    ROUND  TABLE 


77 


Thank  You^  Friends 

The  "Show  of  Showmanship"  is  over,  but  the  glow  remains — a  glow 
of  satisfaction  and  gratification  for  the  manner  In  which  the  industry 
took  the  show  to  its  collective  bosom.  Showmen,  advertising  execu- 
tives and  others  from  near  and  far  attended,  many  more  than  once. 
They  were  unanimous  in  proclaiming  this  first  exposition  an  unqualified 
success  in  every  respect.  Round  Table  campaigns  and  photos,  indi- 
vidual exhibits  from  theatres  and  producing  companies  all  contributed 
their  share  In  making  this  success  possible. 

We  would  be  remiss  in  our  obligations  if  those  who  toiled  long  and 
late  to  put  over  the  exposition  were  not  hereby  credited.  Our  thanks, 
therefore,  to  Felix  F.  Feist,  president,  and  the  Motion  Picture  Club 
for  generous  aid.  A  bow  also  to  Tom  Wiley  and  Arnold  Van  Leer, 
for  their  wholehearted  and  invaluable  assistance. 

To  the  producer  and  theatre  advertising  heads  and  their  capable 
organizations,  another  thank-you  for  the  very  excellent  exhibits  which 
commanded  Instant  admiration.  To  the  exhibitors  who  arranged  for 
the  attendance  of  their  staffs,  to  the  trade  press,  to  the  managers 
whose  showmanly  campaigns  made  up  the  major  part  of  the  exhibi- 
tion, we  bow  our  appreciation,  as  we  do  also  to  those  who  helped  put 
the  show  together.  And  last,  but  not  least,  the  executives  and  talented 
artists  of  the  American  Display  Company  for  their  inspiring  coopera- 
tion and  outstanding  exhibits. 

Detailed  story  and  photos  of  the  exposition,  presentation  of  the 
Quigley  February  plaques  to  Managers  R.  E.  Knight  and  Ed  Douglas 
by  Grover  Whalen  at  the  Motion  Picture  Club  Forum,  and  other  high- 
lights will  be  found  in  the  news  section  of  this  Issue.  — A-MIKE 


McCormick  Returns 
to  Premier  ''Laddie'' 

The  world  premiere  of  RKO's  "Laddie" 
at  the  Circle,  Indianapolis,  was  further  dis- 
tinguished by  the  presence  of  the  theatre's 
first  managing  director,  S.  Barret  McCor- 
mick, Radio  ad  chief,  who  accepted  an  invi- 
tation to  act  as  guest  managing  director  for 
the  occasion.  It  was  15  years  since  Barret 
left  the  old  homestead  and  interest  in  the 
date  was  heightened  by  his  invitations  to 
old  staff  members  to  return  to  their  old  jobs 
for  the  night.  Many  responded  and  the  ac- 
companying photo  shows  some  of  "ye  auld- 
lang-syning.  Barret  is  in  the  center  with 
hat  in  right  hand. 

McCormick  personally  supervised  the  ad- 
vance that  included  the  personal  appearance 
of  Virginia  Weidler,  juvenile  star  of  the 
picture,  who  arrived  on  her  birthday  and 
was  paraded  to  her  hotel  escorted  by  bands 
and  banners.  Also  attending  were  the  two 
surviving  sisters  of  the  author,  Gene  Strat- 
ton-Porter,  the  sisters  being  introduced  from 
the  stage  by  Barret  McCormick,  who  also 
did  the  MC  for  the  baby  star  and  other  in- 
vited prominents. 

The  premiere  was  according  to  specifi- 
cations, with  bombs  set  off  from  theatre 
roof,,  fireworks,  sun-arc  lighted  lobby,  radio 
hookup,  introductions  of  celebrities,  con- 
gested streets,  and  etc.  Ed  Holland,  of  Mc- 
Cormick's  exploitation  staff,  was  on  hand 
and  saw  to  if  that  the  folks  knew  what  all 
the  shootin'  was  about. 

Make  193  5  Your  Aivard  Year 

Deering  Holds  Tea 
Party  for  "Olive" 

Before  Francis  Deering  left  Loew's  State, 
Memphis,  Tenn.,  for  a  similar  post  in  Hous- 
ton, he  put  on  a  daily  mezzanine  tea  party 
during  his  "Clive  of  India"  run,  merchant 
supplying  beverage  and  plugging  party  in 
ads,  in  addition  to  posting  streamers  in  all 
grocery  windows  using  their  product. 

Calendar  blotters  with  playdates  marked 
in  red  and  cut  out  of  Coleman  were  distrib- 
uted in  offices  and  schools.  Through  tieup 
with  Western  Union  red  hearts  were  given 
out  by  messengers,  copy  reading,  "You'll 
appreciate  our  service  more  if  you  see 
'Clive,'  in  which  a  love  letter  posted  in  India 
was  delivered  in  England  one  year  later." 
For  street  ballys  elephant  in  zoo  was  ban- 
nered with  picture  copy  and  ushers  each 
carrying  six-foot  letters  of  title  paraded 
business  districts. 

Make  193  5  Your  Award  Year 


Indianapolis  Welcomes  Barret  McCormick 


Contests  Publicize 
Entrance  Reopening 

Since  editorializing  upon  Ben  Cohen's 
shifty  footwork  in  tieing  up  with  the  nearby 
Yale  University  on  the  reopening  of  a  closed 
entrance  to  the  College  Theatre,  New  Haven, 
this  manager  has  sent  along  some  other  an- 
gles of  the  campaign. 

Two  cash  contests  were  featured,  the  first, 
a  name  for  the  promenade  leading  to  the  new 
entrance,  and  second,  to  discover  the  local 
with  the  longest  record  of  attendance.  It 
seems  that  before  being  rejuvenated  as  a 
picture  house,  the  College,  under  another 
name  was  the  legit  stand,  and  thus  the 
reason  for  the  "oldest"  slant.  Two  different 
dailies  cooperated  on  the  contests,  which 
with  the  additional  publicity,  rolled  up  a 
gross  of  many  good  stories. 

Other  newspaper  stuff  included  full  page 
coop  of  congrat  ads,  full-page  feature  story 
on  history  of  theatre  in  Sunday  feature  sec- 
tion, editorials  in  college  papers  and  other- 
wise, and  three-column  shot  of  reopening 
ceremonies.  Ben  states  over  2000  entries 
were  received  on  the  new  name  contest. 

Make  193  5  Your  Award  Year 

Stars  Wire  Screen 
Editors  for  McCord 

Nevin  McCord,  Idaho  Theatre,  Twin 
Falls,  Idaho,  contacted  the  Paramount  stu- 
dios for  telegrams  from  Gary  Cooper  and 
Franchot  Tone  to  screen  editors  of  daily 
papers  thanking  them  for  fine  reviews  given 
"Lives  of  a  Bengal  Lancer." 

Special  invitational  preview  was  held  for 


local  merchants  and  endorsement  letters 
were  mailed  to  PTA  groups.  Nevin  dis- 
tributed heralds  at  Better  Housing  Expo- 
sition held  during  run ;  made  daily  radio  an- 
nouncements and  pasted  24  sheet  of  Cooper 
to  lobby  floor. 

Make  19 i  5  Your  Award  Year 

George  Attends  Meeting 
Of  First  O'Brien  Club 

Initial  meeting  of  first  George  O'Brien 
Club  in  California  held  recently  at  the 
United  Artists  Theatre  in  Whittier  by  Ho- 
mer R.  Skillion,  manager,  was  attended  by 
none  other  than  the  star  himself,  who  super- 
vised the  distribution  of  O'Brien  sweat  shirts 
given  to  holders  of  lucky  numbers. 

Accompanying  photo  shows  house  staff 
dressed  for  the  occasion  and  that's  George 
himself  in  the  center  with  Skillion  at  left. 


O'Brien  ivith  Club  Members 


78 


MOTION    PICTURE  HERALD 


April    6 ,    19  3  5 


Hunt  Stages  "Folies" 
Revue  Atop  Marquee 

One  of  the  featured  stunts  engineered  by 
George  Hunt,  Loew's  State,  Louisville,  Ky., 
for  "Folies  Bergere"  was  a  real  Parisian 
show  atop  marquee  (see  photo)  with  special 
jazz  band,  crooners  and  tap  dancers.  On  the 
sidewalk  in  front  of  lobby,  tables  and  chairs 
were  arranged  at  which  girls  sat  in  costume. 
Invitations  were  sent  to  local  prominents 
and  ballyhoo  records  and  spotlights  gave 
further  impressiveness  to  opening. 

Hotel  orchestras  featured  song  hits  and 
plugged  opening,  cards  were  placed  in  hotel 
rooms  and  tieup  with  ciggie  manufacturer 
brought  sample  giveaways  and  window 
streamers. 

Make  1935  Your  Award  Year 

Tubbert's  Ushers  Play 
Poker  as  "Red  Gap"  Bally 

Step  up  and  fill  a  flush,  boys,  and  that's 
the  stunt  William  Tubbert,  RKO  Keith  The- 
atre, Syracuse,  N.  Y.,  used  for  "Ruggles  of 
Red  Gap."  Bill  sent  his  ushers  out  with  a 
bridge  table  and  deck  of  cards,  boys  set  up 
table,  laid  four  cards  of  a  Royal  Flush  and 
invited  onlookers  to  pick  card  from  the  deck. 
Whoever  filled  the  flush  received  guest 
tickets  to  picture. 

Make  193  5  Your  Award  Year 

Dooiey  Builds  Display 

On  "Devil  Dogs  of  the  Air,"  Carmen 
Dooiey,  Fabian  Theatre,  Paterson,  N.  J., 
constructed  an  eight-foot  display  built  by 
Norman  Reck  of  exact  replica  of  ill-fated 
Macon.  Lights  were  placed  under  display  to 
heighten  color  effects. 

Make  193  5  Your  Award  Year 

Resemblance  Contest 
Put  Over  by  Bruno 

A  Joan  Crawford  resemblance  contest  was 
put  over  by  James  Bruno,  Loew's  Burland, 
Bronx,  N.  Y.,  for  "Forsaking  All  Others" 
with  local  photographer  tying  in.  Other  mer- 
chants tied  in  with  window  displays  and 
models  in  apparel  shop  dressed  in  wedding 
gowns  plugged  picture. 

Make  193  5  Your  Award  Year 

Oil  Station  Cooperates 

Ray  Brown,  district  manager  for  Warners 
in  Ohio,  arranged  with  well  known  oil  com- 
pany for  the  distribution  of  "Sweet  Music" 
heralds  at  their  various  stations,  copy  tying 
in  picture  and  oil.  Company  also  paid  for 
36-inch  ad  in  each  situation  opening  day. 
Herald  was  made  up  in  form  of  newspa- 
per ad. 

Make  193  5  Yotir  Award  Year 

Grinnes  Engages  Stunt 
Flyer  for  "Devil  Dogs" 

On  opening  day  of  his  "Devil  Dogs" 
campaign.  Ken  Grimes,  Warner  Theatre, 
Morgantown,  W.  Va.,  had  airplane  tow  75- 
foot  banner  (see  photo)  covering  city  and 
surrounding  towns.  After  banner  was  re- 
leased, plane  returned  to  theatre,  where 
stunt  flying  was  put  on.  Small  parachutes 
with  passes  attached  were  dropped  over 
city. 

Ken  secured  cooperation  of  local  univer- 
sity fraternity  on  initiation  ceremonies, 
students  carrying  "Devil  Dogs"  and  dis- 
tributing handbills.    Passes  were  given  to 


Hunt's  "Folies"  Show  Atop  Marquee 


Tubbert's  Ushers  Filling  Flushes 


Dance  Studios  Tie  in  With 
Crasto  on  "Gay  Divorcee" 

J.  Remi  Crasto,  exploitation  director  RKO 
Elphinstone  Theatre,  Calcutta,  India,  put 
over  a  nice  campaign  on  "Gay  Divorcee" 
contacting  all  leading  dance  studios  on  Con- 
tinental dance  at  largest  hotel  where  elimina- 
tion was  staged.  Hotel  paid  for  all  ads, 
plugged  song  hits  from  picture  and  the  con- 
test. All  theatre  newspaper  advertising  men- 
tioned it,  too. 

Heralds  were  dropped  from  plane  in  native 
quarters  and  at  race  track.  Local  night  club 
put  on  concert  of  hits  from  picture  and  invi- 
tation programs  were  distributed  to  new- 
comers to  Calcutta.  Photograph  of  program 
autographed  by  His  Excellency,  the  Viceroy 
of  India,  was  framed  in  easel  in  lobby. 

Make  19  iS  Your  Award  Year 

Adelnnan  Parades  Scouts 
On  "Copperfield"  Date 

A  Boy  Scout  parade  of  no  mean  propor- 
tions was  staged  by  Archie  Adelman,  Loew's 
175th  Street  Theatre,  New  York,  for  "David 
Copperfield."  Captain  of  police  precinct  de- 
tailed men  to  escort  parade  headed  by  drum 
corps  to  theatre,  boys  carrying  picture  ban- 
ners. 

Message  received  from  Governor  Lehman 
paying  tribute  to  the  Scout  organization  was 
received  and  read  from  stage.  Freddie  Bar- 
tholomew made  personal  appearance,  arriv- 
ing at  theatre  on  special  float. 

Make  193  5  Your  Award  .Year 

Paper  Cooperates  on  "Devil 
Dog"  Drawing  Contest 

As  part  of  his  advance  on  "Devil  Dogs 
of  the  Air"  Joe  Scholer,  Ohio  Theatre,  San- 
dusky, Ohio,  tied  in  with  local  daily  for  the 
airplane  drawing  contest  which  ran  three 
days  ahead. 

Scholer  secured  window  tieups  among 
which  was  one  (see  photo)  which  gave  en- 
tire display  over  to  miniature  planes  and 
theatre  copy.  Five  and  ten  also  featured 
collection  of  airplane  models.  Heralds  were 
stufifed  in  laundry  bundles,  gummed  stickers 
put  on  paper  bags  and  review  cards  given  to 
patrons. 

Make  193  5  Your  Award  Year 

Barrett  Pronnotes  Books 
And  Candy  on  "Bright  Eyes" 

Russ  Barrett,  Strand  Theatre,  Woburn, 
Mass.,  put  over  a  special  kiddie  matinee  for 
"Bright  Eyes"  and  promoted  merchant  for 
Shirley  Temple  books  which  were  distrib- 
uted at  theatre.  Another  store  came  through 
with  candy  and  for  credit  card,  merchant 
displayed  Temple  Frocks  in  lobby.  Russ  at- 
tributes much  of  the  success  of  his  campaign 
to  contact  made  with  schools  and  libraries. 


Grimes'  "Devil  Dogs"  Banner 

students  of  high  school  art  classes,  who 
turned  in  best  drawings  of  airplane  scenes 
and  to  mechanical  drawing  classes  for  best 
blue  prints  on  plane  construction.  For  part 
of  his  advance  lobby  display,  model  air- 
planes constructed  by  youngsters  were 
shown  on  lobby  floor  with  concealed  electric 
fan  providing  animation. 


Make  193  5  Yaitr  Award  Year 

Rotsky  Sells  "Iron  Duke" 
With  Aid  of  Elderly  Local 

George  Rotsky,  Palace  Theatre,  Montreal, 
Canada,  secured  plenty  of  free  space  when 
elderly  resident  recalled  that  a  statue  of  the 
original  "Iron  Duke"  had  occupied  the  pres- 
ent theatre  site.  Interviews  brought  stories 
which  carried  theatre  and  picture  mention. 

Leading  department  store  arranged  elabo- 
rate display  of  regency  fashions,  devoting 
main  window  to  gowns,  stills  and  standees. 
Book  store  gave  entire  window  to  photo  of 
Arliss,  stills  and  copies  of  Wellington. 


April    6.  1935 

Long  Sentences  Bring 
Prizes  from  Moss 

Dick  Moss,  Egyptian  Theatre,  Long 
Beach,  Cal.,  seems  to  go  in  for  heralds  in  a 
big  way,  one  of  his  most  recent  listing  eight 
names  of  coming  pictures  with  Dick  offer- 
ing 25  pairs  of  tickets  for  best  continuous 
sentence  composed  from  titles. 

Another  herald  had  these :  "eergn  Blesga 
Fo  Nane";  "No  Oemh  Teh  Agenr"  and 
"Letitl  Ntimreis."  To  the  children  unscram- 
bling and  supplying  correct  titles  tickets 
were  awarded.  Maybe  Dick  will  forward  us 
the  answers,  we're  stumped. 

Make  193  5  Your  Award  Year 

Parker  MC's  Penner  Contest 

Harold  Parker,  Majestic  Theatre,  Yar- 
mouth, N.  S.,  recently  put  on  a  radio  Joe 
Penner  imitation  contest  for  "College 
Rhythm,"  acting  as  MC  with  aid  of  colored 
lad  who  supplied  additional  comedy.  Prizes 
were  given  to  those  most  closely  impersonat- 
ing the  comedian  and  Harold  says  gals  were 
included  among  the  winners. 

Make  19iS  Your  Award  Year 

"Imitation"  Plugged  at 
Hockey  Game  by  McGeachie 

W.  p.  McGeachie,  Algoma  Theatre,  Sault 
Ste.  Marie,  Canada,  got  "Imitation  of  Life" 
mention  over  the  P.  A.  system  during  recent 
hocky  matches.  Week  ahead  the  Aunt  Je- 
mima contest  was  plugged  and  dairy  tied 
in  with  contest  offering  cash  prizes  to  best 
colored  pictures  of  Colbert  received  by  the- 
atre. Street  cars  carried  banners  with  pic- 
ture of  Claudette,  and  in  double  truck  page 
all  merchants  used  cuts  of  featured  players. 

Make  193  5  Your  Award  Year 

lOO-Store  Tie-Up 

Louis  Shimon,  publicity  director,  Garden 
Theatre,  Milwaukee,  Wis.,  arranged  a  tieup 
with  chain  store  outfit  to  stuff  heralds  in 
bundles  at  100  stores.  Merchant's  ad  was 
on  back  cover  and  theatre  displays  were 
planted  in  most  prominent  windows. 

Make  193  5  Your  Award  Year 

Schools  Cooperate  With 
Hart  on  "David  Copperfield" 

Some  sweet  publicity  was  secured  by  City 
Manager  Ed  Hart,  Reade's  Plainfield  The- 
atres, Plainfield,  N.  J.,  on  "David  Copper- 
field"  highlighted  by  an  essay  contest  spon- 
sored by  teachers,  for  guest  tickets  and 
prizes  promoted  from  merchants.  Ed  also 
held  Saturday  morning  preview  for  the 
teachers. 

Roving  cameraman  in  bannered  car  (see 
photo)  took  pictures  of  passersby  for  screen 
showing  and  circled  faces  were  given  tick- 
ets. Two  characters,  one  dressed  as 
Micawber  and  the  other  as  Davey  toured 
different  parts  of  city.  Box  office  was  cov- 
ered with  oversized  Copperfield  book  with 
cut  in  center  through  which  tickets  were 
sold.  Parade  of  cars  was  put  on  with  an- 
nouncer in  sound  truck,  and  book  store  de- 
voted window  and  counters  to  display  of  the 
book  and  counter  cards. 

Ed's  auto  parade  was  unusual,  many  old- 
time  bannered  models  and  new  cars  being 
shown,  the  tieup  indicating  the  changes  in 
style  since  the  days  when  the  book  was  new. 
Same  idea  was  carried  out  in  a  furniture 
window  display  showing  the  different  periods 
in  vogue  since  the  time  of  "David." 

Effective  also   was   Hart's   handling  of 


MANAGERS'    ROUND  TABLE 


Mock'i  Verforming  Musician 


Neiilcs'  Gal  Distributing,  Money 


Evens'  Legislative  Screening 


Hart's  Roving  Photographer 

school  children  who  were  admitted  at  a 
special  price.  Youngsters  had  to  fill  out 
printed  request  blanks  and  these  all  included 
the  name  of  picture  and  theatre.  Counter- 
signature of  teachers  and  principals  on  each 
was  required,  thus  obtaining  for  the  date  a 
lot  of  extra  publicity  in  the  schools  in  ad- 
dition to  support  of  local  educators. 


79 

Schmidt  Uses  Chuck  Wagon 
For  "Home  on  the  Range" 

Tom  Schmidt,  advertising  director,  Rig 
and  Re.x  Theatres,  Borger,  Texas  promoted 
a  real  western  chuck  wagon  which  he  ban- 
nered and  used  for  his  street  bally  on  "Home 
on  the  Range." 

On  "Barnum"  theatre  artist  George  Sut- 
ton used  large  cutout  of  Barnum  mounted 
on  beaverboard  flanked  with  various  stills  of 
scenes  from  the  picture.  For  "Sweet  Music" 
heralds  printed  in  red  with  a  "hot  news" 
head  were  distributed,  edges  of  which  had 
been  slightly  burned. 

Make  193  5  Your  Award  Year 

Neides  Throws  Dough 
On  Street  Bally 

On  "Whole  World's  Talking,"  Hal 
Neides,  Orpheum  Theatre,  San  Francisco, 
Cal.,  promoted  a  new  Dodge  truck  which 
toured  town  (see  photo)  with  girl  tossing 
imprinted  envelopes  in  which  new  pennies 
were  inserted.  Stunt  drew  mention  in  news- 
papers, was  flashed  over  radio,  and  Hal  pro- 
moted police  escort  for  the  dough-throwin' 
lady. 

Postal  Telegraph  distributed  inserts  in 
telegrams  and  used  streamers  in  branch 
windows.  For  lobby  display,  Hal  used  "I 
am  the  star,"  "I  am  the  director,"  cutouts 
suggested  in  press  book. 

Make  193  5  Your  Award  Year 

Mock's  Music  Bally 

For  street  bally  on  "Here  Is  My  Heart" 
Assistant  Manager  Walter  Mock,  Loew's 
Palace,  Brooklyn,  N.  Y.,  arranged  promoted 
bannered  truck  on  which  was  street  mu- 
sician with  drum,  cymbals  and  all  the  para- 
phernalia. Truck  stopped  at  busy  corners 
where  musician  descended  from  truck  and 
put  on  act  for  kids.  Accompanying  photo 
shows  the  bally. 

Make  193  5  Your  Award  Year 

Mayer  Promotes  Co-op 
Ad  for  "Roberta" 

Louie  Mayer,  advertising  and  publicity 
director  at  the  Mainstreet  Theatre  in  Kan- 
sas City,  Mo.,  promoted  large  ad  from  lead- 
ing department  store  with  cuts  of  Rogers 
and  Dunne  in  costumes  worn  in  "Roberta" 
and  which  were  on  sale  at  store.  Store  also 
featured  Irene  Dunne  coiffure. 

Make  193  5  Your  Award  Year 

Governor  Starts  "Davey" 
Screening  for  Evens 

The  highlight  of  Harold  Evens'  "David 
Copperfield"  campaign  at  Loew's  State,  St. 
Louis,  was  a  special  screening  held  in  the 
legislature  hall  for  members  of  the  entire 
governing  body  of  the  Missouri  Senate  and 
their  wives  (see  photo),  with  Governor 
starting  the  projection  machines.  Following 
screening.  Governors  Park  and  Harris  and 
other  prominent  members  of  the  body  made 
brief  talk  over  special  hook-up  with  radio 
station. 

Lobby  display  consisted  of  20-foot  shadow 
box  with  cutout  figures  of  cast  spotted  in 
front.  Schools  heads  were  contacted,  sent 
teachers'  manuals  and  invited  to  special 
screening.  Conservative  newspaper  came 
through  with  reported  first  editorial  men- 
tion for  any  picture  and  roto  sections  used 
cuts  of  players. 


80 


MOTION    PICTURE  HERALD 


April    6  ,  1935 


THEATREMEN  SPEAK  A  PIECE 


toruthe 

TRANSOM 


George  Kraska  and  L.  V.  Bergtold  take 
the  rostrum  this  week  with  letters  that 
have  to  do  with  the  articles  by  Herman 
Weinberg  and  Fred  Hinds  recently  pub- 
lished in  these  pages.  George  agrees  heartily 
with  Herman,  but  "L.  V."  is  not  so 
unanimous   in   concurring   with  Fred. 

NATIONAL  "ART"  FILM 
SOCIETY  SUGGESTED 

I  fully  endorse  Herman  Weinberg's  an- 
alysis of  the  foreign  film  houses  in  this 
country.  He  has  covered  the  field  so  thor- 
oughly that  anything  I  might  say  would  be 
a  repetition.  I  truly  agree  with  him  about 
the  impracticability  of  showing  a  foreign 
language  film  one  night  a  week  in  a  regu- 
lar run  house — that  would  be  suicide.  How- 
ever, my  idea  is  to  organize  a  national  film 
society  with  clubs  in  each  of  the  principal 
cities  (that  do  not  have  a  foreign  film 
house)  headed  by  local  society  representa- 
tives to  secure  enough  subscribers  for  a 
three-month  period  to  insure  financial  suc- 
cess. Only  upon  such  a  basis  could  the  ven- 
ture be  profitable  financially  as  well  as 
morally. 

Experience  Similar  to  Weinberg's 

My  experience  with  the  "intellectuals" 
has  been  as  fruitful  (?)  as  Herman's.  The 
film  programs  must  be  outstanding  or  they 
will  not  respond.  No  truer  estimation  of 
their  attitude  toward  our  theatres  could  be 
given  than  Herman's  when  he  described 
that,  "They  want  their  own  house  with  a 
quiet  distinctive  atmosphere,  etc.,  etc." 

I  just  wish  to  strengthen  this  statement 
by  quoting  a  patron  of  mine  during  the 
capacity  run  of  "Man  of  Aran."  Said  this 
patron  to  me,  "You  are  becoming  like 
all  the  other  successful  theatres,  no  more 
seats,  crowded  houses  all  the  time.  No,  it's 
not  the  same  quiet  place  at  all,  where  one 
could  come  in  and  always  find  a  seat  wher- 
ever he  wanted  and  sit  down  to  a  nice  quiet 
program." 

Are  comments  required?  That  is  their 
psychology.    "The  pampered  darlings,"  as 

Herman  calls  them. 

Favors  Extended  Runs 

My  house  has  also  become  an  extended 
run  theatre  this  season.  Besides  breaking 
every  house  record  since  we  have  been  oper- 
ating (4  years)  we  have  established  the 
long  run  for  Boston,  first  with  5  weeks  of 
"Power"  and  then  9  weeks  of  "Aran." 

You  can  readily  summarize  the  handicaps 
and  the  specialization  required  to  arrange 
unusual  programs  and  the  handling  of  these 
'"exclusive"  movie  fans. 

I  have  tied  up  in  Boston  with  the  Adult 
Education  Council  of  Greater  Boston  in  an 
effort  to  strengthen  our  position  financially, 
even  offering  a  special  discount  to  mem- 
bers of  the  council.  But  what  has  that  done 
for  us  ?  Reduced  our  possible  income  from 
these  members  and  not  being  able  to  show 
any  substantial  increase  in  attendance  week 
in  and  week  out.  When  we  have  a  first  rate 
ace  film  they  respond  with  all  the  others ; 
when  it  is  a  little  short  of  a  masterpiece  they 
are  absent.  So  what? — George  Kraska, 
Art  Cinema  Guild,  Boston,  Mass. 


HINDS  "PARTLY  RIGHT 
AND  CERTAINLY  WRONG" 

Dear  Mike: 

You  have  probably  already  been  besieged 
with  protests  on  the  article  written  by  Mr. 
Fred  Hinds— "There  Aren't  Any  Small 
Towns."  Like  almost  anyone  that  starts  an 
argument — he  is  partly  right  and  certainly 
wrong  on  a  few  of  his  conclusions. 

Classing  towns  under  10,000  as  small  towns 
is  hardly  fair.  I  think  one  should  drop 
down  to  about  2,500  for  that  classification. 
Nearly  one-half  of  all  the  people  in  this 
country  transact  their  business  in  these 
small  towns  (under  2,500). 

For  nearly  10  years  I  have  been  serving, 
what  one  can  call  a  typical  agricultural 
community,  with  their  film  entertainment. 
Briefly,  my  conclusion  on  "hits"  is  this: 

There  are  three  classes  of  B.O.  shows: 
First,  those  that  have  general  appeal  for  all 
classes  (example,  "David  Harum"),  and 
these  of  course  are  the  real  hits.  Second 
type  is  the  picture  that  has  certain  class  ap- 
peal but  is,  nevertheless,  a  hit  in  the  com- 
munities that  have  a  large  population  of 
educated  citizens  ("Cavalcade"  might  be 
mentioned  as  fitting  this  class).  The  B.O. 
statements  published  every  week  prove  con- 
clusively that  there  are  "hits"  that  are  not 
small  town  successes.  Then  for  the  third 
class  we  have  the  much  discussed  (and 
cussed)  western  show. 

Quoting  Mr.  Hinds — "Our  personal  B.O. 
discovery  is  that  the  time  honored  western 
is  in  a  state  of  prodigious  decline."  That 
is  perhaps  true  in  the  larger  towns ;  let  us 
say  those  from  5,000  to  10,000  and  undoubt- 
edly a  fact  in  the  city  theatres. 

Westerns  Not  Declining 

I  do  not  believe  that  the  western  picture 
is  in  a  state  of  decline  in  the  rural  com- 
munity and  feel  sure  many  exhibitors  will 
back  me  up  in  that  statement.  As  evidence 
(shall  we  call  it  exhibit  "A"?),  my  record 
book  shows  that  last  August  a  Zane  Grey 
picture  (not  an  especially  outstanding  west- 
ern either)  gave  me  the  second  highest 
gross  that  we  have  had  for  nearly  five  years, 
and  the  greatest  net  for  any  show  we  ever 
ran.  As  for  my  authority  in  using  the  2,500 
figure  in  drawing  the  line  between  city  and 
small  town,  I  have  the  U.  S.  census  de- 
partment, which  classifies  communities  of 
over  2,500  as  cities,  and  towns  with  less 
than  that  as  rural  centers. 

Perhaps  I  should  add  that  regarding  the 
"western"  I  mentioned  giving  me  the  big 
business,  we  did  not  give  it  any  extra  adver- 
tising nor  did  it  play  with  vaudeville  or  with 
any  Bank  Nite  of  Jackpot  proposition. 

In  conclusion  I  must  say  emphatically 
that  a  "hit  is  not  always  a  hit." — L.  V. 
Bergtold,  Opera  House,  Kasson,  Minn. 

Make  193  5  Your  Award  Year 

Old  Couples  See  "Ni+e" 

District  Manager  William  Saxton  and 
publicist  Herb  Morgan  at  Loew's  Century, 
Baltimore,  on  "Wedding  Night"  invited  all 
couples  married  over  fifty  to  see  picture. 
Special  "do  not  disturb"  cards  were  placed 
in  hotel  rooms,  couple  in  wedding  attire 
with  placards  on  their  backs  covered  busi- 
ness districts  and  department  store  gave 
window  to  wedding  gowns. 


EXTRA 


THE 
BLOW  OUT 


TONIGHT! 

BAY  THEATRE 
MANAaER  SHOT 

ig^^THE  WORKS  TO  BRING  YOU  THIS  COMBINATION 
={^.■^■.'=3,      BARGAIN  AND  ENHRTAINMENT  OPPORTUNITY 


MONDAY 
to  FRIDAY 

HII 

G:30 


15 


C 


SHOWS 

VODVIL 

uiumoaT 


25c25c 


EvMinsa  Any  Smm 
In  thw  HotM* 


MONDAY  to  nUDAY 


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till 


6.-30 

MONDAY 
to  FRIDAY 


IIVBflNOS 
MONDAY  TO  nUDAY 
Main  Hoor  and  BotcMty 


pi||Q2  BIG  FEATURES 

Free  Dishes  Thur.  &  Fri.  Nights 


SHOT  WITH  INSPIRATION  Was 
Dick  Pritchard,  Bay,  Green  Bay,  Wis., 
in  getting  out  this  full-page  blast  to 
announce  a  price  change.  100  news- 
boys shouted  "extra". 


England  Arranges  "Music" 
Broadcast  at  Studio 

The  day  before  opening,  R.  E.  England, 
Virginia  Theatre,  Charleston,  W.  Va.,  ar- 
ranged for  broadcasting  studio  staff  to  put 
on  a  "Sweet  Music"  playlet.  Hit  tunes  were 
plugged  and  playdates  mentioned. 

Music  store  gave  away  photos  of  Vallee 
with  theatre  stickers  attached,  used  counter 
cards  and  gave  over  window  display  to  sheet 
music.  Sound  bally  truck  played  songs  and 
newspapers  with  Vallee  overprints  were  dis- 
tributed. 

Make  193  5  Your  Award  Year 

Lannm  Puts  on  Plane 
Contest  for  "Devils" 

A  contest  for  young  plane  builders  was 
part  of  Louie  Lamm's  "Devil  Dogs  of  the 
Air"  campaign  at  the  Palace  in  Lorain, 
Ohio.  Stories  were  run  in  dailies  and  cash 
and  ticket  prizes  were  awarded  winners. 
Lamm's  lobby  display  (see  photo)  consisted 
of  some  of  the  models  with  cutout  standees 
of  O'Brien  and  Cagney. 

Co-op  ad  carried  cuts  of  the  stars  argu- 
ing about  the  merits  of  the  picture.  Colored 
heralds  distributed  in  homes  and  at  theatre 
were  other  things  done  by  the  energetic 
Louie  to  tell  the  folks  about  it. 


Lamm's  "Devil  Dog"  Lobby 


April    6,  1935 


MANAGERS'    ROUND  TABLE 


81 


CEHINC  SET  FOR  EASTER? 

Here  Are  Ke viewed  Some  Proven 
Angles  Already  Found  Profitable 
And  Suggested  for  Use  This  Year 


"LANCER"  FRONT.  As  arranged  by  Man- 
ager George  D.  Irwin,  Lyceum,  Dulu+h, 
Minn.,  carrying  out  the  fort  idea  that 
plays    so    large    a    part    in    the  picture. 

Boy  Scouts  Manage 
House  for  Burnett 

W.  A.  Finney,  Loew  division  manager, 
forwards  campaign  on  "Sequoia"  put  over 
by  M.  C.  Burnett  at  the  Loew  Theatre  in 
Dayton,  for  which  Boy  Scout  heads  were 
approached  and  through  their  cooperation 
boys  took  over  management  of  theatre  open- 
ing day.  Stunt  broke  papers  with  stories  and 
photos. 

Newsies  wore  "Sequoia"  aprons,  pet  hos- 
pital window  carried  standees ;  all  telegraph 
blanks  leaving  branches  used  stickers  and 
special  screening  for  teachers  brought  essay 
contest  for  which  tickets  were  awarded. 
Make  193  J  Your  Award  Year 

Jewelers  Feature  Sten 
Wedding  Ring  Windows 

Local  jewelers  were  contacted  by  H.  C. 
Burkhardt,  Loew's  State,  Providence,  to  fea- 
ture wedding  ring  windows  on  "Wedding 
Night."  Co-op  ad  was  arranged  with  de- 
partment store  in  which  theatre  and  picture 
received  conspicuous  mention. 

Baker,  five  and  tens  and  telegraph  com- 
pany distributed  heralds  and  local  chain  drug 
stores  used  imprinted  paper  bags.  Dailies 
carried  advance  stories  on  Sten  and  Cooper, 
using  plenty  of  art  work. 

Make  193  5  Your  Award  Year 

Lambert  Erects  Stall  in 
Lobby  for  "Chairnnan" 

Stanley  Lambert,  Shore  Theatre,  Chicago, 
111.,  sure  went  racetrack  for  "County  Chair- 
man" with  stall  set  up  in  lobby,  decorated 
with  hay  and  occupied  by  head  of  wooden 
horse.  Accompanying  photo  shows  mutuel 
ticket  layout  where  bets  were  supposed  to  be 
placed,  card  at  right  listing  entries  in  cur- 
rent Hialeah  races. 


Lambert's  Mutuel  Ticket  Layout 


Spring  in  the  air,  Lent  nearly  over,  with 
Easter  in  the  offing,  and  what  to  do  about 
celebrating  that  gladsome  period?  Many 
showmen  are  already  set  with  their  plans 
including  the  old  reliables  and  some  new 
angles.  Well  kept  files  should  divulge  the 
low-down  on  what  to  do  and  when,  but  for 
the  good  of  the  order,  here  are  briefly  re- 
viewed some  slants  covered  last  year,  and 
one  or  two  last-minute  reports. 

Of  Course,  the  Style  Show 

One  of  the  first  clothes  campaigns  for  the 
season  is  that  of  Frank  Boucher,  at  the 
Maryland,  down  in  Hagerstown,  Md.  Frank 
has  his  leading  women's  stores  all  set  to  go 
at  this  time  of  the  year,  and  put  over  his 
usually  effective  Spring  style  show,  with 
cooperation  from  local  school  which  supplied 
dance  talent. 

Entertainment  and  new  models  were 
mixed  judiciously  so  that  those  who  were 
not  overly  interested  in  the  fashions  were 
not  neglected.  Frank  puts  this  on  seasonly 
and  finds  it  one  of  the  most  effective  gags 
to  usher  in  the  gentle  weather. 

Then,  by  All  Means,  the  Egg  Hunt 

Books  have  been  written  about  the  modus 
operandi  of  the  egg  hunt  without  which  the 
Easter  season  is  not  official  in  many  spots. 
School  is  out  and  the  kids  are  rarin'  to  go. 

Most  showmen  put  this  on  with  their  Sat- 
urday kid  clubs,  Kiwanis,  Rotary,  or  other 
civic  organization,  and  local  papers.  Per- 
mission to  stage  the  hunt  at  city  park  is 
usually  not  hard  to  obtain  with  police  escort 
to  keep  order.  Managers  have  also  been  able 
to  sell  the  mayor  or  other  officials  on  at- 
tending the  doings,  all  of  which  is  duly  pub- 
licized. 

Candy  stores  can  be  promoted  to  supply 
eggs  and  prizes  of  confections.  Other  mer- 
chants can  also  be  induced  to  come  along 
for  other  prizes  of  varying  worth  and  this 
in  the  past  has  led  to  single  and  double 
coop  pages  with  space  for  theatre  attractions 
and  all  details  of  hunt. 

To  put  it  on  right,  children  should  as- 
semble at  theatre  to  parade  to  the  hunt. 
Motorcycle  police  squads,  band,  banners  and 
plenty  of  newspaper  publicity  to  gather  the 
crowds  are  other  helpful  accessories.  The- 
atremen  find  that  it  makes  things  easier  to 
give  every  youngster  a  candy  egg  and  when 
this  is  announced,  more  interest  is  usually 
created. 

Kid  Easter  Revue 

Where  style  show  facilities  are  not  avail- 
able, the  Easter  show  serves  well,  preferably 
with  juvenile  talent.  Dancing  schools  for 
the  most  part  are  the  best  leads,  but  some 
managers  dig  up  outside  talent  by  advertis- 
ing, doing  their  own  staging  and  producing. 

With  the  current  craze  for  the  amateurs, 
the  show  idea  might  be  tied  in  with  some 
radio  hour  of  this  kind,  winners  to  appear 
at  the  theatre.  If  local  dance  schools  are 
tied  in,  the  amateurs  can  appear  in  special 
spots.  Usually  the  nut  is  low,  as  kids  have 
their  costumes  and  dance  teacher  contributes 
services  in  exchange  for  the  break  in  all 


theatre  ads  and  newspaper  stories.  Formerly 
managers  made  much  of  their  Easter  shows 
in  cooperation  with  the  free  theatre  dancing 
school,  and  where  this  institution  still  flour- 
ishes the  idea  still  holds  lots  of  weight. 

How  About  the  Lobby? 

There'll  be  a  lot  of  cutout  bunnies,  giant 
colored  eggs  in  the  lobby,  but  managers  in- 
clined to  more  real  atmosphere  may  ponder 
the  draw  of  live  chicks  and  bunnies.  While 
the  chicks  can't  stand  much  handling  and 
thus  are  to  be  effectively  caged,  attention  has 
been  drawn  by  a  giveaway  on  the  rabbits. 
When  this  is  put  on,  they  are  displayed  in 
cages  and  distributed  from  the  stage. 
Whether  bunnies  are  promoted  or  pur- 
chased, the  stunt  has  been  reported  to  click 
successfully  and  returned  extra  grosses. 

And  Then  Flowers 

Every  manager  can  go  to  town  on  this 
slant,  which  might  mean  showings  of  flowers 
in  lobby,  windows  at  florists,  flowers  to 
women  and  children,  and  all  the  other  re- 
liables. Loew  Theatres'  New  England 
division  manager,  H.  M.  Addison,  used  to 
put  on  some  swell  flower  stuff  when  he  was 
stationed  in  Cleveland,  tying  in  with  florists 
and  nurserymen  for  permanent  lobby  and 
foyer  displays  as  soon  as  Spring  appeared. 
Full  accounts  of  Addy's  floral  campaigns 
have  been  run  in  back  issues,  the  last  one 
detailed  in  issue  of  April  14,  1934. 

Easter  Bargain  Carnival 

Some  time  ago,  Manager  J.  Daley,  of  the 
Croswell,  Adrian,  Mich.,  put  on  a  bargain 
carnival  that  might  be  adapted  to  the  Easter 
season.  Daley  rounded  up  over  60  mer- 
chants to  cooperate,  and  local  paper  ran  free 
page  ad  in  addition  to  a  co-op  section. 

Front  page  stories,  auto  parades,  window 
displays  and  contests  all  helped  to  put  the 
idea  over,  and  this  slant  sounds  profitable  to 
greet  the  season,  especially  if  encouraged  by 
local  organizations,  Chamber  of  Commerce 
and  leading  citizens. 

Easter  Sunrise  Services 

Last  year  Tom  Kane,  of  the  Sequoia,  Red- 
wood, Cal.,  was  called  upon  by  the  local 
committee  in  charge  of  the  annual  Easter 
Sunrise  services  to  publicize  the  event  over 
the  nearby  area,  and  Tom  of  course  man- 
aged to  do  a  competent  job,  which  rather 
increased  his  standing  with  the  neighbors. 

Where  there  are  facilities  for  this  form  of 
service  and  the  weather  allows,  such  co- 
operation might  be  welcomed  by  local  com- 
mittees in  charge  of  such  arrangements. 

Special  Garden  Shows 

More  applicable  in  the  warmer  climes 
where  gardens  are  already  in  bloom,  this 
show  idea  may  be  made  an  exhibition  or 
contest,  as  the  circumstances  allow.  Prizes 
may  be  promoted  for  such  flowers  as  cro- 
cuses, hyacinths,  tulips,  etc.,  and  coopera- 
tion secured  from  local  papers,  garden  clubs, 
nurserymen,  seed  stores  and  similar  groups. 
Exhibits  could  be  shown  in  lobby,  foyer, 
where  perhaps  judging  could  be  held. 


82 


MOTION    PICTURE  HERALD 


April    6.  1935 


K.  S.  HELSON 

formerly  at  the  Dickinson  Theatre  in  Beloit, 
Kansas,  is  now  at  the  Olympic  in  Water- 
town,  N.  Y. 

V 

LEO  TRAINOR 

has  succeeded  J.  F.  ROGERS  as  manager 
of  the  Strand  in  Norfolk,  Va.  Leo  formerly 
was  at  the  Rivoli,  Rialto  and  Criterion  the- 
atres, N.  Y.  C. 

V 

FLOYD  MAXWELL 

has  been  appointed  manager  of  the  RKO 
Orpheum  in  Denver,  Colo. 

V 

CECIL  VOGEL 

has  moved  to  Loew's  State  Theatre  in  Mem- 
phis, Tenn. 

V 

EDDIE  RIVERS 

is  handling  publicity  for  Hamrick  Theatres 
in  Seattle,  Wash. 

V 


J.  C.  COLLINS 
is  in  Ft.  Dodge,  la. 
Theatre. 


managing  the  Princess 


LOUIS  SIMON 

has  been  named  manager  of  the  Capitol, 
Elizabeth,  N.  J. 

V 

JOHN  C.  SMITH 

formerly  at  the  Ogontz  in  Philadelphia  is 
the  new  manager  at  the  Aldine  in  Wilming- 
ton, Del.,  succeeding  DWIGHT  VAN 
METER,  who  has  gone  to  the  Astor,  in 
Reading,  Pa. 

V 

LEON  BENHAM  is  the  new  manager  of 
the  Queen,  in  Wilmington,  Del.,  succeeding 
E.  I.  LEWIS. 

V 

ALVIN  HOSTLER 

may  be  found  at  the  State  Theatre,  Reading, 
Pa. 

V 

STANLEY  BARR 

formerly  of  the  Strand,  in  Staunton,  Va.,  is 
managing  the  Capitol,  Winchester,  Va. 

V 

SIG  STROMME 

is  now  at  the  Blue  Mouse,  Tacoma,  Wash., 
succeeding  REX  STEVENSON. 

V 

H.  L.  WAYCOTT 

replaced  EDGAR  HART  as  manager  of  the 
Aztec,  San  Diego,  Cal.,  and  C.  H. 
MEEKER  is  at  the  Fairmount,  while  JACK 
REDMOND  goes  to  the  Mission,  same 
town. 

V 

SID  JACOBS 

has  been  transferred  from  the  Sheridan 
Square,  Pittsburgh,  to  the  Memorial,  in  Mc- 
keysport,  and  GEORGE  BRONSON  suc- 
ceeds Jacoljs. 

V 

JOHNNY  SANDERS 

has  returned  to  manage  the  Colorado  and 
Pueblo  Theatres,  Pueblo,  Colo. 

V 

GENE  OLIVER 

formerly  of  Arkansas  Theatre,  Little  Rock, 
replaces  CHARLIE  MENSING,  resigned, 
at  the  Orpheum  Theatre,  Memphis,  Tenn., 
while  WILLIAM  RAMSEY  goes  to  the 
Strand  and  ELLIOTT  JOHNSON  pro- 
moted to  advertising  director  of  circuit. 


Paul  Andrews,  art  director,  tHallfax  Theatres, 
Daytona  Beach,  Fla.,  is  responsible  for  this 
"Kid  Millions"  display  used  at  the  Empire 
Theatre  there.  Baby  spot  played  on  money 
bag  filled  with  parts  of  broken  mirror,  and 
silver  foil  was  used  for  the  "Kid  Millions" 
lettering. 


Sid  Lawrence 
Suddenly  Stricken 

Funeral  services  for  Round  Tabler  Cedric 
F.  (Sid)  Lawrence,  of  the  Avon  Theatre, 
Watertown,  N.  Y.,  who  died  on  March  4 
shortly  after  he  was  stricken  with  a  heart 
attack,  were  held  at  the  Masonic  Temple, 
Watertown,  on  March  6. 

Sid  was  an  old  timer  in  the  theatre  and 
filled  many  important  posts  with  leading  cir- 
cuits in  various  parts  of  the  country.  His 
contributions  have  appeared  frequently  in 
these  pages. 


APPLICATION  FOR 
MEMBERSHIP 

MANAGERS'  ROUND 
TABLE  CLUB 

1790  Broadway,  New  York 

Please  enroll  me  in  the  Club  and 
send  me  my  framed  certificate. 

Name   

Position   

Theatre     

Address   

City  

State   

Absolutely  No  Dues  or  Fees! 


SOME  OF  OUR  NEWLY 
REGISTERED  MEMBERS 


JACK  ARTHUR, 

Manager,  Imperial,  Toronto,  Can. 

WILLIAM  BARRON, 

Manager,  Kenyon,  Pittsburgh,  Pa. 

EWELL  BINGHAM, 
Manager,  Howard,  Taylor,  Tex. 

RALPH  W.  BRASWELL,  JR., 
Manager,  Macon,  Tiiskagee,  Ala. 

MORRIS  BROWN, 

Manager,  Benson,  Brooklyn,  N.  Y. 

LEE  EDWARD  CHURCHIN, 
Asst.,  Coney  Island,  Bklyn,  N.  Y. 

FRANK  DAU, 

Manager,  Colonial,  Galax,  Va. 

GEORGE  ERASER, 

Asst.,  Uptown,  Cleveland,  Ohio 

EDWARD  J.  FRENCH,  JR., 

Manager,  Majestic,  Springfield,  Mass. 

KENNETH  HIGGINS, 
Manager,  Avon,  Edwards,  N.  Y. 
WALTER  E.  JANCKE, 
Asst.,  West,  Trinidad,  Colo. 

JOHN  P.  JONECK, 
Manager,  Columbus,  N.  Y.  C. 

L.  C.  LAMPO, 

Manager,  Avalon,  Jeanerette,  La. 
MILLARD  LEE, 

Manager,  Mesa,  Los  Angeles,  Cal. 
JOHN  McKAY, 

Manager,  Spencer,  Rock  Island,  III. 

J.  s.  McNeill, 

Manager,  Gloria,  Ninety  Six,  S.  C. 

J.  ROGER  MacGUIGAN, 

Pub.  Dir.,  Princess,  Honolulu,  Hawaii 

JOSEPH  MAHONEY, 
Manager,  Globe,  New  York  City 

W.  V.  NOVAK, 

Manager,  Gaiety,  Winnipeg,  Canada 
FRED  J.  O'NEIL, 

Manager,  Skouras,  Valley  Stream,  L.  I. 
J.  W.  PICKETT, 
Manager,  Strand,  Hastings,  Neb. 
F.  MALLORY  PITTMAN, 
Manager,  Selba,  Central  City,  Ky. 
A.  NINO  RICCIARDI, 
Manager,  Starland,  Los  Angeles,  Cal. 
GEORGE  T.  RYBICA, 
Manager,  Niles  Center,  Niles  Center, 
III. 

FRANCIS  X.  STORING, 

Manager,  Lincoln,  Richmond,  Va. 

F.  H.  THOMAS, 

Manager,  Park,  Maryville,  Tenn. 

J.  S.  THOMASON, 

Asst.,  Rifz,  McPherson,  Kan. 

HARRY  THOMS, 

Asst.,  Nortown,  Chicago,  III. 

J.  A.  WESTMORELAND, 

Manager,  Lone  Star,  Eldorado,  Tex. 


April    6 ,  1935 


MOTION    PICTURE  HERALD 


83 


Mark  Time  on  3 
Antitrust  Suits 

Slight  progress  was  made  this  week  in 
furthering  federal  antitrust  suits  pending 
against  distributors,  and  filed  by  exhibitors. 

In  St.  Louis,  Federal  Judge  Davis,  acting 
on  motion  of  United  States  District  Attorney 
Blanton,  postponed  until  May  6th  arguments 
on  the  demurrer  to  the  indictment  of  Ned 
Depinet,  RKO  distribution  executive,  in  the 
case  being  sponsored  by  the  Department  of 
Justice  against  large  distributors.  Mr. 
Depinet's  demurrer  was  made  on  the  ground 
that  the  indictment  does  not  state  sufficient 
facts  to  indicate  the  commission  of  a  crime 
by  him.  The  case,  involving  St.  Louis  inde- 
pendent first-run  theatres,  was  postponed  in- 
definitely, probably  until  Fall. 

Independent  exchanges  in  Detroit,  through 
counsel,  David  Newman,  were  filing  briefs 
this  week  in  the  suit  brought  by  Jacob 
Schreiber  in  federal  court  charging  Co-op- 
erative Theatres  of  Michigan,  Inc.,  and  De- 
troit independent  exchanges  with  conspiracy 
to  prevent  Mr.  Schreiber  from  getting  prod- 
uct for  his  Colonial  theatre. 

In  Los  Angeles,  Fox  West  Coast  Theatres 
and  George  Skouras,  William  Moore  and 
Charles  Irwin,  as  trustees,  were  preparing 
to  move  to  dismiss  H.  L.  Gumbiner's  $1,520,- 
000  antitrust  suit  on  technical  grounds.  Date 
of  a  hearing  had  not  been  determined. 

Fox  West  Coast,  in  answering  Mr.  Gum- 
biner's charges  of  conspiracy  by  the  circuit 
and  large  distributors  in  order  to  eliminate 
the  Gumbiner  theatres,  claimed  this  week 
that  the  complaint  failed  to  state  sufficient 
cause.  Also,  Fox  claimed  the  action  was 
not  properly  brought  and  contained  a  mis- 
joinder of  defendant  parties. 

Majestic  Moves  To 
Liberty  Headquarters 

The  home  office  and  sales  staff  of  Majestic 
Pictures  this  week  completed  arrangements 
for  moving  into  the  offices  of  Liberty  Pic- 
tures at  1776  Broadway,  New  York,  where 
Budd  Rogers,  Liberty  sales  manager,  will 
take  over  supervision  of  Majestic's  sales. 

E.  H.  Goldstein,  recently  resigned  as  vice- 
president  of  Majestic,  is  considering  several 
positions  with  film  companies  and  said  this 
week  he  intends  to  make  an  announcement 
of  a  new  connection  shortly. 

Last  Open  AMPA 
Meeting  This  Week 

The  last  open  meeting  of  the  Associated 
Motion  Picture  Advertisers  this  season  was 
to  be  held  on  Thursday  at  the  New  York 
Motion  Picture  Club.  Among  guests  were 
to  be  Merlin  H.  Aylesworth,  president 
of  NBC  and  Radio-Keith-Orpheum ;  Al 
Jolson,  Dorothy  Mackail,  Jimmy  Durante, 
Eddie  Dowling,  Molly  Picon,  Robert  Young 
and  Jack  Pearl. 


RKO  Signs  Foreign  Deals 

RKO  Radio  has  signed  foreign  distribu- 
tion deals  for  its  product  with  Cine  Colom- 
bia of  Medellin  for  the  current  lineup  in 
Colombia,  and  with  M.  A.  Schlessigner, 
acting  for  African  Consolidated  Films,  Ltd., 
for  South  African  distribution. 


Distributors  in  Canada 
Reelect  John  Cooper 

Colonel  John  A.  Cooper  was  reelected 
president  Wednesday  at  the  annual  meeting 
of  the  Motion  Picture  Distributors'  Associa- 
tion of  Canada,  at  Toronto,  and  the  follow- 
ing were  elected  directors :  C.  Hague,  Uni- 
versal ;  A.  W.  Perry,  Empire  Films ;  J.  P. 
O'Loughlin,  Fox;  M.  A.  Milligan,  Para- 
mount ;  Henry  Nathanson,  Regal  Films ;  L. 
M.  Devaney,  RKO;  H.  M.  Masters,  United 
Artists,  and  H.  O.  Paynter,  Vitagraph 
(Warners). 

It  was  reported  at  the  meeting  that  only 
a  slight  improvement  in  film  rentals  and 
theatre  attendance  is  noticeable  in  Canada. 


SMPE  Spring  Meeting 
May  20-24  in  Hollywood 

The  society  of  Motion  Picture  Engineers 
this  week  announced  its  annual  spring  con- 
vention will  be  held  in  Hollywood  at  the 
Hotel  Roosevelt,  May  20-24. 

A  technical  progiam  of  papers  and  dem- 
onstrations is  being  arranged,  with  special 
emphasis  on  studio  technique,  equipment  and 
practices.  The  exhibits  at  the  convention 
will  feature  equipment  and  studio  devices, 
in  addition  to  the  usual  commercial  develop- 
ments. Visits  have  been  arranged  to  the  stu- 
dios of  Warner,  Fox  and  Walt  Disney.  W. 
C.  Kunzmann  has  been  named  convention 
vice-president. 

Pathe  to  Pay  Funded 
Debt  with  Bank  Loans 

A.  B.  Poole,  vice-president  of  Pathe  Ex- 
change, Inc.,  said  in  Hollywood  Wednesday 
that  on  May  1  bank  loans  heretofore  agreed 
upon  will  be  turned  over  to  the  company, 
serving  to  pay  off  the  balance  of  the  funded 
debt,  amounting  to  approximately  $1,900,- 
000.  The  loan  will  retire  the  remaining 
seven  per  cent  bonds  of  Pathe,  saving  about 
three  per  cent  annually  on  the  above  sum. 


Cuba  Accepts  "Rumba" 

The  Cuban  Government  this  week  con- 
sented to  remove  all  official  objections  to  the 
showing  in  that  country  of  Paramount's 
"Rumba,"  on  removal  of  a  lottery  sequence. 


Goldwyn  May  Produce  Abroad 

Samuel  Goldwyn  returned  from  England 
Tuesday  and  indicated  he  may  produce  there, 
depending  on  the  California  tax  situation. 


Mae  Murray  Wins  Appeal 

The  appellate  court  of  New  York  has 
ruled  that  Mae  Murray  may  institute  a  new 
action  against  Tiffany  Productions,  which 
she  sued  some  time  ago  for  $300,000.  Jus- 
tice Steuer  dismissed  the  first  action  on  the 
ground  she  had  failed  to  show  her  pictures 
had  made  a  profit,  while  the  higher  court 
ruled  the  case  should  not  have  been  dis- 
missed, because  Tiffany  failed  to  prove  the 
films  had  not  made  a  profit. 


Bombay  Studio  Opens  Soon 

It  is  expected  the  new  plant  of  Bombay 
Talkies,  Ltd.,  film  company  in  Bombay, 
India,  will  be  completed  this  month.  The 
joint  management  of  Elphinstone  Pictures 
and  Universal  Theatres  has  floated  a  large 
issue,  planning  to  build  a  studio  at  Luck- 
now. 


Studio  Site  Survey 
Still  On:  Schenck 

The  motion  picture  industry,  "fighting  for 
self-preservation,"  is  going  ahead  with  its 
plans  to  move  from  California,  regardless  of 
the  outcome  of  the  state's  tax  program,  as 
a  protective  measure  against  the  possibility 
of  detrimental  legislation  in  the  future, 
Joseph  M.  Schenck,  president  of  United 
Artists,  said  last  week  upon  his  arrival  in 
Los  Angeles  from  New  York.  Mr.  Schenck 
was  accompanied  by  Al  Lichtman,  United 
Artists'  general  sales  manager ;  William 
Phillips  and  A.  C.  Blumenthal. 

The  industry,  Mr.  Schenck  said,  will  lo- 
cate wherever  it  will  be  assured  that  at  no 
time  will  its  existence  be  threatened  by  tax 
legislation.  The  producer  said  he  had  re- 
ceived invitations,  as  previously  reported, 
from  Florida,  New  York,  Connecticut,  New 
Jersey,  North  Carolina  and  Delaware  with 
assurances  that  no  tax  burdens  would  be 
placed  on  studios.  He  proposed  an  amend- 
ment to  California's  constitution  guarantee- 
ing studios  an  equitable  taxation  system. 

"If  the  high  tax  program  goes  through," 
he  said,  "Hollywood  and  neighboring  com- 
munities would  lose  thousands  of  film  work- 
ers and  a  payroll  of  some  $100,000,000 
yearly  to  some  other  state." 

Declaring  that  the  industry  always  has 
contributed  more  than  a  normal  share  of 
expenses  of  government.  Will  H.  Hays,  in 
a  statement  issued  on  his  arrival  in  Holly- 
wood Monday  from  New  York,  expressed 
the  hope  that  "wise  counsel"  will  prevail  in 
the  California  legislature. 

Replying  to  Mr.  Schenck's  threat  of  mov- 
ing regardless  of  the  tax  program's  out- 
come, Assemblyman  J.  J.  Boyle  of  Los  An- 
geles said: 

"What  a  bluff !"  ■ 

Frederick  Pelton,  engineer,  who  has  been 
investigating  Florida's  suitability  as  a  studio 
locality  on  behalf  of  the  industry  at  large, 
left  Jacksonville  Friday  night  for  Hollywood 
to  report  his  findings. 

Assemblyman  Frank  D.  Laughlin  of  Los 
Angeles,  author  of  a  bill  providing  for  a 
tax  on  films,  last  week  asked  the  Assembly 
revenue  and  taxation  committee  to  fix  an 
early  date  for  a  hearing,  at  which  motion 
picture  representatives  may  be  heard. 

The  Central  Labor  Union,  Wilmington, 
wired  an  invitation  for  the  industry  to  locate 
in  Delaware. 

Rupert  Hughes,  novelist,  speaking  in 
Hollywood,  said  enactment  of  the  motion 
picture  tax  legislation  would  cause  bank- 
ruptcy to  California  business. 

ASCAP  Wins  Seven  Awards 
From  Mississippi  Houses 

The  American  Society  of  Composers, 
Authors  and  Publishers  has  been  awarded 
judgments  in  seven  cases  against  theatres 
in  Mississippi  for  copyright  violations.  They 
are  the  Drew,  at  Drew ;  Folly,  Marks ;  Prin- 
cess, Waynesboro ;  Palace,  Newton ;  Palace, 
Crystal  Springs ;  Hazelhurst,  Hazelhurst ; 
Royal,  Rollingfork. 

The  ASCAP  is  reported  ready  to  proceed 
against  the  Roosevelt  and  St.  Charles  hotels 
in  New  Orleans,  the  Roosevelt  action  under- 
stood to  have  been  determined  upon  as  a  test 
case. 


84 


MOTION    PICTURE  HERALD 


April    6 ,  1935 


TRAVELERS 


MoNA  Barrie,  Fox  star,  is  due  in  New  York 

from  Movietone  City. 
RocHELLE  Hudson  left  Broadway  for  the  Fox 

coast  studio. 
Samuel  Goldwyn  returned  to  New  York  from 

Europe. 

Walter  Futter  arrived  in  New  York  from 
Hollywood  to  arrange  distribution  of  "Hong 
Kong  Nights." 

Sam  Katz,  MGM  production  official,  will  leave 
Culver  City  shortly  for  New  York. 

W.  Ray  Johnston,  Aionogram  president,  re- 
turned to  New  York  from  Atlanta. 

Caesar  Romero  is  in  New  York  from  Holly- 
wood. 

Nate  Blumberg,  RKO  theatre  executive,  re- 
turned to  New  York  from  a  circuit  tour. 

Austin  Reough  returned  to  New  York  after 
ten  days  in  Atlantic  City. 

Gradwell  SeahSj  Warner  sales  executive,  left 
New  York  for  the  Burbank  studios. 

Harvey  Day,  Sr.,  Terry-Toons  sales  execu- 
tive, returned  to  New  York  from  a  six-week 
Fox  exchange  tour. 

Louis  Hyman,  Sol  Lesser's  representative, 
arrived  in  New  York  from  Hollywood. 

Spyros  Skouras  flew  from  New  York  to  Los 
Angeles. 

Jack  Cohn  and  Abe  Montague,  Columbia  ex- 
ecutives, were  due  back  in  New  York  from 
the  coast. 

Charles  Sonin,  Loew-Metro  purchasing  head, 
returned  to  New  York  from  Cleveland. 

Paul  Whiteman  left  New  York  for  a  south- 
ern concert  tour. 

James  Clark,  president  of  National  Film  Car- 
riers, was  in  New  York  from  Philadelphia. 

Leo  Spitz,  Skouras  lawyer,  left  New  York 
for  Chicago. 

David  Loew  returned  to  New  York  from  a 
three-month  vacation. 

Ike  Libson  returned  to  Cincinnati  after  RKO 
conferences  in  New  York. 

Roger  Ferri,  Fox  exploiteer,  returned  to  New 
York  after  an  Atlanta  air  stunt. 

John  A.  Curtis,  First  Division,  flew  to  Hol- 
lywood from  New  York. 

Sidney  R.  Kent,  Fox  Film  president,  was  in 
Hollywood  from  New  York. 

Milton  Kusel  sailed  on  a  vacation  cruise. 

Katherine  Brown,  RKO  eastern  story  edi- 
tor left  for  Hollywood. 

Ed  Kuykendall,  MPTOA  president,  returned 
to  Columbus,  Miss.,  from  New  York. 

Harry  Rathner  returned  to  New  from  a  mid- 
west sales  tour. 

Helen  Kane  sailed  from  New  York  for  Los 
Angeles. 

Ben  S.  Cohen,  of  Burroughs  Tarzan  Enter- 
prises, arrived  in  New  York  from  California 
to  sell  'Adventures  of  Tarzan"  to  independ- 
ent exchanges. 

J.  H.  Seidelman,  Columbia  foreign  manager, 
arrived  in  Australia. 

Mack  Sennett  returned  from  Europe. 

Robert  Young,  Metro  player,  arrived  in  New 
York  from  San  Antonio. 

Joseph  M.  Schenck,  President  of  United 
Artists ;  Harry  M.  Goetz,  president  of  Re- 
liance, and  Al  Lichtman,  arrived  in  Holly- 
wood from  New  York. 

Frank  Farley,  European  story  scout  for  Para- 
mount, arrived  in  Hollywood  for  conferences 
with  Ernst  Lubitsch. 

Benjamin  Glazer,  Paramount  associate  pro- 
ducer, flew  from  Hollywood  to  New  York. 

Joseph  Hummell,  Warner  foreign  sales  man- 
ager, sailed  for  Europe. 

Sam  Harris  is  due  to  arrive  in  New  York 
from  Hollywood. 

C.  W.  Bunn,  Erpi  sales  manager,  returned  to 
New  York  from  Chicago. 

Sophie  Tucker  returned  to  New  York  from 
Florida. 

Laurence  Riley  left  Broadway  for  Hollywood 

by  auto  to  write  for  Paramount. 
Phil  Ryan  was  in  New  York  from  the  coast. 


George  Dembow,  National  Screen,  was  touring 

the  South,  out  of  New  York. 
Ben  Amsterdam,  exhibitor,  was  in  Miami. 
Walter  Abel,  Broadway  stage  player,  left  to 

enter  films  at  Radio's  studio. 
Thornton  Delehanty,  New  York  Post  film 

critic,  sailed  for  Europe. 
Al  Friedland,  First  Division  vice  president, 

returned  to  New  York  from  the  coast. 


Mills  Joins  March  of  Time 

A.  K.  Mills,  formerly  on  the  publicity  stafif 
of  Batten,  Barton,  Durstine  and  Osborn,  has 
joined  "March  of  Time"  as  assistant  to 
Ralph  Rolan,  vice-president  in  charge  of 
advertising  and  promotion.  Mr.  Mills  has 
handled  publicity  for  Amelia  Earhart's  flight 
in  1928;  for  the  first  Byrd  Expedition,  and 
for  a  number  of  transport  and  aviation 
companies. 


Forms  Royal  Pictures 

Royal  Pictures  Company  has  been  formed 
by  David  Kupperberg  as  a  producing  and 
distributing  firm,  with  offices  at  729  Seventh 
avenue.  New  York.  Six  westerns  and  sev- 
eral society  dramas  are  planned. 


Goldwyn  Signs  Minnevitch 

Samuel  Goldwyn  has  signed  Borrah  Min- 
nevitch and  his  Harmonica  Rascals  to 
appear  in  the  next  Eddie  Cantor  picture. 
The  deal  was  handled  by  the  William 
Morris  Agency. 


Sprouie  to  Drop  Theatres 

Lee  Sprouie  of  Newton,  Kan.,  plans  to 
dispose  of  his  interest  in  four  theatres  in 
Kansas,  and  probably  will  leave  for  Califor- 
nia to  make  his  home. 


SHORT  PRODUa 
PLAYING  BROADWAY 


Week  of  March  30 


ASTOR 

The  Gloom  Chasers  Columbia 

CAPITOL 

Shrimps  for  a  Day  MGM 

MAYFAIR 

Two  Little  Lambs  Universal 

Eggs  Marks  the  Spot  Vitaphone 

An  Ear  for  Music  Educational 

MUSIC  HALL 

Pathe  Topics  No.  4  RKO  Radio 

Life's  Last  Laughs  No.  6.  .  .  Columbia 

PARAMOUNT 

Pleased  to  Meet  Chai  Paramount 

Shorty  on  the  Farm  Paramount 

Paramount  Pictorial  No.  9.  .  Paramount 

RIALTO 

Song  of  the  Birds  Paramount 

Nerve  Control   Paramount 

RIVOLI 

Mediterranean  Songs   First  Division 

Mickey's  Service  Station  ...  United  Artists 

ROXY 

Medbury  in  Hollywood ....  Columbia 

Goddess  of  Spring  United  Artists 

Old  Age  Pension  Universal 

STRAND 

The  Old  Grey  Mayor  Vitaphone 

In  the  Spotlight  Vitaphone 

Buddy  of  the  Legion  Vitaphone 


WABASH  AVENUE 


CHICAGO 

Herman  Schoenstadt,  founder  of  the  Schoen- 
stadt  theatres,  suffered  a  stroke  while  at  Hot 
Springs  over  the  weekend.  His  sons,  Arthur 
and  Henry,  rushed  to  him.  Schoenstadt  is  81 
years  old. 

V 

Travelers :  James  Coston  is  back  from  the 
west  coast.  Jack  Osserman  of  RKO  is  vaca- 
tioning at  Biloxi,  Miss.  So  is  Harry  Lorch  of 
Security. 

V 

Exhibitors  and  exchanges  alike  were  speculat- 
ing as  to  the  next  move  of  E.  E.  Alger,  operator 
of  ten  downstate  theatres,  whose  film  service 
was  ordered  stopped  as  of  April  5  for  failure  to 
comply  with  decisions  of  the  local  code  board. 
It  was  reported  Alger  would  seek  a  court  in- 
i  unction. 

V 

Sam  Clark  of  Warner  is  spending  some  time 
in  town  in  connection  with  exploitation  on 
"Three  on  a  Horse." 

V 

Charles  House  and  Ed  Johnson  have  taken 
over  the  Bijou  and  Rivoli  theatres  at  Mon- 
mouth, 111.,  from  M.  Hoffman. 

V 

Henry  Fields  has  completed  remodeling  of 
the  Roxy  at  Rock  Falls. 

V 

Eddie  Brichetto  is  now  handling  "Tango," 
making  his  headquarters  at  831  S.  Wabash. 
V 

Refrigerating  equipment  is  being  installed  in 
five  Essaness  houses,  bringing  the  total  theatres 
so  equipped  up  to  fourteen. 

V 

Several  sites  for  Loew  houses  were  expected 
to  be  announced  this  week  as  word  leaked  out 
that  a  deal  had  been  closed  for  the  first  theatre 
in  Oak  Park.  Robert  Lynch  and  George 
Schwartz  are  making  headquarters  at  the  Metro 
office,  from  where  deals  for  various  properties 
are  being  negotiated. 

V 

H.  Fowler  was  in  town  with  a  print  of  his 
new  picture,  "The  Tia  Juana  Kid." 

V 

Henry  Markside,  manager  of  the  Crawford 
theatre,  is  the  proud  father  of  a  new  babv  boy. 
V 

Screeno  is  being  used  two  nights  each  week 
at  two  Essaness  houses — the  Vic  and  Sheridan. 

y 

Al  Lichtman  of  United  Artists  was  in  town 
last  week  for  conferences  with  Sam  Horwitz, 
local  manager,  and  Jack  Goldhar,  district  man- 
ager. 

V 

W.  F.  Brasch  &  Company,  Chicago  real 
estate  brokers,  have  negotiated  a  ten-year  lease 
for  the  Broadway  Capital  theatre.  Detroit.  The 
lessee  is  M.  W.  Reinke  and  the  lessor  the 
Capital  Building  Company.  Mr.  Reinke  also 
operates  the  Tower  and  Downtown  theatres  in 
Kansas  City,  Mo. 

Mr.  Reinke  will  open  the  Broadway  Capital 
April  20th,  with  a  combination  of  stage  shows 
and  first-run  pictures. 

HOLQUIST 


Shubert  Takes  Bov/I 

J.  J.  Shubert  has  taken  over  the  Holly- 
wood Bowl  for  the  month  of  June.  He  will 
stage  "Blossom  Time,"  "Lady  in  Ermine," 
and  "Maytime,"  using  New  York  and  Hol- 
lywood players. 


To  Handle  Hughes  Reissues 

Selected  Pictures  Company  of  Cleveland 
will  distribute  a  series  of  six  Howard 
Hughes  features  in  Ohio  for  Atlantic  Film 
Company.    All  are  reissues. 


April    6  ,  1935 


MOTION    PICTURE  HERALD 


85 


THE  RELEASE  CHART 


Productions  are  listed  according  to  the  nannes  of  distributors  in  order  that  the  exhibitor  may  have  a  short-cut  towards  such 
intormation  as  he  may  need,  as  well  as  information  on  pictures  that  are  coming.  Features  now  in  work  or  completed  for  release 
later  than  the  date  of  this  issue  are  listed  under  "Coming  Attractions."  Running  times  are  those  supplied  by  the  companies. 
Asterisk  indicates  running  time  as  made  known  by  West  Coast  studio  before  announcement  by  home  office  in  New  York.  Varia- 
tions also  may  be  due  to  local  censorship  deletions.  Dates  are  1934,  unless  otherwise  specified.  Letter  in  parentheses  afte 
title  denotes  audience  classification  of  production:  (A)  Adult,  (G)  General.    Numerals  following  audience  classification  are  pro- 


duction numbers. 

AMBASSADOR  PICTURES 

^^"lu^^  ^t»r  Running  Time 

FighlinV  Trooper.  The  Kermit  Maynard-Barbara  Worth  5 

Northern   Frontier   (G)  Kermit  Maynard-Eleanor   Hunt.    Feb'  I  '35 "iV  Mar  "  V '^i; 

Wilderness  IVIalf  (G)  Kermit  Maynard-Fred    Kohler. .; !  Mar.  is'.'is. '.    -58:  mI?!  {I'Al 

Coming  Attractions 

His  FightinB  Blood   Kermit  Maynard    jniy  i  '35 

Red  Blood  of  Courage  Kermit  Maynard    "Apr  20''35 

Sandy  of  the  Mounted  Kermit  Maynard    "seDt  I2*'35 

Timber  War   Kermit  Maynard    "ivtav"  27' '^s 

Trails  of  the  Wild  Kermit  Maynard    Aug  6 '35 


CHESTERFIELD 


Features 

Title  Star 

Curtain  Falls,  The  (A)  Henrietta  Crosman    Oct 

Green  Eyes  (G)   Charles  Starrett-Shirley  Grey...  June 

Shot  In  the  Dark,  A  Charles  Starrett-Marion  Shilling  Feb 

Sons  of  Steel  C.  Starrett  -  Polly  Ann  Young.. Dec'. 

World  Accuses,  The  (G)  Dicliie  Moore  -  Russell  Hopton -. . Nov. 

Coming  Attractions 

Circumstantial   Evidence   Chick  Chandler-Shirley  Grey  

Girl  Who  Came  Back  , 

Happiness  C.O.D  


Running  Time 
Rel.  Date      Minutes  Reviewed 

I  67  Oct.  6 

15  67  Dec.  8 

I5.'35  68  

15  

•  2  63. Mar.  30,'35 


COLUMBIA 


Features 

Title  Star  Rel. 

Against  the  Law  (A)  John  Mack  Brown-Sally  Blane. .  .  .Oct. 

Behind  the  Evidence  (G)  Norman  Foster-Sheila  Manneri. . .  Jan. 

Best  Man  Wins,  The  (G)  Tim  McCoy-Shirley  Grey  July 

Beyond  the  Law  (G)  J.  Holt-Florence  Rice-E.  Lowe.  ..Jan. 

Broadway  Bill  (G)  Warner  Baxter-Myrna  Loy  Dec. 

J.  Durante  -  Lee  Tracy  ■  Sally 

Carnival   (G)    Eilers  -  Florence  Rice  Feb. 

Death  Flies  East  (G)  Florence  Rice-Conrad   Nagal  Feb. 

Fugitive  Lady  (G)  Neil    Hamilton-Florence  Rlee....O«t. 

Girl  in  Danger  (A)  Ralph  Bellamy-Shirley  Grey  Aug. 

I'll  Fix  It  Jack  Hoit-Mona  Barrio.... _.  Oct. 

I'll  Love  You  Always  Nancy  Carroll -George  Murphy  Mar. 

(See  "In  the  Gutting  Room,"  Feb.  23,'35.) 
In  Spite  of  Danger  Marian  Marsh-Wallace  Ford  Mar. 

(See  "Devil's  Cargo"   "In  the  Cutting  Room,"  Jan.  26,'35.) 

Jealousy  (G)   Nancy  Carroll-Donald  Cook  Nov. 

Lady  by  Choice  (G)  Carole  Lombard  -  May  Robson  • 

Walter  Connolly- Roger  Pryor..Oct. 

Law  Beyond  the  Range  Tim  McCoy-Billie    Seward  Feb. 

Let's  Live  Tonight  (G)  Lilian  Harvey-Tulllo  Carminati. .  Mar. 

(See  "Onoe  A  Gentleman"   "in  the  Cutting  Room,"  Dee.  29.) 

Men  of  the  Night  (G)  Bruce  Cabot-Judith  Allen   Nov. 

Mills  of  the  Gods  (G)  May  Robson  -  Victor  Jory  -  Fay 

Wray   Dec. 

Prescott  Kid   Tim  McCoy-Sheila  Mannort  Nov. 

Revenge    Rider   Tim  McCoy-Blille  Seward  Mar. 

(See  "Alias  John  Law"  "In  the  Cutting  Room,"  Dec.  8.) 

Square  Shooter  (G)   Tim  McCoy   Jan. 

That's  Gratitude  (A)  Frank  Craven-Shella  Manners. ..  .Oct. 

Voice  in  the  Night  Tim  McCoy-Billie  Seward   Apr. 

Westerner,  The   Tim  McCoy-Marian   Shilling  Dec. 

White   Lies  (A)  Victor  Jory-Fay  Wray   Nov. 

Whole  Town's  Talking,  The  (G).Edw.  G.  Robinson-Jean  Arthur.. .  Feb. 

Coming  Attractions 

Air  Fury   Ralph  Bellamy-Tala  BIrall  Apr.  30,'35. 

(See  "In  the  Cutting  Room,"  Mar.  30, '35.) 

Black  Room  Mystery  Boris  Karloff   

Call  to  Arms  Willard  Mack-Ben  Lyon-Shlela 

Mannors-Wera  Engelt   

(See  "In  the  Cutting  Room,"   Nov.  3.) 

China  Roars   

Depths  Below   

Eight  Bells   Ann  Sothern-Ralph  Bellamy  Apr.  Il.'35. 

(See  "In  the  Cutting  Room,"  Feb.  23.'35.) 

Feather  In  Her  Hat,  A  

Fighting   Shadows  Tim  McCoy-Geneva  Mitchell  Apr.  I8,'35. 

Frisco  Fury   lack  Holt   

Georglana   Ann  Sothern   

Girl   Friend,  The  Lupe  Velez-Jack  Haley   

Grand  Exit   

If  You  Could  Only  Cook  Claudette  Colbert   

Jim  Burke's  Boy  Florence  Rice-Jack  Holt  

Lady  Beware   

Love  Me  Forever   Grace  Moore  -  Leo  Carrlllo  - 

Robert  Allen   

Maid  of  Honor  

Men   of  the   Hour  Richard  Cromwell-Blllle  Seward .  .Apr.  25.'35. 

Party  Wire   Jean  Arthur-Victor  Jory  Apr.  27,'35. 

Range  Raiders   Tim   McCoy-Biltie  Seward  

Sure   Fire   Gene   Raymond-Ann  Sothem  

Swell  Head   Wallace  Ford-Barbara  Kent  Apr.  8,'35. 

Unwelcome  Stranger   Jack  Hoit-Mona  Barrle   Apr.  20,'35. 

(See  "Gimpy"   "In  the  Cutting   Room,"   Mar.  2,'35.) 


Running  Time 
Date      Minutes  Reviewed 

25  61  Dec.  I 

20,'35  57.  Feb.  2,'35 

20  57  Dec.  20 

5,'35  68. Jan.  5,'35 

27  *i05  Nov.  10 

I0,'35  75.  Feb.  23,'35 

28.'35  *65.Mar.  §.'35 

2B  68.  Mar.  I6,'3S 

29  61  Dec.  I 

15  69  Nov.  17 

20,'35  68  


8,'35. 
20.... 


.60. 


.Dee.  15 


15  *85....0et.  I 

15. '35  58  

I, '35  69. Mar.  23,'35 


26  58.. 


.  Dec. 


15  67. Jan.  I9,'3S 

8  56  

I8,'35  57  

21.  '35  57.  Mar.  9,'35 

6  64....  Nov.  17 

6  59  

10  

27  74.  Jan.  5,'35 

22,  '35. .  ..*93.Jan.    26, '35 


DU  WORLD  PICTURES 


Features  Running  Time 

jitie  Star  Rel.  Date      Minutes  Reviewed 

Blue  Light  5029   Leni   Riefenstahl   Oct.    15  90  

Crannueblllo   5038  Dec.  15  

Girl  In  the  Case  5005  ...  Jimmy  Savo-Eddie  Lambert- 
Dorothy  Darling   60  


Kocha,   Lubi  Szanule  5041 ...  .(Polish)   Nov.     I  72. 

L'Afonle  des  Aigles  (A)  5032. Pierre  Renoir   Dee.     I  80... 

Man  Who  Changed  His  Name, 

The  (A)  5036   Lyn  Harding   -  -  •  65... 

Mirle  5043   Annabella   Jan.     1.  35  67... 

Old  Bin  5038   Anatole  France  story  Feb.    I0,'35  70... 

VlacDti*  Lave  Song  Maria  Jeritza  72... 

WtrM  In  Revfit     Graham  McNamee   Mar.  I,'35  

Coming  Attractions 

Cimtlla   Y.   Printemps-Pierro  Fresnay  Apr.  I5,'35  

Dream  af  My  Peeple  Cantor  Rosenblatt   June  I  


.  Dee.  8 
Oct.  27 


FIRST  DIVISION 


(Releases  Monogram,  Liberty,  Chesterfield  and  Invincible  pictures  in  certain  territories.) 
Features  Running  Time 

Title  Star  Dist'r  Rel.  Date      Minutes  Reviewed 

Convention   Girl  Rose  Hohart    Oct.  31  

Flirtation    Jeannette  Loff- 

Ben   Alexander  Nov.  9  

Hei  Tiki   (G)   (All  Native  Cast) ..  .Principal   Feb.     1,'35.  86.  Feb.  9.'35 

Little  Oamozel   Anna  Neagle  Dec.  I  

Return  of  Chandu  Maria  Alba- 

Bela  Lugosi  Principal   Oct.  4  

Sunset  Range  (G)   Hoot  Gibson-  ..' 

Mary  Doran   May     l,'35..  .5S.Mar.  9,'35 

White  Heat   Virginia    Cherrill  Oct.  I 


FIRST  NATIONAL 


Features 

Title 

Babbitt  (G)  869  

Flirtation  Walk  (G)  752. 


Gentlemen  Are  Born  (G)  872. 
Gold  Diggers  of  1935  (G)  851 

Happiness  Ahead  (G)  854  

Living  On  Velvet  859  (G)  


Maybe  It's  Love  (G)  876 
Murder  in  the  Clouds  (G)  877. 

Red  Hot  Tires  (G)  878  

Six  Day  Bike  Rider  (G)  864 
While  the  Patient  Slept  (G)  874 
Woman  in  Red,  The  (G)  863 


Star  Rel. 

Aline  MacMahon-Guy  KIbbee  Dec. 

Dick  Powell  -  Ruby  Keeler-Pat 

O'Brien   Dec. 

Franchot  Tone-Jean   Muir  Nov. 

Dick  Powell-Gloria  Stuart  Mar. 

Dick   Powell-J.   Hutchinson  Oct. 

Kay  Francis  -  George  Brent  - 

Warren  William  Mar. 

Gloria  Stuart- Ross  Alexander. ..  .Jan. 

Lyie  Talbot-Ann  Dvorak   Dec. 

Ly!e  Talbot-Mary  Aster   Feb. 

Joe  E.  Brown-Maxine  Doyle  Oct. 

Aline  MacMahon-Guy  KIbbee  Mar. 

B.  Stanwyck-Gene  Raymond  Feb. 


Running  Time 
Date      Minutes  Reviewed 

8  "75....  Nov.  17 

I  97.... Nov.  10 

17  •75... Oct.  20 

I6,'35  95. Mar.  23/35 

27  86.... Sept.  22 

2.'35  80. Mar.  I6,'35 

I2,'35  62  Nov.  24 

15  61. Jan.  5.'35 

2.'35  66.  Mar.  9.'35 

20  69  Nov.  10 

9.  '35  6 1  .  Mar.  9.'35 

I6.'35  58 -Mar.   30. '35 


Coming  Attractions 

Alibi  Ike   Joe  E.  Brown   

Black  Fury   Paul  Muni-Karen  Worley  May  4,'3S. 

(See  "In  the  Cutting  Room,"  Jan.  I9.'35.) 
Captain  Blood   Robert  Donat-Jean  MuIr. 


.97. 


Case  of  the  Curious  Bride  879.  Warren  William   Apr. 

.May 


.May  25,'35. 
■  Apr.  27,'35. 


G   Men,  The  James  Cagney- Margaret  Lindsay 

Go  Into  Your  Dance  (G)  853..  Al  Jolson-Ruby  Keeler  Apr 

In  Caliente  858   Dolores  Del  Rio-Pat  O'Brien... 

(See  "In  the  Cutting  Room."  Feb.  2,'35.) 

Mary  Jane's  Pa  875  Aline  MacMahon-Guy  KIbbee... 

(See  "Wanderlust"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Napoleon   Edw.  G.  Robinson-Bette  Davis  

Oil  for  the  Lamps  of  China  867. .  J.   Hutchinson-Pat  O'Brien  

(See  "In  the  Cuttino  Room."  Mar.  30, '35.) 

Singer  of  llaples  .*.  ."Inrico  Caruso,  Jr  

Traveling  Saleslady  870  Joan  Blondell   Apr.  8,'35 

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 


I3,'35  

I8,'35  

20,'35...'IOa.Mar.  23,'35 


.63. 


FOX  FILMS 


Features 

Title  Star  Rel- 

Baboona  (G)  530  Mr.  &  Mrs.  Martin  Johnson  Feb. 

Bachelor  of  Arts  520  Tom  Brown-Anita  Louise  Nov. 

(See  "In  the  Cutting   Room,"   Nov.  3.) 

Bright  Eves  (G)  524  Shirley  Temple-James  Dunn  Dec. 

Charlie  Chan  in  Paris  (G)  526.  Warner  Oland   Feb. 

County  Chairman,  The  (G)  525.  Will  Rogers   Jan- 
Dude  Ranger,  The  (G)  507  George  O'Brien   Sept. 

Elinor  Norton  (A)  510  Claire  Trevor  -  Norman  Foster - 

Hugh  Williams-G.  Roland  Nov. 

First  World  War,  The  (A)  519  Nov. 

Gambling   (A)   512   George  M.  Cohan   Nov. 

George   White's   1935  Scandals 
534   Alice  Faye-James  Dunn  Mar. 

(See  "In  the  Cutting  Room,"  Feb.  23,'35.) 
Great  Hotel  Murder  (G)  522..  Edmund  Lowe-Victor  McLaglen.  .Mar. 

Helldorado  (G)  522  Richard  Arlen-Madge  Evans  Dec. 

Hell  in  the  Heavens  (A)  517..  Warner  Baxter-C.  Montenegro. ...  Nov. 

Life  Begins  at  40  (G)  533  Will   Rogers   Mar. 

Liiiom    (A)   Charles  Boyer   Mar. 

Little  Colonel  (G)  531  Shirley  Temple-L.  Barrymora  Feb. 

Lottery  Lover  (G)  523  "Pat"  Paterson-Lew  Ayres   Jan. 

Love  Time  (G)  506  "Pat"  Paterson-Nlls  Asther  Sept. 

Marie  Galante  (A)  511  Spencer  Tracy-KettI  Galllan  Oct. 

Music  In  the  Air  (G)  513  Gloria  Swanson  -  John  Boles  - 

Douglass  Montgomery  Dec. 

Mystery  Woman  (G)  515  Mona  Barrie-Gilbert  Roland  Jan. 

One  rilore  Spring  (G)  529  Janet  Gaynor-Warner  Baxter  Feb. 

Peck's  Bad  Boy  (G)  516  Jackie  Cooper-Thomas  Melghan- 

Dorothy  Peterson- Jackie  Seari..Oct. 
Spring  Tonic  535  Lew  Ayres-Ciaire  Trevor  Mar. 

(See  "Man  Eating  Tiger"  "In  the  Cutting  Room,"  Mar.  9,'35.) 
365   Nights  in   Hollywood  (G) 

514   Alice  Faye-James   Dunn  Oct. 

Under  Pressure  521  Edmund  Lowe-Victor  McLaglen.  .  .Jan. 

(Reviewed  under  the  title  "Man  Lock") 

When  a  Man's  a  Man  (G)  527.  George  O'Brien   Feb. 

White  Parade,  The  (G)  518...  John   Boles-Loretta  Young  Nov. 


Running  Time 
Date      Minutes  Reviewed 

8,'35  72. Jan.  26,'35 

23  74  

28  83  Dee.  la 

l,'35....*70.Jan.  5,'S5 

1 1. '35  78  Dee.  t» 

21  65..., Sept.  21 


2  

23.... 
3.... 

29, '35. 

I, '35. 
21.... 

9.... 
22,  "35. 
I6.'35. 
22.'35. 

4,'35. 
21.... 
26.... 

7.... 
I8,'35. 
1 5, '35. 

19.... 
I5,'35. 


..72.... Oct.  it 

.78  Nov.  17 

..80  Dec.  II 


12.... 
25,'35. 


I5.'35. 
16.... 


.70.  Feb.  23/ijs 

.74  Dee.  15 

.80  Nov.  3 

•78. Mar.  23.'35 
.90. Mar.  23.'35 
.80.  Feb.  I6,'S5 
.82.  Feb.  g.'SS 
.73....  Nov.  Z4 
.88  Nov.  24 

.81  Dec.  t,: 

.69.  Jan.  -M/aa 
.90.  Feb.  9,'35 

.70  Sept.  • 


.74... Nov.  IT 
•65.  Jan.  l»,'Si 


.68  .  Mar.  2,'3S 
.83  Oct.  27 


Coming  Attractions 

Argentina   Alice  Faye-Gilbert  Roland.. 

Black  Sheep   Edmund   Lowe-Claire  Trevor 

Dante's  Inferno   Claire  Trevor-Alice  Faye... 

(See  "In  the  Cutting  Room,"  Mar.  2, '35.) 
Doubting  Thomas    ...Will  Rogers   

(See  "in  the  Cuttino  Room."   Mar.  30, '35.) 
It's  a  Small  World  536  Spencer  Tracy-Wendy  Barrle  Apr. 

(See  "In  the  Cutting   Room."   Mar.    16, '35.) 
Ladies    Love    Danger  Gilbert  Roland-Mona  Barrle  Apr. 

(See  "In  the  Cutting  Room,"  Mar.  30,'35.) 

Man  Proposes   James    Dunn-Mae  Clark*  May 

Our  Little  Girl  Shirley  Temple   May 

Redheads  on  Parade  536  1.  Boles-Claire  Trevor-AIIce  Fay  

$10  Raise  (G)  537  Edward  Everett  Hsrton  Apr. 

(Ser   "In   the  Cutting   Room."   Mar.  9.'35.) 
Under  the  Pampas  Moan  Warner  Baxter-Kettl   •alllaa  May  24,'35 


.May    31, '35. 

I2,'35. 

26,'35. 

17,'35. 
3,'35. 


5,'35....*70.Mar.  23,'S» 


86 


MOTION    PICTURE  HERALD 


April    6.  1935 


ITHC  RELEASE  CHACT—CONT'O) 


GB  PICTURES 


Features  „  , 

Title  Star 

Chu  Chin  Chow  (Q)  S40I  Anna  May  Wons-Georga  Robey...Oet. 

Evensono  (A)  S406  Evelyn  Laye  Dee. 

Everareea    (A)    S40S  Jessie   Matthews-Sonnia  Hal*.... Dae. 

Farewell   to   Love   (A)  Cllve  Brook   Apr. 

Iron  Duke.  The  (G)  M07  George  Arllsj   Jan. 

Jack  Ahoy  (Q)  34M  Jack  Hulbert  Fob. 

Little  Friend  (A)  3403  Nova  Pllbeam-Matheton  Lang  Nov. 

Lover  Divine  3410   Marta   Eggerth  Mar. 

(Reviewed   under  the  title   "Unfinished  Symphony") 
Man  Who  Knew  Too  Mueh,  The 

(G)  3415   Peter  Lorre-Nova  Pllbeam  Apr. 

Man  of  Aran  (A)  3413  Robert  Flaherty   Dee. 

My  Heart  Is  Calling  (G)  3409.  Jan  Klepura   May 

My  Song  for  You  3414  Jan  Klepura  Juno 

Power  (A)   3402  Conrad  Veldt-Bonlta  Hume  Nov. 

Princess  Charming  3408  Evelyn  Laye-Henry  Wileoxon  Jan. 

INVINCIBLE  PICTURES 

[Distributed  through  Chesterfield] 

FpnfttrPt  Running  Time 

Title  Star  "«'■  Date      Minutes  Reviewed 

Ghost   Walks.   The  John  Mlljan-June  Collyer..  Dee.      I  ' ' '  i,'^' "  it 

One  In  a  Million  <G)  Dorothy  Wi  son-C    Starrett  Sept.    5  bS    -  SII"  24 

Port  of  Lost  Dreams  (G)  Wm.  Bpyd-Lola  Lane   .Oct.    15...  68. ...Nov.  24 

Publle  Opinion   Lois  Wllson-Shlrley  Grey  Mar.   1 5.  35  66  

Symphony  for  Living  Evelyn  Brent-AI  Shean  Jan.    20.  3S  7S  

Cominq  Attractions 

Death  from  a  Distance  

Room  and  Board   


Running  Time 
Date      Minutes  Reviewed 

15  95. ...Sept.  2f 

15  82  Nov.  I 

31  98  Junt  23 

I, '35  95.  Feb.    It. '96 

'35  90  Dee.  22 

S,'3S  70.  Feb.  I6,'35 

18  88....0et.  » 

,  30.'35  Oet  13 

I5,'35  80  Dee.  2t 

 77....0eL  27 

1,'35  90.  Fob.  2,'35 

|,'35  Nov.  10 

I  103.... Oet  IS 

•35  81  


LIBERTY  PICTURES 


Running  Time 
Rel.  Date      Minutes  Reviewed 
Oct.      8  70  July  21 


10 


Features 

Title  Star 

No  Ransom  (A)  1004  Leila  Hyams-Phllllps  Holmee 

Once   to    Every   Bachelor    (A)                                                 „  ,, 

1005  Marian  Nlxon-Neil   Hamilton. .  .  Osf.   ,1  mV,    *q  •« 

School  Fi   Girls  (A)  1007  Sidney  Fox-Paul  Kelly  Feb    |9.;35  73. Mar.  9.35 

Sweepstake  Annie  (G)  Marian  Nixon-Tom  Brown  Mar.     5.35  81. Feb.  23.  3S 

Two  Heads  on  a  Pillow  (A)                                     ,  ^  .       n,.  o 

1006   Nell  Hamllton-Mlrlam  Jordan. .. .Oct.  2. 

When  Strangers  Meet  1002. ...  Richard  Cromwell-Arllne  Judge.  ..July  20. 

Cominq  Attractions  ,   ,     „  „, 

Dizzy  Dames   M.  Rambeau-Florlne  McKlnney  . .  May 

I'll  Bet  You  H.  B.  Warner-Onslow  Stevens  

Old  Homestead.  The   Mary  Carl  Isle- Lawrence  Gray   

Without  Children  1008  M.  Churchill-Bruce  Cabot  Apr.  15,35 


.71  ....Oet. 
.74  


I.'35. 


MAJESTIC 


star 


Running  Time 
Rel.  Date      Minutes  Reviewed 


Features 

Night' A°larm   (G)   505  Bruce"cibot.Judlth  Allen-H.  B.    (New  York) 

Warner  -  Fuzzy  Knight  Dee.  15  ...  .65  &opi.  u 

Perfect  Clue,  The  (G)  512  David  Manners- Dorothy  LIbaIre . .  Mar.  10,  35         63  UM.  i 

She  Had  to  Choose  (G)  504... Larry  .VBuster"  Crabbe  •  Isabel 

Jewell  -  Sally  Blane  Sept.  14  65  Aug.  ii 

Cominq  Attractions  M,r 

Motive  for  Revenge  (G)  Donald  Cook-Irene  Hervey...   65. Mar.  30,35 

Mutiny  Ahead   Neil  Hamilton-Kathleen  Burke  

(See  "In  the  Cutting   Room,"  Jan.  26, '35.) 


MASCOT  PICTURES 


Features 

Title 

Behind  the  Green  Lights  (G). 

Crimson  Romance  (A)  

In  Old  Santa  Fe  (G)  

Little  Men  (S)   

Lost  Jungle,  The  

Marines  Are  Coming,  The  


Star 


Young  and  Beautiful  (A)  

Cominq  Attractions 

One  Frightened  Night  


.Norman  Foster-Judith  Allen  Mar. 

Ben  Lyon-Sarl  Marltza  Oct. 

Ken  Maynard-Evalyn  Knapp  Nov. 

Erin  O'Brien-Moore-R.  Morgan.. Dec. 

.Clyde  Beatty   June 

William  Haines-Armlda   

Conrad  Nagel-Esther  Ralston.  .. Nov. 
William  Haines-Judith  Allen  Sept. 


Running  Time 
Rel.  Date      Minutes  Reviewed 


.'35  70. Mar.  23,'35 

67.. ..Oct. 


15... 
14... 
13... 

26!!! 
2... 


..Nov. 
. .  Dee. 


.  .63 
..72.. 
..68.. 

..'76."!.  -  ^ 
.68  8o«t 


.Dm. 


24 

22 


IS 
■ 


.  Chas.  Gragewin-Mary  Carlisle  Apr.  20.'35. 


METRO-GOLDWYN-MAYER 


Features 

Title 

After  Office  Hours  (G)  

Babes  in  Toyland  (G)  

Barretts  of  Wimpole  Street  (A) 

Band  Plays  On,  The  (G)  

Biography  of  a  Bachelor 

Girl  (A)   

Casino  Murder  Case  

(See  "in  the  Cutting  R 
David  Copperfleld  (G)   


Star 


Evelyn  Prentice  (A)  

Forsaking  All  Others  (A). 


Gay  Bride,  The  (A). 
Have  a  Heart  (G)   


Merry  Widow,  The  (A)  ... 

Naughty  Marietta  (G)   

Night  Is  Young.  The  (Q). 
Painted  Veil,  The  (A).... 


Sequoia  (G)   

Shadow  of  Doubt  (G)   

Society  Doctor   

(Reviewed  under  the  title 

Times  Square  Lady  (G)  

Vanessa:  Her  Love  Story  (A). 
West  Point  of  the  Air  (G) . . . 
What  Every  Woman  Knows  (6) 

Wicked  Woman  (A)   

Winning  Ticket.  The  (G).... 


C.   Bennett-Clark  Gable  Feb. 

Laurel  and  Hardy-C.  Henry  Nov. 

Norma  Shearer-Charles  Laugh- 

ton-Fredric   March   Sept. 

Robt.  Young-Betty  Fumess  Dee. 

R.   Montgomery-Ann  Harding. ...  Jan. 

Paul  Lukas   Mar. 

oom,"    Feb.  I6,'35.) 
Frank  Lawton  -  Freddie  Bar- 
tholomew -  W.  C.   Fields  -  L. 
Barrymore-Edna  M.   Oliver. ..  .Jan. 

William  Powell-Myrna  Loy  Nov. 

Joan  Crawford  -  Clark  Gable  • 

Robert  Montgomery   Dec. 

Carole  Lombard-Chester  Morrlt.  . .  Dee. 
Jean  Parker  -  James  Dunn  - 

Stuart  Erwin  -  Una  Merkel  Sept. 

Maurice  Chevaller-J.  MaeOonald  . .  Nov. 

J.  MacDonald-Nelson   Eddy  Mar. 

Ramon  Novarro- Evelyn  Laye  Jan. 

Greta  Garbo- Herbert  Marshall- 
George  Brent   Nov. 

Jean  Parker- Russell  Hardle  Feb. 

RIcardo  Cortoz- Virginia  Bruce... Feb. 

Chester  Morris-V.   Bruce  Jan. 

"Only  8  Hours") 

Robert  Taylor- Virginia  Bruce  Mar. 

Helen  Haves-Robert  Montgomery .. Mar. 

Wallace  Beery-Robert  Young  Mar. 

Helen  Hayes-Brian  Aherne  Oct. 

Mady  Chrlstians-Chas.  BIckford  . .  Dec. 
Leo  Carrlllo-L.  Fazenda  Feb. 


Running  Time 
Rel.  Date      Minutes  Reviewed 


22.'35  73.  Feb.  I8,'S5 

30  79  Nov.  24 


4.'35. 
I5,'S<. 


I8.'35. 
9.... 

28.... 
14  

7.... 

2.... 
29.'S5. 
1 1. '35. 


23.... 
I, '35. 
I5.'S5. 
25,'35. 

8,'35. 
I, '35. 
22.'35. 
19.... 
7.... 
8,'35. 


III. ...Aug.  4 
.85  Dee.  If 

.84  Det.  Z9 

.84  


.133.  Jan.  I9,'35 
..80  Nov.  3 

..84. ...Dm.  ■ 
.  .82....Ntv.  17 

.82.... Oet.  27 

.100  Sept.  8 

.106. Mar.  2.'S5 
..82  Dec.  29 

..86....  Nov.  10 
..72. ...Nov.  17 
.75.  Feb.  9,'S5 
..68.  Jan.  I2,'35 


,69.  Mar.  2,'35 
.  77.  Feb.  23,'35 
.•88. Mar.    16, '25 

.92  Oct.  13 

..74  Doc.  I 

..70.  Jan.  I9,'35 


Comma  Attractions 

Age  of  Indiscretion  May  Robson-Madgo  Evans  

(See  "In  the  Cutting  Room."  Mar.  30. '35.) 

Anna   Karcnina   Greta  Garbo-Fredric  March  

Baby  Face  Harrington   (G)  Charles  Butterworth   Apr.  I2,'35. 

(See  "Publle  Enemy  No.  2"  "In  the  Cutting  Ream,"  Mar.  2,'35.) 

China  Seas   Wallace  Beery-Clark  Gable  

Flame  Within.  The  Ann  Harding-Herbert  Marshall..^  

Garden  of  Allah.  The  Joan  Crawford   

Mark  of  the  Vampirt  L.  Barrymore-Bela  LugosI  Apr.  26,'35. 

(See  "In  the  Cutting  Room."  Mar.  I6,'35.) 


♦60.  Mar.   30, '35 


Running  Time 
Rel.  Date      Minutes  Reviewed 


Title  Star 

Mutiny  on  the  Bounty  Clark   Gable-Charles  Laughton 

Robert  Montgomery   

Murder  in  the  Fleet  Robert  Taylor-Jean  Arthur  

No  More  Ladies  Joan  Crawford  

One  New  York  Night  Franchot  Tone-Una   Merkel  Apr.     5, '35  71 

(See  "Mystery  In  Room  309"  "In  the  Cutting  Room,"  Mar.  I6,'35.) 
Public  Hero  No.  I  Chester  Morris-Jean  Arthur  

(See  "In  the  Cutting  Room,"   Mar.  30, '35.) 
Reckless   Jean  Htrlow-Wm.  Powell   Apr.  I9,'35  

(See  "In  the  Cutting  Room,"  Feb.  I6.'35.) 

Typee   Mala,  Lotus  Long  

Vagabond  Lady   Robert  Young-Evelyn  Venable  

(See  "In  the  Cutting   Room,"   Mar.  I6.'35.) 


MONOGRAM  PICTURES  CORPORATION 


Features 

Title 

Flirting  With  Danger  (G)  3023. 
Girl   of  the  Limberlost  (G) 

3001   

Girl  0'  My  Dreams  (G)  3015.. 

Happy  Landing  (G)  3029  

Lawless  Frontier  (G)  303S  

Lost  in  the  Stratosphere  (G) 

3020   

Million  Dollar  Baby  (G)  


Running  Time 

Star  Rel.  Date  Minutes  Reviewed 
Robert  Armstrong-Marlon  Bums..  Dee.     1  70  Nov.  17 


Monte  Carle  Nights  (A)  2024.. 
Mysterious    Mr.    Wong,  The 

(A)  3022   

'Nealh  Arizona  Skies  (G>  3032. 

Nut  Farm.  The  (G)  , 

Rainbow  Valley  (Gl  

Reckless   Romeos   (G)  3019.... 

Redhead   (A)  3012   

Sing  Sing  Nights  (A)  

Star  Packer.  The  2041  

Successful  Failure,  A  (G)  3024 


Texas  Terror   

Tomorrow's  Youth  3021 . 


Trail  Beyond,  The  (G)  3031.. 
Women  Must  Dress  (G)  


Marian  Marsh-Ralph  Morgan  Oct. 

Mary  Carlisle-Crelghton  Chaney..Nov. 

Ray  Walker-Jacqueline  Wells  Sept. 

John  Wayne-Sheila  Terry  Nov. 

June  Collyer-Wllllam  Cagney. . . .  Nov. 
Arline  Judge  •  Ray  Walker  ■ 

Jimmy  Fay   Jan. 

Mary  Brian-John  Oarrow  May 

Bela  Lugosl-Wallace  Ford  Jan. 

John  Wayne-Sheila  Terry  Dec. 

Wallace  Ford   Mar. 

John  Wayne-Lucille   Brown  Mar. 

Robt.  Armstrong-Wm.  Cagney  

Bruce  Cabot-Grace  Bradley  Nov. 

Conway  Tearle-Mary  Doran  Dee. 

John  Wayne-Verna  Hillle  July 

Wm.   Collier,  St.  •  Lucille 

Gleason   Oct. 

John  Wayne   Feb. 

Dickie  Moore  -  Martha  Sleeper  - 

John  Miljan-Glorla  Shea  Sept. 

John  Wayne-Verna  Hillle  Oet. 

Minna  Gombell-Gavin  Gordon. ...  Feb. 


15  86. ...Sept.  I 

17  65. ...Nov.  It 

I  63. ...Aug.  4 

22  54. Fib.  2/35 


IS. 


.64. ...Oet  27 


I5.'35  65. 

20  62. 


. .  Dm.  M 


25,'35  68.  Jan.  I«,'3S 

5   52       Dm.  II 

25.'35...  65.  Feb.  I.'W 
I5,'3S  52.  Mar.  IS,'35 

"i  78     .Sept"  22 

15  60.  Feb.  2,'S9 

30  54  


15.... 
I, '35. 


..62.... Oet 
..51  


15   63   . 

22  55.... Sept.  22 

1,  35  77. Jan.  28.'3t 


Cominq  Attractions 

Cheers  of  the  Crowd  

Dawn   Rider.  The  John  Wayne-Marion  Burns   

Desert  Trail   John  Wayne-Mary  Kornman  Apr.   22,'35  54  

(See  "In  the  Cutting  Room."  Feb.  23. '35.) 

Great  God  Gold  (A)  Sidney  Blackmer-Gloria  Shea  Apr.    I5,'S5  72. Mar.  9.'35 

Healer,  The   Ralph  Bellamy- Karen  Morley  

Honeymoon  Limited   Neil   Hamilton-Irene  Hervey  

Hoosier  Schoolmaster,  The  Charlotte  Henry-Norman  Foster  

(See  "In  the  Cutting   Room."   Mar.  9, '35.) 

Keeper  of  the  Bees,  The  Neil  Hamilton   

Mystery  Man  (G)  Robert  Armstrong   Apr.   25,'35...  .62. Feb.  I6,'35 

Paradise  Ranch   John   Wayne-Marion  Burns  

PARAMOUNT 

Features 

Title 

All  the  King's  Horses  (G)  3430. 
Behold  My  Wife  (A)  3419.... 

Car  99   (G)  3432  

Cleopatra  (A)  3410   


College  Rhythm  (6)  S4I7  

Enter  Madame  (A)  3414  

Father  Brown,  Detective  (G) 

3420   


Star 

Mary  Ellls-Carl  Brisson  

Sylvia  Sidney-Gene  Raymond... 
Fred  MacMurray-Ann  Sheridan. 
Claudette  Colbert  -  Henry  Wll- 

eoxon-Warren  William   

Joe  Penner-Lanny  Ross  

Elissa  Landl-Cary  Grant  


Running  Tim* 
Rel.  Date      Minutes  Reviewed 
..Feb.   22,'J5.  ...'SS  Feb.  23,'35 

..Doe.     7   79  Feb.  23,'S5 

..Mar.     I, '35.... '75.  Fob.  I6,'35 

..Oct      5  101.... Aug.  25 

..Nov.    23  •83. ...Nov.  10 

..Jan.     4,'35  83....  Nov.  • 


Gilded  Lily,  The  (G)  3426... 
Here  Is  My  Heart  (G)  3423.. 
Home  on  the  Range  (G)  3421. 

It's  a  Gitt  (G)  3418  

Limehouse  Blues  (A)  3415  

Lives  of  a  Bengal  Laneer  (G) 

3427   

Love  in  Bloom  (G)  3434  

Mississippi  (Q)  3433  

Mrs.  Wiggs  of  the  Cabbage 

Patch   (G)  3407   


.Walter  Connolly-Paul  Lukai- 

Gertrude  Michael   

C.  Colbert-Fred  MacMurray  

Bing  Crosby- Kitty  Carlisle  

Jackie  Coogan- Randolph  Scstt. . 

W.  C.  Fields-Baby  LeRoy  

George  Raft-Jean  Parker  


Gary  Cooper- Franchot  Tone. 
Joe  Morrison- Dixie  Lee.... 
Bing  Crosby-Joan  Bennett.. 


..Dee.  21  

.Jan.  25.'3S... 


.Dec. 
.  Dee. 
.Nov. 
.Nov. 


25  

21 .. 
30.. 


•65.... Dm.  I 
•80.  Jan.  5,'S5 
.76  ...Dm.  I 
.55  Mar.  2,'S5 
.68.. ..Nov.  24 
.66. ...Dm.  22 


.Jan.    I8.'35  89  Jan.  5,'35 

.Mar.  l5,'S5....*77.Mar.  9,'35 
.Mar.  22,'35  •80.Mar.  2,'35 


One  Hour  Late  (G)  3422  

President  Vanishes  (G)  3416. 
Pursuit  of  Happiness,  The 

(A)  3409   

Rocky  Mountain  Mystery  3428 
(See  "Vanishing  Pioneer" 
Ruggles  of  Red  Gap  (G)  3431 


Rumba  (A)  3429  

Wings  In  the  Dark  (G)  3424. 


Pauline  Lord  -  W.  C.  Fields  - 
Zasu  Pitts  ■  Kent  Taylor  - 
Evelyn  Venable   

Joe  Morrison-Helen  Twelvetrees . 

Arthur  Byron-Janet  Beecher  


Francis  Lederer-Joan  Bennett.. 
R.  Scott-Chas.  "Chic"  Sale... 
"In  the  Cutting  Room,"  Nov. 
Charles  Laughton-Mary-Boland- 
Charles  Ruggles-Zazu  Pitts.. 
George  Raft-Carole  Lombard... 
Gary  Grant-Myma  Lay  


.Oct 
, .  Dee. 
..Jan. 

.Nov. 
.Feb. 
10.) 

.Mar. 
.Feb. 
.Feb. 


19  73.... Aug.  23 

14  75. ...Dee.  • 

1 1, '35          83.... Nov.  24 


16.... 
8,'35. 


.72. ...Sept  15 
.63  


8.'35...  •SO. Feb.  I6.'35 
l5,'35....^70.Feb.  2.'35 
1/35  75.  Ju.  \t.'i» 


Cominq  Attractions 

College  Scandal   Arline  Judge-Kent  Taylor  

Crusades,  The   Loretta  Young-Henry  Wileoxon  

(See  "in  the  Cutting  Room,"   Mar.  30. '35.) 

Devil  Is  a  Woman,  The  (A) . . .  Marlene  Dietrich-Cesar  Romero.  .May     3.'35  *90.Mar.  2.'35 

Four  Hours  To  KIM  Richard  Barthelmess   Apr.   26, '35  

(See  "In  the  Cutting  Room,"  Feb.  23.'35.) 
Glass  Key.  The  George  Raft   May  3I.'35  

(See  "In  the  Cutting  Room,"  Mar.  30,'35.) 
Coin'  to  Town  Mae  West   May  I7,'35  

(See  "How  Am  I  Doln'7"  "In  the  Cutting  Room,"  Feb.  23,'35.) 
Hold  'Em  Yale  (G)  Patricia  Ellis-Larry  Crabbe  Apr.    I2,'35  *65.Mar.  30, '35 

(See    "In    the   Cutting    Room."    Feb.    16, '35.) 

McFadden's  Flats  (G)  Betty  Furness- Richard  Cromwell.  .Apr.   22,'35  *67.Mar.  9,'35 

Milky  Way,  The  Jack  Oakle- Adolphe  Meniou  

Once  In  a  Blue  Moon  3425  I.  Savo-Michael  Dalmatoff  May  I0,'35  

Paris   In   Spring  Tulllo  Carmlnatl-Mary  Ellis  

(See  "In  the  Cutting  Room."  Fob.  23. '35.) 
People  Will  Talk  Chas.  Rugqies-Mary  Boland  May  24,'35  

(See  "In  the  Cutting  Room,"  Mar.  9,'35.) 

Private  Worlds  (A)  3435  C.  Colbert-J.  Bennett-C.  Boyer..Apr.    I9.'35. . .  *84.  Mar.  I6.'35 

Si'Oiindrel.  The   Noel  Coward-Julie  Haydon  Apr.    26, '35  

Stolen    Harmony   Georqe    Raft-Ben    Bernie  Apr.    19, '35  

(See  "In  the  Cutting  Room,"  Feb.  2,'35.) 

PRINCIPAL 

Fentiires  Running  Time 

TIfTe'  Star  Rel.  Date      MlnutH  Revlewa< 

Little  Damozel  722   Anna  Neagle-James  Rennle  Jun*    II  59  

Peek's  Bad  Boy  (G)  Jackie  Coooer-Thomas  Melghan- 

Dorothy  Peterson-Jackie  SearL.Oet     19  70  Sept.  8 

Return  of  Chandu,  The 
300-312   Bela  Lugosl-Maria  Alba  Oet.      1  65  , 


April    6 ,  1935 


MOTION    PICTURE  HERALD 


87 


(THE  RELEASE  CHACT—CONyD) 


RKO  RADIO  PICTURES 


Features 

Title  Star  Rol- 

Anne  of  Green  Gables  (G)  507.  Anne  Shirley-Tom  Brown  Nov. 

Captain  Hurricane  (G)  James  Barto/i-Helen  Wettley  Mar. 

Dangerous  Corner  (A)  506  Melvyn  Douglas-Virginia  Bruce- 

Conrad  Nasel   Oct. 

Dog  of  Flanders  (G)  Franliie  Thomas-Helen  Parrlsh. . . Mar. 

Enchanted  April.  The  (A)  Ann  Harding-Frank  Morgan  Feb. 

Gay  Divorcee,  The  (G)  505  Fred  Astaire-Glnger  Rogers  Oct. 

Gigolette   Adrienne  Ames-Ralph  Bellamy. .. Feb. 

Grand  Old  Girl  (G)  519  May  Robson-Hale  Hamilton  Jan. 

Gridiron  Flash  (G)  511  Eddie  Quillan-Betty  Furness  Oct. 

Laddie  (G)   John  Beal-Gloria  Stuart  Mar. 

Lightning   Strikes   Twice  (G) 

517   Ben  Lyon-Pert  Kelton  Dee. 

Little  Minister  (G)  512  Katharine  Hepburn-John  Beal  Dec. 

Murder  on  a  Honeymoon  (G)..Edna  May  Oiiver-J.  Gleason  Feb. 

People's  Enemy   Preston  Foster-Melvyn  Douglas. ..  Mar. 

Red  Morning  515   Stefll   Duna-Regis  Toomey  Dee. 

(See  "Girl  of  the  Islands,"   "in  the  Cutting  Room,"  Sept. 
Raberta  (G)   Irene  Dunne  -  Fred  Astaire  - 

Ginger  Rogers   Mar. 

Romance  in  Manhattan  (G)  518.  Francis  Lederer-Ginger  Rogers. .  .Jan. 

Silver  Streak,  The  (G)  513  Sally  Blane-Charles  Starrett  Dec. 

West  of  the  Pecos  (G)  516  Richard  DIx-Martha  Sleeper  Jan. 

Woman  In  tbe  Dark  (G)  Fay  Wray-Ralph  Bellamy  Nov. 


Coming  Attractions 


Running  Time 
Date      Minutes  Reviewed 

23    79  Oct  a 

l,-35  72.  Feb.  II.'U 

5  67. Jan.  I8,'S5 

22,'35  *72.Mar.  2/35 

I. '35.... "78  Dee.  15 

19  •107.... Oet.  It 

I5.'35  

I8.'35  72. Jan.  I2.'35 

26    64.  Jan.  26,'35 

29,'35  *B2.Mar.  9,'35 


..66. Mar.  2,'35 
.110  Dee.  22 

.73'/2.F«b.  t:u 


.66. 


7  

28  

22.'S5... 
I5.'35... 

14  

29.) 

8,'35...  l05</2F«b.  2S.'tB 

ll.'35  78  Dee.  I 

21  72  Doc.  8 

4,'35  69.  Jan.  5,'35 

9  70  Doc.  8 


Title  Star  Rel. 

Notorious  Gentleman,  A  8032. .Charles  Blckford-Helen  Vinson. . .Jan. 
One  Exciting  Adventure  (G) 

8027   BInnle    Barnes-Nell    Hamilton..  .Oct. 

Princess  O'Hara  (G)  8013  Jean  Parker-Chester  Morris  Apr. 

Rendezvous  at  Midnight  8031.. Ralph  Bellamy   Feb. 

(See  "In  the  Cutting  Room,"  Nov.  17.) 

Secret  of  the  Chateau  (0  )  8033  Claire  Dodd-Clark  Williams  Dec. 

Straight   from   th*   Htart  (A) 

8036   Mary  Astor- Roger  Pryor-Baby 

Jane   Jan. 

Strange  Wives  (G)  8020  lune  Clayworth- Roger  Pryor  Dec. 

Rocky  Rhodes  (6  )  8001  Buck  Jones-Shella  Terry  Sept. 

There's  Always  Tamorrow  (A) 
8035   Frank  Morgan-Elizabeth  Young- 
Lois  Wdson-Binnie  Barnes  Sept. 

Transient  Lady  (G)  8019  Gene  Raymond-Henry  Hull  Mar. 

Wake  Up  and  Dream  (G)  8021  Russ  Columbo  -  June  Knight  Oct. 

When  a  Man  Sees  Red  (0  )  8082.Buck  Jones   Nov. 


Running  Time 
Date      Minutes  Reviewed 
21, '35  *75.Jan.  I9,'35 

15  *73      Oct.  • 

I. '35  '80. Mar.  30,'35 

II, '3&  

3  69  Sort.  It 


14, '35...  *68.Feb.  IS.'St 

10  75  Dee.  I 

24  60  Dee.  22 


10  

4.'35... 

I  

12  


..87.      Nov.  17 
..72.  Mar.  23,'35 
.78.  .  .  .Oet.  20 
..60. Jan.    28, '3t 


Becky  Sharp    Miriam  Hopkins   

(See  "In  the  Cutting  Room,"   Mar.  9.'35.) 

Break  of  Hearts  K.  Hepburn-Charles  Boyor  

Chasing  Yesterday   Anne  Shirley  ..................Apr  12,35  

(See  "Sylvestre  Bonnard"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Hooray  for  Love  Gene  Raymond-Ann  Sothern  

Informer,  Tha   Victor  McLaglen-Margot  Graham  • 

(See  "In  the  Cutting  Room,"   Mar.   16, '35.) 
Nit  Wits,  The  Wheeler  and  Woolsey  

(See  "In  the  Cutting  Room,"  Mar.  30, '35.) 

She   Helen  Gahagan-Randolph  Scott  

Star  sf  Midnight  William  Powell-Ginger  Rogers. .  .Apr.  19,35  

(See  "In  the  Cutting  Room."  Feb.  23. '35.) 

Strangers  All  (G)   May  Robson  May    I0.'35. .  ..»70.Mar.  30,35 

Village  Tale   Randolph  Scott-Kay  Johnson  Apr.   26. '35  

(Sec  "In  the  Cutting  Room,"  Mar.  2, '35.) 


STATE  RIGHTS 


Ffnfiirps  Runni 
Title  Star  DIst'r  Rel-  Date  M 

Are  You  a  Mason?  (A) . . . .  Sonnie    Hales  M.  J.  Kandel  Oet.    29.  ,._. 

Calling  All  Cars  (G)  Jack  LaRue  Empire  Films   Jan. 

Cowboy  Holiday  (G)  Big  Boy  Williams. ..  Syndicate   Jan- 

Dealers  in  Death  (A)  Topical  Films  ••■Dec. 

Lite  In  the  Congo  (G)  Klnematrade   Nov. 

Lost  City,  The  (G)  Wm.  Boyd  -  Claudia 

Dell   Regal   Pictures  Feb. 

Loyalties   Basil   Rathbone   Harold  Auten   Oct. 

Man  of  Courage  (Q)  ^"""^^  Oct*' 

Norah  O'Neale   Lester  Mathews  •••■••:  -,-  ^-v,-,--" 

Maryjka   Ina  Benita   Principal  Film  ...Dee. 

Bangen  Till  Heine  (G)  Martin  Osman  Scandinavian   n.Vli" 

Ticket  to  a  Crime  (G)  Ralph  Graves   Syndicate  Dec.  15. 

War  Is  a  Racket  (A)  Eureka  Prod  Dec.  8. 

Woman  Condemned   Claudia  Dell   Marcy  Pictures  Apr,  4. 


25,'35. 
I,'35. 
13.... 
29.... 

14,'35. 
24.... 
12.... 
24.... 
1.... 


ng  Time 

inutes  Reviewed 

..85  Nov.  3 

..67.  Jan.  26,'35 
.57.  Jan.  26,'35 

..68  Dee.  22 

..60  Dee.  29 

..74. Mar.  9.'35 

..74  Nov.  3 

..95  Nov.  24 

..66  Nov.  3 

..65  Dee.  15 

..75.  Mar.  I6,'35 

..67  Dee.  29 

..68  Dec.  29 

..66  


UNITED  ARTISTS 


Features 

Title 

dive  of  India  (G)  

Folios  Bergere  (G)  

Kid  Millions  (G)  

Last  Gentleman,  The  (G)  

Mighty  Barnum,  The  (G)  

Private  Life  of  Don  Juan,  The. 

Runaway  Queen   

Scarlet  Pimpernel,  The  (G)  

Transatlantic  Merry-Go-Round 
(A)   

Wedding  Night,  The  (G)  

We  Live  Again  (A)  


Coming  Attractions 


Star 

Ronald  Colman-Loretta  Young.. 
Maurice  Chevalier-Merle  Oberon. 
Eddie    Cantor  •  Ann    Sothern  - 

Ethel  Merman   

George  Arliss   

Wallace  Beery  -  Adolphe  Men- 

Jou- Janet  Beecher-V.  Bruce.. 
Douglas  Fairbanks,  Sr.  •  Merle 

Oberon   

Anna  Neagle-Fernand  Graavey. 
Leslie  Howard-Merle  Oberon... 


Running  Time 
Rel.  Date      Minutes  Reviewed 
.Jan.    25,'35...  ."90.  Jan.  26,;35 
.Feb.   22,'35....*85.Feb.  23,'3'; 


.Dec.  28... 
Sept.  21... 


.♦92  Oet.  2J 

..72. ...May  12 


.Dee.    25  '105  Dee  < 

.Nov.    30  8e»t.  X2 

.Dee.    21  • 

.Feb.    15,'35  95. Jan.  26,'33 


Gene    Raymond-Nancy  Carroll- 
Sydney  Howard-Jack  Benny... 

Anna  Sten-Gary  Cooper  

Anna  Sten-Fredric  March  


Nov.     2   .92....Nn.  17 

Mar.     8.'35  *90.Feb  23.'35 

Nov.    16  *83....8opt.  29 


Brewster's  Millions   Jack  Buohanan-Llll  Damlta  May  20.'35  

Call  of  the  Wild.  The  C.  Gable-Loretta  Young  May  t.'Si  

(See  "In  the  Cutting  Room,"  Mar.  2.'35.) 

Cardinal  Richelieu  (G)   George  Arliss   Apr.    28,'35  *80.Mar.   30, '35 

Congo  Raid   Leslie  Banks  -  Paul  Robeson  - 

Nina  Mae  MacKlnney  

Legion   of    Valor  Richard  Arlen- Virginia  Bruce..  

Les  Miserables   Fredric  March-C.  Laughlon  Apr.   21, '35  ,  

(See  "In  the  Cutting  Room,"  Mar.  2,'35.)    „  ^  ,     ..    ^  ,  , 

Nell  Gwyn  (AJ   Anna  Neagle-Cedrle  Hardwicke  75. July  I4,'35 

■^bunder  In  the  East  Charles   Boyer-Merle  Oberon  May    I3,'35  75  Dec.  I 

(Reviewed  under  the  title  "The  Battle") 


UNIVERSAL 

Features 

Title  Star  Rel. 

CImson  Trail.  The  (G)  8083.  .Buck  Jones   ...............  Feb. 

r  '.H  of  Gab  (G)  8030  Edmund  Lowe  -  Gloria  Stuart - 

^  "  Alice  White   Sept. 

Good  Fairy  The  (G)  8003  Margaret  Suliavan-H.   Marshall ..  Feb. 

Great  Expectations  (G)  8029. .  Henry  Hull-Jane  Wyatt-Phlllips 

Holmes   Oct. 

Imitation  of  Life  (G)  7003      ClaudPtte  Colbert-W.  William  Nov. 

It  Happened  in  New  York  8023.  Lvle  Talhnt- Heather  Angel  Mar. 

(See  "In  the  Cuttinq  Room."  Jan.  56. '35.) 

I've  Been  Around  (A)  8025       Chester  Morris   Dec. 

Man  Who  Reclaimed  His  Head       ,    „  .     ,       _  „ 

(G)  8028   Claude  Rains-Joan  Bennett  Dec. 

Mystery  of  Edwin  Drood  (G)  8024Claude  Rains-Heather  Angel  Feb. 

Night  Life  of  the  Gods  (G)  „  . 

gggg  Alan   Mowbray   ..Mar. 


Running  Time 
Date      Minutes  Reviewed 
18, '35  58.  Mar.  I6,'35 

24  •71... Sept.  11 

I8,'3S.._^  .98.Feb.  9,'35 

22. ...... 102. ...Oct.  20 

26  Ill  Dee.  I 

I8,'35  66  

31  •75....De«.  29 

24  •SO  Dee.  9 

4, '35  87.  Mar.  30,'35 

ll.'35....*75  Jan.  I2.'35 


Coming  Attractions 

Alias  r*Iary  Dow  8011  Sally  Eilers-Ray  Milland  

Bride  of   Frankenstein   8009  ..bons   Karioft   Apr.  22,'35. 

(See  "In  the  Cutting  Room."  Feb.   16, '35.) 

Chinatown  Squad   Lyle  Talbot- Valerie  Hobson  

Great  Ziegfeld.  The  8005  William  Powell  Fanny  Brice  

Mister  Dynamite  8012  Edmund   Lowe-Esther   Ralston  Apr.  22,'35. 

(See   "in   the   Cutting   Room."    Mar.   9, '35.) 

Raven,  The   Karioff-Bela  Lugosi   

Sing  Me  a  Love  Song  8026  

Stone  of  Silver  Creek  8084. ...Buck  Jones-Noel  Francis  Apr.    15, '35. 

Werewolf   of    London  Henry  Hull   May     6, '35. 

(See  "In  the  Cutting  Room,"  Mar.  30, '35.) 


WARNER  BROS. 

Features 

Title 

Bordertown  (A)  806  

Church  Mouse  881  

Devil  Dogs  of  the  Air  (G)  816. 

Firebird.  The  (A)  825  

Florentine  Dagger.  The  829  

(See  "In  the  Cutting  Room, 

1  Am  a  Thief  (G)  826  

Night  at  the  Ritz,  A  823  

(See  "King  of  the  Ritz," 

Right  to  Live  (A)  828  

St.  Louis  Kid,  The  (G)  817  .. 

(Reviewed  under  the  title. 

Secret  Bride.  The  (G)  811  

Sweet  Adeline  (G)  802  

Sweet  Music  (G)  805  

White  Cockatoo  (G)  827  

Coming  Attractions 

Broadway  Gondolier   Dick  Powell-Joan  Blondell. 

Crashing  Society   Guy  Kibbee-Zasu  Pitts.... 

Dinky   Jackie  Cooper-Mary  Astor.. 

Girl  From  Tenth  Avenue,  The..Bette   Davis-Ian  Hunter  

(See  "Men  on  Her  Mind,"  "In  the  Cutting  Room,"  Mar.  30,'35.) 
Goose  and  the  Gander  Kay  Francis-George  Brent  

(See  "In  the  Cutting   Room."   Mar.  9, '35.1 

Green  Cat   Bette  Davis   

Haircut   George  Brent-Jean  Muir  

Irish  in  Us,  The  James  Cagney-Pat  O'Brien  

Living  Up  To  Lizzie  Aline  MacMahon   ^  

Midsummer  Night's  Dream  All  Star   

Money  Man   Edw.  G.  Robinson -Bette  Davis  

Page  Miss  Glory  Marion  Davies-Dick  Powell  

Present  from  Margate,  A  Kay  Francis-Ian  Hunter  

Stranded   Kay  Francis-Geo.  Brent  

Women  Are  Bum  NewspapermenGlenda  Farreii   


Star  Rel. 

Paul  Muni-Bette  Davis  Jan. 

Laura  La  Plante  Dec. 

James  Cagney-Pat  O'Brien  Feb. 

Verree  Teasdale-Ricardo  Cortez..Nov. 
Donald  Woods-Margaret  Lindsay. .  Mar. 
,"  Jan.  26, '35) 

Mary  Astor-Ricardo  Cortez  Nov. 

William  Gargan-Patricia  Ellis..  Mar. 
"In  the  Cuting  Room,"  Jan.  26,  35) 

George  Brent-J.  Hutchinson  Jan. 

James  Cagney   Nov. 

"A  Perfect  Week-End") 

B.  Stanwyck-Warren  William. ...  Dec. 

Irene  Dunne-Donald  Woods  Dec. 

Rudy  Vallee-Ann   Dvorak  Feb. 

Jean  Muir-Ricardo  Cortez  Jan. 


Running  Time 
Date      Minutes  Reviewed 

5.'35  90.  Feb.  2,'35 

15  

9, '35  86.  Feb.  9,'35 

3  -75. ...Oct.  13 

30,'35  69  

24  64....  Nov.  17 

23,'35  62  

26.'35  66. Feb.  23,'35 

10  67.... Oct.  29 

22  64.  Feb.  9,'3S 

29  *82  Dec.  15 

23,'35  95. Mar.  2,'3t 

I9,'35  70. Jan.  26,35 


.May    1 1, '35. 


OTHER  PRODUCT  (FOREIGN) 


Features 

Title 


Star 


DIst'r 


Bella  Donna  (A)  Mary  Ellis   Gaumont-Brltlsh. 

Broken  Melody,  The  John  Garrick- 

Merle  Oberon  Oet.  30  

Chapayev  (AX  Amklno   Jan.  I2,'35.. 

Cornflower                          Irene  Agal   Danubia  Pictures. .Jan.  II, '35.. 

(Hungarian  Dialogue) 

Czar  Wants  to  Sleep  (A)    M.  Yanshin   Amklno   Dec.  8. 


Running  Time 
Rel.  Date      Minutes  Reviewed 


5,'3S 

68....  Dee.  I 
95.  Jan.  2t,'3S 

80  

.Dee. 


Dandy   Dick    (G)   Will  Hay   Assoc.  British  70. Mar.  I6,'35 

Death  at  Broadcasting 

House    Ian  Hunter   ABFD    British  90. Jan.  12,'St 

Dirty  Work   (G)   Ralph  Lynn   Gaumont-Brltlsh  80. Jan.  26,'SS 

Forbidden  Territory,  The    Gregory  Ratoff   Gaumont-British  87...  Nov.  24 

Doctor's  Orders    Leslie   Fuller   British  Int'l   75. Jan.  5,'S( 

Everything  for  the  Women  Tiber   Von    Haimay.  Danubia  Pictures •  •Oct.     10  84  

(Hungarian  Dialogue) 

Father  Knows  Best  Szoke  Szakall  Danubia  Pictures .  .Jan.  I8,'35...80  

(Hungarian  Dialogue) 

House  of  Greed  ..  V.  Gardin   Amklno   Aug.    M  74  

Ina  Monastery  Garden  (A). John  Stuart  R  &.  S  Mar.    I2,'35..  .77.Mar.  30,'35 

It's  a  Bet  (G)  Gene  Gerrard- 

Helen    Chandler. .  .British    Int'l  RO.Mar.  I6,'35 

La  Crise  Est  Finic  (G).. .Albert   Preiean  European    Films. ..Mar.    12, '35. .  .81  .Mar.   30, '35 

Lady  in  Danger  lA).         Tom  Wails   Gaumont-British  63    . .  Dec.  29 

Lorna  Doone  (G)   John  Loder   ABFD    British  80. Feb,  2,'35 

Madame  Bovary  (A)   Pierre  Renoir   John   Tapernoux.  ••Nov.    17  100  Dee.  I 

Marionettes    L.  Leonidoff   Amklno   May     5  83  

Miracles    V,  Gardin   Amklno   Oct.     It  68  

My  Wife  the  Miss   Irene  Agal  •  Paul 

(Hungarian  Dialogue)        Javor   Danubia  Pictures.  .Aug.   26  79  

Oh!    Daddy    (G)  Leslie  Henson   Gaumont-British  75. Mar.   16. '35 

Old  Curiosity  Shop   Elaine  Benson   Assoc.  British   .85  Feh.  2,'3I 

One  Night    Ingert  Bluggren   Scandinavian   80.  Feb.  9,'35 

Phantom  Light.  The  (G).  Gordon  Harker   Gaumont-Brltlsh  75. Feb.  9,'3S 

Radio  Parade  of  1935  Will   Hay  -  Helen 

Chandler   Assoc.  British  85. Jan.    12, 'SB 

l?akoczi  March   Paul  Javor   Danubia  Pictures  ..  Nov.    12  89  

Rakoczy  Marsch   

(Hungarian  Dialogue)      Gustav  Froehlich- 

(German    dialogue)  Camilla    Horn  Danubia  Pictures.  .Mar.     I, '35.  ..82  

Shepherdess'  Sweetheart      (Greek  Feature)    ...Frank  Norton  ...  Feb.  I7,'35..II8   

Soviet  Russia  Today  (G)  Amklno  Mar.    3.35  ..  67. Mar.  16,'35 

Such  Is  Life  (Greek  Feature)    ...Frank  Norton   ....Jan.  19,'35..II9  

Strictly  Illegal   (G)  Leslie   Fuller   Gaumont-British  70. Mar.  I6,'35 

Ta  GalazIa   Kerta  (Greek   Feature)    ...Frank  Norton   ....Oct.     IS  85  

Ten  Minute  Alibi  (A)         Phillips   Holmes   ...British  Lion  80. Feb.  9,'S5 

Three  Songs  About  Lenin    ...Amklno     ......  ..Nov.     8  ;    •    ; ,1J 

They  Are  Looking  Up  (G)  Cicely  Courtneldge  .Gaumont-British  100. Feb.  9,'St 

Triumph  of  Sherlock  Holme;  _         .„,..,.  „,  ..  „ 

The  (A)   Arthur  Wontner   Gaumont-British  87. Mar.  9.'35 

Victor  and  Victoria  (G)..  Renate  Mueller   Ufa   Jan.    26,'35. .  .84.Feb.  2,'S5 

Wandering  Jew.  The  (A).  Conrad    Veldt  Olympic  Pictures  83. Jan.  II,'S0 


88 


MOTION    PICTU  RE  HERALD 


April    6 ,  1935 


(THE  RELEASE  CtiAI2T"C€NT'I)) 


SEiCRT 
FILMS 

[All  dates  are  1934  unless 
otherwise  stated^ 

CELEBRITY  PROD'TIONS 

Title  Rei-  Date  Min. 

COMICOLOR  CARTOONS 

Jack  and  the  Beanstalk  Jan.    2  8... 

The  Little  Red  Hen  Feb.  16  7... 

The  Brave  Tin  Soldier  Apr.    7  7... 

Puss  in   Boots  May  17  1  rl. 

The  Queen  of  Hearts  June  25  7... 

Aladdin   Aug.  10  7... 

The  Headless  Horseman  Oct.     I  I  rl. 

The  Valiant  Tailor  Oct.  29  1  rl. 

Don  Ouixole   Nov.  28  8  

Jack  Frost   Dec.  24  8... 

Little  Black  Sambo  Feb.  6.'35..1  rl. 

Bremen  Town  Musicians. ...  Mar.  6,'35..1rl. 

Old   Mvther  Hubbard  Apr.   3,'33..l  rl. 

Mary's  Little  Lamb  May  l,'35..lrl. 

COLUMBIA 

Title  Rel.  Date  Min 

BROADWAY  COMEDIES 

Gum  Shoes   Mar.    I, '35. 21  

(All  Star) 

His  Bridal  Sweet  Mar.  I5,'35.20. . . 

Harry  Langdon 
His  Old  Flame  Jan.  25/35.20... 

Charlie  Murray  „ 
Horse  Collars   Jan.  I0,'35.20... 

(3  Stooges) 

I'm  a  Father  Feb.  7.'35.20... 

Andy  Clyde  _ 
In  the  Dog  House  Dec.    I  20... 

Andy  Clyde  „  «  .. 

It's  the  Cat's  Oct.   II. ...20... 

Andy  Clyde 

Men  in  Black  Sept.28  20... 

(3  Stooges) 

Old  Sawbones   Apr.  1 1, '35. 20... 

Andy  Clyde 
One  Too  Many  Dec.  28  20... 

Leon  Errol 

Perfectly  Mismated   Nov.  20  20... 

Leon  Errol 

Pop  Goes  the  Easel  Mar.  29.'35.20. . . 

(3  Stooges) 

Restless  Knights   Feb.  20,'35.  IB'/a  . 

(3  Stooges) 

Shivers   Dec.  24    20... 

Harry  Langdon 
Three  Little  Pigskins  Dec.    8  20... 

(Stooge  Comedy) 

COLOR  RHAPSODIES 

1934-35 

A  Cat,  a  Bell  and  Meuse  

Babes  at  Sea  Dec. 

Holiday  Land   Nov. 

Make  Believe  Revue,  The.. Mar. 
Shoemaker  and  the  Elves... Jan. 

KRAZY  KAT  KARTOONS 

1934-35 

3.  Kraiy's  Waterloo   Nov. 

4.  Birdraan   Feb. 

5.  Hotcha  Melody   Mar. 

6.  Goofy  Gondolas   Dec. 

LAUGHING  WITH 

MEDBURY   

1934-35 

Among  the  Caccons  Nov.  9... 

At  a  County  Fair  Dec.  7... 

Medbury  in  Hollywood  Jan.  Il,'35 

In  the  Old  Days  Mar.  22,'35 

LIFE'S  LAST  LAUGHS 
1934-35 


12.... 
9.... 
22,'35. 

20.'35, 


IS.... 
I, '35. 
I5,'35. 
21  


No. 
No. 
No. 
No. 
No. 
No. 


2—  . 

3—  . 


.Sept. 
Oct. 
Nov. 
.  Dec. 
.Jan. 
Feb. 


5—  

6—  

SCRAPPY  CARTOONS 

Gloom  Chasers,  The  Jan. 

Happy  Butterfly   Dee. 

Scrappy's  Experiment   

Serappy's  Ghost   

1934-35 

Concert  Kid   Nov. 

Gold  Getters   Mar. 

Graduation  Exerelsei   Apr. 

SCREEN  SNAPSHOTS 


15  

12.... 

9.... 
12.... 
4,'35. 

I, '35. 

18,^35. 
20.... 


10. . 
10.. 
10. . 
10.. 
10.. 
.10. . 

.7.. 
.7.. 

.8.. 


No 
No. 
No. 
No. 
No. 
No. 
No. 
No. 


1—  . 

2—  . 

3—  . 


6—  

7  

8—  

SPICE  OF  LIFE 
1934-35 


.Sept. 
Oct. 
.Nov. 
.  Dec. 
.Jan. 
.Feb. 
.Mar. 
.Apr. 


No.    2—  Sept. 

No.  3 —  Dee. 

No.  4 —  Dec. 

No.    5—  Jan. 

No.    6—  Mar. 

WORLD  OF  SPORT 

Air  Thrills   Mar. 

Anything  for  a  Thrill  , 

Flying  Pigskins  Nov. 

Helgh-Ho  the  Fox  June 

1934-35 

Hold  That  Shark  Mar. 

Good  Goiters  Start  Young. .  Sept. 

Pardon  My  Grip  Feb. 

Polo    Thrills   Oct. 

Thrill   Flashes   Dec. 

When  Men  Fight  Jan. 


2.... 
I. '35. 
12,'35. 

29.... 
26.... 
23.... 
21.... 
I8,'35. 
22. '35. 
15.'35. 
I2,'35. 


29.... 
13.... 
31.... 
20,'35. 
I, '35. 

I.'35. 


9... 
20.... 


.7.. 
.7.. 
.7.. 

lOi/j 
lO'/j 
lO'/i 

101/2 

10.. 
10. 

\0</2 

10. . 


10... 
10... 
10... 
10... 
10... 

10... 
.1  rl. 
10... 
.1  rl. 


29.'35 
20.... 

1.'35. 
12.... 
12.... 

4, '35. 


10.. 
10.. 
10.., 
10... 
10... 
10... 


DU  WORLD  PICTURES 

Title  Rel.  Date  Min. 

QUEST   OF  PERFECT 
WOMAN  SERIES 
(TOM  TERRIS) 

1.  Veiled  Dancer  of  Eloued.July  15  10  

2.  Vampire  of  Marrakesh. . .  Aug.    I  9 


..20.... 
..17.... 


.28.. 


Title  Rel.  Date  Min. 

SEMI-FEATURES 
AND  SHORTS 

Bride  of  Samoa  Mar.    I  26  

Chump   Nov,    I  15  

Frankie  and  Johnny  Oet,     I  8  

Charles  Laughton 

Mire  Unga   Aug.  15  9  

Prisoner   Sept.  15  18  

Retribution  of  Clyde  Bar- 
row and  Bonnie  Parker .. .July  10.. 

Stars  in  the  Making  Oct.  I.. 

Frank  Albertson 

Sword  of  the  Arab  Sept.  15.. 

Duncan  Renaldo 
Yokel  Dog  IVi  /tes  Good  Sent.  1  18  

EDUCATIONAL 

[Distributed  through  Pox  Films] 

Title  Rel.  Date  Min. 

BING  CROSBY 
SPECIALS 

1 —  I  Surrender  Dear  Aug.   3  22.... 

2 —  One    More    Chance  Aug.  31  20  

3—  Billboard    Girl   Oct.     5  21  

1 — Dream    House   Sept.28  19  

CORONET  COMEDIES 

An   Ear  for  Music  Mar.  8,'35.I8  

Easy   Money   Feb.  8,'35.I8  

Hello,    Sailors   Aug.  17  20  

Rural    Romeos   Nov.  16  20  

Second   Hand   Husband  Oct.  26  19  

Super-Stupid   Sept.  14  19  

Two  Lame  Ducks  Nov.  30  18  

FROLICS  OF  YOUTH 

Boosting  Dad   Dec.  21  21  

Campus  Hoofer,  The  Nov.    9  19  

Educating  Papa   Nov.    2  16  

Little  Big  Top,  The  Feb.  I,'35.2I  

MARRIAGE  WOWS 

SE  R I ES 

Domestic  Bliss-Ters   Oct.   12  19  

Dumb  Luck   Jan.  I8,'35.I7  

How  Am  I  Doing?  Jan.  4,'35.20  

MUSICAL  COMEDIES 

Bio   Business   .Dec.    7  19  

Girl  from  Paradise,  The  Nov.  23  21  

Good  Luck — Best  Wishes. .  Aug.  24  21  

Hail    Brother   Mar.  22, '35. 19  

Nifty  Nurses   Oct.   19  20  

She's  My  Lilly    Sept.  7  22  

SONG    HIT  STORIES 

Bounding  Main,  The  .Nov.  16  10  

Fireman's  Day  Off   Apr.  12.'35. .  1  rl . . 

Gay  Old  Days  Jan.  4,'35.lO  

House  Where  I  Was  Born, 

The   .Oct.  26  10  

Mountain   Melody   .Aug.  31  10  

Old  Camp  Ground,  The  Mar.  I5,'35..l  rl.. 

Song  Plugger    Jan.  I8,'35..9  

Time  on  Their  Hands          Sept.  14  II  

Way  Down  Yonder   Dec.    7  II  

STAR  PERSONALITY 

COMEDIES 

A    Nose  for   News  -Apr.  5,'35..2rls. 

Hayseed  Romance   Mar.  15. '35. 20  

Mr.  Widget   .Jan.  25,'35.2I  

Object   Not   Matrimony  Mar.   I, '35. 18  

One-Run  Elmer   Feb.  22,'35. 19  

Only  the   Brave  Apr.  I9,'35.  .2  rls. 

Palooka   From   Padueah  Jan.  1 1, '35. 20  

Tars  and  Stripes  May    3. '35.. 2  rls. 

TERRY-TOONS 

Black  Sheep,  The  Oct.    5  6  

Bull  Fight,  The  Feb.  8,'35..6  

Dog  Show.  The   Doc.  28  6  

Fireman  Save  My  Child. ...  Feb.  22, '35.  .6  

First  Snow,  The   Jan.  1 1, '35. .6  

Five   Puplets   Apr.  I9.'35. .  I  rl . . 

Flying  Oil   Apr.   5,'35..l  rl.. 

Hot  Sands   Nov.    2  6  

Jack's  Shack   Nov.  30  6  

Jail  Birds   Sept.  21  6  

Magic  Fish,  The  Oet.   19  6  

Mice  In  Council  Aug.  24  6  

Modern  Red  Riding  Hood, 

A   May  I7,'35..l  rl.. 

Moth  and  the  Spider,  The. .Mar.  8.'35..lrl.. 

My  Lady's  Garden  July  13  8  

Old  Doa  Tray  Mar.  21  ,'35. .  I  rl. . 

Opera    Night  May  3 1.'35. .  1  rl. . 

Peg  Leg  Pete,  the  Pirate. .May  3,'35..1rl.. 

South  Pole  or  Bust  Dec.  14  6.... 

Tom  Tom  the  Piper's  Son.  Nov.  16  6  

What  A  Night  Jan.  25, '35.. 6  

iVhy  Mules  Leave  Home  Sept.  7  6  

TREASURE  CHEST 

Chums   Mar.    I, '35.. 9  

Harlem  Harmony   Dee.  21....  10.... 

Hollywood  Gad-About   Oct.    5  9  

Hollywood  Movie  Parade, 

The   Nov.    2  9.... 

Then  Came  the  Yawn  Aug.  10  8.... 

Your  Stars  for  1935  Oct.   19  II  

YOUNG  ROMANCE 

Moon  Over  Manhattan  Feb.  15,'35.I7  

Three  Cheers  for  Love  Dee.  14....  19.... 


FIRST  DIVISION 


.Feb. 
.Mar. 


..Oct. 
..Oct. 


I, '35. 
8,'35. 


2.  . 
16.. 


MARCH   OF  TIME 

No.  I   

No.  2   

MUSICAL  MOODS 

(Technicolor) 
In  a   Monastery  Garden 

Mexican  Idyll   

By  the  Waters  of 

Minnetonka   

Hymn  to  the  Sun  

Les  Preludes   

October  Day   

Italian  Caprice   8 

Voices  of  Spring  

Irish  Melody   8 

Countryside"  Melodies  May    4, '35... 

Mediterranean  Songs   7 

Barcarolle   8 

In  a   Mountain  Pass  

Finaal's  Cave   Nov.  13  

(Black   &  White) 

Waltz  in  A  Flat  Major  

Dance  of  the  Hours  Dec.  15  

Air  for  the  G  String  Nov.  3  

Liebestraum   

6  THRILLING  JOURNEYS 

nid  Faithful  Speaks   8 

Realm  of  Ghosts  


7.. 


Title  Rel.  Date  Min. 

Deep  Sea  Harvest  

Ride  Along  Dude  

City  of  Proud  Memories  

Craters  of  the  Moon  


FOX  FILMS 


Min. 


Title  Rel.  Date 

ADVENTURES  OF  THE 

NEWSREEL  CAMERAMAN 

Casting   for   Luck  10... 

Man's  Mania  for  Speed  10... 

Marching  With  Science  9... 

On  Foreign  Service   9... 

Tracking  the  Explorers  10... 

MAGIC  CARPET 

SERIES 

The  Coast  of  Catalonia  

Crossroads  of  the  World  9.,. 

Geneva-By-The-Lake   10... 

MOVIE  TINTYPE  SERIES 
The  Heart  of  Valeska  Mar.   9  ID... 


Title  Rel.  Date  MIn. 
Wash-ee  Iron-ee   Sept.  29  17  

TODD-KELLY 

Bum  Voyage   Dee.  15. ...20.... 

Done  In  Oil  Nov.  10  18.. 

Majd  In  Hollywood  May  19  20  

Misses  Stooge,  The  |9  

One  Horse  Farnien  Sept.  I....I8.... 

Opened   by   Mistake  Oct.    6  19  

Sing,  Sister,  Slngl  21  

Three  Chumps  Ahead  2  rls. 

Tin   Man,  The  16.... 

Treasure    Blues   19... 

WILLIE  WHOPPER 

Cave  Man   7.... 

Good  Scout   7  

Insultin'  the  Sultan  Apr.  14  8  

Jungle   Jitters   7.... 

Raslin'  Round   

Reducing  Creme   May  19  

Robin  Hood,  Jr  Mar.  10  9.... 

(Color) 

Viva   Willie   7.. 


MASTER  ART  PRODUCTS  MONOGRAM 


Rel.  Date 
(Variable) 


Min. 


Title 

HUMAN  SIDE  OF 
THE  NEWS 
(EDWIN   C.  HILL) 

1.  Roosevelt  Family  in 

America   II.... 

2.  A  Visit  to  West  Point  10  

3.  Carrie  Jacobs  Bond  9  

MELODY  MAKERS 

Fields   and    McHugh  9  

ORGANLOGUES 
What's  In  a  Name  8  

RAIN  SONGS 
Irving  Kaufman-Lew  White  

SPECIAL 

Take  a  Letter  Please  

Eddie  Stanley- 
Evelyn  San 

METRO-GOLDWYN- 


MAYER 


MIn. 


5. 
7. 
8. 
13. 


.20.... 
.18.... 
.19.... 
.19.... 
.18.... 
.19.... 

.19.... 
.18.... 
.19.... 
.16.... 


Title  Rel.  Date 

ALL-STAR  COMEDIES 

Caretaker's  Daughter   Mar.  10  10  

Movie  Daje   19  

Mrs.  Barnacle  Bill  Apr.  21  20  

CRIME  DOESN'T  PAY 
No.  I— Burled  Loot  19  

CHARLEY  CHASE 

Chases  of  Pimple  Street  Dee.  22. 

Fate's   Fathead   Nov.  17. 

I'll  Take  Vanilla   May 

It  Happened  One  Day  July 

Something  Simple   Sept. 

You  Said  a  Hatful  Oct. 

IRVIN   S.  COBB 

Ballad  of  Padueah  Jail  Oct.  20. 

Nosed  Out   Sept.  15. 

Speaking  of  Relations  

You  Brings  the  Ducks  Nov.  24. 

FITZPATRICK 

TRAVEL  TALKS 

Africa,  Land  of  Contrast  9.... 

Citadels  of  the 

Mediterranean   I  rl. . 

Colorful  Guatemala   

Colorful  Ports  of  Call  Jan.  19  9  

Cruising  In  the  South  Seas  I  rl.. 

Glimpses  of  Erin  I  rl . . 

Holland  In  Tulip  Time  Sept.  15  9  

Ireland.  The  Emerald  Isle..  Dee.    8  8  

Rainbow  Canyon   Feb.  2,'35..8.... 

Switzerland,  The  Beautiful. Oet.   13  9.... 

Zeeland.  The  Hidden 

Paradise   Jan.  5,'S5..7  

ZIon.  Canyon  of  Color  Nov.  10  8  

GOOFY  MOVIES 

No.   4   May    5  9  

No.    5   8.... 

No.    6   Iri.. 

No.    7   Sept  8  10.... 

No.    8   Oet     8  9  

No.    9   Nov.  S....IO.... 

No.  10   10.... 

HAPPY  HARMONIES 

(Harman-lslng) 

2—  Old  Pioneer   Sept.  29  8  

3 —  A  Tale  of  the  Vienna 

Woods   Oet  27  9.... 

4 —  Bosco's  Parlor  Prank*. .. Nov.  24  9  

5 —  Toyland   Broadeast   Deo.  22  8  

6—  Hey.  Hoy,  Fever  Jan.    9, '35.. 9.... 

7—  When  the  Cat's  Away... Feb.  I6,'35..9  

R— The  Lost  Chiek  10.... 

9 — Calico    Dragon  8.... 

LAUREL  &  HARDY 

Fixer-Uppers   21.... 

Going  Bye-Bye   21  

Live  Ghosts   21  

Them  Thar  Hills   2  rls. 

Tit  for  Tat   .Jan.  5,'3S.20.... 

MUSICAL  COMEDIES 

Music  in  Your  Hair   Juno    2  17  

Roamin'  Vandals   Apr.  2S....I8  

MUSICAL  REVUES 

Gentlemen   of   Polish  2  rls. 

Grandfather's  Clock   Oet  27  17  

Gypsy  Night  18  

Star  Night  at  the  Coeoinut 

Grove   Dee.    I  21  

What  Price  Jazz?  18  

ODDITIES 

Dartmouth  Days   Nov.  17  II  

Donkey  Baseball  8  

Motorcycle  Cossacks   Jan.  I2,'35..9  

Little   Feller    May  28  8  

Old  Shep   .June  23  9  

Pichlanni   Troupe   .Sept  22  9  

Pro   Football   9  

Rugby   Dee.  15....  10.... 

Strikes  and  Spares   .Oct  20  9.... 

Taking  Care  of  Baby  .Aug.  25  9  

Trick    Golf   .Mar.  24  8  

Vital  Victuals   -Mar.   8  10  

(Color) 

Windy  II  

OUR  GANG 

Anniversary  Trouble  20.... 

Peginner's   Luck   19. . . . 

Mama's  Little  Pirate  .Nov.    3  18  

Shrimps  for  a  Day  21.... 


I....IO. 
I. ...10. 
I. ...10. 
1....I0. 


Min. 


10. 


PORT  0'  CALL  SERIES 

10.  Dravidian  Glamour   Sept. 

11.  Adventure    Isle   Oct. 

12.  Queen  of  the  Indies  Nov. 

13.  A  Mediterranean  Mecca.  Dec. 


PARAMOUNT 

Title  Rel.  Date 

BETTY  BOOP 

CARTOONS 

Baby  Be  Good  Jan.  I8,'3S 

Betty  Hoop's  Life  Guard... July  13  

Betty  Boop's  Life  Pal  Sept  21  

Betty  Boop's  Prize  Show. ..Oct.  19.... 

Betty  Boop's  Trial  June  15  

Stop  That  Noise  Mar.  I5.'35. 

Swat  the  Fly  Apr.  I9,'35. 

Taking  the   Blame  Feb.  1 5, '35. 

Keep  in  Style  Nov.  16  

There's  Something  About  a 

Soldier   Au9.  17  

When  My  Ship  Comes  In...  Dee.  21.... 

COLOR  CLASSICS 

An  Elephant  Never  Forgets.  Dec.  28  

Little  Dutch   Mill   Oet  26  

poor  Cinderella   Aug.  3.... 

Song  of  the  Birds  Mar.  1,'35. 

HEADLINERS 
Cab  Calloway's  Hl-De-Ho. .  .  Aug.  24 
Feminine  Rhythm   Feb.   8 '35 

Ina  Ray  Hutton  and  Her 

Melodears 
Club  Continental   Oet.  5 

Leon  Belasce  &  Orchestra 

George  Givet -Vivian  Janis 

Grace  Barry 
Hark  Ye,    Hark  Mar.  25,'35. 10. . 

Ben   Bernie-Grace  Barry 
Hollywood   Rhythm   Nov.  IS  10 

Gordon  and   Revel  •  Lyda 

Roberti  -  Jack  Oakle-Nor- 

man  Taurog-LeRoy  Prlnz- 

Edith  and  Bill  Wllshira 
Ladies  That  Play  Dee.  7 

Phil    Spitalny    and  His 

Musical  Ladles 

Melody  Magic   Apr.  12,'35 

Million  Dollar  Notes   Feb   

Red  Nichols  and  his  World 

Famous  Pennies 
Radio  Announcer's  Review.  .Sept,  14. 
Rhythm  on  the  Roof  Oet  26...' 

Anson  Weeks  &  Orchestra 

Society  Notes   Aug.  3 

Song   Writers  of  the  6ay 

Nineties   Mar.  1,'35. 

Pat  Rooney 
Yacht  Club  Boys  Garden 

Party   Dee.  28  

PARAMOUNT  PICTORIAL 

(NEW  SERIES) 
No.  4 — Tub  Boat  Ahoy— Hot. Nov  9 

Dog — Mabel  Wayne 
No.  5 — Rose  of  Bulgaria — .Dee.  7.. 

0.  Soglow — Coney  Island 
No.  6— Twilight  Melody  —.Jan.  4,'35 

Pets    from    the  Wild- 
Howard  Chandler  Christy 
No.  7— Queen  of  the  Waters.  Feb 

—Billy  Blue  Gum— Merl- 

cano 

Mo.  8 — Aubrey  Rainier — Old  

Madiera — Rube  Goldberg, 

World  Famous  Humorist. 

No.    9—   Mar.  29,'35. 

No.  10—   Apr.  26.'35. 

PARAMOUNT  VARIETIES 

No-    7—   Feb.    I, '35. 

No-    8—   Mar.    I, '35.... 

No.    9—    Mar.  29,-35.... 

Baby  Blues  Oet.    5  10 

(Technicolor) 

Coo-Coo  News   jan.  25,'35.10. 

Jungle  Antles   Feb.  22, '35  10 

Madhouse  Movies  No.  I. ...Aug.  24  9 

Manhattan  Rhythm   Mar.  8 '35' in' 

Monkey  Shines   Nov.  16     '  lo' 

Movie  Sideshow   jan.  1I,'35'|| 

Nerve  of  Some  Women,  The. Nov.    2  10 

Old  Kentucky  Hounds  Sept.  7  "10 

Screen  Souvenirs  No.  I  Sept.  21  lO 

Screen  Souvenirs  No.  2  Nov.  30....IO 

Screen  Souvenirs  No.  3  Feb.    S  's's'io  " 

Screen  Souvenirs  No.  4....  iApr  19  '35 

Shorty  on  the  Farm  Apr!  5/35 

Superstition  of  the  Black 

Cat   Aug.  10  10. 

Superstition  of  the  Rabbit's 

Foot   Mar.  8, '35.. 8. 

Superstition  of  Three  on 

a  Match   Oct  19  II 

Superstition   of  Walking 

Under  a  Ladder  Doe.  28  II.. 

POPEYE  THE  SAILOR 

A  Dream  Walking  Sept  28  7 

Axe  Me  Another  Aug.  24 7 

Be  Kind  to  Animals  Feb.  22 '35"  7' 

Beware  of  Bamaele  Bill... Jan.  25,'3S  "r' 
Dance  Contest    Nov  23  7 


It... 

8,'35.ii!'.; 

10... 

II ... 

10... 

10... 

10... 

10... 
10... 
10... 

10... 

.1  ri. 


1,'35. 


10. 


April    6  ,  1935 


MOTION    PICTURE  HERALD 


89 


(THE  CCLCASC  CHACT—CCNT'D) 


TItIs 


Ral.  Date 


31... 
28... 
26... 
30... 


28. ...10. 


Hyp-Nut-Tlst,   The  Apr.  26,'35. 

Pleased  to  Meet  Chal  Mar.  22,'3S. 

Shiver   Me   Timbers  July  27  

Shoein'  Hosses   Juno  I  

Strong  to  the  Finleh  Juab  29  

Two  Alarm   Fire  Oct.  26  

We  Aim  to  Please  Dee.  28  

PARAMOUNT  SOUND 
NEWS 

Two  Editions  Weekly 
GRANTLAND  RICE 
SPORTLIGHTS 
(NEW  SERIES) 

Ko.  2 — Springboard  Cham- 
pions   

No.  3— Water    Rodeo  Sept. 

No.  4 — Keeping   Time  Oct. 

No.  5 — Saddle    Champs  Nov. 

No.  6 — A  Sportllght  Cock- 
tall   Dec. 

No.  7— King  of  the  Ever- 
glades  -Ian- 
No.  8 — Feline   Athletes  Feb. 

No.  9 — Nerve  Control  Apr. 

TWO    REEL  COMEDIES 

Making  the  Rounds  July 

Pallelte-Catlett 

New    Dealers,    The  Apr. 

Pallotte-Catlett 

News  Hounds   June 

Pallette-Catlett 

No  More  Bridges   Mar. 

Leon  Errol 

Oil's  Well   May 

Chic  Sale 

Old  Bugler,  The  Jan. 

Chic  Sale 

Petting   Preferred   Apr. 

Pleased  to  Meet  Chal  Mar. 

Sporting  Sounds   Mar. 

Up  and  Down  Mar. 

Franklyn  Pangborn 


Min. 


25.'35. 
22.'35. 
I9,'35. 

6.... 
6.. .. 
1.... 
16.... 

5  

27.... 
22,'35. 
22,'35. 
2,'35. 


PRINCIPAL 


Title  R«l-  Date 

Death  Day   Al""-  - 

Glory  of  the  Kill  May  23 

Newslaugh— No.  2  Dec.  20,  33 

Wonders  of  the  Tropics  Dec.  13.33 

CONFLICTS  OF 

NATURE  SERIES 
Circle  of  Life  of  the  Ant 

Lion,    The   .  .Feb.  4... 

Farmer's  Friend   Oct.  II... 

From  Cocoon  to  Butterfly. .  .Jan.  10... 
Her  Majesty  the  Queen  Bee.  Dec.  1,33, 

Insect  Clowns   Mar.  4... 

Queen  of  the  Underworld. ..  Dec.  6,33 


21. 
20. 
20. 
21. 
22. 
20. 
10. 


Min. 

17  

,28.... 

.9  

,32.... 


.7.... 
.7.... 
.7.... 

.6  

.7.... 
.7.... 


TIti*  Rol.    Date  Min. 

If  This  Isn't  Love  Sept.  28  2|iA.. 

Spirit  of  1976   Feb.  15,'35.2l'/2  . . 

MUSICOMEDIES  SERIES 

CRuth  Etting) 

An  Old  Spanish  Onion  Mar.  I,'35.20  

Bandits  and  Ballads  Dec.    7  IS'/a.. 

Southern   Stylo   Sept.  14. ...20.... 

Ticket  Or  Leave  It  May  26,'35  

PATHE  NEWS 
Released  twice  a  week 

PATHE  REVIEWS  (1933-1934) 
Released  once  a  month 

PATHE  TOPICS 
Released  seven  times  a  year 

RAINBOW 

PARADE  CARTOONS 

Japanese  Lantern   8.... 

Parrotville  Old  Folks  Jan.  25,'35..7  

Spinning  Mice   

Sunshine  Makers,  The  Jan.  Il,'35..8  

SOGLOW'S   "THE  KING" 
CARTOONS 
Cactus  King   June 

SPECIALS 

Century  of  Progress  June 

Grand  National  Irish 

Sweekstakes  Race,  1934..  Apr. 
La  Cucaracha   Aug. 

Steffi  Duna-Don  Alvarado 

(Technicolor) 

TODDLE  TALE 
CARTOONS 

A  Little  Bird  Told  Me  Sept. 

VAGABOND  ADVENTURE 
SERIES 

Eyes  on   Russia   Aug. 

Fakeers  of  the  East  Dec. 

Isle  of  Spice   Jan. 

Jamaica   

Red   Republic   Sept. 

Roumania   


15... 


2.. 
31.. 


..I  rl. 
.22... 

.10... 
.20'/2. 


9... 
7... 
I,'35 


II... 

l8'/2. 

lO'/i. 

■m- 

,10... 


STATE  RIGHTS 

CARTOON  EXHIBITORS 

Of  All  Things  4. 

CENTRAL 

Child  of  Mother  India  30. 

Hindu    Holiday   9. 

MARY  WARNER 
Olympic  Winter  Sports 

Capital   8. 

METROPOLITAN  LIFE 
Once  Upon  a  Time  10. 


RKO  RADIO  PICTURES  ^     unITED  ARTISTS 


Title  Rol.  Date 

BLONDE  and  RED 
HEAD  SERIES 

Dancing  Millionaire   Dec.  14;  •■ 

Hunger   Pains   Feb.  22,  35, 

Ocean  Swells   Oct.  12... 

Pickled    Peppers   June  7.35, 

Rough  Necking   Apr.  27  

Wig  Wag   

CHICK  CHANDLER 
COMEDIES 

Big   Mouthpiece   Nov. 

Horse  Heir   Feb. 

Raised  and  Called  Mar. 

Unlucky  Strike   Aug. 

CLARK  &  McCULLOUQH 
SERIES 

Alibi  Bye  Bye  Juno 

Bedlam  of  Beards  Apr. 

Everything's  Ducky   Oct. 

Flying   Down  to  Zero  Apr. 

In  a  Pig's  Eye  Dec. 

In  the  Devil  Dog  House  Feb. 

Odor  In  the  Court  Aug. 

CUBBY  THE  BEAR 

CARTOONS 
Cubby's  Stratosphere  Flight. Apr.  20. 
FIddlin'  Fun   June  15. 

DUMBBELL  LETTERS 


19  

l7'/2.. 
21.... 

26! '. '. '. 
191/2.. 


Rel.  Date 


Min. 


I.'35 
22.'35 
31... 


I4.'35, 
13..., 
19.... 
I9.'35 
28.... 
2..., 
2.... 


,20.... 
lO'/j.. 
20.... 
20'/j.. 


211/2. 
18... 
21... 
19... 
20>/2 . 
21 ... 

2i'/2. 


Title 

MICKEY  MOUSE 

6.  Mickey's  Steamroller. ...  June  15  7.... 

7.  Orphans'  Benefit   Aug.  II  9  

8.  Mickey  Plays  Papa  Sept.  29  

9.  The  Dognappers   Nov.  10  

10.  Two-Gun   Mickey   Dec.  25  8  

11.  Mickey's  Man  Friday. .. Jan.  17.'35..7  

12.  Band  Concert   Feb.  23.'35  

13.  Mickey's  Service  Station.  Mar.  15, '35.  .9  

14.  Mickey's  Kangaroo  

SILLY  SYMPHONIES 

7.  The  Flying  Mouse  July  12  7  

8.  Peculiar  Penguins   Sept.  6  8  

9.  Goddess  of   Spring  Nov.  I  

10.  The  Golden  Touch  Mar.  21, '35.  .31/2. . 


UNIVERSAL 


Rel.  Date 


..7... 
..7... 


Title 

CARTUNE  CLASSICS 
No.    1— Jolly  Little  Elves. .  .Oct.  I.. 
No.   2 — Toyland   Premiere.  .  Dec.  10.. 

GOING  PLACES 

with  LOWELL  THOMAS 


Min. 


No. 
No. 
No. 
No. 
Ho. 
No. 
No. 


Sept. 
Oct. 
Nov. 
Dee. 
Jan. 
Jan. 
Feb. 


28... 
26... 
23... 
21... 
4,'35 
I8,'35 
I. "35 


.4>/,. 
.5... 
.4'/,. 
.5... 
.51/2. 
.5... 
.5... 


No. 
No. 
No. 
No. 
No. 


No.  8 


.Nov.  5  

.Deo.  3  

.  Dec.  31  

.Jan.  I4.'35. 
.Feb.  IS.'SS. 
 Mar.  25, '35. 


EASY  ACES 

Little  New  New  York  i-      ^ii'  A' 

Pharaohland   Feb.  22,'35.  .9. 

Topnotchers   II- 


No.    9   May  6,'35. 

GOOFYTONE  NEWS 
No.    7   Apr.  30. 


.1  rl. . 
.1  rl.. 
.  I  rl . . 
.9.. .. 
.9.... 

II  

I  rl . . 


FOUR  STAR 

COMEDIES 

Fixing  the  Stew  Nov.    2. ...20... 

Hit  and   Rum  APr.  26,'35  

How    to    Break  90 

at  Croquet   Jan.  4,'35.I5... 

HEADLINER  SERIES 
No.  6 — Well  Cured  Ham  June  22  19... 

HEADLINER  SERIES 
(1934-35) 

No.  I — Songs  of  the  Colleges. Oct.    5  15... 

No.  2 — Ferry  Go  Round  Nov.  23  20... 

No.  3 — This  Band  Age. . .  .  Jan.  25.'35.2|i/2  . 
No.  A — Simp  Phoney  Concert. Mar.  IS.'35.21... 

EDGAR  KENNEDY 

COMEDIES 

BrIe-a-Brac   Jan.  I8.'35.19... 

Love  on  a  Ladder  Sept.  7  201/2. 

Poisoned  Ivory   Nov.  16  21... 

Sock  Me  to  Sleep  May  I7,'35  

South  Seasickness   20V2. 

Wrong  Direction   Nov.  16  21... 


MUSICALS 

Everybody  Likes  Music  Mar.   9  19</2.. 

Henry  the  Ape  Jan.  26  2rls. 

Bart  Lahr 


OSWALD  CARTOONS 

Do  a  Good  Deed   Mar.  25,'35.  .7  

Hill  Billys   Feb.  I.'35..9  

Robinson  Crusoe  Isle  Jan.  7.'35..9.... 

Sky  Larks   Oct.  22  8  

Spring  In  the  Park  Nov.  12  7  

Two  Little  Lambs  Mar.  1 1,'35.  .81/2 . . 

William  Tell   July    9  6  

STRANGER  THAN 

FICTION  SERIES 

No.    1 — Novelty   Aug.  27  9.... 

No.    2— Novelty   Sept.  24  10  

No.    3— Novelty   Oct.  22  9  

No.  4 — Novelty   Nov.  26  9.... 

No.  5 — Novelty   Dec.  17  9  

No.    6— Novelty   Jan.  28.'35..8  

No.    7 — Novelty   Mar.  4,'35..8  

No.  8 — Novelty   Apr.  1,'35.I0  

No.    9— Novelty   Apr.  22.'35. 10  

UNIVERSAL  COMEDIES 
At  the  Mike  Oct.   10  20.... 

(Mentone  No.  3-A) 
Demi  Tasse   Oct.    3  2rl8. 

(Doane  Musical  No.  1) 
Desert    Harmonies  Apr.  I0,'35.  .2  rls. 

(Mentone  No.  12-A) 
Doin'  the  Town   Jan.  30,'35.I8  

(Mentone  No.  9-A) 
Father  Knows  Best  Feb.  20,'35.  .2  rls. 

Sterling  Holloway 
Gus  Van  and  His  Neighbors.  Sept.  19  18  

(Mentone  No.  2-A) 


Title  Rel. 
Henry's  Social  Splash  Dec. 

Henry  Armetta 
Here's  tlie  Gang  May 

(Mentone  No.  13-A) 

Hollywood  Trouble   Jan. 

Just  We  Two  Aug. 

Knickerbocker  Knights   Dee. 

Mentone 

Meet  the  Professor   Feb. 

(Mentone  No.  lO-A) 
Oh  What  a  Business  Nov. 

(Mentone  No.  5-A) 
Old  Age  Pension  Mar. 

Henry  Armetta 
Revue  a  la  Carte  Jan. 

Tom  Patricola 

(Mentone  No.  8) 
Sterling's  Rival  Romeo  Nov. 

Sterling  Holloway 
Telephone   Blues   Mar. 

(Mentone  No.   1 1 -A) 
Tid  Bits   Oct. 

(Doane  Musical  No.  2) 
Well,  By  George  Oct. 

(Mentone  No.  4-A) 

George  Price 
Whole  Show,  The  Dec. 

(Mentone  No.  7-A) 

James  Barton 
World's  Fair  and  Warmer.. Oct. 


VITAPHONE  SHORTS 


Date  Min. 
19  21  

8.  '35.  ,2  rls. 

9,  '35.20  

8.... 19.... 

12  20  

I3.'35.I9.... 

26  2  rls. 

27.'35..2rl8. 
I6,'35.I7.... 

14  2  rls. 

13. '35. 19.... 

24  2rli. 

31.... 20.... 

26  20  


Rel.  Date 


Min. 


Title 


Rel.  Date 


BIG  V  COMEDIES 

1934-35 

All  Sealed  Up  Sept.  15  

Ben  Blue 

Get  Rich  Quick  Apr.  20,'35 

Allen  Jenkins 
His  First  Flame  Mar.  9.'35. 

Shemp  Howard 

Daphne  Pollard 
Oh  Sailor  Behave  Sopt.29  

El  Brendel 
Old  Gray  Mayor,  The  Apr.    6, '35, 

Bob  Hope 

Smoked  Hams   Oct.  20  

Shemp  Howard 

Daphne  Pollard 
So  You  Won't  T-T-T-Talk.  .Nov.  3.... 

Roscoe  Ates 
Out  of  Order  Nov.  17  

Ben  Blue 

Vacation  Daze   

Jenkins  &  Donnelly 
Dizzy  and  Daffy   Dec.  15  

Dizzy  and  Daffy  Dean 
Once  Over  Lightly  Jan.  I2,'35 

Roscoe  Ates 
Radio  Scout   Jan.  26.'35, 

El  Brendel 
Why  Pay  Rent?  May  4,'35 

Rescoe  Ates-Shemp  Howard 


Min. 

19.... 
.  .2  ria. 

20.... 

17.... 

19. . . . 
18  

20.... 
19.. .. 
.2  rls. 
19.... 
20.... 
19.... 


BROADWAY  BREVITIES 

1934-35 

Syncopated  City   Sept.   I  20  

Hal  LeRoy- Dorothy  Dare 
Paree,  Paree   Sept.  8  21  

Dorothy  Stone- Bob  Hope 
Good  Morning  Eve  Sept.22  19  

Leon  Errol 

(Technicolor) 
No  Contest   Oct.     6  21  

Ruth  Etting 
Off  the  Beat  Oct.   18  20  

Morton  Downey 
The  Flame  Song  Oct.  27  19  

Bernico  Claire- 

J.  Harold  Murray 
Gem  of  the  Ocean  Nov.  19  20  

Jeanne  Aubert 
Gypsy  Sweetheart   Mar. 30,'35.  .2  rls. 

Winifred  Shaw- 
Phil  Regan 

Hear  Ye!  Hear  Yel  Dae.  22  2  rls. 

Vera  Van  and  the 

Yacht  Club  Boys 
See,  See,  Senorita  Jan.  l2;'35.  .2  rls. 

Tito  Gulzar  Armlda 
What,  No  Men?  -Jan.  5,'35.2I  

El  Brendel-Phll  Regan 

(Technicoloi^) 
Soft  Drinks  &  Sweet  Music. Dee.    8  20  

George  Price-Sylvia  Froos 
Show  Kids   Jan.  5,'35.20  

Maglin  Kiddies 

Tad  Alexander 
Radio  Silly   Jan.    9,'35..2  rls. 

Cross  &  Dunn 
Cherchez  La  Femme  Fab.  2,'35..2rls. 

Jeanne  Aubert 
In  the  Spotlight  Feb.  22,'35..2  rls. 

Hal  LeRoy  &  Dorothy  Lee 
Mr.  &   Mrs.  Melody  Mar.  16, '35  

llomay  Bailey — Uee  Sims 
Shoestring   Follies  Feb.  I6,'35.  .2  rls. 

Eddie  Peabody 
Singing  Silhouette,  The. . .  . Mar.  I6,'35.  .2  rls. 

Olga  Baclanova 
Castle  of  Dreams,  The  Apr.   6,'35..2  rls. 

Morton  Downey 
Cure  It  With  Music  Apr.  I3,'35..2  rls. 

Fifl  D'Orsay 
In  This  Corner  Apr.  27,'35..2  rls. 

Roscoe  Ails 

Main  Street  Follies  May  1 1, '35  

Hal  Le  Roy 


LOONEY  TUNES 

No.  13— Viva  Buddy   I  rl. 

(1934-1935) 

No.    1 — Buddy's  Adventures   I  rl. 

No.    2— Buddy  the  Dentist  I  rl. 

No.  3 — Buddy  of  the 
Legion   7... 


.1  rl.. 
.1  rl.. 
.  1  rl.. 


8. . 


6. 


.10. 


3.... 
29.... 

I  

26.'35. 

16,'35. 
I3.'35.. 

'35. 


'35. 


10.... 
10.... 


10  

10  


I  ri.. 

in.. 


I  rl.. 
I  rl.. 


.7... 
.7... 
.1  rl. 


.1  rl. 
.1  ri. 


Title 

No.  4 — Buddy's  Theatre  

No.  5 — Buddy's    Pony  Ex- 
press   

No.  6 — Buddy  in  Africa  

No.  7— Buddy's  Lost  World  

MELODY  MASTERS 

1934-1935 
Mirrors   Sept, 

Freddy  Rich  &.  Orchestra 
Phil  Spitalny  and  His 

Musical  Queens   Oct. 

Richard  Himbor  and  His 

Orchestra   Nov. 

Don  Redman  and  His  Band.  Deo. 
Will  Osborne  and  His  Or- 
chestra  Dec. 

A  &  P  Gypsies  Jan. 

Harry  Horlick 

Charlie  Davis  and  Band  Feb. 

Rimao's   Rhumba  Orchestra. Apr. 
Barney  Rapp  and  His  New 

Englanders   Mar.  16 

Freddy    Martin    and  His 

Orchestra   May  II, 

MERRIE  MELODIES 

1934-35  (In  Color) 
No.    3— Mr.  &  Mrs.  Is  the 

Name   

No.    4 — Country  Boy   

No.    5—1  Haven't  Got  a  Hat  

No.    6 — Along  Flirtation 

Walk   

No.    7 — My  Green  Fedora  

SEE  AMERICA  FIRST 

E.  M.  NEWMAN 

No.    I— Pilgrim  Days   Oct.  27  II  

No.    2 — Boston  Tea  Party. .Nov.  17  II  

No.  3 — Hail  Columbia   Dec.    8  10  

No.  4 — Remember  the 

Alamo   Dee.  20  10  

No.    5— Trail  of  tha  49ers..Jan.  I9,'33.I0  

No.  6 — Dixieland   Feb.  9,'35.I0.... 

No.    7 — Blue  and  tha  Gray. Mar.  2,'35.I0  

No.  8 — The  Mormon  Trail .  Mar. 23,'35  

No.  9 — Westward  Bound  . .Apr.  I3,'3S. . I  rl. . 
No.  10 — Remember  tha 

Maine   May  4,'35..l  rl.. 

PEPPER  POT 

1934-35 

Little  Jack  Little  Sept.   1  8  

Radio  Reel  No.  I  Sept.  15  9  

Mr.  and  Mrs.  Jesse  Crawford. Sept. 29  9.... 

Vaudeville  Reel  No.  I  Oct.   13. ...II  

Movie  Memories   Oct.  27  8.... 

Songs  That  Live  Nov.  10  9  

Gus  Edwards 
Two  Boobs  in  a  Balloon  

Edgar  Bergen 

Good   Badminton   Nov.  24  Irl.. 

Stuffy's  Errand  of  Marey...Dec.  15  9  

Listening  In   Dae.    8  10  .. 

Radio  Reel  No.  2 

Vaudeville  Reel  No.  2  Dee.  29  10 

Harry  Von  Tilzer   Jan.  5,'3S.I0  

Chas.  Ahearn   Jan.  I9.'35.I0  

A  Trip  Thru  a  Hollywood 

Studio   Fob.  2.'35..9  

We  Do  Our  Part  Feb.  9,'35..l  rl 

Radio  Reel  No.  3 

Vaudeville  Reel  No.  3  Feb.  I6,'35..l  rl  . 

Guess  Stars   Mar.  22,'35. 10  

Radio  Ramblers 

Billy  Hill   Mar.  I6,'35  

Eggs  Marks  the  Spot  Mar. 30,'35  

Radio  Reel   No.  4 
Some  Bridge  Work  Apr.  I3,'35. .  I  rl. . 

Easy  Aces 

Vaudeville  Reel  No.  4  Apr.  27/35.  .1  rl. . 

SEI^IALS 

12  Episodes  Each  Unless  Otharwisa  Speoifled 
Title  Ral.  Date  Min. 

FIRST  DIVISION 

Young  Eagles   July    |  2  ria 

Boy  Scouts 

MASCOT 

Burn  'Em  Up  Barnes  June  16  2  rls. 

Jack  Mulhall-Lola  Lane-  (aach) 

Frankie  Darro 
Lost  Jungle.  The  June  13  2  rlt. 

Clyde  Beatty  (eaeh) 
Law  of  the  Wild  Sept.  5..    .2  rti. 

Rex,  Rin  Tin  Tin,  Jr.  (eaah) 

Ben  Turpin,  Bob  Custer 
Mystery  Mountain   Dee.    3  .    .2  ria. 

Ken  Maynard-Verna  Hlllie  (aaah) 
Phantom  Empire   Feb.  23.'35.  .2  rls. 

Gene  Autry-Frankle  Darro  (eaeh) 


PRINCIPAL 


Chandu  on  the  Magic  Island  

Bela  Lugosi-Maria  Alba 

Return  of  Chandu,  The  Oct.  I  

Bela  Lugosi-MarIa  Alba    (Seven-reel  fa'atiira 
followed  by  eight 
^  two-reel  episadaa) 

UNIVERSAL 

Call  of  the  Savage  Apr.  I5,'3S.20.. 

Noah  Beery.  Jr.  (aach) 

Red  Rider,  The  July  16  20 

Buck  Jones  (eaeh) 

(15  episodes) 

Rustler's  of  Red  Dog  Jan.  2I,'35.20  . 

John  Mack  Brown  (eaeh) 

Tailspin  Tommy   Oct.  29  20 

Maurice  Murphy-  (tiih} 

Noah  Beery,  Jr. 

Vanishing  Shadow,  The  Apr.  23  20 

Onslow  Stevens-Ada  Inco  '  (eaeh) 


90 


MOTION    PICTURE  HERALD 


April    6.  1935 


ADVECTISINe 


the  great 
national  medium 
for  showmen 


Ten  cents  per  word,  money-order  or  check  with  copy.  Count  initials,  box  number  and  address.  Minimum  insertion, 
$1.    Four  insertions  for  the  price  of  three.    Contract  rates  on  application.    No  borders  or  cuts.    Forms  close 
Mondays  at  5  P.M.    Publisher  reserves  right  to  reject  any  copy.   Address  correspondence,  copy  and  checks  to 
MOTION  PICTURE  HERALD,  Classified  Dept.,  1790  Broadway,  New  York  City 


USED  ECUII^MENT 


UNUSUAL  BARGAINS  IN  USED  OPERA 
chairs,  sound  equipment  moving  picture  machines, 
tcreens,  spotlights,  stereopticons,  etc.  Projection 
machines  repaired.  Catalog  H  free.  MOVIE  SUPPLY 
COMPANY,    Ltd.,  844   So.    Wabash   Ave.,  Chicago. 


WISE  EXHIBITORS  KNOW  WHERE  TO  BUY 
those  good  guaranteed  rebuilt  Simplex  and  Powers 
projectors,  reflector  lamps,  rectifiers.  Mazda_  eauip- 
ment,  sound  accessories,  parts,  supplies.  Quality  bar- 
gains alwavs.  Free  catalog.  Play  safe  with  MONARCH 
THEATRE  SUPPLY  CO.,  Memphis,  Tenn.  Estab- 
lished 25  years. 


A  REAL  BARGAIN  ON  HIGHGRADE  PROJEC- 
tion  lenses.  Cash  or  trade.  BOX  537,  MOTION 
PICTURE  HERALD,  407  So.  Dearborn  St.,  Chicago, 
111. 


PAIR  PEERLESS  HI-LO  LAMPS  IN  EXCEL- 
lent  condition,  $100.00  each.  CROWN,  311  West  44th 
St.,  New  York. 


NEW  ECUIPAiENT 


UNUSUAL  VALUE.  9x9  PERFORATED  SOUND 
screen  together  with  collapsible  metal  frame,  black 
velour  masking  drapes,  all  complete  in  specially 
built  Bal  trunk.  These  are  brand  new.  Were  made 
for  Western  Electric  portable  sound  systems.  $24.95 
each  while  they  last.  Act  quick.  BOX  534,  MOTION 
PICTURE  HERALD. 


BROADWAY  BARGAIN  HOUSE  OUR  NICK- 
name — everything  new — sound  screens.  Beaded,  dif- 
fusive, Ortho  Krome,  regularly  75c,  now  29c  square 
foot;  14"  reels  2000',  regularly  $1.50,  now  39c;  Weston 
ammeters,  0/50  scale  for  rectifiers,  generators,  arcs, 
regularly  $10.00,  now  $2.25;  fireproof  approved  en- 
closed rewinds,  regularly  $75.00,  now  $29.75.  Cash 
with  order.    S.  O.  S.,  1600  Broadway,  New  York. 


TECHNICAL 

cccrs 


CENEI^AL 
ECUIE^MENT 


SPRAY  NOZZLES  AND  WASHERS.  10,000  C.  F.  M., 
$433.50  complete,  less  pump,  motor,  $283.50.  15,000 
C.  F.  M.  washer,  $495.20  complete,  less  pump,  motor, 
$345.20.  22.000  C.  F.  M.  complete,  $547.70,  less  pump, 
motor  $397.70.  Sell  any  part  of  washer  desired.  Rain- 
bow mist  spray  nozzle,  fool  proof,  66c  each — lots  100 
or  more,  61c.  Bargains  slightly  used  blowers.  Get  our 
prices  before  buying.  Save  money  and  order  by  mail, 
prices  F.O.B.  one-half  cash  with  order,  balance  upon 
delivery.  PETERSON  FREEZEM  SALES,  2620 
Charlotte,  Kansas  City,  Mo. 


SPECIAL!— ONLY  WHILE  THEY  LAST.  PAIR 
first  class  rebuilt  Peerless  low  intensity  lamps  with 
new  handy  30  ampere  rectifiers,  $375.00.  One  year 
guarantee.  MONARCH  THEATRE  SUPPLY  CO., 
Memphis,  Tenn. 


SLIP  COVERS  FOR  ANY  STYLE  CHAIR  OR 
seat.  Cushions  for  veneered  and  squab  seats. 
FLORENCE  BEDDING  CO.,  Florence,  S.  C. 


BARGAINS!— POWERS  MECHANISMS.  MOTOR 
generator.  Parts.  TROUT  THEATRE  EQUIPMENT, 
Enid,  Okla. 


LET  THERE  BE  LIGHT  ON  YOUR  SCREEN- 
new  reflector  arc  lamps  or  rectifiers,  $49.50;  Act  now 
before  all  sold.    S.  O.  S.,  1600  Broadway,  New  York. 


SENSATIONAL  BARGAINS :  REFLECTOR 
lamps,  $25.00;  rectifier  tubes,  $9.00.  Send  for  new 
literature.  WESTERN  MOTION  PICTURE  CO., 
Danville,  111. 


CINEMAPHONE  IS  THE  TOP !— AMPLIFIERS, 
soundheads,  tweeters,  woofers,  perfect  results,  lowest 
prices.    S.  O.  S.,  1600  Broadway,  New  York. 


REPRESENTATIVES 


WANT  LIVE-WIRE  AGENTS  ANYWHERE  TO 
sell  nationally  advertised  sound  projection  equipment, 
portable  and  permanent  supplies,  parts,  etc.  BOX  540, 
MOTION  PICTURE  HERALD. 


RRINTINC  SERVICE 


NEARGRAVURE— 125  LETTERHEADS,  125  EN- 
velopes,  $1.89  delivered.   SOLLIDAYS,  Knox,  Ind. 


SCUNR  ECUIRMENT 


OUR  FAN  MAIL  CONTAINS  THANKS  FOR 
making  these  available — frequency  film,  copyrighted 
instructions,  9000  cycle,  $1.50.  Buzz  and  chopper  track. 
$2.50.  Combination  of  both  $3.00.  S.  O.  S.,  1600 
Broadway,  New  York. 


WANTED  TC  BUT 


ORGANS— WE  BUY  ALL  MAKES  OF  USED 
organs  for  cash.  DELOSH  BROTHERS,  3508— 105th 
St.,  Corona,  L.  I. 


BONUS  PAID  FOR  SIMPLEX,  POWERS,  ARC 
lamps,  rectifiers,  lenses,  portables.  Stocks  liquidated. 
Strictly  confidential.  BOX  541,  MOTION  PICTURE 
HERALD. 


THEATRES  WANTED 


WANT  TO  BUY  OR  LEASE  THEATRE  IN 
Texas,  Colorado  or  Arizona  state.  BOX  538, 
MOTION   PICTURE  HERALD. 


LEASE,  OPTION  TO  BUY,  500  TO  800  SEATS. 
BOX  539.  MOTION  PICTURE  HERALD. 


WANTED— BUY  OR  LEASE  SMALL  THEATRE 
anywhere.  Particulars  first  letter.  BOX  627,  Colorado 
Springs,  Colo. 


RCSITICNS  WANTED 


SOUND  PROJECTIONIST  —  EXPERIENCED, 
unmarried,  young,  will  go  anywhere.  BOX  517, 
MOTION  PICTURE  HERALD. 


TRAINING  SCHCCLS 


LEARN  MODERN  THEATRE  MANAGEMENT. 
Catalog  free.  THEATRE  MANAGERS  INSTITUTE. 
315  Washington  St.,  Elmira,  New  York. 


ORDER  NOW!  RICHARDSON'S  NEW  BLUE 
Book  of  Projection — 6th  edition,  complete  in  one  vol- 
ume, more  than  600  pages,  over  100  illustrations.  Full 
text  on  projection  and  sound  combined  with  trouble- 
shooter.  $5.00.  Mr.  Richardson  will  autograph  the 
first  two  hundred  copies  ordered.  QUIGLEY  BOOK- 
SHOP, 1790  Broadway,  New  York. 


THEATRE  DODGERS,  PASSES.  KROY  PRESS, 
326  N.  Queen.  York,  Pa. 


100  WINDOW  CARDS,  14  x  22,  3  COLORS,  .$3.75; 
no  C.O.D.     BERLIN  PRINT,  Berlin,  Md. 


THEATRES 


FOR  RENT  THEATRE,  EQUIPPED,  60O  SEATS. 
A.  G.  ABBOTT,  Grand  Island,  Nebr. 


Cameramen  s 

INSPIRATION 


/CAMERAMEN  long  ago  decided 
^"^^  that  Eastman  Super  Sensitive  ''Pan" 
is  fit  company  on  any  flight  of  genius.  And 
results  vindicate  their  judgment.  For  four 
years  in  succession  the  great  bulk  of  the 
really  inspired  motion  pictures  have  been 
photographed  on  this  superlative  film. 
Eastman  Kodak  Company,  Rochester,  N. Y. 
(J.  L.  Brulatour,  Inc.,  Distributors,  New 
York,  Chicago,  Hollywood.) 


EASTMAN  Super  Sensitive 
Panchromatic  Negative 


IF    IT'S  A 


MOUNT    PICTURE    IT'S    THE    BEST    SHOW    IN  TOWN! 


BUYERS  NUMBER 

IB^j^H    Spring  &  Summer 

BH  ^^^^ 

containing 

THE  EQUIPMENT  INDEX 

THEATRE  SUPPLY  DEALERS 

and  featuring 

Five  Articles  on  Remodeling 


April  6,  1935 


In  2  Sections — Section  2 


-fj-  IV  StteamlinQ  Saatina 

IS  A  SURE-FIRE  4iit  with  patrons 

The  new  Hey  wood  streamline  theatre  chairs  pay  off  at  i 

the  box  office.  This  swanky  modern  seating  is  a  sure-fire 
hit  with  patrons  because  it's  extremely  comfortable, 
trimly  tailored,  and  has  an  air  of  class  that  s  unmis- 
takable. Heywood  streamline  chairs  will  put  new 
life,  new  decorative  sparkle  into  the  old  "house" 
that  needs  reseating.  Heywood  streamline  chairs 
will  lift  a  new  theatre  right  up  and  away  from 
ordinary  and  commonplace  installations. 


These  new  chairs  have  streamline  metal 
back  edges  (either  chromium  plated 
or  enameled)  which  eliminate  the 
old  bugaboos  of  chipped  tops, 
upholstery  cutting  through,  etc. 
They  will  stand  up  under 
abuse  .  .  .  wear  gracefully 
through  the  years  with- 
out expensive  main- 
tenance costs. 


4-  i  'rA. 


"Tke  0(?  968  with  iixeamline  ed^ei 

in  a  new  high  style  color  ...  a  soft  yellow 

enamel.  Upholstery  on  the  back  is  a  ^   I IM  ^t"! 

modern  diagonal-stripe,  in  deep-brown  and  I  ftS 

yellow.  Seat  is  in  special  Dupont  fabric. 

streamline  backs 

also   help   to  guicken 
traffic  all  over  the  house. 
The  gleaming  chromium  plated 
or  enameled  edges  furnish   a  ready 
eye    guide    to    patrons    in    finding  their 
seats  and  in  moving  into  rows.  No  more  fumbling 
around   in  the   dark   and   no   more  delays  in  aisles. 

•  If  you  haven't  yet  had  an  opportunity  to  see  these 
remarkable,  new,  modern  seats,  ask  your  nearest  H-W 
sales  office  to  tell  you  about  the  many  advantages  of 


HEYWOOD-WAKEFIELD 

Stle&mline  Se&tina 


fl 


Heywood-Wakefield  n.^trc 

General  Offices  :  174  PORTLAND  STREET,  BOSTON.  MASS. 

SALES  OFFICES  IN  ALL  PRINCIPAL  CITIES 


April  6,  1935 


Motion  Picture  Herald 


The  ERPi  exhibit  at  the 


recent  M.P.T.O.A.  convention 

at  New  Orleans 


Electrical  Research  Products  fnc 

250  West  57*1^  Street,  New  York,  N.  Y. 


Northern  Electric  in  Canada 


Better  Theatres  Section 


April  6,  1935 


emize^  j  H 


Formica/In 


Irs 

AKDSOME 
AND 

EXPENSIVE 


ORMICA  with  inlays  is  a  most  attractive  and 
beautiful  material  for  covering  theater  fronts 
and  lobbies.  It  is  very  moderate  in  cost  and 
simply  and  easily  installed.  The  work  can  be 
done  quickly  with  a  minimum  of  disturbance  to 
business. 

Formica  is  available  in  more  than  40  colors, 
and  inlays  in  metal  and  in  one  color  of  Formica 
over  another  can  be  provided.  Formica  is  not 
stained  by  liquids  or  injured  by  washing  solu- 
tions. It  is  an  ideal  surfacing  material  for  doors. 

No  wonder  hundreds  of  recent  modernizing 
jobs  on  theaters  have  been  done  with  this 
material. 

Get  the  facts  before  you  plan  changes. 


Alba  Theater,  Chlcaeo;  Balaban  &  Katz, 
owners;  Rissman  &  Hirschfleld,  archi- 
tects. Formica  black  paneling  with  brieht 
metal   trim   on   front   and   lobby  walls. 


THE 

Formica 
Insulation  Co. 

4654  Spring  Grove  Avenue 
CINCINNATI.  OHIO 


i  ai  SB  a^-f  ^1    I  t  i 


\  .'~~f     ill  i 


ill  1 


ORMIcS: 

FOR  BUILDING 


Covent  Theater,  ChicasTO;  Pereira,  Sen- 
seny  &  Burdiclc,  architects.  Formica 
with  brieht  metal  inlays,  and  plain 
black  panels   with  brieht  metal  trim. 


PURPOSES 


APRIL    6,  1935 


GENUINE  OR  SUBSTITUTE? 

Modern  architecture  has  been  developing  not  only  through  the  orig- 
inality of  Its  designers,  but  through  the  opportunities  offered  in  new 
materials.  Indeed,  modern  architecture  is  partly  characterized  by  the 
creativeness  of  the  materials  manufacturers  themselves,  who  have  been 
giving  the  architect  a  vast  new  set  of  building  blocks  made  of  glass, 
chemicals,  metals,  vegetable  fibres  and  many  other  things  strange  to 
purposes  long  determined  by  the  limitations  of  stone  and  iron. 

The  question  has  been  asked:  To  what  extent  are  these  new  materials 
merely  cheaper  or  more  available  substitutes  for  the  older  ones?  Per- 
haps our  motives  were  originally  those  of  substitution — seeking  archi- 
tectural materials  that  were  more  pliable,  more  plentiful,  and  cheaper — 
but  the  effort  has  realized  the  genuine,  since  the  genuineness  of  anything 
lies  in  its  efficacy  in  the  use  to  which  it  is  put. 

■I  ,  , 

INEXPENSIVE  HELP  FROM  YOUR  STAGE 

It  was  once  the  custom  to  include  a  stage  in  all  but  the  smallest  of  motion 
picture  theatres.  Today  the  screen  provides  the  show  and  the  "draw." 
Many  a  theatre  manager,  however,  has  found  the  stage  interlude  at 
least  occasionally  helpful  in  creating  added  interest  and  "relief." 
O.  T.  Taylor,  who  is  writing  a  series  on  the  mechanics  of  such  casual 
stage  productions  in  Better  Theatres  and  who  creates  them  for  D  &  R 
Theatres  in  Aberdeen,  Wash.,  has  found  such  interludes  effective  as  ex- 
ploitation. His  note  accompanying  his  article  in  this  issue  is  presented 
with  apologies  to  Mr.  A-Mike  Vogel: 

"I  am  doing  the  Style  Revue  idea  (subject  of  a  coming  article)  in  one 
of  our  own  theatres  in  about  two  weeks.  Didn't  have  to  go  after  it — 
plenty  tie-ups.  Began  a  Screen  Talent  Quest  this  week  for  children  under 
12  years  of  age,  running  for  five  weeks  of  eliminations  with  free  screen 
tests  in  sound  for  four  winners.  We  had  about  fifty  entrants  before  the 
contests  started,  with  interest  running  high,  and  the  newspapers  going 
strong  on  the  idea." 

WAYS  OF  THE  TAXER  EVER  INSCRUTABLE 

Notifications  recently  sent  out  by  the  department  of  internal  revenue 
indicate  that  the  federal  government  still  has  in  mind  the  collection  of 
the  5%  excise  tax  on  sound  equipment.  This  tax,  levied  several  years 
ago,  was  to  have  been  collected  from  the  manufacturer.  It  has  yielded, 
chiefly  if  not  entirely,  mere  protests. 

In  its  great  need  for  money  from  every  available  source,  the  government 
chooses  to  associate  sound  equipment  with  radios  and  phonographs, 
which,  for  the  purposes  at  hand,  are  assumed  to  be  luxuries.  Now  pro- 
jector mechanisms  are  not  eligible  to  such  an  elegant  classification.  It 
is  only  when  the  motion  picture  can  be  heard  as  well  as  seen  that  it 
becomes  a  luxury.  Inasmuch  as  the  motion  picture  today  is  as  funda- 
mentally vocal  as  pictorial,  this  industry  has  the  distinction  of  dispensing 
luxuries  to  the  great  majority  of  this  privileged  land  at  Woolworth  or 
Kresge  prices.  Which  makes  the  Opera  just  what? 

G.  S. 


[7] 


8 


Better  Theatres  Section 


April  6,  1935 


NEW  THEATRES  FROM  OLD:  THE  LOBBY 

THE  SECOND  OF  A  SERIES  ON  REMODELING.  CONSIDERING  IN  SUCCESSIVE 
ISSUES:  FRONTS,  LOBBIES  AND   FOYERS,  THE  AUDITORIUM,  AND  LOUNGES 


I. -METHODS 
and  MATERIALS 

B/  EUGENE  CLUTE 


THE  MAIN  lobby  (or  main 
foyer,  as  the  case  may  be)  of  your  theatre 
should  be  something  more  than  a  passage- 
way from  the  vestibule,  or  ticket  lobby,  to 
the  auditorium.  This  part  of  your  theatre 
has  a  job  to  do  besides  serving  as  a  means 
of  entrance  and  egress ;  it  should  welcome 
your  guests,  the  patrons.  It  should  be 
m  spirit  extensions  of  the  auditorium  to 
greet  them — invitingly  and  friendly. 

If  your  theatre  has  a  lobby  cold  and 
cheerless  in  appearance,  with  old-fashioned 
or  tawdry  decorations  and  a  clutter  of  dis- 
play easles  along  the  sides,  you  are  mak- 
ing an  unfavorable  first  impression  on  those 
who  have  been  drawn  to  your  theatre.  The 
lobby  can  be  modernized  for  about  as  little 
or  as  much  as  you  may  care  to  spend. 

There  is  no  good  reason  why  the  patrons 
of  a  theatre  should  have  to  traverse  a  space 
that  they  regard  as  just  so  much  distance 
between   the  ticket  office  and  the  place 


where  they  can  see  the  picture.  The  thea- 
tre can  becfin  right  at  the  front  doors.  All 
that  is  necessary  is  to  give  the  lobby  an 
intimate  atmosphere,  to  let  it  share  in  the 
air  of  comfort  and  elegance  or  smartness 
that  is  the  aim  in  auditorium  decoration. 

Now  that  the  modern  style  of  design  is 
in  fashion,  attractiveness  is  more  a  matter 
of  ideas  than  of  cost.  The  materials  may 
be  very  inexpensive  if  the  ideas  are  right. 
A  clever  designer  who  makes  good  use  of 
the  possibilities  of  modern  materials  can 
produce  excellent  results  at  small  cost,  if 
necessary.  He  can  do  much  better,  of 
course,  with  a  liberal  appropriation,  but  if 
the  design  and  workmanship  are  good,  if 
materials  are  well  chosen,  and  if  there  is 
no  sham,  you  can  be  proud  of  the  job,  even 
if  it  did  not  cost  much.  Very  often  an 
inexpensive  treatment  is  best  because  it  is 
in  keeping  with  the  particular  theatre,  as 
well  as  within  reason  from  a  business  stand- 
point. 

WALN  UT  FLEXWOOD 

A  very  attractive  treatment  in  line  with 
what  has  been  said  above  can  be  made  at 
moderate  cost  by  covering  the  walls  of  a 
lobby  with  walnut  Flexwood  veneer  in 
horizontal  strips  and  applying  flat  chrome 
metal-covered  strips  ^-inch  wide  over  the 
joints.  These  strips  can  be  attached  by 
"toe  nailing"  on  a  slant  through  the  edges 
after  first  drilling  fine  holes  through  the 
metal.   Very  slender  brads  should  be  used. 


Or  the  strips  can  be  fastened  with  chrome- 
finished  rosette  screws  Avith  flattened  oval 
heads  in  which  the  cuts  form  a  decorative 
cross.  Display  frames  made  of  chrome- 
covered  mouldings  should  be  built  into  the 
walls  at  intervals.  The  wall  base  can  be 
black  Formica  6  inches  deep.  At  the  ceil- 
ing a  board  5  inches  deep  by  %-inch  thick 
can  be  used  as  a  finish.  It  should  be 
enameled  black  with  Chinese  vermilion  at 
lower  edge.  The  inside  edges  of  the  dis- 
play frames  should  also  be  vermilion. 
These  touches  of  bright  color  supply  ac- 
cent. 

Flexwood  is  fine  wood  veneer  mounted 
on  a  fabric  backing.  It  costs  about  40c 
a  square  foot  in  walnut.  The  flat  chrome 
metal-covered  mouldings  %-inch  wide  cost 
$5  per  100  feet.  Flexwood  comes  in  18- 
inch  and  24-inch  widths,  8  feet  to  10  feet 
in  length. 

A  carpet  of  modern  style  pattern  in 
walnut  browns  with  a  little  black,  ver- 


A  lobby  design  by  Ben  Schlanger,  New 
York  architect,  is  sketched  above.  Intimacy 
is  the  effect  of  carpet  and  furniture. 
Displays  appear  at  each  end  of  the  side 
walls.  A  projecting  wall  surface  above,  and 
adjoining  one  side  of  the  displays  adds  a 
decorative  note  and  conceals  light  sources. 
Tube  lighting  in  a  curved  channel  follows 
wall  and  crosses  ceiling.  Upper  wall  sur- 
faces can  be  finished  in  plaster,  colored 
glass,   tightly   joined    mirrors,   or  Formica. 


April  6,  1935 


Motion  Picture  Herald 


9 


milion  and  perhaps  touches  of  other  colors, 
would  be  good.  Carpets  are  growing  in 
favor  for  lobbies;  they  give  an  intimate 
note  and  help  to  create  the  impression 
of  getting  right  into  the  theatre  itself 
practically  from  the  sidewalk.  They  are 
woven  9  feet  wide,  12  feet  wide  and  up- 
wards, without  a  seam. 

Linoleum  inlaid  in  a  special  design  in 
a  simple  combination,  or  in  square  rubber 
tiles  of  two  colors  (for  example,  tan  and 
rich  brown)  would  be  a  good  choice  for 
the  lobby  floor. 

Aluminum  paint,  or  metalizing  with 
aluminum,  by  means  of  a  gun  that  sprays 
molten  metal,  makes  a  good  finish  for  the 
doors  and  trim,  harmonizing  them  with  the 
chrome  strips  on  the  wall. 

A  long  Catalin  or  glass  trough  light- 
ing fixture  suspended  on  straight  chromium- 
finished  tubes  in  the  center  of  the  ceiling 
would  be  smart.  The  light  sources,  how- 
ever, should  be  in  harmony  with  the  pro- 
portions of  the  lobby  (this  phase  of  the 
treatment  is  taken  up  later  in  my  discus- 
sion). The  ceiling  might  be  painted  in 
ivory  color,  or  of  sand-finished  plaster,  or 
in  aluminum  leaf. 

Instead  of  walnut  Flexwood,  mahogany 
or  harewood  or  one  of  the  many  other 
woods  available,  can  be  used.  With  ma- 
hogany, either  chrome  or  brass-covered 
strips  will  harmonize,  and  the  doors  should 
match,  either  in  aluminum  or  in  gold 
bronze  toned  down  with  a  brown  glaze. 
The  color  accent  may  be  jade  green,  the 
carpet  in  mahogany  tones,  with  blue-greens 
and  blues  and  touches  of  black  and  ruby 
red. 

If  the  silvery  gray  harewood  is  used, 
the  strips  should  be  in  chromium,  the  doors 
in  aluminum,  the  base  and  top  strip  in 
black,  the  color  accent  an  ultramarine  blue 
lightened  a  little  by  the  addition  of  white 
and  softened  slightly  with  black.  The  car- 
pet coloring  should  be  light  and  dark  grays 
with  medium  and  light  blue  and  touches 
of  black  and  rusty  red.  Harewood  veneer 
in  Flexwood  costs  about  80  cents  a  square 
foot, 

FLEXBOARD  TREATMENT 

The  idea  of  horizontal  banding  described 
above  can  be  carried  out  economically  if 
J-M  Flexboard  is  used  for  covering  the 
walls.   It  is  of  asbestos-cement  composition 


HOiOfMANC    COMTROLtnstS  UNI 


Diagram  of  wall  lumlnaire  thaf  projects 
light  over  a  large  area  on  the  opposite 
wall.  This  is  a  Holophane  in-built  unit. 
Three  control  lenses  set  on  a  saw-tooth 
plan  are  directed  toward  the  auditorium 
end  of  the  lobby.  The  housing  for  the 
unit  should  be  of  metal  in  modern  style. 


in  a  number  of  plain  colors  and  it  has  an 
interesting  texture  effect  due  to  the  fine 
shreds  of  white  asbestos  mingled  with  the 
coloring,  which  goes  entirely  through. 
Where  the  local  building  code  calls  for  fire- 
proof material  Flexboard  is  especially  de- 
sirable. Standard  J-M  Flexboard  costs 
from  10  cents  to  15  cents  a  square  foot. 
It  can  be  had  in  a  waxed  finish,  which  is 
easily  kept  clean.  The  best  color  for  lobby 
walls  is  probably  the  light  yellow,  with 
which  either  chrome  or  brass-covered  strips 
are  good.  The  base  then  could  well  be 
black,  and  ceiling  strip  black,  with  edge  in 
jade  green,  which  color  should  be  used  also 
on  inner  edges  of  display  frames  for  accent. 
The  carpet — say,  dark  and  light  golden 
browns,  with  rusty  red,  jade  green  and 
touches  of  greenish  blue  and  black.  If 
rubber  tile  flooring  is  used,  alternate  squares 
of  golden  yellow  and  rich  golden  brown 
are  suggested  for  such  a  scheme.  Vermil- 
ion can  be  used  for  accent  instead  of  jade 
green,  in  which  case  it  should  appear  in 


The  pictures  reproduced  below  show 
two  lobbies  treated  with  walnut  Flex- 
wood (see  text).  The  lefthand  view 
shows  the  main  lobby  of  the  RKO  the- 
atre in  Denver,  Colo.  This  lobby  has 
wall  panels  and  reeded  pilasters  of  wal- 
nut Flexwood.  The  other  view  is  of  the 
Metropole  theatre  in  Brussels,  Belgium, 
in  which  the  lobby  walls  are  covered 
with  Prima  Vera  Flexwood  in  veneering. 


the  carpet  with  the  browns,  black,  blue  and 
touches  of  green. 

TREATING  DIVISIONS 

Since  horizontal  division  of  the  walls 
tend  to  accentuate  the  faults  of  a  lobby 
that  is  too  long  for  its  width,  or  that  has 
too  low  a  ceiling,  vertical  division,  a  plain 
surface,  or  paneling  is  often  preferable,  or 
one  may  happen  to  like  it  better.  The 
Flexwood  veneers,  the  J-M  Flexboard  and 
metal-covered  strips  can  be  used  in  work- 
ing out  equally  attractive  schemes  of  ver- 
tical division,  and  Flexwood  can  be  applied 
with  admirable  effect  in  plain  unbroken 
surfaces  of  wood  grain. 

The  Flexboard  lends  itself  to  the  mak- 
ing of  curved  surfaces,  for  it  can  be  bent 
readily  to  a  radius  in  nailing  it  to  furring. 
A  series  of  plain  concave  panels,  like  shal- 
low recesses  edged  with  chrome-covered, 
green  or  orange  enameled  mouldings,  might 
be  made  from  the  light  green  material  set 
in  a  plain  wall  of  the  light  yellow  J-M 
Flexboard. 

There  are  innumerable  ways  in  which  to 
make  use  of  the  ease  with  which  this  board 
can  be  bent  (for  example,  in  the  curved 
tops  of  the  pylons  in  the  lobby  design  by 
Ben  Schlanger,  New  York  architect,  pub- 
lished in  Better  Theatres  for  September 
22,  1934 — a  design  since  carried  out  in 
Flexboard  by  Mr,  Schlanger  in  the  mod- 
ernization of  a  theatre  in  New  York  City). 

FORMICA 

Formica,  which  is  a  strong,  handsome 
material  similar  in  nature  to  Bakelite, 
comes  in  sheets  and  is  widely  used  for  cov- 
ering lobby  walls.  It  is  employed  in  hori- 
zontal and  vertical  schemes  and  in  panel- 
ing with  or  without  pilasters.  Snap-on 
metal  moldings  are  usually  employed,  for 
accent  and  finish,  over  the  joints.  It  comes 
in  a  range  of  good  decorative  colors,  and 
in  addition  can  be  furnished  inlaid  in  spe- 
cial designs  and  combinations  of  colors. 
It  is  often  enriched  with  inlay  of  metal 
in  lasting  Alumalite  finish,  either  silvery 
or  in  metallic  colors.  The  mouldings  can 
be  obtained  also  in  these  finishes.  The 
metal  inlay,  as  well  as  that  entirely  of 
different  colors  of  Formica,  is  formed  in 
the  sheet  in  the  process  of  manufacture  and 
forms  an  integral  part  of  it. 

This  material  is  suitable  not  only  for 


10 


Better  Theatres  Section 


April  6,  1935 


Group  oi  doors  leading  from  the  main 
lobby  to  the  auditorium  of  fhe  Lyric 
theatre  in  Newark,  N.  J.  (Ben  Schlanger, 
architect).  The  doors  and  panels  between 
the  doors  are  of  inlaid  Formica.  Colors  of 
ornamentation  are  aluminum  in  silvery 
alumilite  finish,  yellow  and  dark  blue  on 
a  lighter  blue  field  above  a  black  base. 
Displays  are  lighted  from  a  metal  trough. 


walls,  but  is  excellent  for  lobby  doors  for 
which  it  is  being  used  in  a  number  of  the 
better  modernizations,  decorated  in  inlay 
after  special  designs  by  the  architects. 
Formica  for  wall  treatments  costs  about 
36  cents  a  square  foot  in  a  single  solid 
color.  If  banded  in  two  or  more  colors,  or 
inlaid  with  a  design  in  colors  or  metal,  or 
airbrushed,  the  cost  varies  from  50  cents 
or  60  cents,  upwards.  The  metal  mould- 
ings for  covering  the  joints  cost  about  30 
cents  a  running  foot  in  aluminum,  and  40 
cents  a  running  foot  if  in  Alumalite  finish. 
Dado  caps,  bases  and  corners  and  other 
mouldings  vary  in  price. 

V  I  T  R  O  L  I  T  E 

A  practically  unlimited  variety  of  hand- 
some lobby  treatments  can  be  made  with 
Vitrolite  opaque  architectural  glass,  rang- 
ing from  simple  schemes  of  horizontal  or 
vertical  banding,  or  of  panelling,  to 
elaborately  enriched  decorations  with  sand- 
blast-carved ornament,  to  which  may  be 
added  color  and  metal  leaf  applied  in  the 
recessed  portions.  This  material  comes  in 
excellent  plain  colors  and  in  several  beauti- 
ful agate  colorings,  which  may  be  com- 
bined very  effectively. 

Vitrolite  tor  facing  interior  walls  is 
11/32-inch  thick  and  costs  about  $1.75  a 
square  foot,  set.  The  base,  6  inches  deep, 
costs  about  $1.50  a  running  foot,  set.  Door 
trim,  7/16-inch  thick  by  4  inches  wide, 
costs  about  $1.30  a  running  foot,  set.  Sand- 
blasting ornament  adds  about  50c  a  square 
foot  to  the  portions  sandblasted,  as  pilasters, 
trim,  etc. 

A    CATALIN  LOBBY 

A  notable  example  of  the  use  of  Catalin, 
which  has  only  recently  entered  the  archi- 
tectural field,  is  the  modernization  of  the 


lobby  of  the  Oritani  theatre  in  Hacken- 
sack,  N.  J.,  a  Warner  house.  The  walls 
will  be  paneled  in  Catalin  of  a  light  orange 
color  with  black  border  lines,  above  the 
existing  black  marble  base.  Centers  of  in- 
terest will  be  formed  on  each  side  wall  by 
two  broad  panels,  each  containing  a  cir- 
cular gold  mirror  with  a  blue  silvered 
band  around  the  edge,  and  a  Catalin  cove 
following  the  lower  curve  of  the  mirror 
from  which  a  violet  neon  tube  spreads  its 
light  downward  upon  the  wall.  There  will 
be  Catalin  coves  surounding  the  poster 
frames  which  will  throw  violet  light  upon 
the  wall.  In  the  center  of  the  ceiling  will 
hang  a  V-shaped  trough  lighting  fixture 
of  translucent,  mottled  cream-toned  Catalin 
in  an  aluminum  frame  work  suspended  by 
tubes  in  the  same  metal. 

The  ceiling  will  be  in  aluminum  leaf 
with  a  patine  of  transparent  orange  glaze 
to  make  it  tone-in  with  the  walls.  The 
floor  will  be  carpeted  in  a  large-scale  mod- 
ern style  pattern  of  rectangles. 

Sheets  of  Catalin  with  a  wooden  core 
— the  form  of  this  material  chosen  for  the 


Oritani  wall  treatment — are  about  3/8- 
inch  in  thickness  and  cost  about  $1.50  a 
square  foot. 

STONE,     MOSAIC,  TERRAZZO 

A  natural  limestone  that  comes  in  thin 
slabs  in  standard  sizes  ready  to  set  like  tiles: 
is  known  as  Martstone.  It  is  of  agreeable 
buff  color  with  natural  color  variations  in- 
clining to  blue,  yellow  and  rust  color  that 
give  added  interest.  It  conveys  the  impres- 
sion of  richness  and  value  that  attaches  to 
genuine  stone  and  would  make  an  admir- 
able facing  for  lobby  walls.  It  should  be 
used  in  the  unfinished  "raw"  state  for  the 
value  of  the  velvety  texture,  which  brings 
out  the  tints  of  color  to  advantage,  ex- 
cepting where  the  polished  surface  is  pre- 
ferred because  it  is  less  likely  to  soil.  It  is 
excellent  for  floors,  especially  in  the  sand- 
rubbed  finish.  It  would  seem  advisable  to 
avoid  monotony  by  not  using  it  for  the 
walls  and  floor  of  the  same  room.  Mart- 
stone  costs  about  $1  a  square  foot,  including 
setting.  It  comes  in  ^-inch  and  5^-inch 
thickness  in  stock  sizes  up  to  12  inches  by 
18  inches,  and  in  crude,  sandrubbed,  and 
polished  surfaces. 

For  points  of  interest,  panels  of  mosaic 
may  well  be  set  in  walls  faced  with  Mart- 
stone.  Silhouette  designs  in  two  colors 
would  be  effective,  such  as  figure  subjects 
or  silhouetted  leafy  branches  or  vines  ap- 
pearing as  though  seen  against  the  light 
through  a  window  opening.  Any  decorative 
designs  should  be  well  drawn  by  a  good 
artist,  as  the  usual  mediocre  designing  of 
such  subjects  only  cheapens  a  theatre.  They 
should  be  all  different,  not  repeated.  Dis- 
play frames  should  be  of  brown  statuary- 
bronze. 

If  the  panels  are  done  in  marble  mosaic,, 
which  is  known  as  Roman  mosaic,  rich  blue 
Turquin  marble  on  a  salmon  pink,  Rouge 
Chagny  marble  ground  would  be  effective 
with  the  buff  of  the  stone  wall  facing.  Or 
Belgian  black  marble  might  be  used  for  the 


SIDE.  tLEVATIOH 
A  -/a  FT-  LCffOTHi    At/D  I '  lO  FT  iCMOTM 


Diagrams  showing  structural  features  of  lighting  fixture  in  the  lobby  of  the  Oritani  theatre 
in  Hackensack,  N,  J.  The  trough  is  of  translucent  mottled  cream-white  Catalin,  and  the 
frame  and  supports  are  of  aluminum.  This  unit  was  designed  by  the  construction  depart- 
ment of  Warner  Brothers  Theatres.     The  use  of  this  unit  is  discussed   by   Mr.  Clute. 


April  6,  1935 


Motion  Picture  Herald 


11 


designs,  and  creamy  white  Blanc  de  Nimes 
marble  for  the  background.  Such  mosaics 
are  ni:ade  from  little  squares  of  marble  set 
in  cement  mastic  and  cost  about  $4  a  square 
foot. 

Suitable  designs  can  be  worked  out  in 
panels  of  Venetian  mosaic,  which  is  com- 
posed of  small  squares  of  opaque  colored 
glass,  called  enamel,  set  in  cement  mastic. 
Venetian  mosaic  is  capable  of  more  lively 
effects  than  marble  mosaics  because  of  the 
brilliancy  of  the  colors  obtainable  in  the 
material,  and  its  sparkle.  Small  pieces  of 
transparent  glass  backed  with  gold  leaf  or 
silver  leaf  are  often  used  in  this  kind  of 
mosaic. 

With  wall  facing  of  Martstone  relieved 
[Mr.  Clute's  discussion 
is  continued  on  page  62] 


[photo  courtesy  general  electric  company,  nela  park] 


ll.-LIGHTINC  IN 
TODAY'S  TREND 

By  FRANCIS  M.  FALCE 


THE  FOLLOW-THROUGH 

is  important  in  the  execution  of  a  good 
golf  shot,  and  it  is  likewise  important  in 
building  up  and  sustaining  the  interest  and 
pleasure  of  the  theatre  patron.  The  sign 
and  marquee  may  be  termed  the  attention 
getter  and  the  initial  impression  former  of 
the  theatre,  but  there  must  be  no  let-down 
in  novel  and  interesting  sights  as  the  patron 
turns  toward  the  door. 

The  lobby  is  one  of  the  factors  that  de- 
termine the  final  appeal  of  the  house.  As 


a  connecting  link  between  the  entrance  and 
the  foyer,  or  auditorium,  according  to  the 
layout  of  the  theatre,  the  lobby  must  fol- 
low through  by  fulfilling  every  expecta- 
tion that  the  exterior  invitation  promised. 
For  it  serves  not  only  as  a  traffic  artery,  but 
also  as  an  active  waiting  room  for  those 
who  are  meeting  friends  or  aAvaiting  the 
finish  of  the  picture. 

The  lobby  thus  requires,  first  of  all,  an 
abundance  of  light  for  the  transition  from 
marquee  to  foyer.  More  than  that,  it  must 
be  skillfully  and  artfully  employed  to  pro- 
duce the  feeling  of  eager  anticipation  and 
have  an  atmosphere  of  charm  different 
from  that  which  is  encountered  in  other 
interiors. 

During  the  past  few  years,  many  new 
lighting  forms  have  been  developed. 
These  units,  termed  "luminous  elements," 
form  an  integral  part  of  the  structure  and 
Oifer  economical  advertising  individuality. 
They  may  be  divided  into  two  types — the 


Figure  I  in  discussion  of  lobby  illumination 
by  Francis  M.  Falge.  The  view  is  of  the 
lobby  of  the  Sheen  theatre  in  London,  in 
which  are  combined  distinguished  simplicity 
and  use  of  the  acc«ntuating  characteristics 
of  modern  architecture.  In  this  spirit  are 
the  luminous  elements  at  either  side  of  the 
stairs,  which,  in  addition  to  being  decora- 
tive and  illuminative  features,  serve  by  their 
location  to  guide  traffic  to  the  auditorium. 


enclosing  type  faced  with  diffusing  ma- 
terial, and  the  open  type  utilizing  the  re- 
flection from  a  light-colored  background. 

ENCLOSED  TYPE 

For  the  enclosed  type  there  are  avail- 
able a  considerable  variety  of  glasses,  such 
as  flashed  opal,  solid  opal,  and  configurated. 
There  is  also  an  ever-increasing  number 
of  plastic  materials,  such  as  Catalin,  Viny- 
lite  and  Lumanite,  which  duplicate  the  ef- 
fect of  some  glasses  and  make  possible  still 
other  effects. 

OPEN  TYPE 

The  open  type  elements  comprise  lamps 
concealed  in  a  trough  which  is  often  used 
as  a  part  of  the  decorative  design.  This 
method  is  quite  inexpensive  and  simple  to 
construct,  yet  unusually  striking. 

LOBBY  DISPLAYS 

Lobby  displays  serve  at  least  two  pur- 
poses. They  tell  of  the  coming  shows,  or 
they  complete  the  selling  job  started  by  the 
exterior  advertising  displays.  The  dis- 
plays of  coming  attractions,  either  in  poster 
form  or  in  more  dramatic  display  form, 
should  be  well  lighted.  Spotlights,  where 
used,  should  be  masked  into  the  display  and 
so  directed  that  no  light  from  them  strikes 
.  the  patron's  eyes. 

Lobby  frames,  to  be  effective,  should  be 
lighted.   This  is  satisfactorily  accomplished 


Figure  2  in  discussion  of  lobby  illumination  by 
Francis  M.  Falge.  In  this  lobby  thin  strips  of  opal 
glass  are  grouped  in  interesting  forms  to  create 
the  basis  of  the  luminaires.  Luminaires  formed  in 
this  manner  can  be  made  in  a  large  variety  of 
patterns  and  are  inexpensive  to  operate  and  install. 


[photo  courtesy  general  electric  company,  nela  park] 


12 


Better  Theatres  Section 


April  6,  1935 


[sketches  courtesy  general  electric  company,  nela  park] 


Figure  3  (lefthand  sketch  above)  in  discus- 
sion of  lobby  illuminafion  by  Francis  M. 
Falge.  This  is  a  design  for  a  lobby  in 
which  fhe  principal  lighting  features  are 
Zazda  Lumiline  lamps  at  the  ceiling,  down- 
lights  on  the  posterboards,  and  a  large 
luminous  tile  area  in  the  background.  Cove 
lighting  along  the  outer  edges  of  the  ceil- 
ing unifies  the  entire  lighting  and  decora- 
tive scheme.     (C.  T.  Masterson,  architect.) 


by  using  either  the  new  Mazda  Lumiline 
lamps  or  the  regular  standard  tubular 
lamps.  For  the  more  elaborate  displays, 
the  luminous  elements  that  were  shown  on 
page  7  of  the  March  9th  issue  of  Better 
Theatres  have  great  possibilities. 

LOBBY  TREATMENTS 

The  attractive  modern  lobby  of  the 
Sheen  theatre  in  London,  England  {Figure 
1 ) ,  well  illustrates  the  advantages  of  mod- 
ern decoration  and  lighting.  By  the  in- 
genious use  of  luminous  elements  and  high- 
lighted decoration,  emphasis  is  placed 
where  desired.  With  it,  all  is  simplicity 
and  a  refreshing  cleanness  that  wear  long 
and  well.  For  the  lighting  of  luminous 
elements  of  this  type  the  reader  is  again 
referred  to  page  7  of  the  March  9th  issue 
of  Better  Theatres. 

The  inner  lobby,  or  foyer,  shown  in 
Figure  2,  features  a  luminous  element  with 
a  clever  construction  that  is  flexible  and 
inexpensive.  The  elements  of  circular 
cross-section  are  composed  of  long  narrow 
staves  of  flashed-opal  glass  lapped  so  as  to 
prevent  a  view  of  the  lamps  inside.  With 
this  construction  they  may  be  designed  into 
elements  of  many  sizes  and  shapes  to  suit 
the  particular  treatment  desired. 

The  suggested  lobby  design  in  Figure  3, 
utilizes  the  new  Mazda  Lumiline  lamps, 
which  make  possible  substantially  unbroken 
lines  of  light.  The  lamps  have  separable 
end  clips  which  are  inserted  into  small 
moulded  sockets,  so  that  there  is  a  very 
small  break  between  lamps.  Here  they 
are  shown  mounted  against  the  ceiling  in 
an  appropriate  metal  shape,  which  also  acts 


as  a  wiring  trough.  The  lamps  are  avail- 
able in  three  sizes  and  in  clear,  white, 
straw,  orange,  surprise  pink,  emerald,  and 
moonlight  blue,  thus  offering  the  designer 
untold  possibilities  in  the  way  of  decora- 
tive effect. 

At  the  rear  of  the  lobby  is  an  illumi- 
nated panel  of  translucent  glass  tiles. 
These  are  available  in  a  wide  range  of 
tints,  and  when  used  in  conjunction  with 
clear  or  colored  lamps,  the  range  of  de- 
signs is  unlimited. 

Louvered  floodlights  recessed  in  the  lob- 
by ceiling  provide  effective  lighting  of  the 
displays.  The  reflected  light  and  the  units 
themselves  contribute  materially  to  the 
decoration.  The  overhanging  ceiling  con- 
ceals lamps  and  reflectors  to  add  to  the  il- 
lumination of  the  ceiling. 

Lumjline  lamps  appliqued  in  an  ap- 
propriate design  against  the  lobby  ceiling 
{Figure  4)  offer  a  form  of  decoration  that 
is  new  and  outstanding.  The  wide  variety 
of    tints    suggest    unlimited  possibilities. 


III. -SAFETY 
and  COMFORT 

By  J.  T.  KNIGHT,  JR. 


SO  FAR  AS  the  theatre-go- 
ing public  is  concerned,  the  mechanics  of 
the  lobby  of  a  theatre  are  seldom  noticed. 
This  is  as  it  should  be,  for  the  lobby  is  a 
part  of  the  theatre  which  should  be  beauti- 
ful, peaceful  or  exciting,  depending  upon 
the  created  atmosphere,  whereas  the 
mechanics  simply  provide  comfort  and 
safety  without  attracting  attention. 

Ventilation  is  very  necessary  in  the  foyer, 
just  as  it  is  in  the  auditorium.  This  is 
especially  true  if  patrons  must  wait  there 
for  seats  in  the  auditorium.    Frequently  the. 


Figure  4  (righthand  sketch  above)  in  dis- 
cussion of  lobby  illumination  by  Francis  M. 
Falge.  This  lobby  design  shows  the  use  of 
luminous  elements  for  several  purposes. 
Down  the  center  of  the  ceiling  is  a  lumin- 
ous panel  against  which  a  pattern  in  Mazda 
Lumiline  lamps  Is  superimposed.  Silhouette 
lighting  with  changeable  letters  are  used 
for  attraction  announcements  along  the  up- 
per wall  area.     (E.  F.  Lumber,  designer.) 


ventilation  is  not  positively  provided  for  by 
special  duct  work,  which  is  contrary  to  the 
best  practice.  To  be  absolutely  sure  that 
adequate  air  is  provided,  special  ducts 
should  be  installed  with  adjustable  louvers 
in  order  to  balance  the  air  in  this  space  for 
complete  comfort.  Delivery  grilles  should 
be  kept  high,  and  exhaust  grilles  low,  close 
to  the  floor.  In  order  to  make  these  grilles 
inconspicuous,  they  can  be  ornamental  and 
of  a  design  that  will  harmonize  with  the 
decorative  or  architectural  scheme.  Grilles 
may  be  of  plaster  or  other  composition,  or 
of  metal  with  various  finishes;  and  fre- 
quently air  may  be  introduced  at  the  ceiling 
above  ornamental  plaques. 

HEATING 

For  winter  heating,  direct  radiators  can 
be  used  either  as  the  main  source  of  heat 
supply,  or  as  a  booster  supply  to  be  used 
only  in  extremely  cold  weather.  When 
radiators  are  used  they  can  be  recessed  into 
the  wall  and  faced  with  a  metal  grille.  In 
some  cases  old  types  of  radiators  can  be  re- 
placed with  more  modern  and  efficient  cop- 
per or  bronze  radiators,  which  require  much 
less  space  to  recess.  If  radiators  must  re- 
main exposed,  carefully  selected  radiator 
covers  improve  their  appearance  and  make 
them  less  objectionable. 

LIGHT  PLUGS 

Frequently    illuminated    easel  display 
frames,  holiday  garlands  or  wreaths,  lan- 
terns or  other  illuminated  displays,  are 
used  in  foyers,  and  these  additional  loads, 
[Mr.  Knight's  Discussion 
is  continued  on  page  63] 


April  6,  1935  Motion  Picture  Herald  13 

GETTING  AN  NHA  LOAN  FOR  REMODELING 

By  FRANCIS  BURT 


The  mayor  and  the 
banker  tell  Bill  the 
Exhibitor  how  to 
cash  in  on  his  credit 
standing  while  it  lasts 


THE  MAYOR  hadn't  seen 
his  friend  Bill  for  several  days,  which  is 
quite  a  long  time  in  a  small  town.  Hearing 
footsteps  inside  the  lobby  of  Bill's  theatre, 
as  he  was  passing  by,  the  mayor  paused.  Bill 
came  out,  carrying  some  mechanical  gadget 
under  one  arm,  and  a  monkey  wrench  in  his 
free  hand. 

"Well,  if  it  ain't  his  honor  himself!" 

"Hello,  Bill,"  responded  the  mayor. 
"Been  wondering  what  you'd  done  with 
yourself.  But  I  see  you're  right  on  the 
job." 

"Got  to  be,"  said  Bill. 

"How's  business?   Pickin'  up  any?" 

"A  mite,  maybe.  But  this  place  ain't 
what  she  used  to  be.  If  I  could  fix  it  up 
some  I  might  stand  a  chance,  but  I  can't 
figure  out  how  I'm  going  to  do  it." 

"Money,  you  mean?" 

"Yes.  Say,  maybe  you  can  tell  me.  about 
this  government  loan  law.  I  hear  it's  for 
business  places  as  well  as  for  homes.  Know 
anything  about  it?" 

"You  must  mean  the  National  Housing 
Act.  Sure  you  could  get  a  loan  to  fix  up 
your  theatre.  Don't  know  just  how  much, 
but  some,  anyway." 

Bill  set  down  his  burden  on  the  sidewalk 
and  fumbled  in  his  pocket  for  a  smoke.  The 
mayor  went  on: 

"The  bank's  the  people  you  ought  to  see. 
But  I  guess  I  can  tell  you  something  about 
it.   How  much  do  you  think  you'd  need?" 

"Oh,  I  don't  know  exactly.  Maybe  a 
thousand  or  so." 

"Well,  here's  what  you  got  to  do.  You 
see,  the  first  part  of  the  law  provides  for 
the  insurance  of  loans  made  for  repairing 
and  modernizing  homes,  stores,  factories,  or 
theatres,  of  course,  they  being  business 
places.  These  loans  are  made  by  banks,  not 
the  government  itself — by  some  kind  of 
lending  institution.  You  can  get  a  loan  for 
as  high  as  $2,000  and  have  it  extend  over 
a  period  from  one  to  three  years,  or  even 
five  years.  Al  White  over  at  the  First 
National  could  tell  you  whether  you  qualify 
or  not.  His  bank  is  approved  by  the  hous- 
ing administration  in  Washington.  Al's 
known  you  for  a  long  while.  Why  don't 
you  drop  in  on  him?" 

Bill  did,  the  very  next  day.    The  banker 


regarded  him  for  a  moment  across  the 
table. 

"Well,  Bill,"  he  said  finally.  "How 
much  money  do  you  think  you  want  to  bor- 
row from  us?" 

Bill  leaned  back  in  his  chair.  "I've 
talked  it  over  with  a  contractor  and  he  says 
that  with  $1,200  I  could  fix  that  theatre  of 
mine  up  pretty  decent.  I  think  $1,200  will 
do.  I've  got  to  get  an  up-to-date  effect  out- 
side and  in  the  lobby,  at  any  rate." 

The  banker  did  some  quick  figuring. 
"Well,  if  you  borrow  $1,200  for  three 
years,  that  would  cost  you  $156.34  in  in- 
terest. We  would  deduct  this  amount  from 
the  $1,200  and  give  you  $1,043.36  in  cash. 
Then  you  would  pay  off  the  loan  in  month- 
ly installments." 

"I  don't  know  if  I  could  manage  the 
improvements  on  around  a  thousand,  but 
maybe  I  could." 

"If  you  need  more  I  think  it  could  be 
arranged,"  commented  the  banker.  "I 
guess  you  rate  as  a  pretty  good  risk.  Bill. 
You  own  some  other  property,  and  you've 
always  been  regular  in  meeting  your  obli- 
gations. 

"I  noticed  your  theatre  from  the  street 
the  other  day.  Can't  say  about  the  inside. 
Frankly,  Bill,  I  haven't  been  to  one  of  your 
shows  lately.  Have  you  been  finding 
patronage  falling  of¥?" 

Bill  gave  him  a  look  of  mock  pain.  "Have 
I?  Another  year  like  the  last  and  I'll  be 
through." 

Banker  White  bit  off  the  end  of  a  cigar. 
"Do  you  think  fixing  the  place  up  would 
help?" 

"It  ought  to.  We  put  on  good  shows  for 
this  town.  Trouble  is,  the  place  is  all  run 
down,  and  those  that  don't  go  to  the  op- 
position stay  home  or  maybe  drive  over  to 
Mason  City." 

"Then  I'll  tell  you  what  I'll  do,"  re- 
sponded the  banker.    "I'll  let  you  have  any- 


thing up  to  $2,000.  Up  to  that  amount 
the  bank  is  insured  against  loss — that  is,  up 
to  twenty  per  cent  of  the  total.  The  aver- 
age losses  of  a  bank  on  loans  of  this  kind  do 
not  run  over  two  or  three  per  cent,  so  I 
would  consider  it  a  conservative  business 
deal  to  lend  you  money  under  the  National 
Housing  Act  without  collateral.  You  see, 
the  insurance  protects  me." 

"All  right,"  said  Bill.  "Now  suppose 
I  want  that  money,  how  do  I  get  it?" 


"First,"  explained  the  banker,  "you  fill 
out  a  Property  Owner's  Credit  Statement. 
Here's  one  right  before  me.  Now,  you  sign 
that  statement  and  I  would  like  to  have 
your  wife  sign  it.  You  don't  require  any 
other  signatures  on  that  statement.  Take 
this  home  with  you,  talk  it  over  with  your 
wife  and  if  you  want  the  loan,  bring  that 
statement  around  with  you  tomorrow,  or 
any  day.  Then  sign  a  note  and  the  money 
will  be  here  waiting  for  you." 

Bill  grabbed  the  banker's  hand  and  began 
uttering  thanks. 

"Don't  thank  me,"  smiled  White,  "thank 


Uncle  Sam.  This  National  Housing  Act 
was  put  through  to  help  people  of  moderate 
means  to  better  their  homes  or  their  places 
of  business.  Now,  for  instance,  if  you  want 
to  fix  up  that  home  of  yours — if  you  want 
to  put  in  a  new  kitchen  or  bring  the  living 
room  or  any  other  rooms  up  to  date  with 
parquet  floors  or  new  lights,  you  could  do 
it  under  the  National  Housing  Act." 

"You  know,"  said  Bill,  "I  thought  the 
United  States  Government  loaned  money 
under  this  National  Housing  Act." 

"Not  at  all,"  smiled  the  banker  "You 
see  the  purpose  of  this  modernization  credit 
plan  is  to  speed  up  business,  to  help  bring 
about  recovery.  The  Federal  Housing  Ad- 
ministration merely  insures  loans  and  then 
says  to  the  banker,  'Here's  a  chance  for  you 
to  lend  money  with  very  little  possibility  of 
losing  anything.  We  insure  your  loan.' 
Don't  you  see  how  that  will  help  to  bring 
about  business  recovery?" 

"It  might  help  the  bank,"  said  Bill. 

"It  does  much  more  than  that,"  said 
Banker  White.  "For  instance,  if  you  need 
this  loan  to  repair  your  theatre,  it  means  a 
lot  of  men  are  going  to  be  put  to  work  on 
that  job — carpenters,  plumbers,  painters, 
decorators,  electricians.  Now  when  all 
those  men  go  back  to  work,  more  money 
will  be  put  into  circulation.  Besides  that, 
building  material  will  be  sold  for  repairing 
your  place.  Suppose  one  hundred  people  of 
this  town  set  about  repairing  or  moderniz- 
ing their  homes  or  places  of  business.  Sup- 
pose there  was  an  average  of  six  men  work- 
ing on  each  job — that  means  600  idle  men 
put  back  to  work.  It  means  more  cus- 
tomers for  your  theatre.  So  you  see  the 
banks  are  not  the  only  ones  to  benefit  under 
the  National  Housing  Act." 

As  stated  by  the  banker  to  Bill,  the  gov- 
ernment does  not  make  the  loans.    This  is 


14 


Better   Theatres  Section 


April  6,  1935 


12  month's 

18  months 

24  months 

36  months 

48  months 

60  months 

Face 
amount 

Net 

Mo. 

Net 

Mo. 

Net 

Mo. 

Net 

Mo. 

Net 

Mo. 

Net 

Mo. 

of  note 

pro- 

pay- 

pro- 

pay- 

pro- 

pay- 

pro- 

pay- 

pro- 

pay- 

pro- 

pay- 

ceeds 

ment 

ceeds 

ment 

ceeds 

ment 

ceeds 

ment 

ceeds 

ment 

ment 

>U.JJ 

$0.09 

$0.93 

40.06 

$0.91 

$0.05 

$0.87 

$0.03 

$0.83 

$0.03 

$0.80 

$0.02 

1.90 

•  .17 

1.86 

!l2 

l!82 

.09 

1.74 

.06 

1.67 

.05 

1.60 

.04 

J3  

2.85 

.25 

2.79 

.17 

2.72 

.13 

2.61 

.09 

2.50 

.07 

2.41 

.05 

$4  

3.eo 

.34 

3.71 

.23 

3.63 

.17 

3.48 

.12 

3.34 

.09 

 3^21 

.07 

$5  

4.75 

AL 

A  tA 

.£Q 

21 

4.35 

.14 

4.17 

.11 

4.01 

.09 

$6  

.50 

5.57 

.34 

5.45 

!25 

5.22 

!l7 

5.01 

!l3 

4.81 

!io 

$7....  

6.65 

!59 

6.50 

!39 

6.36 

.30 

6.09 

.20 

5.84 

.15 

5.61 

.12 

$8  

7.60 

.67 

7.43 

.45 

7.26 

.34 

6.96 

.23 

6.63 

.17 

6  42 

.14 

$9  

8.55 

.75 

8.36 

.50 

8.17 

.38 

7.83 

.26 

7.51 

.19 

7.22 

.15 

$10  

9.50 

.84 

9.29 

.56 

9.08 

.42 

8.70 

.28 

8.34 

.21 

8.02 

.17 

120  

19.00 

l!67 

18^57 

1.12 

18.16 

.84 

17.39 

.56 

16.69 

.42 

16.04 

.34 

$30  

28  50 

2.50 

27.86 

1.67 

27.24 

1.25 

26.09 

.84 

25.03 

.63 

24.06 

.50 

$40  

38.00 

3.34 

37.14 

2.23 

36.32 

1.67 

■34.79 

1.12 

33.38 

.84 

 32.08 

.67 

$50  

47.50 

4.17 

46.43 

2.78 

45.40 

2.09 

43.49 

1.39 

41.72 

1.05 

40.10 

.84 

$60  

57.00 

5.00 

55.71 

3.34 

54,49 

2.50 

52.18 

1.67 

50.07 

1.25 

48.12 

1.00 

$70  

66.50 

5.84 

65.00 

3.69 

63.57 

2.92 

60.88 

1.95 

58.41 

1.46 

56.14 

1.17 

$80  

76.00 

6.67 

74.29 

4.45 

72.65 

3.34 

69.58 

2.23 

66.76 

1.67 

64.16 

1.34 

$90  

85.50 

7.50 

83.57 

5.00 

81.73 

3.75 

78.27 

2.50 

75.10 

1.88 

72.18 

1.50 

$100  

95.C0 

8.34 

92.86 

5.56 

90.81 

4.17 

86.97 

2.78 

83.45 

2.09 

80.19 

1.67 

$200  

190.00 

16.67 

185.71 

11.12 

181.62 

8.34 

173.94 

5.56 

166.89 

4.17 

160.39 

3.34 

$300  

285.00 

25.00 

278.57 

16.67 

272.43 

12.50 

260.92 

S.34 

250.34 

6.25 

240.58 

5.00 

$400  

380.00 

33.34 

371.43 

22.23 

363.24 

16.67 

347.89 

11.12 

333.78 

8.34 

320.78 

6.67 

$500  

475.00 

41.67 

464.29 

27.78 

454.04 

20.84 

434.86 

13.89 

417.23 

10.42 

400.97 

8.34 

$1.000  

950.00 

83.34 

928.57 

55.56 

908.09 

41.67 

869.72 

27.78 

834.46 

20.84 

801.95 

16.67 

$1,500   

1.425.00 

125.00 

1.392.86 

83.34 

1.362.13 

62.50 

1.304.58 

41.67 

1.251.69 

31.25 

1,202.92 

25.00 

$2,000  

1.900.00 

166.67 

1,857.14 

111.11 

1.816.18 

83.34 

1.739.44 

55.56 

1.668.92 

41.67 

1,603.90 

33.34 

To  obtain  the  amount  of  proceeds  and 
the  monthly  payment  for  a  loan  amount 
not  shown  in  the  table,  such  as  a  loan  for 
12  months  for  $600,  add  the  table 
amounts  for  $500  to  the  table  amounts 
for  1100,  thus: 

Table  for  12  months 


If  a  note  for  $1,458  is  to  be  paid  in  3 
years,  miake  the  calculations  as  follows: 

Table  for  36  months 


Face 
amount 
of  note 

Net  pro- 
ceeds 

Monthly 
payment 

$500 
100 

$475.00 
J5.00 
570.00 

$41.67 
8.34 

600 

50.01 

Face 
amount 
of  note 

Net  pro- 
ceeds 

Monthly 
payment 

$1,000 

$869.72 

$27.78 

40O 

347.89 

11.12 

50 

43.49 

1.39 

8 

6.96 

.23 

1.458 

1.268.06 

40.52 

The  above  discount  table,  which  has  been 
prepared  by  the  Federal  Housing  Adminis- 
tration, shows  the  proceeds  of  notes  for 
various  amounts,  and  the  monthly  payments 
at  maximum  interest  according  to  periods. 


Strictly  up  to  a  banker  who  has  been  ap- 
proved by  the  Federal  Housing  Administra- 
tion. Any  theatre  owner  desiring  a  loan 
should  get  in  touch  with  any  local  bank, 
building  and  loan  association,  or  other 
reputable  lending  institution.  If  he  is  un- 
able to  obtain  information  through  these 
sources,  he  can  write  to  the  Division  of 
Modernization  Credits  of  the  Federal 
Housing  Administration,  Washington, 
D.  C,  and  the  information  will  be  sent  to 
him.  In  close  to  5,000  cities  and  towns 
throughout  the  United  States  Better  Hous- 
ing Committees,  sponsored  by  the  Federal 
Housing  Administration,  are  now  carrying 
the  message  of  modernization.  It  should 
not  be  difficult  to  get  in  touch  with  one  of 
these  Better  Housing  Committees.  Every 
committee  is  supplied  with  Federal  Hous- 
ing Administration  pamphlets  telling  how 
property  owners  and  business  men  can  take 
advantage  of  the  National  Housing  Act. 

Frequently  the  question  has  been  asked 
as  to  whether  loans  will  be  made  under  the 
National  Housing  Act  for  theatre  seats. 
The  answer  is,  "Yes,"  provided  these  seats 
are  permanently  installed  in  the  theatre. 
There  is  a  ruling  by  the  Housing  Admin- 
istration that  loans  can  be  made  for  all 
immovable  equipment  installed  in  homes  or 
places  of  business.    It  does  not,  however, 


apply  to  projection  machines,  which  are  not 
considered  immovable  equipment.  Air  con- 
ditioning equipment,  of  course,  is  eligible, 
as  is  any  equipment  or  furnishings  or  ma- 
terials similarly  permanently  attached  to 
the  building — in  general,  those  things  legal- 
ly called  fixtures. 

In  the  little  fictionized  account  above, 
reference  was  made  to  the  Property  Own- 
er's Credit  Statement.  Therein,  in  addition 
to  providing  information  identifying  the 
property  and  the  appli- 
cant, such  information  as 
the  following  must  be 
given : 

Total  income. 

Extent    of    any  mort- 
gages. 

Existing  loans  and  in- 
terest due. 

Whether  taxes  and  in- 
surance are  paid  up. 

Whether  applicant  has 
any  judgments,  suits  or 
legal  proceedings  against 
hi?n. 

Exact  manner  in  which 
applicant  will  make  pay- 
ments on  the  loan.  Pay- 
ments may  be  made 
monthly  from  the  day  on 
which  the  loan  is  granted, 
or  monthly  following  a 
certain  approved  date,  or 
at  other  approved  periods. 

Details  of  proposed  al- 
terations and  repairs. 

The  highest  rate  of  in- 


terest that  can  be  charged  for  a  loan  under 
the  National  Housing  Act  is  5%.  {See 
Discount  Table.)  The  ratio  of  income  to 
amount  of  loan  necessary  for  a  loan  rests 
with  the  lending  institution,  but  in  general 
it  may  be  said  that  an  exhibitor  needs  to 
have  a  net  annual  income  of  only  five  times 
the  actual  payments  due  annually.  Thus, 
for  a  loan  of  $2,000  over  a  three-year 
period,  the  exhibitor  need  show  a  net  yearly 
income  of  $3,310,  or  $63  net  a  week. 

It  is  to  be  pointed  out  that  these  loans 
are  made  entirely  on  the  exhibitor's  note, 
without  endorsement.  No  mortgages  or 
other  liens  are  placed  against  the  property 
in  security  of  a  loan. 

The  total  number  of  lending  institutions 
which  have  so  far  been  approved  by  the 
National  Housing  Administration  is  in  the 
neighborhood  of  12,000.  These  institutions 
include  banks,  building  and  loan  associa- 
tions, companies  making  personal  loans 
(which  otherwise  than  under  the  National 
Housing  Act,  require  co-makers  or  chattel 
mortgages),  contractors  and  builders  who 
have  filed  with  the  Administration  a  state- 
ment of  financial  responsibility. 

The  maximum  term  of  a  loan  rests  with 
the  lender,  but  banks  are  required  to  make 
advances  for  from  three  to  five  years.  The 
full  amount  of  the  loan  may  be  repaid  at 
any  time,  and  when  this  is  done  the  in- 
terest is  canceled  at  the  end  of  the  year  in 
which  repayment  was  made.  During  the 
life  of  the  loan,  the  interest  is  reduced  as 
the  principal  is  reduced — in  other  words, 
interest  applies  only  to  the  amount  owed. 

Just  as  Bill  did,  the  exhibitor  who  is 
thinking  of  applying  for  a  loan  should 
have  a  frank  talk  about  his  financial  condi- 
tion and  plans  with  the  proper  official  of 
a  bank  or  other  lending  institution  which 
is  listed  among  the  establishments  approved 
by  the  government.  The  bank  at  which 
the  exhibitor  usually  does  business  is  gen- 
erally preferable,  but  if  such  an  institution 
is  not  available,  inquiry  among  convenient- 
ly located  banks,  or  a  letter  to  the  Federal 
Housing  Administration 
in  Washington,  will  re- 
veal one  likely  to  prove 
suitable. 

In  the  event  that  there 
are  charges  against  the 
property  that  the  ex- 
hibitor feels  might  pre- 
vent him  from  being 
granted  a  loan,  he  should 
approach  the  lending  in- 
stitution before  getting  a 
contractor  to  look  over 
the  theatre  or  even  before 
taking  the  time  to  make 
any  preliminary  plans 
himself. 

In  such  situations,  how- 
ever, it  may  well  be  found 
that  the  bank  will  be  able 
to  point  out  ways  of  over- 
coming this  impediment, 
and  the  mere  existence  of 
it  should  be  allowed  to 
deter  the  exhibitor  from 
making  the  proper  in- 
quiries. 


April  6,  1935  Motion  Picture  Herald  15 

THE  LEGAL  AUTHORITY  OF  A  MANAGER 

B/  LEO  T.  PARKER 


How  an  employe  vari- 
ously makes  himself 
or  the  theatre  opera- 
tor  liable  by  his 
acts  —  a  discussion 
based   on   recent  cases 


THE  COURTS  have  consis- 
tently held  that  all  employes  are  duty 
bound  to  perform  only  those  acts  intended 
to  be  advantageous  to  their  employers. 
Moreover,  all  employes  may  be  personally 
responsible  to  their  employers  for  injurious 
or  damaging  acts  performed  under  certain 
circumstances,  and  in  other  instances  these 
same  employes  may  be  personally  liable  to 
others  who  sufifer  financial  loss  or  incon- 
venience. 

Therefore,  it  is  important  to  know  that 
using  recently  decided  leading  higher  court 
cases  as  a  basis,  a  rule  has  been  formulated 
by  which  theatre  owners,  managers  and 
other  employes  may  quickly  determine  the 
circumstances  under  which  a  manager,  or 
other  employe  is  personally  liable  for  illegal 
and  injurious  acts  performed  while  in  his 
employer's  service. 

A  review  of  these  many  higher  court 
cases  discloses  that  a  manager  or  other 
theatre  employe  is  personally  liable  ( 1 ) 
where  he  knowingly  makes  a  false  written 
or  oral  statement  or  representation  of  his 
authority  with  intent  to  deceive  a  person 
who  intends  to  transact  business  with  his 
employer;  (2)  where  he  performs  unlawful 
acts  with  or  without  authority  of  his  em- 
ployer; (3)  where  he  performs  a  damaging 
act  believing,  without  justifiable  cause,  that 
he  has  authority,  but  actually  has  none; 
(4)  where  under  all  circumstances  he  wil- 
fully performs  an  act  which  results  in  dam- 
age to  any  one;  (5)  where  he  performs 
damaging  acts  outside  his  scope  of  author- 
ity, although  he  intends  to  render  his  em- 
ployer a  valuable  service;  (6)  where  he 
intentionally  assumes  an  obligation  for  his 
employer;  and  (7)  where  he  unintention- 
ally but  legally  assumes  an  obligation  while 
performing  services  for  his  empoyer. 

LAW  OF 
CONTRACTS 

FREQUENTLY  litigation 
arises  where  a  theatre  manager  makes  a 
contract  intending  to  bind  the  theatre 
owner  when  in  fact  he  makes  himself  per- 
sonally liable  without  obligating  the  em- 
ployer in  any  way.    Sometimes  a  manager 


is  solely  liable  for  obligations  created  by  a 
contract  made  for  his  employer.  In  other 
instances,  his  employer  also  is  jointly  liable. 
However,  as  a  general  rule  the  employer  is 
relieved  of  liability  where  the  employe  ex- 
ceeds his  authority  and  affixes  a  signature  or 
issues  an  order  outside  the  scope  of  the  em- 
ployment, but  the  employe  may  be  liable 
for  resulting  damages. 

CASE 

For  example,  in  a  higher  court  case  (101 
Pa.  311),  it  was  disclosed  that  a  manager 
exceeded  the  authority  given  by  his  em- 
ployer and  signed  a  contract  which  did  not 
bind  his  employer.  The  court  held  the 
employe  personally  liable,  and  said  : 

DECISION 

"The  reason  why  an  agent  is  liable  in 
damages  to  the  person  with  whom  he  con- 
tracts when  he  exceeds  his  authority,  is  that 
the  party  dealing  with  him  is  deprived  of 
any  remedy  upon  the  contract  against  the 
principal." 

CASE 

Many  other  courts  have  held  that  man- 
agers are  solely  liable  on  contracts  which 
they  signed  by  authority  of  employers.  For 
instance,  in  a  leading  case  (17  O.  S.  215), 
it  was  shown  that  a  corporation  official 
authorized  his  employe  to  sign  a  valid  con- 
tract. The  employe  failed  to  include  his 
employer's  name  in  the  contract,  but  signed 
it  as  "Agent."  The  employer  refused  to 
assume  the  obligations  under  the  contract 
and  the  other  party  filed  suit. 

DECISION 

This  court  held  the  employe  personally 
liable  and  stated  that  an  employe  is  person- 
ally responsible  on  a  contract  which  is  writ- 
ten and  signed  in  a  manner  which  indicates 
to  the  other  contracting  party  that  the 
employe  intended  to  be  bound  especially  if 
the  employer's  name  is  not  in  the  contract. 

Another  important  rule  of  the  law  is 
that  an  employe  may  be  personally  liable  on 
a  contract,  although  the  body  of  the  con- 
tract contains  his  employer's  name,  if  the 
signature  indicates  that  the  employe  inten- 
ded to  be  personally  bound. 

PRESIDENT 

HELD  LIABLE 

NOT  ONLY  IS  a  theatre 
manager,  or  other  employe,  personally  liable 
on  a  contract  made  outside  the  scope  of  his 
authority,  or  where  his  signature  does  not 
indicate  that  the  contract  is  being  made  for 
his  employer,  but  this  same  rule  is  applic- 
able to  corporation  officials.  Also,  although 
the  contract  may  contain  the  corporation's 
name,  yet  if  a  corporation  official  person- 


ally signs  the  contract  without  other  indica- 
tion that  he  is  signing  it  for  the  corporation, 
he  may  be  held  liable  on  the  contract. 

CASE 

For  illustration,  in  Strauss  v  Herman 
(147  Atl.  85,  Philadelphia),  it  was  dis- 
closed that  a  contractor  consulted  with  the 
president  of  the  Independent  Theatre  Corp- 
oration regarding  constructional  improve- 
ments for  the  theatre  building.  Later  the 
contractor  submitted  to  the  president  a 
written  proposition  to  perform  certain  re- 
pairs for  $4,275.  The  president  finally 
affixed  to  the  offer  his  initials  "L.  B."  and 
opposite  the  word  "Approved"  signed  his 
name  "Louis  Berman"  after  the  words  "In- 
dependent Theatre  Corporation." 

The  contractor  performed  the  repairs 
and  sued  the  president  personally  for  the 
value  of  the  services  rendered,  on  the  con- 
tention that  the  president's  signature  affixed 
to  the  contract  did  not  indicate  conclusively 
that  he  was  acting  for  the  theatre  corpora- 
tion. It  is  interesting  to  observe  that  the 
court  held  Berman  personally  liable,  stating 
the  following  important  law: 

DECISION 

"Furthermore,  the  written  acceptance  on 
the  face  of  the  contract  was  that  of  the  de- 
fendant (Berman)  rather  than  that  of  the 
corporation.  His  individual  signature  per- 
sonally and  not  as  president  or  for  the 
corporation  was  written  opposite  and  to  the 
right  of  the  word  'Accepted,'  while  the 
words  'Independent  Theatre  Corporation' 
were  written  one  line  above,  the  names 
being  in  form  as  follows:  'Independent 
Theatre  Corporation  Accepted :  Louis  Her- 
man.' Had  the  written  offer  been  made  to 
the  corporation,  Berman,  being  in  fact  its 
president,  the  names  as  written  above  might 
perhaps  be  construed  as  an  obligation  of  the 
corporation.  But,  being  addressed  to  Ber- 
man personally  and  so  accepted  by  him,  the 
corporate  name  written  above  did  not  re- 
lease him  from  personal  liability,  in  the  ab- 
sence of  an  agreement  to  deal  with  the 
corporation." 

In  this  case  the  president  may  have 
avoided  liability  by  inserting  the  word  for 
before  the  name  of  the  theatre  corporation 
at  the  time  he  signed  it.  Also,  if  he  had 
introduced  testimony  proving  that  the  con- 
tractor knew  that  he  was  signing  the  con- 
tract as  representative  of  the  theatre  corp- 
oration then,  of  course,  the  president  would 
not  have  been  held  personally  liable. 

CASE 

For  example,  in  Williams  v  Carnation 
Company  (287  Pac.  50,  Seattle)  it  was 
disclosed  that  an  official  signed  a  note  with- 
out including  the  name  of  his  employer. 


16 


Better  Theatres  Section 


April  6,  1935 


However,  it  was  understood  between  the 
official  and  the  holder  of  the  note  that  the 
employer  and  not  the  official  was  to  be 
liable.  Later  the  holder  of  the  note  attemp- 
ted to  collect  the  amount  of  the  same  from 
the  official.  However,  the  higher  court 
held  the  employer  solely  liable  on  the  note, 
saying : 

DECISION 

"The  fact  that  this  contract  was  'ac- 
cepted' by  the  company's  manager  without 


adding  after  his  signature  words  indicating 
his  representative  capacity  does  not,  when 
considered  together  with  all  the  other  facts 
shown  by  the  record,  require  a  holding  that 
the  loan  was  not  made  to  the  company." 

LIABILITY 
FOR  DEBTS 

STILL    ANOTHER  Well- 

established  law  is  that  a  theatre  corporation 
official  may  be  personally  liable  for  payment 
of  corporation  debts  authorized  in  excess  of 


the  amount  specified  by  state  laws.  If, 
however,  the  creditors  fail  to  file  suit  with- 
in the  time  specified  by  law,  then  the  official 
may  be  relieved  from  payment  of  the  excess 
debts.  These  points  of  the  law  were  dis- 
cussed in  the  late  case  of  Preston  v  Howell 
^257  N.  W.  415,  Des  Moines,  la.). 

In  this  case  it  was  shown  that  a  state  law 
provides  that  in  no  case  shall  the  debts  of 
a  corporation  exceed  two-thirds  of  its  capi- 
tal stock.  Another  law  provides  that 
claims  against  debtors  shall  be  filed  before 
the  expiration  of  five  years  from  the  time 
the  debt  was  assumed.  The  creditors  failed 
to  file  suit  against  the  official  before  expira- 
tion of  the  five-year  period.  Therefore, 
the  higher  court  refused  to  hold  the  official 
personally  liable  for  debts  of  the  corpora- 
tion assumed  in  excess  of  two-thirds  of  the 
capital  stock.  However,  the  court  indicated 
liability  of  the  official,  if  the  suit  had  been 
filed  within  rive  years  after  the  debt  was 
assumed. 

LEGAL  DUTIES 
OF  EXECUTIVE 

THE  COURTS  in  general 
have  held  that  the  duties  of  a  theatre  ex- 
ecutive relate  to  active  participation  in  the 
control,  supervision,  and  management  of 
the  theatre  business,  providing  no  contract 
exists  which  defines  the  legal  duty  of  the 
executive. 

In  construing  contracts  of  this  nature  it 
is  a  fundamental  rule  that  the  courts  may 
interpret  the  language  employed  in  the  con- 
tract and,  also,  construe  the  subject-matter 
and  the  surrounding  circumstances.  So  held 
a  higher  court  in  Arkansas  Amusement 
Corporation  v  Kempner  (57  F.  [2d]  466, 
Little  Rock,  Ark.). 

The  facts  of  this  case  are  that  a  man 
named  Kempner  was  employed  by  a  theatre 
corporation  under  a  contract  which  pro- 
vided that  the  corporation  agreed  to  employ 
Kempner  "either  as  Vice-President  or,  at 
its  option,  in  other  executive  capacity,  and 
Kempner  agrees  to  accept  said  employment" 
and  to  give  such  of  his  time,  attention  and 
services  as  were  requested  of  him. 

A  corporation  official  wrote  a  letter  to 
Kempner  stating  that  his  services  and  pres- 
ence was  required  at  an  executive  meeting 
at  a  stated  time.  Kempner  replied  that  in 
accordance  with  the  terms  of  his  contract 
he  was  not  required  to  attend  such  meet- 
ings. Soon  afterward  one  of  the  corpora- 
tion's officials  wrote  notifying  Kempner 
that  no  further  payments  would  be  made 
on  the  salary  account.  Kempner  filed  suit 
to  recover  the  agreed  salary  and  to  compel 
enforcement  of  the  contract.  This  court 
clearly  defined  the  duties  of  an  executive, 
as  follows : 

"It  is  our  conclusion  that  Kempner 
bound  himself  under  the  contract  in  suit 
to  serve  as  vice-president  or  'in  other  execu- 
tive capacity,'  and  that  he  was  compelled  in 
carrying  out  his  contract  to  perform  such 
reasonable  services  in  that  capacity  as  the 
company  required  of  him  in  connection  with 
the  picture  theatre  business.  .  .  .  He  is  obli- 
gated to  do  what  he  contracted  to  do, 
whether  the  position  be  soft  or  hard." 
[to  be  continued] 


CORPORATION  CAPITAL  STOCK 

By  M.  MARVIN  BERGER 

Member  New  York  Bar 

A  CORPORATION  obtains  capital  by  the  Issuing  of 
capital  stock.  The  capital  stock  is  divided  into  equal  shares,  and  by  law,  in  most 
states,  may  be  issued  only  for  money  or  property  received  by  the  corporation  or 
services  rendered  to  it.  Stock  may  not  be  Issued  for  less  than  Its  face  value,  and 
if  the  face  value  Is  not  fully  paid  by  the  equivalent  In  cash,  property  or  services, 
the  holder  may  be  made  to  pay  the  difference,  unless,  of  course,  he  Is  an  Innocent 
purchaser  for  value. 

Ownership  of  capital  stock  in  a  corporation  is  shown  by  the  Issuance  to  the 
stockholder  of  a  certificate  of  stock.  The  certificate  Is  not  the  stock  Itself,  any 
more  than  a  bankbook  Is  a  bank  account,  but  shows  that  the  holder  is  a  part 
owner  of  the  corporation  to  the  extent  of  the  number  of  shares  mentioned  In 
the  certificate. 

The  amount  of  capital  stock  which  a  corporation  may  Issue  Is  fixed  by  the 
terms  of  the  charter  or  certificate  of  Incorporation  and  may  be  changed  only  by 
amendment  of  the  charter,  by  consent  of  ordinarily  no  less  than  two-thirds  of  the 
stockholders.    Also  fixed  by  the  charter  are  the  types  and  value  of  the  shares. 

As  to  value,  the  charter  may  provide  that  the  shares  of  stock  are  to  have  either 
par  value  or  no  par  value.  In  case  par  value  shares  are  to  be  Issued,  the  value 
Is  fixed  by  the  charter  at  whatever  figure  may  \be  desired  by  the  Incorporators, 
the  most  common  figure  being  one  hundred  dollars.  In  recent  years  It  has  become 
popular  to  Issue  stock  without  par  value,  In  which  case  the  shares  of  stock  have 
no  fixed  worth.  The  actual  worth  of  either  par  value  or  non-par  value  stock,  can 
be  found  only  by  dividing  the  net  assets  of  the  corporation  by  the  number  of 
shares  of  stock  outstanding,  the  resulting  figure  being  known  as  book  value. 

With  reference  to  type,  shares  of  stock  may  be  either  common  or  preferred. 
Common  stock  Is  the  ordinary  stock  of  a  corporation,  giving  to  the  holder  no  spe- 
cial privileges.  Ownership  of  preferred  stock  on  the  other  hand,  carries  with  it 
privileges  not  possessed  by  the  holder  of  common  stock,  such  as  the  following: 

1.  Preference  as  to  assets:  Upon  the  corporation  winding  up  business,  the  pre 
ferred  stockholders.  If  entitled  to  preference  as  to  assets,  must  be  paid  the  full 
par  value  of  their  stock  before  the  common  stockholders  are  paid  anything. 

2.  Preference  as  to  dividends:  The  preferred  stockholders.  If  given  dividend 
preference  are  entitled  to  be  paid  dividends  before  any  dividend  Is  paid  to  com- 
mon stockholders.  This  preference  may  be  cumulative,  which  means  that  If  a 
preferred  dividend  is  not  paid  when  due,  such  skipped  dividends  must  be  paid 
In  full  before  the  common  stockholders  are  paid  anything. 

3.  Participation  privilege:  Sometimes,  preferred  stockholders  who  are  entitled 
to  preferred  dividends,  are  given  the  right,  after  payment  to  them  of  their  divi- 
dends to  share  in  the  profits  equally  with  the  common  stockholders. 

4.  Conversion  privilege:  Preferred  stockholders  are  often  given  the  opportunity 
of  converting  their  preferred  stock  into  common  stock  at  a  fixed  price.  This 
privilege  may  often  be  valuable,  because  while  the  preferred  stock  provides  a 
fixed  annual  dividend,  after  this  has  been  paid,  the  preferred  stockholders  do  not 
ordinarily  share  In  the  common  stock  dividends  which  may  sometimes  be  greater 
than  the  preferred  dividends. 

5.  Redemption:  A  corporation  Issuing  preferred  stock  often  reserves  the  right 
to  call  In  such  stock  for  redemption  at  par  or  at  a  price  above  par. 

One  of  the  privileges  of  a  stockholder,  common  or  preferred.  Is  the  opportunity 
given  him  by  law  to  subscribe  to  any  new  stock  that  may  be  issued  in  proportion 
to  the  amount  of  his  existing  holdings  in  the  corporation.  So  that  If  A  holds 
100  shares  out  of  a  total  of  1,000  shares  of  issued  capital  stock,  and  the  corpora- 
tion floats  a  new  issue  of  1,000  shares,  A  Is  entitled  to  subscribe  to  100  shares 
in  the  new  issue,  so  that  he  may  still  maintain  his  1/IOth  interest. 


April  6,  1935 


Motion  Picture  Herald 


17 


AIR 

CONDITIONING 

Succeeds  Only  When 

CONTROLLED 


THERE  are  six  factors'^  vital  in  year-around  Air  Condition- 
ing. These  factors  are  ineffective  and  elusive  without  perfect 
co-ordination.  Automatic  Control  is  the  guiding  hand  to  pro- 
vide the  means  by  which  they  become  that  great  contribution 
to  the  success  of  the  modern  theatre  —  Air  Conditioning. 
Automatic  Control  makes  possible  proper  humidity  and  ven- 
tilation in  winter,  and  effective  cooling  in  summer,  compen- 
sating for  shifting  crowds  and  varying  outside  temperatures. 

Minneapolis-Honeywell,  pioneer  and  leader  for  fifty  years 
in  the  development  of  automatic  controls,  manufactures  the 
Modutrol  System,  which  will  automatically  control  any  Air 
Conditioning  installation,  large  or  small.  The  great  versatility 
of  this  system  makes  it  readily  applicable  to  any  standard  or 
specialized  installation.  Under  Modutrol  guidance,  that  instal- 
lation will  operate  at  its  maximum  efficiency. 

Minneapolis-Honeywell  has  available  a  brief,  informative 
book  on  the  vital  subject  of  Air  Conditioning  and  its  auto- 
matic control.  Your  request  to  Minneapolis-Honeywell 
Regulator  Company,  2822  Fourth  Avenue  South,  Minne- 
apolis, Minnesota,  will  bring  you  your  copy. 


MINN  EAPOLIS 
HONEYWELL 

Control  Systems 


BROWN      INSTRUMENTS  FOR 
NDICATING      AND  RECORDING 


Auiomaifc  Control  of 
HEATING   .  HUMIDIPyiNG  -  CIRCULATIN 
CLEANING  .  COOLING  ^  DEHUMIDimNG 


18  Better  Theatres  Section  April  6,  1935 

PRACTICAL  AIR-CONDITIONING  ROUTINE 

By  J.  T.  KNIGHT,  JR. 


A  timely  discussion 
of  systematic  methods 
that  assure  effec- 
tive and  economical 
operation  during 
the    summer  season 


FOR  THE   MANAGERS  and 

engineers  of  theatres  now  equipped  with 
air-conditioning  equipment  we  are  now  on 
the  threshold  of  another  season — a  season 
of  headaches  and  trouble,  unless  the  neces- 
sary precautions  are  taken,  and  the  repairs 
are  made  so  as  to  preclude  breakdowns  and 
to  some  extent  assure  uninterrupted  opera- 
tion. Perhaps  there  is  one  thing  worse  than 
not  having  an  air-conditioning  plant — to 
have  a  broken-down  plant!  Pre-season 
overhauling  by  competent  mechanics,  and  if 
at  all  possible,  operation  throughout  the 
season  by  a  qualified  engineer,  are  the  best 
protections  against  interruptions  of  service. 
Owing  to  the  great  variety  of  plants  in 
service,  any  attempt  to  discuss  operating 
troubles  must  of  necessity  be  of  a  general 
nature,  as  no  one  can  forsee  the  particular 
pitfalls  that  lie  ahead  for  any  particular 
theatre.  The  best  approach  toward  an 
estimation  of  the  possible  difficulties  is.  a 
very  careful  examination  of  all  records 
available  of  the  particular  equipment.  Study 
the  repairs  that  have  been  made  to  the 
plant  with  an  eye  toward  those  that  might 
indicate  intrinsic  faults  which  cause  recur- 
ring failures.  Examine  carefully  the  re- 
cords of  lubrication  in  order  to  be  sure  that 
the  proper  oils  or  greases  are  used.  If  there 
is  any  doubt,  now  is  the  time  to  call  in  a 
lubricating  engineer  of  one  of  the  large  oil 
companies  and  have  him  prescribe  the 
proper  grade  oil.  Another  way  is  to  write 
to  the  manufacturer  of  the  equipment  and 
get  the  correct  information  from  them. 
Cheap  lubricants  are  false  economy  any 
time,  especially  so  when  used  on  compres- 
sors for  air-conditioning  purposes. 

The  engineer  should  have  in  his  posses- 
sion a  complete  history  of  the  operation  of 
the  plant  of  the  previous  season,  such  as 
lubrication,  cost  of  minor  and  major  re- 
pairs, and  every  other  detail  of  operation. 
In  addition  to  this  diary  record  there  should 
be  a  daily  operating  log  which  should  in- 
clude periodic  readings  of  all  gauges  and 
thermometers,  including  outside  atmos- 
pheric conditions  and  the  resulting  inside 
conditions.  Such  records,  accurately  and 
carefully  kept,  are  of  inestimable  value  in 
determining  the  most  practicable  operating 


capacity  and  flexibility  of  the  plant,  and  if 
not  accurately  kept,  it  is  a  waste  of  time. 
If  the  particular  operation  requires  the 
services  of  more  than  one  engineer,  then  one 
of  them  should  be  appointed  chief  engineer 
and  be  held  responsible  for  the  plant  and 
the  records  of  operation. 

CLEANING 
THE  EQUIPMENT 

DIRT  IS  THE  cause  of  much 
trouble  in  all  air-conditioning  plants,  es- 
pecially in  those  plants  where  spray  type 
air  washers  are  used  for  dehumidification 
purposes.  Dirt  in  the  cold  circulating  water 
clogs  up  spray  nozzles  and  blocks  screens. 
Much  of  this  dirt  comes  from  the  air 
being  conditioned,  or  is  the  scale  from  the 
corrosion  of  metal  surfaces.  The  cleaning 
out  of  spray  heads  is  a  daily  job.  It  is  ex- 
cellent practice  to  have  twelve  or  fifteen 
extra  spray  heads  on  hand,  clean  and  ready 
for  installing.  Before  show  time  each  day, 
the  engineers  should  turn  on  the  washer 
and  inspect  it  for  clogged  nozzles,  then 
shut  it  off  and  immediately  replace  the 
clogged  ones  or  clean  them.  This  is  a 
tedious  operation  and  frequently  not  at- 
tended to.  Clogged  nozzles  materially  re- 
duce the  efficiency  of  the  washer. 

SCREENS 

The  screens  on  the  return  water  line 
should  be  cleaned  daily.  Screens  should  be 
cleaned  when  the  air  washer  pump  is  not 
running,  preferably  at  the  beginning  of  the 
day  before  the  water  has  been  agitated  by 
the  pump  and  spray  operation.  Once  each 
week,  or  at  least  once  every  two  weeks,  the 
entire  washer  tank  should  be  drained  down 
the  sewer  and  all  of  the  sediment  in  the 
tank  removed.  After  this  flush  the  tank 
out  with  a  hose.  While  the  removal  of  this 
dirt  and  sediment  is  a  simple  job,  it's  im- 
portance cannot  be  over-emphasized,  and 
yet  it  is  frequently  neglected. 

SCALE 

Up  to  this  point  I  have  discussed  dirt 
and  loose  scale  only  superficially.  Here  are 
a  few  facts:  Scale  is  the  result  of  corrosion 
of  the  metal  surfaces  constantly  or  inter- 
mittently in  contact  with  water  or  damp- 
ness from  the  spray.  Each  year  the  metal 
surfaces  in  contact  with  water  or  spray 
should  be  scraped  or  brushed  with  a  steel 
brush,  and  those  surfaces  not  forming  part 
of  the  heat  exchange  system  should  be 
painted  with  corrosion-resisting  paint. 
There  are  several  very  good  paints  manu- 
factured for  this  type  of  paint  work,  one  is 
especially  good  because  it  has  a  rubber  pro- 
duct as  a  base. 

In  some  installations  the  expansion  coils 
or  cooling  coils  are  located  right  in  the 


path  of  the  incoming  air,  and  these  pipes 
are  either  flooded  by  water  from  troughs 
over  the  top  of  them  or  have  the  usual 
washer  sprays,  spraying  water  on  them.  In 
such  plants  do  not  paint  these  cooling  coils. 
The  surfaces  of  these  coils  play  a  part  in 
the  cycle  of  heat  exchange  and  any  coating 
of  paint  will  only  minimize  their  efficiency. 
However,  in  such  systems  the  corrosion  of 
the  expansion  coils  can  be  reduced  or  con- 
trolled by  using  proper  water  treating  com- 
pounds or  liquids.  No  general  advice  can 
be  given  concerning  water  treatment  as  the 
water  must  be  tested  by  a  competent  water 
treatment  engineer.  If  after  a  test  the 
water  is  found  to  be  acid  in  reaction,  pro- 
per chemicals  must  be  added  to  make  and 
keep  it  slightly  alkaline.  Theatre  owners 
and  operators  have  not  generally  accepted 
water  treatment  as  a  necessity;  however,  it 
works  silently  and  pays  its  way  in  higher 
efficiency  and  reduced  maintenance  cost. 

OPERATING 
PROCEDURE 

AT  THIS  POINT  it  is  in- 
teresting to  note  divisions  of  an  air-condi- 
tioning plant :  the  compressor,  the  condenser 
and  the  cooling  coils.  The  condenser  and 
the  cooling  coils  are  the  two  points  where 
the  real  work  of  cooling  is  done.  It  is 
here  where  the  transfer  of  heat  takes  place  ; 
yet  so  frequently,  because  there  are  no  rotat- 
ing or  moving  parts  to  these  two  divisions 
of  the  equipment,  they  generally  receive 
little  attention  until  leaks  occur  which  are 
so  obvious  that  a  blind  man  could  detect 
them. 

PLANT  ACTION 

The  heat  picked  up  and  taken  from  the 
air  by  the  refrigerant  as  it  is  expanded  into 
the  cooling  coils,  plus  the  heat  of  compres- 
sion of  the  refrigerant  as  it  is  acted  upon 
by  the  compressor,  is  transferred  to  the  con- 
denser water,  and  the  condenser  water 
carries  it  away  down  the  sewer.  This  is 
the  procedure  unless  the  theatre  is  equipped 
with  a  water  cooling  tower  or  spray  pond, 
then  the  condenser  water  is  pumped  up  to 
the  tower,  usually  installed  on  the  roof 
where  the  heat  of  the  water  is  released  to 
the  atmosphere. 

This  partial  review  of  the  refrigerating 
cycle  is  given  here  in  order  to  emphasize 
the  importance  of  water  in  air-conditioning. 
As  water  passes  through  the  condensers,  the 
problem  of  dirt  arises.  Much,  at  least  in 
principle,  that  has  been  said  above  about 
keeping  spray  tanks  clean,  applies  to  con- 
densers. Clean  condensers  actually  pay 
dividends  in  the  operation  of  air-condition- 
ing equipment.  The  efficiency  of  the  con- 
densers directly  affects  the  head  pressures 
required,  and  head  pressures  directly  affect 


April  6,  1935 


Motion  Picture  Herald 


19 


the  required  power  consumption  per  ton 
of  refrigeration.  Where  condenser  water 
is  discharged  directly  into  the  sewer,  it  is 
impractical  to  use  any  water  treatment,  but 
dirt  traps  can  be  installed  ahead  of  the  con- 
densers which  will  relieve  the  situation 
depending  upon  the  particular  type  of  con- 
denser in  use.  In  many  types  of  equipment, 
the  condensers  are  not  designed  to  facilitate 
cleaning  during  the  operating  season,  conse- 
quently it  is  vitally  important  that  in  such 
cases  the  condensers  be  thoroughly  and 
carefully  cleaned  before  putting  the  plant 
into  operation  at  the  beginning  of  a  new 
season. 

COM  PRESSOR 

The  refrigeration  compressor,  like  all 
other  pieces  of  high-grade  machinery,  re- 
quires constant  supervision  by  a  competent 
man.  The  lubrication  system  should  be 
thoroughly  cleaned  and  flushed  out  with 
kerosene,  then  filled  with  fresh  oil  before 
the  start  of  the  season.  The  lubricating 
system  is  often  equipped  with  oil  strainers 
or  dirt  traps.  These  parts  should  be  cleaned 
daily  after  regular  operation  starts.  Packing 
or  stuffing  boxes  must  be  tight  and  well 
lubricated  in  order  to  seal  effectively  the 
machine  and  not  overheat.  On  the  rotary 
compressors  the  metal  seals  must  fit  pro- 
perly and  remain  tight  at  all  times.  The 
engineer  must  test  all  valves  and  assure 
himself  that  they  all  function  properly.  The 
manufacturer  of  each  type  of  compressor 
leaves  on  the  job  charts  or  a  hand  book 
which  gives  certain  exact  facts  not  only 
about  the  mechanical  feature  of  the  machine 
but  its  correct  operation.  Such  instruc- 
tions should  be  followed  explicitly.  Each 
manager  would  find  it  very  much  worth- 
while to  give  careful  study  to  this  in- 
formation. 

Operating  pressures,  as  prescribed  by 
the  makers  of  the  equipment,  should  be 
accurately  adhered  to.  Especially  during 
the  first  season  of  operation  of  new  equip- 
ment, any  failure  on  the  part  of  the  equip- 
ment should  be  reported  immediately  to  the 
manufacturer.  He  should  be  expected  to 
assume  the  responsibility  of  making  the  nec^ 
essary  changes  until  satisfactory  results  are 
obtained.  Remember  that  in  practically 
every  case,  air-conditioning  equipment  is 
only  guaranteed  against  mechanical  defects 
for  one  calendar  year  from  date  of  installa- 
tion, so  all  necessary  pressure  should  be  put 
on  the  manufacturer  to  fulfill  this  guaran- 
tee in  the  smallest  detail. 

CONTROL  INSTRUMENTS 

The  automatic  control  instruments,  an- 
other division  of  the  plant,  should  receive 
careful  attention  before  the  beginning  of 
the  season  and  during  the  operation  period. 
Properly  operated  electric  automatic  con- 
'  irols  perform  quicker,  with  greater  accuracy 
and  more  efficiency,  than  the  most  con- 
scientious and  capable  engineer.  The  some- 
what older  types  of  pneumatic  controls  are 
not  at  all  satisfactory  when  compared  with 
the  electrical  type.  The  good  points  of  the 
pneumatic  controls  are  to  a  large  extent 
offset  by  high  and  frequent  maintenance 
■costs.     However,  regardless  of  type,  the 


md  i  ntena  nee 


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Title  and  text  copyrighted    1935.     Reproduction  of  any  part  zvitbout  permission  is  expressly  forbidden 


CLEANING  BOILERS  (answering  T.  K.): 
There  are  several  portable  vacuum 
cleaning  outfits  which  have  proved 
very  successful  in  cleaning  the  tubes  of 
practically  all  types  of  low  pressure 
boilers.  The  general  price  of  this  equip- 
ment Is  approximately  $125  and  some 
of  them  run  higher.  In  our  experience 
this  was  found  to  be  too  expensive  to 
buy  for  just  one  theatre.  I  have  never 
attempted  to  hook  up  the  compressed 
air  of  the  Johnson  Service  System  to 
use  as  a  blower  in  cleaning  boiler  tubes. 
I  question  very  much  whether  your  re- 
serve tank  is  sufficiently  large  and  your 
compressor  sufficiently  large  to  main- 
tain adequate  pressure  should  you  pipe 
this  for  boiler  cleaning  purposes.  If  it 
is  not  too  expensive  it  would  be  very 
Interesting  for  you  to  make  this  con- 
nection and  we  would  be  very  much 
Interested  to  know  how  it  works  out. 
I  have  never  found  It  absolutely  neces- 
sary to  clean  the  tubes  of  boilers  daily. 
If  the  tubes  of  your  boiler  are  sooting 
up  to  that  extent  I  am  Inclined  to  feel 
that  you  are  not  getting  the  results 
from  the  down-draft  type  of  boiler 
that  brought  about  that  particular  de- 
sign. Soot  usually  Indicates  Incomplete 
combustion.  The  down-draft  type  of 
boiler  was  designed  to  obtain  more 
perfect  combustion  than  the  up-draft. 
• 

FOUL  ODORS:  Go  into  your  theatre 
some  morning  early,  before  it  has  been 
aired  out  or  the  ventilating  fans  started, 
and  visit  all  rest  rooms  and  toilets  and 
janitors'  closets.  If  you  detect  objec- 
tionable odors,  certainly  something 
should  be  done  to  eliminate  the  un- 
sanitary conditions  causing  those  odors. 
The  presence  of  odors  is  undeniable 
proof  that  certain  locations  and  plumb- 
ing fixtures  are  not  receiving  proper 
care,  or  if  properly  cared  for,  the  wrong 


materials  are  being  used.  The  public 
associates  odors  with  filth,  germs  and 
unhealthy  conditions,  and  unfortunately 
most  patrons  are  so  built  that  rather 
than  complain  they  just  stay  away  from 
the  theatre. 

In  deciding  upon  the  proper  deodor- 
ants and  disinfectants  to  be  used,  con- 
sider: First,  safety.  Products  of  a  poison- 
ous or  caustic  character  must  be  used 
with  the  greatest  care.  If  used  at  all. 
Second,  general  patron  reaction.  Peo- 
le  don't  want  theatres  to  smell  like 
ospltals.  Third,  demand  from  the  com- 
pany supplying  your  material  a  test  ac- 
cording to  government  specifications — 
that  establishes  Its  true  disinfectant 
qualities.  Fourth,  economy.  This  in- 
cludes the  plan  of  treatment  as  well  as 
the  cost  of  materials. 

The  practice  of  blanketing  one  odor 
with  a  stronger  odor  is  a  waste  of  time 
and  money.  To  destroy  an  odor  it  Is 
absolutely  necessary  to  apply  the  deo- 
dorant or  disinfectant  directly  to  the 
object  that  emits  the  odor.  Deodorants 
sprayed  Into  the  air  or  Into  ventilating 
ducts  are  ineffective.  With  the  coming 
of  warmer  weather  odors  and  insects 
including  flies,  present  very  serious  prob- 
lems In  theatre  management  and  man- 
agers will  do  well  to  check  this  situation 
In  their  theatres  now. 

INSPECTIONS:  Inspections,  regularly 
and  constantly  made,  are  the  only  way 
to  determine  the  ever  changing  condi- 
tions of  buildings  and  equipment.  In- 
spections are  the  only  positive  means  of 
knowing  the  actual  value  of  the  Invest- 
ment in  theatre  and  equipment.  Own- 
ers and  circuit  executives  cannot  afford 
to  overlook  the  advantages  of  a  regular 
Inspection  program.  Inspections  at  regu- 
lar Intervals  will  estaolish  a  physical 
history  that  allows  checking  actual  de- 
terioration against  that  on  the  books. 


control  apparatus  must  be  checked  and  cali- 
brated at  regular  periods  in  order  to  be  sure 
that  desired  conditions  are  maintained. 
When  it  is  necessary  to  maintain  the  tem- 
perature and  humidity  within  narrow  brac- 
kets, conditions  must  be  checked  at  short 
intervals  by  the  engineer  on  duty.  During 
normal  operating  conditions  such  checks  at 
hour  intervals  should  be  sufficient,  but  dur- 
ing very  hot  weather,  and  especially  during 
hours  of  peak  business,  checks  should  be 
made  at  shorter  intervals.    These  checks 


as  suggested  definitely  present  the  problem 
of  keeping  an  operating  log. 

RECORDS 

It  is  suggested  that  in  cases  where  log 
record  sheets  are  not  provided,  the  manager 
of  the  theatre,  with  the  help  of  his  engineer, 
develop  a  form  using  some  or  all  of  the 
following  headings,  written  in  on  some  type 
of  standard  blank  ruled  paper.  The  head- 
ings may  be  arranged  down  the  side  of  the 
{Continued  on  page  64) 


20 


Better  Theatres  Section 


April  6,  1935 


PHYSICAL  CHANCES  IN  TODAY'S  PLAN 


By  ROBERT  O.  BOLLER 


The  second  of  a 
group  of  articles 
by  a  leading  theatre 
architect  on  out- 
standing features  of 
theatre  modernization 


ANY  PROGRESSIVE  country 
demands  in  its  motion  p'Cture  theatres  effi- 
ciency and  comfort,  and  to  these,  as  we 
have  previously  pointed  out,  America  pro- 
poses to  add  beauty,  through  a  combination 
or  moderne  simplicity  and  sincerity  with 
the  traditional  ideas  of  our  native  land. 

Since  the  introduction  of  the  talking 
picture,  efficiency  in  the  modern  showhouse 
requires  perfect  acoustics  with  no  confusion 
of  tone,  as  well  as  proper  projection  with- 
out distortion.  There  must  be  no  poor 
seats  from  which  the  patron  is  asked  to 
view  the  screen  at  an  impossible  angle.  The 
facile  circulation  of  crowds,  with  conven- 
iently placed  exists,  should  add  to  the 
safety  of  motion  picture  patrons. 

One  demand  for  the  patron's  increased 
bodily  comfort  is  being  met  by  the  use  of 
roomy  and  fully  unholstered  chairs  with 
spring  backs.  Seats  are  laid  out  in  wider 
rows  than  have  previously  been  used  in 
many  houses.  Lighting  has  undergone  as 
great  an  evolution  as  any  single  item  in  the 
motion  picture  theatre,  and  is  now  placed 
with  more  care  than  ever  before,  so  that  it 
not  only  prevents  eye  strain  but  does  not 
detract  from  the  screen. 

Modern  heating,  ventilating,  and  com- 
fortable air-conditioning  are  taken  for 
granted  in  practically  all  well  planned 
theatres  today.  In  cases  where  the  owner's 
appropriation  does  not  allow  all  these  fea- 
tures at  the  time  he  builds  or  remodels,  his 
architect  plans  ducts,  outlets  and  conduits 
for  the  construction  so  that  the  addition  of 
the  desired  mechanical  equipment  will  pre- 
sent no  difficulty  at  a  later  date  when  this 
expense  is  justified. 

Stairways  are  planned  so  that  the  ascent 
is  easy  and  gradual,  with  all  long  flights 
entirely  eliminated.  Women's  lounges  have 
been  increased  to  include  smoking  and 
poudre  rooms.  As  always,  the  creation  of 
an  attractive  general  atmosphere  through- 
out the  theatre  is  used  to  promote  enjoy- 
ment. 

Periodically,  we  encounter  floating  pro- 
paganda to  the  effect  that  motion  picture 
architecture  is  a  mere  addition  of  certain 
gadgets  and  frills  to  a  building  perfected 


by  engineering  skill  alone,  and  the  latest 
choice  bit  of  fancy  is  that  with  the  intro- 
duction of  the  moderne  style  the  architect's 
services  can  be  dispensed  with,  since  the 
simplicity  of  the  new  design  removes  so 
many  features,  such  as  lavish  ornament, 
formerly  used  in  interior  and  exterior  treat- 
ment. This  notion,  where  entertained,  is 
essentially  a  fallacy,  for  the  specialist  who 
successfully  plans  an  efficient  building  to 
present  the  motion  picture  must  be  above 
all  things  an  engineer  with  a  broad  knowl- 
edge of  all  phases  of  this  particular  type  of 
construction,  and  in  addition  he  should 
have  the  skill,  imagination,  and  background 
knowledge  of  architectural  history  to  en- 
able him  to  use  this  engineering  knowledge 
to  create  an  artistic  building  which  will 
lead  up  to  the  screen  as  the  supreme  and 
focal  point  of  interest  in  the  entire  struc- 
ture. The  physical  comforts  and  efficiency 
of  the  mechanical  aids  in  his  creations 
should  be  so  subordinated,  so  inconspicuous, 
and  so  taken  for  granted  that  their  very 
presence  is  forgotten  in  the  patron's  concen- 
tration upon  the  drama  unfolded  upon  the 
screen. 

Without  careful  architectural  handling, 
the  moderne  style  tends  to  glorify  the  ma- 
chine-like aspects  of  building  construction, 
rather  than  to  induce  relaxation.  How- 
ever, the  supposition  is  that  the  public 
comes  to  the  motion  picture  theatre  not  to 
study  its  mechanics,  but  to  enjoy  the  pic- 
ture. 

Changing  ideas  in  theatrical  design  we 
have  mentioned  in  a  previous  article 
(Better  Theatres  for  March  9,  1935). 
Materials  for  use  in  exterior  and  interior 
remodeling  will  be  discussed  later.  In  addi- 
tion, certain  physical-changes  in  the  build- 
ing plan  have  taken  place  which  are  note- 
worthy, as  they  reflect  the  trend  of  the 
times. 

BOX    OFFICE    AT  STREET 

Starting  from  the  street,  most  exhibitors 
agree  that  the  ideal  location  for  the  box 
office,  under  existing  conditions,  is  at  or 
near  the  front  property  line,  whether  the 
ticket  vender  is  housed  in  the  "island"  type 
of  inclosure,  or  one  of  the  attached  varieties 
connecting  with  the  lobby  {See  Dia- 
gram 1.). 

THE    LOBBY  SHRINKS 

One  of  the  greatest  physical  changes 
in  the  modern  picture  theatre  plan  has 
taken  place  in  the  lobby  [Present  ticket 
lobby  or  vestibule. — EDITOR.]  which  has 
shrunk  considerably  from  front  to  rear, 
with  the  space  thus  gained  thrown  into  a 
more  roomy  foyer. 

The  large  lobby  in  the  motion  picture 
theatre  is  one  of  the  last  remnants  of  the 


legacy  willed  to  it  by  the  legitimate  play- 
house. In  the  early  days  when  the  movies 
were  considered  a  sort  of  "poor  relation"  of 
the  stage,  the  limited  lounge  space  in  the 
theatres  of  that  time  would  not  accommo- 
date all  the  men  who  crowded  out  during 
intermission  to  smoke  or  to  gossip  about 
the  star  of  the  production,  and  the  lobby 
was  the  popular  meeting  place  between  acts. 
The  spacious  entrance  was  also  useful 
during  advance  seat  sales,  when  a  long  line 
of  customers  moved  slowly  toward  the  box 
office  while  the  man  behind  the  window 
painstakingly  "dressed"  the  house  after 
lengthy  consultations  over  charts  with  a 
discussion  of  the  merits  and  prices  of  vari- 
ous seats.  The  ladies,  if  present,  stood  or 
sat  in  the  lobby,  well  protected  from  the 
weather  as  they  waited  for  their  escorts. 
There  was  use  for  a  large  lobby  then. 

But  when  the  motion  picture  became  so 
popular  that  a  whole  new  industry  was 
founded  on  its  production  and  exhibition, 
reserved  seats  became  largely  a  thing  of  the 
past,  and  ticket  vending  machines  speeded 


4i  it  It 


Diagram 


April  6,  1935 


Motion  Picture  Herald 


21 


OP- 


■■r  »• — *^ 


y  r  T   it  ft  |rgt|E3 


Diagram  2 


up  the  process  of  selling  tickets.  Since 
that  time  the  lobby  has  gradually  shrunk 
to  a  point  where  it  is  now  little  more  than 
a  stormproof  warming  area,  heated  by 
forced  indirect  heat,  to  prevent  drafts  of 
wintry  air  from  reaching  the  foyer,  or  a 
buffer  between  summer's  torrid  heat  and 
the  air-conditioned  comfort  within  the  audi- 
torium. As  the  function  of  the  lobby  has 
changed,  so  have  its  finishes  changed.  Wall 
space  is  still  utilized  for  the  advertisement 
of  coming  attractions,  but  the  expensive 
marbles  and  tiles  formerly  used  in  this  floor 
area  are  being  replaced  by  recessed  spaces 
for  rubber  or  cocoa  mats. 

THE    FOYER  EXPANDS 

Following  plan  in  Diagram  1,  it  will  be 
noted  that  as  the  lobby  contracts,  the  foyer 
\Present  main  foyer  or  main  lobby. — 
Editor.]  gains  the  space  thus  relinquished, 
{See  Diagram  1 ) ,  and  does  some  enlarging 
on  its  own  part  by  pushing  the  foyer  wall, 
which  is  the  modern  version  of  the  old 
standing  rail,  toward  the  stage.  This  wall, 
separating  the  foyer  from  the  auditorium, 
has  been  closed  in  to  prevent  noises  of  the 
street  or  the  waiting  crowd  from  causing 
tone  confusion  in  the  auditorium  proper. 
In  many  cases  the  foyer  has  increased  as 
much  as  50%  in  the  past  few  years,  as  ex- 
hibitors have  discovered  its  usefulness  for 
holding  waiting  patrons.  With  the  help 
of  lounges  it  has  completely  taken  over  the 
function  of  the  old  time  lobby. 

Some  owners  may  disagree  with  this 
seemingly  reckless  enlargement  of  the  foyer, 
protesting  the  loss  of  seats  at  the  rear  of 
the  orchestra  seating.  But  even  in  large 
cities,  where  seats  are  at  a  premium,  the 
exhibitor  should  remember  that  he  can  hold 
three  standees  in  the  space  occupied  by  one 
seated  patron ;  and  in  smaller  towns  where 
the  SRO  sign  is  hung  out  only  on  rare 
occasions,  the  rear  row  or  two  of  seating 
will  seldom  be  missed,  and  a  wider  foyer 
will  go  far  toward  making  the  house  more 
attractive  and  comfortable.  The  consensus 
among  owners  with  whom  I  have  recently 
discussed  this  problem  seems  to  be  that  the 


comfort  of  a  satisfied  patron  is  more 
important  than  increased  capacity 
gained  by  more  or  crowded  seat  rows. 

While  discussing  the  area  where 
foyer  meets  auditorium,  it  might  be 
mentioned  that  to  meet  an  exit  prob- 
lem peculiar  to  many  larger  communi- 
ties, additional  seats  have  in  some  in- 
stances been  removed  at  the  rear  of 
the  orchestra  floor,  to  make  room  for 
a  cross-aisle  connecting  with  exits  at 
either  side  of  the  building.  This  ef- 
fectually prevents  confusion  in  trying 
to  hold  back  an  incoming  crowd  while 
exiting  the  outgoing  patrons.  {See 
Diagram  1.) 

Another  possible  arrangement  for 
ease  in  handling  crowds  is  the  placing 
of  the  lobby  at  one  side  of  the  front, 
rather  than  in  the  center,  with  the 
crowd  fed  in  at  this  point  and  exited 
at  the  opposite  side  of  the  building. 
{See  Diagram  2.) 

PROSCENIUM  WIDENED 

Moving  forward  toward  the  stage,  we 
find  the  modern  proscenium  arch  a  much 
wider  affair  than  in  the  days  when  the 
"legitimate"  play  and  vaudeville  acts  neces- 
sitated considerable  shift  room  at  either  side 
of  the  opening.  Because  of  this  change, 
the  audience  now  feels  closer  to  the  stage, 
and  a  more  intimate  atmosphere  prevails. 
The  painted  drops  of  the  past  have  been 
replaced  by  soft  draperies  and  rich  fabrics 
which  mask  in  the  screen.  The  screen  is 
set  farther  back  on  the  stage,  allowing  a 
better  view  line  with  less  chance  for  dis- 
tortion. 

CEILING  LOWERED 

The  removal  of  the  old  fashioned  dome 
— that  bugbear  of  proper  acoustics — and 
the  use  of  the  smaller  balcony  now  advo- 
cated, has  brought  down  the  auditorium 
height,  with  the  proscenium  opening  low- 
ered to  conform  to  this  new  ceiling  level. 
The  sounding  board  has  all  but  disappeared. 
The  spandril  walls  which  formerly  accom- 
modated the  boxes  of  legitimate  days  and 
later  the  dummy  pipes  of  the  organ,  are 
now  used  as  a  background  for  full-length 
drapes  or  ornamental  features.  Eventually 
these,  too,  will  be  eliminated  as  we  become 
more  and  more  freed  from  the  form  and 


bondage  of  the  plan  inherited  from  the 
"legitimate"  theatre. 

LARGE    BALCONY  GOING 

The  greatest  change  of  all  in  the  modern 
auditorium  has  occurred  in  the  second  floor 
layout.  Although  it  may  possibly  still  have 
a  place  in  congested  districts  where  prop- 
erty values  are  prohibitive,  designers  have 
for  years  rebelled  against  the  discomfort  of 
the  necessary  climb  to  the  large  balcony, 
the  hazards  involved  in  case  of  fright,  and 
the  fact  that  the  steep  pitch  raised  the  booth 
to  a  height  which  created  an  extreme  angle 
of  projection.  The  overhang  of  the  balcony 
of  excessive  size  occasionally  caused  acous- 
tical trouble  in  the  section  underneath. 
Added  to  these  drawbacks  is  the  fact  that 
the  patron  seated  at  the  rear  of  the  or- 
chestra floor  may  come  and  go  without 
having  seen  more  than  an  under  balcony 
ceiling  of  doubtful  architectural  treatment, 
as  this  is  an  area  very  hard  to  deal  with  in 
a  satisfying  manner.  With  the  introduction 
of  the  huge  balcony  with  exaggerated  over- 
hang a  few  years  ago,  patrons  who  formerly 
liked  to  sit  in  any  part  of  the  first  floor 
became  conscious  of  a  crowded  or  "shut-in" 
feeling  in  this  confined  under  balcony  space 
which  sent  them  up  to  the  front  rows  of 
the  balcony  when  the  front  half  of  the 
orchestra  seating  was  filled. 

THE    SMALL  BALCONY 

The  most  radical  change  in  physical 
arrangement  of  the  modern  plan  is  the 
greatly  reduced  balcony.  As  mentioned 
before,  in  larger  centers  of  population,  it 
is  sometimes  necessary,  because  of  the  high 
cost  of  front  footage,  to  build  vertically 
instead  of  using  more  ground  space,  but  in 
smaller  communities  where  the  price  of  real 
estate  presents  no  great  obstacle  it  is  far 
better,  and  often  in  the  long  run  more 
economical,  to  invest  in  a  larger  lot.  The 
desired  capacity  is  then  obtained  by  plan- 
ning a  theatre  which  will  accommodate  a 
greater  number  of  patrons  on  the  first  floor, 
instead  of  clinging  to  the  older  plan  which 
makes  up  the  capacity  in  a  large  balcony. 

The  advantages  of  the  smaller  balcony 
are  numerous.  As  the  front  retreats  toward 
the  rear  of  the  auditorium,  the  balcony 
sight  lines   are   dropped   and   the  whole 


Diagram  3 


22  Better  Theatres  Section  April  6,  1935 

LIGHTING   THE  STAGE  FOR  EYE-APPEAL 

By  O.  T.  TAYLOR 


The  proper  equip- 
ment and  its  use  in 
creating  Inexpen- 
sive interludes  in 
the  screen  p  r  o  g  r  a  nn 
with    local  talent 


IN  Shakespeare's  time, 
when  people  went  to  the  theatre  only  to 
hear,  not  to  see,  the  play  was  the  thing. 
Little  attention  was  paid  to  costumes. 
Scenery,  if  any,  was  crude.  Today  thea- 
tre patrons  look  for  eye-appeal — they  go 
to  see  as  well  as  to  hear.  Those  who  are 
satisfied  to  hear  alone  need  not  go  to  the 
theatre — they  merely  tune  in  on  the  radio. 
Today  more  than  ever  must  the  theatre 
cater  to  those  who  look  for  eye-appeal, 
for  color,  for  ocular  beauty. 

The  talking  picture  appeals  to  the  eye 
as  well  as  to  the  ear.  Improved  and 
mechanically  perfected,  it  will  remain,  as 
did  the  silent  picture,  the  foundation  of 
the  motion  picture  theatre  program.  But 
the  personal  element,  the  stage  show,  will 
still  be  found  a  desirable  and  business 
building  addition.  The  stage  performer 
"plays  up"  to  his  audience ;  he  feels  its 
moods ;  he  joins  in  its  laughter ;  he  ack- 


nowledges its  show  of  appreciation  with 
still  greater  efforts.  The  audience  enters 
into  the  spirit  of  the  entertainment,  and 
by  applause  and  laughter,  participates  in 
the  show. 

The  desire  to  participate  goes  even  fur- 
ther than  this.  Children  and  young  peo- 
ple, especially,  want  to  take  active  part. 
They  want  to  sing,  dance  and  play  for 
the  entertainment  of  others  and  for  their 
own  pleasure.  Never  before  has  interest 
been  so  universally  manifest  in  the  dance, 
in  music,  in  song  and  drama.  All  of  these 
arts  are  now  being  taught  in  many  of  the 
public  schools.  Private  schools  of  stage 
dancing  in  all  of  its  branches  are  growing, 
and  increasing  in  number.  Symphony 
orchestras  composed  of  talented  and  ac- 
complished performers  have  supplanted  the 
"silver  cornet"  bands  of  years  ago.  Glee 
clubs  and  choruses  are  as  popular  as  ever. 
The  younger  generation,  the  school  boy  and 
school  girl  of  today,  accept  mechanical  en- 
tertainment as  a  matter  of  course.  To 
them  the  talking  picture  is  no  longer  a 
novelty — they  have  come  to  accept  it  as 
a  regular  part  of  their  lives.  By  way  of 
diversion  they  plan  their  own  entertain- 
ments, their  own  theatricals,  and  perform 
in  the  school  auditorium,  and  in  the  thea- 
tre when  opportunity  offers,  demonstrat- 
ing their  interest  in  the  arts  by  serious  ap- 
plication, their  approval  by  personal  ef- 
forts, accepting  the  mechanical  while  com- 
mending the  real. 

The  progressive  theatre  manager  finds  it 


profitable  to  co-operate  with  the  dramatic 
departments  of  schools,  to  stimulate  in- 
terest in  the  stage  by  producing  prologues 
and  presentations  in  which  the  more  ac- 
complished local  talent  is  given  an  oppor- 
tunity to  participate.  He  will  co-operate 
with  dancing  schools,  dramatic  clubs,  and 
musical  organizations.  He  will  strive  to 
make  his  theatre  the  center  of  entertain- 
ment in  his  community.  To  co-operate  by 
merely  "putting  on  the  show"  will  not  be 
found  sufficient.  The  entertainment,  be 
it  a  local-talent  presentation,  style  show, 
concert  or  dance  recital,  must  be  staged  as 
carefully  and  painstakingly  as  the  most 
pretentious  professional  offerings.  If  a 
drab,  poorly  lighted  stage  is  detrimental 
to  a  professional  attraction,  it  is  even 
more  so  to  local  talent.  If  slip-shod,  care- 
less presentation  can  ruin  a  professional  act, 
a  home-talent  attraction  can  not  be  expected 
to  prove  a  success  when  presented  under 
adverse  and  difficult  conditions. 

A  dance  revue,  for  example,  consists 
principally  in  eye-appeal — in  color  and 
action.  The  music  is  incidental.  Here 
lighting  plays  an  important  part,  and  effi- 
cient lighting  equipment  becomes  a  major 
requisite. 

GENERAL  ILLUMINATION 

Standard  equipment  for  general  illumi- 
nation include  footlightSj  proscenium  lights 
and  borderliffhts.  For  localized  lighting, 
the  more  useful  devices  include  floodlights 
and  spotlights,  and  effect  machines,  or 
sciopticons. 

In  the  former  group  are  found  many 
types  and  styles  of  border  lights,  from  the 
simple  open  trough  with  exposed  white  and 
colored  lamps,  to  the  new  improved  types 
featuring  spun  aluminum,  or  silvered  re- 
flector units  equipped  with  500-  to  1,000- 
watt  lamps,  and  furnished  with  protective 
screens — and  glass  color-slides.  Proscenium 
or  strip  lights  are  virtually  small  border- 
lights  hung  in  vertical  positions.  Border- 
lights  are  the  more  important  in  general  il- 
luminating equipment,  furnishing  light 
from  the  natural  direction,  overhead. 

FOOTLIGHTS 

The  footlights  intensify  facial  expressioh 
with  a  rather  strong  light  from  below. 
Classed  as  necessary  equipment  for  general 
illuminating  purposes,  they  are  accepted  as 
such  more  because  they  are  customary 
rather  than  because  they  are  necessary.  On 
the  presentation  stage,  where  the  orchestra 
is  placed  on  the  stage  instead  of  in  the  pit, 
the  footlights  act  as  an  undesirable  barrier 
between  the  performers  and  the  audience. 
With  the  footlights  eliminated,  and  steps 
or  platforms  built  down  from  the  stage  and 
over  the  pit,  a  connecting  link  is  effected 


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Schematic  plan  of  lighfing  equipment  on  the  average  stage.  Footlight,  borderlights  and  pro- 
scenium lights  (D)  for  general  illumination.  Floodlights  (A)  and  spotligh+s  (B)  for  localized 
lighting  and  effects.  Spotlight  with  effect  slide  (E),  here  shown  used  for  rear  projection  on  trans- 
lucent drop.  All  circuits  controlled  through  switchboard  and  dimmers  (SW  and  DB)  Three  cir- 
cuits— white,  red  and  blue — on  dimmers,  direct  to  footlight  and  to  each  borderlight.  Two  cir- 
cuits, each  right  and  left,  to  proscenium  pockets  (RP-LP),  and  floor  pockets  (RI-LI  and  R2-L2). 
One  circuit  to  back  wall  pocket  (BW).  Extra  lights  connected  by  means  of  branch  connectors  (C). 


April  6,  1935 


Motion  Picture  Herald 


23 


between  the  stage  and  auditorium  that  can 
be  made  a  real  feature.  Some  of  the  most 
artistic  and  successful  stage  productions  of 
recent  years  have  eliminated  footlights  from 
their  lighting  schedule. 

This  does  not  mean  that  footlights,  as 
standard  lighting  equipment  should  be  dis- 
pensed Avith,  but  rather  that  they  should  be 
of  the  concealed  or  disappearing  type  that 
sinks  under  the  stage  floor  and  is  covered 
with  a  flush  panel,  making  an  unobstructed 
floor  surface  to  the  edge  of  the  apron  when 
the  footlights  are  not  required. 

OPEN-BOX  FLOODLIGHT 

The  most  popular,  and  perhaps  most  use- 
ful, device  for  localized  lighting  is  the  open- 
box  floodlight.  This  is  a  reflector  or  hood 
made  of  sheet  metal,  well  ventilated,  pro- 
vided with  slide-grooves  for  color  mediums, 
and  wired  to  accommodate  300-  to  1.000- 
watt  lamps.  An  adjustable  support  and 
telescopic  stand  permit  the  light  to  be 
raised,  lowered,  and  set  at  any  desired 
angle.  The  bunch  light  or  olivette  is  simi- 
lar in  construction  to  the  open-box  light, 
except  that  a  number  of  smaller  lamps  are 
used  instead  of  one  large  lamp.  The  bunch- 
light  is  sometimes  preferred  to  the  open-box 
light,  especially  on  a  small  stage,  for  the 
reason  that  the  smaller  lamps  are  less  ex- 
pensive to  replace,  and  if  one  burns  out  dur- 
ing the  performance  it  causes  no  appreci- 
able difference  in  the  light. 

SPOTLIGHTS 

The  spotlight  is  used  to  direct  the  atten- 
tion of  the  audience  to  an  individual  per- 
former or  to  a  special  part  of  the  scene,  ac- 
complished by  means  of  a  strong,  concen- 


A  four-borderlight  installation  of  500-watt  units  of  spun  aluminum  reflectors,  with  screens  and 
glass  color  slides.  The  third  borderlight  is  of  different  construction  in  that  every  other  reflector 
unit  is  eliminated.  The  two  color  slides,  blue  and  red,  are  set  in  separate  grooves,  one  above 
the  other  between  the  reflector  units,  and  glide  lengthwise.  The  magnetic  control,  contained 
in  the  box  at  the  extreme  left  of  the  borderlight,  is  operated  from  the  switchboard.  While  in 
the  common  borderlight  all  three  circuits — white,  red  and  blue — can  be  used  simultaneously,  this 
type  of  borderlight  is  either  one  of  the  two  colors,  or  white — it  cannot  be  all  three  at  one  time. 
The  advantage,  however,  is  that  twice  as  much  light  is  available  in  the  blue  and  red  circuits 
when  either  one  is  in  use.  For  example:  In  a  common  borderlight  of  40  units  there  are  20  white, 
10  blue  and  10  red  units.  In  the  automatic  borderlight  there  are  20  units  which  are  either 
white,  blue  or  red,  as  required.  Furthermore,  one  dimmer  only  is  required  as  there  is  but  one 
circuit.  The  common  borderlight,  however,  has  so  many  advantages  over  the  automatic  border- 
light  that  it  is  problematical  whether  the  latter  will  ever  be  universally  adoped  except  as  ar» 
extra  bordlight  to  be  used  principally  for  special  effects.  The  double  floodlights  also  have 
color  slides  in  grooves  between  the  two  units.  These  slides  are  manually  operated  by  levers. 


trated  beam  of  light.  The  spotlight  is 
fitted  with  a  single  condenser  lens  making 
it  possible  to  adjust  the  size  of  the  light 
beam  or  spot  at  will.  Spotlights  include  a 
wide  variety  of  styles,  from  the  small  foot- 
light  or  "baby  spot,"  which  can  be  plugged 
in  at  the  footlights  or  suspended  from  the 
borderlight  to  throw  a  concentrated  beam 
of  light  of  uniform  intensity  upon  some 
person  or  object  on  the  stage,  to  the  large 
spotlight  fitted  with  color  Avheel  or  scenic 
elTect  slide.  The  spotlight,  also,  has 
grooves  for  a  color  medium. 

DIMMERS 

Most  of  the  present  day  stage  lighting 
effects  would  be  impossible  without  dim- 
mers. The  lighting  el¥ects  and  variations 
made  possible  by  modern  dimmer  equip- 
ment are  unlimited.  Blending,  brighten- 
ing and  dimming  are  controlled  at  will 
from  a  single  point,  available  for  every 
change  of  scene.  Through  dimmers,  the 
volume  of  light  from  any  group  of  lamps 
is  controlled  and  color  changes  wrought 


smoothly  and  gradually.  For  intimate  ef- 
fects, portable  dimmer  banks  and  small 
portable  spotlight  dimmers  are  available. 

ACCESSORIES 

Pockets,  plugs  and  cable  are  other  essen- 
tial stage  paraphernalia.  Stage  pockets  are 
provided  on  the  modern  stage  to  permit 
the  "plugging"  in  of  portable  lights  for 
general  and  localized  lighting,  and  for  ef- 
fects, at  points  close  to  positions  from 
which  such  lights  are  to  be  operated.  The 
stage  pocket  is  a  floor  or  wall  outlet  of 
special  construction,  requiring  a  special 
plug.  The  average-sized  stage  should  be 
equipped  with  at  least  two  double  floor 
pockets  on  each  side  of  the  stage,  one 
double  wall  pocket  centrally  located  on  the 
back  wall,  and  a  pocket  on  each  side  of 
the  proscenium  opening.  Each  pair,  right 
and  left  stage,  and  back  wall  pocket,  are 
on  a  separate  circuit  and  dimmer. 

Plugging  boxes  are  used  to  provide  ex- 
tra plugging  facilities  and  to  permit  inde- 
{Continued  on  page  63) 


24 


Better  Theatres  Section 


April  6,  1935 


REMODELING 
THE  VIRGINIA 
IN  DETROIT 


Above,  the  front  as  entirely  remodeled.   Below,  forward  view  of  the  new  auditoriur 


yXhe  modernization  project  here  dis- 
cussed is  of  unusual  interest  because  it  rep- 
resents so  completely  the  application  of 
modern  materials  and  planning  to  a  theatre 
so  antiquated  it  was,  in  view  of  its  size, 
truly  of  nickelodeon  type.  What  was  done 
to  permit  continuance  of  operation  is  told 
in  the  following  description  prepared  by 
Bennett  &  Straight  of  Dearborn,  Mich., 
the  architects. — The  Editor.] 

THE  VIRGINIA  theatre  in 
Detroit,  owned  and  operated  by  Joseph  G. 
Portell  of  the  Portell  Theatres  Company, 
fronts  42  feet  on  Hamilton  Avenue  and  has 
an  overall  depth  of  100  feet.  The  old  front 
was  faced  with  a  white  glazed  brick,  and 
stucco  plaster  was  applied  over  metal  lath, 
which  in  turn  formed  the  recessed  portion 
back  of  the  brick  arch.  Various  signs  were 
serviced  by  exposed  conduit  pipe,  all  of 
which  presented  a  most  antiquated  facade. 
The  old  interior  contained  one  small 


April  6,  1935 


Motion  Picture  Herald 


25 


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toilet  room,  a  very  small  office,  a  5x8-foot 
vestibule,  a  small  projection  room  (which 
vi^as  entirely  supported  on  w^ood  joist  con- 
struction), and  an  auditorium,  stage  and 
boiler  room.  The  walls  in  the  auditorium 
were  furred  plaster  and  painted,  while  the 
ceiling  was  covered  with  an  unsightly  dull 
gray  plastic  acoustic  material. 

The  entire  front  of  the  present  building 
was  removed  for  the  new  construction, 
which  is  of  steel  frame  and  reinforced  con- 
crete, therefore  fireproof.  The  facade  is  of 
macotta,  furnished  and  manufactured  by 
the  Maul  Macotta  Corporation  of  Detroit. 
The  general  color  scheme  is  worked  out  in 
a  jade  green,  while  the  stencil  motifs  are 
carried  out  in  chinese  red,  blue,  light  yel- 
low and  green.  The  jade  green  center  por- 
tion terminates  against  a  light  blue  band  of 
a  30-inch  depth,  while  the  coping  is  a  dark 
blue.  The  light  blue  band  is  broken  by  re- 
calling the  yellow  and  chinese  red  colors  in 
the  form  of  narrow  vertical  strips  over  sten- 
cil motifs.  The  macotta  blocks  are  4  and 
8  inches  thick,  and  each  has  an  edging  of 
stainless  steel. 

The  marquee  recalls  the  colors  of  the 
building  and  consists  of  a  combination  of 


neon  tubing  and  colored  bulbs.  A  chase 
effect  has  been  accomplished  with  the  bulbs 
and  tubing  to  render  the  desired  agitation. 
The  soffit  has  light  bulbs  concealed  by 
flashed  opal  glass,  which  form  a  series  of 
rectangles.  The  marquee  weighs  9,100 
pounds,  is  38  feet  wide  and  is  supported 
by  cantilever  construction  of  steel.  The 
interchangeable  letters  are  of  silhouette  type 
against  flashed  opal  glass,  behind  which  is 
neon  tubing,  rendering  a  flashing  four-color 
effect. 

The  seating  arrangement  was  not 
changed  by  the  alteration.  The  capacity 
is  500. 

PROJECTION 

The  projection  room  is  entirely  of  new 
fireproof  construction.  The  room  is  12 
feet,  4  inches  by  11  feet,  6  inches,  and  has 
an  adjoining  generator  and  toilet  room. 
There  is  also  a  general  storage  room.  The 
floor  is  of  reinforced  concrete  construction, 
and  the  walls  are  built  up  of  double  4-inch 
cinder  blocks.  An  inch  space  was  allowed 
between  the  two  tiers  of  block  and  filled 
with  the  old  asbestos  acoustic  material  re- 
moved from  the  auditorium  ceiling.  The 


ceiling  is  gypsum  plaster  on  metal  lath.  By 
leaving  the  cinder  block  walls  exposed  a 
more  quiet  condition  has  resulted,  due  to 
the  acoustic  qualities  of  the  block.  The 
walls  were  painted  with  a  sunflex  paint. 

VENTILATION    AND  HEATING 

At  the  south  side  of  the  stage  and  over 
the  stage  exit  is  located  the  fan  room.  This 
room  was  newly  constructed  with  a  solid 
reinforced  concrete  slab,  and  walls  of 
cinder  block.  Fresh  air  is  taken  into  the 
building  from  the  same  opening  as  orig- 
inally. The  air  is  drawn  over  new  copper 
heating  or  cooling  coils  and  blown  into  the 
auditorium  by  the  re-installed  original  fan. 
The  auditorium  being  limited  in  size,  it 
was  necessary  only  to  force  the  air  into  the 
auditorium  at  the  one  point  on  the  side  of 
the  stage  through  a  diffusing  grille.  Air  is 
exhausted  from  the  floor  level  through  four 
ducts  and  discharged  through  roof  venti- 
lators, or  may  be  recirculated  for  quick 
heating,  depending  upon  outside  tempera- 
ture conditions.  Three  ceiling  domes  have 
been  constructed  which  are  both  orna- 
mental and  practical.  The  domes  were 
{Continued  on  page  65) 


26  Better  Theatres  Section  April  6,  1935 

THE  EQUIPMENT  INDEX 


A  COMPLETE  CATALOG  OF  ARTICLES  OF  THEATRE  EQUIPI^ENT  AND  THEIR 
MANUFACTURERS  AND  DEALERS,  ARRANGED  ALPHARETICALLY  RV  PRODUCT 


Accounting  Systems 

BOOKKEEPING  systems  tak- 
ing into  consideration  specific  requirements 
of  the  theatre  have  been  developed.  These 
may  be  had  either  in  loose  leaf  form  or  in 
solid  book  form  covering  an  entire  year's 
operation.  They  are  variously  designed 
to  cover  daily  expenses,  assets,  daily  cash 
receipts,  yearly  income  tax  forms,  films 
used  from  the  various  exchanges  segre- 
gated, dates  paid,  check  numbers,  etc.  Some 
systems  are  designed  for  all  of  these  items 
covering  a  period  of  two  years,  others  a 
period  of  one  year. 

Easy  Method  Ledger  System,  Seymour,  Indiana. 
George    Fosdick,    4417    Stevens   Avenue,  Minneapolis, 
Minn. 

The   National   Theatre   Supply   Company.   92-96  Gold 
Street,  New  York,  N.  Y. 


A 


Acoustical  Products  and  Engineering 

PROPER  acoustics  is  today 
a  subject  of  outstanding  importance  in  mo- 
tion picture  theatres.  Talking  pictures  re- 
quire specific  acoustic  conditions. 

Almost  all  problems  of  poor  acoustics 
may  be  solved  by  applying  the  proper  type 
and  amount  of  acoustical  (sound-absorb- 
ent) materials  on  walls  or  ceiling.  The 
necessary  acoustical  correction  may  be  cal- 
culated upon  exact  scientific  basis,  and 
precise  recommendations  may  be  made 
from  a  study  of  plans  and  interior  furnish- 
ings, even  in  advance  of  construction. 
Acoustical  materials  of  various  types  are 
available  and  can  be  quite  readily  harmo- 
nized with  any  style  of  interior. 

The  Celotex  Company,  919  N.  Michigan  Avenue,  Chi- 
cago, 111. 

Corkanstele,  270  Madison  Ave..  New  York,  N.  Y. 
Electrical  Research  Products,  250  West  57th  Street, 
N.  Y.  C, 

General  Insulating  &  Manufacturing  Company,  Alex- 
andria, Ind. 

The  Insulite  Company,  1212  Builders  Exchange,  Min- 
neapolis. Minn. 

Johns-Manville  Corporation,  22  East  40th  Street,  New 
York  City. 

National  Rug  Mills,  Inc.,  2494  S.  Fifth  Street,  Mil- 
waukee, Wis. 

Union  Fibre  Sales,  Inc.,  Winona.  Minn. 

United  States  Gypsum  Company,  300  W.  Adams 
Street,  Chicago,  111. 

Universal  Gypsum  &  Lime  Company,  105  W.  Wash- 
ington Street,  Chicago,  111. 

Western  Felt  Works,  4029-4133  Ogden  Avenue.  Chi- 
cago, 111. 

Wood  Conversion  Company,  First  National  Bank 
Bldg.,  St.  Paul,  Minnesota. 


A 


Adapters,  Mazda 

THE  Mazda  lamp  adapter 
is  a  device  for  converting  a  projector  using 
the  carbon  arc  to  the  use  of  Mazda  pro- 
jection lamps.  It  can  be  installed  in  any 
carbon  arc  housing  by  fastening  it  to  the 
lower  carbon  jaw.  It  will  operate  for  both 
pictures  and  steroptican  slides.  The  de- 
vice consists  of  a  bracket,  an  adjustable  arm 


and  reflector  located  behind  the  lamp. 
Prices  range  from  $10  up. 

Best  Devices  Company,  Film  Building,  Cleveland,  O. 
Monarch   Theatre   Supply    Company,    494   So.  Second 
Street,  Memphis,  Tenn. 

A 

Addressing  and  Duplicating  Machines 

IN  machines  of  this  type 
for  the  automatic  addressing  of  house  or- 
gans, programs,  special  promotional  let- 
ters and  other  literature,  as  well  as  sales 
letters,  there  are  two  methods  employed  in 
making  stencils.  One  is  known  as  the 
typewriteable  address  card  system  which 
may  be  prepared  on  a  typewriter,  and  the 
other  is  the  embossing  of  names  and  ad- 
desses  on  metal  plates. 

Addressograph-Multigraph  Corp.,   1200   Babbitt  Road, 

Cleveland.  Ohio. 
Elliott    Addressing    Machine    Company,    117  Leonard 

Street,  New  York  City. 
Rapid  Addressing  Machine  Company,  117  Leonard  St.t 

New  York  City. 

A 


Advertising  Novelties 

THE  thing  to  be  accom- 
plished through  the  use  of  advertising  novel- 
ties, of  one  type  or  another  is  the  chief  con- 
sideration in  their  selection.  Among  the 
popular  novelties,  however,  which  have 
been  used  by  theatres  for  stimulating 
matinee  business,  building  up  juvenile  per- 
formances or  bolstering  business  on  week 
nights  are  balloons,  thermometers  on  which 
are  imprinted  pictures  of  stars,  buttons, 
badges,  pennants,  confections,  toys,  etc.  A 
popular  children's  matinee  stunt  can  be  ob- 
tained by  giving  away  a  variety  of  novelty 
toys.  These  can  be  had  in  boxes  contain- 
ing toys  ranging  in  value  from  5c  to  I5c. 

Brazel   Novelty   Manufacturin.e;  Company,   4176  Apple 

Street,  Cincinnati,  Ohio. 
Colgate-Palmolive-Peet    Company,    Theatre  Premium 

Coupon  Department,  105  Hudson  Street,  Jersey  City. 

New  Jersey. 

Economy  Novelty  &  Printing  Co.,  239  W.  39th  Street, 

New  York  City. 
Kamen- Blair,  729  Seventh  Avenue,  New  York  City. 
Fyroloid  Sales  Company,  Athol,  Mass. 
Quality  Premium  Distributors,  Inc.,  1305  Vine  Street, 

Philadelphia,  Pa. 
Slack    Manufacturing    Company,    124-26    West  Lake 

Street,  Chicago,  III. 
Theatre    Merchandising   Service,    506    South  Wabash 

Avenue,  Chicago,  III. 
The  Vitaprint  Company,  729  South  Wabash  Avenue. 

Chicago,  111. 

A 

Advertising  Projectors 

Refer  to  PROJECTORS, 
ADVERTISING 

A 

Air  Conditioning  and  Cooling  Equipment 

AIR  CONDITIONING  in  the 

theatre  has  already  arrived  at  a  degree  of 
importance  making  it  one  of  the  necessary 
adjuncts  of   the  modern  motion  picture 


theatre.  Because  in  the  theatre  people  are 
closely  associated  physically  in  great  num- 
bers, and  for  the  purpose  of  realizing  en- 
joyment, the  atmospheric  conditions  of  the 
auditorium  especially  must  not  be  depend- 
ent upon  the  weather  or  on  any  other 
chance  factor.  Enjoyment  of  the  enter- 
tainment is  closely  connected  with  com- 
fort, and  the  popularity  of  the  theatre  is 
of  course  influenced  by  its  effect  upon 
health. 

Air  conditioning  does  not  only  mean 
facilities  for  cooling  a  theatre  during  the 
hot  months,  but  involves  distribution  of 
fresh,  clean  air  at  proper  temperatures  and 
pressures,  and  without  drafts  in  the  breath- 
ing zone.  This  may  mean  that  the  system 
should  be  capable  of  functioning  in  con- 
nection with  the  heating  apparatus  as  well 
as  with  the  cooling  facilities. 

Local  conditions  influence  to  some  ex- 
tent the  kind  of  an  air  conditioning  sys- 
tem required  in  any  specific  theatre.  Some 
could  achieve  comfortable,  healthful  air 
conditions  with  simpler,  less  costly  ventilat- 
ing equipment.  Others  require  more 
elaborate  systems,  perhaps  employing 
mechanical  refrigeration. 

Adams  Engineering  Company,  119  W.  21st  Street,  New- 
York  City. 

Baker  Ice   Machine   Company,  3601   No.   16th  Street, 

Omaha,  Nebraska. 
Carrier    Engineering    Corporation,    Chrysler  Building, 

New  York  City. 
Frigidaire  Corporation,  Dayton,  Ohio. 
The  Carbondale  Machine  Co.,  Harrison,  N.  J. 
Frick  Company,  Waynesboro.  Pa. 

General  Air  Conditioning  Company,  Inc.,  155  E.  44th 

Street,  New  York  City. 
Ilg  Electric  Ventilating  Co.,  2850  No.  Crawford  .\ venue, 

Chicago,  Illinois. 
Kaufifman  Air  Conditioning  Corp.,  4485  Olive  Street. 

St.  Louis,  Missouri. 
Kelvinator  Corporation,  14250  Plymouth  Road,  Detroit, 

Michigan. 

Minneapolis-Honeywell    Regulator    Co.,    2822  Fourth 

Ave.,  So.,  Minneapolis,  Slinn. 
Parkinson  Heater  Corporation,  325  West  Huron  Street, 

Chicago,  Illniois. 
Peterson    Freezem    Sales    Company,    2620  Charlotte, 

Kansas  City,  Missouri. 
Reynolds  Corporation,  609  N.  LaSalle  Street,  Chicago, 

Illinois. 

Scott  Ballantyne  Company,  219  No.  16th  Street,  Omaha, 
Nebraska. 

Servel  Sales,  Inc.,  Evansville,  Indiana. 

Southern  Fan  Sales  Co.,  Box  440,  Atlanta,  Ga. 

Supreme  Heater  &  Ventilating  Co.,  1915  Pine  Street, 
St.  Louis.  Missouri. 

Tiltz  Engineering  Company,  480  Lexington  Avenue, 
New  York  City. 

The  Typhoon  Air  Conditioning  Co.,  252  W.  26th  Street, 
New  York  City. 

United  States  Air  Conditioning  Corp..  Northwest  Ter- 
minal. Minneapolis,  Minn. 

Wittenmeier  Machinery  Company,  850  N.  Spaulding 
Avenue.  Chicago,  Illinois. 

York  Ice  Machinery  Company,  York,  Pa. 

A 

Amplification  Tubes 

THESE  ARE  vacuum  tubes 
of  electronic  action  and  certain  distinguish- 
ing elements  used  in  theatre  sound  systems 
to  amplify  the  electrical  energy  originating 
in  the  photoelectric  cell.  They  are  used  in 
photoelectric  ceil  amplifiers,  and  in  main 
amplifiers,  creating  an  electric  current  of 
a  strength  ample  to  actuate  the  speakers. 


April  6,  1935 


Motion  Picture  Herald 


27 


COOLING 

^ets  the  Crowds 


General  Electric  Co.,  1  River  Road  Schenectady.  N.  Y. 
Hygrade  Sylvania  Corp.,  Clifton,  N.  J. 
Q.-R.-S.  Neon  Division,  General  Scientific  Corp. 
4S29  So.  Kedzie  Ave.,  Chicago,  111. 

RCA  Victor  Company,  201  N.  Front  St.,  Camden,  N.  J. 
Si.iiolu.x  Company,  220  West  42nd  St.,  New  York,  N.  Y. 
Western  Electric  Co.,  250  West  S7th  St.,  New  York, 
N.  Y. 


Amplifiers 

AMPLIFIERS  are  electric- 
al devices  for  increasing  the  loudness  of 
sound.  Technically,  they  are  instruments 
which  increase  the  electrical  energy  pro- 
duced in  the  pickups.  They  are  used  in 
all  motion  picture  sound  systems,  public 
address  systems,  with  non-synchronous  de- 
vices, etc. 

Audio  Research,  Inc.,  105-107  East  16th  Street,  New 
York  City. 

Canady  Sound  Appliance  Co.,  1776  Broadway,  New 
York  City. 

Cloiogh-Brenffle  Company,  1134  West  Austin  Avenue, 

Chicago,  Illinois. 
Coast  to  Coast  Radio  Corporation,  125  W.  17th  Street, 

New  York  City. 
Herman  A.  DeVry  Company,  1111  Center  Street,  Qii- 

caso.  Illinois. 

Electrical  Research  Products,  250  W.  57th  Street,  New 
York  City. 

Federated  Purchaser,  Inc.,  23-25  Park  Place,  New  York 
City. 

Gates  Radio  &  Supply  Co.,  Quincy,  Illinois. 
General  Radio  Company,  30  State  Street,  Cambridge, 
Mass. 

Good-All  Electric  Mfg.  Company,  Ogallala,  Nebraska. 

Hygrade  Sylvania  Corp.,  Clifton,  N.  J. 

Jensen  Radio  Manufacturing  Co.,  6601  So.  Laramie 
Avenue,  Chicago,  Illinois. 

LeRoy  Sound  Equipment  Corp.,  421  Lyell  Avenue, 
Rochester,  N.  Y. 

H.  H.  Lipman,  76  Van  Braam  Street,  Pittsburgh,  Pa. 

Macy  Engineering  Company,  1451  39th  Street,  Brook- 
lyn, New  York. 

The  Martin  Band  Instrument  Co.,  Elkhart,  Indiana. 

Mellaphone  Corporation,  714  University  Avenue,  Roch- 
ester, N.  Y. 

Miles  Reproducer  Company,  Inc.,  112-114  West  14th 
Street,  New  York  City. 

Operadio  Mfg.  Company,  St.  Charles,  Illinois. 

The  Radiart  Corporation,  13229  Shaw  Avenue,  Cleve- 
land, Ohio, 

RCA  Victor  Company,  Inc.,  Photophone  Division, 
Camden,  N.  J. 

S.  O.  S.  Corporation,  1600  Broadway,  New  York  City. 

Scott  Ballantyne  Company,  219  North  16th  Street, 
Omaha,  Nebraska. 

Wesley  Trout,  Box  575,  Enid,  Okla. 

The  Webster  Company,  3825  West  Lake  Street,  Chi- 
cago, Illinois. 

Webster  Electric  Company,  Racine,  Wisconsin. 

Weber  Machine  Corporation,  59  Rutter  Street,  Roch- 
ester, N.  Y. 

Western  Electric  Co.,  195  Broadway,  New  York  City. 
Wireless    Egert    Engineering    Company,    179  Varick 
Street,  New  York  City. 


Anchors  for  Chairs 

THESE    ARE    KNOWN  aS 

Theatre  Style  Expansion  Bolts.  In  a  lead- 
ing type  improved  anchor  consists  of  an 
especially  long  tapered  fin  head  bolt,  conical 
cup,  lead  sleeve,  washer  and  hexagon  nut. 
P'or  best  results  these  should  be  placed  into 
a  hole  ^-inch  in  diameter.  It  is  suggested 
that  one  use  a  17/32-inch  diameter  drill  to 
allow  for  wear.  The  bolt  is  set  head  down- 
ward into  the  hole.  The  setting  tool  fur- 
nished with  each  order,  is  a  hollow  piece 
of  rod,  which  is  slipped  over  the  bolt 
against  the  washer,  and  when  driven  with 
a  few  blows  of  a  hammer,  expands  the 
conical  cup  which  spreads  out,  increasing 
the  diameter  of  the  head  of  the  bolt  to  the 
absolute  diameter  of  the  hole  and  thereby 
allowing  no  lead  to  be  driven  past  the 
head  of  the  bolt,  and  at  the  same  time  ex- 
pands the  lead  sleeve  into  every  crevice  in 
the  concrete.  This  feature  makes  this  new 
bolt  hold  more,  even  though  the  hole  in 
the  concrete  has  been  drilled  oversize  to 
make  up  for  drill  wear. 

These  bolts  come  packed  100  to  the  box, 
and  are  completely  assembled  with  the  ex- 


Have  a  Cool  Theatre  This  Summer — and  you'll 
have  a  full  theatre.  The  public  is  becoming  air- 
conditioning  conscious.  The  intense  heat  of  last 
summer  taught  people  where  to  go  for  relief 
from  heat.  Now  is  the  time  to  get  ready !  The 
right  air-conditioning  system  in  your  theatre 
this  summer  will  do  more  to  build  new  and  per- 
manent patronage  for  you,  then  any  other 
feature  you  could  ofifer. 

The  U.  S.  AIRCO  LINE  has  a  Cooling  System  for 
every  type  of  Theatre — and  over  6000  installations. 

ARCTIC  NU-AIR:  "Refreshing  as  a  sea  breeze." 
Silent  air  movement,  lowest  initial  and  operating 
costs. 

KOOLER-AIRE:  "Nature's  Healthful  Refrigera- 
tion." The  most  popular  Washed  -  air  cooling 
system  made. 

"COLD-WATER"  KOOLER-AIRE:  The  effect 

of  mechanical  refrigeration  at  lower  operating 
cost. 

REFRIGERATED  KOOLER-AIRE:  Mechanical 
refrigeration  at  its  best. 

U.  S.  AircO  can  give  you  exactl}-  the  type  of 
equipment  best  suited  to  your  needs, — specially 
designed  for  your  theatre,- — and  the  results 
guaranteed. 


GET  THE  FACTS  ABOUT  MODERN 
AIR  CONDITIONING 


Send  for  this  book 


It  tells,  impartially  and 
clearly,  the  important 
points  to  keep  in  mind 
in  selecting  any  cooling 
system. 

It's  free.    Use  the  cou- 
pon today. 

THEATRE  COOLING  DIVISION 
U.  S.  AIR  CONDITIONING  CORPORATION 

Minneapolis,  Minnesota. 


THEATRE  COOLING  DIVISION 
U.    S.    AI  R  CONDITIONING  CORPORATION: 

Z117  Kennedy  Street,  N.E.,  Minneapolis,  Minn. 
Please  send  us,  without  charge,  a  copy  of  your  book,  "Air  Conditioningr  For  The  Modem  Theatre." 


Name. 


Address . 


City. 


.State. 


28 


Better  Theatres  Section 


April  6,  1935 


CORKANSTELE 

THEATRE  BUILDINGS 

A  CORKANSTELE  theatre  building  has 
a  steel  frame  with  walls,  roof,  and  floors 
of  pure  corkboard  insulation.  A  CORKAN- 
STELE building  can  be  air-conditioned  for 
one-half  the  cost  of  other  types.  Exterior 
and  interior  design  to  meet  your  require- 
ments. Erection  anywhere  in  six  to  ten 
weeks.  Total  cost  compares  favorably  with 
other  types  of  well-built  insulated  structures. 

Write  for  information.  We  invite  cor- 
respondence from  theatre  architects  and 
owners. 

CORKANSTELE 

JUNIUS  H.  STONE 

Member  American  Society  of  Refrigerating  Engineers 

270  MADISON  AVENUE 
NEW  YORK 

•U.  S.  Trademark  No.  255290,  registered  April 
16,  1929,  and  the  several  patents  covering  it, 
are  under  the  sole  ownership  and  control  of 
Junius  H.  Stone. 


m  CLOUGH-BRENGLE 

Liu  announces 

1 00%  Complete  ToNE 


WIDE-RANGE 
plus  HIGH  FIDELITY 

Tone-conscious  audiences  are  swelling  the  at- 
tendance of  houses  equipped  with  these  new 
sound  amplifiers  embodying  advanced  CLOUGH- 
BRENGLE  engineering. 

Learn  how  small  an  expenditure  is  required  to 
completely  modernize  your  sound  system — prob- 
ably less  than  your  present  monthly  upkeep  cost 
on  equipment  of  antiquated  design. 

Let  your  local  C-B  supply  house  give  you  full 
details  and  explain  the  new  Theatre  Demonstra- 
tion Plan  that  does  not  cost  you  one  centl 

Write  or  Wire  for  Special 

THEATRE  TEST  OFFER 

CLOUGH-BRENGLE  Co. 

1130- A  W.  Austin  Ave.,  Chicago,  U.  S.  A. 


ception  of  the  nuts  which  are  placed  in  a 
separate  container  inside  the  box.  As- 
sembling the  bolts  in  this  fashion,  without 
the  nuts,  saves  considerable  time  in  instal- 
lation by  eliminating  the  necessity  of  re- 
moving the  nut  from  each  bolt.  After 
the  bolt  is  securely  set  in  the  concrete, 
the  hole  in  the  chair  leg,  is  placed  over 
the  bolt  and  the  nuts  screwed  down  tight. 

These  bolts  are  made  in  ^-inch  diam- 
eter, in  lj4-inch  or  longer  lengths.  These 
expansion  bolts  will  hold  chairs  tight  to 
the  floor  up  to  the  breaking  strength  of 
the  bolt,  which  is  in  excess  of  2,000  pounds 
direct  pull. 

Ackerman -Johnson  Company,  625  Jackson  Boulevard, 
Chicago,  Illinois. 

American  Expansion  Bolt  Company,  108-28  North  Jef- 
ferson Avenue^  Chicago,  111. 

Chicago  Expansion  Bolt  Company,  126  South  Clinton 
Street,  Chicago,  111. 

The  Paine  Company,  2949  VarroU  Avenue,  Chicago, 
Illinois. 

Star  Expansion  Bolt  Company,  147-149  Cedar  Street, 

New  York  City. 
U.  S.  Expansion  Bolt  Company,  139  Franklin  Street, 

New  York  City. 

A 

Arc  Regulators 

AS  THE  NAME  implies  the 
arc  regulator  regulates  the  voltage  at  the 
arc  through  automatic  feeding  as  the  car- 
bon is  consumed  and  the  gap  between  the 
carbons  increases.  The  result  of  this  auto- 
matic action  is  a  steady  light  on  the  screen 
pronounced  superior  to  that  which  it  is 
possible  to  produce  by  hand.  The  arc  con- 
trol, as  it  is  frequently  called,  feeds  the 
carbons  in  an  even  manner. 

Chicago  Cinema   Products   Company,   1736-1754  North 

Springfield  Avenue,  Chicago,  111. 
The  J.  E.  McAuley  Manufacturing  Company,  554  W. 

Adams  Street,  Chicago,  111. 
S.  O.  S.  Corporation,  1600  Broadway,  New  York  City. 

▲ 

Arc  Lamps,  Reflecting 

Refer  to  LAMPS,  LOW  INTENSITY. 
LAMPS,  HIGH  INTENSITY. 

A 

Architectural  Materials,  Decorative 

THESE  ARE  to  be  obtained 
in  great  variety  today,  owing  to  additions 
made  through  modern  chemical  and  manu- 
facturing technique.  The  average  person 
is  familiar  with  such  decorative  architect- 
ural materials  as  marble,  terra  cotta,  etc. 
Available  now  are  such  other  products  as 
those  made  from  glass,  chemicals  and 
metals.  Prominent  among  those  represent- 
ing the  chemical  group  are  Formica  and 
Catalin,  which  are  known  as  phenolics. 
They  may  be  obtained  in  a  variety  of  colors 
and  patterns.  Among  the  glass  products, 
such  materials  as  Vitrolite  and  Carrara  are 
colored  throughout  their  composition,  while 
in  the  case  of  a  glass  material  like  Fyrart, 
the  color  is  painted  on  the  outer  surface 
and  baked  in. 

Materials  made  of  wood  or  having  the 
appearance  of  wood  are  also  being  widely 
adapted  to  modern  decorative  schemes. 
Flexwood,  for  example,  is  a  veneer  avail- 
able in  a  number  of  different  woods.  Flex- 
board,  on  the  other  hand,  is  of  asbestos 
composition  and  is  therefore  fireproof. 

Tiles  of  ceramic  type  and  also  of  glass 


are  obtainable  for  a  wide  variety  of  decora- 
tive uses  in  the  construction  of  theatres. 
Glass  tiles  are  particularly  effective  in  the 
construction  of  theatre  fronts,  being  well 
adapted  to  novel  illumination  display's  in 
connection  with  program  advertising. 

American  Catalin  Corp.,  1  Park  Avenue,  New  York, 
N.  Y. 

The  Cincinnati  Advertising  Products  Co.,  3274  Beek- 

man  Street,  Cincinnati,  O. 
Corning  Glass  Works,  Corning,  N.  Y. 
The  Formica  Insulation  Co.,  4620  Spring  Grove  Ave., 

Cincinnati,  O. 

Pittsburgh  Plate  Glass  Co.,  Grant  Building,  Pittsburgh, 
Pa. 

Porcelain    Metals,   Inc.,    58   Sedgwick    St.,  Brooklyn, 
N.  Y. 

Sealed  Joint  Products  Co.,  Inc.,  30  Rockefeller  Plaza, 

New  York,  N.  Y. 
United  States  Plywood  Co.,   103  Park  Avenue,  New 

York,  N.  Y. 

The   Vitrolite  Company,  208  West   Washington  St., 
Chicago,  III. 

A 

Batteries 

BATTERIES  FORM  impor- 
tant units  of  sound  reproducers  and  are 
generally  furnished  by  the  manufacturer 
with  the  sound  apparatus.  Non-synchro- 
nous devices  do  not  use  them,  but  synchro- 
nous methods  must  have  them  in  order  to 
eliminate  the  hum  of  the  alternating  cur- 
rent. Any  standard  make  of  batteries  can 
be  used,  but  it  is  always  best  to  use  the 
make  furnished  or  recommended  by  the 
manufacturer  of  the  sound  apparatus. 

Another  important  use  of  batteries  in 
motion  picture  theatres  is  in  emergency 
lighting  systems  which  augment  the  regu- 
lar source  of  light  power  as  a  safeguard 
against  breakdown  of  the  local  system. 
They  are  installed  for  instant  service  upon 
such  a  breakdown,  being  placed  in  opera- 
tion automatically.  Besides  giving  the 
necessary  power  for  lighting,  they  are  capa- 
ble also  of  affording  the  projector  motors 
power  for  some  time.  Prices  depend  on 
the  nature  of  the  installation. 

Burgess  Battery  Company,  111  West  Monroe  Street, 

Chicago,  Illinois. 
Edison  Electric  Storage  Battery,  Valley  Road,  West 

Orange,  New  Jersey. 
Electric  Storage  Battery  Qompany,  Pliiladelphia,  Pa. 
Philadelphia   Storage  Battery  Company,  Ontario  and 

C  Streets,  Philadelphia,  Pa. 
Willard  StoraP:e  Battery  Company,  246  E.  131st  Street, 

Cleveland,  Ohio. 

A 

Box  OfRces 

KEEPING  PACE  with  ad- 
vancement in  theatre  design  the  box  office 
has  been  developed  from  a  rather  unsightly 
necessity  to  a  thing  of  beauty,  modernly 
equipped  for  speedy  and  accurate  sale  of 
tickets.  It  is  frequently  designed  in  harmony 
with  the  design  of  the  theatre  and  the  dis- 
play frames. 

Attractive  box  offices  are  now  available 
to  exhibitors  as  separate  units,  which 
means  that  a  theatre  owner  may  obtain  a 
modern  ticket  booth  without  necessarily 
remodeling  his  entire  theatre  front.  These 
new  box  offices  are  constructed  of  materi- 
als designed  to  give  life  and  color  to  an 
otherwise  drab  entrance.  While  it  has 
been  an  accepted  tradition  that  box  offices 
should  harmonize  with  the  general  archi- 
tecture and  treatment  of  the  theatre  ex- 
terior, development  in  box  office  construc- 
tion indicate  that  the  separate  box  office 


April  6,  1935 


Motion  Picture  Herald 


29 


can  be  fitted  suitably  into  any  theatre  de- 
sign. 

Architectural   DecoratinR   Co.,    1600   South  Jefferson 

Street,  Chicago,  Illinois. 
Atlas  Metal  Works,  2601  Alamo  Street,  Dallas,  Texas. 
The  Caille  Brothers  Company,  6210  Second  Boulevard, 

Detroit,  Mich. 
Fyrart    Division   of   Cincinnati   Advertising  Products 

Company,  3266  Beekman  Street,  Cincinnati,  Ohio. 
Libman-Spanjer    Corporation,    1600    Broadway,  New 

York  City. 

Lobby  Display  Frame  Corporation,  549  W.  S2nd  Street, 

New  York  City. 
S   Markendorti'  Sons,  Inc.,  159  W.  23rd  Street,  New 

York  City.  ^  . 

Newman  Brothers,  Inc.,  418  Elm  Street,  Cmcmnati, 

Ohio.  , 
The  Nurre  Companies,  Inc.,  Bloommffton,  Indiana. 
Stanley  Frame  Company,  630  Ninth  Avenue.  New  York 


Blocks,  Pulleys,  Stage  Rigging 

Refer  to  HARDWARE,  STAGE. 

▲ 

Blowers,  Organ 

Refer  to  ORGAN  BLOWERS 
A 

Bookkeeping  Systems,  Theatre 

Refer  to  ACCOUNTING  SYSTEMS 
A 

Booth  Equipment,  Projection 
Refer  to  PROJECTION  BOOTHS  and 
EQUIPMENT 

A 

Booths,  Ticket 

Refer  to  TICKET  BOOTHS 


Brass  Rails  and  Ornamental  Bronze 

BRASS  RAILS  have  many 
uses  in  motion  picture  theatres — for  separat- 
ing sections  of  the  lobby  and  foyer  for 
proper  control  of  traffic,  as  a  means  of  pro- 
tection at  the  edge  of  the  balcony,  around 
the  orchestra  pit,  and  so  on. 

Ornamental  bronze  has  extensive  use  in 
motion  picture  theatres,  sometimes  merely 
decoratively,  as  in  the  form  of  plaques, 
but  most  commonly  for  a  combined  utili- 
tarian and  decorative  purpose,  as  repre- 
sented by  organ  grilles  and  other  gratings, 
box  office  wickets,  lighting  fixtures,  display 
cases,  etc. 

American  Brass  Company,  Waterbury,  Connecticut. 
Daniel  Qrnamental  Iron   Works,  4435   West  Division 

Street,  Chicago,  111. 
General  Bronze  Company,  Long  Island  City,  New  York. 
Newman  Brothers,  Inc.,  416-18  Elm  Street,  Cincinnati, 

Ohio. 

F.    P.    Smith    Wire   &   Iron   Works,   2346  Clybourne 

Avenue,  Chicago,  111. 
Zero  Valve  &  Brass  Corporation,  634  Fourth  Street, 

Buffalo,  N.  Y. 

A 

Carbon  Savers 

THESE  ARE  devices  de- 
signed to  permit  the  use  of  positive  carbon 
stubs  otherwise  too  short  to  be  adapted  to 
the  requirements  of  the  projection  arc  lamp. 
The  technique  of  their  use  consists  essen- 
tially in  the  clamping  of  a  copper  cap  to 
the  carbon  stub,  then  attaching  it  in  proper 
electrical  contact  to  a  rod  having  dimen- 
sions similar  to  those  of  the  original  car- 
bon. In  this  way  carbons  may  be  used  up 
to  within  an  inch  of  their  original  length. 


Best  Devices  Company,  200  Film  Building,  Cleveland, 
Ohio. 

Projection  Accessories  Co.,  434  Broome  Street,  New 
York  City. 

Projector  Improvement  Company,  Inc.,  Chrysler  Build- 
ing, New  York  City. 

Weber  Machine  Corporation,  59  Rutter  Street, 
Rochester,  New  York. 

A 

Carbons 

MOTION  PICTURE  projec- 
tion carbons  are  required  for  projection  in 
most  motion  picture  theatres  (all  except 
those  using  Mazda  light  sources). 

Modern  projection  demands  the  best  in 
quality  in  projection  carbons  today,  and 
this  demand  is  being  met  by  the  carbon 
manufacturers  through  their  scientific  and 
research  departments  with  products  that 
have  kept  pace  with  modern  progress. 

The  newer  development  of  a  posi- 
tive carbon  of  different  core  composition 
than  previous  types,  smaller  in  diameter, 
and  non-rotating,  has  resulted  in  the  attain- 
ment of  a  much  whiter  projection  light  at 
low  and  medium  amperages  than  is  obtain- 
able from  low-intensity  and  hi-low  arcs. 
This  carbon,  used  with  a  negative  carbon 
of  adapted  type,  is  the  source  of  the  so- 
called  "suprex"  arc.  A  report  of  the 
Projection  Practice  Committee  of  the  So- 
ciety of  Motion  Picture  Engineers,  has 
stated : 

"A  comparison  of  the  Suprex  carbon  arc 
with  the  high-low  arc  at  a  current  of  from 
50  to  60  amperes,  showed  that  the  Suprex 
carbon  arc  provides  a  light  of  equal  intens- 


\NH\CH 


WHEN  you  rent  a  "fea- 
ture" or  buy  a  new  pro- 
jector, experience  is  your 
guide.  It's  just  as  important 
when  it  comes  to  air  condi- 
tioning. You  look  to  a  leader 
for  your  box-office  attrac- 
tions. Then  look  to  the  leader 
for  your  Air  Conditioning. 

Carrier  offers  you  20  years 
of  air  conditioning  experi- 
ence. Twenty  years  devoted 
exclusively  to  the  develop- 
ment and  manufacture  of 
equipment  designed  to  con- 
trol indoor  air. 

In  fact,  Willis  H.  Carrier 
is  the  man  who  developed 
the  fundamental  principles  of 
what  today  is  universally 
accepted  as  true  air  condition- 
ing.   And  the  Carrier  organ- 


ization has  been  the  leader  in 
modern  theatre  air  condition- 
ing with  hundreds  of  famous 
installations  to  its  credit.  In 
variety,  scope  and  number 
Carrier  air  conditioning  in- 
stallations exceed  all  others 
put  together. 

The  experience  which  this 
represents  is  yours  when  you 
call  in  Carrier.  Carrier  "ap- 
plication technique"  assures 
an  installation  that  will  meet 
the  particular  requirements 
of  your  theatre  whether  it  be 
large  or  small.  Before  you 
let  your  air  conditioning  con- 
tract be  sure  to  see  what 
Carrier  has  to  offer.  Address : 
Carrier  Engineering  Corpora- 
tion, 850  Freylinghuysen  Ave., 
Newark,  N.  J.,  for  full  in- 
formation. 


Carrier 

WEATHERMAKERS 


Carrier  Engineering  rorporation 

850    FREYIINGHUYSEN    AVENUE,    NEWARK,  N.J. 


HOME  OFFICE: 


30 


Better  Theatres  Section 


April  6,  1935 


AIR  COOLING  AND  CONDITIONING 

MR.  THEATRE  OWNER:  WE  REPEAT!  NOW  IS  THE  TIME  TO  ACT 


Our  previous  ads  stressed  the  fact  that  in  1934  we  equipped  fifteen  (15)  theatres  in 
the  Chicago  Area  with  Cooling  Plants.  From  present  indications,  and  from  theatre  jobs 
already  booked,  it  appears  that  we  will  far  exceed  this  total  in  1935. 

Why  not  follow  suit  and  profit  by  the  experience  of  those  successful  Theatre  Operators 
who  have  placed  their  cooling  problems  in  our  hands  with  complete  assurance  that  their 
needs  will  be  properly  engineered  and  carried  out  with  all  guesswork  eliminated. 

Let  us  make  a  survey  of  your  requirements  and  give  you  an  unbiased  opinion  of  the 
system  best  suited  for  your  purpose.  This  entails  no  obligation  whatever.  We  are  an 
organization  with  over  thirty  years  of  experience.  After  all,  there  is  no  substitute  for 
Experience. 

WITTENMEIER   MACHINERY  COMPANY 

Air  Conditioning  Engineers  and  Contractors 
C02—FRE0N— METHYL  CHLORIDE— STEAM  EJECTOR— WATER  VAPOR 
850  No.  Spauldinc  Avenue  103  Park  Avenue 

Chicago,  Illinois  New  York,  N.  Y. 

AMERICAN  REFRIGERATING  CO.  WITTENMEIER  MACH'Y  OF  CANADA,  Limited 

Detroit,  Michigan  Hamilton,  Ontario 

H.  J.  KELLY  WITTENMEIER  MACHINERY  CO. 

New  Orleans,  La.  Columbus,  Ohio 


More  than  100  theatre  installations  throughout  the  country. 
Wittentneier  Continuously  since  1897 


SATIS 


•    High  Intensity  Pr 
jection  allows  ample 
general  Illumination  for 
immediately  comforta- 
ble vision.  It  gives  sat- 
isfaction from  the 
moment  of  entrance  by 
dispelling  that  annoy- 
ing period  of  blindness.  National  High  Intensity  Projector  Carbons 
bring  the  further  satisfaction  of  perfect  projection.  They  improve  the 
depth  and  realism  of  black  and  white  and  reveal  the  full  beauty  of 
colored  pictures.  Available  for  theatres  of  every  size. 

NATIONAL     CARBON     COMPANY,  INC. 

Carbon  Sales  Division,  Cleveland,  Ohio  Ml H H  Unit  of  Union  Carbide  and  Carbon  Corporation 
Branch  Sales  Offices  *  New  York  ♦  Pittsburgh  ♦  Chicago  ♦  San  Francisco 


DON'T  THROW  AWAY  CARBON  STUBS  f 

.  •  •  they're  worth  six  cents  a  piece  • 

Six  cents  on  every  carbon — figure  it  out  and  see  how  it  mounts 
up !  Here's  one  operating  cost  you  can  cut  without  trouble.  The 
PIC  saver  offers  a  sure  way  of  stopping  the  waste  that  normally 
amounts  to  four-tenths  of  every  positive  carbon.  It's  strong — 
it's  simple — it's  fast !  It's  a  money  saver  you  can't  do  without. 

No  Grinding.   No  Drilling.    Write  For  Particulars. 

PROJECTOR  IMPROVEMENT  CO.,  INC. 

CHRYSLER  BUILDING  NEW  YORK,  N.  Y. 


ity,  but  with  a  more  even  field,  and  of 
course  at  a  much  lower  operating  cost." 

This  carbon  is  used  with  a  special  lamp 
and  certain  rectification  facilities  developed 
for  it. 

Bond  Electric  Corporation,  Lancaster,  Ohio. 
Carbon  Products,  Inc.,  324  W.  42nd  Street,  New  York 
City. 

National  Carbon  Company,  Inc.,  Madison  Avenue  and 

W.  n7th  Street.  Cleveland,  Ohio. 
Noris  Carbon  Company,  Inc.,  160  Fifth  Avenue,  New 

York  City. 


Carpets 

BECAUSE  of  the  hard 
wear  to  which  theatre  carpets  are  subjected 
it  has  been  found  that  there  is  no  saving  in 
the  selection  of  cheap  carpets.  Generally, 
floor  coverings  and  carpets  should  give  an 
impression  of  stability  and  foundation  upon 
which  one  may  walk  with  security. 

The  following  are  standard  weaves  of 
carpets,  listed  in  order  of  price  from  the 
highest  to  the  lowest: 

1.  Chenille. 

2.  Saxony. 

3.  American  Oriental. 

4.  Winton. 

5.  Axminster. 

6.  Velvet. 

7.  Tapestry. 

Any  of  the  grades  from  Saxony  to  Ax- 
minster, inclusive,  have  been  used  success- 
fully in  theatres. 

Carpet  padding  used  under  the  carpet 
not  only  provides  a  softer  and  more  com- 
fortable feeling  to  the  foot  but  reduces 
friction  and  adds  many  years  to  the  life  of 
the  carpet  by  keeping  it  away  from  direct 
contact  with  the  hard  floor. 

Carpets  also  should  be  selected  with  a 
view  to  the  acoustics  of  the  theatre. 

Bijfelow-Sanford  Carpet  Company,   Inc.,   140  Madison 

Avenue,  New  York  City. 
Charles    P.    Cochrane    Company,    Kensington  Avenue 

&  Butler,  Philadelphia,  Pa. 
CoUins   &  Aikman  Corporation,  25  Madison  Avenue, 

New  York,  N.  Y. 
Decorative  Arts  Co.,  300  W.   Austin   Ave.,  Chicago, 

111. 

Hardwick    &   Magee   Company,    Lehigh    Avenue  and 

Seventh  Street,  Philadelphia,  Pa. 
Mohawk   Carpet    Mills,    Inc.,   295   5th   Avenue,  New 

York,  N.  Y. 

Roxbury  Carpet  Company,  Central  Street,  Saxonville, 
Mass. 

Alexander  Smith  &  Sons  Carpet  Company,  Saw  Mill 

River  Road,  Yonkers,  N.  Y. 
M.  J.  Whittal  Associates.  Brussels  Street,  Worcester, 

Mass. 

A 

Chairs,  Theatre 

CHAIRS  should  be  so 
chosen  and  the  seating  layout  should  be  so 
planned  as  to  ensure  the  maximum  seating 
capacity  consistent  with  comfort,  safety, 
facility  of  entrance  and  exit,  compliance 
with  local  or  state  building  requirements, 
proper  sight  lines,  elevations  and  other 
mechanical  adaptations  and  adjustments. 

Talking  pictures  have  injected  another 
element  into  the  problem  of  seating  for 
higher  efficiency,  i.  e.,  acoustics.  The 
acoustical  properties  of  the  theatre  chair 
are  now  very  important,  and  for  sound- 
equipped  houses  upholstered  seats  have  be- 
come a  necessity  due  to  their  sound-ab- 
sorbent quality.  Veneer  backs  and  seats 
are  likely  to  induce  sound  reverberation  of 
obnoxious  character  and  may  easily  mar  an 
otherwise    perfect     acoustical  condition. 

Allied  Seating  Co.,  358  W.  44th  St.,  New  York  City. 
American  Seating  Company,   Grand  Rapids.  Mich. 


April  6.  1935 


Motion'  Picture  Herald 


31 


The  A.  H.  Andrews  Company,  W?  S.  Wabash  Avenue, 
Chicago,  111. 

Arlington  Seating:  Company,  Arlington  Heights.  111. 
John    L.    Cable   Manufacturing   Co.,   45   Union  Ave., 

Jamaica  Plam.  Mass. 
Decorative   Arts  Co.,  300  W.   Austin  Ave.,  Chicago, 

111. 

General    Seating    Company,    2035-49    Charleston  St., 
Chicago,  111. 

Heywood-Wakefield    Company,    174    Portland  Street, 

Boston,  Mass. 
Ideal  Seating  Company,  Grand  Rapids,  Mich. 
Illinois    Theatre    Seat    Exchange,    1024    So.  Wabash 

Avenue,  Chicago,  111. 
Independent  Seat  Co.,  1600  Broadway,  New  York  City. 
International  Seat  Corporation,  Union  City,  Ind. 
The  Irwin  Seating  Company,  Grand  Rapids,  Michigan. 
National  Seating  Company,  276  West  43rd  Street,  New 

York  City. 

The   Peabody    Seating   Company,   North  Manchester, 
Indiana. 

Standard    Manufacturing   Company,    Cambridge  City, 
Indiana. 


Chair  Covers 

IN  ADDITION  to  giving  a 
pleasing  and  inviting  appearance  to  the 
auditorium,  chair  covers  serve  the  practical 
purpose  of  coolness  and  sanitation.  An  in- 
terior otherwise  drab  may  be  transformed 
into  a  cool,  clean,  cheerful  looking  place 
through  their  use. 

There  are  several  things  that  should 
be  borne  in  mind  in  connection  with  the 
use  of  chair  covers.  It  should  be  re- 
membered that  auditorium  and  balcony 
chairs  as  a  rule  require  two  distinct  and 
different  styles  of  covers.  The  auditorium 
chair  should  be  equipped  with  a  cover 
which  covers  the  entire  chair  back  while 
the  balcony  chair  need  only  have  a  quarter 
back.  This  is  because  of  the  slope  on 
which  balcony  chairs  are  placed. 

Working  from  blue  prints  provides  the 
most  satisfactory  way  of  assuring  a  per- 
fect fit  of  the  cover  for  each  chair. 

Chair  pads  for  veneer  seats  are  also  ob- 
tainable, and  there  are  also  special  chair 
materials  which  are  intended  to  be  used  as 
aids  to  acoustics. 

Allied  Cloth  Specialties  Company,  Greenville,  O. 
Allied  Seating  Co.,  358  W.  44th  St.,  New  York  City. 
Buob  and  Scheu,  216  East  14th  Street,  Cincinnati,  Ohio. 
L.  C.  Chase  &  Company,  295  Fifth  Avenue,  New  York 
City. 

Florence  Bedding  Co.,  Florence,  S.  C. 
Kelly-Springfield  Tire  Co.,  1775  Broadway,  New  York 
City. 

▲ 

Chair  Fastening  Cement 

CEMENT  of  this  kind  is 
for  firmly  attaching  into  the  floor  the  metal 
pieces  to  which  the  theatre  chair  is  bolted. 
Into  a  hole  made  in  the  floor,  the  metal 
piece  itself,  or  bolt  for  its  attachment,  is 
inserted,  then  around  it  is  poured  the 
melted  cement.  In  about  ten  minutes  this 
cement  hardens  and  holds  the  metal  piece 
or  bolt  firmly  in  place. 

When  used  in  reseating,  the  old  metal 
piece  or  bolt  is  removed,  a  new  one  in- 
serted and  the  cement  poured  around  it. 

Allied  Seating  Co.,  358  W.  44th  St.,  New  York  City. 
General    Seating    Company,    2035-49    Charleston  St., 
Chicago,  111. 

Illinois  Theatre  Seat  Exchange,  1024  So.  Wabash  Ave- 
nue, Chicago,  111. 

▲ 

Chair  Refinishing  Materials 

MATERIAL  IS  NOW  avail- 
able for  refinishing  worn  seat  coverings, 
giving  them  a  new  flexible  surface  that,  it 
is  claimed,  will  not  crack  or  peel  and  is 
impervious  to  moisture  and  unaffected  by 
perspiration. 

With  this  material  seats  may  be  refinished 


WITHOUT  THE 


SEVENTH  INNING  STRETCH 


Whether  it's  a  single  feature  or  a  double  bill,  patrons 
can  live  the  screen  story  without  doing  a  seventh  inning 
stretch  .  .  .  thanks  to  Ideal  chairs. 

You  can't  blame  chair  manufacturers  for  approving 
double  features.  They  serve  remarkably  well  to  empha- 
size the  need  of  comfortable  seating. 

Write  for  the  namie  of  the  nearest  Ideal  Chair  repre- 
sentative. Allow  him  to  tell  you  all  about  the  lulling 
comfort  of  deep  spring  cushions  .  .  .  the  charming  up- 
holstery .  .  .  the  distinctive  design  .  .  .  the  silent  ball- 
bearing self-aligning  hinge  .  .  .  the  staunch  construc- 
tion which  will  withstand  years  of  severest  usage,  with- 
out constant  servicing. 

Reliable  independent  supply  deal- 
ers in  all  principal  cities  are  telling 
the  story  to  the  willing  ears  of  thou- 
sands of  exhibitors. 


IDEAL  SEATIiG  COMMIT 


Grand  Rapids.  Michigan. 


Supreme's  Engineers 


are  still  at  your  service  upon 
your  request  to  solve  your 
Cooling  and  Heating  Prob- 
lems. 

Send  for  literature  on  Theatre 
Equipment. 

SUPREME  HEATER  & 
VENTILATING  CORP. 
1915  Pine  St.         St.  Louis,  Mo. 


ANCHOR  SEATS 
PERMANENTLY  ! 

No    more   trouble   with   loose  seats 
when  you   use  our  patented  Supreme 
Theatre  Style  Expansion  Bolts. 

Vibration-prooj  .  .  .  these  Expansion 
Bolts  will  not  loosen,  and  have  a  hold- 
ing power  up  to  the  breaking  strength 
of  the  bolt. 

Supreme  Theatre  Style  Expansion 
Bolts  have  received  the  enthusiastic 
endorsement  of  Chair  Installers.  They 
make  good  on  every  job;  and,  best  of 
all.  they  cost  you  less  than  inferior 
bolts. 

Send  for  samples,  catalogs, 
and  our  attractive  prices. 

Chicago    Expansion    Bolt  Co. 

132  S.  Clinton  St.        Chicago,  Illinois 


32 


Better  Theatres '  Section 


April  6,  1935 


AT  LAST  !  ; 


REAL  PATCHING  KIT 

A  patch  that's  applied  in  less  than  a  minute  .  .  . 

that's  stronger  than  the  fabric  itself. 

No  fuss  or  bother.   Fabripatches  are  ready-cut  in 

nine   assorted   sizes.    Just  apply   FABRIGLUE  to 

patch  and  seat  .  .  .  press  it  on  .  .  .  coat  patch 

with  FABRIGLUE  .  .  .  that's  all. 

Everything  you  need  is  packed  in  a  handy  hinged 

kit  box.    Patches  furnished  in  four  colors. 

ASK  YOUR  THEATRE 
SUPPLY  DEALER 

Technical  Finishes  Corp. 

565  W.  Washington  Street  Chicago,  III. 


And  Now! 

"BEST" 
CARBON  SAVERS 

For 

Peerless  Magnarc 

MADE  IN  6-7-8MM  SIZES  FOR  BOTH 
NEGATIVE  AND  POSITIVE.  WILL  BURN 
STUBS  TO  I  INCH  — $1.75  EACH  AT 
YOUR  DEALER. 

BEST  DEVICES  CO. 

200  Film  BIdg.  Cleveland,  O. 


in  practically  any  color,  without  removing 
from  chair  frame  and  will  be  ready  for  use 
in  a  short  time. 

Technical  Finishes  Corporation,  565  West  Washington 
Street,  Chicago,  Illinois. 

A 

Change  Makers 

SPEED  AND  ACCURACY 
are  obtained  at  the  box  office  through  the 
use  of  coin  changing  machines  which  in 
addition  to  their  time  saving  facilities  offer 
a  valuable  protection  against  annoying  mis- 
takes in  making  change  to  patrons.  With 
the  coin  changing  machines  a  light  touch 
at  the  keyboard  is  all  that  is  necessary  to 
deliver  the  correct  number  of  coins  to  the 
patron  who  easily  scoops  them  up  from 
a  cup  at  the  side  of  the  change  maker. 
Coins  may  be  delivered  either  from  the 
right  or  left  side  and  these  automatic 
cashiers  as  developed  for  theatres  have  been 
improved  in  recent  months  until  now  they 
are  available  in  sizes  which  occupy  only 
about  81  square  inches  of  space  in  the 
box  office. 

Brandt  Automatic  Cashier  Company,  Watertown,  Wis. 
Hedman  Manufacturing  Company,  1158  Center  Street, 
Chicago,  111. 

Hoefer  Change-Maker  Company,  3700  E.  12th  Street, 

Kansas  City.  Mo. 
Monex  Corporation,  22  W.  32nd  Street,  New  York  City. 

A 


Changeable  Sign  Letters 

CHANGEABLE  SIGN  LETTERS 

are  widely  used  by  theatres  in  the  marquee 
and  have  proved  especially  popular,  because 
of  the  flexible  manner  in  which  they  per- 
mit billing  of  a  current  or  coming  attrac- 
tion. Changeable  sign  letters  are  generally 
made  of  cast  aluminum  with  the  letter 
part  cut  out.  When  used  on  the  marquee 
these  letters  can  be  moved  to  make  an 
attractive  announcement.  They  are  ob- 
tainable in  large  and  small  sizes  and,  in 
addition,  numerals,  characters,  word  plates 
and  spacer  panels  of  the  same  character 
are  also  available. 

Ben  Adler  Signs,  Inc.,  343  South  Dearborn  Street, 
Chicago,  111. 

American  Sign  Company,  1940  Riverside  Drive,  Cin- 
cinnati, Ohio. 

Friedley-Voshardt  Company.  Inc.,  761  Mather  Street, 
Chicago,  111. 

Metal  Products,  Inc.,  1434  North  Fourth  Street,  Mil- 
waukee, Wis. 

Wagner  Sign  Service,  Inc.,  109  W.  64th  Street.  Nevi 
York  City. 

A 


Change-Overs 

A  DEVICE  for  changing 
from  one  projection  machine  to  another  or 
from  projector  to  stereopticon  which  is  ac- 
complished by  pressing  a  button. 

Apasco  System,  3510  Greensward  Road,  Los  Angeles, 
California. 

Basson  &  Stern,  749  E.  32nd  Street,  Brooklyn,  New 
York. 

Dowser  Manufacturing  Company,  225  Broadway,  New 
York  City. 

Essannay  Electric  Manufacturing  Company,  908  South 

Wabash  Avenue,  Chicago,  111. 
GoldE  Manufacturing  Company,  2013  Le  Moyne  Street. 

Chicago,  111  . 

Guericq  &  Barthel,  908  S.  Wabash  Avenue,  Chicago, 
Illinois. 

E  W.  Hulett  Manufacturing  Company,  3216  No.  Clark 

Street.  Chicago,  Illinois. 
International  Projector  Corp.,  8896  Gold  Street,  New 

York  City. 

N.   A.   N.   Automatic  Light  Control   Co.,   515  Main 

Street.  P.  O.  Box  575.  Johnstown,  Fa. 
Sentry  Safety  Control  Corp.,  13th  and  Cherry  Streets, 

Philadelphia,  Pa. 


Choppers,  Ticket 

Refer  to  TICKET  CHOPPERS. 

A 

Cleaners,  Film 

Refer  to  FILM  CLEANING 
MACHINES 

A 

Cleaning  Compounds 

CLEANING  COMPOUNDS 

facilitate  routine  janitor  work  and  are  more 
or  less  a  necessity  to  the  well  kept  theatre. 
There  are  various  types  of  cleaning  ma- 
terials adapted  to  dif¥erent  kinds  of  sur- 
faces and  fabrics.  A  cream  cleaner  is 
available  for  carpet  cleaning  as  well  as 
wall  washing. 

In  selecting  his  cleaners,  the  theatre 
manager  should  assure  himself  of  their 
harmlessness  as  well  as  fitness  for  the  pur- 
pose. 

Budge-It  Products  Corp.,  312  State  Street,  New  Haven, 

Connecticut. 
J.  B.  Ford  Company,  Wyandotte,  Michigan. 
Skour-Nu,  Inc.,  158  W.  22nd  Street,  New  York  City. 

A 

Composition  Flooring 

MANY  PARTS  of  a  theatre 
are  suited  to  use  of  floor  covering  other 
than  woven  materials,  and  often  composi- 
tion flooring  may  adequately  take  the  place 
of  expensive  tiles,  terrazzo,  etc. 

Composition  flooring  is  made  by  a  num- 
ber of  companies  specializing  in  this  prod- 
uct, and  all  have  their  own  processes.  It 
may  be  said,  however,  that  the  basic  ma- 
terials are  cork  or  rubber,  and  natural 
gums. 

Composition  floors,  due  to  their  resil- 
ience, afford  comfort  underfoot,  durable 
and  easy  to  maintain.  Manufacturers 
offer  them  in  a  wide  variety  of  colors  and 
designs  so  that  it  is  possible  to  harmonize 
them  with  the  color  scheme  and  decorative 
plan  of  any  interior.  Special  designs  can 
be  executed  in  practically  all  of  these  ma- 
terials, thus  giving  the  floor  distinction  and 
individuality.  Among  the  areas  where 
resilient  composition  floors  may  be  used 
are  the  following:  lobbies,  lounges,  smok- 
ing rooms,  dressing  rooms,  hallways, 
foyers,  executive  offices,  etc. 

Armstrong  Cork  and  Insulation  Co.^  Lancaster,  Pa. 
Bonded  Floors  Company,  Inc.,  Kearny,  N.  J. 
Congoleum-Nairn,  Inc.,  Kearny,  N.  J, 
Imperial  Floor  Company.  59  Halstead,  Rochester,  N.  Y. 
O.  W.  Jackson  &  Co.,  225  W.  34th  Street,  New  York 
City. 

St.  Clair  Rubber  Company,  440  Jeflerson  Avenue  East, 

Deti^pit,  Mich. 
Stedman  Products  Company,  South  Braintree.  Mass. 
U,   S,   Rubber  Company,  1790  Broadway,  New  York 

City. 

Zenitherm  Company,  Inc.,  Kearny,  N.  J. 

A 

Condensers  (Lenses] 

CONDENSERS  are  single 
glass  lenses,  unmounted.  They  are  made 
in  various  diameters  from  2%  inches  to  7j4 
inches  in  diameter;  the  4j/2-inch  and  the 
714-inch  are  the  sizes  used  mostly  in  mo- 
tion picture  work.  The  condenser  is 
located  in  the  front  end  of  the  lamphouse 
to  gather  the  rays  of  light  from  the  light 
source,  and  bend  them,  or  condense  them 


LARGEST  DEALERS 
IN  USED  CHAIRS 

Re-Setting 
Re-Upholsfering 
Re-Conditioning 
"Servastone" 
for  cracked  con- 
crete floors 
Parts  for  all  chairs 
Slip  Covers 
Metal  backs  for 
all  chairs  and 
metal  bottom 
boards  for  all 
cushions. 

Allied  Seatinb  Company 

358  W.  44th  ST.     NEW  YORK,  N.  Y. 


April  6,  1935 


Motion  Picture  Herald 


33 


into  a  spot  of  light  on  the  aperture.  They 
are  made  in  different  shapes,  some  being 
Piano  Convex,  some  Meniscus  or  Moon 
shape,  and  others  Bi-Convex. 

Focal  lengths  for  motion  picture  work 
are  usually  63^-7^^-83/2  and  9^  inches; 
condensers  5  inches,  6  inches  and  8  inches 
in  diameter  are  usually  used  for  spotlight 
projection. 

Aerovox  Wireless  Corporation,  70  Washington  Street. 

Brooklyn,  New  York. 
Bausch   &   Lomh   Optical   Company,   Rochester,  New 

York. 

Brenkert  Light  Projection  Company,  7348  Saint  Aubin 

Avenue,  Detroit,  Mich. 
Electrical  Research  Products,  250  W.  57th  Street,  New 

York  City. 

Fish-Schurman  Corp.,  230  E.  45th  St.,  New  York  City. 
Kliegl  Brothers.  321  W.  50th  Street,  New  York  City. 
Polyraet  Mfg.  Corporation,  829  E.  134th  Street,  New 
York  Citv. 

Sussfeld.   Lorsch    &   Schimmel,    153    W.   23rd  Street, 

New  York  City. 
Western  Electric  Co.,  195  Broadway,  N.  Y.  C. 


Curtain  Control  Machines 

FEW  THINGS  leave  a  finer 
impression  on  the  theatre  audience  than 
the  smooth  and  silent  opening  and  closing 
of  the  curtain.  This  is  accomplished  by 
curtain  control  machines  which  operate 
automatically.  The  curtain  can  be  con- 
trolled from  the  booth  or  from  back  stage 
by  the  simple  process  of  pressing  a  button. 

Curtain  control  equipment  consists  of 
track  equipped  with  cable  and  snaps  to 
which  the  curtain  is  fastened.  In  open- 
ing and  closing  the  curtain  may  be  stop- 
ped at  any  desired  point  across  the  stage 
and  may  also  be  reversed  at  will. 

The  motor  for  operating  the  curtain  is 
usually  placed  on  the  stage  or  it  may  be 
placed  in  the  grids  or  mounted  on  a  plat- 
form. This  permits  the  machine,  track  and 
curtains  to  be  flied  in  addition  to  open  from 
the  center. 

A  type  of  curtain  control  machine  spe- 
cially designed  for  small  theatres  with 
tracks  up  to  40  feet  in  length,  has  been 
put  on  the  market  at  a  price  considerably 
lower  than  that  of  the  larger  machines. 

Automatic  Devices   Company,   Samuels   Building,  Al- 
lentown.  Pa. 

Peter  Clark,  Inc.,  544  W.  30th  Street,  New  York  City. 
Robert  E.   Power  Studios,   1717  Cordova  Street,  Los 

Angeles,  California. 
Richards- Wilcox     Manufacturing    Company,  Aurora, 

111. 

Alvin  Seller,  Chrysler  Bldg.,  New  York  City. 

Tiffin  Scenic  Studios,  Tiffin,  Ohio. 

Twin    City    Scenic    Company,    2819   Nicolett  Avenue, 

Minneapolis.  Minn. 
Vallen,  Inc.,  225  Blufif  Street,  Akron,  Ohio. 
Weaver  Brothers  Manufacturing  Company,  221  West 

Grand  Avenue,  Watts,  Calif. 


Curtain  Tracks 

THE  TYPE  OF  Curtain 
track  installed  is  important  for  several  rea- 
sons. It  cannot  be  a  makeshift  affair,  for 
if  it  is  it  may  ruin  an  otherwise  good  pro- 
gram. Naturally,  it  must  be  noiseless  and 
must  function  smoothly  and  with  little  or 
no  effort. 

Acme  Stage  Equipment  Company,  191  Lafayette 
Street,  New  York  City. 

Automatic  Devices  Company,  Samuels  Building,  Allen- 
town,  Pa. 

Bruckner-Mitchell,  Inc.,  132  W.  24th  Street,  New 
York  City. 

J.  R.  Clancy,  1010  W.  Belden  Avenue,  Syracuse.  N.  Y. 
Peter  Oark,  Inc.,  544  W.  30th  Street.  New  York  City. 
Robert  E.   Power  Studios,   1717  Cordova   Street.  Los 
Angeles,  California. 


Twin    City   Scenic   Company,   2819   Nicolett  Avenue, 

Minneapolis,  Minn. 
U.  S.  Scenic  Studios,  Inc.,  Film  Exchange  Building, 

Omaha,  Nebr. 
Perkins  Curtain   Carrier  Company,   Waterloo,  la. 
\'allen.  Inc.,  225  Bluff  Street,  Akron,  Ohio. 
Volland  Scenic  Studios,  Inc.,  3737  Cass   Avenue,  St. 

Louis,  Mo. 


Curtains,  Fireproof 

LAWS  IN  MOST  States  now 
require  an  asbestos  curtain  on  the  stage. 
In  some  cases  a  combination  of  steel  and 
asbestos  curtains  is  required  by  the  law. 

J.  H.  Channon  Corporation,  1455  West  Austin  Avenue, 
Chicago,  lU. 

J.  R.  Clancy,  1010  West  Belden  Avenue,  Syracuse, 
N.  Y. 

Peter  Clark,  Inc.,  544  W.  30th  Street,  New  York  City. 
Johns-Manville  Corporation,  22  E.  40th  St.,  New  York 
City. 

Klemm  Manufacturing  Corporation,  1455  W.  Austin 
Avenue,  Chicago,  111. 

Lee  Lash  Studios,  707  Broadway,  New  York  City. 

N.  C.  Nussbaumer,  2921  West  Van  Bureau  St.,  Chi- 
cago, Illinois. 

Tiffin  Scenic  Studios,  Tiffin,  Ohio. 

Volland  Scenic  Studios,  Inc.,  3737  Cass  Avenue,.  St. 
Louis,  Mo. 

1.  Weiss  &  Sons,  445  W.  45th  Street,  New  York  City. 


Cutout  Machines 

THIS  IS  A  DEVICE  for  mak- 
ing various  kinds  of  exploitation  cutouts 
and  lobby  and  marquee  displays.  The  de- 
sign for  the  desired  cutout  display  is  traced 
on  ordinary  wall  board  and  with  this  de- 
vice, the  cutout  is  easily  made  by  guiding 
the  machine  over  the  pattern.  A  small  mo- 
tor is  used  and  the  current  from  the  elec- 
tric light  socket  furnishes  the  power.  The 
machine  is  convertible  into  a  saw  by  sub- 
stituting a  saw  blade  for  the  chisel  to 
handle  harder  and  thicker  materials. 

International  Register  Company,  21  S.  Throop  Street, 
Chicago,  111. 


Dimmers 

THE  BEAUTIFUL  lighting 
effects  achieved  in  motion  picture  theatres 
is  accomplished  through  dimmers  which 
are  capable  of  complete  illumination  con- 
trol making  possible  soft  changes  and  color 
blending  of  lights  to  create  a  restful  and 
pleasing  atmosphere. 

Frank  Adam  Electric  Company,  3650  Windsor  Place, 
St.  Louis,  Mo. 

Century  Lighting  Equipment,  Inc.,  419  West  55th 
Street.  New  York  City. 

Cutler-Hammer,  Inc.,  12th  Street  and  St.  Paul  Ave- 
nue, Milwaukee,  Wis. 

Dimmerette  Switchboard  Co.,  108  W.  46th  Street,  New 
York  City. 

General  Electric  Company,  1  River  Road,  Schenec- 
tady, N.  Y. 

Hub  Electric  Company,  2225  W.  Grand  Avenue,  Chi- 
cago, 111. 

Kliegl  Brothers,  321  W.  50th  Street.  New  York  City. 
Major   Equipment   Company,   4603    Fullerton  Avenue, 
Chicago,  111. 

Reynolds  Electric  Company,  2650  W.  Congress  Street, 
Chicago,  111. 

Ward -Leonard  Electric  Company,  37  South  Street,  Mt. 

Vernon,  N.  Y. 
Westinghouse    Electric    &    Manufacturing  Company, 

East  Pittsburgh,  Pa. 
Wm.  Wurdack  Electric  Manufacturing  Company,  4444 

Clayton  Avenue,  St.  Louis,  Mo. 


Disinfectants,  Perfumed 

THE  NECESSITY  of  elimi- 
nating disagreeable  odors  in  a  theatre  has 
led  to  the  development  of  disinfectants 
which  not  only  serve  to  kill  bacteria,  but 
leave  the  room  fragrant. 

A  deodorant  which  acts  as  a  solvent  for 


the  scale  forming  in  urinals  and  toilets,  is 
also  obtainable. 

Florozone  Corp.,  62-68  Forest  Ave.,  Brooklyn,  N.  Y. 
The  Huntington  Laboratories,  Inc.,  Huntington,  Ind. 
Molnar  Laboratories,  211   East  19th  St.,  New  York 
City. 

Rochester  Germicide  Company,  Inc.,  Rochester,  N.  Y. 
Sanozone  Co.,  1127  Roy  St.,  Philadelphia,  Pa. 
West  Disinfecting  Company,  42-16  Barn  Street,  Long 
Island  City,  N.  Y. 


M 


AKE  You 


DISPLAYS 
COME  TO  LIFE 


with  the 


by  cutting  out  figures  of  movie  stars, 
scenes,  striking  designs  and  letters  in 
any  size  for  use  on  the  theatre  front, 
marquee,  in  the  lobby,  in  the  interior 
and  on  the  stage. 

EASY  TO  PROCURE 
THE  CUTAWL 

The  best  theatres  use  the  Cutawl  to  put  punch 
and  novelty  in  their  displays.  Isn't  this  what 
you  need? 

To  make  it  easy  for  you  to  procure  a  Cutawl 
at  once,  we  will  gladly  arrange  an  easy  pay- 
ment plan  to  suit  your  needs. 

Write  at  once 
for  full  details. 


INTERNATIONAL 
REGISTER  CO. 

2!  S.  Throop  St. 
CHICAGO.  ILL. 


anozQne^ 
air  perfumes 

dispel  odors;  add  freigrance  and  freshness. 
Inexpensive;  most  effective.  Ask  your  stipply 
dealer  for  SANOZONE  or  write  for  samples 
and  prices  to 

SANOZONE  COMPANY 

1129  Roy  Street  Philadelphia 


34 


Better  Theatres  Section 


April  6,  1935 


Earphones 

EARPHONES  Consist  of 
sound  receivers  attached  to  head  bands  and 
means  for  connection  of  the  receivers  to 
the  main  sound  system  of  a  theatre  so  that 
persons  who  are  hard  of  hearing  may  hear 
the  sounds  of  the  picture  clearly. 

Dictagraph  Prcxiucts  Co.,  Inc.,  580  5th  Avenue,  New 
York  City. 

Electrical  Research  Products,  250  West  57th  St.,  New 
York  City. 

The  Fortiphone  Corporation,  535  Fifth  Avenue,  New 
York  City. 

Hearing  Devices  Corporation,  Times  Square  Building, 

New  York  City. 
Mears  Radio  Hearing  Device  Corporation,  45  W.  34th 

Street,  New   York  City. 
Sonotone  Corporation,  19  West  44th  Street,  New  York 

City. 

Trimm  Radio  Manufacturing  Co.,  1528  Armitage  Ave- 
nue, Chicago,  Illinois. 


Effect  Machines 

EFFECT  MACHINES  are  an 
integral  part  of  motion  picture  exhibition, 
especially  when  a  policy  of  stageshows  has 
been  adopted.  The  effect  in  lighting 
which  may  be  obtained  are  almost  phe- 
nomenal, are  always  a  source  of  curiosity 
and  pleasure  on  the  part  of  the  public. 
There  is  a  wide  range  of  prices  on  these 
machines,  depending  upon  the  effects  de- 
sired. There  is  also  a  new  product  which 
not  only  produces  the  usual  effects  but  a 
wide  variety  of  others. 

JJelson    Manufacturing    Company,    800    Sibley  Street, 
Chicago,  111. 

Brenkert   Light   Projection  Company,  7348  St.  Aubin 

Avenue,  Detroit,  Mich. 
Century    Lighting    Equipment,    Inc.,    419    West  55th 

Street,  New  York  City. 
Chicago    Cinema    Products    Company,    1736-1754  N. 

Springfield  Avenue,  Chicago,  111. 
Display  Stage  Lighting  Company,  442  W.  45th  Street, 

New  York  City. 
Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 


Electric  Measuring  Instruments 

THE    DEVELOPMENT  and 

improvement  in  theatre  lighting  and  pro- 
jection have  thrown  onto  the  shoulders  of 
the  electrician,  as  well  as  the  projectionist, 
many  responsibilities.  At  their  command 
are  factors  which  make  or  break  the  show. 
With  enormous  switchboards  to  control, 
emergency  lighting  plants,  motors,  gen- 
erators, arcs,  dimmers,  transverters,  mag- 
netic appliances  and  many  other  involved 
and  sensitive  electrical  instruments,  it  de- 
volves on  the  theatre  to  provide  adequate 
equipment  for  their  correct  operation.  In 
the  list  of  necessary  measuring  instruments 
are  ammeters,  voltmeters,  vacuum  tube 
testers  and  the  like. 

Amthor  Testing  Instrument  Co.,  Inc.,  309  Johnston 
Street,  Brooklyn,  N.  Y. 

General  Electric  Company,  1  River  Road,  Schenec- 
tady, N.  Y. 

Heyer    Products    Companv,    Inc.,    197    Grove  Street, 

Bloomfield,  N.  J. 
Weston  Electrical  Instrument  Company,  614  Freling- 

huysen  Avenue,   Newark,  New  Jersey. 


Engineering  Service 

SPECIAL  TECHNICAL  serv- 
ice in  the  installation,  operation  and  re- 
pairing of  theatre  equipment  and  struc- 
tural elements,  is  available  from  engineers 
specializing  in  this  work. 

G.  T.  Badgley.  Ill  West  48th  St.,  New  York,  N.  Y. 
Peter  Oark,  Inc.,  542  West  30th  St.,  New  York  City. 


Eastern  Research  Laboratories,  601  West  26th  Street, 

New  York  City. 
Electrical   Research   Products,  250   West   57th  Street, 

New  York  City. 
Kansas    City    Sound    Service   Co.,    130   W.    18th  St., 

Kansas   City,  Mo. 
S.  S.  Sugar,  8  W.  40th  Street,  New  York  City. 


Exit  Light  Signs 

EXIT  LIGHT  SIGNS  are  re- 
quired by  law  in  all  theatres,  the  Chicago 
theatre  building  ordinance  specifying  them 
as  follows:  "The  word  'EXIT'  shall  ap- 
pear in  letters  at  least  six  inches  high  over 
the  opening  of  every  means  of  egress  from 
a  theatre  and  a  red  light  shall  be  kept  burn- 
ing over  such  a  sign." 

Ben  Adler  Signs,  Inc.,  343  So.  Dearborn  Street,  Chi- . 
cago,  Illinois. 

Belson    Manufacturing    Company,    800    Sibley  Street, 

Chicago,  Illinois. 
Brenkert  Light  Projection  Company,  7348  Saint  Aubin 

Avenue,  Detroit,  Mich. 
E.    E.    Fulton    Company,    1018    S.    Wabash  Avenue, 

Chicago,  111. 

Hub'  Electric  Company,  2225  W.  Grand  Avenue,  Chi- 
cago, Illinois. 

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
Major   Equipment   Company,   4603    Fullerton  Avenue, 

Chicago,  Illinois. 
Metal  and  Glass  Products  Co.,  952  West  Lake  Street, 

Chicago,  Illinois. 
Viking  Products  Corporation,  422  W.  42nd  Street,  New 

York  City. 

The  Voigt  Company,  1745  N.   12th  Street,  Philadel- 
phia, Pa. 


Film  Cabinets 

THERE  ARE  various  types 
of  film  cabinets  having  storage  capacity 
from  three  to  twelve  reels  per  unit  of  vari- 


Why  Wagner  Silhouette 

Letters  STAND  OUT! 

BLACK  completely  surrounded  by 
WHITE  makes  CONTRAST.  That 
explains  why  they're  more  legible  at 
long  distance  day  or  night.  Easy  to 
read;  easy  to  change  and  space. 
Send  for  our  free  bulletin.  It  tells 
how  to  make  your  marquee  a  real 
help  to  your  box  office. 

WAGNER  SIGN  SERVICE,  Inc. 


109  W.  64th  St. 
Chicago 


706  E.  Hancock  Ave. 218  S.  Hoyne  Ave. 
New  York  Detroit 


MAKE  THAT  PERFECT  SPLICE 

Combined   moistener  and 
scraper — Use  with  any 
splicer  —  Can't  tear 
sprocket  holes. 


$1.00 


PRICE   

At 

dealers 
or  write 
direct. 

367  Hudson  Avenue 

ROSCO  FILM  CEMENT       Brooklyn,  N.  Y. 


ous  forms  of  construction  so  that  the  reel 
is  elevated  or  brought  within  grasp  by  the 
opening  of  the  cover.  They  are  generally 
of  double  metal  wall  construction,  so  that 
should  one  reel  become  ignited  in  the  cabi- 
net, the  others  are  insulated  from  this  heat, 
and  thus  saved  from  any  damage.  Some 
of  them  are  constructed  so  that  they  can  be 
ventilated  to  the  outside  by  means  of  pip- 
ing. 

American    Film-Safe    Corporation,    1800  Washington 

Boulevard,  Baltimore,  Md. 
Belson    Manufacturing    Company,   800    Sibley  Street, 

Chicago,  111. 

E.  E.  Fulton  Company,  1018  C.  Wabash  Avenue.  Chi- 
cago, 111. 

Neumade  Products  Corporation,  427  W.  42nd  Street, 
New  York  City. 


Film  Cabinet  Stands 

THERE  ARE  various  size 
stands  which  accommodate  one  up  to  three 
cabinets,  and  hold  the  film  cabinets  so  that 
they  are  more  convenient  as  well  as  allow- 
ing them  to  be  moved  about  more  easily  for 
cleaning  or  relocating  purposes.  Some  of 
them  also  make  the  film  cabinets  more  safe 
by  holding  the  film  cabinet  at  an  angle  so 
that  a  reel  of  film  cannot  be  laid  on  top 
of  it. 

Belson   Manufacturing   Company,   800  Sibley  Street, 
Chicago,  111. 

E.  E.  Fulton  Company,  1018  S.  Wabash  Avenue,  Chi- 
cago, 111. 


Film  Cement 

A  SPECIAL  preparation 
for  splicing  motion  picture  film  used  in 
theatres,  laboratories  and  film  exchanges. 

Bell  &  Howell  Company,  1801  Larchmont  Avenue,  Chi- 
cago, 111. 
F.  B.  Griflfen,  Oshkosh,  Wis. 

Rosco   Laboratories,    367   Hudson   Avenue,  Brooklyn, 
New  York. 


Film  Cleaning  Machines 

A  BLOCK  containing  pads 
which  are  saturated  with  a  film  cleaning 
liquid  through  which  the  film  is  run,  dirt 
and  grit  being  removed  from  it  in  the  pro- 
cess.    Prices  range  from  $7.50  up. 

Andre   DeBrie,  Inc.,  115  W.  4Sth  Street,  New  York 
City. 

Blue  Sea!  Products  Co..  260  WyckofT  Street,  Brooklyn, 
New  York. 


Film  Inspection  Machines 

PERFECT     PROJECTION  is 

impossible  unless  the  film  itself  is  in  per- 
fect mechanical  condition.  Today  the  pub- 
lic demands  good  screen  and  sound  results 
and  the  projectionist  can  accomplish  this 
only  when  proper  inspection  has  been  given 
to  the  film.  Film  inspection  machines  en- 
hance efficiency  in  this  work. 

Andre  DeBrie,  Inc.,  115  W.  45th  Street,  New  York 
City. 

▲ 

Film  Reels 

Refer  to  REELS 

A 

Film  Rewinders 

THIS  DEVICE  is  used  for 
rewinding  films  after  they  are  run  through 
the  projectors,  and  are  made  in  two  gen- 


April  6.  1935 


Motion  Fid  lire  Herald 


35 


eral  patterns,  the  bencli  and  flre-pioof  en- 
closed type.  The  bench  or  open  rewind 
is  made  in  one  piece  types  with  the  dummy 
and  geared  end  complete  in  one  unit,  and 
others  are  made  so  that  they  can  be 
clamped  to  a  bench  or  shelf,  while  some  are 
permanently  fastened  by  means  of  bolts. 
Some  are  made  with  plain  bearings  and 
some  have  their  spindles  mounted  on  ball 
bearings. 

The  enclosed  rewinds  are  made  in  vari- 
ous patterns,  both  hand  drive  and  motor 
drive  models.  The  motor  drive  type  is 
generally  automatic  in  its  operation,  stop- 
ping at  the  end  of  the  film  or  should  the 
film  break.  Some  are  made  with  plain 
bearings  and  some  have  their  spindles 
mounted  on  ball  bearings.  Some  motor 
drive  types  also  have  multiple  speed  ranges 
and  accommodate  either  one-  or  two-thou- 
sand-foot reels.  One  type  also  has  a  de- 
tachable grinding  and  polishing  attach- 
ment. 

Andre  DeBrie,  Inc.,  115  W.  45th  Street,  New  York 
City, 

Atlas  Metal  Works,  2601  Alamo  Street,  Dallas,  Texas. 
Automatic  Film  Rewinder,  Harrisburp,  Pa. 
Bass  Camera  Company,  179  W.  Madison  Street,  Chi- 
cago, 111. 

Bell  &  Howell  Company,  1827  Larchmont  Avenue, 
Chicago.  111. 

Chicago  Cinema  Products  Company,  1736  N.  Springfield 
Avenue,  Chicago,  111. 

Film  Inspection  Machine  Company,  Inc.,  10  W.  47th 
Street,  New  York  City. 

E.  E.  Fulton  Company,  1018  S.  Wabash  Avenue,  Chi- 
cago, Illinois. 

GoldE  Manufacturing  Company,  2013  LeMoyne  Street, 
Chicago,  111. 

International  Projector  Corp.,  8S-%  Gold  Street,  New 
York  City. 

Wenzel  Company,  2505-09  So.  State  Street,  Chicago, 
Illinois. 


Film  Processing  Machines 

A  DEVICE  for  protecting 
the  projector  from  emulsion  of  green  film. 
It  is  placed  between  rewinds,  the  film  pass- 
ing through  the  waxing  machine  and  wax- 
ing the  sprocket  holes  while  being  re- 
wound.   Prices  range  from  $15.00  up. 

Andre  DeBrie,  Inc.,  115  W.  45th  Street,  New  York 
City. 

Blue  Seal  Products  Co.,  260  Wyckoff  Street,  Brooklyn, 
New  York. 

Malcom  Film  Laboratory,  244  W.  49th   Street,  New 
York  City. 


Film  Splicing  Machines 

EQUIPMENT  of  this  type 
is  used  mostly  in  film  exchanges,  studios 
and  laboratories  for  the  purpose  which  the 
name  states.  Smaller  models  are  made  for 
theatres.    Prices  range  from  $6.00  up. 

Andre  DeBrie,  Inc.,  115  W.  45th  Street,  New  York 
City. 

Bell    &   Howell    Company,    1801    Larchmont  Avenue, 
Chicago,  III. 

E.    E.    Fulton    Company,    1018    S.    Wabash  Avenue. 
Chicago,  111. 

Rosco   Laboratories,    367   Hudson   Avenue.  Brooklyn, 
New  York. 


Fire  Extinguishers 

THERE  ARE  for  theatres 
four  types  of  fire  extinguishers:  the  one 
quart  size  hand  extinguisher,  containing 
carbon  tetra-chloride ;  the  2j^-gallon  soda 
and  acid  extinguisher;  the  2^-gallon  foam 
type,  and  the  portable  carbon  Dioxide  hand 
type.  Good  ones  of  these  types  are  manu- 
factured by  many  companies.  Instructions 


from  fire  inspectors  should  be  carefully 
followed  in  distributing  these  through  the 
theatre  building.  Prices  range  around 
$12.00. 

American-LaFrance  and  Foamite  Corporation,  Elmira, 

New  York. 
C.  S.  Caldwell,  Birmingham,  Ala. 
Fyr-Fyter  Company,  221  Crane,  Dayton,  Ohio. 
Harker  Manufacturing  Company,  121  W.  Third  Street. 

Cincinnati,  Ohio. 
International   Fire   Equipment   Corporation,   W.  New 

Brighton,  N.  Y 
Pyrene  Manufacturing  Company,  560  Belmont  Avenue. 

Newark,  N.  J. 


Fire  Prevention  for  Projectors 

IMPORTANT  equipment 
has  been  developed  which  it  is  said  definite- 
ly prevents  a  film  fire  in  the  projection 
machine.  This  equipment  is  a  safety  con- 
trol device,  that  is  easily  installed  and 
which  is  operated  on  the  regular  line  volt- 
age. The  main  control  unit  and  dowser  are 
mounted  on  the  cone  of  the  lamphouse 
and  act  as  the  main  light  cut  off,  taking 
the  place  of  the  regular  dowser.  The  dow- 
ser is  operated  from  five  distinct  points  of 
contact,  covering  every  avenue  through 
which  a  fire  could  start  in  the  projector 
while  it  is  in  operation  or  at  a  standstill 
with  the  film  in  it.  All  contact  points  are 
very  sensitive,  and  the  dowser  is  instan- 
taneous in  its  action,  yet  does  not  depend 
upon  springs  to  actuate  it. 

Blue  Seal  Products  Co.,  260  Wyckoff  Street,  Brooklyn. 
New  York. 

Film  Treatizor  Corp.,  117  W.  63rd  Street,  New  York 
City. 

N.  A.  N.  Automatic  Light  Control  Company,  P.  O. 

Box  207,  Johnstown,  Pa. 
Fyrene  Manufacturing  Company,  560  Belmont  Avenue, 

Newark,  N.  J. 
Rosco   Laboratories,   367   Hudson   Avenue,  Brooklyn, 

New  York. 

Sentry   Safety  Control   Corporation,   13th  and  Cherrv 
Street,  Philadelphia,  Pa. 


Fireproof  Shutters 

AGAIN      ENTERING  into 

lower  insurance  rates  are  fireproof  shutters 
for  the  projection  both.  Such  equipment 
in  the  modern  theatre  has  placed  the  pa- 
trons beyond  the  danger  line,  so  to  speak. 
These  safety  shutters  are  so  constructed 
that  they  drop  when  film  breaks.  Certain 
designs  work  automatically,  while  others 
operate  through  a  release  elJected  by  the 
projectionist.  The  list  price  of  the  shut- 
ters range  from  $9.00  up,  depending  on 
size. 

Belson  Manufacturing  Company,  80O  Sibley  Street,  Chi- 
cago. 111. 

Best  Devices  Company,  Film  Building,  Cleveland,  Ohio. 
H.  B.  Cunningham,  964  University  Avenue,  St.  Paul. 
Minn. 

W.  G.  Preddey,  187  Golden  Gate  Avenue.  San  Fran- 
cisco, Cal. 


Floor  Coverings 

Refer  to  CARPETS  and 
COMPOSITION  FLOORING 


Footlights 

MANY  TYPES  OF  footlights 

are  made  for  the  average  theatre.  Thev 
are  designed  in  the  portable  type,  disap- 
pearing type,  and  the  regular  kind  of  per- 
manent   installation.     Footlights   can  be 


REPLACE  WITH  THE  BEST! 


FOR 
Simplex 
ONLY 


UNIT  OF  FILM  SAFETY 
CONTROL  AND 
CHANGEOVER 

MADE  AND  GUARANTEED 
—  By  the  — 

N.  A.  N.  AUTOMATIC  LIGHT 
CONTROL  COMPANY 

P.  O.  Box  207 


Johnstown,  Penna. 


GOOD  BOX-OFFICE! 

Earphones  for  the  Deaf 


CH.CAOO-  IUJNO'5  ^^^^  tBEATBE 

..~,«-"-  Ill- 
ret,.  10,  1"5 


Gentle""*" '■  ■ 


^  «f  the  number 
V,e  iceep  a  '•""^r"  and  the  nun- 
of  e^-P'^rrons  they  Srlns  to  the 

theatre  ■'^^\^^lless  ,  for  "1*- 

"rr-phones  these  pat-ns 
out  the  ear  «ould  not 

and  their  f^^^""  *  At  the  prea- 
attend  our  *eatr6^  hard-of- 
ent  time  ■'iJlH"  J^y  of  vhom 
rtenS^-rran^e  If  proS-- 


(ours  yr/ 


Write  for  Particulars 

TRIMM 

RADIO    MANUFACTURING  COMPANY 
Dept.  BT-S 

1528  Armitage  Avenue  ChicEigo,  Illinois 


Modern  Adler 
Cast  Aluminum 

CHANGEABLE  LETTERS 

Write  for  Samples  and  Prices 

BEN  ADLER  SIGNS,  Inc. 

343-B  So.  Dearborn  St.,  Chicago       Harrison  3148 


36 


F  S  C 

Increase  Screen 
Illumination! 

REFLECTOR 

RE-CONDITIONING 

SERVICE 

yOUR  reflec- 
tors can  be 
resurfaced  and 
resilvered  at  a 
moderate  cost 
by  our  special 
process.  .  .  .  Pitted  condensing  lenses 
repolished.  .  .  .  Front  surface  mirrors 
resilvered. 

FISH-SCHURMAN 

CORPORATION 
230  East  45th  Street 
New  York  City 


7i 


You  Get 

DOUBLE 
VALUE 

For  A  Small 
Investment 


Value  No.  1 — the  savings  from  acci- 
dent-prevention that  a  Dayton  Safety 
Ladder  gives  you.  Value  No.  2— the 
faster  work  and  increased  efficiency 
of  every  workman  who  uses  a  Dayton. 

This  double  value  is  yours  for  very 
little  money  in  a  Dayton  Safety  Lad- 
der. It  stands  firmly,  without  wob- 
bling or  tipping.  Straight  back  per- 
mits close  work  in  corners  and  against 
walls.   Sizes  3  to  16  feet. 

Write  Dept.  BT-4   jor  Details 

The  Dayton  Safety  Ladder  Co. 


121-123  West  Third  Street 


Cincinnati,  O. 


BAYTON 

Safety  I^adder 

(Patented) 

Stock  carried  on  Pacific  Coast  by  E.  D.  Bullard  Co., 
Los  Angeles  and  San  Francisco,  and  by  160  other 
distributors  from  coast  to  coast.  Made  and  dis- 
tributed in  Canada  by  Percy  Hermant,  Ltd.,  Toronto. 


Better  Theatres  Section 

bought  already  wired  for  various  combina- 
tions of  color  circuits,  in  single  or  double 
rows. 

Frank  Adam  Electric  Company,  3650  Windsor  Avenue, 

St.  Louis,  Mo. 
Belson    Manufacturing    Company,    800    Sibley  Street, 

Chicago,  111. 

Chicago    Cinema    Products    Company,    1736-1754  N. 

Springfield  Avenue,  Chicago,  111. 
Chicago  Switchboard  Manufacturing  Company,  426  S. 

Clinton  Street,  Chicago,  111. 
Hub  Electric  Company,  2225  W.  Grand  Avenue,  Chi- 

Kllegl*' Brothers,  321  W.  50th  Street,  New  York  City. 
Major   Equipment   Company,  4603   FuUerton  Avenue, 
Chicago,  III. 

Wheeler    Reflector    Company,    275    Congress  Street, 
Boston  Mass. 

Wm.  Wurdack  Electric  Manufacturmg  Company,  4444 
Clayton  Avenue,  St.  Louis,  Mo. 


Fountains,  Drinking 

Refer  to  DRINKING  FOUNTAINS 


Fountains,  Ornannental 

Refer  to  ORNAMENTAL  FOUN- 
TAINS 

A 

Furnaces,  Coal  and  Oil  Burning 

Refer  to  HEATING  SYSTEMS 


Generators,  Motor 

MOTOR-GENERATOR     S  6  t  S 

are  used  almost  exclusively  for  converting 
a.c.  supply  into  d.c.  for  the  projection  arc. 
They  consist  of  a  motor  of  suitable  type  for 
the  service  available  as  to  voltage,  phase 
and  frequency  and  of  the  proper  horse- 
power, connected  through  a  coupling  or  on 
a  common  shaft,  with  a  d.c.  generator 
armature.  This  latter  may  be  of  a  size  to 
furnish  from  15  to  600  or  more  amperes, 
and  at  a  voltage  of  from  80  to  100.  Ballast 
rheostats  are  used  to  drop  this  voltage  to 
that  of  the  arc,  which  varies  from  about 
50  to  70  volts,  depending  upon  its  char- 
acter. These  generators  are  designed  to 
hold  their  voltage  very  steady  regardless  of 
load  and  should  be  quiet  operating  and  free 
from  vibration. 

The  above  describes  the  Multiple  type 
unit  which  operates  any  number  of  arcs  up 
to  its  full  capacity  in  multiple  and  is  al- 
most exclusively  used  in  this  country. 
Where  only  two  arcs  of  the  same  amperage 
are  burned  alternately,  as  on  two  projec- 
tors, the  Series  type  with  its  higher  effi- 
ciency can  be  used  and  is  still  sold  largely 
outside  the  United  States. 

Automatic  Devices  Company,  Samuels  Bldg.,  Allen- 
town,  Pa. 

Century  Electric  Company,  1806  Pine  Street,  St.  Louis, 
Missouri. 

General  Electric  Company,  1  River  Road,  Schenectady, 
New  York. 

Hertner   Electric    Company,    12690   Elmwood  Avenue, 

Cleveland,  Ohio. 
Hobart  Brothers  Company,  Troy,  Ohio. 
Ideal  Electric  &  Manufacturing  Company,  Mansfield, 

Ohio. 

Imperial  Electrical  Company,  Inc.,  Ira  Avenue,  Akron, 
Ohio. 

Marble-Card  Electric  Company,  Gladstone,  Michigan. 
Northwestern  Electric  Company,  409  S.  Hoyne  Street, 

Chicago,  111. 
Robbins  &  Meyers  Company.  Springfield,  Ohio. 
Westinghouse    Electric    &    Manufacturing  Company, 

East  Pittsburgh,  Pa. 


Hardware,  Stage 

STAGE     HARDWARE  takes 

in  many  items,  large  and  small,  which  are 


April  6,  1935 

equipment  essentials  in  the  stage  that  is 
to  be  prepared  to  house  a  variety  of  acts 
or  talent. 

Under  the  heading  of  stage  hardware 
are  included  such  items  as  blocks  and  pul- 
leys of  all  types,  counterweights  and  ar- 
bors, belay  pins,  cleats,  curtain  tracks,  key- 
stones and  corners,  pin  rails,  pin  wire,  rope, 
manila  and  wire,  rope  locks,  sand  bags, 
smoke  pocket  stage  screws,  trim  clamps, 
winches,  carriers  for  extra-large  screens 
and  horns.  Steel  curtains  and  counter- 
weight rigging  are  also  important  items  of 
the  equipment  in  the  modern  stage. 

Acme  Stage  Equipment  Company,  191  Lafayette  Street, 

New  York  City. 
Beaumont  Studios,  443  West  47th  Street,  New  York 

City. 

J.  H.  Channon  Corporation,  1455  W.  Austin  Avenue, 
Chicago,  111. 

J.  R.  Clancy,  1010  W.  Belden  Avenue,  Syracuse,  N.  Y. 
Peter  Clark,  Inc.,  544  W.  30th  Street,  New  York  City. 
Great  Western  Stage  Equipment  Company,  817  Holmes 

Street,  Kansas  City,  Mo. 
Klemm  Manufacturing  Corporation,  1449-55  W.  Austin 

Avenue,  Chicago,  111. 
Lee  Lash  Studios.  707  Broadway,  New  York  City. 
Novelty  Scenic  Studios,  611  West  43rd  Street,  New 

York  City. 

N.  C.  Nussbaumer,  2921  West  Van  Buren  St.,  Chicago, 
Illinois. 

Robert  E.  Power  Studios,  1717  Cordova  Street,  Los 

Angeles,  California. 
Tiffin  Scenic  Studios,  Tiffin,  Ohio. 

VoUand  Scenic  Studios,  3737  Cass  Avenue,  St.  Louis, 
Missouri. 

Yale    &   Towne   Manufacturing   Company,  Stamford, 
Connecticut. 


Heating  Systenns 

THERE  ARE  a  number  of 
types  and  arrangements  of  theatre  heating 
systems,  each  designed  to  fit  the  individual 
building.  One  of  the  systems  is  known  as 
the  fuel-to-air  method  whereby  the  trans- 
mission of  the  heating  effect  from  the  fuel 
is  obtained  without  the  intermediate  proc- 
esses of  transmission  through  piping  and 
radiators.  The  volumes  of  outdoor  air 
entering  the  system  are  heated  quickly  and 
uniformly,  producing  comfortable  heating 
and  invigorating  ventilation  in  all  seasons 
of  the  year.  The  heating  units  most  gen- 
erally used  to  warm  the  incoming  air  are 
commonly  known  as  unit  heat  generators. 

Reynolds  Corporation,  609  No.  LaSalle  Street,  Chicago, 
Illinois. 

Supreme  Heater  &  Ventilating  Company,   1915  Pine 
Street,  St.  Louis,  Mo. 


High  Intensity  Lannps 

Refer  to  LAMPS,  HIGH  INTENSITY 


Holders,  Ticket 

Refer  to  TICKET  HOLDERS 


Horn  Lifts  and  Horn  Towers 

A  HORN  LIFT  is  an  auto- 
matically controlled  electrically  driven  ele- 
vator to  raise  and  lower  sound  horns  to 
their  proper  places  behind  the  screen.  They 
operate  on  the  hydraulic,  cable  and  drum 
and  screw  lift  principle,  and  when  the  stage 
is  needed  for  acts,  the  lift  lowers  the  horn 
down  under  the  stage.  The  portion  of 
the  stage  flooring  directly  above  the  lift 
is  attached  to  the  lift,  becoming  a  part  of 
it,  and  any  stage  setup  located  over  the  lift 


April  6.  1935 


Motion  Picture  Herald 


37 


goes  up  with  it  and  is  ready  for  use  the 
instant  the  lift  returns  to  the  low  level. 

Horn  towers  are  structural  steel  towers 
on  which  the  horns  are  fastened.  These 
towers  are  generally  on  rubber-tired,  ball 
bearing  casters  so  that  they  may  be  moved 
about  silently  to  properly  locate  the  horns 
behind  the  screen.  When  the  horns  are 
not  in  use  the  towers  can  be  pushed  out  of 
the  way. 

Bruckner-Mitchell,  Inc.,  132  \V.  44th  Street,  New  York 
City. 

Gates  Radio  &  Supply  Company,  Quincy,  Illinois. 
Littleford   Brothers,   501   E.   Pearl   Street,  Cincinnati, 
Ohio. 

Macy   Engineering   Co.,    1451   39th    Street,  Brooklyn, 
New  York. 

United  Radio  Manufacturing  Company,  191  Greenwich 

Street,  New  York  City. 
Vallen,  Inc.,  225  Bluff  Street,  Akron,  Ohio. 


Interior  Decorations 

INTERIOR  DECORATION  of 
the  motion  picture  theatre  has  developed 
specialists  in  this  important  phase  of  con- 
struction. These  companies  have  made  a 
thorough  study  of  the  type  of  decorative 
scheme  best  suited  for  audience  appeal. 

Decorative  Arts  Co.,  300  W.  Austin  Avenue,  Chicago, 
Illinois. 

Eastman  Brothers  Studios,  Inc.,  36  W.  46th  Street, 
New  York  City. 

Interstate  Decorating  Company,  1458  S.  Wabash  Ave- 
nue, Chicago,  111. 

Mandel  Brothers,  Inc.,  State  and  Madison  Streets, 
Chicago,  111. 

Marshall  Field  &  Company,  Chicago.  111. 

Novelty  Scenic  Studios,  611  W.  43rd  Street,  New  York 
City. 

Robert  E.   Power  Studios,  1717  Cordova  Street,  Los 

Angeles,  California. 
J.   A.   Torst€nson   &   Company,   860  Fletcher  Street, 

Chicago,  111. 

I.  Weiss  &  Sons,  445  W.  45th  Street,  New  York  City. 


Ladders,  Safety 

THE  SAFETY  LADDER  is  a 

safeguard,  both  for  the  employer  and  the 
employe.  It  minimizes  the  risk  of  accidents 
and  the  possibility  of  becoming  involved  in 
costly  law  suits.  The  safety  ladder  has 
the  approval  of  the  Underwriters  Labora- 
tories. Sizes  range  from  3  feet  to  16  feet. 
Because  of  the  rigidity  of  these  ladders, 
they  are  time-savers. 

American    Ladder    Company,    3700    W.    38th  Street, 

Chicago,  Illinois. 
John   Berg   Manufacturing   Co.,    3813   South  Morgan 

Street,  Cliicago,  Illinois. 
Dayton  Safety  Ladder  Company,  121  W.  Third  Street, 

Cincinnati,  Ohio. 
The  Patent  Scaffolding  Company,  1500  Dayton  Street, 

Chicago,  Illinois. 
Rich  Pump   &   Ladder   Company,   1028  Depot  Street, 

Cincinnati,  Ohio. 


Lamps,  Exciter 

THE  PURPOSE  of  exciter 
lamps  is  to  supply  the  light  energy  which 
actuates  the  photoelectric  cell.  It  is  located 
in  the  sound  head  in  such  adjustment  that 
its  beam  of  light  rides  upon  the  sound 
track,  transmitted  or  interrupted  according 
to  the  variations  of  the  track.  It  is  a  basic 
element  in  the  mechanism  of  sound-on-film 
reproduction  and  should  be  durable  and 
precisely  adapted  to  the  particular  design  of 
the  apparatus  used. 

Amperex    Electronic    Products,    Inc.,    79  Washington 

Street,  Brooklyn,  New  York. 
Electronic  Industries,  75  East  Wacker  Drive,  Chicago, 

Illinois. 

M.  N.  Oilman,  136  Liberty  Street,  New  York  City. 
Gordos  Products  Company,   17  W.   60th  Street,  New 

York  City. 
Hygrade  Sylvania  Corp.,  Clifton,  N.  J. 
The  Sonolux  Company,  220  W.  42nd  Street,  New  York 

City. 

Universal  Tube  Mfg.  Co.,  42  Hampton  Place,  Brooklyn, 
New  York. 


Dealer  Individuality 

PLVSl 

WHERE  THE  individual  dealer  is  weak,  we  give  him 
strength.  The  Association,  offers  the  informative 
and  purchasing  abilities  of  a  national  organization.  But 
independent  status  is  held  inviolate. 

No  dictation  of  policy  by  us  or  waiting  for  decisions  from 
a  remote  point.  Immediate  action,  with  all  the  service 
facilities  and  the  highest  tested  quality  equipment  and 
supplies  the  market  affords. 

This  choice  in  the  selection  of  tested  equipment  in  an 
open  market  is  one  of  the  flexible  features  of  an  in- 
dividually-owned business.  This  assures  you  of  the 
newest  and  the  most  economical  developments  in  the 
theatre  supply  industry. 

24-HOUR  SERVICE  .  .  . 
Patronize  These  Dealers 


BALTIMORE,  MD. 

J.  F.  Dusman 

213  No.  Calvert  St. 
BIRMINGHAM,  ALA. 

Queen  Feature  Service,  Inc. 

191214  Morris  Ave. 
BOSTON,  MASS. 

Capitol  Theatre  Supply  Co. 

28  Piedmont  St. 
BUFFALO.  N.  Y. 

United  Projector  &  Film  Corp. 

228  Franklin  St. 
CHICAGO,  ILL. 

Joe  Goldberg,  Inc. 

823  So.  Wabash  Ave. 

Guercio  &  Barthel  Co. 

908  So.  Wabash  Ave. 
CLEVELAND,  OHIO 

Oliver  Theatre  Supply,  Inc. 

1607  East  21st  St. 

Superior  Motion  Picture  Sup- 
ply Co. 

1740  East  23rd  St. 
COLUMBUS.  OHIO 

American   Theatre  Equipment 
Co. 

165  No.  High  St. 
DENVER,  COLO. 

Graham  Bros. 

546  Lincoln  St. 
DES  MOINES,  IOWA 

Des  Moines  Theatre  Supply  Co. 

1121  High  St. 
DETROIT,  MICH. 

Amusement  Supply  Co. 

5th  ANNUAL  CONVEN- 
TION IN  JUNE  AT  THE 


208  West  Montcalm  St. 

McArthur  Thea.  Equipment  Co. 

2501  Cass  Ave. 
HOUSTON,  TEXAS 

Southwestern    Theatre  Equip- 
ment Co. 

Merchants     &  Manufacturers 
Bldg. 

KANSAS  CITY,  MO. 

Stebbins  Thea.  Equipment  Co. 

1804  Wyandotte  St. 
LOS  ANGELES,  CALIF. 

Breck  Photoplay  Supply  Co. 

1909  So.  Vermont  Ave. 

John  P.  Filbert  Co. 

1956  So.  Vermont  Ave. 

J.  Slipper  &  Co.,  Ltd. 

1968  So.  Vermont  Ave. 
MILWAUKEE,  WIS. 

The  Ray  Smith  Company 

635  No.  7th  St. 
NEW  YORK  CITY,  N.  Y. 

Amusement  Supoly  Co. 

341  West  44th  St. 

Capitol    Motion    Picture  Sup- 
ply Corp. 

630  Ninth  Avenue 

Continental     Theatre  Acces- 
sories, Inc. 

325  West  44th  St. 

Crown  Motion  Picture  Supplies 
Corp. 

311  West  44th  St. 

Empire  Theatre  Supply  Corp. 


334  West  44th  St. 

Joe  Hornstein,  Inc. 

630  Ninth  Ave. 
OMAHA,  NEBR. 

Quality  Theatre  Supply  Co. 

1511  Davenport  St. 

Western  Theatre  Supply  Co. 

214  No.  15th  St. 
PHILADELPHIA,  PA. 

Clem  Rizzo 

255  No.  13th  St. 
PITTSBURGH,  PA. 

Superior  Motion  Picture  Sup- 
ply Co. 
86  Van  Braam  St. 
SALT  LAKE  CITY,  UTAH 
Service  Theatre  Supply  Co. 

256  East  First  South  St. 
SAN  FRANCISCO,  CALIF. 

Walter  G.  Preddey 
187  Golden  Gate  Ave. 
B.  F.  Shearer  Co. 
243  Golden  Gate  Ave. 
Western  Theatrical  Equipment 
Co. 

145  Leavenworth  St. 
SEATTLE,  WASH. 

B.  F.  Shearer  Co. 

2318  Second  Ave. 
ST.  LOUIS,  MO. 

Exhibitors  Supply  Co. 

3238  Oliver  St. 

TOLEDO.  OHIO 

American  Theatre  Supply  Co. 
310  St.  Clair  St. 

EDGEWATER  BEACH 
HOTEL,  CHICAGO.  ILL. 


INDEPENDENT  THEATRE  SUPPLY  DEALERS 

ASSOCIATION 


J.  E.  ROBIN,  President 
1501  BROADWAY         NEW  YORK,  N.  Y. 


NC 


The  Symbol  of  Perfection  in  Projection 


Always  Improving 

y  HE  identification  of  "H  &  C"  with 
'  Perfection  in  Projection  Lighting  it 
the  result  of  many  years  of  research 
and  the  active  technical  skill  in  the 
manufacture  of  "H  &  C"  products. 

HALL  &  CONNOLLY,  INC. 


24  VAN  DAM  STREET 


NEW  YORK.  N.  Y, 


Write  tor  Illustrated  Booklet 


38 


Better   Theatres  Section 


April  6,  1935 


Lamps,  High  Intensity 

HIGH  INTENSITY  projec- 
tor lamps  are  of  two  types- — reflector  type, 
and  condensing-lens  type.  Their  selection 
depends  on  the  size  of  the  theatre  and 
other  local  factors.  The  condenser-lens 
type  (so-called  super-high  intensity)  is 
generally  operated  at  from  115  to  130  am- 
peres. The  reflector  type  is  generally  op- 
erated at  from  70  to  80  amperes.  Lamps 
in  the  high  intensity  class  are  of  the  larger 
type  or  represent  other  conditions  requiring 
a  higher  degree  of  screen  illumination. 

C.  S.  Ashcraft  Mffj.  Company,  4214-18  Santa  Monica 

Blvd.,  Los  Angeles,  California. 
Brenkert  Light  Projection  Company,  7348  St.  Aubin 

Avenue,  Detroit,  Mich. 
Dominion    Theatre   Equipment   Co.,    Ltd.,   60  Dundas 

Street,  East  Toronto,  2,  Canada. 
Hall  &  Connolly,  Inc.,  24  Van  Dam  Street,  New  York 

City. 

J.  H.  Hallberg.  303  Fourth  Avenue,  New  York  City. 
Morelite  Company,  Inc.,  600  West  S7th  Street,  New 
York  City. 

The  Strong  Electric  Corporation,  2501  Lagrange  Street, 
Toledo,  Ohio. 

▲ 

Lamps,  Incandescent,  Projection 

INCANDESCENT  LAMPS 

for  theatre  motion  picture  projection  are 


Decorative  Arts 
Company 

300  West  Austin  Avenue 
Chicago 

Whitehall  6494 

Inferior  Decorating 
Carpets 
Theatre  Chairs 
Draperies 


usually  of  the  low-voltage  type  for  added 
efficiency  and  greater  source  concentration. 
They  cannot  be  used  on  the  ordinary  light- 
ing circuit  without  a  transformer  or  regu- 
lator. The  900-watt,  30-ampere,  T-20 
bulb  lamp  usually  provides  acceptable  re- 
sults on  good  screens  up  to  16  feet  wide 
at  throws  not  greater  than  about  100  feet. 

There  are  also  available  1,000-watt 
prefocus  base,  and  1,500-watt  bipost  base, 
100-120  volt,  T-20  bulb  lamps  employing 
the  biplane  type  of  filament  construction, 
which  is  inherently  of  higher  cost  but 
makes  possible  the  requisite  source  con- 
centration at  ordinary  circuit  voltages  and 
thus  saves  the  cost  of  auxiliary  apparatus. 
They  are  preferred  where  operating  sched- 
ules are  relatively  short,  and  for  projectors 
of  the  semi-portable  type.  Screen  results 
equal  or  surpass  those  from  the  900-watt 
lamp.  The  1,500-watt  lamp  requires 
forced  ventilation. 

For  portable  35-mm.  projectors  there 
are  the  500-watt  monoplane  filament,  and 
the  750-watt  and  1,000-watt  biplane  fila- 
ment  lamps   in   short   T-20   bulbs  with 


SUPER.  LITE 
LENSES 

and 

SOUND  UNITS 

are  giving  universal 
satisfaction 

A  TRYOUT  WILL  CONVINCE  YOU 

Projection  Optics  Co.,  Inc. 

330  Lyell  Ave.,  Rochester,  N.  Y.,  U.S.A. 


medium  prefocus  bases.  All  are  of  the 
100-120  volt  type.  The  750-watt  and 
1,000-watt  lamps  require  forced  ventila- 
tion. 

For  stereopticon  projection  there  are 
the  500-watt,  short  T-20  bulb,  medium  pre- 
focus base  lamp;  and  the  100-watt,  long 
T-20  bulb  mogul  prefocus  base  lamp. 
Both  of  the  100-120  volt  types  employ 
monoplane  filaments. 

Edison  Lamp  Works,  Division  of  G.  E.  Harrison, 
N.  J. 

International  Projector  Corp.,  88-96  Gold  St.,  New 
York  City. 

National  Lamp  Works,  Nela  Park,  Cleveland,  O. 
Westinghouse   Lamp  Company,  30  Rockefeller  Plaza, 
New  York  City. 

Lamps,  General  Lighting 

THE      MANY     TYPES  of 

lamps  available  today  make  it  possible  to 
have  light  of  just  the  proper  quantity  and 
quality.  The  types  of  lamps  used  to  a 
great  extent  influence  the  cost  of  lighting. 
Lamps  themselves  vary  in  cost.  Special, 
expensive  types  are  often  used  where  the 
more  standard  types  would  be  satisfactory. 
Poor  and  inefficient  lamps  use  up  energy 
and  do  not  give  the  light  they  should.  Old, 
dirty  and  blackened  lamps  waste  energy 
without  a  proper  return.  Lamps  of  the 
wrong  voltage  give  too  little  light,  or  burn 
out  to  quickly. 

Incandescent  lamps  are  usually  desig- 
nated by  wattage,  voltage,  bulb  shapes  and 
diameter.  The  diameter  of  the  bulb  is 
given  in  eights  of  an  inch. 

Colored  lamps  are  available  with  inside 
spray  finish  and  with  natural  colors  in  sev- 
eral sizes.  The  natural-colored  lamps  are 
specially  desirable  for  indirect  cove  light- 
ing; the  inside-colored  lamps  for  exterior 
displays  and  where  the  lamps  themselves 
are  seen. 

Spotlight  and  floodlight  lamps  have  fila- 
ments that  are  as  concentrated  as  practic- 
able, and  in  the  prefocus  types,  placed  very 
accurately  with  respect  to  the  base.  The 
lives  of  these  lamps  are  200  and  800  hours, 
respectively — the  shorter  the  life  the 
greater  the  light  output  for  a  given  watt- 
age. In  general,  the  lamps  have  round 
bulbs  with  wattages  of  250,  400,  500, 
1,000,  1,500,  and  2,000. 

Champion  Lamps,  Davers,  Mass. 

Edison  Lamp  Works,  Division  of  G.  E.,  Harrison, 
N.  J. 

General  Electric  Company,  1  River  Road,  Schenec- 
tady, N.  Y. 

Hygrade  Sylvania  Corp..  Clifton,  N.  J. 

National  Lamp  Works,  Nela  Park,  Cleveland,  O. 

Westinghouse  Lamp  Company,  30  Rockefeller  Plaza, 
New  York  City. 

▲ 

Lamps,  Low  Intensity 

THIS  CLASSIFICATION  is 
rather  general,  inasmuch  as  it  refers  to  all 
types  of  projection  lamps  designed  for 
theatres  requiring  light  of  lower  intensity. 
Lamps  in  this  class  are  Low  Intensity,  Hi- 
Low,  Alternating  Current  Reflector  Type 
and  Suprex  (the  latter  using  alternating 
current  carbons  with  direct  current).  All 
of  these  lamps  are  of  the  reflector  type. 
The  operating  amperage  for  these  lamps 
ranges  from  15  to  80. 


To  Flawless  Projection 


STRONG 
MOGUL 


High  Intensity  Reflector 
Arc  Lamp 

A  demonstration  will  prove  it  to  be  the  answer  to  the  demand  for 
more  light  at  lower  operating  cost. 


Sold    by   Trustworthy,    Independent  Supply    Dealers  Everywhere 


EXPORTOFFICES. 

ROOM  301 
220W.42'!PST. 
NEWYORK,tl.Y. 


LAGRANGE  ST. 


he  Strong  Electric  Corporatiou  ^Smo° 


April  6,  1935 


Motion  Picture  Herald 


39 


Brenkert  Light  Projection   Company,  7348  St.  Aubin 

Avenue,  Detroit,  Mich. 
Dominion   Theatre   Equipment   Co.,   Ltd..    60  Dundas 

St..  East  Toronto,  2.,  Canada. 
Good-All  Electric  Mfg.  Co.,  Ogallala,  Nebraska. 
Hall    &    Connolly,    Inc.,   24    Van    Dam    Street,  New 

York  Citv. 

International  Projector  Corp..  SS-96  Gold  St.,  New 
York  City.  ,  

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 

The  J.  E.  McAuley  Manufacturing  Company,  554  W. 
Adams  Street,  Chicago,  111. 

Morelite  Company,  Inc.,  600  W.  57th  Street,  New 
York  City. 

W.  G.  Preddey,  187  Golden  Gate  Avenue,  San  Fran- 
cisco, Cal. 

Strong    Electric    Corporation,    2501    Lagrange  Street, 

Toledo,  O.  „   ,  ^. 

S.  O.  S.  Corporation,  1600  Broadway,  New  York  City. 


Lamps,  Suprex 

THESE  ARE  projection 
lamps  designed  for  the  suprex  d.c.  arc, 
which  gives,  through  the  use  of  a  non- 
rotating  carbon  of  specific  composition,  a 
much  whiter  projection  light  at  low  and 
middle  amperages  than  is  obtainable  with 
low-intensity  and  hi-low  arcs.  At  45 
amperes,  the  d.c.  arc  has  a  light  intensit)' 
as  high  as  7,000  lumens,  as  much  as  hi-low 
develops  at  from  70  to  80  amperes,  while 
the  low-intensity  arc  has  a  light  intensity 
of  only  about  2,000  lumens  at  25  amperes. 

C.  S.  Ashcraft  Mfg.  Company,  4214-18  Santa  Monica 

Blvd.,  Los  Angeles,  Calif. 
Brenkert  Light  Projection  Co.,  7348  St.  Aubin  Ave., 

Detroit,  Mich. 
Hall  &  Connolly,  24  Van  Dam  St.,  New  York,  N.  Y. 
The  J.  E.  McAuley  Manufacturing  Co.,  554  W.  Adams 

St.,  Chicago,  m. 
Morelite  Company,  Inc.,  600  West  57th  St.,  New  York 

City. 

The  Strong  Electric  Corp.,  2501  Lagrange  St.,  Toledo, 
O. 

>  A 


Lenses 

FOR  MOTION  PICTURE  the- 
atre service  there  are  projection  lenses  and 
condensing  lenses.  The  latter  are  also  used 
in  projection  but  are  placed  in  the  lamp- 
house  and  condense  the  rays  to  a  spot  on 
the  aperture.  Projection  lenses  are  objective 
lenses  placed  in  the  projector  head. 

The  prime  requirement  of  a  projection 
less  is  to  give  a  bright,  well  defined  picture 
on  the  screen  without  any  distortion  or 
color  rays.  These  lenses  are  made  in  four 
sizes:  Eighth,  quarter,  half  and  three-quar- 
ters (diameters,  respectively,  of  1  11/16, 
1  5/16,  2  25/32  and  inches). 

The  one-eighth  and  one-quarter  sizes  are 
furnished  in  equivalent  focii  of  two  inches 
E.  F.,  to  eight  inches  E.  F.  The  half-size 
is  furnished  in  equivalent  focii  of  four  and 
a  half  inches  E.  F.  to  ten  inches  E.  F.,  and 
the  three-quarters  in  equivalent  focii  of 
from  six  inches  E.  F.  to  ten  inches  E.  F. 
There  is  also  procurable  a  bifocal  projection 
lens  with  a  range  of  from  one-half  to  three- 
quarters  of  an  inch  in  focal  length,  designed 
to  eliminate  the  change  of  lenses  in  shift- 
ing operation  from  sound  to  silent  films, 
and  vice  versa.  All  the  sizes  named  are 
standard.  Focal  lengths  are  determined  by 
the  size  of  the  picture  desired. 

Bausch  &  Lomb  Optical  Company,  Rochester,  N.  Y. 
Fish-Schurmann  Corp.,  230  E.  45th  St.,  New  York  City. 
G.    P.    Goerz    American    Optical    Company,    485  5th 

Avenue,  New  York  City. 
Graf    Lens   Division,    General    Scientific  Corporation, 

4829  So.  Kedzie  Avenue,  Chicago,  Illinois. 
Ilex   Optical   Mfg.   Company,   726  Portland  Avenue, 

Rochester,  N.  Y. 
KoUmorgen  Optical  Corporation,  767  Wythe  Avenue, 

Brooklyn,  N.  Y. 
Hugo  Meyer  &  Company,  245  West  55th  Street,  New 

York  City. 

Projection  Optics  Company,  Inc.,  330  Lyell  Avenue, 
Rochester,  N.  Y. 


Semon  Bache  &  Company,  6.56  Greenwich  Street,  New 
York  City. 

Simpson  Instrument  &  Lens  Company,  1737  N.  Camp- 
bell Avenue,  Chicago,  111. 

Wollensak  Optical  Company,  872  Hudson  Avenue, 
Rochester,  N.  Y. 

▲ 

Lifts  and  Elevators  for  Orchestra,  Organ, 
Stage  and  Horns 

WITH     THE    ADVANCE  in 

showmanship  many  new  types  of  equip- 
ment have  become  factors  in  motion  picture 
presentation  and  its  supplementary  enter- 
tainment. Not  the  least  of  these  new  fac- 
tors are  the  lifts  and  elevators  which  play 
such  an  important  part  in  the  success  of 
programs  today.  The  modern  theatre  has 
this  equipment. 


Peter  Clark,  Inc.,  544  W.  30th  Street,  New  York  City. 
Otis  Elevator  Co.,  11th  Avenue  and  26th  Street,  New 
York,  N.  Y. 

A 

Lighting  Control  Equipment 

THE  MODERN  theatre  with 
a  well  balanced  and  effective  lighting  sys- 
tem, has  made  many  demands  on  the  manu- 
facturers of  lighting  control  equipment. 
Elaborate  color  effects  must  be  possible  and 
to  change  the  lighting  and  gradually  merge 
the  light  from  one  color  to  another  with- 
out attracting  the  audiences  a  very  flexible 
control  system  is  required.  Even  the  small 
control  systems  permit  the  operator  to  pro- 
duce hundreds  of  color  shades. 


YOUR  BEST 
SALESMAN 

A  Super-Cinephor  will  prove  to  be  one  of 
your  best  salesmen — one  that  will  need  a 
nimble  fingered  ticket  seller  to  keep  up 
with  him. 

His  success  is  the  result  of  satisfied  audi- 
ences, because  he  transmits  for  their  better 
enjoyment,  all  of  the  brilliance,  definition 
and  contrast  which  the  producer  has  so 
painstakingly  woven  into  the  pictures  you 
show. 

Write  for  the  Super-Cinephor's  qualifica- 
tions. Bausch  &  Lomb  Optical  Co.,  679 
St.  Paul  Street,  Rochester,  N.  Y. 


BAUSCH  &  LOMB 

■  R  -  C  INEPHOR 


THE  ASHCRAFT  SUPREX TZ^^™" 


Sufficiently    powerful   for    largest   theatres.    Sufficiently    economical    for   smallest  theatres. 

14"  elliptical  reflector,  massive  lamp  house.    Independent  carbon  feed  controls. 
If  you  demand  highest  quality  at  a  reasonable  price — this  lamp  will  fill  every  requirement. 
If  you  are  interested  we  will  furnish  you  with  name  of  nearest  distributor. 

C.  S.  ASHCRAFT  MFG.  CO.  '''U^^^^^cir- 


40 


Better  Theatres  Section 


April  6,  1935 


GENERAL 


SCIENTIFIC 


CORPORATION 


Specify  Lumoirons 

With  every  Lumotron  Photo-Electric  cell 
you  get  "matched  -  uniformity,"  an  ex- 
clusive quality  developed  by  General  Sci- 
entific Corporation  projection  engineers. 
The  sound  output  of  every  Lumotron  cell 
is  carefully  measured.  By  using  Lumo- 
trons  you  eliminate  frequent  amplifier 
adjustments,  as  well  as  any  possible  dif- 
ferential in  sound  intensity  when  fading 
between  projectors.  And  you  can  be  sure 
of  ample  protection  against  ionization,  be- 
cause every  Lumotron  is  checked  against 
ionization  up  to  125  volts. 

Ask  your  supplier  for  Lumotrons  and 
use  them  always  for  perfect  sound. 

Pictures  Equal  Lens 

The  quality  of  the  pictures  on  your  screen 
is  actually  equal  to  the  quality  of  your 
lens.  Your  next  projection  lens  should  be 
a  Graf  Super-Limio.  Constructed  under 
Graf  patents,  it  gathers  all  the  light,  giv- 
ing maximum  illumination  on  the  screen. 

Information  Service 

You  should  get  complete  information 
about  Lumotron  Vacuum  Products. 
Complete  technical  data,  prices  and  list- 
ings will  be  sent  to  you  on  request,  with- 
out obligation.  Write  for  this  informa- 
tion today. 

Also  get  information  about  Graf  lenses, 
sound  optical  systems,  reflectors  and  our 
special  lens  repair  service.  Our  products 
are  distributed  by  all  theatre  supply 
dealers.  Ask  their  representatives  or 
write  to  us  direct.  General  Scientific 
Corporation,  Dept.  413,  4829  S.  Kedzie 
Avenue,  Chicago,  111. 


Frank  Adam  Electric  Company,  3650  Windsor  Ave- 
nue, St.  Louis,  Mo. 

Century  Lightincr  Exiuipment,  Inc.,  419  W.  55th  Street, 
New  York  City. 

Chicago  Switchboard  Manufacturing  Company,  426  S. 
Clinton  Street,  Chicago,  111. 

Cutler-Hammer,  Inc.,  Milwaukee,  Wis. 

Hub  Electric  Company,  225  W.  Grand  Avenue,  Chi- 
cago, 111. 

Kliegl  Bros.,  321  W.  50th  St..  New  York,  N.  Y. 
Major   Equipment   Company,   4603   Fullerton  Avenue, 
Chicago,  111. 

Ward  Leonard  Electric  Company,  37  South  Street, 
Mt.  Vernon,  N.  Y. 

Westinghouse  Electric  &  Manufacturing  Company, 
East  Pittsburgh,  Pa. 

Wm.  Wurdack  Electric  Mfg.  Co.,  4444  Clayton  Ave- 
nue, St.  Louis,  Mo. 

A 


Lighting  Fixtures  and  Decorative  Lighting 

WHILE  lighting  fixtures 
constitute  one  of  the  outstanding  features 
of  the  theatre  today  their  style  and  appli- 
cation are  obviously  best  determined  by  the 
individual  treatment  of  the  theatre  and  its 
requirements.  It  is  significant,  however, 
that  a  number  of  leading  manufacturers 
have  established  special  departments  to  give 
time  and  attention  to  the  subject  of  theatre 
lighting  and  fixtures. 

Art  Lamp  Corporation,  429  East  Ohio  Street,  Chicago, 
Illinois. 

Barker  Brothers,  Seventh  Street,  Flower  and  Figue- 

roa,  Los  Angeles,  Calif. 
Curtis    Lighting    Company,    Inc.,    1119    W.  Jackson 

Boulevard,  Chicago,  III. 
The    Frink    Corporation,    23-10    Bridge    Plaza,  Long 

Island  City,  N.  Y. 
I.  P.  Frink,  Inc.,  239  Tenth  Avenue,  New  York  City. 
The    Edwin    F.    Guth    Company,    2615  Washington 

Street,  St.  Louis,  Mo. 
Henkel  &  Best,  431  N.  Michigan  Avenue,  Chicago,  111. 
Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
Metal  and  Glass  Products  Co.,  952  West  Lake  Street, 

Chicago,  Dlinois. 
The  Voigt  Company,  1743  N.  12th  Street,  Philadelphia, 

Pa. 

A  - 

Lighting,  Stage,  Equipment 

Refer  to  STAGE  LIGHTING 
EQUIPMENT 

A 


Lighting  and  Power  Plants 

EMERGENCY  lighting 
plants  are  equipment  designed  to  furnish 
power  for  supplying  illumination  and  oper- 
ating the  show  in  the  event  of  a  failure  of 
the  local  power  supply. 

Emergency  lighting  plants  are  made  in 
several  types  such  as  the  gasoline  engine 
type,  water  turbine  type,  motor  gen- 
erator and  battery  type.  In  the  case  of  the 
motor  generator  type  several  sources  of 
power  are  provided  to  meet  every  con- 
tingency, which,  together,  form  an  inter- 
locking type  of  protection. 

Century  Electric  Co.,  1806  Pine  St.,  St.  Louis,  Mo. 
Delco  Appliance  Corporation,  Rochester,  N.  Y. 
The  Electric  Storage  Battery  Company,  Philadelphia, 
Pa. 

Kohler  Company,  Kohler,  Wis. 
Universal  Motor  Company,  Oshkosh,  Wis. 
Weir-Kilby  Corporation,  Station  H,  Cincinnati,  O. 
Westinghouse    Electric    &    Manufacturing  Company, 
East  Pittsburgh,  Pa. 

A 


Lights,  Exit 

Refer  to  EXIT  LIGHT  SIGNS 
A 


Lights,  Spot 

ARE  MADE  in  arc  and  in- 
candescent types  for  use  on  stage — in  the 
booth — in  cove  lighting,  and  for  head  spot- 
ting.   Most  spotlights  on  the  market  can 


be  used  for  spot  lighting  and  for  full  flood. 
The  arc  types  are  made  in  sizes  of  3  am- 
pere up  to  150  ampere.  They  come  com- 
plete with  stand  and  attachment  cord  and 
connector.  Within  the  last  year,  the  high 
intensity  spot  has  appeared.  It  is  an  adap- 
tation of  the  high  intensity  lamp  to  spot 
and  flood  lighting. 

The  incandescent  spotlights  are  in  sizes 
of  from  250  watt  to  2,000  watt.  The  sizes 
usually  used  are  250,  400,  500  and  1,000 
watt. 

The  small  head  spots  of  250  watts  are 
used  for  cove  lighting  or  spotting  the  head 
of  a  singer  or  organist.  The  incandescent 
spotlights  come  either  with  floor  standard 
or  pipe  hangers  for  border  lighting  batons. 

In  stage  work  spotlights  are  frequently 
banked  one  above  the  other  on  a  stand  and 
used  for  flood-lighting  from  the  wings. 
Prices  range  from  $12  to  $500. 

Frank  Adam  Electric  Company,  3650  Windsor  Avenue, 

St.  Louis,  Mo. 
Belson   Manufacturing    Company,    800    Sibley  Street, 

Chicago,  111. 

Best  Devices  Company,  Film  Building,  Cleveland,  O. 
Brenkert  Light  Projector  Company,  7348  St.  Aubin 

Avenue,  Detroit,  Mich. 
Century   Lighting   Equipment,   Ltd.,   419   West  S5th 

Street,  New  York  City. 
Chicago    Cinema    Products    Company,    1736-1754  N. 

Springfield  Avenue,  Chicago,  111. 
Chicago  Switchboard  Manufacturing  Company,  426  S. 

Clinton  Street,  Chicago,  111. 
Crown   Motion    Picture    Supplies,   311    W.   44th  St., 

New  York  City. 
Hall   &   Connolly,   Inc.,   24  Van   Dam  Street,  New 

York  City. 

Hub  Electric  Company,  2225  W.  Grand  Avenue.  Chi- 
cago, 111. 

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
Major  Equipment   Company,  4063  Fullerton  Avenue, 
Chicago,  111. 

C.  I.  Newton  Co.,  253  W.  14th  St.,  New  York  City. 
W.  G.  Preddey,  187  Golden  Gate  Avenue,  San  Fran- 
cisco, Cal. 

Westinghouse  Lamp  Company,  30  Rockefeller  Plaza, 

New  York  City. 
Wm.  Wurdack  Electric  Manufacturing  Company,  4444 

Clayton  Avenue,  St.  Louis.  Mo. 


A 


Lobby  Display 

AN    ATTRACTIVE   lobby  IS 

a  boon  to  business.  To  conform  to  the 
beauty  in  lobby  decoration,  colorful  and 
attractive  lobby  displays  have  been  created. 
Automatic  poster  displays  in  polished 
bronze  are  constructed  for  convenient  dis- 
play of  standard  stills  and  photographs,  fea- 
turing current  and  coming  attractions.  Art 
glass  today  is  advantageously  used,  making 
a  striking  and  effective  display.  Many  artis- 
tic endeavors  have  been  directed  toward 
the  lobby  with  the  result  that  today  few 
shoddy  lobbies  greet  the  patron. 

American  Display  Corporation,  521  W.  57th  St.,  New 

York,  N.  Y. 

Cosmopolitan  Studios,  Inc.,  145  West  45th  St.,  New 
York  City. 

Davis  Bulletin  Company,  Lock  Street,  Buffalo,  N.  Y. 
The  Goldman  Co.,  7155^  Cherry  St.,  Chattanooga,  Tenn. 
S.  Markendorft'  Sons,  Inc.,  159  W.  23rd  Street,  New 
York  City. 

National  Studios,  Inc.,  226-232  W.  S6th  Street.  New 
York,  N.  Y. 

A 


Lobby  Display  Frames 

LOBBY  ADVERTISING  is  an 
obviously  effective  business  stimulant  and 
in  this  connection  the  use  of  lobby  display 
frames  easily  ranks  first  in  appearance. 
With  the  effective  display  frames  now 
available  it  is  possible  not  only  to  obtain 
a  maximum  advertising  value  from  their 
use  but  also  to  add  materially  to  the  ap- 
pearance of  the  lobby.    The  front  of  the 


April  6.  1935 


Motion  Picture  Herald 


41 


theatre  may  now  be  "dressed  up"  in  excel- 
lent fashion  with  these  frames.  In  the 
case  of  new  theatres  it  is  common  practice 
to  design  lobby  frames  in  conformity  with 
the  architectural  style  of  the  house. 

American  Display  Corporation,  475  10th  Avenue,  New 
York.  N.  V.  ,    -r  a  c 

Arcliitectural  Decorating  Co.,  1600  South  Jetterson  bt., 
Chicago,  111.  ,  _. 

Basson's,  Inc.,  123  Fulton  Street,  New  York  City. 

Libman-Spanjer    Corporation,    1600    Broadway,  Wew 

S."^  Mark^ndorff '  Sons,  Inc.,  159  W.  23rd  Street,  New 
York  City.  „  ,  . 

Northern  Theatre  Supply  Company,  19  Glenwood  Ave- 
nue, Minneapolis,  Minn.  „      „  ,  r^-. 

Stanley  Frame  Co..  442  W.  42nd  St..  New  York  City. 

Workstel  Studios,  Inc.,  45  W.  57th  Street,  New  York, 
N.  Y. 


Machines,  Ticket 

A  MOTOR  driven  device 
for  dispensing  tickets  which  are  automati- 
cally registered  as  to  the  number  of  each 
denomination  sold.  These  machines  are 
made  in  two  unit,  three  unit,  four  unit  and 
five  unit  sizes.  A  two  unit  will  dispense 
two  tickets  of  difEerent  denominations  such 
as  children  and  adults.  Each  unit  is  con- 
trolled by  a  series  of  five  buttons,  making 
it  possible  to  sell  from  one  to  five  tickets. 

General   Register   Corporation,    1540   Broadway,  New 

Silent-American  Ticket  Machine  Co.,  36-52  36th  St., 

Long  Island  City,  N.  Y. 
Standard  Ticket  Register  Corp.,  1600  Broadway,  New 

York  City. 


Marquee  Coating 

PAINT  especially  prepared 
to  meet  the  conditions  of  high  temperature 
and  brilliant  illumination  that  results  from 
mass  lighting  under  theatre  marquees  and 
canopies,  is  now  available.  This  product 
combines  a  light-reflecting  surface,  aiding 
illumination  with  a  highly  heat  resistant 
base. 

Technical  Finishes  Corporation,  565  West  Washington 
Street,  Chicago,  111. 

A 

Marquees 

USE     OF     MARQUEES  BY 

motion  picture  theatres  is  general.  They 
serve  a  number  of  practical  purposes.  They 
offer  theatres  an  excellent  advertising 
medium  while  giving  to  the  house  an  at- 
tractive and  inviting  entrance.  During  in- 
clement weather  they  offer  protection  to 
waiting  patrons. 

Marquees  are  usually  constructed  of 
sheet  metal  and  may  be  obtained  in  a 
variety  of  designs.  They  are  furnished 
with  glass  roof  or  with  steel  ceiling  and 
metal  roof.  Numerous  interesting  standard 
designs  have  been  developed  by  marquee 
manufacturers  especially  for  theatre  use. 
These  are  easily  installed  and  are  shipped 
to  theatres  in  convenient  sections.  Sugges- 
tions for  attractive  designs  are  available. 
Inquiries  should  be  accompanied  by  ap- 
proximate measurements  of  the  front  of 
the  building  where  the  marquee  is  to  be 
used. 

Ben    Adler    Signs,    Inc.,    343    So.    Dearborn  Street, 
Chicago,  111. 

The  American  Sign  Company,   1940  Riverside  Drive, 

Cincinnati,  Ohio. 
The  Artkraft  Sign  Company,  Lima,  Ohio. 
Metal  Products,  Inc.,  1434  N.  4th  Street,  Milwaukee, 

Wis. 

Newman  Brothers.  Inc.,  416-18  Elm  Street,  Cincinnati. 
Ohio. 


Mazda  Lamps 

Refer  to  LAMPS,  INCANDESCENT, 
PROJECTION. 


Mazda  Regulators 

THIS  IS  an  electrical  de- 
vice for  changing  110  volt  or  220  volt 
current  to  30  volt,  30  amperes  current  for 
use  with  900  watt  incandescent  projection 
lamps. 

The  Garver  Electric  Company,  Union  City,  Ind. 
International  Projector  Corp.,  88-96  Gold  Street,  New 
York  City. 


Microphones 

MICROPHONES  in  theatres 
have  a  variety  of  uses,  ranging  from  stage 
program  presentations,  regular  and  emer- 
gency announcements,  to  reports  to  patrons 
on  sports  and  other  timely  items  of  interest. 
In  most  cases  microphones  can  be  added  to 
the  amplifying  equipment  used  for  sound- 
on-film  service  with  little  accessory  equip- 
ment. 

Several  types  of  microphones  are  avail- 
able. Carbon  button  and  condenser  types 
are  most  suitable  and  the  least  expensive  for 
all-round  theatre  use.  Although  carbon 
microphones  may  be  obtained  in  both  single 
and  double  button  types,  the  double  button 
type  is  usually  recommended  for  casual  use 
in  theatres  as  it  gives  clearer  reproduction 
than  the  single  button  model  and  costs  only 
slightly  more. 


Condenser  microphones  are  quiet  in  op- 
eration and  are  preferred  for  use  in  stage 
productions.  Although  the  condenser 
microphone  is  more  expensive  than  the  car- 
bon button  type,  condenser  microphone  re- 
production is  free  from  the  slight  hiss, 
known  as  carbon  noise. 

Audio  Research,  Inc.,  105-107  East  16th  Street,  New 
York  City. 

Macy  Engineering  Co.,  1451  -  39th  Street,  Brooklyn, 
N.  Y. 

Miles  Reproducer  Co.,  Inc.,  244-6  West  23rd  Street, 
New  York  City. 

RCA-Victor  Company,  Camden,  New  Jersey. 

The  Remler  Company,  Ltd.,  2101  Bryant,  San  Fran- 
cisco, California. 

Shure  Brothers  Company,  215  West  Huron  Street, 
Chicago,  Illinois. 

Universal  Microphone  Company,  Inglewood,  California. 

Western  Electric  Company,  250  West  57th  Street,  New 
York  City. 


Motor  Generators 

Refer  to  GENERATORS,  MOTOR 

A 

Motors,  Projector 

MOTORS  for  projection 
machines  are  usually  110  volts,  25  to  60 
cycles  and  of  1/10,  1/8  or  1/6  horse  power. 
They  may  be  obtained  with  variable  speed 
adjustments  giving  a  range  of  speed  of 
from  150  r.p.m.  to  4,000  r.p.m. 

Bodine  Electric  Company,  2254  W.  Ohio  Street,  Chi- 
cago, 111, 

Fidelity  Electric  Company,  331  N.  Arch  Street,  Lan- 
caster, Fa. 

Peck  Television  Corp.,  115  W.  45th  Street,  New  York 
City. 


Music  Stands 

MUSIC  STANDS  are  made 
in  a  number  of  styles,  from  those  of  simple 


CONVENIENC 


ET  ISSUING  MACHINESLI  L 


f  ICKET  ISSUING  MACHINESU  U 
GENERAL  REGISTER  CORPORATION 

1540  Broodway.  N»wYork 


BARGAINS!  —  BARGAINS!  —  BARGAINS! 

Competitors  CANNOT  Meet  Our  LOW  PRICES! 
Genuine  Precision  Machine  Parts  for  Powers, 
Simplex  and  Motiograph  Projectors — 30  percent 
Off— Shipped  Prepaid  ANYWHERE! 
ACCESSORIES,  SUPPLIES,  PROJECTORS  AT  1/2 
PRICE,  CATALOGUES,  BARGAIN  SHEETS  FREE! 
Send  Today!  WIRE  OR  AIR  MAIL— 24-hour  SERVICE. 

TROUT    THEATRE    &    SOUND    EQUIPMENT  CO. 
Enid,  Olclaiionia 


B.  B.  BUCHANAN 

Theatre  Construction 


910  S.  Michigan  Ave. 


Chicago, 


42 


Better  Theatres  Section 


April  6,  1935 


design  for  smaller  houses  to  more  pretent- 
ious and  ornamental  ones  for  the  elaborate 
theatres. 

J.  H.  Channon  Corporation,  1455  W.  Austin  Avenue, 
Chicago.  111. 

Chicago    Cinema    Products    Company,    1736-1/54  JN. 

Springfield  Avenue,  Chicago.  111. 
Klemm   Manufacturing  Corporation,   1455   W.  Austin 

Avenue.  Chicago.  111. 
Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
The   Liberty    Music    Stand    Company,    1960    E.  116th 

Street,  Cleveland,  Ohio. 


Novelties,  Advertising 

Refer  to  ADVERTISING  NOVELTIES 


Orchestra  Lifts 

Refer  to  LIFTS  AND  ELEVATORS  for 
ORCHESTRA,  ORGAN  AND  STAGE 


Organs 

ASIDE  from  detail  con- 
siderations, the  important  thing  to  bear  in 
mind  in  the  purchase  of  a  theatre  organ  is 
whether  or  not  the  instrument  is  designed 
and  built  to  meet  theatre  requirements.  De- 
mands upon  an  organ  to  be  used  in  a  the- 
atre and  in  a  church,  for  example,  are 
obviously  at  variance.  The  result  is  that 
organs  for  theatres  are  built  along  exacting 
lines,  expressly  for  the  work  they  are  in- 
tended to  perform. 

Geo.  Kilgen  &  Sons,  Inc.,  4016  N.  Union  Boulevard, 

St.  Louis,  Mo. 
W.   W.   Kimball   Company,  308  S.   Wabash  Avenue, 

Chicago,  III. 

The  Rudolph  Wurlitzer  Company,  121  Ji.  Fourth  Street, 
Cincinnati,  Ohio. 


Organ  Blowers 

THE  ORGAN  BLOWER  is  an 

important  piece  of  equipment,  and  is  man- 
ufactured in  sizes  suitable  for  organs  of  all 
types.  They  may  be  obtained  in  units  rang- 
ing from  1/6  h.p.  to  75  h.p.,  which  arc 
multi-stage,  multi-pressure  machines.  These 
machines  are  made  so  as  to  give  the  proper 
wind  supply  for  the  size  organ  for  which 
it  is  desired. 

Coppus  Engineering  Corporation.  Worcester,  Mass. 
Kinetic  Engineering  Company,  Landsdowne,  Pa. 
Spencer  Turbine  Company,  Hartford,  Conn. 
Zephyr  Electric  Organ  Blower  Company,  Orrville,  O. 


For  Noiseless 
and  High  Speed 
Ticket  Issuing 

you  need  a 

SILENT  AMERICAN 
TICKET  REGISTER 

in  your  Box  OflSce      "Ask  Any  User" 

Write  for  information  and  prices  on 
latest  models  and  trade-in  proposition. 


TICKET    REGISTER  CORP. 


Organ  Lifts 

Refer  to  LIFTS  AND  ELEVATORS  for 
ORCHESTRA,  ORGAN  AND  STAGE 
A 

Organ  Slides 

Refer  to  SLIDES 


Ornamental  Fountains 

ORNAMENTAL  fountains 
are  invariably  places  of  interest  in  the  the- 
atre. In  addition  to  their  decorative  value 
they  create  a  desirable  atmosphere  of  cool- 
ness in  the  summer  time  through  the  sound 
of  the  trickling  water  as  it  falls  into  the 
base  of  the  fountain. 

Ornamental  fountains  may  be  obtained 
in  many  sizes  and  in  many  forms.  The 
water  pressure  is  supplied  by  a  small  pump 
operated  from  light  socket  current,  the 
same  water  being  used  over  again  in  most 
instances. 

Architectural  Decorating  Co.,  1600  So.  Jefferson  Street, 

Chicago,  Illinois. 
Barker  Brothers,  Seventh  Street,  Flower  and  Figueroa, 

Los  Angeles,  Calif. 
The  Crane  Company,  836  S.  Michigan  Avenue,  Chicago, 

Illinois. 

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 

Rundle-Spence  Manufacturing  Company,  52  Second 
Street,  Milwaukee,  Wis. 

The  Halsey  W.  Taylor  Company,  Warren,  Ohio. 

The  Voigt  Company,  1743  N.  12th  Street,  Philadel- 
phia, Pa.  ^ 

Paint,  Plastic 

Refer  to  PLASTIC  PAINT 


1600  BROADWAY 


NEW  YORK,  N.  Y. 


Paint,  Screen 

A  PAINT  for  refining  a 
screen  surface.  This  paint  comes  in  flat 
white  and  metallic.  Five  pounds  of  flat 
white  is  sufficient  to  coat  a  9x12  screen 
with  two  coats.  Prices  range  from  $1.75 
to  $3.50. 

Da-Lite  Screen  Company,  2715  N.  Crawford  Avenue, 
Chicago,  111. 

Hewes  Gotham  Co.,  520  W.  47th  St,  New  York  City. 
Walker  American  Corporation,  800  Beaumont  Street, 
St.  Louis,  Mo. 

A 

Panel  Boards 

WITH  lights  playing  such 
a  prominent  part  in  the  operation  of  a  the- 
atre, the  theatre  owner  must  look  to  his 
lighting  equipment  for  consistent  service. 
The  panel  board  with  its  multi-circuits  and 
its  easy  accessibility  gives  to  the  theatre  a 
lighting  system  which  is  endurable,  elastic 
and  efficient. 

Frank  Adam  Electric  Company,  3650  Windsor  Avenue, 

St.  Louis,  Mo. 
Belson    Manufacturing    Company,    800    Sibley  Street, 

Chicago,  111. 

The   Cleveland   Switchboard   Company,   2925   E.  79th 

Street,  Cleveland,  O. 
General  Electric  Company,  1  River  Road,  Schenectady, 

N.  Y. 

Hoffmann-Soons,  387  First  Avenue,  New  York,  N.  Y. 
Hub    Electric    Company,    2225    W.    Grand  Avenue, 
Chicago,  111. 

Kliegl  Brothers.  321  W.  50th  Street,  New  York,  N.  Y. 
Major  Equipment  Company,  4603  Fullerton  Avenue, 
Chicago,  111. 

Metropolitan  Electric  Mfg.  Co.,  East  Avenue  and  14th 

Street,  Long  Island  City,  N.  Y. 
The  Trumbull  Electric  Manufacturing  Company,  Plain - 

ville.  Conn. 

Westinghouse    Electric    &    Manufacturing  Company, 
East  Pittsburgh,  Pa. 

A 

Paste,  Poster  and  Labelling 

LENDING  to  efficiency  in  a 
theatre  organization  is  a  prepared  wheat 


powder,  which  when  mixed  with  cold 
water,  mixing  easily  and  offering  an  ad- 
hesive paste  for  all  types  of  poster  billing. 

Hewes-Gotham  Co.,  520  W.  47th  Street,  New  York 
City. 

Arthur  S.  Hoyt  Company,  90  Broadway,  New  York 
City. 

A 

Perfumed  Disinfectants 

Refer  to  DISINFECTANTS,  PER- 
FUMED 

A 

Perfumes  and  Perfumers 

DISAGREEABLE  odors  are 
unfortunately  a  usual  concomitant  of 
crowds,  particularly  in  such  compact  en- 
closures as  the  motion  picture  auditorium. 
These  odors  may  be  effectively  eliminated 
by  the  use  of  highly  aromatic  perfumes, 
method  of  diffusion  is  the  simple  one  of 
which  are  diffused  throughout  the  air.  One 
placing  the  perfume  in  decorative  cones, 
resembling  a  vase,  at  various  places  along 
the  walls.  These  cones  are  made  of  clay 
and  readily  absorb  the  perfume,  which  may 
be  said  to  saturate  the  cones,  and  the  odor 
radiates  from  the  latter  to  quite  a  large 
area  beyond. 

Another  widely  used  method  is  to  spray 
the  air  with  a  perfume  at  suitable  intervals. 

A  trifle  less  simple  and  perhaps  more 
effective  method  is  that  of  placing  perfume 
in  a  disseminator  located  at  the  ventilating 
fan  so  that  the  evaporated  liquid  or  solidi- 
fied perfume  will  carry  its  fragrance 
through  the  auditorium  along  with  the 
fresh  air. 

Florozone  Corp.,  62-68  Forest  Avenue,  Brooklyn,  New 
York. 

Hewes-Gotham  Co.,  520  W.  47th  St.,  New  York  City. 
The  Huntington  Laboratories,  Inc.,  Huntington,  Ind. 
West  Disinfecting  Co.,  42-16  Barn  St.,  Long  Island 
City.  N.  Y. 

Pag  Company,  Professional  Bldg.,  Wallingford,  Conn. 
Per-Fu   Company   of  Hollywood,   1210  North  Fairfax 

Avenue,  Hollywood,  California. 
Rosco   Laboratories,    367   Hudson   Avenue,  Brooklyn, 

New  York. 

Sanozone  Co.,  1127  Roy  Street,  Philadelphia,  Pa. 

A 

Photoelectric  Cells 

THE    FUNCTIONS    of  the 

photoelectric  cell  in  sound  installations  is 
to  transform  light  into  electrical  energy  in 
the  reproduction  of  sound-on-film. 

Amperex   Electronic   Products,   Inc.,   79  Washington 

Street,  Brooklyn,  New  York. 
Arcturus  Radio  Company.  730  Frelinghuysen  Avenue. 

Newark,  N.  J. 


AnENTION 
THEATRE  SUPPLYDEALERS 

Have  you  any  old  machines  or  parts  ? 

They  can  be  made  as  good  as  new  in 
our  factory  with  special  machinery  and 
skilled  mechanics. 

All  work  guaranteed. 
Quotations  freely  given. 
Inquiries   quickly  answered. 
Replacements  for  Powers  and  Simplex 
in  stock. 

A  profitable  opportunity  Is  anaitlnc 
good  mechanics  In  all  theatre  centers  to 
handle  our  parts.    Write  for  particulars. 

Motion  Picture  Machine  Co. 

3110    W.    Lisbon    Avenue,    MOwaukM,  Wis. 


April  6,  1935 


Motion  Picture  Herald 


43 


Continental  Electric  Company,  St.  Charles,  111. 
Herman   A.    DeVry    Company,    1111    Center  Street, 

Chicago,  Illinois. 
Electrical  Research  Products,  250  W.  57th  Street,  New 

York  City. 

Electronic  Industries,  75  East  Wacker  Drive,  Chicago, 
Illinois. 

G-M    Laboratories,    Inc.,    1731-35    Belmont  Avenue, 

Chicago,  Illinois. 
Gordos  Proaucts  Company,  17  West  6Cth  Street,  New 

York  City. 

Harrison  Radio  Company,   142  Liberty   Street,  New 

York  City. 
Hygrade  Sylvania  Corp.,  Clifton,  N.  J. 
International  Projector  Corp.,  88-95  Gold  Street,  New 

York  City. 

Lumotron  Vacuum  Products  Division,  General  Scien- 
tific Corporation,  4829  South  Kedzie  Avenue,  Chicago, 
Illinois. 

Marvin   Radio   Tube   Corporation,   76   Court  Street, 

Irvington.  N.  J. 
RCA  Manufacturing  Company,  Inc.,  RCA  Radiotron 

Division,  201  No.  Front  Street,  Camden,  New  Jersey. 
Telephoto  &  Television  Corp.,  133-35  West  19th  Street, 

New  York  City. 
Universal    Tube    Company,    1512    Atlantic  Avenue, 

Brooklyn,  New  York. 

▲ 

Pipe  Organs 

Refer  to  ORGANS 

A 


Plastic  Paint 

PLASTIC  PAINT  is  exten- 
sively used  for  decorating  auditorium  walls, 
lobbies  and  foyers  of  theatres.  With  this 
paint  almost  any  sort  of  rough  texture  can 
be  developed  from  the  most  refined  stipple 
to  the  shaggiest  Spanish  palm  finish.  Sand 
swirl,  two-tone  and  other  effects  can  also 
be  obtained  in  a  number  of  colors  and  color 
combinations. 

Plastic  paint  comes  in  the  form  of  a 
white  powder.  Before  application  it  is 
mixed  with  water;  sometimes,  also,  with 
coloring  matter.  It  may  be  tinted  with 
dry  colors  before  application,  or  the  plastic 
paint  may  be  sized  and  then  glazed  with 
an  oil  glaze  tinted  with  oil  colors.  It  may 
be  applied  on  any  type  of  surface  and  when 
thus  properly  applied  and  treated  it  can 
be  washed  from  time  to  time  with  soap  and 
water. 

Architectural  Plastering  Company,  624-26  First  Ave- 
nue, New  York  City. 
The  Craftex  Company,  40  Central  St.,  Boston,  Mass. 
Hewes  Gotham  Co.,  520  W.  47th  St.,  New  York  City. 
H.  B.  Wiggin's  Sons  Company,  Bloorafield,  N.  J. 

A 


Pop  Corn  Machines 

POP  CORN  MACHINES  offer 

an  excellent  opportunity  for  theatres  to  in- 
crease their  revenue,  according  to  informa- 
tion from  exhibitors  who  are  operating 
them.  One  exhibitor  states  that  in  one 
week  he  cleared  $59  with  a  corn  popper 
in  his  lobby.  Fig:ures  provided  by  another 
exhibitor  state  that  in  six  months  he  tooic 
$967.91,  out  of  which  his  expenses  were 
$296.94,  leaving  a  profit  of  $670.97.  One 
theatre  circuit  in  the  east  is  using  pop  corn 
machines  at  five  of  its  houses. 

Pop  corn  machines  may  be  had  in  a  num- 
ber of  sizes  and  styles,  ranging  from  small 
models  to  elaborate  machines  which  also 
include  peanut  warming  facilities. 

C.  Cretors  &  Company,  620  W.  Cermak  Rd.,  Chicago, 
Illinois. 

Kingery  Manufacturing  Company,  420  E.  Pearl  Street, 
Cincinnati,  O. 

Star    Manufacturing   Company,   447    Finney  Avenue, 
St.  Louis,  Mo. 


Portable  Projectors 

PORTABLE  PROJECTORS  are 

motion  picture  projection  machines  which 
are  designed  to  be  set  up  only  temporarily 
and  not  for  permanent  installation  in  a 
regular  theatre,  as  a  rule,  although  used 
there.  They  are  particularly  adapted  for 
use  in  schools,  clubs,  etc.,  and  may  be  ob- 
tained for  installation  in  connection  with 
leading  makes  of  sound  equipment  or  with 
sound  apparatus  built  in.  There  is  a  model 
with  a  heavy  pedestal  for  permanent  in- 
stallation. 

Semi-portable  projectors  are  standard 
motion  picture  machines  which  may  be 
utilized  for  either  temporary  or  permanent 
installations.     That  is  to  say,  these  ma- 


chines, while  sturdily  constructed,  are  com- 
paratively light  in  weight  and  may  be- 
moved  from  rooms  or  buildings  easily. 
Sound  apparatus  specially  constructed  for 
portable  machines  is  available.  Also  avail- 
able are  sound-on-film  unit  projectors  of 
portable  type  for  both  35-mm.  and  16  mm. 
film. 

The  Ampro  Corporation,  545  Fifth  Avenue,  New  York 
City. 

Bell    &    Howell    Company,    1801    Larchmont  Avenue, 

Chicago,  Illinois. 
The  Cincinnati  Times  Recorder  Company,  1733  Central 

Avenue,  Cincinnati,  Ohio. 
Andre  Debrie,  Inc.,  115  W.  45th  Street,  New  York 

City. 

Herman    D.    DeVry    Company,    1111    Center  Street, 

Chicago,  Illinois. 
Electrical  Research  Products,  250  W.  57th  Street,  New 

York  City. 

Good-All  Electric  Mfg.  Co.,  Ogallala,  Nebraska. 
The  Holmes  Projector  Company,  1815  Orchard  Street. 
Chicago,  Illinois. 


All  the  merchandise  advertised 
in  these  pages  or  listed  in  the 
Equipment  Index  is  either  in 
stock  or  may  be  had  at  a  few 
hours  notice  at  any  one  of  our 
28  branches. 

Well-stocked  central  ware- 
houses and  large-scale  buying 
guarantees  quickest  delivery 
and  always  at  the  lowest  prices 
commensurate  with  the  type 
of  service  rendered. 


NATIONAL  THEATRE  SUPPLY  CO 


Home  Office 


92  Gold  Street 


New  York 


44 


Better  Theatres  Section 


April  6,  1935 


Showing 
the  Way 
to  Perfect 
Performance 


GARVER 
KURRENT  CHANGER 

Saves  20-30%,  Changing  A.C.  to 
D.C.  Delivers  15-30  amps,  steadi- 
ly and  quietly,  elim- 
inating change-over 
troubles.   No   inter-  $1 

ference   M.md\  r 

★      ★  ★ 
Brilliant — Quiet — Mazda  Projec- 
tion, concentrated 
spot  or  flood  light- 
ing   (110    or  220 
volts). 

National  Regulator 

$60 

★     ★  ★ 
Circular    on  Request 
RIPREStlNTATIVtS    IN  ALL  PRINCIPAL  CITIES 


UNION  CITY  IND. 


The  World*s  Largest 
Mail  Order  Supply  House 

SAVES  YOU  MONEY  ON 

New  and  Rebuilt 


All  Makes  of 
Projectors 


MOTION 
PICTURE 
SOUND 
EQUIPMENT 

Make  S.O.S.  your  one  source  of 
supply  for  ALL  your  Theatre 
Equipment  and  Supplies.  Every- 
thing from  Tickets  to  Projectors 
at  huge  savings. 


[Latest  Models— 16MM  SOUND-  (h^OR  1 
ON-FILM  Outfits.  Everything  J)^7J  I 
complete    ^  J 

Write  for  our  Newest  "PARTS"  Catalog — 
Free  on  request. 

S.O.S.  CORP. 

1600  BROADWAY  NEW  YORK  CITY 


1935  MODEL  W 

SUPERIOR  PROJECTOR 

MEETING  ALL  DEMANDS  FOR 
IMPROVED  PROJECTION 

COXSACKIE  MFG.  CORP..  Coxsaclcie,  N.  Y. 


International  Projector  Corp.,  88-96  Gold  Street,  New 
York  City. 

RCA  Victor  Company,  Photoplione  Division,  Camden, 
N.  J.,  and  411  Fifth  Avenue,  New  York  City. 

Royal  Zenith  Projectors,  Inc.,  33  W.  60th  Street,  New 
York  City. 

Victor  Animatograph  Corporation,  Davenport,  Iowa. 

Safety  Projector  Company,  310  W.  Second  Street, 
Duluth,  Minn. 

S.  O.  S.  Corp.,  1600  Broadway,  New  York  City. 

Weber  Machine  Corporation,  59  Rutter  Street,  Roch- 
ester, N.  Y. 


Poster  Lights 

THESE      ARE  TUBULAR 

shaped  reflectors  to  be  fastened  to  the  poster 
frame  for  illuminating  poster  displays. 
They  come  completely  wired,  with  bracket 
for  attaching.    Prices  range  from  $16  up. 

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
Metal    Products,    Inc.,    1434   N.    Fourth   Street,  Mil- 
waukee, Wis. 

The   Voigt   Company,   1743   N.    12th   Street,  Philadel- 
phia, Pa. 


Poster  Paste 

Refer  to  PASTE,  POSTER  AND 
LABELING 


Poster  Projectors 

THESE  MACHINES  are 
projectors  operated  similarly  to  steroptic- 
ons,  except  that  instead  of  employing  trans- 
parent slides,  matter  printed  on  opaque 
surfaces  can  be  projected  upon  a  screen. 
They  are  used  in  the  making  of  posters 
for  lobby  displays  and  similar  purposes. 
The  artist  projects  a  drawing  or  photo- 
graph from  a  press  sheet  or  other  pre- 
pared advertising  matter,  upon  the  surface 
on  which  he  is  to  make  his  own  drawing, 
controlling  the  image  size  by  moving  the 
projector  nearer  to  or  farther  from  the 
objective.  The  system  of  mirrors  and  lenses 
in  the  projector  gives  an  image  of  the 
same  direction  and  proportions  as  those  of 
the  original.  The  artist  then  merely  traces 
along  the  projected  lines,  filling  in  the 
colors  as  indicated. 

Poster  projectors  usually  allow  the  use 
of  original  subjects  as  large  as  six  or  seven 
inches  long  by  five  or  six  inches  high.  Sub- 
jects larger  than  that  can  be  projected  and 
copied  in  sections. 

Bausch  and  Lomb  Optical  Co.,  Rochester,  N.  Y. 
F.  D.  Kees  Manufacturing  Company,  Beatrice,  Neb. 
A  &  B  Smith  Company,  63  Smithfield  Street,  Pitts- 
urgh.  Pa. 

Yankee    Sales    Company,    491    Sixth    Avenue,  North 
Troy,  N.  Y. 


Power  Plants 

Refer  to  LIGHTING  AND  POWER 
PLANTS 


Projection  Booths  and  Equipment 

THE  PROJECTION  room,  or 
booth,  because  of  the  fact  that  it  is  one  of 
the  nerve  centers  of  the  motion  picture  the- 
atre, is  becoming  standardized.  Not  in 
size,  naturally,  but  in  general  construction, 
and  the  high  standard  of  equipment,  etc. 
The  projection  room,  because  of  the  very 
nature  of  the  purpose  it  serves,  must  be 
fireproof  and  ideally  ventilated. 

There  are  many  things  to  keep  in  mind 


in  the  purchase  of  projection  room  equip- 
ment. Certain  parts  of  this  equipment 
must  conform  to  the  building  codes,  it  must 
be  practical,  it  must  satisfy  the  projection- 
ist and  it  must  lend  itself  to  better  projec- 
tion. 

The  design  and  layout  of  the  projection 
room  should  have  the  careful  attention  of 
the  architect  or  builder  at  the  time  the 
plans  for  the  theatre  are  being  prepared. 

The  desirable  projection  room  may  vary 
in  size  but  to  accommodate  two  projectors, 
it  should  be  at  least  15  feet  by  10  feet,  with 
12  foot  ceiling.  This  size  will  also  care 
for  a  spotlight  and  slide  dissolver.  By  all 
means  toilet  facilities  should  be  provided 
and  a  shower  bath  is  highly  desirable. 

Atlas  Metal  Works,  2601  Alamo  Street,  Dallas,  Tex. 
Coxsackie  Manufacturing  Corporation,  Coxsackie,  N.  Y. 
Enterprise     Optical     Manufacturing     Company,  4431 

West  Lake  Street,  Chicago,  111. 
E.    E.    Fulton    Company,    1018    S.    Wabash  Avenue, 

Chicago,  111. 

Holmes  Projector  Company,  1815  Orchard  Street,  Chi- 
cago, III. 

International  Projector  Corporation,  88-96  Gold  Street, 

New  York  City. 
The  National  Theatre   Supply  Company,  92-96  Gold 

Street,  New  York  City. 
S.  O.  S.  Corp.,  1600  Broadway,  New  York  City. 
Westinghouse    Electric    &    Manufacturing  Company, 

East  Pittsburgh,  Pa. 


Projection  Machines 

PROJECTORS  HERE  re- 
ferred to  are  the  standard  non-portable  ma- 
chines designed  for  permanent  installation, 
usually  in  theatres.  It  is  the  expressed  be- 
lief of  theatre  owners  and  projectionists 
that  practically  ideal  projection  is  possible 
with  equipment  available  at  present,  pro- 
vided it  is  in  the  hands  of  a  competent  op- 
erator. Modern  projection  machines  are 
the  result  of  many  years  of  improvement 
and  development  to  meet  the  ever-growing 
requirements  for  the  best  possible  screen 
results. 

All  late  model  standard  projectors  are 
either  constructed  specially  for  sound  pic- 
ture projection  or  are  readily  adapted  to 
any  make  or  model  of  sound  apparatus, 
either  for  sound-on-disc  or  sound-on-film. 

Baird  Motion  Picture  Machine  Company,  31  E.  Run- 
yon  Street,  Newark,  N.  J. 

Cincinnati  Time  Recorder  Co.,  1733  Central  Avenue, 
Cincinnati,  Ohio. 

The  Coxsackie  Manufacturing  Corporation,  Coxsackie, 
N.  Y. 

Andre  Debrie,  Inc.,  115  W.  45th  Street,  New  York 
City. 

Herman  A.  DeVry  Company,  1111  Center  Street,  Chi- 
cago, Illinois. 

Enterprise  Optical  Manufacturing  Company,  4431  W. 
Lake  Street,  Chicago,  111. 

E.  E.  Fulton  Company,  1018  S.  Wabash  Avenue,  Chi- 
cago, 111. 

Holmes  Projector  Company,  1815  Orchard  Street, 
Chicago,  111. 

International  Projector  Corporation,  88-96  Gold  Street, 

New   York  City. 
Sam  Kaplan  Mfg.  &  Supcly  Company,  729  Seventh 

Avenue,  New  York  City. 
Royal  Zenith  Projectors,  Inc.,  33  W.  60th  Street,  New 

York  City. 


Projection  Machine  Parts 

NO  MACHINE  is  Stronger, 
or  more  efficient  than  its  parts.  Replace- 
ments in  projection  machines  are  a  more 
important  phase  of  showmanship  today  than 
ever  before,  w^ith  the  constantly  growing 
demands  of  both  the  industry  and  the  pub- 
lic for  the  best  possible  projection  of  mo- 
tion pictures.    Concerns  dealing  in  parts 


April  6,  1935 


Motion  Picture  Herald 


45 


for  projection  machines  have  their  experts 
and  the  wise  exhibitor  gets  their  opinion. 

Chicago    Cinema    Products    Company,    1736  -  54  No. 

Springfield  Avenue,  Chicago,  111. 
Coxsackie  Manufacturing  Corp.,  Coxsackie,  N.  Y. 
Crown    Motion    Picture    Supplies,    311    W.    44th  St., 

New  York  City. 
Dowser  Manufacturing  Company,  157  Rogers  Avenue, 

Brooklyn,    New  York. 
Fogelburg    Engineering    Company,    126    So.  Clinton 

Street,  Chicago,  111. 
Fuerstenberg    &    Company,    212    So.    Market  Street, 

Chicago,  111. 

E.    E.    Fulton    Company,    1018    S.    Wabash  Avenue, 
Chicago,  III. 

Globe    Reliance    Corporation,    29    Glenwood  Avenue, 

Minneapolis,  Minn. 
GoldE     Manufacturing     Company,     2013     Le  Moyne 

Street,  Chicago,  111. 
Guercio  &  Barthel,  90S  S.  Wabash  Avenue,  Chicago, 

III. 

International    Projector    Corp.,    88-96   Gold    St.,  New 
York  City. 

Sam  Kaplan  Mfg.  &  Supply  Company,  729  Seventh 

Avenue,  New  York  City. 
Lavezzie   Machine   Works,    180   No.    Wacker  Drive, 

Chicago,  111. 
Mellaphone  Corp.,  Rochester,  N.  Y. 
Motion  Picture  Machine  Company,  3110  West  Lisbon 

Avenue,  Milwaukee,  Wis. 
The  National  Theatre  Supply  Company,  92-96  Gold 

Street,  New  York  City. 
Precision   Machine   Company,   368   Milwaukee  Street, 

Milwaukee,  Wis. 
S.  O.  S.  Corporation,  1600  Broadway,  New  York  City. 
Wenzel  Company,  2505-09  So.   State   Street,  Chicago, 

Illinois. 


Projectors,  Advertising 

EXPLOITATION      IN  THE 

theatre  lobby  by  means  of  an  advertising 
projector  using  trailers  from  current  or 
forthcoming  attractions  is  a  means  of  the- 
atre publicity  that  is  growing  in  popular- 
ity. Projectors  for  this  purpose  are  avail- 
able together  with  a  trailer  service.  By 
means  of  recessing  the  screen  daylight 
projection  has  been  made  possible.  Con- 
tinuous and  automatic  action  is  a  feature 
of  many  of  the  advertising  projectors  now 
available.  They  may  be  had  with  or  with- 
out facilities  for  sound. 

Excelsior  Illustrating  Company,  226  W.  56th  Street, 
New  York  City. 

Holmes  Projector  Company,  1815  Orchard  Street,  Chi- 
cago, III. 

International  Projector  Corp.,  88-96  Gold  St.,  New 
York  City. 

RCA  Victor  Company,  Photophone  Division,  Camden, 
N.  J.,  and  411  Fifth  Ave..  New  York  City. 


Projectors,  Portable 

Refer  to  PORTABLE  PROJECTORS 


Public  Address  Systems 

PUBLIC  ADDRESS  SYSTEMS 

provide  a  means  of  electrically  amplifying 
the  voice.  The  microphone  picks  up  the 
ing  to  the  original  sound  waves,  these 
"words"  are  carried  through  amplifiers  to 
the  speakers,  where  they  are  transformed 
into  their  original  physical  form  as  sound 
waves,  only  now  of  much  greater  intensity 
than  when  merely  created  by  the  human 
vocal  mechanism.  Public  address  systems 
are  used  principally  in  the  theatre  for  an- 
nouncements, though  it  is  adaptable  to 
many  related  purposes.  Microphonic  at- 
tachment may  be  made  at  several  points  in 
the  system,  making  its  function  available  to 
the  manager  in  his  office  as  well  as  back- 
stage. 

Electrical  Research  Products,  250  W.  57th  Street,  New 
York  City. 

Federated   Purchaser,   Inc.,   23-25    Park   Place,  New 
York  City. 

Gates  Radio  &  Supply  Company,  Quincy,  III. 


Streamlined— and  as  New 
as  the  Stratosphere  Plane 

De  VRY 

THEATRE 

SOUND 

PROJECTOR 


Brand  New 
Integral  Design 
For  Picture-Sound 
Mechanism 

Sound  is  nof  added  as 
an  afterthought  to  an 
older  type  silent  projec- 
tor— The  new  design 
effects  a  saving  of 
50%  in  number  of 
parts. 


Beautiful  Streamline  construction  encloses  usual  pro- 
jecting parts  in  handsome  metal  case — dustproof  and 
vibration  proof. 


Note  the  features  below  that  put  the  DeVry  years  ahead 
of  ordinary  projectors: 

Exclusive  Silent  Chain  Drive — no  noisy  meshed  gears. 

Rear  Barrel  Shutter — regular  equipment. 

50%  Fewer  Parts — permitting  lower  first  cost,  and  a 

greater  saving  in  upkeep. 
Integral  Design — permitting  a  more  direct  flow  of  power 

between  picture-sound  units. 
DeVry  Guarantee  of  sound  and  picture  equal  in  quality 

and  volume  to  that  in  the  largest  and  finest  theatres 

in  America. 


Send  for  free  circular  on  THE  DEVRY  2000 
Foot  CLOCK  SPRING  REEL  with  AUTO- 
MATIC CLIP— doubles  the  life  of  film. 

Write  for  program  of  DeVry  Summer 
School  of  Visual  Education. 

HERMAN  A.  DEVRY,  INC. 

Dept.  A—  II  II  Center  St.,  Chicago 
New  York  Branch — 347  Madison  Ave. 


Sijmbol  of  Quality 


46 


Better  Theatres  Section 


April  6,  1935 


Announcement 

A  NEW  STANDARD 
SOUND  SCREEN 

OUTSTANDING  QUALITIES 
IN  GREATER 
LIGHT  REFLECTION, 
DIFFUSION,  AND  SOUND 
TRANSMISSION 

At  a  Price  that  is  Right 

The  creators  and  manufacturers 
of  the  famous  ORTHO-KROME 
Screen  are  pleased  to  announce 
the  commencement  of  a  New 
Enterprise  to  Service  the  Motion 
Picture  Theatre  with  Standard 
Screen  Equipment. 

The  same  skilled  experts  who 
created  ORTHO-KROME  Screens 
for  America's  Leading  Theatres 
are  now  building  a  New,  More 
Efficient,  More  Economical  Mo- 
tion Picture  Sound  Screen  Product. 

HURLEY  SCREEN  CO, 

24-15  Forty-third  Avenue 
Long  Island  City,  N.  Y. 


Make  Another  Profit 

from 

**RECT-0-LITE" 
RECTIFIER 

MAKE  A  PKOFIT  from  a  rectifier?  Yes!  You  know 
that  brighter  pictures  bring  business.  You  know  that 
freedom  from  interference  improves  sound.  You  know 
that  lower  costs  increase  your  profits.  You  get  all  three 
from  "Rect-O-Lite"  Bectiflers. 

Amperage  range.  30-60;  voltage,  30-40;  extra  tap 
delivers  55  volts.  Operated  by  three-phase.  220-voll, 
60-cycle  A.  C.  Designed  tor  use  with  Suprex  lamps. 
Silent,  non-sparking  performance.  Ends  changeover 
troubles.  Requires  tour  15-ampere  bulbs  which  are 
not  included  in  price. 

LOW  FIRST  COST 

Price,  without  ammeter,  $160.00;  with  ammeter,  $180.00 

Guaranteed  unconditionally  for  one  year. 

Ask  about  30-Ampere  "RECT-O-LITE"  for 
Low-Intensity  Lamps. 

Distributed  by  Members  of  the 
Independent   Theatre   Supply   Dealers  Association 


ma,  A  BETTER  RECTI  FIER 


(Formerly  trade-named  "Handy") 

B ALDOR 

ELECTRIC  CO.  THEATRE  DIV. 

ST.  LOUIS,  MO. 


Good -All  Electric  Mfg.  Co..  Ogallala,  Nebraska. 

LeRoy  Sound  Equipment  Corp.,  421  Lyell  Avenue, 
Rochester,  N.  Y. 

Macy  Engineering  Company,  1451  39th  Street,  Brook- 
lyn, N.  Y. 

The  Martin  Band  Instrument  Co.,  Elkhart,  Indiana. 
Miles  Reproducer  Co.,  Inc.,  112-114  West  14th  Street, 

New  York  City. 
Operadio  Mfg.   Company,  St.   Charles,  111. 
Pictur-Fone    Corporation,    212    West    North  Street, 

Lima,  Ohio. 

RCA  Victor  Company,  Photophone  Division,  Camden, 
N.  J. 

Samson  Electric  Company,  Canton,  Mass. 
S.  O.  S.  Corp.,  160O  Broadway,  New  York  City. 
Racon  Electric  Company,  Inc.,  52  E.  19th  Street,  New 
York,  N.  Y. 


Railings,  Bronze  and  Iron 

Refer  to  BRASS  RAILS  and 
ORNAMENTAL  BRONZE 

▲ 

Rectifiers 

RECTIFIERS  are  devices 
for  converting  alternating  current  to  di- 
rect current  for  both  the  projection  arc 
and  for  the  sound  system.  Some  employ 
Tungar  tubes  as  the  essential  rectifying 
agency.  Others  are  of  the  copper  oxide 
(dry)  type.  Rectifiers  used  to  transform 
current  for  the  sound  system  are  much 
smaller  than  those  supplying  current  for 
the  arc,  and  are  also  equipped  with  filters. 

American  Transformer  Company,  178  Emmet  Street, 
Newark.  N.  J. 

Baldor  Electric  Company,  4351  Duncan  Street,  St. 
Louis,  Missouri. 

Century   Electric  Co.,   1806  Pine  St.,  St.   Louis,  Mo. 

Delta  Manufacturing  Company,  190  Willow  Street. 
Waltham,  Mass. 

Fidelity  Electric  Company,  Lancaster,  Pa. 

Forest  Manufacturing  Corp.,  145  Valley  Street,  Belle- 
ville, N.  J. 

Carver  Electric  Company,  Union  City,  Ind. 
Gates  Radio  and  Supply  Company,  Quincy,  Illinois. 
General   Electric  Company,  Bridgeport,  Conn. 
Hofifmann-Soons,  387  First  Avenue,  New  York  City. 
International   Projector   Corp.,   88-96   Gold   St.,  New 
York  City. 

Morelite  Company,  Inc.,  600  West  57th  Street,  New 
York  City. 

Radio  Receptor  Company,  106  Seventh  Avenue,  New 
York  City. 

Reynolds    Electric    Company,    2650    West  Congress 

Street,  Chicago,  111. 
Sarvas    Electric   Company,    Inc.,   22-14  40th  Avenue, 

Long  Island  City,  N.  Y. 
S.  O.  S.  Corporation,  1600  Broadway,  New  York  City. 
The  Strong  Electric  Corporation,  2501  Lagrange  Street, 

Toledo,  Ohio. 

Westinghouse  Elec.  &  Mfg.  Co.,  East  Pittsburgh,  Pa. 


Reels 

THERE  ARE  VARIOUS  typCS 

of  these  made,  from  the  10-inch,  as  used 
by  film  exchanges,  to  the  accurately  con- 
structed type  used  on  the  projector  ma- 
chines. Some  have  machine  embossed 
sides,  wire  welded  sides,  and  still  another 
type  has  die  cast  sides.  Most  of  the  types 
offered  for  use  on  the  projectors  have  large 
diameter  film  hubs,  which  greatly  aid  in 
relieving  the  strain  on  the  projector  as 
well  as  giving  more  even  take-up  tension. 

Herman  A.  DeVry,  Inc.,  1111  Center  Street,  Chi- 
cago, Illinois. 

E.  E.  Fulton  Company,  1018  S.  Wabash,  Chicago,  111. 
Globe  Machine  &  Stamping  Company,  1250  W.  76th 

Street,  Cleveland,  Ohio. 
Goldberg  Brothers,  3500  Walnut  Street,  Denver,  Colo. 
Neumade  Products  Corporation,  427  W.  42nd  Street, 

New  York  City. 
Projection  Accessories   Co.,  434  Broome  Street,  New 

York  City. 

E.  J.  Schaub.  30  No.  Railroad  Avenue,  Corona,  Long 
Island,  N.  Y. 

Lfniversal  Electric  Welding  Company.  9-16  Thirty- 
seventh  Avenue,  Long  Island  City,  N.  Y. 

W.  &  W.  Specialty  Company,  159  West  21st  Street, 
New  York  City. 

A 

Reel  End  Alarnns  and  Film  Indicators 

A     MECHANICAL  DEVICE 
placed  on  the  upper  magazine  of  a  picture 


machine  to  warn  the  operator  that  the  end 
of  the  reel  of  film  is  near,  takes  the  name 
of  Reel  End  Alarm.  They  are  so  con- 
structed that  they  can  be  set  to  ring  a 
warning  at  any  distance  from  the  end. 

At  all  times,  the  amount  of  film  on  the 
upper  reel  is  shown. 

E.  W.  Hulett  Manufacturing  Company,  3216  No.  Clark 
Street,  Chicago,  111. 

W.  G.  Preddey,  187  Golden  Gate  Avenue,  San  Fran- 
cisco, Cal. 

▲ 

Reflectors 

REFECTORS  ARE  MADE  for 

Mazda  Projectors,  Reflecting  Arc  Lamps, 
and  for  Spotlights.  Various  sizes  are  made 
with  different  spherical  curves,  as  well  as 
parabolic  curves.  Prices  range  from  $3.75 
to  $20. 

Bausch  &  Lomb  Optical  Company,  Rochester,  N.  Y. 

Brenkert  Light  Projection  Company,  7348  St.  Aubin 
Avenue,   Detroit,  Mich. 

Curtis  Lighting  Company,  Inc.,  1119  W.  Jackson 
Boulevard,  Chicago,  111. 

Fish-Schurman  Corp.,  230  E.  45th  St.,  New  York  City. 

Hub  Electric  Company  2225  W.  Grand  Avenue,  Chi- 
cago, 111. 

International  Projector  Corp.,  88-96  Gold  St.,  New 
York  City. 

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
Pompeian  Metallizing  Co.,  Inc.,  235  Fourth  Ave.,  New 
York  City. 

Reflector  Shield  Co.,  235  Fourth  Ave.,  New  York 
City. 

Sunlight    Reflector    Company,    Inc.,    226-228  Pacific 

Street,  Brooklyn,  N.  Y. 
Wheeler    Reflector    Company,    275    Congress  Street, 

Boston,  Mass. 


Reproducing  Devices  for  Sound  and  Music 

Refer  to  SOUND  EOUIPMENT, 
COMPLETE 

A 

Rewinders 

Refer  to  FILM  REWINDERS 

A- 

Rheostats 

AN  IMPORTANT  item  of 
projection  equipment  is  the  Rheostat.  A 
rheostat  may  be  described  as  a  resistor  pro- 
vided with  means  for  varying  resistance 
(opposition).  The  resistance  may  be  va- 
ried by  having  a  contact  lever  or  slider 
moved  over  a  number  of  stationary  but- 
tons or  segments  between  which  sections 
of  the  rheostat  are  connected,  by  compress- 
ing a  number  of  carbon  or  graphite  disc 
or  parts,  by  using  a  number  of  levers  or 
knife-switches  for  cutting  in  and  out  re- 
sistance. 

Charles  Bessler  Co.,  131  E.  23rd  Street,  New  York 
City. 

Cutler-Hammer,  Inc.,  Milwaukee,  Wis. 
General  Electric  Company,   1   River  Road,  Schenec- 
tady, N.  Y. 

The  Hertner  Electric  Company,  12690  Elmwood  Ave- 
nue, Cleveland,  O. 

HofJmann-Soons,  387  First  Avenue,  New  York  City. 

International  Projector  Corp.,  88-96  Gold  St.,  New 
York  City. 

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
Metropolitan  Electric  Mfg.  Co.,  East  Avenue  &  14th 

Street,  Long  Island_  City,  N.  Y. 
Ward  Leonard  Electric  Company,  Mt.  Vernon,  N.  Y. 
Westinghouse  Electric  &  Mfg.  Co.,  East  Pittsburgh, 

Pa. 


Rigging,  Stage 

Refer  to  HARDWARE,  STAGE 
A 

Safe,  Box  Office 

THIS  IS  A  SAFE  anchored 
inside  the  box  office  into  which  the  cashier 


April  6,  1935 

may  drop  silver  coins  and  bills  as  received 
from  patrons  beyond  what  is  needed  for 
purposes  of  making  change.  This  type  of 
safe  has  been  developed  as  a  result  of  the 
many  "stick-ups"  of  theatre  box  offices  in 
which  the  robber  has  obtained  receipts  run- 
ning into  several  thousand  dollars.  It  is 
widely  used  in  several  other  trades,  the 
idea,  in  brief,  being  that  with  this  type  of 
safe  in  the  box  office  a  theatre  is  likely  to 
lose  only  the  amount  which  it  is  keeping 
exposed  for  making  change. 

Box  office  safes  are  made  of  steel  and 
provided  with  a  slot  into  which  surplus 
receipts  are  placed  as  received,  or  are 
equipped  with  a  chute  through  which  the 
surplus  receipts  may  be  dropped.  Safes  of 
this  type  usually  make  possible  the  lowest 
rates  of  burglary  insurance. 

Gunite  Foundries  Corporation,  Rockford,  Illinois. 
Herring-Hall-Marvin    Safe   Co.,    400   Broadway;  New 
York,  N.  Y. 

Meilink  Steel  Safe  Company,  1672  Oakwood  Avenue, 

Toledo,  Ohio. 
York  Safe  &  Lock  Company,  York,  Pa. 

A 

Scenery,  Stage 

Refer  to  STAGE  SCENERY  AND 
DRAPERIES 

A 

Schools 

THEATRE  MANAGEMENT 

and  theatre  organ  playing  are  no  longer  hit- 
or-miss  propositions.  Both  have  become 
highly  specialized.  The  theatre  manager 
must  be  trained  in  administration  duties, 
advertising  and  technics,  and  the  organist 
must  be  able  to  dramatize  the  music  to  ac- 
company the  screen  attractions.  So  valu- 
able do  chain  organizations  consider  the 
trained  man  or  woman  that  they  are  de- 
manding those  persons  who  have  become 
skilled  through  graduate  work  in  schools. 

The  Del  Castillo  Theatre  Organ  School,  209  Massa- 
chusetts Avenue,  Boston,  Mass. 

New  York  Institute  of  Photography,  10  W.  33rd 
Street,  New  York  City. 

RCA  Institutes,  Inc.,  75  Varick  Street,  New  York 
City. 

Theatre  Managers  Institute,  325  Washington  Street, 
Elmira,  N.  Y. 

A 

Screens 

THERE  ARE  FOUR  types  of 

motion  picture  screens.  This  classification 
is  based  on  the  character  of  the  finished 
surfaces,  as  follows :  Metallic,  Matt 
White,  Beaded  and  Translucent  (or  rear 
projection).  The  latter  type  is  not  in  gen- 
eral use,  and  for  the  purposes  of  this  de- 
scription will  require  no  further  mention. 

Sound  screens  are  of  two  types,  porous 
and  perforated.  A  porous  screen  is  one  on 
which  a  reflective  surface  is  built  on  a 
loosely  woven  fabric,  leaving  the  openings 
in  the  cloth  unobstructed  to  permit  the 
passage  of  sound.  A  perforated  screen  sur- 
face is  applied  on  a  closely  woven  fabric, 
first  making  an  opaque  sheet,  which  is  then 
perforated  with  minute  holes  to  permit  the 
passage  of  sound. 

Screens  should  be  selected  largely  by  the 
width  of  the  theatre  and  its  projection 
equipment  or  light  source. 

Screens  are  again  classified  as  to  their 
reflective    properties    in^o    three  general 


Motion  Picture  Herald 

classes:  Diffusive  (matt  white),  semi- 
diffusive  metallic  (silver  or  gold  fibre),  and 
directive  (beaded).  The  white  is  the  only 
one  of  the  above  types  which  could  be  used 
satisfactorily  in  a  theatre  of  any  size,  and 
only  then  with  high  intensity  projection. 
Because  it  diffuses  the  light  almost  equally 
to  all  the  seats,  it  is  a  necessity  in  the  extra- 
wide  auditoriums.  Due  to  their  higher  re- 
flective properties,  the  metallic  and  beaded 
surfaces  will  produce  satisfactory  brilliance 
and  detail  when  used  in  conjunction  with 
the  more  economical  projection  units,  mak- 
ing a  substantial  saving  in  current.  Since 
the  beaded  screen  has  the  highest  reflective 
surface,  it  should  be  used  with  incandescent 
projection  lamps. 

Da-Lite  Screen  Company,  2715  N.  Crawford  Avenue, 
Chicago,  111. 

L.  J.  Gardiner  Company,  935  Goodale  Blvd.,  Columbus, 
Ohio. 

Hurley   Screen   Company,   24-15   Forty-third  Avenue, 

Long  Island  City,  N.  Y. 
Keasbey  &  Mattison  Company,  Ambler,  Pa. 
Minusa  Cine  Screen  Company,  2665  Delmar  Boulevard, 

St.  Louis,  Mo. 
Raven  Screen  Company,   147-51   E.  24th  Street,  New 

York  City. 
Theatre  Screen  Corp.,  Roosevelt,  L.  I. 
Walker- American  Corporation,   800  Beaumont  Street, 

St.  Louis,  Missouri. 
Whiting  &  Davis,  Plainville,  Mass. 

A 

Screen  Masks 

LARGER     SCREENS  HAVE 

come  into  rather  general  vogue  recently, 
due  to  the  elaborate  type  of  productions 
now  being  produced  which,  with  the  use  of 
special  lenses  have  enabled  theatres  to  pre- 
sent outstanding  scenes  with  greater  effect 
and  scope.  The  many  opportunities  to  use 
the  full  screen  to  give  added  value  to  im- 
portant scenes  have  brought  about  the  de- 
velopment of  the  screen  modifier,  or  mask 
which,  automatically  operated,  permits 
framing  of  the  screen  at  any  desired  size. 
The  screen  modifier,  or  mask,  was  first 
used  in  connection  with  sound-on-film  to 
compensate  for  the  sound  on  the  edge  of 
the  film.  This  equipment  is  now  being 
used  in  many  other  ways,  especially  in 
achieving  ingenious  opportunities  for  titles, 
announcements  and  special  trailers. 

Peter    Qark,    Inc.,    544   W.   30th   Street.    New  York 
City. 

Robert   E.   Power   Studios,   1717  Cordova  Street,  Los 

Angeles,  California. 
Vallen,  Inc.,  225  Bluff  Street,  Akron,  Ohio. 

A 

Screen  Paint 

Refer  to  PAINT,  SCREEN 
A 

Screen  Resurfacing 

TO  INSURE  proper  screen 
illumination  without  increasing  power 
consumption  or  incurring  the  risk  of  glare, 
the  screen  surface  should  be  kept  as  re- 
flective as  possible.  In  spite  of  regular 
cleaning  routine,  however,  screens  gradu- 
ally get  soiled,  and  in  instances  in  which 
it  is  not  felt  that  a  new  screen  is  warrant- 
ed, one  has  recourse  to  resurfacing. 

Exhibitors  have  used  a  flat  white  paint 
to  resurface  their  screens.  However,  due 
to  the  greater  necessity  today  for  an  im- 
maculate screen,  the  practice  of  resurfac- 
ing is  increasing,  and  as  a  result  specific 
materials  and  expert  methods  are  available. 
One  of  these  materials  is  sprayed  on,  after 


47 


R£fl  VICTOR 

PHOTOPHONE 

THAT  GIVES  GREATEST  SOUND 
SATISFACTION    AND   OFFERS  YOU: 

•  A  Sound  Box-Office 
Attraction 

•  Complete  Ownership 

•  A  Self-Liquidating 
Investment 

•  RCA  Super-Service 

PHOTOPHONE  DIVISION 

RCA  Manufacturing  Co.,  Inc. 
Camden,  N.  J. 

A  Radio  Corporation  of  America  Subsidiary 


48 


Better   Theatres  Section 


April  6,  1925 


FREE  ! 


Tells 
how  to 
modernize 
your 
sound . , . 
increases 
profits. 

This  FREE  brochure  tells  how  the 
modern  sound  system  is  increasing- 
patronage  and  profits  for  many  thea- 
tres. Shows  why  5-year  old  equipment 
cannot  reproduce  today's  recordings. 
Latest  improvements.  Profit  pointers 
for  you.  No  obligation.  Use  the 
coupon. 


Mail  this  coupon  Today 


The  CINCINNATI  TIME  RECORDER  CO., 
1739  Central  Ave.,  Cincinnati,  Ohio 

Gentlemen:  Please  send  us  your  free  brochure  on 
the  "Up-to-date  Sound  System.'' 

Theatre  

Street  

City  State  

Seating  Capacity  

Projector  

By  


m.  ^       ■  - 


Mellaphone  WR-2A3  Amplifier 

Wide  Range  .  .  .  Class  A  .  .  .  Four  Stage 
.  .  .  Undistorfed  15  waH  output  ...  Six 
new  type  tubes  .  .  .  Non  sync  and  micro- 
phone inputs  .  .  .  Small  down  payment 
and  easy  terms  .  .  .  GUARANTEED 
SATISFACTION. 

All  this  and  more  with  the  new  Mellaphone 
WR-2A3  Amplifier.  Write  or  wire  for  full 
details  about  a  trial  without  obligation  in 
your  own  theatre. 

MELLAPHONE  CORP. 

ROCHESTER,  N.  Y. 


I  TALK  from  your  Bcreoa 
WITH  your  quickly 
TYPEWRITTEN 

I  MESSAGES. 

J  50  Radio-Mats  $1.50 
I  Whlt«,  Amber  or  Green 

Accept  no  lubstltute. 


is  THE  SlATIONtRrOFTHE  SCREEN 


The  Patented 
Typewriter  Slide 

For  Sale  by 
Your  Dealer 
Samples  Upon  Request 
RADIO-MAT  SLIDE 
CO.,  Inc. 
1819  BROADWAY 
New    "Vork,    N.  Y. 


the  screen  is  -washed,  and  is  of  such  char- 
acter that  it  does  not  clog  the  perforations, 
and  that  it  restores  to  the  screen  a  high 
reflective  po^wer.  One  of  the  characteris- 
tics cited  in  a  resurfacing  material  now  on 
the  market  is  its  penetrability,  causing  it 
to  permeate  the  texture  of  the  screen  fabric, 
restoring  its  original  tightness. 

Burdick's  Re-Nu  Screen  Surface  Co.,  823  South  Wa- 
bash Avenue,  Chicago,  111. 

Raytex  Screen  Process  Company.  14117  Merchandise 
Mart,  Chicago,  111. 


Refi 


er 


Seat  Covers 

to  CHAIR  COVERS 


Sea-f  Indicators,  Vacant 

Refer  to  USHER  SIGNAL  SYSTEMS 

▲ 

Seat  Patching  Materials 

A  SMALL  HOLE — made  by 
accident  or  wear — soon  becomes  a  big 
tear  when  nervous  fingers  find  it.  Chair 
seats  may  be  kept  in  repair  and  worn  or 
maliciously  damaged  coverings  quickly 
made  usable  with  quick  patching  kits  now 
available. 

Recent  development  in  fabric  glues  has 
made  possible  these  patching  kits  that  may 
be  used  by  even  inexperienced  help. 

General  Seatinpr  Company,  2035-49  Charleston  Street, 

Chicago,  Illinois. 
Technical  Finishes  Corporation,  565  West  Washington 

Street,  Chicago,  Illinois. 

A 

Seats,  Theatre 

Refer  to  CHAIRS,  THEATRE 

▲ 

Shutters,  Metal  Fireproof 

THE     PORT     SHUTTER  IS 

made  entirely  of  metal  with  a  metal  sliding 
suspended  on  a  cord  in  which  is  connected 
a  fusible  link.  In  case  of  fire,  the  fusible 
links  melts  and  the  fire  shutter  automat- 
ically drops  over  the  port  hole  in  the  booth. 
They  are  made  to  fit  standard  openings, 
such  as  projection  port  holes,  stereopticon 
port  holes  and  spotlight  port  holes.  Prices 
range  from  $9  to  $25. 

Belson    Manufacturing    Company,    800    Sibley  Street, 
Chicago.  111. 

Best  Devices  Company,  Film  Building,  Cleveland,  O. 
H.  B.  Cunningham,  964  University  Avenue,  St.  Paul, 
Minn. 

W.  G.  Preddey,  187  Golden  Gate  Avenue,  San  Fran- 
cisco, Cal. 

A 

Signs,  Directional 

SIGNS  MAY  be  considered 
in,  two  general  groups — those  that  are  il- 
luminated and  those  which  are  etched  on 
metal  or  wood  without  illumination.  The 
illuminated  signs,  which  are  highly  artistic 
in  finish  and  construction,  are  made  to  read 
either  from  one  side  or  both.  The  lettering 
in  the  signs  is  chipped  into  the  glass  and  sil- 
vered, making  it  easy  to  read  in  daylight. 
The  letters  glow  in  a  soft  greenish  color. 
Illumination  is  accomplished  with  25-watt 
showcase  lamps.  Signs  are  fitted  with 
lamps,  cord  and  plug  ready  for  attaching 
to  light  socket. 

Ben  Adler  Signs,  Inc.,  343  So.  Dearborn  Street.  Chi- 
cago, Illinois. 

Belson    Manufacturing    Company,    800    Sibley  Street, 
Chicago,  111. 


Guercio  &  Barthel,  908  S.  Wabash  Avenue,  Chicago, 

Hub  Electric  Company,  2219  W.  Grand  Avenue,  Chi- 
cago, 111. 

The   Ideal   Sign   Company,   Inc.,   149  Seventh  Street, 

Brooklyn,  N.  Y. 
Kliegl  Brothers,  321  W.  SOth  Street.  New  York  City. 
Lu-Mi-Nus    Signs,    Inc.,    2736    Wentworth  Avenue, 

Chicago,  111. 

Major  Equipment  Company,  4603  Fullerton  Avenue, 
Chicago,  111. 

Metal  and  Glass  Products  Co.,  952  West  Lake  Street, 
Chicago,  Illinois. 

Metal  Products,  Inc.,  1434  N.  Fourth  Street,  Mil- 
waukee, Wis. 

Q-R-S  Neon  Division,  General  Scientific  Corporation, 
4829  So.  Dedzie  Avenue,  Chicago,  Illinois. 

Rawson  &  Evans,  710  W.  Washington  Street,  Chi- 
cago, 111. 

Tablet  &  Ticket  Company,  1015  W.  Adams  Street, 
Chicago,  111. 

Viking  Products  Corporation,  422  W.  42nd  Street, 
New  York  City. 

The  Voigt  Company,  1745  N.  12th  Street,  Philadel- 
phia, Pa. 


Signs — Electric 

MOTION  PICTURE  theatres 
are  extensive  users  of  electrical  advertis- 
ing, the  usual  electric  signs  at  some  of  the 
metropolitan  houses  being  the  most  elab- 
orate of  their  kind.  Since  the  sign  must 
necessarily  be  made  with  consideration  for 
the  size  of  the  theatre  facade  and  facilities 
for  anchoring  it,  the  matter  is  usually  given 
individual  consideration,  and  sketches  pre- 
pared for  the  specific  building  to  which  the 
sign  is  to  be  fastened. 

Ben  Adler  Signs,  Inc.,  343  So.  Dearborn  Street,  Chi- 
cago, 111. 

American  Sign  Company,  1940  Riverside  Drive,  Cin- 
cinnati, Ohio. 

The  Artcraft  Sign  Company,  Box  86,  Lima,  O. 

Claude  Neon  Lights,  Inc.,  41  E.  42nd  Street,  New 
York  City. 

Eagle  Sign  Company,  575  Albany  Street,  Boston,  Mass. 
Federal  Electric  Company,  8700  S.  State  Street,  Chi- 
cago, 111. 

Ideal  Sign  Company,  Inc.,  149  Seventh  Street,  Brook- 
lyn, N.  Y. 

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
Lu-Mi-Nus,  Inc.,  2736  Wentworth  Avenue,  Chicago, 
111. 

Metal  Products,  Inc.,  1434  N.  Fourth  Street,  Milwau- 
kee, Wis. 

Q-R-S  Neon  Division,  General  Scientific  Corporation, 

4829  So.  Kedzie  Avenue,  Chicago,  Illinois. 
Rex  Electric  Sign  Mfg.  &  Supply  Co.,  Inc.,  795  Main 

Ave.,  Passaic,  N.  J. 
Textile  Electric  Sign  Company,  Inc.,  500  Fifth  Avenue, 

New  York  City. 
The    Philadelphia    Sign    Company,    338    N.  Randolph 

Street,  Philadelphia,  Pa. 
United    Signs    Corporation,    3728   30th    Street,  Long 

Island  City. 

U.  S.  Electric  Sign  Company,  208  E.  27th  Street.  New 
York  City. 

Wagner  Sign  Sei-vice,  Inc.,  109  W.  64th  Street,  New 
York  City. 


Signs,  Marquee  and  Attraction  Board 

ELECTRIC  ILLUMINATION 
is  a  bonanza  to  the  program.  Presenting 
the  program  in  the  marquee  or  in  the  at- 
traction board  is  abox  office  asset.  The 
electric  presentation  of  a  theatre  and  a  pro- 
gram is  an  invaluable  adjunct  to  the  the- 
atre attendance. 

Ben  Adler  Signs,  Inc.,  343  So.  Dearborn  Street,  Chi- 
cago, 111. 

American  Sign  Company,  1940  Riverside  Drive,  Cin- 
cinnati, Ohio. 

Artcraft  Sign  Company,  Box  86,  Lima,  O. 

Claude  Neon  Lights,  Inc.,  41  E.  42nd  Street,  New 
York  City. 

Eagle  Sign  Company,  575  Albany  Street,  Boston, 
Mass. 

Hub  Electric  Company,  2225  W.  Grand  Avenue,  Chi- 
cago, 111. 

Ideal  Sign  Company,  Inc.,  149  Seventh  Street,  Brook- 
lyn, N.  Y. 

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
Lu-Mi-Nus  Signs,  Inc.,  2736  Wentworth  Avenue.  Chi- 
cago, 111. 

Metal  Products,  Inc.,  1434  N.  Fourth  Street,  Mil- 
waukee, Wis. 

Q-R-S  Neon  Division,  General  Scientific  Corporation, 
4829  So.  Kedzie  Avenue,  Chicago,  Illinois. 

Rex  Electric  Sign  Mfg.  &  Supply  Co.,  Inc.,  795  Main 
Ave.,  Passaic,  N.  J. 

Texlite,  Incorporated,  500  Fifth  Avenue.  New  York 
City. 

United  Signs  Corporation,  3728  30th  Street,  Long^ 
Island  City,  N.  Y. 

U.  S.  Electric  Sign  Company,  208  E.  27th  Street, 
New  York  City. 

Wagner  Sign  Service.  Inc.,  109  W.  64th  Street,  New- 
York  City. 


April  6.  1935 


Motion  Picture  Herald 


49 


Slides 

SLIDER   ARE   DIVIDED  into 

four  different  classes:  Song  slides,  adver- 
tising slides,  announcement  slides  and  spe- 
cial advertising  slides.  Song  slides  have 
come  into  vogue  within  the  last  few  years. 

A  patented  slide,  having  a  paper  frame 
and  a  composition  transparency  flexible 
enough  to  be  placed  in  a  typewriter,  per- 
mits the  management  to  prepare  its  own 
slides,  at  a  moment's  notice  if  need  be,  and 
is  thus  particularly  useful  for  special  an- 
nouncements. 

Cosmopolitan  Studios,  Inc.,   145  West  45th  St.,  New 
York  City. 

Kae  Studios,  112  W.  44th  Street,  New  York  City. 
Kansas  City  Slide  Mfg.  Co.,  1717  Wyandotte,  Kan- 
sas City,  Mo. 
National  Studios,  226  W.  56th  Street,  New  York  City. 
Quality   Slide  Company,  6  E.   Lake  Street,  Chicago. 

Radio- Mat  Slide  Company,  1819  Broadway,  New  York, 
N.  Y. 

Ransley  Studios,  108  N.  Dearborn  Street,  Chicago,  111. 
The  U.  S.  Slide  Company,  14  E.  8th  Street,  Kansas 
City,  Mo. 

Victor  Animatograph  Corporation,  Davenport,  la. 
Visual  Service   Company,   Inc.,  245   W.   55th  Street, 

New  York  City. 
Workstel  Studios.  Inc.,  45  W.  S7th  St.,  New  York, 

N.  Y. 


Soaps,  Liquid 

Refer  to  SANITARY  SPECIALTIES 

A 

Sound  Equipment,  Complete 

MUSIC  and  sound  repro- 
ducing devices  are  of  two  types,  synchro- 
nous and  non-synchronous.  The  latter  use 
phonograph  records,  which  are  cued  to  the 
picture.  The  majority  of  these  machines, 
which  have  from  two  to  four  discs  for  the 
records,  are  operated  from  the  pit  or  other 
location  in  view  of  the  screen.  The  synchro- 
nous type,  however,  is  operated  from  the 
projection  booth,  employing  disc  records  or 
film  recordings  made  in  conjunction  with 
the  picture. 

Among  the  developments  in  motion  pic- 
ture sound  is  the  increase  in  the  employ- 
ment of  the  sound-on-film  method  of  re- 
production. Experiment  has  eradicated 
many  of  the  disadvantages  of  this  method 
and  increased  its  advantages. 

Bestone,  Incorporated,  1514  Davenport  Street,  Omaha, 
Neb. 

The  Cincinnati  Time  Recorder  Company,  1733  Central 
Avenue,  Cincinnati,  Ohio. 

Cremonim-Wood  Corp.,  Fisk  Bldg.,  New  York  City. 

Herman  A.  DeVry  Company,  1111  Center  Street,  Chi- 
cago, Illinois.  _ 

Electrical  Audition  and  Research  Laboratories.  130 
W.  46th  St.,  New  York,  N.  Y. 

Electrical  Research  Products,  Inc.,  250  W.  57th  Street, 
New  York  City. 

Electrophone  Corp.,  2019  Rittenhouse  Sq.,  Philadelphia, 
Pa. 

Enterprise    Optical    Mfg.    Company,    4431    W.  Lake 

Street,  Chicago,  111. 
Gates  Radio  &  Supply  Company,  Quincy,  111. 
General  Talking  Pictures   Corporation,   218   W.  42nd 

Street,  New  York  City. 
Good-All  Electric  Manufacturing  Company,  Ogallala, 

Neb. 

Gries  Reproducer  Corp.,  485  East  133rd  St..  New 
York  City. 

International  Projector  Corporation,  88-96  Gold  Street, 
New  York  City. 

LeRoy  Sound  Equipment  Corporation,  421  Lyell  Ave- 
nue, Rochester,  N.  Y. 

The  Lincrophone  Company,  Inc.,  127  Pleasant  Street, 
Utica,  N.  Y. 

H.  H.  Liptnan,  76  Van  Braam  St.,  Pittsburgh.  Pa. 

The  Martin  Band  Instrument  Company,  Elkhart, 
Indiana. 

Mellaphone  Corporation,  714  University  Avenue, 
Rochester,  N.  Y. 

Pictur-Fone  Corporation.  Lima.  Ohio. 

Platter  Sound  Products  Company,  North  Vernon,  Ind. 

Royal  Zenith  Sound  Projectors,  Inc.,  33  W.  60th 
Street,  New  York  City. 

RCA  Manufacturing  Company,  Inc.,  RCA  Victor  Divi- 
sion, Camden,  New  Jersey. 

Scott-Ballantyne  Company,  219  No.  16th  Street,  Omaha, 
Nebraska. 

S.  O.  S.  Corporation.  1600  Broadway,  New  York  City. 
Universal  Sound  System,  Inc..  10th  &  Allegheny  Ave- 
nues, Philadelphia,  Penna. 


Weber  Machine  Corporation,  59  Rutter  Street,  Roch- 
ester, N.  Y. 

Western  Electric  Company,  195  Broadway,  New  York 
City. 


Speakers  and  Horns 

HORNS      AND  SPEAKERS 

used  in  sound  installations  are  air  columns 
with  a  belled  outlet,  or  magnetic  or  elec- 
tro-dynamic cones  (in  baffles  or  horns), 
used  to  project  the  sound  waves  created  by 
the  amplified  electrical  pulsations.  They 
are  attached  to  amplifiers  and  usually  num- 
ber two  or  more,  depending  on  the  size  of 
the  theatre. 

Brush  Development  Co.,  Cleveland,  O. 
Herman  A.  DeVry  Company,  1111  Center  Street,  Chi- 
cago, Illinois. 


Electrical    Research    Products,    250    W.    57th  Street, 

New  York  City. 
Federated    Purchaser,    Inc.,    23-25    Park    Place,  New 

York  City. 

Fox  Electric  &  Manufacturing  Co.,  3100  Monroe 
Street,  Toledo,  O. 

Gates  Radio  and  Supply  Company,  yuincy,  ill. 

Cood-All  Electric  Mfg.  Co.,  Ogallala,  Nebraska. 

Jensen  Radio  Manufacturing  Company,  6601  S.  Lar- 
amie Avenue,  Chicago,  111. 

LeRoy  Sound  Equipment  Corp.,  421  Lyell  Avenue, 
Rochester,  N.  Y. 

Macy  Engineering  Co.,  1451  39th  Street,  Brooklyn, 
N.  Y. 

Magnavox   Company,   Ltd.,   2131   Bueter  Roaa,  aort 

Wayne,  Indiana. 
The  Martin  Band  Instrument  Company,  Elkhart,  Ind. 
Mellaphone  Corp.,  Rochester,  N.  Y. 
Miles   Reproducer  Company,   Inc.,   112-114  West  14th 

Street,  New  York  City. 
Operadio  Mfg.  Company,  St.  Charles,  111. 
Racon  Electric  Company,  Inc.,  52  E.  19th  Street,  iNew 

York,  N.  Y. 

The  Rola  Company,  4230  HoUis  Street,  Oakland,  Cal. 
Stromberg-Carlson     Telephone     Manufacturing  Com- 
pany, 1060  University  Avenue,  Rochester,  N.  Y. 
SOS  Corporation,  1600  Broadway,  New  York  City. 


1^ 


SOUND  FILM  SYSTEMS 

offer 

true  high  fidelity  tone  quality 

and  wide  range  reproduction 

PRICED  AS  LOW  AS  $489.00 

We  also  manufacture 

sound  film  amplifiers — high  fidelity  speakers 
special  acoustical  horns 

You  will  be  interested  in  new  literature 

Good-All  Electric  Mfg.  Gompa 

OGALLALA,  NEBR. 


5^ 


MODERNIZE 

Your  Sound  Equipment! 


The  WRIGHT  -  DE  COSTER  Model  309 
Reproducer  covers  the  full  range  of  latest 
type  recordings.  Sold  on  a  money  -  back 
guarantee.  Write  for  complete  informa- 
tion. 

Send  details  of  your  theatre  and  sound 
equipment  for  free  suggestions  by  our 
Engineering  Department. 

WRIGHT-DECOSTER,  Inc. 

2225  University  Ave.  St.  Paul,  Minn. 

Export  Dept. —  M.  Simons  &  Son  Co. 
Cable  Address:  SIMONTRICE,  New  York 


The 


Low  in 
Price . . . 
High  in 
EMcienet 


Bestereapticon 

BEST  DEVICES  COMPANY 


Range  75  feet  or  lest.  Cooling  for  SOO-watt 
lamp.  9"  to  30"  foeut.  Price  eomplato 
(lest  lamp)  only,  at  your  dealer  


200  FILM  BLDG. 


CLEVELAND 


5TAGE  Lighting 


Better  Theatres  Section 


April  6,  1935 


AMAZING  accomplishments  have  resulted 
from  our  efforts  during  the  years  of 
economic  stress,  to  develop  new  ideas  for 
theatre  lighting  .  .  .  improvements  to  insure 
better  and  more  effective  stage  illumination  at 
lower  operating  costs.  Several  of  our  latest 
devices  here  pictured,  and  many  others,  are 
fully  described  in  our  catalog  .  .  .  and  have 
been  adopted  by  scores  of  prominent  theatres. 
Investigate  their  advantages,  then  modernize 
your  theatre  with  Kliegl  lighting  specialties 
.  .  .  the  most  advanced,  efficient,  and  depend- 
able equipment  available.  They're  a  box  office 
attraction — a  wise  investment — and  our  line  is 
complete. 

FOOTLIGHTS 
BORDERLIGHTS 
PROSCENIUM  LIGHTS 
COVE  LIGHTS 
STRIP  LIGHTS 
SPOTLIGHTS 
FLOODLIGHTS 
KLIEGLIGHTS 
STUDIO  LIGHTS 
STAGE  EFFECTS 

SaOPTICONS 
STEREOPTICONS 
SCENE  PROJECTORS 
STAGE  POCKETS 
WALL  POCKETS 
CONNECTORS 
PLUGGING  BOXES 

DIMMERS 
PROGRAM  LIGHTS 
AISLE  LIGHTS 

EXIT  SIGNS 
MUSIC  STANDS 
COLOR  MEDIUMS 
COLOR  WHEELS 
PIPE  CLAMPS 
STAGE  CABLE 
SUNDRY  SUPPLIES 


When  making  stage  lighting 
alterations,  or  planning  new 
construction  .  .  .  consult  with 
our  lighting  experts,  thus  in- 
sure best  results  at  the  lowest 
cost. 


yj-  cni/i  Camplek  Catoi 


Universal  Electric  Stage  Lighting  Co.,  inc. 
321  West  50th  Street 


N  EW  YORK.  N.Y. 


Complete  Line  of 

Better  Theatre  Equipment 

Distributors  of 

NATIONAL  CARBONS 

DA-LITE  SCREENS 
IMPERIAL  GENERATORS 

BRENKERT  LAMPS 
BAUSCH  &  LOMB  LENSES 
IDEAL  CHAIRS 
Best  Repair  Shop  in  the  Country 

JOE  GOLDBERG,  Inc. 

823  So.  Wabash  Ave.  Chicago,  III. 


Wholesale   Radio   Service   Company,   Inc.,   100  Sixth 

Avenue,  New  York  City. 
Wright-DeCoster,   Inc.,   2225   University    Avenue,  St. 

Paul,  Minn. 


Spotlights 

Refe,-  to  LIGHTS,  SPOT 

A 

Stage  Hardware 

Refer  to  HARDWARE,  STAGE 


Stage  Lighting  Equipment 

UNDER  THE   HEADING  of 

Stage  Lighting  Equipment  comes  strip 
lights,  proscenium  strips,  footlights,  border 
lights,  floodlights,  stage  effects.  There  are 
so  many  details  in  connection  with  stage 
lightings  that  we  suggest  getting  in  touch 
with  the  manufacturers  of  such  equipment 
for  specific  information. 

Frank  Adam  Electric  Company,  3650  Windsor  Ave- 
nue, St.  Louis,  Mo. 

Belson  Manufacturing  Company,  800  So.  Sibley  Street, 
Chicago,  111. 

Best  Devices  Co..  Film  Building,  Cleveland,  Ohio. 
Brenkert   Light   Projection  Company,  7348  St.  Aubin 

Avenue,  Detroit,  Mich. 
Century    Lighting    Equipment,    Inc.,    419    West  55th 

Street,  New  York  City. 
Chicago    Cinema    Products     Company,    1736-1754  N. 

Springfield  Avenue,  Chicago,  111, 
Chicago  Switchboard  Manufacturing  Company,  426  S. 

Clinton  Street,  Chicago,  111. 
C.   W.   Cole  &   Company,   Inc.,  320   E.   12th  Street, 

Los  Angeles,  Cal. 
Display  Stage  Lighting  Company,   Inc.,  410  W.  47th 

Street,  New  York  City. 
Hall    &    Connolly.    Inc.,    24    Van    Dam    Street,  New 

York,  N.  Y. 

Hub  Electric  Company,  2225  W.  Grand  Avenue,  Chi- 
cago, III. 

Kliegl  Brothers,  321  W.  SOth  Street,  New  York  City. 
Lee  Lash  Studios,  707  Broadway,  New  York  City. 
Major   Equipment   Company,   4603    FuUerton  Avenue, 
Chicago,  Dl. 

Metropolitan    Electric    Mfg.    Co.,    East    Avenue  and 

14th  Street.  Long  Island  City,  N.  Y. 
C.  I.  Newton  Co.,  253  W.  14th  St.,  New  York  City. 
Reynolds  Electric  Company,  2650  W.  Congress  Street, 

Chicago,  111. 

Ward-Leonard  Electric  Company,  37  South  Street, 
Mt.  Vernon,  N.  Y. 

J.  H.  Welsh,  503  W.  43rd  Street,  New  York  City. 

Westinghouse  Electric  &  Manufacturing  Company, 
East  Pittsburgh,  Pa. 

Wheeler  Reflector  Company,  275  Congress  Street,  Bos- 
ton, Mass. 

Wm.  Wurdack  Electric  Manufacturing  Company,  4444 
Clayton  Avenue,  St.  Louis,  Mo. 


Stage  Rigging 

Refer  to  HARDWARE,  STAGE 


Stage  Scenery  and  Draperies 

DRAPERIES  ARE  an  impor- 
tant feature  of  theatres  today.  They  ac- 
cent color  and  give  softness  and  richness 
to  an  interior.  Architectural  lines  of  door- 
ways and  archways  are  usually  distinctively 
hard  and  draperies  are  the  mediums  by 
which  these  lines  are  softened  to  give  a 
pleasing  appearance. 

Beaumont  Studios,  443  W.  47th  St.,  New  York  City. 
Robert  F.  Brunton,  449  West  49th  Street,  New  York, 
N.  Y. 

Peter  Clark,  Inc.,  544  W.  30th  Street,  New  York 
City. 

Collins  &  Aikman  Corporation,  25  Madison  Avenue, 
New  York,  N.  Y. 

Dazians,  Inc.,  142  W.  44th  Street,  New  York  City. 

Decorative  Arts  Co.,  300  W.  Austin  Avenue,  Chi- 
cago, 111. 

DuPont  Fabrics  Service,  Newburg,  N.  Y. 

Amelia  Grain  Theatrical  Scenery,  819  Spring  Garden 

St.,  Philadelphia,  Pa. 
Great  Western  Stage  Equipment  Company,  817  Holmes 

Street,  Kansas  City,  Mo. 
Phil   Gross   Theatrecraft,    108   W.    46th    Street,  New 

York  City. 

Landish  Studios,  Inc.,  40  Ames  Street,  Rutherford, 
N.  J. 

Lee  Lash  Studios,  707  Broadway,  New  York  City. 
Mandel   Brothers,    Inc.,    State   and   Madison  Streets. 
Chicago,  111. 

Novelty  Scenic  Studios,  611  West  43rd  Street.  New 
York  City. 


The  Orinoka  Mills,   183  Madison  Avenue,  New  York 
City. 

Robert  E.  Power  Studios,  1717  Cordova  Street,  Los 

Angeles,  California. 
Tiffin  Scenic  Studios,  Tiffin,  O. 

Twin   City   Scenic  Company,   2819  NicoUett  Avenue, 

Minneapolis,  Minn. 
Volland  Scenic  Studios,  Inc.,  3737  Cass  Avenue,  St. 

Louis,  Mo. 

Windowcraft  Valance   &  Drapery   Company,  328  Su- 
perior Avenue,  N.  W.,  Cleveland,  O. 


Stereopticons 

STEREOPTICONS  are  used 
for  the  projection  of  lantern  slides  and 
effects,  illumination  being  supplied  by  in- 
candescent or  arc  lamps.  They  are  made 
in  single  units  and  also  for  double  and 
triple  dissolving.  Many  unusual  effects  are 
possible  with  the  modern  stereopticon  as 
developed  for  theatre  use.  They  can  be 
obtained  for  as  low  as  $26.00  for  Mazda 
type. 

Best  Devices  Company,  Film  Building,  Cleveland,  O. 
Brenkert   Light   Projection  Company,   7348  St.  Aubin 

Avenue  at  Grand  Boulevard,  Detroit,  Mich. 
Kliegl  Brothers,  321  W.  SOth  Street,  New  York  City. 
National    Pictures    Service,    Inc.,   324   E.    3rd  Street, 

Cincinnati,  Ohio. 
Victor  Animatograph  Corporation,  Davenport,  la. 


Switchboards 

CONTROL     OF  LIGHTING 

through  the  use  of  switchboards  makes 
possible  the  wonderful  lighting  effects 
achieved  in  motion  picture  theatres  today. 
Switchboards  for  this  work  are  built  in 
many  capacities.  Scenes  for  unusual 
lighting  effects  may  be  pre-selected  by  such 
a  board  and  the  theatre  flooded  with  ap- 
propriate lighting  scheme  at  a  proper  cue 
by  the  simple  method  of  throwing  a  switch. 
Lighting  control  systems  are  being  adopted 
by  theatres  of  lesser  size  that  heretofore 
have  considered  such  installations  as  being 
only  for  the  larger  metropolitan  houses. 

Manufacturers  of  this  type  of  equip- 
ment are  glad  to  furnish  engineering  serv- 
ice and  consult  with  exhibitors  and  archi- 
tects on  various  phases  of  these  lighting 
control  systems. 

Frank  Adam  Electric  Company,  3650  Windsor  Ave- 
nue, St.  Louis,  Mo. 

Belson  Manufacturing  Company,  800  Sibley  Street, 
Chicago,  111. 

Chicago  Switchboard  Manufacturing  Company,  426  S. 

Clinton  Street,  Chicago,  111. 
Cleveland  Switchboard  Company,  2925  E.  79th  Street, 

Cleveland,  O. 

Cutler-Hammer    Manufacturing    Company,    12th  and 

St.  Paul.  Milwaukee,  Wis. 
Dimmerette  Switchboard  Co.,  108  W.  46th  Street,  New 

York  City. 

General  Electric  Company,  1  River  Road,  Schenec- 
tady, N.  Y. 

Hub  Electric  Company,  2225  W.  Grand  Avenue,  Chi- 
cago, 111. 

Kliegl  Brothers,  321  W.  50th  Street,  New  York  City. 
Major    Equipment   Company,   4603   FuUerton  Avenue, 
Chicago,  111. 

Trumbull  Electric  Manufacturing  Company,  Plainville, 
Conn. 

Ward   Leonard   Electric    Company,   37   South  Street, 

Mt.  Vernon,  N.  Y. 
Westinghouse    Electric    &    Manufacturing  Company, 

East  Pittsburgh.  Pa. 
Wm.  Wurdack  Electric  Manufacturing  Company,  4444 

Clayton  Avenue.  St.  Louis,  Mo. 


Switches 

NEVER  in  the  history  of 
the  theatre  has  electrical  equipment  played 
as  vital  a  role  as  it  does  today.  From  pro- 
jection room  to  stage  and  to  manager's 
oflfice,  electricity  to  a  large  extent  runs  the 
show.  With  the  program  on  a  minute 
schedule,  electrical  switches  in  turn  have 
an  important  duty  to  perform. 

Frank  Adam  Electric  Company,  3650  Windsor  Ave- 
nue, St.  Louis,  Mo. 


April  0.  1935 


Motion  Picture  Herald 


51 


Connecticut  Electric  Company,  Meriden,  Connecticut. 
Dowser  Manutacturinsr  Company,  225  Broadway,  New 
York  City. 

Hart  Manufacturing  Company,  Hartford,  Conn. 
Hoflfinan-Soons,  387  First  Avenue,  New  York  City. 
Kohler  Company,  Kohler,  Wis. 

Metropolitan  Electric  Mfg.  Co.,  East  Avenue  and  14tli 

Street.  Long  Island  City,  N.  Y. 
Westinghouse    Electric    &    Manufacturing  Company, 

East  Pittsburgh,  Pa. 

▲ 

Temperature  Control  Apparatus 

TEMPERATURE  control  ap- 
paratus of  the  automatic  variety  can  be  in- 
stalled on  any  type  of  heating,  ventilating 
or  air-conditioning  system  to  maintain  de- 
sired conditions.  Apparatus  sensitive  to 
temperature,  either  inside  or  outside,  or 
relative  humidity,  or  pressure  will  operate 
instantly  or  with  time  lag,  valves  and 
dampers,  or  start  and  stop  oil  burners. 
There  are  two  main  classes  of  equipment, 
pneumatic  and  electrical.  Pneumatic  equip- 
ment requires  a  small  compressor,  a  storage 
tank  for  the  air  which  operates  the  various 
units,  and  the  necessary  pipes  or  tubing 
connecting  the  units.  Electrical  equipment 
requires  either  a  low  or  high-voltage  source 
of  power  and  wire  connecting  the  various 
units  to  be  operated. 

The  Foxboro  Company,  Neponset  Avenue,  Foxboro, 
Mass. 

Johnson  Service  Company,   149  E.  Michigan  Avenue, 

Milwaukee,  Wis. 
Minneapolis-Honeywell    Regulator    Co.,    2822  Fourth 

Avenue,  South,  Minneapolis,  Minn. 
National  Regulator  Company,  2301  N.  Knox  Avenue, 

Chicago,  111. 

Powers  Regulator  Company,  2720  Greenview  Avenue, 
Chicago,  111. 

▲ 

Theatre  Accounting  Systems 

Refer  to  ACCOUNTING  SYSTEMS 

▲ 

Theatre  Seats 

Refer  to  CHAIRS 

A 

Tickets 

THEARTE      TICKETS  are 

available  and  used  in  many  forms  as  roll 
tickets,  folded  tickets,  reserved  seat  tickets, 
and  ticket  coupon  books.  Roll  and  folded 
tickets  of  the  more  usual  denominations  are 
carried  in  stock.  Tickets  are  commonly 
sold  in  even  multiples  of  10,000  are  price 
decreasing  with  additional  thousands  or- 
dered. 

Tickets  are  made  for  use  with  ticket 
issuing  machines  and  are  consecutively 
numbered.  This  enables  accurate  check  of 
tickets  sold  for  each  day.  Stock  tickets 
may  be  obtained  for  50  cents  a  roll.  Special 
printed  roll  or  center  hole  folded  tickets 
range  in  price  from  $8  for  10,000  to  $158 
for  a  million.  The  admission  price  must 
be  printed  on  each  ticket,  by  order  of  the 
government. 

American  Ticket  Corporation,  626  South  Clark  Street 
Chicago,  Blmois. 

Arcus  Ticket  Company,  348  N.  Ashland  Avenue  Chi- 
cago, m. 

Columbia  Printing  Company,  1632  N.  Halsted  Street. 
Chicago,  111. 

Daly  Ticket  Company,  506-508  Vandalia  Street,  Col- 
linsviUe,  111. 

General  Register  Corporation,  1540  Broadway,  New 
York  City. 

Globe  Ticket  Company,  116  N.  12th  Street,  Philadel- 
phia, Pa. 

Hancock  Brothers,  Inc.,  25  Jessie  Street,  San  Fran- 
cisco, Cal. 

International   Ticket    Company,    50    Grafton  Avenue, 

Newark,  N.  J. 
Keystone  Ticket  Company,  Shamokin,  Pa 
National  Ticket  Company,  Shamokin,  Pa. 
The  Standard  Ticket  Register  Corp.,  1600  Broadway, 

New  York. 

Weldon,  Williams  &  Lick,  Fort  Smith,  Ark. 


Ticket  Choppers 

A  MACHINE  FOR  punching 
tickets  dropped  in  box  as  patron  enters 
theatre.  The  ticket  chopper  guards  against 
the  resale  of  tickets.  Mutilation  of  the 
ticket  consists  of  perforations  made  on  the 
ticket,  which,  however,  is  done  in  a  man- 
ner that  does  not  prevent  accurately  check- 


ing results.  Ticket  choppers  are  made  in 
several  wood  and  metal  finishes,  and  are 
operated  by  electricity,  or  hand  and  foot. 
Prices  range  from  $75  to  $250. 

Caille  Brothers,  6210  Second  Avenue,  Detroit.  Mich. 
General   Register   Corporation,   1540   Broadway,  New 
York  City. 

Newman  Brothers,   Inc.,  418   Elm  Street,  Cincinnati, 
Ohio. 

Standard  Ticket  Register  Corporation,  1600  Broadway, 
New  York  City. 


The    Superlative    in   Sound  Rendition 


V 


S295 


OV^^''  9V>^^^ 


$495 


As  original  designers,  and  exclusive  manufacturers  {or  the  past  three  years,  of  the  famous 
WIDE  FIDELITY  sound  heads,  we  are  now  distributing  these  and  our  larger  models  of 
CHALLENGER  and  SUPER  QUALITY  lines  direct  from  our  factory  in  New  York  City 
or  through  out-of-town  supply  dealers.  These  sound  heads  represent  the  last  word  in 
quality,  durability  and  foolproof  design,  embracing  such  outstanding  features  as  integral 
plate  assembly,  vernier  exciter  lamp  adjustment,  9,000-1 2, 000-cycle  Bausch  &  Lomb  com- 
ponent optical  systems,  spring  tension  sound  gate,  V  belt  drive,  etc.  Prices  quoted 
above  are  complete  with  our  DLXIOOO  Super  Amplifier,  Jensen  Speaker,  G.  E.  Motors, 
Exciter    Lamps    and    Cetron    or    G.  M.    Photocells.    Write  for  illustrated  literature. 

Electrical  Audition  and   Research  Laboratories 

130  West  46th  Street  New  York  City 


AND  DRESSING 
ROOMS 

THE  Spencer  Heavy  Duty 
Portable  Vacuum  Cleaner  can 
be  moved  and  operated  by  one 
man.  Its  powerful  vacuum  works 
fast,  removes  dust  and  the  heavi- 
est dirt,  and,  because  of  its  long 
life  and  efficiency,  cuts  the  cost  of 
theatre  cleaning. 

More  than  1,000  theatres  are  us- 


ing Spencer  Portable  or  Central 
Systems.  Ask  for  a  demonstra- 
tion. 

THE 

5PENCER 

X  TURBINE  CO.  \ 

HARTFORD--rCONN.    ®  1053 


52 


Better  Theatres  Section 


April  6,  1935 


Ticket  Holders 

THERE  ARE  various  forms 
any  types  of  these  made  for  both  the  single 
and  coupon  ticket  rolls  and  generally  con- 
structed so  that  the  roll  of  tickets  is  auto- 
matically held  under  tension,  which  pre- 
vents the  roll  of  tickets  from  unwinding. 
The  prices  range  from  $0.50  to  $1.50. 

General    Register    Corporation,    1540    Broadway,  New 
York  City. 

Standard  Ticket  Register  Corporation,  1600  Broadway, 
New  York,  N.  Y. 


Ticket  Machines 

Refer  to  MACHINES,  TICKET 


Tool  Kits 

TOOL  KITS,  or  outfits,  are 
made  complete  with  a  set  of  tools  for  use 
on  the  picture  machine.  They  usually 
contain  "V"  Block,  Split  Screw  Driver, 
Driver  Pins,  Taper  Pin  Reamer,  Taper 
Pin  Remover  and  Sprocket  Puller.  Price 
is  $5. 

Enterprise   Optical   Mfg.    Company,   4431    West  Lake 

Street,   Chicago,  111. 
International  Projector  Corporation,  88-96  Gold  Street, 

New  York  City. 
Millen  Mfg.  Company,  7  Water  St.,  Boston,  Mass. 
Kosco    Laboratories,    367   Hudson   Avenue,  Brooklyn, 

New  York. 

▲ 

Transformers 

Refer  to  GENERATORS,  MOTOR 


Belmont  Fronts 

AND 

Tux  Collars 

You,  too,  can  save  money  and  eliminate  all 
laundry  bother.  These  up-to-the-minute  acces- 
sories are  thrown  away  when  soiled  instead  of 
expensive  laundering.  Cheaper  than  laundry 
and  more  convenient  in  every  way. 
Leading  Chains  and  Independents  all  over  the 
United  States  use  them.  Ask  your  associates 
about  them.  Fronts  may  be  had  in  plain  or 
P.  K.  styles.  Collars  in  either  wing  or  turned- 
down  styles.  .  .  .  Priced  extremely  low. 


For  full  particulars  and  a  sample  order 
of  8  Fronts  and  8  Collars,  pin  a  dollar 
to  your  letter-head  and  send  to 


Photo,  courtesy  of 
ROXY  THEATRE, 
New  York  City 


BELMONT  FRONTS,  faced  with  fine 
cloth — equal  the  appearance  of  expen- 
sive Dress  Shirts. 


TUX  COLLARS — Always  ready  for 
use — never  show  a  frayed  edge — throw 
away  when  soiled. 


Reversible  Collar  Company 

!  1 1  PUTNAM  AVENUE,  CAMBRIDGE,  MASS. 


Uniforms 

THEATRE  PRESTIGE  em- 
phasized through  the  training  of  ushers, 
doormen  and  other  attendants,  is  greatly 
enhanced  by  costumes  worn  by  such  em- 
ployees. 

Uniforms  should  be  made  to  individual 
measurements  to  assure  perfect  fit  and 
neatness  at  all  times.  Special  catalogues 
are  available  containing  appropriate  sug- 
gestions for  theatre  attendants'  uniforms. 

Angelica  Company,  1419  Olive  Street,  St.  Louis,  Mo. 
S.  Appel  &  Co.,  18  Fulton  St.,  New  York  City. 
Brooks,  143  W.  40th  Street,  New  York  City. 
Browning,  King  &  Company,  260  Fourth  Avenue,  New 
York  City, 

Chicago  Uniform  &  Cap  company,  208  East  Monroe 
Street,  Chicago,  111. 

The  Costumer,  238  State  Street,  Schenectady,  N.  Y. 

Gemsco,  692  Broadway,  New  York  City. 

Lester,  Ltd.,  18  W.  Lake  Street,  Chicago,  111. 

M.  C.  Lilly  &  Company,  293  E.  Long  Street,  Colum- 
bus, O. 

Maier-Lavaty  Company,  2139  Lincoln  Avenue,  Chicago, 

Mandel    Brothers.    State   and   Madison,    Chicago,  111. 
A.   G.   Meier  and  Company,  205   W.   Monroe  Street, 
Chicago,  111. 

Morgan-Lane  Corp.,  212  Lexington  Ave.,  New  York 
City. 

National  Uniform  Company,  12  John  Street,  New 
York  City. 

Reversible  Collar  Co.,  Ill  Putnam  Ave.,  Cambridge, 
Mass. 

The  James  E.  Richards  Company,  Dayton.  O. 
Marcus  Ruben,  Inc.,  625  S.  State  Street,  Chicago,  111. 
Russell  Uniform  Company,  1600  Broadway,  New  York 
City. 


Upholstery  Material 

USE  OF  SOUND  absorbing 
upholstering  on  theatre  seats  has  come  into 
popular  demand  since  the  advent  of  sound 
pictures.  A  popular  fabric  used  in  this 
connection  is  mohair,  which  combines 
beauty  with  important  sound  properties. 
Upholstering  material  of  this  nature  may 
be  obtained  in  a  variety  of  colors  and  exe- 
cuted in  interesting  patterns  and  designs. 
It  is  claimed  for  this  material  that  it  will 
not  fade,  does  not  mat  down,  and  can  be 
kept  fresh  and  clean  with  little  effort.  Use 
of  mohair  for  upholstering  is  said  to  pro- 
duce a  marked  elimination  of  reverbera- 
tions in  the  theatre  auditorium. 

Associated    Fabrics    Corp.,   723    Seventh   Ave.,  New 
York  City. 

L.  C.  Chase  &  Company,  295  Fifth  Avenue,  New  York, 
N.  Y. 

Ronald  Grose,  Inc.,  2  W.  46th  Street,  New  York  City. 
Ideal  Seating  Company,  Grand  Rapids,  Michigan. 
Oakland  Silk  Mills,  440-4th  Ave.,  New  York,  N.  Y. 
Mandel    Brothers,    State   &   Madison   Sts.,  Chicago, 
Illinois. 

The  Orinoka  Mills,  833  Market  Street,  Philadelphia, 
Penna. 

The  Pantasote  Company,  Inc.,  250  Park  Avenue,  New 
York  City. 

John  Zimmermann  &  Sons,  Erie  and  Castor  Avenues, 
Philadelphia,  Pa. 


Usher  Signal  Systems 

THE  USHER  SIGNAL  SYS- 
TEM provides  a  sending  station  at  each  aisle, 
equipped  with  numeral  push  buttons  that 
give  any  total  of  seats  that  aisle  might  have. 
The  usher  registers  on  this  station  the 
number  of  vacant  seats  available,  which  in- 
formation is  transmitted  to  the  floor  or 
head  usher,  depending  on  the  size  of  the 
theatre.  In  the  larger  houses  the  floor 
usher  relays  the  information  to  the  head 
usher.  The  head  usher  sends  total  of 
all  aisles  and  floors  to  the  doorman  who 
directs  the  people  to  the  different  sections 
of  the  house  where  the  vacant  seats  are 
waiting. 

The   Acme   Electric    Construction    Company,   407  S. 

Dearborn  Street,  Chicago,  111. 
Hub    Electric   Company,  2225  West   Grand  Avenue, 

Chicago.  Illinois. 


April  6,  1935 


Motion  Picture  Herald 


53 


Vacuum  Cleaning  Equlpnnent 

APPARATUS  FOR  cleaning 
carpeting  and  fabrics  by  suction  is  to  be 
considered  more  or  less  necessary  for  proper 
maintenance  of  the  theatre.  Brooms  and 
brushes  are  useful,  but  cannot  be  con- 
sidered substitutes  for  suitably  designed 
vacuum  cleaning  equipment,  which  not  only 
cleanses  more  effectively,  but  does  so  with 
less  time  and  labor. 

The  unusually  large  and  elaborate  thea- 
tre is  sometimes  best  served  by  stationary 


equipment  with  pipes  leading  to  the  vari- 
ous levels,  where  the  hose  is  attached.  To 
the  average  theatre,  however,  unit  clean- 
ers of  heavy-duty  type  with  a  high  degree 
of  portability  are  best  adapted. 

To  make  little  odd  jobs  of  cleaning 
easier,  as  in  small  offices,  lounges,  etc.,  it 
is  frequently  worth  while  to  augment  this 
larger  equipment  with  a  cleaner  of  the 
common  domestic  type. 

General  Electric  Co.,  1  River  Road,  Schenectady,  N.  Y. 
The  Hoover  Co.,  Canton,  Ohio. 
The  Kent  Company,  Rome,  N.  Y. 


National    Super   Service    Co.,    1946   North    13th  St., 

Toledo,  Ohio. 
Spencer  Turbine  Co.,  Hartford,  Conn. 

▲ 

Ventilators 

PROPER   DISTRIBUTION  of 

air  in  the  theatre  is  an  important  feature 
of  correct  ventilation.  One  of  the  methods 
of  achieving  this  is  through  the  use  of  ven- 
tilators located  in  the  auditorium  floor. 

American  Metal  Products  Company,  5855  Manches- 
ter Avenue,  St.  Louis,  Mo. 

Knowles  Mushroom  Ventilator  Company,  41  N.  Moore 
Street,  New  York  City. 

Sobel  &  Kraus,  Inc.,  525  E.  136th  Street,  New  York 


EQUIPMENT  AFFAIRS 

Equipment  News  and  Comment 


NEW  RECTIFIER 

•  A  copper  oxide  rectifier  to  supply  current 
for  the  projection  arc,  has  been  developed 
by  the  General  Electric  Company  (Bridge- 
port, Conn.),  designed  by  C.  E.  Hamann 
especially  to  meet  the  requirements  of  the 
suprex  arc.  Adaptation  of  copper  oxide 
rectification  to  the  relatively  high  current 
characteristics  of  the  projection  arc  involves 
a  system  of  forced  air  cooling.  The  present 
rectifier  is  the  outgrowth  of  the  application 
of  rectifiers  of  this  type  to  low-intensity 
and  high-low  arcs  prior  to  the  advent  of  the 
suprex  method. 

Briefly,  a  copper  oxide  rectifier  consists 
of  a  number  of  discs  or  elements  each  of 
which  constitutes  a  small  rectifying  unit. 
Various  current  and  voltage  ratings  can  be 
obtained  by  grouping  the  discs  in  series- 
multiple  combinations.  A  single  element 
consists  of  a  copper  disc  with  a  coating  of 
cuprous  oxide  on  one  surface.  Rectification 
takes  place  at  the  junction  between  the 
oxide  and  the  copper.  This  action  has 
been  found  to  be  entirely  electronic  in 
nature  and  no  chemical  reactions  or  changes 
take  place.  Units  which  have  been  on  life 
test  over  eight  years  show  no  apparent  de- 
terioration under  microscopic  inspection.  A 
rectifier  of  this  type  lasts  indefinitely  pro- 
vided it  is  operated  within  its  rated  output 
and  not  otherwise  abused. 

In  the  General  Electric  rectifier  the 
forced  air  cooling  is  accomplished  by  means 
of  a  motor-driven  blower  located  in  the 
lower  part  of  the  rectifier  housing.  The 
motor  has  oversized  ball  bearings,  factory- 
lubricated.  Although  an  air  cooling  system 
is  used,  the  actual  temperature  rise  of  the 
rectifier  units  is  not  more  than  2°  or  3° 
above  room  temperature  when  running  con- 
tinuously at  full  load. 

These  rectifiers  are  supplied  only  for 
poly-phase  service.  The  light  pulsations 
produced  by  the  3-phase  full-wave  rectifier 
are  three  times  as  rapid  as  that  from  a 
single-phase  and  the  resultant  beat  is  of  a 
frequency  sufficient  to  preclude  flicker. 

The  General  Electric  rectifier  comes  in 
two  sizes.  The  smaller  size  was  designed 
for  the  6-7mm.  suprex  trim.  It  is  nomin- 
ally rated  40  to  50  amperes  at  30  to  35 


volts,  but  the  range  of  adjustment  is  suffi- 
cient to  permit  its  use  with  the  smaller  5-6 
mm.  trim  if  desired. 

The  larger  unit  has  a  range  of  40  to  65 
amperes  for  use  with  either  the  6-7  mm. 
trim  or  the  6.5-8  mm.  trim.  The  weight  of 
the  smaller  unit  is  approximately  220  lbs., 
and  the  larger  250  lbs. 

It  is  intended  that  a  separate  rectifier 
unit  be  furnished  for  each  projection  lamp, 
and  these  units  are  not  designed  to  handle 
two  arcs.  Several  years  ago  this  concern 
manufactured  a  double  unit  for  low-intens- 
ity arcs.  It  was  found  that  this  construction 
required  practically  the  same  amount  of 
material  as  two  single  units,'  hence  the 
advantage  from  a  cost  standpoint  was  not 


REAR  SHUTTERS  1/2  PRICE! 
Double-Bearing  Int.  Movements  Cheap.   Rectifier  Tubes — 
15  amp.,  $8.98;  6-amp.,  $4.98.     P.  E.  Cells,  $4;  Exciter 
Lamps,  51c.    PROJECTIONISTS  TOOLS.  Inter.  Sprockets, 
$3.25:  Takeup  and  Feed,  $1.80.    Screens  Cheap. 
TROUT  THEATRE    EQUIPMENT   CO.,    Enid.  Oklahoma 


appreciable.  On  the  other  hand,  the  size 
and  weight  was  practically  doubled,  which 
was  a  decided  handicap  in  installation  work 
which  sometimes  involved  transporting  the 
units  up  narrow  stairways  and  ladders. 

Because  it  was  found  that  outlying  dis- 
tricts were  occasionally  subjected  to  partial 
failure  of  the  3-phase  power  supply  (one 
of  the  three  phases  might  fail  leaving  power 
on  the  other  two  phases),  the  construction 
of  the  G.  E.  3-phase  copper  oxide  rectifier 
is  such  that  it  will  continue  to  operate  on 
two  phases  if  one  fails,  and  it  is  possible  to 
maintain  the  arc  at  somewhat  reduced  cur- 
rent with  only  one  phase  alive. 

To  take  advantage  of  this  feature  it  is 
of  course  necessary  to  insure  the  continuous 


BARGAINS  GALORE  } 
Pacent,  Leroy,  Lincropbone,  Film  Speaker,  Webster,  Clne- 
maphone  Sound  Equipment.    (We  carry  parts  for  these— 
20%  off  list!).   Amplifiers  from  $89;  Soundheads  from  $59. 
Hi-Fidelity! 

TROUT   THEATRE    EQUIPMENT   CO..    Enid,  Oklahoma 


A  BETTER  Sounde^sead  ★ 

ILLUSTRATIONS  AND  DETAILED  DESCRIPTION  OF 
OUR  NEW.  IMPROVED  MODEL  SENT  ON  REQUEST 


'k  DESIGNED  for  fine  reproduction  of  all  sound  recordings, 
especially  "Wide-Range"  recordings. 

ENGINEERED  after  wide  experience.  Sturdily  constructed 
— accurately  machined.    Dependable,  uninterrupted  operation. 

★  CONSTANT  SPEED  SHAFT  hardened  and  ground— sup- 
ported by  two  double  race  ball  bearings. 

★  HOLD-BACK  SPROCKET  insures  steady  film  travel  and 
clear  unmarred  sound. 

★  SILENT  CHAIN  DRIVE  to  the  projector. 

★  EXCITER  LAMP  accurately  adjusted  by  simple,  easy  device. 

★  PRICE  easily  within  range  of  any  theatre. 


DISTRIBUTORS 

have  a  fine  opportunity 
representing     this  old, 
established   and  respon- 
sible firm. 


For  detailed  information,  address  Sound  Division- 


LANGSENKAMP-WHEELER   BRASS  WORKS,  Inc. 

INDIANAPOLIS.  IND. 


54 


Better  Theatres  Section 


April  6,  1935 


operation  of  the  blower  system.  This  was 
accomplished  by  incorporating  a  blower 
motor  designed  to  run  on  the  110  volt 
single-phase  ax.  line.  By  use  of  suitable 
relays  the  rectifier  is  disconnected  auto- 
matically in  the  event  of  failure  of  the  110- 
volt  a.c.  supply  to  the  blower. 

In  order  to  permit  the  projectionist  to 
shut  down  each  rectifier  conveniently  (so 


•G 

■•4. 
*Z 

66  Ft. 
100  Ft. 

Uit  Pedestal  ^itcK  for 


Wiring  diagram,  G.  E.  rectifier. 

as  to  save  on  power),  the  G.  E.  rectifier  is 
provided  with  a  control  system  in  which  the 
3-phase  line  is  i^un  directly  from  the  main 
switch  to  the  rectifier  and  is  connected  to 
the  rectifier  transformer  through  a  pair  of 
relays  in  the  rectifier  housing.  The  relay 
coils  are  energized  from  the  110  volt  a.c. 
line  (the  same  line  that  operates  the 
blower).  Thus  the  wiring  for  the  control 
consists  merely  of  a  single  pair  of  small 
wires  from  the  rectifier  to  the  control 
switch  at  the  lamp. 

For  simplicity  of  operation,  the  manu- 
facturer recommends  that  the  pedestal 
switch  be  disconnected  from  the  arc  circuit 
and  connected  into  the  control  circuit.  In 
this  case  the  d.c.  is  run  directly  to  the  arc. 
The  projectionist  thus  goes  through  the 
same  sequence  of  operations  as  formerly. 
When  he  gets  ready  to  start  up  a  lamp  he 
closes  the  pedestal  switch  and  strikes  the 
arc  in  the  customary  way. 

Closing  the  pedestal  switch  starts  the 
blower  and  energizes  the  relays,  which  in 
turn  connect  the  3-phase  power  supply  to 
the  rectifier.  There  is  no  warming  up 
period  required.  The  over-all  operating 
efficiency  of  the  G.  E.  copper  oxide  rectifier 
is  rated  at  70%. 

SUPREX    ARC  LAMP 

•  Though  recommending  a  maximum  cur- 
rent of  67  amperes  for  its  Suprex  lamp, 
C.  S.  Ashcraft  Manufacturing  Company 
of  Los  Angeles,  have  developed  a  design 
which  is  asserted  to  give  this  model  a  listed 
rating  of  from  45  to  110  amperes. 

As  to  Suprex  carbons,  various  combin- 
ations may  be  used.  For  the  larger  thea- 
tres, where  the  higher  currents  obtain,  the 
8-millimeter  positive  with  either  the  6.5- 
millimeter  or  7-millimeter  negative  is  a 
practicable  combination.  In  smaller  thea- 
tres, however,  improved  illumination  is 
obtainable  with  Suprex  carbons  by  a  com- 
bination of  7-millimeter  positive  with  6- 
millimeter  negative,  at  45  amperes ;  or 
8-millimeter  positive  with  6-millimeter 
negative  at  52  amperes.  The  first  com- 
bination provides  current  economy,  the 
latter  carbon  economy.  Lower  currents 
than  45  amperes  are  feasible,  however,  with 


the  6-millimeter  positive  and  5-millimeter 
negative. 

In  the  Ashcraft  design  the  mirror,  arc 
control  and  negative  assembly  are  mounted 
on  a  large  separate  door  at  the  rear.  This 
door  may  be  swung  open  for  a  cleaning 
and  inspection  of  the  mirror.  Trimming 
of  negative  carbon  is  accomplished  by 
opening  the  rear  door  of  the  lamphouse. 
The  mirror  is  14  inches  in  diameter  and 
placed  far  enough  from  the  arc  to  reduce 
pitting. 

Both  positive  and  negative  carbons  are 
full-floating  and  are  provided  with  guides 
for  directing  and  holding  them  in  align- 
ment. The  negative  guide  is  adjustable 
vertically  and  horizontally.  The  lamp  is 
equipped  with  a  shunt  magnet  adjusted  to 
control  accurately  the  arc  flame. 

Manual  controls  are  placed  on  the  sides 
of  the  lamp  housing  at  the  rear  for  striking 
the  arc.  No  feed  screws  are  used.  Both 
carbons  are  fed  forward  by  means  of  heavy 
chains,  spring  coupled.  Return  of  the 
positive  carriage  is  accomplished  with  a 
crank  at  the  forward  end  of  the  housing. 
Both  the  positive  and  negative  carbons  are 
adjusted  independently  of  each  other.  The 
negative  is  fed  forward  by  means  of  a 
three-point  over-riding  clutch  adjustable 
through  a  wide  range  of  current.  The 
positive  carbon  feed  is  adjusted  by  means 
of  a  motor  control  rheostat.  The  arc  con- 
trol is  located  to  the  rear  of  the  mirror. 
All  gearing  is  enclosed  and  operates  in  oil. 

A  full  12  inches  of  positive  carbon  is 
used  at  one  setting,  the  clamp  being  placed 
at  the  extreme  rear  end  of  the  carbon.  The 
negative  also  accommodates  a  long  trim. 

NEW  SOUNDHEAD 

•  Developments  in  design  have  been  ef- 
fected by  the  Langsenkamp-Wheeler  Brass 
Works  of  Indianapolis  for  the  purpose  of 
extending  the  range  of  frequency  response 
of  its  soundhead.  The  entire  mechanism 
is  mounted  on  a  heavy-duty  base  casting 
and  is  enclosed  in  a  cast  aluminum  case 
finished  with  black  crackle  enamel.  All 
steel  parts  are  cadmium-plated.    The  pho- 


The  Bestomatic  color  spotlight,  which  has  been 
brought  out  by  the  Best  Devices  Company  of 
Cleveland.  In  mean  dimensions  it  is  12  inches 
square,  motor-driven  and  entirely  automatic. 
It  has  two  speeds,  making  either  14  or  28 
color  changes  per  minute,  and  is  equipped  with 
an  adjustable  focusing  attachment  permitting 
a  spread  of  from  3  feet  to  12  feet  at  a  10- 
foot  throw.  In  theatre  work  it  may  be  placed 
as  border,  foot  or  auditorium  ceiling  light  by 
cutting  the  motor  line  into  the  switchboard. 


A  model  developed  in  the  new  streamline  type 
of  chair  recently  introduced  by  the  Heywood- 
Wakefield  Company  of  Boston.  Back  framing 
has  chromium-plated  or  enameled  metal  edges, 
and  arm  rests  are  rounded.  Aisle  standards 
have    been    developed    of    streamline  style. 

toelectric  cell,  which  is  mounted  in  fuU- 
beam  with  respect  to  the  exciter  lamp,  is 
completely  enclosed.  The  unit  includes  the 
optical  system,  caesium-type  photoelectric 
cell,  two  exciter  lamp  holders,  exciter 
lamps,  motor  pulley,  and  belts. 

FABRIC  GLUE 

•  A  quick-drying  fabric  glue  for  the  patch- 
ing of  chair  and  other  fabrics  has  been 
brought  out  by  the  Technical  Finishes  Cor- 
poration of  Chicago.  The  glue  comes  with 
a  kit  which  includes  patches,  brush  and 
Fabriglue.  Application  requires  about  a 
minute,  while  drying  takes  a  half-hour. 

NEW  SOUNDHEADS 

•  Three  soundheads,  differing  essentially 
in  adaptation  to  specified  frequency  re- 
sponses, have  been  put  on  the  market  by 
Electrical  Audition  and  Research  Labora- 
tories. These  soundheads  were  designed 
by  the  head  of  the  concern,  C.  S.  Adler. 
This  company  has  been  fabricating  sound 
equipment  previously,  and  now  brings  out 
its  three  models  under  its  own  trade  names. 
A  principal  feature  of  the  design  is  the 
incorporation  of  all  elements  in  a  die  cast 
plate,  which  permits  removal  of  the  entire 
assembly  as  a  unit.  The  aperture  plates 
are  of  hardened  tool  steel,  and  sound  gates 
are  of  floating  spring  tension  type.  Drive 
is  by  means  of  a  chain  operating  between 
non-metallic  sprockets. 

BY    WAY    OF  NEWS 

•  The  Hurley  Screen  Company,  Inc.,  has 
been  formed  by  Albert  Hurley,  formerly 
associated  with  the  manufacturers  of  the 
Ortho-Krome  screen.  Headquarters  are 
in  Long  Island  City,  N.  Y. 

The  Corkanstele  method  of  building 
construction  incorporating  corkboard  in- 
sulation with  a  steel  frame,  has  been  taken 
over  by  a  new  company  known  as  Cork- 
anstele and  having  offices  at  270  Madison 
Avenue,  New  York  City.  Junius  H. 
Stone,  formerly  of  Cork  Insulation  Com- 
pany, heads  the  new  concern. 


April  (5,  7Vj5  Motion  Picture  Herald  55 

THEATRE  SUPPLY  DEALERS 


A  DIRECTORY  OF  CONCERNS  IN  THE  UNITED  STATES  AND  CANADA  SUPPLYING 
MOTION    PICTURE    EQUIPMENT    OVER    RESTRICTED  TERRITORIES 


ALABAMA 

QUEEN  FEATURE  SERVICE,  INC.,  THE,  Morris 

Avenue,  Birmingham,  Ala.  All  classes  equip- 
ment.   General  repair  service. 

ARIZONA 

ARIZONA  FILM  SUPPLY  CO.,  84  W.  Pennington 
Street,  Tucson,  Ariz.    All  classes  equipment. 

CALIFORNIA 

BRECK  PHOTOPLAY  SUPPLY  COMPANY,  1909  S.  Ver- 
mont Avenue,  Los  Angeles,  Calif.  All  classes 
equipment.    General  repair  service. 

FILBERT,  JOHN  P.,  COMPANY,  1956  S.  Vermont 
Avenue,  Los  Angeles,  Calif.  All  classes 
equipment.    Projector  repairing. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  121  Golden 

Gate  Avenue,  San  Francisco,  Calif.  All 
classes  equipment.    General  repair  service. 

NATIONAL    THEATRE    SUPPLY    COMPANY,    1961  S. 

Vermont  Avenue,  Los  Angeles,  Calif.  All 
classes  equipment.    General  repair  service. 

PREDDEY  THEATRE  SUPPLIES,  WALTER  G.,  187  Golden 

Gate  Avenue,  San  Francisco,  Calif.  All 
classes  equipment.    General  repair  service. 

PROJECTION  EQUIPMENT  &  MAINTENANCE  COM- 
PANY, 1975  S.  Vermont  Avenue,  Los  Angeles, 
Calif.  All  classes  equipment.  General  re- 
pair service. 

SHEARER,  B.  P.,  COMPANY,  243  Golden  Gate  Ave- 
nue, San  Francisco,  Calif.  All  classes  equip- 
ment.   General  repair  service. 

SLIPPER,  J.,  &  CO.,  LTD.,  1968  S.  Vermont  Avenue, 
Los  Angeles,  Calif.  All  classes  equipment. 
General  repair  service. 

WESTERN    THEATRICAL    EQUIPMENT   COMPANY,  146 

Leavenworth  Street,  San  Francisco,  Calif.  All 
classes  equipment.    General  repair  service. 

COLORADO 

GRAHAM  BROTHERS  THEATRE  EQUIPMENT,  546  Lin- 
coln Street,  Denver,  Colo.  All  classes  equip- 
ment. Stage,  sound  projection  equipment  re- 
pairing. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  2106  Broad- 
way, Denver,  Colo.  All  classes  equipment. 
General  repair  service. 

CONNECTICUT 

MODERN    THEATRE    EQUIPMENT   CORPORATION,  THE. 

133  Meadow  Street,  New  Haven,  Conn.  All 
classes  equipment.    General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  122  Meadow 

Street,  New  Haven,  Conn.  All  classes  equip- 
ment.   General  repair  service. 

DISTRICT   OF  COLUMBIA 

BEN  LUST,  919  New  Jersey  Avenue,  N.  W., 
Washington,  D.C.  All  classes  equipment. 
General  repair  service. 

FLORIDA 

BURGERT,  w.  c,  INC.,  117  S.  Franklin  Street, 
Tampa,  Fla.  All  classes  equipment.  General 
repair  service. 

GEORGIA 

NATIONAL  THEATRE  SUPPLY  COMPANY,  187  Walton 

Street,  N.  W.,  Atlanta,  Ga.    All  classes  equip- 
ment.   General  repair  service. 
WIL-KIN  THEATRE  SUPPLY  CORP.,  57  Ellis  Street, 
Atlanta,  Ga.    All  classes  equipment.  General 
repair  service. 


ILLINOIS 

FULTON,   E.  E.,  COMPANY,   1018   South  Wabash 

Avenue,  Chicago,  111.    All  classes  equipment. 

General  repair  service. 
GOLDBERG,  JOE,  INC.,   823   S.   Wabash  Avenue, 

Chicago,  111.    All  classes  equipment.  General 

repair  service. 

GUERCIO    &   BARTHEL    COMPANY,    908    S.  Wabash 

Avenue,  Chicago,  111.  All  classes  equipment. 
Chair  and  projection  equipment  repairing. 

MIDWEST  THEATRE  SUPPLY  COMPANY,  910  S.  Mich- 
igan Avenue,  Chicago,  111.  All  classes  equip- 
ment.   Projector  repairing. 

MOVIE  SUPPLY  CO.,  LTD.,  844  S.  Wabash  Avenue, 
Chicago,  III.  All  classes  equipment.  General 
repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  825  S.  Wab- 
ash Avenue,  Chicago,  111.  All  classes  equip- 
ment.   Equipment  repair  serice. 

INDIANA 

GER-BAR,  INC.,  442  N.  Illinois  Street,  Indianapolis, 
Ind.  All  classes  equipment.  General  repair 
service. 

NATIONAL    THEATRE    SUPPLY    COMPANY,    436  N. 

Illinois  Street,  Indianapolis,  Ind.  All  classes 
equipment.    General  repair  service. 

IOWA 

DES  MOINES  THEATRE  SUPPLY  COMPANY,  1121  High 

Street,  Des  Moines,  la.  All  classes  equipment. 
General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  561  W.  7th 

Street,  Des  Moines,  la.  All  classes  equipment. 
General  repair  service. 

KANSAS 

SOUTHWEST    THEATRE     EQUIPMENT     CO.,     309  W. 

Douglas  Avenue,  Wichita,  Kans.  All  classes 
equipment.    General  repair  service. 

KENTUCKY 

BLAKE   AMUSEMENT   COMPANY,  INC.,  21 1  W.  Jeff er- 

son  Street,  Louisville,  Ky.  All  classes  equip- 
ment. 

FALLS  CITY  THEATRE  EQUIPMENT  CO.,  211  W.  Jef- 
ferson Street,  Louisville,  Ky.  All  classes 
equipment.    General  repair  service. 

LOUISIANA 

NATIONAL    THEATRE    SUPPLY    CO.,    220    S.  Liberty 

Street,  New  Orleans,  La.  All  classes  equip- 
ment.   General  repair  service. 

MARYLAND 

DUSMAN  MOTION   PICTURE  SUPPLIES,  J.  F.,  213  N. 

Calvert  Street,   Baltimore,   Md.    All  classes 
equipment.    Mechanical,  electrical  and  stage 
equipment  repairing. 
NATIONAL  THEATRE  SUPPLY  COMPANY,  417  St.  Paul 

Place,  Baltimore,  Md.  All  classes  equipment. 
General  repair  service. 

O'HARES  INDEPENDENT  THEATRE  SUPPLY,  3745  Kes- 

wick  Road,  Baltimore,  Md.  All  classes  equip- 
ment.   Projector  repairing. 

MASSACHUSETTS 

CAPITOL  THEATRE  SUPPLY  COMPANY,  28  Piedmont 
Street,  Boston,  Mass.  All  classes  equipment. 
General  repair  service. 

COMI,  INC.,  112  Arlington  Street,  Boston,  Mass. 
All  classes  equipment.  General  repair  service. 

INDEPENDENT    THEATRE    SUPPLY    COMPANY,  INC., 


47-49  Church  Street,  Boston,  Mass.  All  classes 
equipment.    General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  211  Colum- 

bus  Avenue,  Boston,  Mass.  All  classes  equip- 
ment.   General  repair  service. 

NEW  ENGLAND  MOTION  PICTURE  EQUIPMENT  CORP., 

356  Worthington  Street,  Springfield,  Mass. 
Sound  and  projection  equipment.  Sound  and 
projection  equipment  repairing. 

MICHIGAN 

AMUSEMENT  SUPPLY  COMPANY,  208  W.  MoUtCalm, 

Detroit,  Mich.  All  classes  equipment.  Gen- 
eral repair  service. 

MCARTHUR   THEATRE    EQUIPMENT   COMPANY,  2501 

Cass  Avenue,  Detroit,  Michigan.  All  classes 
equipment.    General  repair  service. 

NATIONAL    THEATRE    SUPPLY    COMPANY,  2312-14 

Cass    Avenue,    Detroit,    Mich.     All  classes 
equipment.    General  repair  service. 
THEATRE  EQUIPMENT  COMPANY,  210  W.  Mont- 
calm Street,  Detroit,  Mich.    All  classes  equip- 
ment.   General  repair  service. 

M  I  N  N  ESOTA 

CINEMA  SUPPLIES,  INC.,  38  Glenwood  Avenue, 
Minneapolis,  Minnesota.  All  classes  equip- 
ment.   General  repair  service. 

NATIONAL   THEATRE    SUPPLY   COMPANY,    56  Glen- 

wood  Avenue,  Minneapolis,  Minn.  All  classes 
equipment.    General  repair  service. 
STAR  THEATRE   SUPPLY   CO.,   2107   W.  Superior 
Street,  Duluth,  Minn.    All  classes  equipment. 
General  repair  service. 

MISSOURI 

EXHIBITORS  SUPPLY  CO.,  3236-38  Olive  Street,  St. 
Louis,  Mo.  All  classes  equipment.  Projection 
and  sound  equipment  repairing. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  223  W.  18th 

Street,  Kansas  City,  Mo.  All  classes  equip- 
ment.   General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  3210  Olive 

Street,  St.  Louis,  Mo.  All  classes  equipment. 
General  repair  service. 

STEBBINS    THEATRE     EQUIPMENT    COMPANY,  1804 

Wyndotte  Street,  Kansas  City,  Mo.  All 
classes  equipment.    General  repair  service. 

NEBRASKA 

QUALITY  THEATRE  SUPPLY  CORP.,  1511  Davenport 
Street,  Omaha,  Neb.  All  classes  equipment. 
Sound  equipment  and  projector  repairing. 

soF  (SOUND  ON  FILM)  COMPANY,  212  N.  Spruce 
St.,  Ogallala,  Neb.  All  classes  equipment. 
Projector  repair  service. 

SCOTT  BALLANTYNE  COMPANY,  Loyal  Hotel  Bldg., 
Omaha,  Neb.  All  classes  equipment.  Gen- 
eral repair  service. 

WESTERN  THEATRE  SUPPLY  CO.,  214  N.  15th  Street, 
Omaha,  Neb.  All  classes  equipment.  Gen- 
eral repair  service. 

NEW  MEXICO 

EASTERN  NEW  MEXICO  THEATRE  SUPPLY  CO.,  Clovis, 

N.  M.     All  classes  equipment. 

NEW  YORK 

AMUSEMENT  SUPPLY  COMPANY,  INC.,  341  W.  44th 

Street,  New  York,  N.  Y.  All  classes  equip- 
ment.   General  repair  service. 

ART    CRAFT   THEATRE    EQUIPMENT    COMPANY,  108 

W.  46th  Street,  New  York,  N.  Y.  All  classes 
equipment.   Stage  equipment  repairing. 

AUBURN  THEATRE   EQUIPMENT  COMPANY,   5  Court 

Street,  Auburn,  N.  Y.  All  classes  equipments 
General  repair  service. 


56 

BHHREND    MOTION    PICTURE    SUPPLY    HOUSE,  INC., 

630  9th  Avenue,  New  York,  N.  Y.  All  classes 
equipment. 

CAPITOL  MOTION  PICTURE  SUPPLY  CORPORATION,  630 

9th  Avenue,  New  York,  N.  Y.  All  classes 
equipment.  General  repair  service. 
CINEMA  SUPPLY  COMPANY,  575  Eleventh  Avenue, 
New  York,  N.  Y.  Reconditioned  projection 
and  sound  equipment.  Projection  and  sound 
equipment  repairing. 

CONTINENTAL  THEATRE   ACCESSORIES,   INC.,    329  W. 

44th  Street,  New  York,  N.  Y.  All  classes 
equipment. 

CROWN  MOTION  PICTURE  SUPPLY  COMPANY,  311  W. 

44th  Street,  New  York,  N.  Y.  All  classes 
equipment.    General  repair  service. 

EMPIRE  THEATRE  SUPPLY  COMPANY,  INC.,  42  Orange 

Street,  Albany,  N.  Y.  All  classes  equipment. 
General  repair  service. 

EMPIRE    THEATRE    SUPPLY    CORPORATION,    344  W. 

44th  Street,  New  York,  N.  Y.  All  classes 
equipment.     General  repair  service. 

FENYVESSY,  CAROL,  65  Atlantic  Avenue,  Rochester, 
N.  Y.  All  classes  equipment.  Powers  pro- 
jectors and  speakers  repaired. 

HORNSTEIN,  JOE,  INC.,  630  9th  Avenue,  New 
York,  N.  Y.  All  classes  equipment.  General 
repair  service. 

INTERNATIONAL  THEATRE  ACCESSORIES  CORPORATION, 

1600  Broadway.  New  York,  N.  Y.  All  classes 
equipment.    General  repair  service. 

KAPLAN,  SAM  MANUFACTURING  &  SUPPLY  COM- 
PANY, INC.,  729  Seventh  Avenue,  New  York, 
N.  Y.  Sound  and  projection  equipment.  Sound 
and  projection  equipment  repairing. 

NATIONAL    THEATRE    SUPPLY    COMPANY,    92  Gold 

Street,  New  York,  N.  Y.  All  classes  equip- 
ment.   General  repair  service. 

NATIONAL    THEATRE    SUPPLY    COMPANY,  498-500 

Pearl  Street,  Buffalo,  N.  Y.  All  classes  equip- 
ment.   General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  1560  Broad- 
way, New  York,  N.  Y.  All  classes  equip- 
ment.   General  repair  service. 

S.  o.  S.  CORPORATION,  1600  Broadway,  New  York, 
N.  Y.  All  classes  equipment.  General  repair 
service. 

SPECIALTIES  SALES  COMPANY,  734  E.  Hiawatha 
Boulevard,  Syracuse,  N.  Y.  All  classes  equip- 
ment. 

UNITED    PROJECTOR     &    FILM     CORPORATION,  228 

Franklin  Street,  Buffalo,  N.  Y.  All  classes 
equipment.    Projector  repair  service. 

NORTH  CAROLINA 

NATIONAL    THEATRE    SUPPLY    COMPANY,    222  W. 

Fourth  Street,  Charlotte,  N.  C.    All  classes 

equipment.     General  repair  service. 
TAYLOR,  w.  R.,  612  Joyner  Street,  Greensboro, 

N.  C.  Scenery  and  general  stage  equipment. 
WICKER,  L.  p.,  JR.,  P.  O.  Box  447,  Greensboro, 

N.  C.    All  classes  equipment.    General  repair 

service. 

NORTH  DAKOTA 

MCQARTHY   THEATRE   SUPPLY   COMPANY,    64  Fifth 

Street,  N.,  Fargo,  N.  Dak.  All  classes  equip- 
ment.   General  repair  service. 

OHIO 

AMERICAN  THEATRE  EQUIPMENT  COMPANY,  165  N. 

High  Street,  Columbus,  O.  All  classes  equip- 
ment.   General  repair  service. 

AMERICAN    THEATRE    SUPPLY    COMPANY,    310  St. 

Clair  Street,  Toledo,  O.  All  classes  equip- 
ment. 

DAYTON  THEATRE  SUPPLY  COMPANY,  111  Volkenand 

Street,  Dayton,  O.    Projector  repair  service. 

NATIONAL    THEATRE    SUPPLY    COMPANY,  1637-39 

Central  Parkway,  Cincinnati,  O.  All  classes 
equipment.    General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  2112  Payne 

Avenue,  Cleveland,  O.    All  classes  equipment. 
General  repair  serice. 
OLIVER  THEATRE  SUPPLY,  INC.,  1607  E.  21st  Street, 
Cleveland,  O.    All  classes  equipment.  Gen- 
eral repair  service. 

SUPERIOR  MOTION  PICTURE  SUPPLY  COMPANY,  1740 

E.  23rd  Street,  Cleveland,  O.  All  classes 
equipment.    General  repair  service. 


Better  Theatres  Section 
OKLAHOMA 

FILM  SPEAKER  COMPANY,  710  W.  Grand  Avenue, 
Oklahoma  City,  Okla.  All  classes  equipment. 
General  repair  service. 

NATIONAL    THEATRE    SUPPLY    COMPANY,    700  W. 

Grand  Avenue,  Oklahoma  City,  Okla.  All 
classes  equipment.    General  repair  service. 

TROUT   THEATRE    &   SOUND   EQUIPMENT  COMPANY, 

P.  O.  Box  575,  Enid,  Okla.  Sound  equipment 
and  general  supplies.  Projector,  generator 
and  sound  equipment  repairing. 

OREGON 

WESTERN   SOUND   EQUIPMENT  COMPANY,  INC.,  1923 

N.W.  Kearney  Street,  Portland,  Ore.  Pro- 
jection and  sound  equipment  and  staple 
supplies.    General  repair  service. 

PENNSYLVANIA 

NATIONAL  THEATRE  SUPPLY  COMPANY,   1315  Vine 

Street,  Philadelphia,  Pa.  All  classes  equip- 
ment.   General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  1721  Blvd. 

of  the  Allies,  Pittsburgh,  Pa.  All  classes 
equipment.    General  repair  service. 

PENN  THEATRE  EQUIPMENT  COMPANY,  309  N.  13th 

Street,  Philadelphia,  Pa.  All  classes  equip- 
ment. Projectors  and  ticket  registers  re- 
paired. 

Rizzo,  CLEM,  255  N.  13th  Street,  Philadelphia, 
Pa.  All  classes  equipment.  General  repair 
service. 

SUPERIOR    MOTION   PICTURE   SUPPLY    COMPANY,  86 

Van  Braam  Street,  Pittsburgh,  Pa.  All  classes 
equipment.    General  repair  service. 
THEATRE  EQUIPMENT  COMPANY,  940  Quincy  Ave- 
nue, Scranton,  Pa.    All  classes  equipment. 

RHODE  ISLAND 

RHODE    ISLAND    THEATRE    SUPPLY    COMPANY',  357 

Westminster  Street,  Providence,  R.  I.  All 
classes  equipment.    General  repair  service. 

SOUTH  CAROLINA 

TRIO  AMUSEMENT  COMPANY,  INC.,  Greenville,  8. 
Carolina.  All  classes  equipment.  General 
repair  service. 

SOUTH  DAKOTA 

AMERICAN    THEATRE    SUPPLY    COMPANY,     320  S. 

Phillips  Avenue,  Sioux  Falls,  S.  Dak.  All 
classes  equipment.    General  repair  service. 

TENNESSEE 

AMERICAN  THEATRE  SUPPLY  COMPANY,  117-19  Sev- 
enth Avenue,  N.,  Nashville,  Tenn.  All  classes 
equipment.    General  repair  service. 

.MONARCH  THEATRE  SUPPLY  COMPANY,  494  S.  Sec- 
ond Street,  Memphis,  Tenn.  All  classes 
equipment.    General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  400  W.  Sec- 
ond Street,  Memphis,  Tenn.  All  classes 
equipment.    General  repair  service. 

TEXAS 

EDUCATIONAL    EQUIPMENT    COMPANY,    THE,  1909 

Commerce   Street,   Dallas,   Tex.  Projection 


NOTICE 

Each  theatre  supply  dealer  listed 
in  this  department  has  supplied, 
over  the  signature  of  its  principal 
executive,  the  information  here 
given  concerning  it.  No  listing  is 
made  except  on  the  basis  of  in- 
formation supplied  through  a  pre- 
scribed questionnaire,  which  may 
he  obtained  upon  request. 


April  6,  1935 

equipment,  screens,  limited  supplies.  General 
repair  service. 

HARDIN  THEATRE  SUPPLY  COMPANY,  714  Hampton 

Road,  Dallas,  Tex.  All  classes  equipment. 
General  repair  service. 

LEE,  ROY  C,  COMPANY,  THEATRICAL  SERVICE,  1703-5 

McKinney  Avenue,  Dallas,  Tex.  Stage  set- 
tings, draperies,  scenery,  searchlight  display 
equipment.     General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  306  S.  Har- 

wood  Street,  Dallas,  Tex.  All  classes  equip- 
ment.   General  repair  service. 

SOUTHWESTERN  THEATRE  EQUIPMENT  COMPANY,  510 

Merchants  &  Manufacturers  Bldg.,  Houston, 
Tex.  All  classes  equipment.  Projection  and 
sound  equipment  repairing. 

TEXAS  THEATRE   SUPPLY   COMPANY,   2010  JacksOH 

Street,  Dallas,  Tex.  All  classes  equipment. 
General  repair  service. 

UTAH 

NATIONAL  THEATRE  SUPPLY  COMPANY,  248  E.  First 

South  Street,  Salt  Lake  City,  Utah.  All 
classes  equipment.    General  repair  service. 

SERVICE  THEATRE   SUPPLY  COMPANY,   INC.,   256  E. 

First  South  Street,  Salt  Lake  City,  Utah.  All 
classes  equipment.    General  repair  service. 

VERMONT 

BOARDMAN    THEATRE    SUPPLY    HOUSE,    30  Chufch 

Street,  Burlington,  Vt.  All  classes  equipment. 
General  repair  service. 

WASHINGTON 

MASTERPHONE  SOUND  CORPORATION,  2321  Second 
Avenue,  Seattle,  Wash.  All  classes  equip- 
ment.   General  repair  service. 

NATIONAL  THEATRE  SUPPLY  COMPANY,  2400  First 

Avenue,  Seattle,  Wash.  All  classes  equip- 
ment. General  repair  service. 
.SHEARER,  B.  F.,  COMPANY,  2318  Second  Avenue, 
Seattle,  Wash.  All  classes  equipment.  Interior 
decorating  service  and  supplies.  General  re- 
pair service. 

THEATRE  SUPPLY  &  SOUND  SERVICE  COMPANY,  617 

First  Avenue,  Spokane,  Wash.  All  classes 
equipment.    General  repair  service. 

WEST  VIRGINIA 

CHARLESTON  THEATRE  SUPPLY,  506  State  Street, 
Charleston,  W.  Va.  All  classes  equipment. 
General  repair  service. 

WISCONSIN 

NATIONAL    THEATRE    SUPPLY    COMPANY,    725  W. 

Wells  Street,  Milwaukee,  Wis.    All  classes 
equipment.    General  repair  service. 
SMITH,  RAY,  COMPANY,  THE,  635  N.  7th  Street, 
Milwaukee,    Wis.     All    classes  equipment. 
General  repair  service. 

CANADA 

BIRD  FILMS  LIMITED,  1828  Scarth  Street,  Regina, 
Saskatchewan,  Can.  All  classes  equipment. 
Projector  repairing. 

CANADIAN  THEATRE  SUPPLY  COMPANY,  366  Mayor 

Street,  Montreal,   Quebec,  Can.    All  classes 
equipment.    Projector  repairing. 
COLEMAN  ELECTRIC  COMPANY,  258  Victoria  Street, 
Toronto,  Ontario,  Can.    Sound  equipment. 

DOMINION    THEATRE    EQUIPMENT    COMPANY,  LTD., 

21  Dundas  Square,  Toronto,  Ontario,  Can. 
All  classes  equipment.  General  repair  service. 
EMPIRE  AGENCIES,  LTD.,  210-215  Bower  Bldg., 
543  Granville  Street,  Vancouver,  B.  C,  Can. 
All  classes  equipment.  General  repair  service. 

PERKINS    ELECTRIC    COMPANY,    LTD.,    2027  Bleury 

Street,  Montreal,  Quebec,  Can.  All  classes 
equipment.  General  repair  service. 
PERKINS  ELECTRIC  COMPANY,  LTD.,  277  Victoria 
Street,  Toronto,  Ontario,  Can.  All  classes 
equipment.  Sound  and  projection  equipment 
repairing. 

RICE,  J.  H.,  &  CO.,  Canada  Building,  Winnipeg, 
Man.  All  classes  equipment.  General  re- 
pair service. 

THEATRE  EQUIPMENT  SUPPLY  COMPANY,  906  Davie 

Street,  Vancouver,  B.  C,  Can.  All  classes 
equipment.    General  repair  service. 


April  6,  1935  Motion  Picture  Herald  57 

MODERN  PROJECTION 


PROJECTION     •     SOUND    REPRODUCTION     •  ACOUSTICS 


SCREEN  ACE  AND  SCREEN  SELECTION 


Outlining  important 
factors  determining 
screen  life  and 
efficiency  in  rela- 
tion to  lamp  equip- 
ment and  auditoriums 

SCREENS  HAVE  not  been 
really  thought  of  in  terms  of  power-costs. 
In  fact,  the  tendency  has  been  to  regard 
audience  reaction — both  as  to  entertain- 
ment value  and  eye-strain — as  a  factor  call- 
ing for  no  more  than  any  apparently  uni- 
form, apparently  white  surface. 

It  should  be  remembered  at  the  outset 
that  the  light  out  of  which  motion  pictures 
are  made,  consists  in  projected  light  and 
rejlected  light.  The  resultants  of  these, 
with  the  screen  itself  as  a  factor,  is  the 
effective  light.  It  is  to  be  measured  by  the 
lumen  output  of  the  projection  lamp  and 
projector  lens  system,  the  square-foot  area 
of  the  screen,  the  reflective  qualities  of  the 
type  of  screen — that  is,  whether  it  is  dif- 
fusive, directive  or  reflective — and  the  age 
and  physical  condition  of  the  screen  sur- 
face. 

To  consider  the  latter  as  our  special  in- 
terest here,  it  is  to  be  pointed  out  that 
screen  depreciation  is  progressive.  It  de- 
pends on  the  geographic  location  of  the 
theatre,  the  cleanliness  of  the  theatre,  the 
amount  of  attendance,  the  ventilation  and 
heating  systems,  whether  the  air  taken  into 
the  theatre  is  properly  filtered  or  not,  the 
character  of  the  community  (whether  in- 
dustrial or  otherwise),  and  so  on.  The 
Society  of  Motion  Picture  Engineers  has 
placed  the  general  rate  of  screen  deprecia- 
tion at  from  2  per  cent  to  3  per  cent  per 
month.  The  factors  cited  vary  this  rate 
of  course,  and  in  the  determination  of  the 
rate  obtaining  in  a  specific  theatre  com- 
munity conditions  are  important. 

In  small  country  suburbs,  for  example, 
the  probable  efficient  life  of  a  screen  has 
been  placed  at  30  months.  In  small  cities 
with  factories  it  is  25  months.  In  large 
cities  with  factories  the  life  is  18  months; 


m  manufacturing  sections,  15  months;  in 
areas  near  railroads,  12  months. 

Each  month  that  a  screen  is  used  the 
effective  light  is  lessened  in  accordance 
to  the  rate  of  depreciation  applying.  Of 
course,  what  happens  is  that  the  projection- 
ist or  manager  notices  the  falling  off  and 
the  amperage  is  stepped  up.  This  is  where 
the  effect  of  screen  depreciation  on  cur- 
rent costs  enters  the  picture. 

It  is  generally  thought  by  projectionists 
and  motion  picture  engineers  in  general 
that  the  effective  screen  light  is  far  too  low 
in  the  average  theatre.  Screen  light  should 
be  between  12  and  14  foot-candles.  It 
commonly  is  as  low  as  7  foot-candles. 
Many  are  the  factors,  of  course,  which 
contribute  to  poor  screen  light.  Among 
them  are  faulty  relation  of  the  mirror  to 
the  arc;  spot  too  large  at  the  aperture;  arc 
gap  not  in  harmony  with  characteristics  of 
the  specific  type  of  lamp  being  used ; 
cracked  and  discolored  condensers ;  mirror 
dim  and  pitted ;  amperage  and  voltage  re- 
lation faulty  and  not  maintained  steadily 
at  the  critical  point;  wrong  carbons;  arc 
regulating  mechanism  defective;  air  cur- 
rents in  lamp  house ;  shutter  out  of  time, 
or  pitch  of  shutter  blade  unsuited  to  the 
assembly;  and  others.  These  are  the  fac- 
tors, however,  which  are  most  often  cor- 
rected soon  after  their  appearance.  The 
screen  is  supposed  to  go  on  unaltered  al- 
most forever. 

SURFACE  TREATMENT 

Depreciation  of  the  screen  beyond  re- 
call is  retarded  by  routine  brushing.  To 
be  effective  the  brushing  must  be  regular. 
Left  to  collect  dust  and  become  discolored 
by  gases  introduced  into  the  atmosphere, 
it  will  not  be  helped  much  by  washing,  and 
it  is  perhaps  impossible  to  wash  a  screen 
so  as  to  leave  the  surface  uniform. 

A  soiled  screen  can  of  course  be  resur- 
faced. When  screens  were  more  costly 
than  they  are  now,  resurfacing  had  its 
commendations.  Resurfacing,  to  be  worth- 
while, must  be  done  with  a  deal  of  ex- 
pertness,  using  the  precise  materials  adapted 
to  the  screen  surface  being  treated.  It 
isn't  the  perforations  (in  the  case  of  a 
perforated  screen)  that  offers  the  obstacles, 
but  the  nature  of  the  screen  surface  itself 
and  the  function  it  must  perform. 


That  resurfacing  can  make  an  old  screen 
new  is  hardly  the  case.  A  prominent  thea- 
tre circuit  not  long  ago  made  tests  to  find 
out  how  much  of  a  saving  could  be  ef- 
fected by  resurfacing,  as  opposed  to  the 
purchase  of  new  screens.  Lighting  en- 
gineers were  enlisted  in  the  effort,  and  the 
work  was  done  by  skilled  painters  after 
paint  chemists  had  contributed  their  bit. 
The  result  looked  perfect:  the  screen  was 
utterly  white  and  visibly  uniform  in  sur- 
face. Tests  were  made  with  a  light-meter 
and  illuminometer,  and  it  was  found  that 
one  screen  that  had  been  at  40^  of  its 
original  efficiency  had  acquired  a  total  gain 
of  only  12%.  The  gain  in  the  case  of 
another  screen  was  from  43%  to  56%. 
The  cost  of  resurfacing  was  about  1 5  cents 
a  square  foot. 

SELECTION  FACTORS 

Proper  screen  light  is  proper  only  in  its 
relation  to  a  particular  theatre.  Width 
of  screen  is  basically  determined  by  the 
width  of  the  auditorium  (and  to  some  ex- 
tent, because  of  angles  of  vision,  by  the 
depth).  The  width  of  the  auditorium  also 
is  a  factor  in  determining  the  type  of  screen 
suitable,  but  the  latter  also  must  accord 
with  the  type  of  projection  light  source 
being  used  (unless  these  are  yet  to  be  in- 
stalled, when  these  two  factors  are  related 
to  each  other  in  reverse  order). 

Diffusive  screens  reflect  the  same  amount 
of  light  equally  to  seats  at  all  angles  from 
it  and  therefore  is  indicated  for  wide  thea- 
tres— it  is  required  for  auditoriums  of  ex- 
treme width.  It  is  also  recommended  for 
theatres  with  large  projection  angles  be- 
cause the  light  does  not  fade  off  as  the 
angle  of  incidence  increases.  Relatively 
stronger  projection  light  is  of  course  re- 
quired. 

Directive  screen  direct  the  screen  light, 
and  as  a  result  less  projection  light  is 
needed.  Because  of  fading  characteristics, 
however,  it  is  not  indicated  for  houses 
with  large  projection  angles,  while  its 
directive  qualities  specify  it  for  long  and 
relatively  narrow  auditoriums. 

Screens  of  the  reflective  type  are  most 
efficient  in  extremely  narrow  auditoriums. 
Its  effective  light  bears  about  the  same  re- 
lation to  the  projection  light  as  that  of  the 
directive  screen. 


58 


Better  Theatres  Section 


April  6,  1935 


F.  H.  RICHARDSON'S  COMMENT 


AND  ANSWERS  TO  INQUIRIES 

TWO  MEN  TO  A  ROOM: 
WHY,  WHEN  AND  HOW 


I  HAVE  A  request  from  the 
executive  secretary  of  a  state  I.  A.  union 
covering  almost  fifty  locals,  asking  that 
I  express  an  opinion  as  to  whether  or  not 
I  consider  it  necessary  to  "have  one  man  on 
duty  for  each  projector  operated."  I  would 
reword  the  question  thus :  Do  I  regard  the 
presence  of  two  projectionists  essential  in 
every  theatre  during  the  entire  length  of 
each  performance?  I  have  replied  that  I 
most  emphatically  do,  but  with  certain 
qualifications. 

I  base  my  opinion  upon  the  conviction 
that  to  avoid  danger  to  both  life  and  prop- 
erty it  is  necessary  to  have  a  competent  pro- 
jectionist on  duty  beside  every  motion  pic- 
ture projector  every  moment  of  time  it  is  in 
operation  and  an  audience  is  present  in  a 
theatre.  The  presence  of  a  projectionist  be- 
side the  projector  while  it  is  working  is 
essential  to  the  production  of  maximum  en- 
tertainment value  in  return  for  the  money 
paid  in  at  the  box  office  by  theatre  patrons. 
Also  the  matter  of  hazard  where  there  is 
no  projectionist  beside  the  projector  is  a 
thing  that  should  be  given  careful  consid- 
eration. 

With  only  one  man  on  duty  in  a  projec- 
tion room,  the  projectionist  is  compelled  to 
leave  his  post  of  duty  beside  the  working 
projector  to  perform  other  duties,  such  as 
threading  up  the  idle  projector  and  trim- 
ming its  lamps,  rewinding  films  and  attend- 
ing to  other  tasks  from  time  to  time.  This 
we  all  know  is  very  true.  It  cannot  pos- 
sibly be  avoided.  There  is  but  one  way  to 
avoid  such  absences  from  the  post  of  duty 
and  that  is  that  a  second  man  be  provided, 
whose  duty  it  should  be  to  attend  to  the 
various  other  functions  while  the  projection- 
ist remains  beside  his  working  projector. 

However,  while  I  certainly  regard  it  as 
highly  essential  that  there  be  two  com- 
petent projectionists  on  duty  in  the  larger 
theatres,  where  equipment  is  as  a  rule  more 
or  less  complicated  and  the  program  more 
diversified,  I  do  not  regard  it  essential  to 
have  two  projectionists  on  duty  in  small 
theatres.  As  a  rule  the  equipment  in  them 
is  considerably  less  elaborate.  It  therefore 
can  be  handled  with  less  trouble  and  labor. 
To  my  mind  the  difficult  point  is  to  select 
a  reasonable  dividing  line,  which  might  best 
be  arrived  at  by  considering  seating  capa- 
city.   Perhaps  the  dividing  line  should  be 


set  at  a  seating  capacity  of  300,  theatres 
larger  than  that  to  have  two  competent  pro- 
jectionists; those  below  to  have  one  com- 
petent projectionist  and  a  helper,  prefer- 
ably a  projection  apprentice. 

But  be  a  theatre  large  or  small,  there 
should  be  an  absolute  rule  that  there  shall 
be  a  competent  projectionist  on  duty  beside 
any  and  every  motion  picture  projector  dur- 
ing every  moment  it  is  in  operation  with  an 
audience  present  in  the  theatre,  save  only  in 
some  extraordinary  emergency.  Also,  it 
should  be  made  an  offense  to  attach  any  sort 
of  signal  designed  to  warn  the  projectionist 
of  the  entrance  of  a  visitor  into  the  room. 

As  to  the  apprentice  or  helper,  it  should 
be  expected  that  he  attend  to  all  rewinding, 
threading  and  such  other  duties  as  may  be 
appointed  by  the  projectionist.  Two  men 
on  duty  is  just  as  essential  to  safety  in  small 
as  in  large  theatres,  but  authorities  and 
unions  must  recognize  the  fact  that  a  large 
number  of  the  smaller  theatres,  especially  in 
small  towns,  must  keep  their  operating  costs 
as  low  as  possible.  The  possible  available 
patronage  is  strictly  limited,  as  also  is  the 
admission  price  they  may  charge.  They  are 
in  no  position  to  assume  the  expense  of  two 
competent  projectionists.  If  the  issue  were 
to  be  forced,  many  of  them  would  be  com- 
pelled to  close  their  doors,  and  in  the  end 
no  gain  in  employment  would  result.  Then, 
too,  the  people  in  those  communities  need 
those  theatres,  and  the  union  would  gain  no 
friends  by  such  tactics.  Demand  those 
things  that  have  their  base  in  right  and 
justice  and  win.  Do  otherwise  and  eventu- 
ally the  battle  will  be  lost. 


Other  Articles 

In  addition  to  the  material  on  this 
page,  Mr.  Richardson's  columns  of 
this  issue  also  contain: 

An  Odd  Case  of  Flicker  Page  59 

Amperage  With  Mazda  Lamps  Page  59 

Most  Common  Trouble  Source  Page  59 

"We  Want  2,000-Foot  Reel"  Page  59 

The  Older  Men  and  the  Young  Page  59 

A  Problem  and  a  Suggestion  Page  60 

Engineers  and  Projectionists  Page  60 


WHAT  CAUSED 
THESE  SCRATCHES? 

LOCAL     UNION  119, 

lATSE  &  MPMO,  Auburn,  N.  Y.,  pre- 
sents a  queer  case  of  film  damage,  asking  an 
opinion  as  to  its  cause.    The  letter  says : 

"This  film  was  returned  to  us  by  an 
exchange  with  the  complaint  that  152  feet 
of  it  was  similarly  damaged  during  the  run 
of  the  print  in  a  local  theatre.  They  con- 
tend that  the  film  ran  off  the  sprocket.  The 
marks,  when  reproduced,  sound  like  a  base 
drum. 

"It  is  obvious  the  marks  were  caused  by 
a  sprocket  of  some  sort,  as  they  are  accur- 
ately spaced  and  centered  with  the  sprocket 
holes.  We  have  tried  to  duplicate  the  dam- 
age by  threading  a  film  in  every  conceivable 
way,  but  with  no  success.  When  a  run-off 
does  occur  (we  know  it  did  not),  the  in- 
dentations are  quite  deep,  whereas  these  are 
not.  Unfortunately  our  argument  does  not 
hold  good  against  the  exchange's  claim  that 
it  did  happen.  We  therefore  are  writing 
to  you  for  an  opinion  that  might  aid  us  in 
ascertaining  the  cause  of  the  damage." 

The  damage  is  peculiar.  It  is  scarcely 
visible  to  the  naked  eye,  even  under  close 
inspection.  However,  when  I  placed  it 
under  a  30-diameter  glass  it  showed  up  as  a 
very  faint  scratch  mark  about  (as  viewed 
under  the  glass)  34"ir'ch  wide  and  the  same 
in  length.  It  was  not  in  any  degree  an  in- 
dentation. It  is  not  the  result  of  the  film 
running  ofF  a  sprocket  during  projection. 
That  is  clearly  shown  in  three  ways.  First, 
on  the  short  sample  sent  the  marks  run  ex- 
actly in  a  straight  line  with  the  sound  track 
(which  is  unusual,  but  possible  in  a  run- 
off). Second,  there  is  not  the  slightest  evi- 
dence of  indentation.  Whatever  did  it, 
struck  a  light,  swiping  blow,  resulting  in  a 
very  light  scratch  or  abrasion.  Third,  were 
it  a  run-off  there  would  be  evidence  of 
damage  near  the  edge  of  the  film  on  the 
opposite  side.    There  is  none. 

My  opinion  therefore  is  that  the  damage 
most  emphatically  was  not  done  during  pro- 
jection. It  occurs  at  every  sprocket  hole  on 
the  sample  sent.    It  looks  as  though  every 


April  6,  1935 


Motion  Picture  Herald 


59 


tooth  of  a  sprocket  had  slightly  scraped  the 
sound  track  exactly  beside  the  sprocket  hole.' 
However,  as  we  all  know,  this  could  not 
possibly  occur  were  it  a  run-oflf,  as  the  film 
speed  would  be  out  of  phase  with  the  speed 
of  the  outer  ends  of  the  sprocket  teeth,  so 
that  the  marks  could  not  possibly  stay  in 
the  same  position  relative  to  the  sprocket 
holes.  Can  anyone  of  our  readers  of¥er  a 
suggestion  as  to  just  what  did  cause  the 
damage  ? 

AN  ODD  CASE 
OF  FLICKER 

FROM  A  projectionist  in 
Edson,  Alberta,  comes  this  puzzler:  "We 
have  installed  a  new  screen,  and  in  spite  of 
all  I  can  do  there  is  a  periodic  flicker.  It 
occurs  with  a  sort  of  in-and-out  fashion.  I 
have  been  able  to  reduce  it  considerably  by 
trying  two-wing  and  three-wing  shutters 
located  at  various  points  in  the  light  beam, 
trimming  and  adjusting  the  intermittent 
movement,  decreasing  the  amperage  and 
checking  projection  speed.  However,  it 
still  persists  with  the  same  pronounced  regu- 
larity. Projection  distance  70  feet.  Screen 
image  13  feet.  I  suggested  reducing  pic- 
ture size,  but  management  is  in  favor  of  a 
larger  one.  We  are  using  rebuilt  Simplex 
projectors." 

After  stud5'ing  this  matter  for  a  time  it 
seems  to  simmer  down  to  just  one  possible 
thing — at  least  so  far  as  I  can  determine. 

It  seems  certain  that  the  picture  is  fairly 
well  illuminated.  It  should  be,  at  least, 
particularly  with  a  new  screen  surface. 
Probably  it  is  much  more  brilliant  than  the 
picture  on  the  old  screen.  It  then  follows 
that  a  flicker  effect  that  would  not  have 
been  noticed  with  the  poorer  illumination, 
might  be  quite  visible  with  that  more  bril- 
liant. 

It  seems  rather  a  remote  possibility,  but 
really  the  cause  would  seem  to  be  that  the 
line  voltage  varies,  dropping  projection 
speed  temporarily  until  flicker  occurs.  My 
further  view  is  that,  since  the  trouble  "per- 
sists with  pronounced  regularity,"  the  volt- 
age drop  is  caused  by  some  intermittent, 
heavy  load,  such  as  for  example  an  eleva- 
tor motor,  which  overloads  either  the  trans- 
former (if  any)  or  the  circuit  through 
which  the  theatre  is  served. 

It  is  quite  true  that  were  such  the  case 
the  alternation  in  projection  speed  drop 
would  be  noticed,  especially  in  its  effect 
upon  sound,  but  just  the  same  my  advice 
is  to  have  the  voltage  of  your  service  circuit 
tested,  which  you  have  every  right  to  de- 
mand the  power  company  to  make,  and  it 
doubtless  would  be  very  willing  to  do  so. 

AMPERAGE  WITH 
MAZDA  LAMPS 

A  SOUTHERN  manager 
wrote  saying  that  his  mazda  lamp  lasted 
only  a  few  hours  on  one  projector,  whereas 
that  on  the  other  stood  up  for  months.  T 
advised  him  that  apparently  something  was 
wrong  with  the  regulator  and  the  lamp  was 
getting  too  much  amperage.  I  told  him 
to  have  the  regulator  tested.  I  have  his 
answer,  as  follows : 


"I  had  the  regulator  tested.  They  ad- 
vise me  that  it  is  OK  but  that  the  am- 
meter registered  a  little  high.  They  in- 
stalled a  different  regulator  and  the  lamp 
stands  up  OK  now." 

So  far  as  I  can  see  there  was  something 
phoney  about  that  test.  If  the  regulator 
was  all  right  and  its  ammeter  registered 
high,  that  would  mean  the  lamp  was  not 
being  supplied  with  its  quota  of  current, 
under  which  condition  it  should  last  in- 
definitely, but  give  very  poor  illumination. 

In  the  new  Bluebook  will  be  found  a 
tabulation,  prepared  for  me  by  General 
Electric  engineers,  that  probably  will  aston- 
ish you.  Just  a  wee  bit  of  overload  de- 
creases lamp  life  amazingly.  Any  consider- 
able overload  raises  hob  with  it. 

Regardless  of  the  test,  I  believe  it  quite 
safe  to  say  that  either  that  ammeter  was 
not  "high,"  but  low  to  a  very  consider- 
able extent,  or  else  there  was  something 
radically  wrong  with  that  regulator. 
(Nela  Park  engineers,  correct  me  if  there 
is  any  other  possible  explanation.) 

Projectionists  using  mazda  equipment 
should  be  very  careful  to  keep  the  amper- 
age, not  almost,  but  exactly  right.  In  locali- 
ties where  line  voltage  fluctuates  widely 
it  is  well  to  watch  your  ammeter  closely. 

MOST  COMMON 
TROUBLE  SOURCE 

JOHN  L.  STROB  of  Min- 
neapolis, writes,  "Your  advice  is  asked  on 
the  following.  First,  when  the  loudspeak- 
ers continually  set  up  a  sort  of  squeal,  what 
is  wrong  and  how  may  the  trouble  be 
stopped?  Second,  just  what  would  you  con- 
sider as  the  one  most  likely  source  of  sound 
trouble?" 

A  positive  answer  cannot  be  given  on  the 
"squeal"  trouble,  but  in  many  cases  it  will 
be  found  to  have  its  source  in  lack  of  bal- 
ance as  applies  to  the  amplifier  stages  in 
which  push-pull  is  employed.  Test  may  be 
made  by  removing  the  tubes,  one  at  a  time, 
until  the  removal  of  one  stops  the  squeal, 
whereupon  installation  of  a  new  tube  will 
probably  cure  the  trouble.  If  not,  it  then 
is  a  matter  of  "following  through"  until 
the  source  of  squeal  is  located. 

As  to  your  second  question,  viewing 
equipment  as  a  whole,  I  believe  the  ex- 
citer lamp  is  probably  the  most  prolific 
source  of  trouble.  My  reason  for  saying 
that  is  that  the  exciter  lamp  is  the  basic 
source  of  sound  volume.  Any  fault  in  its 
filament,  any  darkening  of  its  globe,  any 
diminution  of  its  current,  immediately 
operates  to  lower  the  volume  of  sound. 
When  sound  volume  is  decreased  by  ex- 
citer lamp  fault,  the  tendency  is  to  jack 
up  the  fader,  and  this  ordinarily  induces  a 
"hum"  in  the  amplifiers.  Trouble  has  many 
sources,  but  I  believe  the  one  place  it  most 
often  occurs  is  in  or  at  the  exciter  lamp. 
The  fault  may  be  (a)  dirty  globe,  (b) 
filament  fault,  (c)  darkened  globe  (in- 
terior darkening),  (d)  filament  too  high, 
too  low  or  on  one  side — not  centered  on 
the  optical  axis  of  the  lens  system,  (e) 
poor  connection  between  lamp  or  socket, 
(f)  loose  connection  somewhere  in  exciter 
lamp  power  circuit,  (g)  lamp  bulb  loose 


in  its  base,  (h)  screw  with  which  lamp 
base  is  clamped  in  some  types  of  equip 
nieint,  set  up  too  tight  or  not  tight  enough. 

"WE  WANT  THE 
2,000-FOOT  REEL" 

w.  H.  COOPER,  projection- 
ist of  the  Liberty  theatre  in  North  Wilkes- 
boro.  North  Carolina,  writes:  "Although 
a  devoted  Bluebook  School  student  and 
proud  possessor  of  your  valuable  Bluebooks, 
I  have  not  heretofore  addressed  you.  Now, 
however,  I  want  to  express  to  you  my 
opinion  regarding  the  much  discussed 
2,000-foot  reels.  Please  enter  my  vote 
100  per  cent  for  them.  You,  I  and  all 
experienced  projectionists  know  the  evils 
of  the  1 ,000-footers. 

"Up  in  my  territory  it  seems  every  'ma- 
chine operator'  must  apply  his  own  indi- 
vidual pet  set  of  punch,  scratch  or  other 
changeover  marks  before  he  can  or  rather 
will  project  a  reel  of  film.  Last  week,  be- 
lieve it  or  not,  I  reviewed  a  print  that 
had  spades,  diamonds,  hearts  and  clubs 
punched  at  intervals  all  the  way  through  it. 

"There  are  plenty  of  good  points  in  the 
2,000-foot  reel.  They  will  in  the  end  bene- 
fit the  producer,  the  exchange,  the  exhibi- 
tor, the  projectionist  and,  last  but  not  least, 
the  theatre  patron. 

"Will  you  be  good  enough  to  give  me 
the  address  of  the  Academy  of  Motion 
Picture  Arts  and  Sciences,  to  the  end  that 
I  may  do  my  duty  in  writing  them  boosting 
for  the  2,000-foot  reels?" 

The  address  of  the  Academy  is  7046 
Hollywood  Boulevard,  Hollywood.  As  to 
the  disfiguring  punch  and  scratch  marks, 
there  now  is  no  reasonable  excuse  for  them 
and  no  exchange  should  permit  its  films  to 
be  thus  abused. 

What  is  the  matter  out  in  Hollywood  ? 
"Are  we  to  have  the  2,000-foot  reel  to 
place  on  our  graves?"  asks  a  St.  Joseph, 
Mo.,  projectionist.  Dale  Danielson,  Rus- 
sell, Kan.,  says,  "Wherefore  the  delay  in 
adoption  of  the  2,000-foot  reel  ?  It  has  so 
very  many  advantages— lowered  print  dam- 
age, less  cost  for  replacements,  less  cost  for 
leaders,  trailers,  etc.,  etc.,  through  a  con- 
siderable list." 

It  is  all  very  well  to  investigate  and  talk 
and  "encourage"  us,  but  is  that  all  Holly- 
wood does?  If  it  were  something  Holly- 
wood itself  wanted,  regardless  of  whether 
mere  theatre  folks  wanted  it  or  not,  it 
would  be  done  and  pronto — yea,  verily, 
two  or  three  prontos. 

Gentlemen  of  the  Academy  of  Motion 
Picture  Arts  and  Sciences,  we  need  and 
want  that  2,000-foot  reel.  Failure  to  sup- 
ply it  or  refuse  it  definitely  after  months 
upon  months  upon  months — about  two 
years,  if  I  am  not  in  error — of  deliberation, 
seems  just  a  bit  unnecessary. 

THE  OLDER  MEN 
AND  THE  YOUNG 

I  BELIEVE  it  best  not  to 
give  the  name  of  the  writer  of  what  fol- 
lows. In  part  the  letter  reads : 

"Dear  Brother  Richardson:  I  have  been 
one  of  your   followers   for  many  years. 


60 


Better  Theatres  Section 


April  6,  1935 


After  thanking  you,  as  I  now  do,  for  all 
the  many  valuable  helps  I  have  found  in 
your  department  in  the  Moving  Picture 
World  and  later  in  Better  Theatres  and 
Motion  Picture  Herald  and  in  your 
books,  I  want  to  ask  your  views  on  a  cer- 
tain matter  that  very  much  affects  all 
those  men  now  advanced  in  years  who  be- 
gan in  projection  about  when  I  did,  in  1906. 

"I  have  worked  hard  and  studied,  try- 
ing to  do  my  full  duty  in  the  projection 
room.  I  believe  I  can  honestly  say  I  have 
always  given  at  least  fair  satisfaction,  but 
now  when  my  hair  is  gray  there  seems  to 
be  a  growing  idea  among  the  younger  men 
that  we  old  fellows  should  step  out  and, 
as  they  put  it,  give  them  a  chance. 

"Now,  Brother  Richardson,  I  can't  quite 
see  the  justice  in  that,  especially  when,  as 
is  often  the  case,  they,  the  youngsters,  try 
to  push  us  aside  and  step  into  our  place. 
Three  of  us  older  men  were  talking  this 
over  yesterday  and  it  was  suggested  that 
I  write  you,  asking  you  to  give  the  young- 
sters a  talking  to  through  your  Better 
Theatres  Comments.  We  may  be  old, 
but  still  are  able  to  do  our  work  well.  We 
must  still  eat,  clothe  ourselves,  pay  rent 
and  other  necessary  expenses.  The  plans 
of  the  youngsters  seem  not  to  include  tak- 
ing care  of  us  and  we  can't  seem  to  find 
ourselves  falling  for  the  idea  of  stepping 
out  and  starving  to  death,  or  going  on  the 
charity  rolls,  even  to  'give  the  youngsters 
a  chance.'   How  about  it?" 

Well,  that  certainly  is  an  interesting 
communication.  I  have  myself  seen  plenty 
of  evidence  of  youngsters  not  only  wanting 
older  men  to  step  aside,  but  doing  their 
level  best  to  push  them  out.  In  my  opinion 
the  older  men  have  every  right  to  remain 
just  so  long  as  they  are  able  to  perform 
their  duties  efficiently  and  well.  More  than 
that,  it  would  seem  to  me  that,  as  in  the 
Brotherhood  of  Locomotive  Engineers,  the 
men  longest  in  service  should  be  entitled  to 
hold  the  best  positions  so  long  as  they  can 
fill  them  acceptably.  When  they  cannot 
they  must  of  course  be  dropped  back,  but 
that  should  occur  only  after  it  is  demon- 
strated that  they  are  failing. 

In  projection  it  is  especially  true  that 
this  should  be  the  procedure  by  reason  of 
what  the  older  men  went  through  when 
projection  was  in  the  building  and  neither 
projection  nor  the  projectionist  was  accord- 
ed the  respect  ordinarily  shown  to  a  yellow 
pup.  That  sounds  a  bit  rough,  perhaps, 
but  it  is  exactly  true.  Many  of  the  older 
men  gave  valuable  aid  in  the  very  real 
battle  that  was  fought  for  fully  15  years 
to  give  projection  an  important  place  in 
the  motion  picture  scheme. 

Most  of  the  youngsters  were  in  school 
(or  playing  hookey)  in  those  strenuous  days. 
They  had  no  part  in  the  battle,  but  now, 
not  all,  but  some  of  them  desire  to  step 
calmly  in,  shove  their  elders  aside  and  sop 
up  the  "gravy" — there  wasn't  any  gravy 
then ! 

The  younger  men  have  every  right  to 
build,  and  according  to  their  building,  let 
them  be  advanced.  However,  they  must 
not  expect  those  of  more  mature  years  and 
experience  to  step  aside  until  their  term  of 
usefulness  has  passed.  They  built  the  pres- 


ent, upon  which  base  the  future  will  be 
erected  by  the  youngsters,  who  some  day 
will  find  themselves  asking  the  same  iden- 
tical question  that  is  asked  in  this  letter. 

A  PROBLEM  AND 
A  SUGGESTION 

FROM  PENNSYLVANIA 

comes  this  letter:  "Last  November  this 
theatre  installed  new  type  Suprex  projector 
light  sources,  which  replaced  low  intensi- 
ties. Also  a  new  and  larger  screen  was  in- 
stalled. I  now  project  a  22.5-foot  picture 
at  95  feet.  The  focus  is  never  as  sharp  as 
it  should  be.  It  cannot  be  made  thoroughly 
sharp.  Our  manager  holds  this  to  be  due 
to  the  lens  barrels  being  not  sufficiently 
tight  in  their  holding  barrels  and  working 
gradually  out  of  focus.  There  is  practically 
no  projection  angle.  Lenses  only  about  3 
feet  above  screen  center. 

"My  own  contention  is  that  the  exces- 
sive heat  buckles  the  film,  which  seems 
proven  by  the  fact  that  usualy  the  focus  is 
sharper  on  the  first  projection  than  at 
subsequent  showings. 

"Another  thing:  As  you  know,  films 
supplied  by  some  producers  are  thicker  than 
those  supplied  by  others.  This  being  true, 
would  not  the  thinner  films  be  more  likely 
to  buckle  from  excessive  heat  than  the 
thicker  ones?  When  films  are  so  hot  that 
they  cannot  be  held  comfortably  in  the 
fingers  for  examination  when  rewinding, 
what  would  you  say? 

"The  new  lenses  are  of  good  quality. 
I  am  sure  they  are  not  at  fault.  How- 
ever, your  opinion  is  always  final  to  me." 

First  of  all,  why  a  picture  of  22  feet? 
That  is  nearly  as  large  as  the  picture  at 
the  Roxy  theatre  in  New  York,  which 
seats  something  like  6,000  persons.  It  is 
as  large  as  the  picture  at  the  Capitol  the- 
atre in  New  York,  where  the  rear  seats 
are  157  feet  from  the  screen.  It  is  well 
that  exhibitors  remember  and  give  very 
careful  consideration  to  the  fact  that  un- 
necessarily large  screen  image  dimensions 
are  bad  in  several  ways. 

First,  from  the  front  seats,  as  normally 
found  in  motion  picture  theatres,  the  huge 
picture  invariably  looks  extremely  coarse 
grained,  fuzzy  and  more  or  less  out  of 
focus,  regardless  of  how  sharp  it  may  look 
farther  back.  Second,  it  frequently  pre- 
sents a  faded-out  appearance  from  all  over 
the  theatre.  Third,  every  defect  in  the  film 
("rain,"  for  example)  is  made  conspicuous 
by  unnecessary  enlargement.  Fourth,  pa- 
trons in  the  front  rows  must  do  acrobatic 
stunts  with  their  eyes  for  an  hour  or  two, 
trying  to  follow  action  over  wide  angles 
of  vision.  Finally,  a  brilliant,  but  not  over- 
illuminated  picture  is  far  more  beautiful 
and  more  visible  in  its  details  than  is  one 
in  which  many  elements  are  distorted. 

And  now  to  the  question:  You  should  be 
able  to  prove  friend  manager  right  or 
wrong  by  focusing  the  image  as  sharply 
as  possible  and  sealing  the  lens  temporarily 
in  position  with  a  bit  of  adhesive  tape.  A 
22-foot  picture  at  95  feet  requires  very  care- 
fully corrected  lenses,  as  the  curvature  of 
field  is  approximately  18  inches.  That  is 
to  say,  the  screen  center  is  a  little  less  than 


18  inches  nearer  the  lens  than  is  its  outer 
edges. 

As  to  buckling,  it  is  not  at  all  impossible, 
particularly  if  you  are  using  first-run  serv- 
ice. To  adequately  illuminate  a  22.5-foot 
screen  you  would  have  to  have  a  very  hot 
spot.  Yes,  thin  film  would  buckle  a  bit 
more  readily  than  would  thicker  stock. 
However,  do  not  confuse  mere  cupping  over 
of  the  film  lengthwise  with  buckling.  What 
we  call  buckling  is  the  raising  or  sinking 
out  of  the  film  plane  of  a  portion  of  sepa- 
rate films.  The  fact  that  film,  as  a  whole 
or  in  sections,  bend  over  sidewise  (the 
edges  toward  each  other)  means  nothing 
so  far  as  projection  is  concerned. 

You  can  settle  the  depth  of  focus  ques- 
tion easily.  Sharpen  the  focus  as  much  as 
possible  (audience  absent)  at  the  screen 
center,  observing  the  effect  at  the  sides. 
Then  if  there  is  a  difference  between  cen- 
ter and  sids,  see  if  you  can  focus  the  sides 
sharply  and  whether  by  so  doing  you  throw 
the  center  out.  If  so,  then  those  lenses  can- 
not possibly  project  a  22-foot  picture  prop- 
erly at  95  feet. 

May  I  of?er  the  manager  a  suggestion? 
Get  some  cheap  black  non-glossy  cloth. 
From  your  supply  dealer  borrow  a  good 
lens  that  will  give  an  18-foot  picture. 
Attach  the  cloth  to  the  screen  so  that  an 
18-foot  picture  is  outlined,  permitting  the 
cloth  to  extend  an  inch  or  two  inside  the 
light.  At  the  first  show  next  day  announce 
that  you  are  using  a  picture  22.5  feet  wide, 
that  you  have  been  told  a  smaller  one  would 
give  more  pleasing  results,  that  you  will 
now  project  one  reel  of  today's  performance 
as  an  18-foot  screen  image,  changing  to 
the  22-foot  image  for  the  rest  of  the  pic- 
ture. And  ask  the  audience  to  judge.  I'll 
bet  on  the  18-footer  to  win! 

SERVICE  ENGINEERS 
AND  PROJECTIONISTS 

THE  FOLLOWING  is  from 
the  pen  of  the  late  Mr.  C.  Hartley  Devaies, 
taken  from  the  columns  of  the  Projection- 
ists' Journal  of  London,  which  had  re- 
printed it  from  the  Technical  Section  of 
The  Cinematographic  Times  of  London, 
with  commendatory  remarks. 

"The  relationship  between  the  projec- 
tion personnel  of  theatres  and  the  visiting 
sound  service  engineers  should  always  be 
cordial  and  cooperative.  It  often  is — it 
sometimes  is  not. 

"The  writer  was  recently  called  in  by 
an  exhibitor  who  seemed  to  be  under  the 
impression  that  his  projectionists  were  in- 
competent; and  were,  moreover,  deliberate- 
ly 'messing  around  with'  the  sound  ap- 
paratus. The  general  atmosphere  in  the 
projection  room  was  unpleasant.  But  un- 
biased examination  proved  that  the  two 
men  were  competent,  clean,  painstaking  and 
hardworking. 

"The  manager  said  he  was  going  upon 
reports  he  had  received  from  the  servicing 
engineer,  as  he  did  not  understand  tech- 
nical matters  himself.  He  was  advised  to 
quetly  suggest  a  change  in  servicing  en- 
gineers. The  sound  firm  agreed,  and  now 
the  trouble  has  disappeared,  and  everyone 
is  satisfied  and  the  atmosphere  is  good." 


April  6,  1935  Motion  Picture  Herald  61 

PLANNING  THE  THEATRE 


A    SERVICE    CONDUCTED    BV    PETER     Si.    HULSKEN,    A.  I.  A. 


The  Question: 

I     WANT     TO     BUILD  a 

marquee  as  cheaply  as  possible.  Can  you 
give  me  any  plans  or  ideas?  My  thought 
was  to  build  it  of  wood  with  light  sockets 
and  hang  a  balance  from  it. — O.  S.  P. 

The  Answer: 

IF  THE  LOCAL  authorities 
in  your  city  allow  wood  construction  for 
marquees  I  know  of  no  reason  why  you 
should  not  build  one  of  that  type  of  con- 
struction as  this  would  certainly  be  the 
cheapest  way  possible,  in  initial  cost,  at 
any  rate.  Be  sure  that  all  electric  wiring 
is  done  in  conduit.  At  a  little  more  ex- 
pense you  could  make  the  balance  out  of 
sheet  metal  with  an  escalloped  bottom. 
This  would  make  it  more  durable  and  by 
the  selection  of  vivid  colors  you  might  ob- 
tain a  pretty  good  effect. 

The  Question: 

I  AM  A  REGULAR  Sub- 
scriber and  would  greatly  appreciate  the 
following  information.  We  are  arrang- 
ing our  seats  so  as  to  make  two  side  aisles 
instead  of  a  center  aisle.  We  intend  to 
build  a  wall  behind  the  last  row  of  seats 
6  feet  from  the  entrance.  What  materials 
are  most  suited  for  this,  and  how  high 
should  this  be  built  up,  and  also  how  wide 
should  it  be — that  is,  should  it  be  built  up 
to  the  last  seat  on  each  side,  or  not? 

Our  ceiling  above  the  entrance  is  15 
feet,  and  it  is  10  feet  up  to  the  light  from 
the  projection  room.  At  the  present  time 
we  have  two  entrance  doors  into  the  thea- 
tre on  each  side  of  the  box  office.  These 
are  small  French  doors  and  are  only  24 
inches  wide.  We  keep  one  of  them  fastened 
and  only  allow  the  other  one  to  swing. 
We  are  planning  on  changing  these  and 
thought  it  best  to  put  in  only  one  door  on 
each  side  of  the  box  office  and  to  make 
it  wider.  What  kind  of  door  would  you 
recommend,  and  how  wide  and  would  you 
recommend  a  solid  one  or  with  a  glass 
pane? 

We  also  have  a  lobby  that  is  15%.  feet 
wide  and  12  feet  deep.  The  opening  into 
the  lobby  is  12^  feet  across  and  runs 
straight  up  feet,  then  there  is  a  gradual 
arch  for  the  next  twc  feet.  We  would  like 
to  make  a  permanent  storm  front  for  this. 
What  material  would  you  recommend  and 
how  would  you  build  it  ?  How  many  doors 
would  you  have,  and  would  you  have  them 
solid  or  with  a  glass  pane,  and  how  would 
you  have  them  open?  We  would  like  an 
arrangement  so  that  we  could  remove  the 


NOTE: 

IN  THIS  department 
Better  Theatres  will  be 
glad  to  answer  questions  pertaining 
to  the  preliminary  consideration  in- 
volved in  the  planning  of  a  new  the- 
atre or  in  the  remodeling  of  an  exist- 
ing one.  Only  requests  for  ideas  will 
be  answered,  since  this  department 
cannot  assume  the  practical  functions 
of  an  architect.  All  communications 
intended  for  this  department  should 
be  addressed  to  Better  Theatres, 
1790  Broadway,  New  York. 


doors  during  the  summer  to  provide  free 
access  to  the  theatre  and  lobby.  Also,  what 
color  would  you  use  for  a  small  theatre 
of  our  type. — L.  R.  B. 

The  Answer: 

IT  IS  A  GOOD  improvement 
to  rearrange  the  seats  as  you  described.  The 
wall  behind  the  last  row  of  seats  should 
run  to  the  soffit  of  the  projection  room. 
This  wall  may  be  built  out  of  metal  lath 
and  plaster,  or  out  of  plaster  boards  on 
studding.  If  your  theatre  is  fireproof  use 
metal  studding  or  gypsum  blocks.  It  is 
advisable  to  place  plate  glass  openings  in 
the  space  between  the  openings  leading  to 
the  aisles.  These  openings  or  arches  on 
the  heads  of  the  aisles  should  be  6  inches 
or  8  inches  wider  than  the  width  of  the 
aisles,  specially  if  drapes  are  to  be  used. 

A  24-inch  door  is  too  narrow  for  com- 
fort, and  not  permissible,  if  you  intend  to 
change  the  present  doors  to  single  doors. 
Do  not  make  them  wider  than  3  feet,  6 
inches,  but  be  sure  that  you  comply  with 
the  building  code  in  regard  to  the  width. 
These  doors  should  have  glass  panels.  If 
you  plan  for  a  storm  front  to  be  used  in 
the  cold  weather,  install  one  of  the  knock- 
down type,  especially  because  you  intend 
to  remove  the  doors  during  the  summer, 
and  front  without  doors  does  not  add 
to  the  beauty  of  the  exterior.  Besides,  the 
muUions  of  the  frame  would  be  in  the 
way  and  someone  might  get  hurt. 

Since  the  opening  is  only  12  feet,  6  inches 
wide,  it  should  be  an  easy  matter  using 
two  double  set  of  doors,  each  opening  5 
feet,  6  inches  wide,  with  a  mullion  in  the 
center.  These  storm  doors  should  have 
glass  panels. 

I  cannot  advise  you  as  to  a  color  scheme 
unless  I  know  the  colors  of  the  chairs, 
drapes  or  carpets  now  in  your  theatre. 


The  Question: 

I  AM  WRITING  you  with  a 
view  of  improving  my  own  ideas  in  re- 
gard to  lighting  and  decorating  the  in- 
terior of  my  building.  The  lobby  is  13 
feet  wide  by  18  feet  long  and  14  feet 
high,  with  only  one  light  in  center,  over- 
head. While  the  lobby  is  completely  en- 
closed, it  is  necessary  to  cut  this  center 
light  off  on  account  of  the  light  rays 
penetrating  throughout  the  building  where 
the  main  doors  are  open,  then  a  temporary 
light  is  used  with  very  poor  effect. 

The  interior  of  the  building  is  anything 
but  attractive.  The  left  side  is  a  con- 
tinuance of  the  lobby  and  a  straight  flat 
wall  for  a  distance  of  76  feet  to  the 
stage.  On  the  right  side  the  building  is 
widened  28  feet,  making  this  part  blind 
and  hard  to  ventilate,  there  being  apart- 
ments on  the  second  floor,  and  the  only 
way  to  ventilate  is  through  the  lobby.  En- 
closed is  a  diagram  which  I  hope  will  as- 
sist you. — D.  E.  B. 

The  Answer: 

I  AM  VERY  SORRY  tO  State 

that  I  do  not  quite  understand  your  in- 
quiry and  therefore  am  unable  to  give  you 
much  advice.  You  state  that  the  lobby  is 
completely  enclosed,  but  that  the  light  rays 
penetrate  "throughout  the  building."  Do 
you  mean  that  the  lights  in  the  lobby  pene- 
trate to  the  auditorium  and  interfere  with 
projection  when  lobby  doors  are  open? 

To  overcome  such  a  situation  you  could 
build  a  standee  railing  behind  the  seats  and 
cover  it  with  fabrics.  You  could  also  use 
an  indirect  lighting  fixture,  or  try  colored 
lamps. 

If  the  doors  between  the  auditorium  and 
the  lobby  have  glass  panels,  remove  them 
and  install  solid  panels,  or  cover  both  sides 
of  each  door  with  sheetrock  or  masonite. 
The  only  way  I  can  advise  you  in  regards 
as  to  ventilation,  I  suggest  you  send  a  floor 
plan  of  your  building. 

I  suggest  that  you  eliminate  all  ceiling 
fixtures  in  the  auditorium  and  use  con- 
cealed type  wall  brackets  so  as  not  to  throw 
any  light  against  the  ceiling. 

The  Question: 

WE  NEED  some  advice  on 
a  problem  we  have  and  were  wondering  if 
you  could  give  us  some  information  on  it. 
We  are  figuring  on  putting  in  a  balcony, 
and  our  present  booth  is  in  the  way. 
Everything  else  works  out  fine,  and  we 
would  like  to  know  if  it  is  possible  and 
would  it  work  O.K.  to  have  our  booth 


62 


Better  Theatres  Section 


April  6,  1935 


just  below  the  top  of  the  seats  and  with 
about  24  feet,  2  inches  throw  to  the  screen. 

We  figure  on  taking  up  some  of  the 
front  seats  if  this  could  be  worked  out.  I 
have  been  told  that  this  is  used  in  most 
theatres  in  California  on  account  of  earth 
quakes.  I  am  sending  a  drawing  showing 
all  I  can  on  the  questions.  Our  house 
seats  250  and  we  use  Mazda  lamps  with 
the  new  RCA  sound.— L.  D.  M. 

The  Answer: 

YOUR  INQUIRY,  being 
rather  unique,  became  very  interesting.  I 
find  it  not  to  be  impracticable.  Accord- 
ing to  your  sketch  the  top  of  the  projection 
room  should  not  be  more  than  3  feet,  6 
inches  above  the  floor  line  nearest  to  the 
seats,  so  the  bottom  of  the  portholes  would 
be  just  above  the  floor  line  in  front  of  the 
booth.  In  this  case  the  bottom  of  the  pro- 
jection screen  may  be  on  the  same  level 
with  the  top  of  the  booth,  reducing  the 
angle  of  projection. 

The  greatest  objection  I  find  is  the  mat- 
ter of  ventilating  the  projection  room.  The 
only  way  this  can  be  done  is  to  connect 
the  projector  ventilators  to  a  duct  running 
along  the  wall  and  downward  to  the  bot- 
tom of  the  auditorium  floor,  and  extend- 
ing to  outside  of  the  building,  then  along 


the  outside  wall  to  2  feet  above  the  roof 
line.  Provide  this  vent  with  an  exhaust 
fan.  The  projection  room  should  also 
be  provided  with  a  fresh  air  supply  and  an 
exhaust.  This  duct  work  could  be  placed 
under  the  auditorium  floor  and  run  along 
outside  walls  to  the  desired  location  for 
outlets. 

Discussing  this  problem  with  a  projec- 
tion engineer,  I  was  told  that  it  would 
work  out  all  right,  especially  with  mod- 
ern equipment. 

• 

The  Question: 

PLEASE  GIVE  US  all  the  in- 
formation you  can  in  regards  to  this  let- 
ter. We  are  planning  on  building  a  thea- 
tre in  the  near  future  in  a  town  of  about 
fifteen  hundred  population.  We  do  not 
want  to  invest  over  $12,000  in  it.  We 
intend  to  put  in  second-hand  machines, 
chairs,  etc.  We  want  about  250  seats  in 
the  auditorium,  and  150  in  balcony.  We 
have  got  to  build  from  the  ground  up.  We 
just  want  something  that  will  do  for  a 
while  so  we  can  see  whether  a  theatre 
will  pay  in  this  town  or  not.  Kindly  give 
us  all  the  information  you  can,  about  the 
cost  of  the  building,  the  size,  the  heating 
system  and  any  other  information  you  see 


fit  to.  We  want  to  build  cheaply  as  pos- 
sible, $10,000  if  we  can.— J.  L.  T. 

The  Answer: 

IT  WOULD  BE  impossible 
to  build  a  theatre  with  a  balcony  and  a 
total  seating  capacity  of  400  for  $12,000. 
If  you  plan  all  the  seats  on  one  floor  and 
be  as  economical  as  possible  in  the  con- 
struction, it  may  be  possible  to  do  so.  Not 
knowing  the  size  of  your  building  lot,  it  is 
impossible  for  me  to  give  you  a  correct 
estimate,  but  under  no  conditions  should 
you  figure  less  than  18  cents  per  cubic  foot. 
Should  the  lot  be  40  feet  wide,  it  will  re- 
quire between  90  feet  to  100  feet  in  depth, 
according  to  your  requirements  for  lobby, 
foyer,  stage,  etc. 

The  most  economical  layout  for  a  heat- 
ing system  is  to  locate  the  boiler  room 
under  the  stage.  In  that  case  a  hot  air 
furnace  may  be  used,  so  the  warm  air  can 
be  blown  directly  into  the  auditorium  on 
each  side  of  the  stage.  This  would  require 
a  minimum  amount  of  galvanized  iron 
duct  work.  The  exhaust  of  foul  air  could 
be  by  gravity. 

If  this  theatre  is  to  be  built  for  experi- 
mental purposes,  find  out  from  the  state 
authorities  if  frame  construction  is  per- 
missible, as  that  method  is  cheapest. 


New  Theatres  from  Old:  The  Lobby-Materials  and  Methods 


with  panels  of  mosaic,  a  terrazzo  floor 
would  be  an  excellent  choice.  This  ma- 
terial has  possibilities  of  richness  and  beauty 
that  one  would  never  suspect  from  the  way 
it  is  ordinarily  used.  In  such  a  lobby  the 
terrazzo  floor  might  be  in  plain,  rich  old 
gold  with  a  simple  border  of  Cosmati  mo- 
saic in  Belgian  black  and  Blanc  de  Nimes 
marbles,  or  with  a  border  of  plain  black 
terrazzo. 

Terrazzo  is  composed  of  a  mixture  of 
marble  chips,  cement  and  sand  laid  in  a 
plastic  state  and  ground  down  to  an  even 
surface  after  it  has  hardened.  A  fine  golden 
yellow  terrazzo  can  be  made  with  chips  of 
Sienna  Yellow  and  Yellow  Verona  marbles. 
If  the  floor  slopes,  Alundurm  chips  should 
be  mixed  in  to  make  a  non-slip  surface. 
A  suitable  terrazzo  floor  in  two  colors 
would  probably  cost  from  60  cents  to  80 
cents  a  square  foot. 

OTHER    TREATM  ENTS 

Veneers  of  beautiful  exotic  woods,  as 
well  as  of  walnut  and  mahogany,  come  in 
Haskelite  Phemaloid  plywood,  which  is  ce- 
mented together  with  a  synthetic  fire-re- 
sisting cement.  Haskelite  Plymetl  has  a 
facing  of  sheet  metal — aluminum,  bronze, 
etc. — on  a  fire-resisting  plywood  backing. 
Snap-on  metal  mouldings  should  be  used 
over  the  joints.  Phemaloid  costs  about 
$1.50  a  square  foot,  and  Plymetl  $1 
a  square  foot. 

Mirror  glass  panels,  either  round  or 
rectangular,  inserted  in  the  walls,  add  to 
the  interest  and  may  be  backed  with  gold, 
gunmetal,  blue  or  other  metallic  color  in- 


{  Continued  from  page  11) 

stead  of  the  usual  silvering.  Two  or  more 
colors  can  be  combined  on  the  same  mir- 
ror. Designs  can  be  sand-blasted  from  the 
front  or  back,  and  colors  added  in  por- 
tions if  desired. 

Fyrart  glass  is  excellent  for  wall  facing. 
It  comes  in  a  great  variety  of  fine  colors, 
which  are  fired  on  the  back  of  the  glass, 
and  it  can  be  had  in  special  colors  and  de- 
signs. With  this  material,  snap-on  metal 
mouldings  make  a  good  finish  over  the 
joints. 

DECORATIVE  LIGHTING 

The  light  in  a  theatre  lobby  should  be 
brilliant  but  at  the  same  time  free  from 
glare,  otherwise  an  intimate  effect  will 
not  be  attained.  But  the  lobby  must  not 
appear  dim  compared  with  the  brightly 
lighted  vestibule.  The  eyes  of  incoming 
patrons  should  be  caused  to  adjust  them- 
selves in  preparation  for  the  dimness  of  the 
auditorium  by  a  moderate  level  of  illumin- 
ation in  the  lobby  (still  less  light  should  be 
the  rule  for  any  foyer  area  between  the 
main  lobby  (or  main  foyer). 

Soft  decorative  lighting  from  bulbs,  or 
various  colored  neon  tubes  concealed  in 
coves,  can  be  used  to  produce  pleasing  color 
effects.  There  is  a  new  type  of  wall  lu- 
minaire  especially  suited  to  lobby  lighting 
which  projects  its  light  upon  the  opposite 
wall,  distributing  it  widely.  It  employs 
control  lenses  set  on  a  saw-tooth  plan. 

The  type  of  light  source  should  be  chosen 
with  due  regard  for  the  proportions  of  the 
lobby.  A  long  trough  hung  in  the  center 
of  the  ceiling  is  good  in  a  fairly  long  room. 


but  not  in  a  short  room.  If  the  ceiling  is 
low,  a  trough  against  the  ceiling,  or  a 
flush  ceiling  panel,  is  suitable.  Separate 
fixtures  are  good  in  very  long  and  very 
short  rooms. 

Doors  covered  with  imitation  leather  are 
good  because  they  are  friendly  to  the  touch. 
A  vertical  slit  can  replace  the  more  usual 
round  opening.  A  smart  idea,  seen  in 
Paris,  is  a  tube  of  metal  extending  from 
top  to  bottom  of  the  door  near  the  edge  in 
place  of  the  usual  pull  handle. 

The  foyer  space  is  often  irregular  with 
odd  corners.  All  re-entrant  angles  may 
well  be  rounded  by  furring  out  on  a  radius 
of,  say,  2  or  3  feet.  In  the  space  thus 
formed  a  niche  may  be  made  for  some  such 
feature  as  an  electric  fountain  or  illumin- 
ated metal  ornament  of  modern  design. 
Very  effective  things  of  this  kind  can  be 
made  by  combining  sheet  metals  of  differ- 
ent colors,  such  as  copper,  brass,  nickel- 
silver  and  aluminum.  Abstract  designs, 
figure  subjects,  etc.,  can  be  worked  out  is 
repousse  metals,  beaten  to  pattern,  and 
they  can  be  enlivened  with  vitreous  enam- 
els in  colors.  Fountains  can  be  made  of 
metal  with  blue  neon  tubes  curved  to  sug- 
gest the  falling  pets  of  water.  Metals  that 
gleam  and  lights  that  glow  are  good  in  such 
ornamental  features. 

There  are  ceiling  luminaires  of  a  Bellova 
glass  that  are  remarkably  brilliant  in  ap- 
pearance. They  are  decorated  in  perma- 
nently fired  colors  on  an  opal  glass  ground. 
An  inverted  cone-shaped  ceiling  fixture 
decorated  with  a  pattern  of  over-lapping 
small  triangles,  is  especially  suitable  for  an 


April  (5,  1935 


Motion  Picture  Herald 


63 


inner  foyer  (foyer  beyond  main  lobby  or 
main  foyer) . 

The  walls  of  an  inner  foyer  may  be 
treated  by  almost  any  of  the  methods  sug- 
gested for  the  main  lobby  walls,  but  since 
this  area  has  less  light,  refined  textures  and 


subtle  colorings  are  likely  to  be  lost.  The 
walls  may  be  painted  or  covered  with 
Salubra  or  fabric.  If  a  patterned  material 
is  used,  the  design  and  coloring  should  be 
bold.  Where  the  inner  foyer  area  cannot 
be   partitioned   off   from  the  auditorium 


(therefore  really  amounting  to  traffic  or 
standee  area),  its  decorative  possibilities 
are  greatly  limited  on  account  of  the  con- 
tinuity with  the  auditorium-proper,  but  the 
principles  of  treatment  are  similar  to  those 
here  noted. 


New  Theatres  from  Old:  The  Lobby— Safety  and  Comfort 


or  baby  spotlights,  are  often  plugged  into 
the  socket  of  an  electric  lighting  fixture. 
There  are  at  least  two  objections  to  this 
practice:  First,  it  is  ten  to  one  that  the 
lighting  circuit  is  overloaded;  and  second, 
the  flexible  cable  coming  out  of  the  lighting 
fixture  is  unsightly  and  conspicuous.  In 
remodeling  the  foyer,  plan  an  extra  circuit 
for  just  such  purposes.  Select  a  reasonable 
number  of  locations  for  concealing  wall 
plugs,  so  that  temporary  or  seasonal  light- 
ing effects  may  be  plugged  into  this  extra 
circuit.    This  will  be  a  great  convenience. 

HARDWARE 

Hardware  on  doors  becomes  obsolete  just 
as  other  equipment.  Door  pull  handles, 
hinges  or  push  bars  can  be  removed  and  re- 
finished,  or  replaced  with  newer  designs 
and  finishes.  The  entire  appearance  of  a 
pair  of  doors  can  be  altered  by  installing 
more  modern  hardware.  Door  checks  are 
important.  They  should  be  noiseless  in 
operation  and  require  a  minimum  of  repair 
and  adjustment.  Door  checks  might  be  ob- 
tained to  operate  doors  from  either  side.  Be 


(Continued  from  page  12) 

sure  they  are  installed  on  the  side  away 
from  the  foyer — it  will  be  less  conspicuous. 
The  hanging  or  bracket  type  of  check  can 
be  replaced  by  the  flush  floor  type.  This 
type  costs  somewhat  more  installed,  but  it 
is  much  more  finished  in  appearance. 

Main  entrance  or  exit  doors  can  be  made 
to  operate  automatically  upon  the  approach 
of  a  person  by  the  connection  of  a  special 
apparatus  operated  by  an  electric  current 
from  a  photo-electric  cell.  This  type  of 
operation  is  so  installed  that  in  case  of  an 
emergency  all  doors  will  open  instantly. 
This  is  an  expensive  installation,  but  it  is 
the  last  word  in  automatic  door  operation. 
Such  automatic  operation  conserves  heat  in 
winter  and  cool  air  in  summer  if  installed 
on  outside  or  vestibule  doors,  and  mini- 
mizes foyer  drafts.  Automatic  door  oper- 
ation is  a  distinct  novelty  in  many  locations 
and  it  attracts  a  great  deal  of  attention. 

SAVING  WALLS 

Most  foyers  have  some  furniture,  like 
settees,  divans,  chairs,  benches,  floor  lamps 
and  pedestals  supporting  statues  or  ferns, 


plants,  etc.  Chairs  and  settees  placed 
against  walls  can  do  much  damage  to 
painted  plaster  walls.  The  plush  pads 
which  are  sometimes  used  at  the  back  are 
not  entirely  satisfactory  as  they  damage  or 
discolor  the  wall  only  in  a  lesser  degree. 
The  best  way  to  protect  against  this  damage 
is  to  attach  a  bracket  and  a  wood  block  to 
the  rear  legs  of  the  chair  or  settee  flush  with 
the  surface  of  the  floor,  so  that  when  the 
furniture  is  pushed  back  against  the  wall 
the  block  of  wood  touches  the  baseboard 
and  no  other  part  of  the  chair  can  touch  the 
wall  surface.  Of  course,  the  block  of  wood 
should  be  stained  to  match  the  carpet  or 
floor  covering.  Floor  lamps  or  pedestals, 
unless  very  heavy  such  as  those  made  of 
marble,  should  be  secured  in  place,  close  to 
the  wall,  by  an  ornamental  bracket,  to  pre- 
vent them  from  being  knocked  over  and 
possibly  injuring  a  patron.  Did  you  ever 
stop  to  think  of  the  hazard  a  loose  floor 
lamp  might  become  in  tripping  people 
should  it  fall  or  be  knocked  over  in  a  panic  ? 
All  furniture  should  be  so  placed  that  it 
does  not  in  any  way  obstruct  exits. 


Lighting  the  Stage  for  Eye  Appeal 

{  Continued  from  page  23) 


pendent  arrangements  of  circuits.  Stage 
cables,  heavily  insulated  and  in  suitable 
lengths,  fitted  with  connectors,  and  when 
separate  circuits,  are  to  be  provided  from 
one  feeder  cable,  with  branch  connectors, 
are  part  of  the  necessary  stage  lighting 
equipment. 

SCENIC  EFFECTS 

Scenic-effects  are  reproductions  of  natu- 
ral phenomena,  and  startling,  fantastic 
stage  illusions,  such  as  those  of  floating 
clouds,  falling  rain,  flowing  water,  flames, 
swimming  fish,  etc.  The  effect  is  painted 
on  a  mica  disk,  or  on  slides,  enclosed  in  a 
metal  case  and  rotated  or  moved  by  clock- 
works or  motor.  The  cost  of  scenic  effects 
make  their  use  prohibitive  to  the  majority 
of  smalltown  theatres,  except  where  the 
slides  can  be  rented  from  a  nearby  supply 
house. 

Many  pleasing  stage  effects  can  be 
evolved  by  the  mechanically  inclined  artist 
or  electrician  at  a  very  small  cost.  Such 
home-made  apparatus  are  not  as  compact 
or  as  finished  in  appearance  as  the  manu- 
factured article,  of  course. 

Color  frames  of  wood  or  metal,  carry- 
ing color  mediums,  are  used  with  open-box, 
bunch,  and  spotlights,  as  well  as  with  cer- 
tain types  of  borderlights  and  footlights. 
The  color-frame  consists  of  two  frames 


clamped  together  with  screws  or  bolts  and 
fitted  with  guard  wires.  The  gelatine 
medium  is  placed  between  the  two  frames. 

Gelatine  is  the  most  serviceable,  econom- 
ical and  popular  of  color  mediums.  It  is 
available  in  about  fifty  tints  and  hues. 
Colored  glass  is  also  obtainable,  but  is  cost- 
lier and  easily  broken.  Silk  mediums,  once 
popular,  are  now  seldom  used  except  for 
effects  such  as  sunrise  and  sunset. 

Following  are  a  few  suggestions  for  in- 
teresting and  unusual  lighting  effects  com- 
piled from  various  sources : 

Dancing  feet — a  spot  placed  very  low,  so 
as  to  strike  along  a  line  of  dancing  feet. 
Very  effective,  especially  if  silver  slippers 
or  rhinestone  buckles  are  worn  by  the 
dancers.  For  a  variation,  follow  the  feet 
of  a  toe  dancer  with  a  very  small,  con- 
densed spot. 

Fading-in — a  dark  stage  on  opening, 
with  the  faces  of  the  singers  or  members  of 
a  band  suddenly  emerging  in  highlight,  just 
an  instant  before  the  lights  are  brought  up. 
This  is  just  enough  of  a  novelty  to  evoke  a 
start  of  surprise. 

Lighted  face — a  light  held  by  the  per- 
former, under  his  chin,  so  that  the  concen- 
trated light  illuminates,  in  sharp  contrasts, 
his  face  only.  A  flashlight  is  all  that  is 
necessary  to  accomplish  this. 

Light  through  water — A  European  de- 


vice, which  is  very  artistic,  consists  in  send- 
ing shafts  of  light  through  water.  Glass 
water-containers  (fish  bowls  or  square  glass 
boxes)  are  placed  in  front  of  baby  spots. 
The  water  containers  are  raised  slightly 
above  the  spots  to  permit  "shooting"  the 
light  on  an  upward  angle.  The  sides  around 
the  spots  and  water  containers  are  enclosed 
to  prevent  spill-light.  An  electric  bar 
heater  or  similar  contrivance  is  used  to 
agitate  the  water.  The  effect  of  the  bub- 
bling water  is  virtually  projected  on  a  light 
fabric  hanging  or  cyclorama.  Color 
mediums  may  be  used  in  conjunction  with 
the  water  effect. 

Spelling  with  light — Spelling  out  a  word 
in  illuminated  letters  makes  a  pleasing  little 
novelty.  As  an  example:  A  chorus  of  nine 
girls,  dressed  in  traveling  costumes  and 
carrying  over-night  bags  enter  for  "happi- 
ness" song,  during  which  illuminated  let- 
ters, one  letter  on  each  bag,  appear  to  spell 
happiness  in  capital  letters.  A  letter  is  cut 
out  in  the  side  of  each  bag,  covered  with 
translucent  material  and  illuminated  with  a 
flashlight  bulb,  the  switch  of  which  is  at- 
tached to  the  handle  of  the  bag.  The  bags 
are  cardboard  boxes  covered  with  pebble 
oilcloth  or  imitation  leather  paper,  and 
fitted  with  handle. 

Shadows — A  striking  lighting  effect  is 
produced  with  a  spot  placed  in  the  foot- 


64 


Better  Theatres  Section 


April  6,  1935 


lights  and  focused  to  throw  a  huge  sprawl- 
ing shadow  of  the  performer  on  the  drop. 
The  drop  should  be  of  fairly  light  color  on 
a  dark  blue  stage. 

The  luminous  scrim  is  another  striking 


effect.  For  example:  Big  exotic  flowers 
painted  in  vivid  colors  and  visible  in  white 
light,  gradually  change  into  huge  luminous 
parrots  when  the  stage  is  darkened.  The 
parrots  in  turn  disappear  as  lights  behind 


the  scrim  are  brought  up  for  scrim  presenta- 
tion. The  parrots  are  painted  over  the 
flowers  with  luminous  paint,  which  is  in- 
visible in  the  light,  but  becomes  radiant 
when  the  stage  is  darkened. 


Physical  Changes  in  Today's  Plan 


structure  can  be  lowered  accordingly.  {See 
Diagravi  3.)  As  the  overhang  lessens,  the 
pitch  of  the  balcony  automatically  flattens, 
making  easier  runs  of  stairs  possible. 

One  loss  at  this  point,  however,  is  that  as 
the  balcony  pitch  is  reduced,  the  space 
beneath  it  that  was  formerly  used  for  mez- 
zanine and  rest  rooms  is  either  altogether 
elimitated,  or  becomes  so  small  that  only 
retiring  rooms  for  second  floor  patrons  can 
be  planned  in  this  area.  But  the  lounges 
have  suffered  little  in  their  move  to  the 
foyer  level  or  to  the  basement,  and  in  addi- 
tion to  their  former  comforts  have  grown 
to  include  smoking  and  poudre  rooms  to 
keep  step  with  feminine  requirements. 

The  smaller  balcony  is  obviously  safer,  as 
a  reduced  proportion  of  the  audience  is 
obliged  to  come  down  the  stairways  in  case 
of  a  hurried  exit.  The  idea  back  of  Great 
Britain's  traditional  three-floor  form  of 
playhouse,  with  the  pit,  or  orchestra  floor 
below  the  street  level  and  exit  up  short 
flights  of  stairs,  the  first  balcony  placed  at 
the  lobby  and  foyer  levels,  and  the  second 
balcony — now  quite  obsolete  in  America — 
requiring  the  exit  of  less  than  one-third  of 


[Continued  from  page  21) 

the  audience  down  stairways,  was  the  desire 
for  maximum  assurance  of  public  safety. 
The  logic  of  the  plan  was  recognized  by 
English  building  ordinances,  but  it  is  still, 
in  most  localities  in  America,  a  new  idea 
to  our  own  building  inspectors  that  it  is 
better  to  exit  crowds  up  a  few  steps  where 
this  can  be  conveniently  arranged  than  to 
attempt  to  hurry  great  numbers  of  people 
down  flights  of  stairs  in  case  of  fire.  We 
seldom  hear  of  serious  injuries  resulting 
from  falls  upstairs,  but  the  toll  taken  by 
plunges  downstairs  is  large  and  tragic. 

The  arguments  are,  therefore,  that  with 
a  reduced  balcony  seating  a  smaller  pro- 
portion of  the  patrons  of  the  motion  picture 
theatre,  the  elimination  of  heavy  girder 
construction  and  reduction  in  ceiling  height 
is  a  saving  in  the  cost  of  the  building,  steep 
climbs  are  eliminated,  public  safety  is  in- 
creased, better  projection  angles  are  possible, 
and  the  confined  under-balcony  atmosphere 
is  largely  done  away  with. 

STADIUMPLAN 

Turning  from  our  discussion  of  the  two- 
floor  house,  it  is  worth  noting  that  the 


stadium  type  of  motion  picture  theatre  plan 
has  undergone  fewer  changes  in  the  last 
few  years.  It  continues  to  hold  its  popular- 
ity, and  can  be  designed  in  the  moderne 
manner  as  effectively  as  the  balcony  type  of 
house. 

THEATRE  PLANNING 

The  foregoing  are  a  few  of  the  major 
changes  which  have  come  of  late  in  the 
development  of  motion  picture  theatre 
architecture.  None  of  them  are  half  as 
startling  as  the  sudden  swing  from  the 
"deluxe"  theatre  to  the  smaller  showhouse^ 
necessitated  by  restricted  financing  during 
the  depression  and  a  change  of  policy  on  the 
part  of  major  producing  companies,  but  the 
physical  trends  mentioned  do  prove  that 
theatrical  design  will  never  be  governed  by 
fixed  rules. 

Gradually  we  are  shedding  the  old  use- 
less appendages  of  the  "legitimate"  houses 
in  which  motion  pictures  were  first  shown, 
and  are  evolving  typical  structures  whose 
arrangement  and  mechanical  efficiency 
dovetail  with  an  artistic  architectural  treat- 
ment calculated  to  fulfill  today's  demands- 


Practical  Air-Conditioning  Routine 


sheet,  and  the  hours  horizontally  across  the 
top,  or  the  hours  down  the  side  and  the 
headings  across  the  top,  thus: 

A.  Weather  conditions  and  temperatures. 

1.  Fair,  warm,  clear,  rainy,  etc. 

2.  Dry  bulb  temperature 

3.  Wet  bulb  temperature 

4.  Dew  point  temperature 

5.  Relative  humidity 

6.  Effective  temperature 

B.  Inside  Air  Conditions,  to  include  Dry  and 

Wet  Bulb,  Deiu  point,  relative  and  effec- 
tive temperature. 

1.  At  fan  discharge 

2.  At  two  points  at  least  on  main  floor 

3.  At  two  points  at  least  in  balcony. 

4.  At  two  points  in  foyers 

5.  At  two  points  in  lobby 

C.  Return  or  Recirculating  Air  Duct. 

1.  Wet  bulb  temperature 

2.  Dry  bulb  temperature 

D.  Compressor  Gauge  Readings 

1.  Suction  side  (low  pressure) 

2.  Discharge  side  (high  pressure) 

3.  Oil  pressure  at  oil  pump 

4.  Oil  pressure  at  seal  or  stuffing  boxes 

E.  Condenser  Readings 

1.  Water  temperature  at  condenser  inlet 

2.  Water  temperature  at  condenser  outlet 

3.  Refrigerant  temperature 

F.  Cooling  Coils 

1.  Temperature  of  water  going  in 

2.  Temperature  of  water  leaving 

This  may  look  like  a  lot  of  detail,  but 
I  can  assure  you  it  is  as  important  to  intel- 
ligent plant  operation  as  the  detail  and 
analysis  of  box  office  figures  are  to  intelli- 


[Continued  from  page  19) 

gent  showmanship.  Actually,  in  practice, 
once  an  engineer  has  been  trained  to  keep 
such  information,  it  is  not  complicated  and 
takes  much  less  time  than  it  requires  to 
describe  it  in  this  manner. 

The  cost  of  operation  is  a  very  serious 
problem  in  all  air  conditioning  work.  The 
foregoing  operating  log  does  not  contain 
any  information  that  would  directly  help 
the  manager  to  watch  and  know  the  operat- 
ing costs.  It  is  necessary,  then,  to  keep 
another  record  that  might  be  called  the 
O perdting  Cost  Journal.  Again,  the  head- 
ing may  be  arranged  down  the  side  of  the 
sheet,  and  the  days  of  the  week  horizontally 
across  the  top  of  the  page,  or  vice  versa. 
Each  sheet  would  cover  one  calendar  week. 
The  following  are  some  headings  for  con- 
sideration in  building  up  the  proper  record 
for  a  theatre: 

Date 

Water  meter  reading 
Quantity  of  water  used 
Electric  power  meter  reading 
Electric  power  consumed 
Hours  in  operation,  Compressor  No.  1 
Hours  in  operation,  Compressor  No.  2,  etc. 
Number  of  hours  when  more  than  1  com- 
pressor was  in  operation 
Refrigerant  loaded  into  system 
Quantity  of  oil  put  into  system 
Supplies  other  than  oil  used 
Air  washer 

1.  Nozzles  cleaned 

2.  Screens  cleaned 

3.  Tank  drained,  cleaned  and  refilled 


Adjustments  or  minor  repairs  made  during 
day 

Supplies  or  refrigerant  received  during  day 
Supplies  or  refrigerant  needed  (for  engineer 

to  answer  each  day) 
Is  the  entire  plant  operating  to  your  complete 

satisfaction — if  not  what  specifically  are 

your  recommendations? 

The  report  for  each  day  should  be  ini- 
tialed by  the  chief  engineer.  Now  the 
question  might  be  asked :  With  all  these  fine 
records,  how  is  the  manager  going  to  see 
and  profit  by  them?  The  answer  is  that 
the  good  manager  is  going  to  visit  the 
engine  room,  talk  to  the  engineer,  then 
initial  each  day's  record  right  there  on  the 
ground  where  he  can  inspect  with  his  own 
eyes  and  know  Avhat's  going  on.  There 
just  is  no  way  for  the  manager  to  know 
without  going  into  the  engine  room.  The 
air-conditioning  plant  in  a  moderate-sized 
theatre  represents  perhaps  a  $20,000  invest- 
ment, and  it  is  a  real  responsibility  to  be 
charged  with  the  care  and  proper  operation 
of  that  kind  of  equipment. 

The  actual  results  (inside  the  theatre) 
on  both  dry  bulb  and  wet  bulb,  relative 
humidity  and  effective  temperature,  ob- 
tained in  operation  of  plants  in  theatres, 
restaurants,  hotels,  department  stores  this 
summer,  will  go  a  long  way  toward  pro- 
moting or  retarding  the  benefits  of  air- 
conditioning.  //  the  public  meets  more 
frequently  with  improperly  operated  plants 


April  6,  1935 


Motion  Picture  Herald 


65 


than  with  proper  operation,  then  the  in- 
creased business  hoped  for  from  the  invest- 
ment zuill  be  disappointing.  Improper 
operation  is  going  to  result  in  many  summer 
colds  and  other  discomforts  to  patrons,  and 
they  will  begin  to  lose  all  faith  in  air-con- 
ditioning. Air-conditioning  companies 
should  be  greatly  concerned  with  results 
and  the  public's  reaction,  and  theatre  men 
cannot  afford  to  jeopardize  substantial  in- 


vestments by  having  cold,  clammy  theatres. 

In  1933  a  chart  entitled  "Effective  Tem- 
perature Chart"  was  reproduced  in  Better 
Theatres  with  a  complete  explanation  of 
its  use.  This  is  still  the  best  guide  to 
healthful  and  comfortable  operation.  Get 
this  chart  out,  note  carefully  the  summer 
effective  temperature  limits.  During  ex- 
tremely hot  weather  keep  inside  conditions 
near  the  upper  limit  of  the  summer  zone, 


Don't  give  the  theatre  the  "works"  just 
because  the  plant  has  the  capacity! 

[The  chart  cited  by  Mr.  Knight  was  one  of 
four  standard  charts  published  in  Better 
Theatres  during  the  summer  of  1933.  They 
'were  reproduced  in  a  single  folder  of  heavy 
paper  luith  explanatory  text,  for  the  convenience 
of  owners,  managers  and  engineers.  To  the 
extent  of  the  limited  supply  remaining ,  they 
may  be  obtained  from  Better  Theatres  at  the 
nominal  price  of  25  cents  eacli. — The  Editor.] 


Remodeling  the  Virginia  in  Detroit 


painted  silver  and  have  concealed  light 
sources.  They  also  act  as  additional  ex- 
hausts in  the  summer  when  the  sides  are 
opened. 

Auxiliary  heating  in  lobby,  office,  toilet 
rooms,  etc.,  is  by  direct  radiation.  Steam 
is  generated  in  a  steel  tubular  boiler.  The 
feed  lines  to  the  front  of  the  building  were 
carried  overhead  in  the  attic  space  and  be- 
tween the  existing  trusses.  The  return  lines 
were  carried  back  to  the  boiler  by  copper 
pipe  installed  in  the  old  cast  iron  feed  lines. 
At  present  the  fuel  is  coal,  but  provision 
has  been  made  for  oil  or  gas. 

The  auditorium  is  illuminated  by  in- 
direct lighting  supplied  through  ten  orna- 
mental plaster  urns  located  on  the  side 
pilasters,  and  two  urns  on  the  side  walls  of 
the  foyer.  Each  urn  contains  two  blue,  one 
red  and  one  white  light.  The  white  lamp 
is  150  watts,  and  each  of  the  colored  is  60 
watts.  Colored  bulbs  have  been  used  in 
place  of  lenses,  thereby  effecting  some  sav- 
ing in  cost  of  electrical  equipment.  Con- 
cealed illumination  has  also  been  worked 
out  at  the  sides,  and  overhead  at  the  pros- 
cenium arch.  Lighting  fixtures  in  the 
foyer  and  vestibule  are  of  a  modern  design 
and  are  arranged  tight  to  the  ceiling.  Each 
fixture  has  an  ornamental  plaster  surround 
design.  Concealed  lighting  has  also  been 
worked  out  in  the  exterior  cornice  over  the 
ticket  office. 

ACOUSTIC  TREATMENT 

Cinder  blocks  for  the  interior  of  the 
auditorium  wall  treatment  were  selected 


{Continued  frotn  page  25) 

for  their  acoustic  and  insulating  values. 
The  blocks  form  a  veneer  to  the  present 
walls  and  are  bonded  to  the  existing 
masonry  walls  with  metal  ties.  The  ex- 
isting pilasters  originally  projected  4  inches 
from  the  wall,  which  allowed  using  a  block 
3  inches  thick  without  sacrificing  any  valu- 
able space.  The  blocks  are  of  various  sizes 
and  laid  in  an  ashlar  pattern,  giving  a 
pleasing  effect  to  the  spaces  between  the 
existing  plaster  pilasters.  Sunflex  paint  was 
applied  on  the  walls.  A  warm  buff  shade 
is  a  base  coat,  then  different  blocks  were 
hand  painted  in  various  light  shades  to  give 
a  caen  stone  appearance.  The  use  of  this 
type  of  paint  does  not  seal  the  porous  tex- 
ture of  the  blocks. 

Nu-wood  panels  were  installed  in  the 
ceiling,  nailed  and  glued  to  the  present 
plaster  ceiling  over  metal  lath.  The  nu- 
wood  was  laid  in  an  over-all  diamond  pat- 
tern, using  five  slightly  varying  shades. 
Painting  of  this  material  is  not  required. 
Aside  from  its  acoustic  quality,  it  is  an  in- 
sulating material.  Due  to  the  curvature  of 
the  ceiling,  much  care  had  to  be  taken  in 
its  installation. 

PLAN  AND  DECORATION 

The  general  floor  plan  is  such  that  little 
or  no  space  is  lost  and  patrons  pass  directly 
through  a  small  lobby  into  a  foyer.  Rest 
rooms  are  provided  at  each  end  of  the  foyer, 
with  concealed  entrances.  The  foyer  is 
separated  from  the  auditorium  by  means  of 
a  wood-paneled  standee  rail,  the  upper  part 
of  which  is  glazed  with  plate  glass  deco- 


rated with  sand-blasted  ornamentation. 
Separate  reinforced  stairways  lead  from  the 
alcoves  to  the  projection  room  and  office. 

Poster  frames  are  of  white  metal  over 
wood.  The  main  entrance  doors  are  also 
covered  with  white  metal  and  have  chrome 
push  bars. 

The  lobby  follows  the  general  architec- 
tural design.  The  wainscoting  is  of  wall 
tile,  representing  a  polished  marble  with 
chrome  metal  division  strips.  The  upper 
portion  of  the  lobby  is  of  a  metallic  "tekko" 
wall  covering  in  a  rose  shade.  All  wood 
trim  is  of  a  modern  design  and  is  enameled 
black.  The  ceiling  is  of  plaster,  paneled 
and  finished  with  an  ornamental  plaster 
cornice,  which  is  painted  in  bright  but  har- 
monizing colors.  Floors  are  of  colored 
terrazzo  in  pattern  design,  with  a  black 
brictile  base.  Radiators  are  concealed  by 
metal  grilles  with  an  aluminum  finish. 

The  foyer  and  auditorium  form  a  unit 
and  are  finished  from  floor  to  ceiling  with 
cinder  blocks  laid  in  ashlar  design.  As  here- 
tofore mentioned,  the  blocks  have  been 
painted  very  successfully  to  imitate  caen 
stone.  Where  the  ceiling  adjoins  the  wall, 
ornamental  plaster  cornices  occur.  Orna- 
mental plaster  caps  are  imposed  upon  the 
pilasters.  All  ornamental  plaster  is  of  a 
modern,  crisp  design,  and  also  have  been 
worked  out  in  a  brilliant  color  scheme. 
Colors  used  in  the  interior  stencil  design  on 
the  plaster  pilasters  and  elsewhere  are  blues, 
reds,  silver  and  bronze,  with  some  green. 

The  total  cost  of  remodeling  the  Virginia 
was  $16,000. 


Notes  on  Writers  and  Articles  in  This  Issue: 


Eugene  Clute  is  a  well  knoivn  writer  on  architectural 
subjects.  He  was  formerly  editor  of  Pencil  Points  and  is 
the  author  of  several  books  on  architecture. 

Francis  M.  Falge  is  associated  with  the  engineering 
division  of  the  General  Electric  Company  at  Nela  Park, 
where  his  work  has  included  a  great  deal  of  developmental 
activities  in  theatre  lighting. 

J.  T.  Knight,  Jr.,  is  a  regular  contributor  to  Better 
Theatres  on  the  physical  phases  of  theatre  operation.  He 
is  in  charge  of  theatre  maintenance  for  Paramount. 


Francis  L.  Burt  is  a  writer  and  newspaper  correspondent 
reporting  activities  in  the  nation's  capital. 

Leo  T.  Parker,  a  regular  contributor  to  Better  Theatres 
on  the  legal  affairs  of  the  theatre,  is  a  Cincinnati  attorney. 

Robert  O.  Boller  is  a  nationally  known  architect  who  long 
has  specialized  in  theatre  design.    He  resides  in  Kansas  City. 

O.  T.  Taylor,  whose  current  article  is  one  of  a  series,  has 
been  producing  stage  presentations  for  many  years.  He  is 
associated  with  D  &'  R  Theatres  in  Aberdeen,  Wash. 


66 


Better  Theatres  Section 


BETTER  THEATRES 
CATALOG  BUREAU 

Detailed  information  and  catalogs  concerning  products  listed  here  will  be 
sent  to  any  theatre  owner,  manager,  architect  or  projectionist.  Fill  in  coupon 
below  and  mail  as  directed.  Readers  will  find  many  of  the  products  listed 
are  advertised  in  this  issue. 


Acoustic  materials 

Air  conditioning  equipment 

Amplifiers 

Architectural  materials 
Automatic   curtain  control 

c 

Carbons 
Carpets 

Carpet  cushion 
Chairs,  theatre 
Change  makers 
Changeable  letters 
Changeovers 
Color  hoods 
Condensers 
Cutout  machines 

D 

Dimmers 
Disinfectants 

E 

Effect  machines 
Electric  signs 

Electric  signal  and  control 

systems 
Emergency  lighting  plants 

F 

Film  rewinders 
Film  splicing  devices 
Flashers,  electric  sign 
Flood  lighting 
Fountains,  decorative 
Frames,  lobby  display 

H 

Hardware,  stage 


Heating  systems 
Horns 

Horn  lifts  and  towers 


Ladders,  safety 
Lamps,  decorative 
Lamps,  incandescent 

projection 
Lamps,  projection  arc 
Lenses 

Lighting  systems,  complete 
Linoleum 

M 

Marquees 
Mats  and  runners 
Motor — generators 
Music  stands 

O 

Orchestra   pit  furnishings 

Organs 

Organ  lifts 

P 

Perfumers 
Photo-electric  cells 
Pop-corn  machines 
Portable  projectors 
Portable  sound  equipment 
Projectors 

Projection  room  equipment 
Public  address  systems 

R 

Rectifiers 
Reflectors 
Regulators,  mazda 


Reels 
Rheostats 

s 

Safes,  box  office 
Safes,  film 
Screens 

Screen  masks  and  modifiers 

Screen  resurfacing  service 

Seat  covers 

Signs,  directional 

Signs,  marquee 

Slides 

Shutters,  metal  fire 
Sound  heads 
Speakers 

Stage  lighting  equipment 
Stage  rigging 
Stereopticons 
Switchboards 
Switches,  automatic 

T 

Tickets 

Ticket  booths 

Ticket  issuing  machines 

Transformers 

U 

Uniforms 

Upholstery  materials 
V 

Vacuum  cleaning 

equipment 
Ventilating  systems 
Ventilation  control 

instruments 
Vending  machines 


"BETTER  THEATRES"  DIVISION,  Motion  Picture  Herald, 
1 790  Broadway,  New  York 

Gentlemen:  I  should  like  to  receive  reliable  information  on  the  following  Items: 

(Refer  to  items  by  name,  as  listed  above) 

I   7  

2   8....  

3   9  

4   10  

5   M  

6   12  

Remarks:   


Name   Theatre   City. 

State   Seating  Capacity  


April  6,  1935 

Index  to 
ADVERTISERS 


Adler  Signs,  Inc.,  Ben   35 

Allied  Seating  Co   32 

Ashcraft  Mfg.  Co.,  C.  S   39 

Baldor  Electric  Co   46 

Bausch  and  Lomb  Optical  Co   39 

Best  Devices  Co  32-49 

Buchanan,  B.  B   41 

Carrier  Engineering  Corp   29 

Chicago  Expansion  Bolt  Co   31 

Cincinnati  Time  Recorder  Co.,  The.  .  48 

Clough-Brengle  Co   28 

Corkanstele    28 

Coxsackie  Mfg.  Corp   44 

Dayton  Safety  Ladder  Co   36 

Decorative  Arts  Co   38 

DeVry,  Inc.,  Herman  A   45 

Electrical  Audition  &  Research  Labor- 
atories   51 

Electrical  Research  Products,  Inc. ...  5 
Enterprise  Optical  Mfg.  Co. 

Fourth  Cover 

Fish-Schurman  Corp   36 

Formica  Insulation  Co   6 

Garver  Electric  Co   44 

General  Electric  Co   3 

General  Register  Corp   41 

General  Scientific  Corp   40 

Goldberg,  Inc.,  Joe   50 

Good-All  Electric  Co   49 

Hall  &  Connolly,  Inc   37 

Heyv^ood- Wakefield  Co  Second  Cover 

Hurley  Screen  Co   46 

Ideal  Seating  Compaiiy   31 

Independent  Theatre  Supply  Dealers 

Ass'n   37 

International  Projector  Corp. 

Third  Cover 

International  Register  Corp   33 

Kliegl  Brothers,  Inc   50 

Langsenkamp- Wheeler  Brass  Works.  53 

Mellaphone  Corporation    48 

Minneapolis-Honeywell  Regulator  Co.  17 

Motion  Picture  Machine  Co   42 

N.  A.  N.  Automatic  Light  Control  Co.  35 

National  Carbon  Co.,  Inc   30 

National  Theatre  Supply  Co   43 

Projection  Optics  Co.,  Inc   38 

Projector  Improvement  Co.,  Inc   30 

RCA  Mfg.  Co.,  Inc   47 

Radio-Mat  Slide  Co   48 

Reversible  Collar  Co   52 

Rosco  Film  Cement   34 

SOS  Corporation   44 

Sanozone  Co   33 

Spencer  Turbine  Co.,  The   51 

Standard  Ticket  Register  Corp   42 

Strong  Electric  Corp   38 

Supreme  Heater  &  Ventilating  Co..  .  31 

Technical  Finishes  Corp   32 

Trimm  Radio  Mfg.  Co   35 

Trout,  Equipment  Co.,  Wesley ...  .41-53 

U.  S.  Air  Conditioning  Corp   27 

Wagner  Sign  Service   34 

Wittenmeier  Machinery  Co   30 

Wright-DeCoster,  Inc   49 


TRADE    MARK     REG  D 


STAMmDS  ^MAMUFACrURE 

AND  DESIGM 

OlMliHIIMHMIilililllH 

iiiiiiiWI^^Wi^Wliiii^ 

ARE    YOUR  PROTECTION 


OWIiERS,  MMMAGmm 

SHOULD  umm  upom 
GEMUIJiE 


PARTS 


TRADE  MAKE  REG'O 


IvIOTION  PICTtRE 


A  CONSOLIDATION  OF  EXHIBITORS  HERALD-WORLD  AND  MOTION  PICTURE  NEWS 


OP 


WHAT  LEGISLATURES 
ARE  DOING  TO  SCREEN: 
137  BILLS-22  LAWS 


Panoramic  of  state  legislative  activities 
this  year  shows  42  measures  defeated^ 
many  pending  with  special  sessions 
ahead*  »  »  » 


VOI      I  I  Q    MO    0      Entered  as  second-class  matter,  January  12,  1931.  at  the  Post  Office,  at  New  York,  N.  Y.,  Mnder  the  act  of  March  3,  1879.  Pub-      ADD     |  3     |  0'?C, 
■^1..   117,  l-iv-f.  i.  Weekly  by  Quigley  Publishing  Co.,  Inc.,  at  1790  Broadway,  New  York.  Subscription.  $3.00  a  year.  Single  cones,  25  cent^.        •       •    •  -i 


Hollywood's  most  glamorous   star   is  shoot- 
ing  scene   number  fifteen   of  a   production    that   will   show  you  why 

MARION      D  A  V  I  E  S 

switched  to  WARNER  BROS.  .  .the  Broadway  stage  success  by  Joseph  Schrank 
and  Phillip  Dunning  brought  to  the  screen  under  Mervyn  LeRoy's  direction  — 

PAGE     M  I  M     G  L  0  It  r 

1 

A  Cosmopolitan  Production,  released  by  the  producers  of 
JOLSON  and  KEELER  in"GO  INTO  YOUR  DANCE"°. . .  PAUL  MUNI  in"BLACK  FURY' 
JAMES  CAGNEY  in  "G  MEN"°.  .  /1N  CALIENTE"  starring  DOLORES  DEL  RIO° 
'OIL  FOR  THE  LAMPS  OF  CHINA"^.  . /'A  MIDSUMMER  NIGHT'S  DREAM' 

*A  Warner  Bros.  Picture  °A  First  National  Picture  fA  Cosrnopolitan  Production  Vitagrapti,  Inc.,  Distributors 


c 


Begins  at  40  and  Shirley  Temple  continues 
to  break  records  in  "The  Little  ColoneK^! 


Watch 

"George 

White's  1935  Scandals" 

follow 

in  the 

golden 

trail  they  have  blazed! 


MOTION  PICTURE  HERALD 


Vol.  1 19.  No.  2 


April  13,  1935 


"PARENTS  AND  TEACHERS" 

MUCH  that  has  appeared  in  the  columns  of 
Motion  Ficture  Herald  reflects  and  pre- 
sents an  attitude  on  the  part  of  certain  and 
various  nnilltants  on  the  official  roster  of  the  National 
Congress  of  Parents  and  Teachers  which  is  far  fronn 
friendly  to  the  existing  institution  of  the  screen  and 
the  motion  picture  industry  as  constituted. 

That,  however,  official  as  it  may  be,  as  expression 
of  persons  In  official  position,  is  not  precisely  to  be 
taken  as  the  attitude  of  the  vast  membership  of  the 
National  Congress  of  Parents  and  Teachers,  those 
earnest,  sincere  thousands  whose  sole  interest  In  this 
organization  is  in  behalf  of  the  welfare  of  the  chil- 
dren of  the  land. 

The  great  membership  which  makes  the  National  Congress 
of  Parents  and  Teachers  an  important  organization  is  not  in- 
terested in  invasion  of  the  motion  picture  industry.  Those 
thousands  are  not  seeking  publicity  for  themselves.  They  are 
not  trying  to  make  jobs  for  themselves.  They  are  not  covertly 
interested  in  creating  a  market  for  motion  picture  equipment. 
They  know  nothing  about  and  really  care  nothing  about  "block 
booking"  or  "blind  buying"  or  "percentage"  or  "zoning"  or 
"clearances"  or  any  other  detail  of  motion  picture  industry 
operation.  They  do  want  decent  entertainment  for  their  chil- 
dren and  they  are  willing  to  pay  for  It  at  the  box  office. 

Motion  Picture  Herald  Is  in  receipt  of  ample  ex- 
pressions of  inquiry  which  clearly  enough  reveal  a 
condition  in  which  socially  minded  groups.  Interested 
in  the  motion  picture  as  consumers,  are  confused  by 
the  garbled  technology  which  Is  being  poured  upon 
them  by  "leaders"  with  axes  to  grind. 

All  I  arge,  diffuse,  national  organizations  of  the 
type  are  susceptible  to  Influences  and  pressures  that 
are  the  common  devices  of  politicians,  fixers  and  ax 
grinders. 

The  professional  "leader,"  the  organizer,  the  chronic 
"secretary"  moving  from  one  organization  to  an- 
other, eternally  discovering  "causes"  about  which  to 
shout,  is  a  painfully  familiar  type. 

All  that  is  really  necessary  to  do  about  the  "plan" 
and  agitations  of  the  current  program  credited  to 


the  National  Congress  of  Parents  and  Teachers  is  to 
make  it  known  and  understood  to  the  membership 
for  exactly  what  It  is. 

■    A    A  A 
AS  WE  GROW  UP 

THE  motion  picture  art  has  progressed  a  long  way  from 
the  days  when  the  screen  wanted  nothing  but  the  sweet 
young  lollypops  and  marshmallows  of  adolescent  desire. 
Today  we  read  with  pleasure  of  a  present  for  Miss  May 
Robson  in  honor  of  her  seventieth  birthday  consisting  of  a 
starring  role  In  "Living  in  a  Big  Way."  Miss  Robson  is  also 
to  play  in  "Anna  Karenlna"  and  "Tale  of  Two  Cities."  As 
maturity  comes  to  the  art  it  presents  opportunity  for  actors 
beyond  "types." 

AAA 

IMMORTALITY 

No  surprise  should  be  occasioned  by  the  discovery  of 
Egyptologists  of  a  progenitor  of  Mickey  Mouse  in 
ancient  papyrus  manuscripts  of  the  days  of  the 
Pharaohs.  Mickey  belongs  to  the  ages,  along  with  Pan,  and 
he  becomes  visible  to  mortals  under  various  propitious  con- 
ditions. The  sunburned  scribes  of  the  old  Nile  country  and 
Mr.  Walt  Disney  are  alike  as  much  Mickey's  Instruments  as 
the  stylus  that  put  him  on  papyrus  and  the  camera  that  lib- 
erates him  on  the  screen.  Mickey  is  an  idea  and  real  ideas 
are  without  age  or  time,  hie  will  keep  on  turning  up  for- 
ever and  aye. 

AAA 

FADING  STAR 

THE  authority  of  H.R.H.  the  Prince  of  Wales  as  the 
world's  fashion  plate  is  waning,  If  one  is  to  accept  dis- 
patches from  London.  It  seems  that  even  London  has 
dared  to  question,  delicately  you  understand,  the  advisability 
of  following  his  recent  appearance  in  morning  coat  and  blue 
shirt.  And  that  brings  us  to  the  great  moral  lesson.  H.R.H. 
really  attained  his  position  as  a  motion  picture  figure.  Pre- 
sented with  frequency  on  the  screen  as  a  gallant  young  man, 
he  became  a  great  figure  with  a  vast  fan  following.  In  recent 
years  he  has  avoided  the  camera,  petulant,  annoyed  at  the 
screen's  Increasing  revelation  of  his  nervous  habits,  including 
the  endless  fingering  of  his  tie.  He  is,  in  consequence,  out 
of  the  picture.  All  stars  wane,  all  fans  are  like  that. 


MOTION  PICTURE  HERALD  MARTIN  QUIGLEY.  Editor-in-Chief  and  Publisher 

1  Incorporating  Exhibitor's  Herald,  founded  1915;  Motion  Picture  News,  founded  19I3|  Moving  Picture  World,  founded  1907;  Motography,  founded  1909;  The  Film  Index, 
tounded  1906.  Published  every  Thursday  by  Quigley  Publishing  Company,  1790  Broadway,  New  York  City.  Telephone  Circle  7-3100.  Cable  address  "Quigpubco,  New  York." 
Martin  Quigley,  Editor-in-Chief  and  Publisher;  Colvin  Brown,  Vice-President  and  General  Manager;  Terry  Ramsaye,  Editor;  Ernest  A.  Rovelstad  Managing  Editor;  Chicago 
Bureau,  407  South  Dearborn  Street,  Edwin  S.  Clifford,  manager;  Hollywood  Bureau,  Postal  Union  Life  Building,  Victor  M.  Shapiro,  manager;  London  Bureau,  Remo  House  310 
Regent  Street,  London  W  I,  Bruce  Allan,  cable  Quigpubco  London;  Berlin  Bureau,  Berlin-Templehof,  Kaiserin-Augustastrasse  28,  Joachim  K.  Rutenberg,  representative;  Paris 
Bureau,  19,  Rue  de  la  Cour-des-Noues,  Pans  20e,  France,  Pierre  Autre,  representative,  cable  Autre-Lacifral-20  Paris;  Rome  Bureau,  Viale  Gorizia,  Rome,  Italy,  Vittorio  Malpassuti, 
representative,  Italcable,  Malpassuti,  Rome;  Sydney  Bureau,  600  George  Street,  Sydney,  Australia,  Cliff  Holt,  representative;  Mexico  City  Bureau,  Apartado  269  Mexico  City, 
Mexico  James  Lockhart,  representative;  Prague  Bureau,  Na  Slupi  8,  Prague  II,  Czechoslovakia,  Harry  Knopf,  representative;  Cape  Town  Bureau,  10  St.  George's  Villas,  Green 
Point,  Cape  Town,  South  Africa,  H.  Hanson,  representative;  Budapest  Bureau,  3,  Kaplar  -u,  Budapest,  Hungary,  Endre  Hevesi,  representative;  Buenos  Aires  Bureau  Cuenca  52 
Buenos  Aires,  Argentina,  N.  Bruski,  representative.  Member  Audit  Bureau  of  Circulations.  Ail  contents  copyright  1935  by  Quigley  Publishing  Company.  Address  all  corre- 
spondence to  the  New  York  Office.  Better  Theatres,  devoted  to  the  construction,  equipment  and  operation  of  theatres,  is  published  every  fourth  week  as  section  2  of  Motion 
Picture  Herald.  'Other  Quigley  Publications:  Motion  Picture  Daily,  the  Motion  Picture  Almanac,  published  annually,  and  the  Chicagoan. 


8 


MOTION    PICTURE  HERALD 


April    13,  1935 


THIS  WEEK  - 


RADIO  AND  FILMS 

Speaking  before  the  Associated  Motion 
Picture  Advertisers  in  New  York  last  week, 
Merlin  Hall  Aylesworth,  president  of  NBC 
and  RKO,  urged  greater  cooperation  be- 
tween radio  and  film  industries  for  the 
good  of  theatres.  "Let's  take  the  great 
forces  of  radio  and  the  theatre  and  make 
them  work  for  each  other,"  he  concluded. 
Next  day  he  boarded  a  plane  to  rush  to 
Fort  Collins,  Col.,  where  his  mother,  Mrs. 
Georgia  Shores  Aylesworth,  had  just  died. 

TRI-ERGON"S  END 

Received  by  the  United  States  district 
court  at  Scranton,  Pa.,  last  week  was  an 
official  notice  from  the  U.  S.  supreme  court 
terminating  all  action  relative  to  the  Tri- 
Ergon  cases  against  Wilmer  &  Vincent 
and  Altoona  Publix,  theatre  circuits.  .  .  . 

HUFFMAN  CASE 

At  Washington  the  U.  S.  Justice  De- 
partment has  not  determined  its  course  of 
action  in  the  Harry  Huffman  Denver  case, 
following  a  court  decision  that  the  code  did 
not  apply  to  exhibition,  which  was  termed 
"intrastate"  commerce.  Justice  officials  In- 
dicated action  will  be  based  largely  on  an 
expected  supreme  court  decision  in  the 
New  York  poultry  case,  virtually  a  Recov- 
ery Act  test.  .  .  . 

CHICAGO  UNION 

Named  in  a  suit  charging  misappropria- 
tion of  $500,000  of  union  funds,  brought 
by  third  Vice-president  Harland  Holmden 
of  the  Chicago  operators'  union,  were  the 
estate  of  Thomas  E.  Maloy,  whose  dictator- 
ship ended  in  a  hail  of  machine  gun  bullets, 
and  I  I  of  his  lieuienants.  An  accounting  of 
the  union's  books  is  asked.  .  .  . 

WOULD  SETTLE  SUIT 

Plans  are  under  way  to  settle  the  $  1 ,000,- 
000  suit  of  the  Chicago  Title  and  Trust 
Company  against  Vv'llliam  Fox  and  Fox  The- 
atres, it  was  revealed  in  New  York  supreme 
court,  when  counsel  were  granted  a  post- 
ponement of  trial  to  May  13.  The  action 
involves  defaults  on  guaranteed  redemp- 
tion of  Roxy  theatre  stock,  the  bank  suing 
as  assignee  for  Herbert  Lubin.  .  .  . 

EDUCATIONAL'S  20th 

Educational  will  celebrate  its  20th  anni- 
versary on  May  8.  Formed  on  that  date  in 
1915,  the  short  subject  producing  company 
was  headed  by  E.  W.  Hammons,  who  still 
is  president  of  the  company,  which  has 
retained  its  original  name.  .  .  . 

SHIRLEY'S  GIFT 

To  indicate  their  appreciation  of  her 
work  on  the  screen,  school  children  of  Tilla- 
mook, Ore.,  cheese  making  center,  sent  to 
Shirley  Temple,  Fox  star,  a  pure  bred  Jer- 
sey calf.  A  calf  on  a  leash  should  be  a  new 
Coast  novelty.  .  .  . 


COLOR  CAMERA 

In  MSM's  new  Technicolor  short,  "De- 
partment Store,"  a  novelty  scene  has  been 
filmed  with  a  newly  developed  color 
camera,  which  films  dancing  costumes, 
while  the  wearers  remain  invisible.  It  was 
discovered  that  by  painting  the  girls  a 
brilliant  red,  and  photographing  them  with 
special  tri-color  lenses  under  particularly 
strong  light,  the  red  (or  girls)  was  Invisible. 

COMPROMISE 

Eleven  members  of  a  Birmingham,  Ala., 
jury  wanted  to  see  a  motion  picture,  and 
the  law  provides  that  juries  must  remain 
together.  The  snag  was  that  Rev.  Arthur 
O.  Garner,  juror,  does  not  believe  in  "such 
entertainment."  The  solution:  the  Rev. 
Garner  went  to  the  show,  sat  Bible  in  hand, 
his  back  to  the  screen,  blindfolded,  in  an 
agreement  under  which  the  I  I  others  lis- 
tened to  a  Bible  reading  after  the  show. 

"GRANDMOTHER"  LA  FAYETTE 

One  of  the  oldest  former  players  in 
Hollywood,  and  famed  as  a  portrayer  of 
grandmothers.  Ruby  La  Fayette,  widow  of 
John  T.  Curran,  died  last  week  in  suburban 
Bell,  at  the  ripe  age  of  90.  It  Is  estimated 
she  appeared  in  200  pictures,  including  the 
silent  "Miracle  Man"  and  a  bit  in  "Grand 
Hotel."  She  retired  from  the  screen  last 
year,  at  89.  .  .  . 


In  This  Issue 


State  legislatures  vs.  Screen:  137  bills- — 


22  laws 

Page 

9 

Resume  of  bills  in  43  states  and  action 

taken  on  them 

Page 

10 

Independents  attack  Code  at  Senate's 

NRA  hearing 

Page 

16 

Balcon  sees  and  signs 

Page 

17 

Official  plans  of  Parents  and  Teachers 

versus  official  denials 

Page 

25 

More  letters  from  leaders  in  exhibition 

and  production 

Page 

27 

FEATURES 

Edito  rial 

Page 

7 

The  Camera  Reports 

Page 

35 

The  Hollywood  Scene 

Page 

61 

J.  C.  Jenkins — His  Colyum 

Page 

70 

Asides  and  Interludes 

Page 

41 

The  Cutting  Room 

Page 

68 

DEPARTMENTS 

What  the  Picture  Did  for  Me 

Page 

62 

Showmen's  Reviews 

Page 

48 

Managers'  Round  Table 

Page 

75 

Technological 

Page 

74 

Short  Features  on  Broadway 

Page 

67 

Letters  from  Readers 

Page 

60 

The  Release  Chart 

Page 

83 

Box  Office  Receipts 

Page 

71 

Classified  Advertising 

Page 

88 

NATIONAL  SCREEN 

National  Screen  Service,  defending  a 
Warner  action  seeking  a  permanent  injunc- 
tion to  restrain  the  trailer  company  from 
making  subjects  based  on  Warner  films, 
contends  the  action  Is  unjustified  since 
Warner  took  no  action  over  a  long  period 
during  which  National  Screen  made  trailers 
on  Warner  films,  and  actually  used  such 
trailers  in  its  own  theatres.  Trial  is  not  ex- 
pected for  several  months.  .  .  . 

PARIS  THEATRES 

When  the  French  Chamber  of  Deputies 
adjourned  last  week  without  action  on  the- 
atre tax  reduction,  threats  were  heard  of 
the  closing  of  Paris  theatres  during  May 
and  August,  though  not  taken  over- 
seriously.  It  is  said  the  exhibitors'  maneuver 
In  inserting  in  the  bill  a  clause  that  houses 
showing  American  films  should  get  no  re- 
duction, which  brought  U.  S.  official  pro- 
test, caused  the  bill  to  die.  .  .  . 

THEATRES  TO  BLOCK 

The  Criterion  and  Loew's  New  York  the- 
atre properties  will  be  sold  at  auction  April 
26  to  satisfy  a  $4,353,444  defaulted  mort- 
gage held  by  City  Bank  Farmers  Trust 
Company,  which  will  bid  in  the  property 
unless  a  new  arrangement  is  made  with 
Paramount  in  the  Interim.  Twice  offered  for 
sale  by  Seneca  Holding  Company,  Para- 
mount subsidiary,  no  acceptable  bid  was 
received.  .  .  . 

SALOMON  WITH  TIME 

Dr.  Erich  Salomon,  noted  "still"  photog- 
rapher of  Europe,  has  concluded  a  deal 
with  the  March  of  Time  newsreel,  whereby 
he  will  be  one  of  its  cameramen,  using  a 
new  high  speed,  silent  camera.  Dr.  Salo- 
mon's fame  rests  on  his  ability  to  snap 
notables  In  casual  moments  without  their 
knowledge.  With  a  small,  newly  developed 
camera  he  will  do  the  same  for  the  motion 
picture.  .  .  . 

CONTEST  WINNERS 

Barbara  Whitwell,  16,  Aurora,  Ohio,  last 
week  was  declared  the  winner  of  the  essay 
contest  sponsored  by  Cecil  B.  DeMille, 
Paramount  director,  in  connection  with  his 
picture,  "Cleopatra."  The  prize,  likewise 
received  by  second  and  third  place  winners 
John  Caldwell,  Terre  Haute,  ind.,  and  Law- 
rence S.  Crulkshank,  Brooklyn,  N.  Y.,  was 
$500  for  scholarship  purposes.  .  .  . 

BERLIN  MEETING 

Leading  films  from  all  countries  will  be 
shown  at  the  International  Film  Congress 
scheduled  for  April  25-May  I  at  Berlin. 
The  National  Association  of  German  Film 
Theatres  will  hold  its  annual  convention  at 
the  same  time.  Delegates  from  leading 
countries,  including  the  U.  S.,  are  expected 
to  attend.  .  .  . 


April    13,    19  3  5  MOTION    PICTUKb    HERALD  9 

LEGISLATURES  vs  SCREEN: 
SCORE:  137  BILLS,  22  LAWS 


Bills  Directed  Against  Industry 
And  How  TheyWe  Standing 


Alabama  .  .  . 
Arizona  . ,  .  . 
Arkansas  .  .  . 
California  .  . 
Colorado  . .  . 
Connecticut 
Delaware  . .  . 

Florida   

Georgia   .  .  . 

Idaho   

Illinois  .  .  .  .  . 
Indiana  .  .  .  . 


State 


Iowa  

Kansas   

Louisiana  (1934) 

Maine   

Maryland  

Massachusetts  . . 

Michigan  

Minnesota   

Missouri  

Montana   

Nebraska  

New  Hannpshire 
New  Jersey  .  . 
New  Mexico  .  .  . 
New  York  .  . 
North  Carolina  . 
North  Dakota  .. 

Ohio   

Oklahoma  

Oregon  

Pennsylvania  .  .  . 
Rhode  Island  .  . 
South  Carolina  . 
South  Dakota  ,  . 

Tennessee   

Texas   

Utah   

Vermont   

Washington   .  .  . 

Wisconsin   

Wyoming  .  .  .  .  . 


Bills 
I 

2 
4 
17 
0 
6 
4 
2 
3 
I 

2 
4 
3 
5 
I 
I 

5 
9 
2 
4 
12 
2 
4 
I 


2 
2 
6 
2 
I 

5 
2 


I 

2 
0 
2 


Passed 


TOTALS    137 


Defeated 
I 
I 

2 
I 


2 
3 


2 
I 

4 


5 
4 


8 

2 


3 
2 


22 


42 


Pending* 


I 

16 


b 
2 


2 
2 
2 


3 
2 
4 
4 

3 
I 


5 
2 


I 

2 

i 

I 

73 


♦Includes  measures  pending  as  of  April  I,  1935.  Many  of  these  represent  unfinished  busi- 
ness of  legislative  sessions  recently  adjourned  but  to  come  up  again  at  special  sessions. 


Many  of  73  Measures  Pending 
Will  Come  Up  at  Special  Ses- 
sions; 42  Bills  Defeated;  Other 
Proposals  Up  at  Washington 

With  137  measures  in  43  state  legislatures 
specifically  directed  against  it,  the  motion 
picture  industry  during  the  first  three 
months  of  1935  has  come  face  to  face  with 
what  observers  call  the  worst  flood  of  ad- 
verse bills  ever  loosed  upon  the  business. 
Thus  far  only  42  of  these  proposed  laws 
have  been  defeated,  73  legislative  proposals 
remaining  either  in  committee  or  on  the 
calendars  of  unfinished  business  to  be  taken 
up  in  special  sessions  or  reintroduced  next 
year.  Twenty-two  measures  leveled  at  ex- 
hibition and  distribution  already  have  be- 
come law  and  of  the  73  remaining  measures 
it  was  estimated  that  at  least  one-fourth,  or 
18  will  be  passed. 

Motion  Picture  Herald  presents  on  the 
following  pages  a  detailed  survey  of  legis- 
lative activity  in  43  states  having  legislative 
sessions  this  year  to  ascertain  exactly  what 
the  theatre  man,  the  distributor  and  the  mo- 
tion picture  producer  may  expect  if  the  bills 
directed  at  them  and  their  businesses  be- 
come law.  General  legislation,  though  it 
may  have  an  indirect  relation  to  the  indus- 
try, has  not  been  included  in  the  study  of  the 
situations  in  the  states. 

Of  the  legislatures  which  convened  this 
year,  20  have  adjourned  at  this  writing.  An 
indeterminate'  number  will  reconvene  in 
special  sessions,  some  starting  the  end  of 
this  month  and  running  through  June. 
Others  will  not  call  special  sessions  until 
after  the  adjournment  of  Congress.  Among 
those  states  whose  lawmakers  have  adjourned 
are  Alabama,  Arizona,  Arkansas,  Colorado, 
Delaware,  Georgia,  Idaho,  Indiana,  Kansas, 
Maine,  Montana,  New  Mexico,  North  Da- 
kota, Oklahoma,  Oregon,  South  Carolina, 
.South  Dakota,  Utah,  Washington  and  Wy- 
oming. 

The  legislators  of  these  20  states  are  re- 
sponsible for  13  adverse  film  measures  passed 
to  date  out  of  a  total  of  22  voted  in  all  legis- 
latures. 

Among  measures  of  importance  pending  at 
the  national  capital,  in  addition  to  the  Pet- 
tengill  measure,  are  a  block  booking  bill 
introduced  by  Representative  Celler  of  New 
York  and  now  before  the  House  interstate 
and  foreign  commerce  committee ;  a  block 
booking  bill  introduced  by  Representative 
Culkin  of  New  York,  currently  before  the 
same  committee ;  a  bill  prohibiting  the  im- 
portation and  interstate  transportation  of 
prize  fight  films,  introduced  by  Representa- 
tive Celler,  now  before  the  interstate  and 
foreign  commerce  committee ;  a  bill  intro- 
duced by  Representative  Culkin  calling  for 
federal  control  of  the  industry  to  protect  it 
against  "unfair  trade  practices  and  mo- 
nopoly," to  create  a  Federal  Motion  Picture 
Commission  and  regulate  the  manufacture  of 
motion  pictures  at  sources  of  production;  a 
bill  applying  the  contract-labor  provisions  of 


the  innnigration  laws  to  alien  actors,  intro- 
duced by  Representative  Dickstein ;  a  bill  in- 
troduced by  Representative  Sirovich  of  New 
York  providing  for  the  recording  of  patent 
pooling  agreements  and  contracts  with  the 
commissioner  of  patents,  and  an  admission 


tax  bill  introduced  by  Representative  McLeod 
of  Michigan  designed  to  repeal  the  present 
admission  and  other  nuisance  taxes  and  sub- 
stitute therefor  a  manufacturers'  sales  tax  of 
three  per  cent,  applying  to  films  and  all  other 
commodities  except  the  necessities  of  life. 


10  MOTION    PICTURE  HERALD 


April    13,  1935 


STATE  LEGISLATIVE  TOLL 


ALABAMA 

{Ad]oiirned,  March;  reconvenes  Apr.  30) 
Taxation: 

General  tax  bill,  including  admissions,  intro- 
duced and  killed  in  committee. 

A  similar  bill  may  be  introduced  at  adjourned 
session  April  30. 

Censorship: 

No  legislation  introduced.  State  has  no 
censor  laws,  but  some  municipalities  have  local 
restrictions. 

Sunday  Shows: 

Has  had  strict  Sunday  closing  laws.  In  1932, 
legislature  allowed  cities  to  regulate  on  local 
option. 

V 

ARIZONA 

{Convened  in  Jamiary;  adjourned  Mar.  14) 
Taxation: 

Theatre  tax  proposals  scheduled  for  settle- 
ment at  special  session,  April  10.  _  _ 

Two  per  cent  gross  income  tax  bill,  including 
theatres,  proposed  and  passed  by  both  houses. 

Two  per  cent  luxury  tax,  including  theatre 
admissions,  proposed.   IDefeated  in  House. 

Censorship: 

None. 

V 

ARKANSAS 

(Convened  in  January.  Adjourned  Mar.  15) 
Taxation: 

Omnibus  Tax  Bill  proposing  extra  tax 
theatre  license  fees  to  raise  $6,850,000,  as 
follows : 

Up  to  350  seats  in  20,000  or  more  population, 
$25  weekly,  or  $150  annually. 

Seating  350  to  3,000,  additional  $2.50  tax  for 
each  10  seats  over  350. 

Seats  over  2,000,  additional  $5  tax  for  each 
200  seats. 

Cities  between  10,000  and  20,000  population, 
fee  is  $15  weekly,  or  $100  annually  up  to  350 
seats  and  $1.25  for  each  additional  10  seats. 

Between  4,000  and  10,000  population,  $10  a 
week  or  $50  a  year  is  required,  with  $1  on 
each  10  seats  over  350. 

Cities  of  1,000  to  4,000,  $3  per  week  or  $25 
a  year  with  tax  of  50  cents  on  each  10  seats 
over  350. 

Cities  under  1,000,  or  in  rural  areas,  the  tax 
is  $1  a  day,  $2.50  weekly,  or  $10  a  year.  Killed. 

Amusement  Tax  (exempting  benevolent, 
charitable  or  education)  : 

Theatres  in  towns  over  15,000  population 
must  pay  license  fees  of  $5  for  each  perform- 
ance; $15  for  week  of  continuous  performances, 
or  $500  annually; 

In  cities  less  than  15,000,  this  tax  would  be 
$2  for  each  day ;  $6  a  week,  or  $200  a  year. 

Both  these  bills  sponsored  by  Governor 
Futrell. 

Privilege  tax  on  theatres,  introduced  by  Rep- 
resentative Proctor.  Defeated. 

Two  per  cent  sales  tax,  including  theatres, 
proposed  and  passed. 

Censorship: 

No  state  law. 

Sunday  Shows: 

State  law  exists  but  is  enforced  in  only  a 
few  small  towns. 

V 

CALIFORNIA 

{Convened  in  January) 

Taxation: 

Income  :  — Proposed  levy  up  to  75  per  cent. 
This  was  cut  in  March  to  IS  per  cent  on  in- 
comes $30,000  and  up.  Proposed  rate,  if 
grafted  to  current  state  and  federal  imposts. 


On  this  and  following  pages 
is  presented  in  detail  the  story 
of  lawmaking  activity  directed 
against  the  motion  picture  in- 
dustry in  the  43  states  having 
legislative  sessions  to  date  this 
year  or  at  the  end  of  1934  and 
thus  effective  this  year.  Includ- 
ed is  a  digest  of  each  bill  and 
action  taken. 


would  make  total  76  per  cent  on  incomes  of 
$1,000,000.  Vote  in  House  scheduled  for  this 
week. 

Admissions  :  Bill  No.  703.  Introduced  by 
Senator  McColl.  Provides  for  imposition  of 
10  per  cent  tax  on  all  theatre  admissions  over 
20  cents,  the  tax  to  be  on  the  net  amount  over 
20  cents.  Estimated  cost  to  industry  :  $6,000,000. 
Referred  to  committee  on  revenue  and  taxation. 
Little  likelihood  of  passage  because  this  is  one 
of  the  "consumers'  taxes"  opposed  by  the  coali- 
tion of  EPIC  and  Republican  forces  in  the 
Assembly. 

Bill  No.  915.  Introduced  by  Senator  Young. 
Same  provisions  as  Bill  No.  703.  Referred  to 
committee  on  revenue  and  taxation. 

Bill  No.  931.  Introduced  by  Senator  Shottlty. 
Provides  for  10  per  cent  tax  on  all  amuse- 
ment tickets  of  any  kind,  exempting  first  10 
cents.    Referred  to  committee. 

Bill  No.  2095  (Assembly).  Introduced  by 
Assemblyman  Stream.  Same  provisions  as 
Senate  Bill  No.  703  and  same  status  as  to  pas- 
sage and  cost  to  industry. 

Linear  Tax:  Bill  No.  1153.  Introduced  by 
Assemblyman  Chatters.  Provides  for  tax  of 
one  cent  on  each  foot  of  motion  picture  film  to 
be  paid  in  all  cases  of  sale,  lease,  rental  or  dis- 
tribution in  any  manner  within  the  confines  of 
the  state  of  California.  Cost  to  industry 
would  average  around  $80  for  exchange  of  each 
feature.  Likelihood  of  passage  uncertain  but 
possible  because  of  great  deficit  in  state's 
treasury. 

Bill  No.  1659.  Introduced  by  Assemblyman 
Laughlin.  Provides  a  tax,  amount  to  be  deter- 
mined later,  in  accordance  with  same  general 
provisions  as  in  Bill  No.  1153.  Amended  to 
14  cent  a  foot.    Killed  in  committee. 

Bill  No.  1796.  Introduced  by  Assemblyman 
Laughlin.  In  skeleton  form.  Referred  to  com- 
mittee on  revenue  and  taxation. 

Gross  Receipts  :  Bill  No.  2226.  Introduced 
by  Assemblyman  Turner.  Imposes  a  tax  in 
excess  of  $250  on  gross  receipts,  amount  to  be 
determined  by  State  board  of  equalization. 
Referred  to  committee  on  revenue  and  taxation. 

Two-Men-in-Booth : 

Bill  No.  602.  Introduced  by  Assemblymen 
Richie,  Reaves  and  Flint.  Provides  for  mini- 
mum of  two  operators  in  each  projection  booth. 

Censorship: 

Bill  No.  888.  Introduced  by  Assemblyman 
Hunt,  to  establish  state  motion  picture  commis- 
sion, and  provides  for  supervision  of  manufac- 
ture and  projection  of  motion  pictures  in  Cali- 
fornia, including  inspection,  classification  and 
cataloguing  of  such  pictures.  Referred  to  com- 
mittee on  governmental  efficiency  and  economy. 

Bill  No.  1472.  Introduced  by  Assemblyman 
Hunt.  Same  general  provisions  as  Bill  No.  888 
and  same  status.  Distributors  must  pay  annual 
license  fee  of  $100  to  operate  and  must  post 
bond  of  $5,000.  Exhibitors  must  obtain  license 
to  show  pictures.    Same  status  as  Bill  No.  888. 

Bill  No.  2167.  Introduced  by  Assemblyman 
Rosenthal.  Creates  a  Board  of  Review  for 
licensing  of  distributors  and  exhibitors  and  pre- 
scribes rules  for  regulation  of  production,  dis- 


tribution and  exhibition  of  pictures.  Referred 
to  committee  on  governmental  efficiency  and 
economy. 

Indications  early  this  month  were  that  Gov- 
ernor Merriam  will  veto  these  socalled  "purify- 
ing" bills. 

Sales  Tax: 

Bill  introduced  by  Senator  Sharkey.  Pro- 
vides for  continuance  of  the  sales  tax  at  two 
and  one-half  per  cent,  instead  of  permitting  a 
reduction  to  two  per  cent  on  June  30  as  re- 
quired by  law. 

Senate  revenue  and  taxation  committee  ap- 
proved a  bill  under  which  film  releases  and 
rentals  and  other  tangibles  could  be  brought 
under  the  general  sales  tax  of  three  per  cent. 
Later  the  Assembly  amended  this  to  exclude 
short  term  rentals,  such  as  films. 

General: 

_  State  franchise  levy  increase  proposed,  pro- 
viding an  increase  of  from  two  to  four  per  cent, 
directly  aflfecting  producers  and  distributors  in 
the  state. 

A  measure  providing  for  licensing  fees  for 
each  unit  operated  by  a  chain  organization,  in- 
cluding theatres,  was  declared  unconstitutional 
by  Attorney  General  Webb.  This  measure  was 
aimed  at  chains  operated  outside  the  county 
where  the  organization  has  its  headquarters. 

California  has  no  existing  censorship  laws. 

There  is  no  Sunday  closing  law  in  the  state. 

V 

COLORADO 

(Convened  in  January;  adjourned  April  6) 
Taxation: 

Sales  Tax  :  Two  per  cent  sales  tax  passed, 
exempting  theatres.  No  likelihood  of  any  legis- 
lation affecting  theatres  in  present  session. 

Censorship: 

There  is  no  censor  law  in  Colorado. 

Sundays: 

The  state  has  no  Sunday  closing  law. 

V 

CONNECTICUT 

(Convened  in  January) 
Taxation: 

Gross  Receipts:  Bill  introduced  by  Senator 
Barney  provides  a  five  per  cent  tax  on  all 
amusements.  Now  pending  in  legislature. 
Meeting  strongly  organized  exhibitor  opposi- 
tion. 

Seating  Tax  :  Bill  introduced  by  Representa- 
tive Thornhill  provides  increase  in  present  seat 
tax  rate,  which  varies  in  accordance  with  size 
of  theatre  from  $1.50  to  $8  daily,  by  25  per 
cent. 

Bill  introduced  proposing  increase  in  billboard 
advertising  tax  by  300  per  cent.  Referred  to 
committee. 

Other  Bills: 

Three  bills  were  scheduled  to  come  up  April 
12.  They  are:  Two-Men-in-a-Booth ;  compul- 
sory control  projection  device  for  each  machine 
in  a_  booth  and  a  censorship  bill. 

Bill,  introduced  by  Senator  Spiro,  permits 
theatres  to  open  Sunday  after  2  p.m.  In  com- 
mittee. 

V 

DELAWARE 

{Convened  in  January.  Adjourned  April  4) 
Taxation: 

Bill,  No.  101,  introduced  by  Representative 
Heal.  To  license  billboard  advertising.  Passed 
by  both  houses. 

Censorship: 

Bill  to  create  a  Board  of  Motion  Picture 
Review.  Introduced  by  Representative  Dugan. 
Provides  for  board  of  three  to  censor  all  films 


April    13,  1935 


MOTION    PICTURE  HERALD 


II 


TAXATION  CHIEF  AIM  OF  MEASURES 


shown  in  state.  Fee  for  each  reel  approved  or 
censored,  $2.  Estimated  cost  to  industry, 
$91,000  annually.    Not  called  up  for  vote. 

Sundays: 

Bill  to  permit  limited  Sunday  film  shows. 
Introduced  by  Representative  Dr.  Willard 
Pierce.  Provided  for  showing  of  Sunday  pic- 
tures after  9  P.M.,  with  a  tax  of  three  cents 
on  each  ticket.   Measure  abandoned. 

Bill  to  permit  Sunday  showings  after  1  P.M. 
Introduced  by  Representative  Joseph  Brogan. 
House  reported  favorably  on  the  measure  and 
then  recalled  the  report  as  a  mistake.  Bill 
referred  to  House  miscellaneous  committee, 
which  reported  unfavorably.  Thereafter  de- 
feated in  House,  8-20. 

V  • 

FLORIDA 

{Convened  in  April) 
Taxation: 

Florida  Education  Association  announced  it 
would  drop  its  plan  for  a  general  sales  tax  to 
put  a  straight  10  per  cent  tax  on  all  amuse- 
ments.  This  was  introduced  by  Senator  Bass. 

Censorship: 

A  Board  of  Review  of  Motion  Pictures  was 
created  by  the  legislature  20  years  ago,  but  has 
never  been  called  upon  to  pass  a  picture. 

Sundays: 

There  is  a  Sunday  closing  law,  but  it  is  not 
enforced  to  any  extent. 

Licensing: 

Bill,  proposed  by  Senator  Smith,  calls  for  an 
annual  license  fee  of  $50  on  all  houses  grossing 
less  than  $10,000  annually.  From  $10,000  to 
$25,000,  the  fee  would  be  $1,000,  and  for  any 
gross  over  $25,000,  a  license  would  cost  $5,000. 

V 

GEORGIA 

{Adjourned,  March  20;  meets  July  15) 
Taxation: 

Bill  providing  for  five  per  cent  tax  on  theatre 
and  other  amusement  admissions.  Referred  to 
committee  and  unanimously  reported  adversely. 

Gross  revenue  bill  introduced.  Provided  for 
levy  of  3  per  cent  on  gross  business  of  ex- 
changes.   Killed  in  committee. 

Censorship: 

Bill,  introduced  by  Senator  Skelton,  provided 
for  appointment  of  a  commission  to  regulate 
the  film  industry  and  set  up  a  code  of  ethics. 
Killed  in  committee. 

Sundays: 

State  has  Sunday  closing  law,  but  state  su- 
preme court  ruling  of  two  years  ago  permits 
theatres  to  open  Sundays  provided  proceeds  go 
to  charity  after  deduction  of  expenses. 

V 

IDAHO 

{Convened  in  February;  adjourned  in  Mar.) 
Taxation: 

Sales  Tax  :  Bill,  proposing  two  per  cent 
retail  sales  tax,  introduced  and  killed  in  House, 
which  recommended  similar  measure  with 
amendments.  Latter  was  passed  by  both  houses 
and  signed  by  governor.    Includes  admissions. 

V 

ILLINOIS 

{Convened  in  January) 
Taxation: 

Bill,  introduced  in  House,  provides  for  in- 
crease in  sales  tax  from  one  to  3  per  cent,  in- 


DELAWARE  UNION 
INVITES  INDUSTRY 

The  Central  Labor  Union  of  Wil- 
mington, Del.,  at  the  request  of  pro- 
jectionists, stage  hands  and  musicians, 
this  week  invited  California  producers 
contemplating  removal  from  that 
state  because  of  high  taxes  to  locate 
in  Delaware.  In  a  wire  to  Louis  B. 
Mayer,  vice-president  of  MOM,  an  in- 
vitation was  extended  following  re- 
ports that  agents  from  leading  com- 
panies had  made  surveys  in  Delaware, 
New  Jersey  and  Florida. 

Will  Rogers,  on  his  regular  broad- 
cast last  Sunday  night,  told  his 
audience  that  he  expected  the  tax 
situation  in  California  would  un- 
doubtedly cause  a  wholesale  exodus 
of  the  studios  from  their  present 
location. 

"But,"  the  comedian  said,  "I  doubt 
if  they'll  go  any  farther  than  the 
other  side  of  Vermont  avenue." 


eluding  motion  picture  theatres.  Referred  to 
committee. 

Bill,  introduced  by  Senator  Kribs,  proposes 
a  gross  income  levy  of  one-fifth  of  one  per  cent. 
Referred  to  committee. 

Censorship: 

Bill  calling  for  abolition  of  all  city  censor 
bodies  and,  in  their  place,  establishment  of  a 
state  board  of  five  to  be  appointed  by  the  gover- 
nor. Introduced  by  Representative  McSweeney. 
Measure  provides  power  for  board  to  prohibit 
exhibition  of  any  pictures  as  well  as  to  make 
deletions.  Sentiment  on  the  bill  is  that  if  there 
must  be  any  form  of  censorship  in  the  state  a 
state  board,  rather  than  city  boards,  is  prefer- 
able, inasmuch  as  the  cost  to  exchanges  of  the 
local  boards  has  been  far  too  high. 

Sundays: 

There  is  no  Sunday  closing  law  in  Illinois. 

V 

INDIANA 

{Convened  in  January;  adjourned  in  Mar.) 
Taxation: 

Admissions  :  Bill  introduced  by  Representa- 
tive Stanton.  Provided  for  10  per  cent  straight 
tax  on  all  admissions.    Indefinitely  postponed. 

General: 

House  Bill  No.  242.  Provides  for  licensing 
of  all  electricians  and  requiring  all  work  done 
under  their  direction.  Introduced  by  Repre- 
sentative Lutz.  Measure  would  have  added  an 
electrician  to  all  stage  crews  and  would  have 
required  an  electrician  to  supervise  all  booth 
repairs  formerly  done  unaided  by  operator.  In- 
definitely postponed. 

Bill  No.  411,  introduced  by  Representative 
Wood.  Withdrawn. 

Bill  No.  527,  introduced  by  Representative 
Wood.  Passed  by  House,  but  defeated  in  Sen- 
ate. 

Censorship: 

No  measures  introduced.    No  state  law. 

Sundays: 

There  is  no  Sunday  closing  law. 


IOWA 

{Convened  in  January) 
Taxation: 

Bill,  introduced  by  Representative  Johnston, 
provides  straight  10  per  cent  admission  tax. 
Reported  favorably  by  ways  and  means  com- 
mittee before  recess  to  March  12.  No  further 
action. 

Two  Men  in  a  Booth: 

Bill  introduced  in  House.  Referred  to  com- 
mittee. 

Fire  Prevention: 

Bill  to  regulate  exhibitions  and  provide  for 
fire  preventions  and  protection  of  patrons  and 
employees.  Introduced  by  Senator  Reese. 
Killed  by  Senate  on  opposition  of  exhibitors 
claiming  measure  would  increase  number  of 
operators. 

Sundays: 

The  House  passed  to  the  Senate,  61-38,  re- 
peals of  Sunday  Blue  Laws. 

V 

KANSAS 

{Convened  in  January;  adjourned  in  Mar.) 
laxation: 

Excise:  Bill  No.  631.  Introduced  by  House 
committee  on  taxation.  Provided  for  four  per 
cent  tax  on  gross  business  of  motion  picture 
theatres.  Under  its  terms  exhibitors  would 
have  had  to  keep  permanent  records  subject  to 
examination  by  state  tax  commission,  with 
penalties  of  $100  a  day  for  each  day's  failure 
to  keep  records  and  2b  per  cent  of  amount  of 
tax  for  failure  to  file  return.  Estimated  cost 
to  Kansas  exhibitors,  $120,000  annually.  Pro- 
posal defeated. 

Admissions  :  House  bill  No.  638.  Introduced 
by  committee  on  education.  Bill  provided 
revenue  for  school  fund  to  be  derived  from  a 
10  per  cent  tax  on  admissions  to  all  amuse- 
ments, excepting:  county  and  state  fairs,  amuse- 
ments of  a  charitable  nature  and  school  events. 
Tax  would  be  levied  on  free  passes  as  well  as 
paid  admisisons,  with  the  exhibitor  passing  it 
on  to  the  state  department  of  inspections  and 
registration.  Penalty  for  non-payment  included 
lUO  per  cent  of  the  amount  of  the  tax,  together 
with  a  fine  and  jail  sentence.  The  House 
passed  the  bill  with  amendments,  striking  out 
the  amusement  tax  section.  The  entire  bill  was 
killed  in  the  Senate.  Estimated  cost  to  industry 
was  $300,000  annually. 

Bill,  No.  229,  introduced  by  Representative 
Relihan,  provided  for  tax  of  one-tenth  of  one 
mill  per  foot  as  gross  business  tax.  Defeated 
in  House. 

Censorship: 

Bill  No.  129.  Introduced  by  Representative 
Briles.  Provided  for  repeal  of  provision  of 
state  censor  law  prohibiting  the  making  of  film 
contracts  in  Kansas  before  the  picture  is  passed 
on  by  the  censor  board.  Passed  both  branches 
and  now  part  of  original  censor  law. 

Sundays: 

Bill  No.  410.  Introduced  by  Senator  Baird. 
Provided  for  prohibition  of  sale  of  goods,  ser- 
vices and  merchandise  on  Sunday.  Kansas 
already  has  a  Sunday  closing  law,  but  this  bill 
was  aimed  at  those  who  circumvent  the  law. 
The  bill  was  killed  in  committee. 

Bill  No.  337.  Introduced  by  Senator  Miller. 
Provided  for  legalization  of  Sunday  shows. 
Killed  in  committee. 

LOUISIANA  ^ 

{Special  session,  1934;  adjourned) 
Taxation: 

Corporation  Franchise:    An  increase  of 


12 


MOTION    PICTURE  HERALD 


April    13,  1935 


RESTRICTIVE  BILLS  IN  MANY  STATES 


from  $1.50  to  $2  per  $1,000  of  capitalization  was 
rushed  through  the  third  special  session  of  the 
legislature. 

V 

MAINE 

{Convened  in  ]aniuiry;  adjourned  April  8) 
Sundays: 

Bill  to  provide  local  option  throughout  state. 
Introduced  by  Representative  Bramson.  House 
legal  affairs  committee  returned  majority  vote 
against  it.  The  vote  was  accepted  and  bill  was 
not  passed. 
Licensing: 

Bill,  introduced  in  House,  providing  for  regu- 
lating and  licensing  of  billboard  advertising. 
Passed  in  both  houses  and  signed  by  Governor 
Brann. 
Censorship: 

Maine  has  no  censor  law.  None  was  intro- 
duced this  session. 

V 

MARYLAND 

(Convened  in  January;  adjourned  in  April) 
Taxation: 

Admissions  :  Exhibitors  escaped  a  state  ad- 
mission tax,  attempted  in  the  Assembly,  which, 
however,  enacted  a  one  per  cent  gross  retail 
tax  applying  to  all  tangible  articles. 

Bill,  H.B.  No.  601.  Provided  straight  10  per 
cent  admission  tax.    Defeated  in  House. 

Luxury  tax,  providing  a  levy  of  5  per  cent 
on  gross  business,  and  including  theatres,  de- 
feated in  House. 

Licensing: 

Bill  introduced  by  Senator  Callan  calling  for 
doubling  of  present  theatre  license  fees.  The 
bill  also  provided  for  an  additional  charge  to 
circuits.  All  theatres  charging  over  five  cents 
would  have  been  afifected.    Defeated  by  Senate. 

Censorship: 

Bill  introduced  by  Senator  Baile  provided  for 
increase  in  censor  fees  from  $2  to  $3.50  for  each 
1,000  feet  of  master  print  and  from  $1  to  $2  for 
each  1,000  feet  of  additional  print.  The  measure 
was  defeated. 

Sundays: 

Bill  to  permit  Sunday  shows  in  Alleghany 
County  passed  the  House. 

General: 

Legislation  introduced  by  Senator  Miss  Mary 
Risteau  sought  to  outlaw  the  making  of  sound 
pictures  during  court  sessions  of  a  trial. 

V 

MASSACHUSETTS 

(Convened  in  January) 
Taxation: 

Excise  tax  on  tobacco  and  theatre  admissions, 
providing  a  levy  of  five  cents  on  first  50  cents 
and  10  cents  thereafter,  proposed  in  House  by 
Representative  Bateman.    Passed  both  houses. 

Restrictive  legislation: 

Bill  introduced  by  Representative  Dorgan. 
Provides  that  children  under  14  shall  not  attend 
motion  picture  shows  except  those  "suitable  for 
children."  Bill  would  give  a  religious  group 
legal  right  to  revoke  state  license  of  distribu- 
tors not  complying  with  its  provisions,  this 
power  lying  in  the  variable  meaning  of  the 
word  "produce."  According  to  the  bill,  anyone 
showing  "or  producing"  a  motion  picture  that 
does  not  pass  the  board  to  be  set  up  under  the 
bill  shall  have  his  license  revoked.  The  board 
would  be  unpaid,  appointed  by  the  Governor  and 
would  consist  of  one  representative  of  each 
religious  denomination.  The  House  refused, 
by  a  vote  of  57  to  31,  to  offer  a  substitute 
measure  following  an  unfavorable  report  by 
public  welfare  committee. 


Bill  introduced  by  Representative  Dorgan  to 
prevent  attendance  by  persons  under  20  years 
at  theatres  located  in  buildings  where  liquor 
is  sold'.    Was  killed  by  the  House,  56-42. 

Censorship: 

Bill  No.  156,  introduced  by  Senator  Scanlan, 
would  turn  licensing  boards  in  the  state  into 
censor  boards  bound  to  pass  on  each  separate 
motion  picture  before  it  could  be  exhibited  to 
anyone  in  the  boards'  respective  communities 
under  the  age  of  21.  Senator  Scanlan's  bill  also 
petitioned  that  no  one  under  the  age  of  14 
could  attend  any  show,  whether  approved  or 
not,  after  "seven  o'clock  in  the  evening  of  any 
day  unless  accompanied  by  an  adult."  Infrac- 
tion of  any  provisions  of  Bill  No.  156  would 
result  in  automatic  revocation  of  theatre  licenses. 
Bill  was  defeated. 

Licensing: 

Bill  to  put  licensing  of  stage  hands  under 
the  jurisdiction  of  the  commission  of  public 
safety  was  heard  in  executive  session  and  ap- 
proved. The  bill  prohibits  employment  to  any 
person  acting  as  a  master  mechanic  or  stage 
hand  on  any  stage  during  a  performance  until 
he  has  received  a  special  or  first  class  license 
to  do  so  from  an  inspector. 

Bill  introduced  in  Assembly  provides  no 
license  for  billboards  or  other  outdoor  adver- 
tising can  be  granted  without  written  consent 
of  a  mayor  or  alderman.  Referred  to  committee. 

Another  bill  provides  a  complicated  licensing 
system  for  heating  and  cooling  systems  under 
control  of  the  Department  of  Public  Safety. 
Referred  to  committee. 

Bill  No.  1133,  introduced  by  Representative 
Quigley,  would  compel  booking  agents  to  seek 
licenses  from  the  Secretary  of  State.  Referred 
to  committee. 

Sundays: 

Massachusetts  has  strict  Sunday  closing  laws 
which  are  rigidly  enforced.  Bill  1202,  intro- 
duced this  session  by  Representative  Manne- 
vitch,  sought  to  permit  stage  dancing  on  the  Sab- 
bath. Churches  in  the  state  have  been  allowed 
to  put  on  exhibition  dancing  on  Sundays,  but 
theatrical  acts  always  have  been  out  except  in 
a  few  instances  where  the  movements  can  be 
interpreted  as  an  acrobatic  performance.  Bill 
was  withdrawn. 

General: 

Bill  introduced  by  Representative  Marshall 
provided  that  all  corporations  and  individuals 
doing  business  in  the  state  would  come  under 
an  Economic  Council,  or  a  state  version  of 
NRA,  with  wide  powers  and  a  10-year  geriod 
of  life.  The  council  would,  among  other  things, 
have_  control  of  financing  of  film  companies  and 
subsidiaries  and  distribution  of  product.  The 
measure  was  defeated  in  the  House. 

V 

MICHIGAN 

(Convened  in  January) 
Taxation 

_  Bill,  proposing  10  per  cent  tax  on  all  admis- 
sions from  10  cents  up,  introduced  in  House. 
Referred  to  committee. 

Censorship: 

Bill,  introduced  by  Representative  Fenlon, 
provides  for  state  censor  board  of  three,  to  be 
appointed  by  Governor  for  three-year  terms. 
Cost  of  administration  to  be  paid  by  fees  levied 
on  distributors  and  exhibitors  amounting  to 
$3  for  each  reel  of  first  print  and  $1  per  reel 
on  each  succeeding  print. 

V 

MINNESOTA 

(Convened  in  January;  adjourns  April  26) 
Taxation: 

Footage  :  Film  footage  tax,  substituted  for  10 
per  cent  amusement  levy  in  omnibus  bi/1  which 


recently  was  killed  in  committee,  proposed.  Levy 
is  one-half  cent  for  each  linear  foot  of  film  used 
in  the  state.  This  would  be  $30  on  a  6,000-foot 
feature.  Present  sales  contracts  require  exhibi- 
tors pay  this  tax,  if  and  when  imposed. 

Bill,  introduced  in  House,  provides  for  3  per 
cent  sales  tax.    Referred  to  committee. 

General: 

A  bill,  exactly  similar  to  that  passed  in  Ohio, 
making  it  unlawful  for  distributors  to  require 
exhibitors  under  contract  to  play  any  picture  on 
a  specific  day,  was  referred  to  committee  for 
deliberation. 

Bill,  introduced  by  Senator  Mullin,  provides 
for  regulation  of  selling  of  motion  picture  film 
in  state. 

Censorship: 

No  censorship  proposals  this  session.  State 
has  no  censor  law. 

Sundays: 

Minnesota  has  no  Sunday  closing  law. 

V 

MISSOURI 

(Convened  in  January;  adjourned  in  April) 

Censorship: 

Bill  No.  123,  introduced  by  Senator  John  P. 
Shea,  provides  for  setting  up  of  state  censor 
board  with  power  to  censor  all  films  and  "fold- 
ers, posters,  pictures  or  advertising  matter." 
Newsreels  are  not  exempted.  All  eliminations, 
changes  and  rejections  must  be  made  in  dupli- 
cate prints  as  well  as  originals.  Requires  ad- 
vance fee  of  $5  for  each  reel  examined,  whether 
approved  or  disapproved  and  whether  originals 
or  duplicates ;  and  a  fee  of  SO  cents  for  inspec- 
tion of  each  piece  of  advertising.  Estimated 
cost  to  industry  is  $300,000  annually.  The 
board  would  consist  of  three  members,  each  to 
be  appointed  by  the  Governor  and  each  to 
receive  a  $4,000  salary  (this  was  amended  to 
$2,500  annually).  The  board  may  appoint  a 
secretary  at  an  annual  salary  of  $3,000 
(amended  to  $1,500).  Board  is  given  unlimited 
powers.  Penalties  for  failure  to  observe  bill's 
provisions  are  $1,000  fine  or  jail  sentence  of 
not  more  than  one  year.  Bill  approved  for  pas- 
sage with  amendments  by  Senate  committee  on 
criminal  jurisprudence. 

Taxation: 

Amuseaients  :  Bill  No.  184,  introduced  by 
Representative  Lindhorst,  provided  for  10  per 
cent  tax  on  motion  picture  showings,  "tobacco, 
cosmetics,  chewing  gum  and  candy."  Killed  by 
House  committee  on  pensions. 

Bill  No.  406,  introduced  by  Representative 
Brady,  providing  for  10  per  cent  tax  on  all 
tickets  of  admission  to  theatres,  parks  and  other 
amusements.  Killed  by  House  committee  on 
ways  and  means. 

Bill  No.  476,  introduced  by  Representative 
Brady,  providing  for  tax  of  one-tenth  of  one 
mill  per  foot  of  motion  picture  film  sold,  rented, 
leased  or  licensed  to  exhibitors,  with  tax  levied 
on  distributors  in  the  nature  of  a  license  tax. 
Killed  by  House  committee  on  municipal  corpo- 
rations. 

Bill  No.  486,  introduced  by  Representative 
Eckert,  was  identical  with  Bill  No.  476  and  was 
killed  by  the  committee  on  municipal  corpora- 
tions. 

Sales  Tax  :  Bill  to  increase  state  sales  tax 
to  two  per  cent  from  one-half  of  one  per  cent, 
after  a  long  battle  in  the  lower  chamber  over 
allocation  of  the  expected  revenue,  was  passed 
by  the  House,  with  amendments,  to  be  passed 
on  to  the  consumer.  Admissions,  advertising 
and  other  services  come  under  the  measure's 
provisions.  The  bill  was  sent  to  the  Senate  for 
consideration. 

Other  sales  tax  proposals,  including  one  of 


.April    13,  1935 


MOTION    PICTURE  HERALD 


13 


HOST  OF  MEASURES  IN  NEW  YORK 


five  per  cent,  another  of  three  per  cent,  were 

killed  in  House  committee. 

Miscellaneous: 

Bill  introduced  in  Senate  for  a  four  per  cent 
levy  on  all  transactions  and  services  rendered. 

A  chain  store  tax  proposal,  including  theatres, 
was  reported  favorably  in  the  House.  Bill 
would  levy  a  tax  of  $25  to  $200  per  unit,  de- 
pending on  the  number  in  the  chain.  Sent  to 
Senate. 

Gift  Enterprises: 

Bill  No.  203,  introduced  by  Representative 
Catron,  amended  the  1929  lottery  laws  by  add- 
ing a  new  section  prohibitiaig  drawings  in  the 
nature  of  a  lottery  or  gift  enterprises  at  busi- 
ness establishments,  theatres,  and  other  amuse- 
ments. Bill  specifically  banned  bank  nights  and 
cash  nights.  Killed  by  House  committee  on 
criminal  jurisprudence. 

Standing  Room: 

Bill  No.  495,  introduced  by  Representative 
Brady,  prohibited  theatres  and  other  places  of 
amusement  from  selling  admissions  tickets  when 
there  are  not  seats  immediately  available  to  the 
purchaser.  Killed  by  House  committee  on  mu- 
nicipal corporations. 

Sunday: 

Missouri  has  Stmday  closing  law  but  it  is 
not  generally  enforced. 

V 

MONTANA 

{Convened  in  January;  adjourned  in  March) 
Taxation 

Taxation  of  chain  stores,  including  theatres, 
proposed  in  House  and  passed.  Amended  in 
Senate  to  exclude  theatres  and  passed. 

Censorship 

Bill,  introduced  by  Senator  Paige.  Provided 
for  censor  board.    Defeated  in  Senate. 

V 

NEBRASKA 

{Convened  in  January) 
Taxation: 

Circuit  Tax:  Bill  No.  94,  introduced  by 
Representatives  Wachtler  and  Hopkins,  pro- 
posing levy  of  an  annual  tax  on  circuits,  rates 
running  from  $25  for  two  theatres ;  $35  each  for 
three;  $50  each  for  four;  $100  each  for  five; 
$150  each  for  from  six  to  10  and  $200  each  for 
more  than  10.  Total  expense  to  industry  in  the 
state  would  be  about  $20,000  annually. 

Sales  Tax  :  Bill  No.  352,  asked  sales  tax 
of  two  per  cent  on  all  retail  transactions,  in- 
cluding admissions  to  places  of  amusement. 
Estimated  cost  would  be  $100,000  annually.  Tax 
would  have  been  added  onto  ticket  price.  Killed 
in  House. 

Gross  Income:  Bill  No.  602,  introduced  by 
Representative  Obbink  asked'  tax  of  10  per  cent 
imposed  on  gross  income  derived  from  the  sale, 
lease,  rent  or  furnishing  of  any  motion  pictures 
shown  for  profit.  Tax  would  hit  distributors 
for  about  $450,000  each  year.  Killed  in  House 
by  vote  of  44-26. 

Miscellaneous: 

Bill  No.  57,  introduced  by  Representatives 
Wachtler  and  Hopkins,  requires  all  film  theatres 
have  a  separate  fireproof  receptacle  for  each 
reel  of  film,  and  that  in  all  theatres  having 
more  than  300  seating  capacity  there  shall  be 
an  operator  for  each  machine.  The  bill  would 
cost  the  Nebraska  industry  an  estimated  $1,000,- 
000  additional  each  year. 

Censorship: 

State  has  no  censor  law,  although  one  is  sub- 
mitted at  almost  every  session.  One  was  pre- 
pared for  the  current  session  but  was  not  in- 
troduced. 

Sundays: 

No  state  closing  law. 


KUY KENDALL  SEES 
A  BRIGHTER  193  5 

Speaking  informally  early  in  Janu- 
ary on  the  outlook  of  exhibitors  for 
the  year  1935,  and  with  special  re- 
gard to  the  legislative  situation, 
Ed  Kuykendall,  president  of  the 
Motion  Picture  Theatre  Owners  of 
America,  said : 

"Theatre  owners  everywhere  are 
looking  forward  to  193  5  with  re- 
newed courage  and  optimism.  It  is 
as  it  should  be,  because  1934  is  past 
history." 


NEVADA 

{Convened  in  January;  adjourned  in  March) 
Adjourned  without  considering  any  anti-indus- 
try measures. 

Censorship: 

None. 
Sundays: 

No  closing  law. 

V 

NEW  HAMPSHIRE 

{Converted  in  January) 

Daylight  Saving: 

The  House  voted,  188-100,  to  prohibit  day- 
light saving  in  the  state  after  majority  com- 
mittee report.  Measure  was  voted  down  in 
Senate. 

Taxation: 

Theatre  licensing  bill,  similar  to  that  intro- 
duced in  Massachusetts,  authorizing  town  and 
city  authorities  to  impose  any  fees,  regulations 
or  restrictions  they  consider  desirable,  was  in- 
troduced in  Senate. 

V 

NEW  JERSEY 

{Convened  in  January) 
Taxation: 

Sales  Tax  :  Sales  tax  legislation  expected 
to  include  films  and  other  amusements. 

Bill,  providing  for  an  increase  in  license  fees 
of  billboard  advertising,  proposed  and  passed  by 
both  houses.  Amount  of  increase  not  made 
known. 

V 

NEW  MEXICO 

{Convened  in  January;  adjourned  in  March) 

Legalizing  Gift  Enterprises: 

Bill  No.  78,  introduced  by  Representatives 
Baca,  McNeill,  Taylor,  Wamel  and  Levya,  con- 
stituting an  act  amending  the  New  Mexico 
statutes  of  1929  relating  to  exemptions  of 
lotteries.  Exempting  provisions  of  the  lottery 
law  when  drawings  are  promoted  "by  any 
licensed  business  firms  for  advertising  or  busi- 
ness promotion  purposes"  and  when  there  is  no 
consideration  directly  charged  by  such  business 
firm  for  chances  and  for  tickets  thus  used. 

V 

NEW  YORK 

{Convened  in  January;  adjourned  in  April) 

Censorship: 

Senate  Bill  No.  68,  introduced  by  Senator 
McCall,  provides  for  supervision  of  contractual 
relations  between  exhibitors  and  distributors. 
The  bill  is  in  the  form  of  an  amendment  to  the 
state  Education  Law,  specifically  that  portion 
dealing  with  motion  picture  censorship.  It  pro- 
vides for  the  classification  of  motion  pictures 
into  adult,  family  and  juvenile  grades.    It  re- 


quires each  distributor  to  pay  an  annual  license 
fee  of  $5,000  and  post  a  surety  bond  or  insur- 
ance policy  of  $100,000,  the  premium  under 
which  would  be  about  $3,500.  The  exhibitor  is 
required  to  pay  an  annual  license  fee,  regardless 
of  the  number  of  seats  in  his  theatre  or  the 
population  of  the  community  in  which  it  is 
situated,  of  $1,000,  and  post  a  bond  of  $50,000, 
upon  which  the  premium  would  be  $1,750.  Re- 
ferred to  public  education  committee;  committee 
discharged ;  bill  amended,  ordered  reprinted. 

Senate  Bill  No.  646,  introduced  by  Senator 
McCall  and  Representative  Canney,  amending 
the  education  law  in  relation  to  the  approval 
and  licensing  of  motion  picture  films  by  the 
motion  picture  division.  The  bill  adds  the 
words  "lewd,  filthy,  lascivious"  to  the  reason 
for  rejecting  a  film,  provides  for  censorship  of 
advertising  matter  and  prohibits  approval  of 
any  advertising  which  is  in  any  manner  "mis- 
leading, or  extravagant  in  its  terms,  eflfects 
and/or  illustrations  calculated  to  misinform, 
mislead  or  deceive  in  any  material  fact."  The 
bill  raises  the  fee  for  approval  of  a  film  from 
$3  for  each  100  feet  to  $100  for  the  first  1,000 
feet,  and  $5  for  each  additional  1,000  feet  or 
fraction  thereof  of  any  film  examined.  Further, 
the  bill  provides  that  all  advertising  matter  to 
be  used  in  connection  with  any  motion  picture 
must  be  approved  by  the  censorship  board  and 
a  fee  of  $10  paid  for  each  item  so  approved. 
(This  would  include  such  items  as  press  no- 
tices, photographs,  posters  and  the  like.)  Re- 
ferred' to  public  education  committee. 

Bill  No.  316,  introduced  by  Representative 
Breitbart,  provided  for  special  censorship  of 
films  intended  to  be  shown  to  children  and  pro- 
hibits the  admission  of  children  to  witness  a  pic- 
ture which  has  not  been  approved  for  juvenile 
consumption.    The  bill  carried  no  tax. 

This  bill  was  first  introduced  in  the  Assembly 
by  Mr.  Breitbart  at  the  mid-summer  session  last 
year. 

Bill  No.  219,  introduced  by  Representative 
Neustein,  to  liberalize  the  present  censorship 
law  and  attempts  to  transfer  the  film  censor- 
ship machinery  from  the  office  of  the  commis- 
sioner of  education  to  the  state  comptroller's 
office.  The  bill  was  adjudged  unconstitutional, 
because  the  constitution  prohibits  the  imposition 
of  any  administrative  powers  and  duties  upon 
the  state  comptroller,  and  was  killed. 

Bill  No.  377,  introduced  by  Senator  Schwartz- 
wald,  to  amend  the  education  law  by  providing 
that  the  state  issue  licenses  for  films  imported 
from  foreign  countries  placing  unreasonable  re- 
strictions on  the  exhibition  of  American  pic- 
tures. This  bill  was  directed  against  German 
films.    Referred  to  public  education  committee. 

Taxation: 

Seating  and  Registration  :  Senate  Bill  No. 
647,  introduced  by  McCall-Monahan,  to  amend 
the  tax  law  by  imposing  a  tax  of  10  cents  per 
100  feet  for  the  privilege  of  running  motion 
picture  film  through  a  projection  machine.  This 
tax  would  be  at  the  rate  of  about  $5.40  an  hour 
on  each  theatre.  The  bill  further  provides  that 
the  exhibitor  must  pay  an  annual  registration 
fee  of  50  cents  for  each  seat  in  his  theatre  and 
post  a  bond  of  $20,000.  If  he  does  not  pay  his 
taxes,  the  tax  department  is  authorized  to  use 
as  a  base  for  determining  his  tax  the  number 
of  minutes  the  theatre  is  open  each  day  mul- 
tiplied by  90  as  a  base,  to  which  would  be 
added  a  penalty  of  $20  per  day  for  failure  to  file 
a  return.  The  premium  on  the  bond  would  be 
$700  annually.  Referred  to  committee  on  taxa- 
tion and  retrenchment. 

Bill,  introduced  by  Representative  Moran, 
provided  for  an  annual  registration  fee  of  $50 
for  each  motion  picture  theatre  and  a  bond  of 
$5,000.  It  provided  for  a  graduated  tax  on  the 
exhibition  of  motion  picture  film  running  from 
one  cent  per  foot  in  a  theatre  of  more  than 
5,000  seats  in  a  city  or  borough  containing  more 
than  1,000,000  inhabitants,   "including  aliens," 


14 


MOTION    PICTURE  HERALD 


April    13,  1935 


ADMISSION  TAXES  CHIEF  PROBLEM 


down  to  2/lOths  of  a  mill  per  foot  in  a  theatre 
of  2,000  seats  or  less  in  a  city,  town  or  village 
of  10,000  inhabitants,  "including  aliens  and 
aborigines."  Were  this  bill  to  become  law  it 
would  cost  the  Radio  City  Music  Hall,  for  ex- 
ample, about  $600  a  day  and  a  theatre  situated 
in  a  place  of  10,000  inhabitants  or  less  with 
less  than  2,000  seats  about  $1  an  hour.  The  bill 
provided,  however,  that  in  any  week  wherein  the 
total  paid  admissions  to  a  theatre  are  less  than 
one  and  one-half  of  the  seating  capacity  multi- 
plied by  the  number  of  days  of  exhibition  during 
the  week,  the  tax  imposed  for  that  week  to  be 
but  one-half  of  the  prescribed  rates.  Bill  set 
aside  for  hearing. 

Bill,  introduced  by  Representative  Moran,  to 
impose  a  tax  of  2/lOths  of  a  mill  per  foot  on 
all  film  before  it  can  be  examined  by  the  censor 
board. 

Restrictive: 

Bill  No.  2059,  introduced  by  Representative 
Stephens,  to  amend  the  general  municipal  law 
and  the  penal  law  so  as  to  permit  a  city,  town 
or  village  to  enact  a  local  law  or  ordinance 
permitting  children  between  the  ages  of  5  and 
16  to  be  admitted  to  motion  picture  theatres 
between  the  hours  of  10  A.M.  and  6  P.M.,  ex- 
cept on  school  days,  when  the  hours  shall  be 
from  3  P.M.  to  6  P.M.,  unaccompanied  by  par- 
ent or  guardian,  to  witness  films  which  have 
been  specially  censored  for  children.  The  bill 
provided  that  the  theatre  shall  pay  an  annual 
license  fee  of  $10  for  the  privilege  of  showing 
to  children.  The  theatre  must  provide  a  sepa- 
rate seat  for  each  child  and  a  matron  for  each 
75  children,  and  women  registered  nurses  and 
women  eligible  to  teach  school  shall  be  given 
preference  in  appointment  as  matrons.  No  the- 
atre to  be  licensed  to  exhibit  to  children  unless 
it  has  received  written  approval  of  the  local 
police,  health  and  fire  departments. 

Senate  Bill  No.  1442,  introduced  by  Senator 
Mandelbaum  and  Representative  Stephens,  to 
amend  the  penal  law  permitting  children  to  be 
admitted  to  motion  picture  theatres  if  the  the- 
atre obtains  the  approval  of  local  police,  and 
fire  departments  or  other  analogous  agency  and 
if  a  separate  section  is  reserved  in  the  theatre 
for  children.  No  such  child  shall  be  admitted 
during  school  hours.  A  matron  is  to  be  em- 
ployed for  each  200  children. 

income: 

Bill  No.  416,  introduced  by  Representative 
Schwartz,  amending  the  tax  law  in  relation  to 
personal  income  tax  by  providing,  among  other 
things,  that  a  non-resident  of  the  state  who  re- 
ceives a  royalty  or  other  fixed  amount  of  money 
based  upon  paid  admissions  to  any  motion  pic- 
ture theatre  operated  within  the  state,  shall  be 
deemed  to  be  engaged  in  a  business  carried  on 
in  the  state  and  subject  to  the  personal  income 
tax.  Referred  to  committee  on  taxation  and 
retrenchment. 

Sundays: 

Bill,  introduced  by  Senator  Berg,  to  permit 
Sunday  dramatic  and  musical  shows  in  the  state. 
Passed  both  houses  and  signed  by  Governor 
Lehman. 

Bill,  introduced  by  Senator  Berg,  provides 
that  actors  and  other  employees  in  dramatic  or 
musical_  companies  shall  be  given  one  full  day 
of  rest  in  seven.  Passed  both  houses  and  signed 
by  Governor  Lehman. 

General: 

Bill,  introduced  by  Senator  Williamson,  pro- 
vided _  that  a  guarantee  mortgage  corporation 
organized  under  provisions  of  the  insurance  law 
is  prohibited  from  issuing  participating  certifi- 
cates in  or  assigning  any  share  or  part  of  a 
mortgage  on  a  theatre,  opera  house,  motion 
picture  theatre,  gas  station,  amusement  park  or 
assembly  hall. 


NORTH  CAROLINA 

{Convened  in  January) 
Taxation: 

Admission  :  Bill,  introduced  in  the  General 
Assembly  by  Representative  McDonald,  pro- 
vided for  a  10  per  cent  levy  on  all  gross  admis- 
sion receipts  of  theatres.  Tax  would  have  to 
be  passed  on  to  public  because  theatre  taxes  in 
the  state  have  increased  from  $11,992  to  $170,688 
since  1928.  Defeated  in  House,  38-26. 
Franchise: 

Bill  introduced  in  legislature  to  increase  tax 
on  film  exchanges  to  $1,250  annually  apparently 
defeated  when  exchange  heads  threatened  to 
move  out  of  state  if  bill  was  passed.  On  re- 
duction of  fees  to  $625,  committee  recommended 
adoption. 

V 

NORTH  DAKOTA 

{Convened  in  January) 
Taxation: 

Sales  Tax:  Measure  providing  for  a  two 
per  cent  levy  on  all  admissions  passed  and 
signed  by  Governor  Welford. 

Another  admission  tax  measure  was  defeated, 
as  was  a  proposed  seat  tax. 

V 

OHIO 

{Convened  in  January;  adjourned  Mar.  9) 
Taxation: 

Sales  and  Admissions  :  Three  per  cent  sales 
tax  became  effective  January  1,  and  the  former 
10  per  cent  admission  tax  on  theatre  tickets  was 
suspended  at  that  time.  Sales  mider  10  cents 
are  exempted.  The  sales  tax  requires  that  it 
must  be  paid  by  patrons  and  not  absorbed  by 
exhibitors  or  other  merchants.  The  state  legal 
department  ruled  recently  that  placards,  bill- 
boards and  similar  advertising  material  sold  or 
leased  by  Ohio  exchanges  to  theatres  within 
the  state  are  subject  to  the  tax. 

Bill,  introduced  in  February  in  the  House, 
proposed  a  return  to  the  old  10  per  cent  admis- 
sions tax,  but  was  not  ac^ed  upon. 

Governor  Davey  this  month  proposed  re- 
newal of  the  10  per  cent  admissions  tax. 

Censorship: 

Bill  No.  73,  introduced  by  Senator  Zoul,  pro- 
vides for  increase  in  censor  fees  to  $3  for  first 
1,000-foot  reel  and  $2  for  each  succeeding  1,000 
feet.  Referred  to  committee  on  taxation.  Esti- 
mated industry  cost,  $100,000  extra  annually. 

Bill  No.  159,  introduced  by  Representative 
Carey,  provides  for  an  increase  in  censor  fees 
to  $5  for  first  1,000  feet  and  $3  for  each  1,000 
feet  thereafter.  Passed  by  both  houses.  Esti- 
mated cost  to  industry,  $200,000  extra  annually. 

Restrictive: 

Bill  No.  88,  introduced  by  Senator  Waldvogel. 
Prohibits  distributors  from  specifying  and  en- 
forcing designated  playdates  under  contract. 
Sponsored  by  Independent  Theatre  Owners  of 
Ohio,  which  contends  the  enforcement  of  desig- 
nated playdates  compels  exhibitors  to  play  "sex" 
and  other  objectionable  pictures  on  Sundays. 
Bill  passed  by  both  House  and  Senate  and  sent 
to  Governor  Davey  for  signature.  Governor 
sought  opinion  from  state  attorney  general 
Bricker,  who  pronounced  the  measure  uncon- 
stitutional, as  interfering  with  the  rights  and 
property  of  copyright  owners  under  federal  laws 
and  an  unwarranted  interference  with  the  rights 
of  private  contract  of  the  owners  of  film.  Gov- 
ernor Davey  allowed  the  bill  to  become  a  law 
without  his  signature,  effective  July  5. 

Two-Men-in-a-Booth: 

Bill,  said  to  have  been  sponsored  by  operators' 
unions,  introduced  in  General  Assembly.  Calls 
for  an  operator  for  each  machine  and  a  mini- 
mum of  two  men  in  each  booth. 


OKLAHOMA 

{Convened  in  January;  adjourned  in  March) 
Taxation 

Bill  No.  243,  introduced  in  House.  Provided 
for  a  five  per  cent  admission  tax.  Passed  in 
both  houses. 

Bill,  proposing  increase  from  1  to  3  per  cent 
in  state  sales  tax,  introduced  and  passed. 

V 

OREGON 

{Convened  in  January;  adjourned  in  March) 
Taxation: 

Admissions  :  Bill  No.  445,  introduced  by 
Representative  Oleen,  bill  proposing  10  per  cent 
on  motion  picture  theatre  admissions,  defeated  in 
committee. 

V 

PENNSYLVANIA 

{Convened  in  January) 

Taxation: 

Admissions  :  Bill,  introduced  by  Assembly- 
man Eberharter.  Imposes  tax  of  10  per  cent 
on  gross  receipts  of  motion  picture  theatres. 
Was  passed  by  House.  Before  Senate  finance 
committee. 

Distribution  :  Bill  to  impose  tax  on  sales  and 
distribution  of  motion  pictures.  Referred  to 
committee. 

Footage:  Bill,  introduced  by  Assemblyman 
Cohen,  proposes  a  tax  of  one  and  one-half 
cents  per  lineal  foot  on  all  motion  picture  film 
exhibited  in  state,  the  fee  to  be  paid  by  pro- 
ducer or  distributor.  Bill  now  before  House 
ways  and  means  committee. 

Censorship: 

Bill,  introduced  by  Assemblyman  Cohen,  in- 
creases fee  for  examination  of  motion  picture  by 
state  board  of  censors  from  present  rate  of  $2 
for  each  1,200  lineal  feet  to  $15  for  each  1,000 
lineal  feet.  Bill  before  House  ways  and  means 
committee. 

Advertising: 

Bill,  introduced  by  Senator  Harris,  proposes 
a  levy  of  three  cents  per  square  foot  on  ah  ad- 
vertising billboards.  Persons  and  firms  engaged 
in  erection  of  billboards  would  be  required  to 
pay  an  annual  license  fee  of  $100. 

Sundays: 

Bill,  introduced  by  Assemblyman  Schwartz, 
would  require  every  municipal  subdivision  of 
the  state  at  the  November  general  elections  to 
vote  on  whether  or  not  to  permit  amusements 
on  Sundays  after  1 :30  p.m.  Referred  to  House 
committee  on  law  and  order. 

Bill,  introduced  by  Assemblyman  Schwartz, 
would  make  2  p.m.  on  Sundays  the  hour  on 
which  Sunday  showing  could  start.  Referred 
to  House  committee  on  elections. 

Bill,  introduced  by  Senator  Aron,  to  make 
Sunday  opening  hour  2  p.m.  Sent  to  Senate 
committee  on  law  and  order. 

Bill,  introduced  by  Assemblyman  Barber,  pro- 
vided for  a  compulsory  referendum  in  each  mu- 
nicipal subdivision  of  the  state  at  the  November 
elections  on  question  of  whether  to  permit  Sun- 
day shows  after  2  p.m. 

Projectionists: 

Bill,  introduced  by  Assemblyman  Yourishin, 
to  grant  projectionists  at  least  24  consecutive 
hours  of  rest  in  every  calendar  week.  Employ- 
er violating  proposed  act  would  be  subject  to  a 
fine  of  $20  to  $50,  first  ofifense ;  $50  to  $250, 
second,  or  30  days'  imprisonment,  and  a  fine  of 
not  less  than  $250  or  imprisonment  for  60  days 
for  third  offense.  Bill  referred  to  committee  on 
labor. 


April    13.  1935 


MOTION    PICTURE  HERALD 


15 


TWO-MEN-IN-BOOTH  ISSUE  RAISED 


RHODE  ISLAND 

{Convened  in  January;  adjourned  in  April) 

Two-Men-in-a-Booth: 

Bill,  sponsored  by  operators'  unions,  intro- 
duced in  House.  Provided  for  one  man  to 
every  machine. 

Bill,  introduced  by  Representative  Fox,  pro- 
vided all  films  must  be  projected  from  machines 
on  ground  floor,  or  entrance  floor,  except  in 
regulation  booths. 

Censorship: 

No  state  censor  laws.  Providence,  the  capital, 
has  city  censorship. 

Sundays; 

No  Sunday  closing  laws. 

V  • 

SOUTH  CAROLINA 

{Convened  in  January;  adjourned  in  April) 

Censorship: 

Censor  bill  offered  early  in  session  but  was 
defeated  in  House. 

V 

SOUTH  DAKOTA 

{Convened  in  Jantiary;  adjourned  in  March) 
Taxation 

The  legislature  passed  a  2  per  cent  sales  tax, 
to  include  motion  picture  theatres. 

V 

TENNESSEE 

{Convened  in  January) 
Taxation: 

Bill,  taxing  amusements  at  rate  of  10  per  cent, 
introduced  and  passed  by  Senate.  Efforts  to 
exempt  admissions  up  to  30  cents  were  defeated. 
Politicians  estimate  levy  will  bring  in  $650,000 
annually.    Bill  referred  to  House  for  vote. 

Sundays: 

Bill  permitting  Sunday  shows  by  local  option. 
Passed  in  both  Houses  and  signed  by  Governor 
McAlister  this  week. 

V 

TEXAS 

{Convened  in  January) 
Taxation: 

Bill,  calling  for  10  per  cent  admission  tax, 
killed  in  the  House. 

Censorship: 

No  state  censor  law. 
Sundays: 

Governed  by  local  option. 

V 

UTAH 

{Convened  in  January;  adjourned  in  March) 
Taxation: 

Admissions  :  Bill,  introduced  by  Representa- 
tive Jensen,  proposes  increase  in  present  two 
per  cent  state  amusement  tax  to  10  per  cent. 
Referred  to  sifting  committee  and  remained 
there. 

Sales: 

Amendment  of  the  Utah  sales  tax  law  to  pro- 
vide for  exemption  from  now  prevailing  two  per 
cent  tax  of  first  $500  gross  sales,  proposed  in 
Legislature.    No  action  taken. 

Censorship: 

State  has  no  censor  law. 
Sundays: 

No  Sunday  closing  laws. 

V 

VERMONT 

{Convened  in  January) 
Sundays: 

Bill,  to  permit  statewide  Sunday  showings, 
introduced  by  Senator  Rice.    Amended  in  Sen- 


FRENCH  ISLANDS 
HAVE  CENSORSHIP 

The  islands  of  St.  Pierre  and 
Miquelon,  located  off  the  Gulf  of 
St.  Lawrence,  whose  population  found 
American  Prohibition  so  profitable, 
are  not  to  have  their  morals  corrupted 
by  the  American  motion  picture  if 
the  French  government  has  anything 
to  say  about  it.  A  decree  in  the 
Journal  Official  in  Paris  said  recently 
that  "since  the  cinema  constitutes  the 
chief  amusement  of  the  populace  and 
can,  in  view  of  the  geographical  iso- 
lation of  the  colony,  exercise  consid- 
erable influence  over  its  youth,"  a 
film  censorship  must  be  established. 
The  population  of  the  islands,  chiefly 
fishermen,  is  now  3,5  84  and  one  (1) 
censor. 


ate  and  passed.  Now  in  committee  in  the 
House. 

V 

WASHINGTON 

{Convened  in  January;  adjourned,  March) 
Taxation: 

Admissions  :  Bill,  introduced  in  Legislature, 
proposed  theatre  patrons  pay  tax  of  one  cent  on 
each  25-cent  ticket;  two  cents  on  each  40-cent 
ticket,  three  cents  on  a  50-cent  ticket  and  five 
cents  on  those  costing  $1.  Admissions  non-tax- 
able under  20  cents.  This  was  part  of  the  con- 
templated state  retail  sales  tax. 

Both  houses  late  in  March  passed  a  revised 
revenue  bill  intended  to  raise  $16,000,000  annu- 
ally. It  includes  a  one-cent  tax  on  theatre  ad- 
missions of  20  cents  or  fractions  thereof,  with 
no  tax  on  tickets  of  10  cents  or  under. 

Legislature  voted  to  decrease  state  occupa- 
tional tax  from  IJ^  to  per  cent  on  gross 
business. 

Censorship: 

State  has  no  censor  law. 

Sundays: 

No  Sunday  closings. 

V 

WISCONSIN 

{Convened  in  January) 

Taxation: 

Bill,  introduced  in  House  by  Representative 
Carow,  provides  for  a  four  per  cent  tax  on 
gross  receipts  and  an  annual  license  fee  of  $5. 

Censorship: 

Wisconsin  has  no  state  censor  law. 

Sundays: 

Sunday  Blue  Laws  were  voted  out  by  the 
1933  legislature. 

V 

WYOMING 

{Convened  in  January;  adjourned  in  March) 
Taxation: 

Sales  Tax  :  The  legislature  passed  a  two 
per  cent  sales  tax,  applicable  to  all  theatre  ad- 
missions over  15  cents.  It  is  a  violation  for 
theatres  to  absorb  the  tax. 


Use  of  Code  Funds 
approved  hyNRA 

Use  of  funds  in  the  possession  of  the 
motion  picture  Code  Authority  for  adminis- 
trative expenses  pending  approval  of  a 
budget  for  the  first  half  of  the  current  year 
was  approved  in  Washington  this  week  by 
the  NRA. 

Under  the  order,  the  Code  Authority  is 
permitted  to  spend  $100,054  for  expenses 
during  the  first  four  months  of  1935,  the 
sura  set  representing  four  tiraes  the  actual 
expenditures  of  last  December,  plus  $500 
for  legal  fees  made  necessary  by  a  suit 
pending  against  the  Cleveland  grievance 
board  and  $1,100  necessary  for  the  payment 
of  accounting  and  auditing  service. 

It  was  explained  that  at  the  close  of  1934 
the  Code  Authority  had  a  surplus  of  some 
$30,000  to  which  have  been  added  contribu- 
tions received  under  the  assessment  for  the 
last  half  of  the  year.  From  this  are  to  be 
taken  temporarily  funds  necessary  for  opera- 
tion pending  approval  of  a  new  budget  under 
which  assessments  can  be  levied  for  the 
period  from  January  1  to  June  16,  1935. 

Other  developments  included,  in  New 
York,  the  first  meeting  of  an  arbitration 
committee  authorized  by  the  film  code  in 
connection  with  a  breach-of-contract  com- 
plaint. The  complaint  was  brought  against 
the  W.  G.  L.  Amusement  Company  by  Fox, 
the  plaintiff  winning  by  default  when  the 
defendant  did  not  appear.  W.  G.  L.  Amuse- 
ment Company  operates  the  Lincoln  theatre, 
Brooklyn. 

Ben  Berinstein  and  Harry  Vinnicof¥, 
representing  the  Independent  Theatre  Own- 
ers of  Southern  California,  arrived  in  New 
York  on  Tuesday  for  a  hearing  before  the 
Code  Authority  on  the  Los  Angeles  clear- 
ance and  zoning  schedule.  They  insisted 
that  Fox  West  Coast  be  denied  a  rehearing 
and  that  the  schedule  be  made  effective  at 
once,  Mr.  Berinstein  said. 


Fabian  to  Bid  on 
Fox  Metropolitan 

Si  Fabian,  operator  of  the  Fox  theatre 
in  Brooklyn,  is  contemplating  a  bid  for  Fox 
Metropolitan  Playhouses  in  competition  with 
that  advanced  by  Joseph  M.  Schenck  and 
Fox  Theatre  Corporation.  Mr.  Fabian  said 
this  week,  however,  that  numerous  details 
remain  to  be  set  before  his  bid  will  be  made, 
and  said  that  he  doubted  whether  any 
definite  offer  could  be  made  by  him  before 
April  15,  the  date  set  for  hearing  of  the 
Schenck-Fox  Theatres  reorganization  plan. 

Mr.  Fabian  made  a  formal  denial  that 
Warner  is  associated  or  in  any  way  inter- 
ested in  the  contemplated  bid.  His  principal 
financial  associate  is  reported  to  be  the 
Bankers  Bond  &  Mortgage  Company,  with 
possibly  Albert  M.  Greenfield  of  Philadel- 
phia participating  on  an  investment  basis, 


16 


MOTION    PICTURE  HERALD 


April    13,  1935 


INDEPENDENTS  ATTACK  FILM  CODE 
AT  SENATE  HEARING  ON  THE  NRA 


iv^yers  of  Allied  and  Melvin 
Albert  for  New  York  ITOA 
Charge  Inequitable  Setup 
of  Authority  and  Boards 

The  "little  fellows"  in  motion  picture  ex- 
hibition ag-ain  went  to  Washington  this  week 
to  complain  about  the  hardships  worked  on 
them  by  the  motion  picture  code,  when,  on 
Monday,  at  an  NRA  hearing,  the  Senate 
finance  committee  was  told  by  representa- 
tives of  independent  exhibitors  that  unless 
needed  changes  are  made  the're  may  be  a 
general  abandonment  of  the  Blue  Eagle  by 
that  division  of  the  industry. 

For  the  most  part,  the  testimony  on  the 
code,  offered  by  Abram  F.  Myers,  general 
counsel  of  Allied  States  Association  of 
Motion  Picture  Exhibitors,  and  Melvin 
Albert,  appearing  on  behalf  of  Harry 
Brandt  and  the  Independent  Theatre 
Owners  Association,  New  York,  related  to 
the  alleged  inequitable  setup  of  the  Code 
Authority  and  the  regional  boards. 

Appearing  as  the  first  witness  to  discuss  the 
code,  Mr.  Myers  told  the  committee  that  "we 
regard  the  film  code  as  entirely  separate  and 
apart  from  general  NRA  codes"  and  that  the 
"best  friends  of  NRA  should  be  eager  to  ferret 
out  the  inequities  of  this  code." 

Notes  Difference  from  Other  Codes 

He  pointed  out  that  the  difference  from  other 
codes  lies  in  the  fact  that  the  Code  Authority 
is  named  in  the  agreement  as  a  result  of  which, 
he  charged,  "The  Big  8  were  given  complete 
domination  of  the  film  Code  Authority.  The  in- 
equity of  that  is  that  this  Code  Authority,  unlike 
most  others,  does  not  simply  administer  the 
mechanical  features  of  the  code  but  has  con- 
ferred on  it  quasi-judicial  authority." 

Going  back  to  the  negotiation  of  the  code, 
Mr.  Myers  asserted  that  the  committee  which 
negotiated  it  was  named  by  the  deputy  admin- 
istrator in  charge,  Sol  A.  Rosenblatt,  who 
finally  declared  that  a  code  would  be  written 
for  the  industry. 

Asked  by  Senator  King  (Dem.)  of  Utah, 
whether  he  ever  found  out  who  actually  drafted 
the  code,  the  witness  replied  "I  do  not  know.  I 
do  not  think  Mr.  Rosenblatt  drafted  it  because 
I  do  not  think  he  had  the  grasp  of  the  industry 
problems  or,  perhaps,  the  subtlety  to  draft  a 
code  like  this,"  and  intimated  that  Nathan 
Burkan  exercised  some  influence  in  its  writing. 

Says  "Big  8"  Voted  Together 

"Allied  were  treated  as  outcasts  during  the 
negotiations,"  he  commented,  asserting  that  the 
code  was  signed  "in  secret"  and  his  organization 
was  not  invited  to  sign. 

The  representatives  of  the  "Big  8,"  plus  Ed 
Kuykendall,  president  of  the  MPTOA,  the  wit- 
ness told  the  committee,  "have  voted  together 
on  every  issue  involving  exhibitors"  and  there 
is  a  fixed  division  of  seven  to  three  on  the  Code 
.\uthority  on  all  issues  which  arise  between 
sellers  and  buyers  of  film  and  between  the  dif- 
ferent classes  of  theatres. 

Mr.  Myers  read  into  the  record  a  letter  from 
Nathan  Yamins,  Fall  River,  Mass.,  exhibitor, 
and  independent  theatre  representative  on  the 
Code  Authority,  in  which  it  was  declared  the 
producer-distributor  members  of  the  Code 
Authority  were  permitted  to  name  the  members 
of  the  local  boards  who  were  to  represent  their 


interests  without  interference  from  the  exhib- 
itors, but  the  exhibitor  members  were  not  per- 
mitted to  name  their  representatives  and  no  ex- 
hibitor was  named  until  he  had  been  investigated 
and  approved  by  the  distributor  members. 

Mr.  Yamins,  the  letter  said,  protested 
the  alleged  evasion  of  the  code  by  the 
insertion  into  contracts  of  various  provi- 
sions, but  the  Code  Authority  refused  to 
send  the  matter  to  the  legal  division  of 
the  NRA  for  an  opinion. 

Mr.  Yamins  also  charged  that  when  a  case 
comes  up  in  which  a  member  of  the  Code 
Authority  may  be  disqualified  because  of  his 
company's  interest  in  the  matter,  he  is  never- 
theless permitted  to  sit  in  on  the  argument  al- 
though he  does  not  vote,  through  an  "interpreta- 
tion" of  the  code  which  restricts  the  definition 
of  "sitting"  to  voting. 

"My  conclusion  after  one  year's  service  on 
the  Code  Authority  is  that  the  independent  re- 
ceives little  or  no  consideration  when  his  in- 
terests conflict  with  those  of  the  affiliated  mem- 
bers," he  declared. 

Mr.  Yamins  concluded  by  pointing  out  that 
two  months  ago  Mr.  Rosenblatt  recommended 
that  the  Code  Authority  study  recommendations 
for  revision,  but  that  nothing  has  been  done 
"and  when  the  matter  is  brought  up  by  the  ex- 
ecutive secretary  it  is  immediately  tabled." 

"Received  Evasive  Replies" 

Mr.  Myers  explained  that  his  organization  has 
several  times  written  to  the  National  Industrial 
Recovery  Board  suggesting  that  the  code  be  re- 
opened "but  have  always  received  the  most 
evasive  replies." 

Mr,  Myers  was  questioned  by  Senator 
Barkley  (Dem.)  of  Kentucky,  who  appar- 
ently had  been  given  Information  regard- 
ing the  code,  as  to  the  number  of  assents, 
the  Senator  asserting  that  there  were 
10,143  theatres  in  operation  on  February 
I,  last,  of  which  9,169  had  voluntarily  con- 
sented to  the  code,  6,500  of  the  assenters 
being  Independent  operators. 

"I  have  heard  statements  made  by  a  member 
of  the  Code  Authority  that  they  had  approxi- 
mately 7,500  assents,"  Mr.  Myers  responded. 

"You  do  not  contend  that  the  evils  did  not 
exist  prior  to  the  code?"  Senator  Barkley  con- 
tinued. 

"What  the  code  did,"  Mr.  Myers  explained, 
"was  to  take  each  of  these  practices  and  with- 
out materially  remedying  them,  incorporate 
them  in  the  code." 

"Are  you  advocating  the  discontinuance  of  the 
NRA?"  the  Senator  asked. 

"No,"  said  Mr.  Myers.  "On  the  contrary.  I 
am  complaining  only  of  the  motion  picture  code 
in  its  present  setup." 

Offers  New  Provision 

Asked  by  Senator  Barkley  as  to  the  operation 
of  the  local  boards,  Mr.  Myers  said,  "So  far  as 
I  know  no  exhibitor  has  received  any  adequate 
assistance  through  that  method."  Senator 
Barkley  also  referred  to  forcing  and  cancella- 
tion, neither  of  which,  Mr.  Myers  contended, 
were  satisfactory  to  the  exhibitors. 

Laying  the  matter  squarely  before  the  com- 
mittee, Mr.  Myers  presented  the  draft  of  a  pro- 
vision which  he  urged  should  be  incorporated  in 
any  legislation  developed  to  extend  the  indus- 
trial recovery  act,  as  follows : 

"All  codes  which  authorize  the  Code  Author- 
ity or  other  board  or  agency  created  thereunder 


Yamins,  Code  Authority  Mem- 
ber, Says  in  Letter  Independ- 
ent Receives  Little  or  No  Con- 
sideration from  That  Body 

to  hear  and  determine  controversies  between 
concerns  engaged  in  different  branches  of  the  in- 
dustry affected  shall,  as  a  condition  of  their 
validity,  provide  that  such  Code  Authority  or 
other  board  or  instrumentality  shall  be  com- 
posed of  an  equal  number  of  bona  fide  repre- 
sentatives of  each  branch  of  the  industry  em- 
braced in  such  code  and  shall  alsO  provide  for  a 
representative  or  representatives  of  the  govern- 
ment with  power  to  cast  a  deciding  vote  in  case 
of  a  tie ;  provided,  that  any  concern  embraced  in 
any  such  code  which  is  engaged  in  the  manu- 
facture or  production  of  any  commodities  or 
products  or  in  making  the  initial  sales  or  leases 
thereof  and  is  also  engaged,  directly  or  in- 
directly, through  holding  companies,  stock  own- 
ership, interlocking  directorates  or  otherwise,  in 
the  buying  or  exhibiting  of  such  commodities 
or  products,  may  be  represented  on  any  such 
code  authority  or  other  board  or  agency  only  in 
its  capacity  as  a  manufacturer,  producer  or 
original  seller  or  lessor  thereof." 

Only  Vertical  Code,  Says  Albert 

Declaring  that  it  is  the  only  vertical  code  in 
operation,  Mr.  Albert  asserted,  "the  producer 
and  distributor  are  one,  so  that  on  all  boards 
and  the  Code  Authority  there  is  no  exhibitor 
representation  at  all,  I  mean  independent.  He 
is  outnumbered  two  to  one." 

New  York  Independents  have  never 
signed  the  code,  "90  per  cent  have  not 
signed",  and  have  defied  the  code  and 
the  regional  labor  board,  he  said.  In  con- 
nection with  the  latter,  he  explained  his 
group  refused  fo  reinstate  employees  as 
ordered  In  the  hope  the  board  would  take 
the  matter  to  the  courts,  but  It  has  never 
done  so  because,  he  charged,  "they  know 
the  code  could  not  stand  Investigation". 

Of  ISO  cases  arising  during  the  past  year  only 
two  have  been  taken  to  the  local  board,  he  said, 
because  it  is  felt  no  fair  decision  could  be 
secured. 

"We  feel  that  we  need  a  code,"  he  concluded, 
but  "if  we  are  going  to  have  a  code  of  that 
type,  the  exhibitors  of  New  York  will  haul 
down  their  Blue  Eagles." 

MPTOA  Calls  Code  "Football" 

It  is  anticipated  that  before  the  hearings  close. 
Division  Administrator  Rosenblatt  will  testify 
in  rebuttal  of  the  charges  made  by  Mr.  Myers 
and  Mr.  Albert. 

In  New  York,  a  bulletin  from  national  head- 
quarters of  the  Motion  Picture  Theatre  Own- 
ers of  America  pointed  out  that,  "the  NRA  is 
under  a  barrage  of  criticism  in  Washington, 
where  all  the  disappointments,  complaints,  hos- 
tility of  those  who  have  been  forced  to  behave 
under  it,  jealousies  and  suspicions  and  rumors 
are  being  dragged  out  to  'help  Congress  im- 
prove on  the  present  law.'  It  is  now  a  political 
football.  Hence,  it  appears  to  be  hopeless  to 
get  any  serious  consideration  right  now  on  what 
can  be  done  to  make  the  motion  picture  code 
what  it  should  be." 

"Most  of  the  yelling  will  again  be  done  by 
the  very  chiselers  and  professional  agitators 
who  have  loudly  opposed  NRA  from  the  begin- 
ning. It's  hard  to  make  any  headway  in  regu- 
lating unscrupulous  competition  in  this  busi- 
ness." 


April    13,  1935 


MOTION    PICTURE  HERALD 


17 


BALCON  HAS  EYE  TO  EIGHTH  AVENUE 


The  menacing  cloud  that  hung  over  the 
studios  for  so  long,  the  threat  of  British 
invasion,  has  passed  and  left  Hollywood  un- 
perturbed. Although  it  was  admittedly  an 
aggressive  thrust  on  the  part  of  London 
producers,  the  method  by  which  it  was  ac- 
complished was  so  disarming  that  today  no 
one  seems  to  be  aware  of  it. 

It  is  unreasonable  that  an  observer  of  this 
industry  should  be  more  suspicious  than  the 
people  in  it.  No  one,  I  have  heard  it  said, 
is  more  skeptical  than  a  Hollywood  pro- 
ducer. It  is  equally  true  that  no  one  is 
more  gullible — in  some  ways.  It  is  the  dis- 
tinct impression  of  this  correspondent  that 
youthful,  casual,  charming  Michael  Balcon, 
armed  with  certain  weapons,  in  a  quiet  way 
emulated  the  late  General  Grant  when  he 
took  Richmond.  Hollywood,  however,  dif- 
fered from  Richmond,  for  Hollywood  liked 
it. 

Mr.  Balcon,  director  of  production  of 
Gaunnont  British,  arrived,  achieved  his  pur- 
pose, and  was  scheduled  to  depart  this 
week  bearing  the  connmitments  he  sought. 
While  here  he  was  royally  entertained  as 
only  the  regal  fanniiies  of  Hollywood  can 
do  it.  His  charnn  was  matched  by  the 
graciousness  of  the  executives.  His  vic- 
tory, in  Hollywood's  eyes,  was  uninnpor- 
tant.  That  Balcon  attained  his  ends  was 
not  regarded  as  significant  here.  That 
Britain's  diplomacy  succeeded  in  placing 
an  opening  and  sizable  wedge  In  the  local 
scheme  of  things  seems  to  Interest  no  one. 

Mr.  Balcon  signed  contracts  with  Helen 
Vinson,  Richard  Dix,  Noah  Beery,  Madge 
Evans  and  C.  Aubrey  Smith,  admittedly  not 
Garbos  and  Gables,  but  substantial  persons 
all,  whose  names  are  known  to  the 
customers.  He  selected  the  writers  for 
whom  he  will  send  in  the  fall.  He  dangled 
before  the  local  lads  such  individuals  as 
Jessie  Mathews,  Alfred  Hitchcock,  Peter 
Lorre  and  others  on  whom  the  boys  have 
looked  with  covetous  eye.  He  got  Irving 
Thalberg  to  abandon  the  idea  of  making  a 
film  based  on  the  life  of  Cecil  Rhodes  with 
Charles  Laughton.  He  gave  and  secured 
pledges  of  cooperation  and  interchange  of 
stars,  stories,  directors  and  writers  for  the 
admitted  purpose  of  competing  with  the 
Hollywood  product  in  what  has  been  Holly- 
wood's own  and  virtually  exclusive  market. 

Taken  Unawares  by  New  Methods 

The  town  was  taken  unawares,  it  seems, 
because  of  the  contrast  in  methods  used. 
The  American  system,  under  such  circum- 
stances, would  be  to  enter  England,  an- 
nounce loudly  that  stars  were  wanted  and 
that  fabulous  salaries  would  be  paid  and  in 
case  there  should  be  those  who  doubted, 
that  the  Americans  were  going  after  British 
scalps.  It  is  a  cynical  view  to  have  of  the 
matter  but  the  past  indicates  that  it  is  a 
logical  one.  Probably  the  Prince  of  Wales 
would  have  been  offered  a  job. 

While  it  is  impossible  to  give  an  eye 


Affable  Director  of  Gaumont 
British  Production  Signs  Talent 
For  Films  for  American  Market 

by  DOUGLAS  W.  CHURCHILL 

witness  account  of  any  session  Mr.  Balcon 
liad  with  any  executive,  the  scene  can  be 
pictured  as  a  result  of  as  delightful  and 
interesting  an  interview  as  I  have  had  with 
any  producer.  Casualness  was  the  most 
marked  quality  in  the  man's  manner.  He 
promised  nothing  sensational.  "Every  pic- 
ture we  make  is  not  of  high  enough  quality 
to  sell  in  a  highly  competitive  market  but 
those  that  are  good  enough  will  be  offered 
in  this  country,"  he  said.  With  the  Holly- 
wood conception  of  simple  statement,  it  is 
understandable  why  he  was  not  viewed  with 
alarm. 

In  fairness  to  the  town,  it  must  be  said 
that  recent  developments  abroad  with 
the  resulting  product  Indicates  that  Holly- 
wood Is  prepared  for  and  resigned  to 
competition  and  It  Is  realized  that  a  wall 
of  antagonism  will  not  protect  local  Inter- 
ests. 

On  the  eve  of  his  departure  for  London, 
the  producer  discussed  for  the  first  time  his 
work  here  and  the  thing  that  impelled  the 
invasion,  although  he  was  careful  to  avoid 
use  of  such  a  word.  British-Gaumont,  in 
this  initial  foray,  was  not  so  highly  con- 
cerned in  getting  persons  who  would  im- 
prove the  standard  of  their  films  as  they 
were  in  securing  names  familiar  to  Ameri- 
can audiences  so  that  the  naturally  leery 
customers  would  not  shy  at  an  alien  prod- 
uct. Familiar  names,  they  reasoned,  would 
make  English  films  more  welcome  here. 
Carried  in  a  measure  by  Hollywood  names, 
British  players  will  be  introduced  to  Ameri- 
can audiences  until  such  a  time  as  they 
create  their  own  drawing  power. 

Eye  to  Lads  on  Eighth  Avenue 

That  London  has  a  definite  problem  in 
making  pictures  for  American  theatres  is 
recognized,  Mr.  Balcon  said.  Already  they 
are  watching  the  shooting  of  the  films  with 
an  eye  on  the  lads  on  Eighth  Avenue.  An 
American  is  always  on  the  sets  watching 
accents  and  phraseology.  Two  negatives  of 
each  picture  are  made,  one  cut  for  the  Em- 
pire and  one  for  the  States.  When  it  is 
necessary,  two  takes  are  made  to  cover  any 
language  discrepancy. 

One  gathered  in  talking  to  Mr.  Balcon 
that  the  idea  of  making  American  stories 
acceptable  to  our  audiences  was  one  of  his 
most  cherished  hopes.  He  admitted  that  it 
would  be  difficult  if  not  impossible  to  make 
a  picture  based  on  the  broader  aspects  of 
our  civilization  but  there  are  American 
yarns  that  they  can  make  as  successfully 
as  American  producers. 

England  has  been  challenged  by  the  suc- 
cess of  such  films  as  "Cavalcade,"  "Jour- 
ney's End,"  "Clive  of  India,"  "Bengal 
Lancers,"  "One  More  River."  They  have 
not  resented  the  American  ability  to  please 
the  English  with  their  own  stories.  But 
they  would  like  to  achieve  a  comparable 
victory.  They  would  like,  Mr.  Balcon  said, 
to  produce  a  play  like  "Dodsworth"  with 


Walter  Huston  who,  incidentally,  is  sched- 
uled to  go  to  G-B  for  one  picture.  A  pic- 
ture of  that  type,  the  Briton  said,  could 
be  made  as  well  by  them  as  by  Hollywood. 

"There  Is  no  physical  reason  why  our 
films  shouldn't  be  as  good  as  yours," 
Mr.  Balcon  declared.  "Our  equipment 
duplicates  yours.  We  are  Investing  sub- 
stantial sums  In  our  features.  At  the 
moment  we  have  a  camera  crew  In  India 
gathering  atmosphere  and  background 
shots  for  Kipling's  'Soldiers  Three'  and 
another  technical  crew  is  at  work  In  Africa 
preparing  for  our  'Cecil  Rhodes'.  We  have 
our  pick  of  the  English,  American  and 
German  camera  men  and  a  great  number 
of  our  technicians  are  from  Hollywood." 

Hollywood  is  to  be  met  face  to  face  with 
British  exploitation.  Abroad  the  publicity 
will  continue  about  as  it  is  now,  for  that 
is  the  way  things  are  handled  there.  But 
the  same  methods  employed  by  Hollywood 
will  be  used  in  popularizing  the  product  in 
this  country.  At  the  present  time  publicity 
for  B-G  pictures  originates  in  New  York, 
but  in  all  probability  substantial  studio  de- 
partments will  be  created  to  give  the  pictures 
a  build-up  from  the  time  the  stories  are 
bought. 

According  to  the  producer,  Gaumont- 
British  will  make  six  to  eight  films  a  year 
for  exclusive  Empire  consumption  and  prob- 
ably 16  for  the  combined  market.  It  is 
for  these  16  that  he  has  sought  American 
talent.  They  have  learned  that  when  they 
make  films  acceptable  to  America,  they  are 
received  with  open  arms.  He  cited  with 
understandable  pride  the  fact  that  in  Los 
Angeles  "Iron  Duke,"  "Scarlet  Pimpernel" 
and  "Unfinished  Symphony"  are  doing  a 
most  respectable  business.  If  this  one  in- 
road is  possible,  it  can  be  done  again — and, 
he  hopes,  often. 

Working  on  Color 

England  is  interested  in  color  but  is  doing 
nothing  about  it  because  the  American  proc- 
ess is  not  available  there.  But  their  own 
technicians  are  working  on  various  methods 
and  it  is  possible  that  when  they  hit  on  a 
successful  formula,  it  will  be  used  exten- 
sively. 

In  talking  about  the  British  market  he 
said  that  that  problem  child,  the  double 
feature,  is  as  prevalent  on  the  Island  as  it 
is  here.  While  their  films  play  in  London 
for  extended  runs  and  are  kept  there  as  long 
as  they  arouse  interest,  a  rigid  change  policy 
prevails  throughout  the  provinces  and  sched- 
ules must  be  met  at  the  studios. 

"I  hope  to  make  these  visits  to  Hollywood 
semi-annual  affairs.  I  am  delighted  by 
everything  I  have  found  here  except  your 
miserable  climate,"  which  was  a  sad  way 
to  close  an  interview  with  a  native.  "I  hope 
to  take  back  some  distinguished  writers  on 
my  next  trip  and  I  believe  that  the  success 
of  this  venture  will  justify  our  continuing  it 
further  and  expanding  our  activities." 


18 


MOTION    PICTURE  HERALD 


April    13,     19  3  5- 


'Black  Fury '  Opens 
In  New  York  After 
Fight  IVith  Censor 

Heralded  by  vigorous  controversy,  "Black 
Fury,"  starring  Paul  Muni,  who  not  so  long 
ago  appeared  in  another  much  discussed 
Warner  picture,  "I  Am  a  Fugitive  From  a 
Chain  Gang,"  began  its  premiere  engagement 
at  the  New  York  Strand  theatre  Wednes- 
day morning.  The  debates  over  this  produc- 
tion started  with  the  decisions  of  various 
state  censor  boards  to  bar  the  exhibition  of 
the  picture.  Since  then,  the  boards  invested 
with  the  authority  to  decide  upon  what  the 
film-goers  of  Pennsylvania  and  New  York 
state  should  be  permitted  to  see,  have  passed 
the  picture  without  a  single  elimination  or- 
dered. 

However,  the  fact  that  these  officials  had 
entertained  the  idea  of  prohibiting  "Black 
Fury"  from  being  released  in  their  states 
brought  forth  a  storm  of  protests  from  rep- 
resentative groups  who  saw  the  picture. 

While  the  film  has  passed  in  Pennsylvania 
and  New  York,  the  Chicago  board  of  censors, 
to  date,  still  stands  on  its  decision  against 
showing  there. 

Among  those  who  have  definitely  expressed 
themselves  as  advocating  the  showing  of  this 
picture,  not  only  as  unusual  and  praiseworthy 
screen  entertainment,  but  as  a  stirring  and 
worthwhile  social  document  of  an  important 
phase  of  our  times,  are  Senator  Wagner  (D) 
of  New  York,  Rep.  Dunn  (D)  of  Pennsylvania, 
in  whose  state  the  background  of  the  picture 
is  laid,  John  L.  Lewis,  president  of  the  United 
Mine  Workers  and  a  member  of  the  NRA  La- 
bor Advisory  Board,  Richard  Watts,  Jr.,  mo- 
tion picture  critic  of  the  Nem  York  Herald- 
Trihune,  and  Andre  Sennwald,  holding  a  similar 
post  with  the  New  York  Times. 

Excerpts  from  their  opinions  of  "Black  Fury" 
follow : 

Senator  Wagner: 

"Those  interested  in  our  social  future  should 
applaud  this  vivid  portrayal  of  a  coal  mine 
strike.  It  dramatically  presents  a  phase  of  in- 
dustrial strife  which  we  are  seeking  to  prevent. 
I  have  never  believed  in  censorship,  least  of  all 
for  a  splendid  picture  of  this  type." 

Representative  Dunn  (Who  is  Blind): 

"The  players'  voices  and  the  sound  effects 
brought  the  whole  stark  picture  vividly  before 
me.  To  censor  it  would  be  absurd." 

John  L  Lewis: 

"While  some  of  the  scenes  are  savage,  they 
are  in  no  sense  overdrawn.  The  public  will 
find  the  picture  a  great  contribution  to  com- 
prehension of  the  deep-seated  problem  involved 
in  industrial  relationships." 

Richard  Watts,  Jr.: 

"It  seems  that  only  the  Warner  Bros.,  among 
all  the  alert  and  keen-eyed  cinema  producers, 
ever  manage  to  climb  down  from  their  ivory 
tower  and  recognize  that  this  is  a  shifting  uni- 
verse. While  the  other  Hollywood  magnates 
are  earnestly  concerned  with  the  whimsical 
romantics  of  a  static  world,  the  contemplative 
Warners  have  come  to  realize  that  there  is  also 
such  a  thing  as  social  and  industrial  change.  .  .  . 

"Now,  with  characteristic  vigor,  these  earnest- 
minded  producers  go  into  the  matter  of  indus- 
trial warfare  in  the  coal  field,  which  is  no  sub- 
ject for  the  delicate-minded.  For  a  long  time 
it  appeared  likely  that  'Black  Fury,'  which  is 
scheduled  for  presentation  at  the  Strand  the- 


atre this  week,  would  be  banned  by  the  squeam- 
ish New  York  censors.  If  this  really  had  hap- 
pened, then  you  never  could  have  convinced  me 
that  there  wasn't  a  Communist  on  the  board, 
bent  on  keeping  an  unfriendly  document  from 
public  circulation.  'Black  Fury'  ...  is  a  pow- 
erful and  effective  picture." 

Andre  Sennwald: 

".  .  .  Since  the  work  is  as  ambitious  a  social 
preachment  as  the  American  film  studios  have 
evolved  in  many  months,  and  is  certain  to  be 
among  the  most  violently  debated  photoplays 
of  the  year,  I  think  there  ought  to  be  a  discus- 
sion of  its  very  interesting  technique  as  a  con- 
servative propaganda  picture." 

Loew 's  Planning 
A  Radio  Network 

Loew's,  Inc.,  this  week  took  the  first  step 
in  what  appears  to  be  the  development  of  a 
national  radio  network,  or,  at  the  least,  a 
system  of  stations  which  will  blanket  the 
New  England  and  many  of  the  eastern  states, 
when  three  New  England  stations  aligned 
themselves  with  station  WHN,  the  Loew 
New  York  outlet,  in  a  contract  for  WHN 
programs.  Further,  it  was  reported,  repre- 
sentatives of  three  southern  outlets  were  in 
New  York  conferring  with  Louis  K.  Sidney, 
former  Loew  theatre  operator  now  in  charge 
of  WHN,  on  proposals  involving  a  deal 
similar  to  that  of  the  three  New  England 
stations. 

WMEX,  Boston  ;  WPRO,  Providence,  and 
WIBX,  Waterbury,  Conn.,  are  the  three 
New  England  outlets,  constituting  what  is 
left  of  the  former  Amalgamated  Broadcast- 
ing Corporation,  which  was  founded  by  Ed 
Wynn  and  which  failed. 

Substantiating  the  possibility  of  a  Loew 
national  network  is  the  fact  that  WHN  and 
the  William  Morris  Agency  are  about  to 
incorporate  a  WHN  Artists'  Bureau  as  part- 
ners. Morris  Agency  is  the  largest  talent 
representative  in  the  country.  This  enter- 
prise will  develop  acts,  boost  studio  talent 
over  the  air  and  place  radio  acts  in  Loew 
theatres.  The  arrangement,  however,  will 
not  confine  talent  bookings  exclusively  to 
the  Morris  office. 

Under  the  terms  of  its  agreement  with  the 
three  New  England  stations,  WHN  time  is 
available  to  any  or  all  any  time.  WHN  is  on 
the  air  from  7:30  A.  M.  to  12:30  A.  M. 
daily. 

Amalgamated  Agency  to  be 
Revived;  Headed  by  Ed  Fay 

The  revival  of  the  Amalgamated  Vaude- 
ville Agency,  an  M.  E.  Comerford  enter- 
prise, was  begun  this  week  with  the  ap- 
pointment of  Ed  Fay,  prominent  New 
England  exhibitor,  as  the  new  head  of  the 
agency.  Mr.  Fay,  whose  headquarters  are 
in  Providence,  will  transfer  his  activities 
to  New  York,  with  Harry  Puck,  formerly 
with  the  Shuberts,  as  his  production  as- 
sistant. 

Amalgamated  will  begin  with  the  booking 
of  the  Comerford  theatres  at  Scranton, 
Wilkes-Barre,  Binghamton  and  Rome  and 
the  Fay  houses  in  Providence.  Others  are 
to  be  added  later.  The  services  of  the  Dow 
Agency,  which  has  been  booking  some  of 
the  Comerford  houses  during  the  inactivity 
of  Amalgamated,  will  be  discontinued. 


United  Artists 
In  Theatre  Move 
In  Great  Britain 

by  BRUCE  ALLAN 

London  Correspondent 

United  Artists  Theatre  Circuit,  Inc.,  by 
authoritative  report,  will  enter  British  ex- 
hibition on  a  wholesale  scale  by  association 
with  an  amalgamation  of  Odeon  Theatres, 
Ltd.,  and  County  Cinemas,  Ltd.,  which  today 
number  approximately  70  houses  and  which 
probably  will  have  100  by  the  end  of  1935. 

Viewed  in  some  quarters  in  London  as  a 
definite  move  to  develop  a  third  nationwide 
circuit  in  competition  with  Gaumont  British 
and  Associated  British  Cinemas,  Ltd.,  the 
impression  is  that  the  step  is  more  directly 
aimed  at  the  former,  which  is  John  Max- 
well's company. 

Mr.  Maxwell  this  week  took  over  the 
three  London  de  luxe  houses  operated  by  H. 
A.  Yapp  in  Wandsworth,  Putney  and  Ken- 
sington, the  move  regarded  as  a  prelude  to 
other  theatre  deals  by  Maxwell  and  other 
major  operators  in  British  exhibition.  There 
is  report  that  MGM  may  tie  in,  considered 
possible  through  the  close  relationship  be- 
tween Joseph  M.  Schenck  of  United  Artists 
and  Nicholas  M.  Schenck  of  Loew's  and 
MGM. 

Joseph  M.  Schenck  is  scheduled  to  leave 
New  York  for  London  on  April  20  in  con- 
nection with  Odeon-County  Cinemas  amal- 
gamation. 

Oscar  Deutsch  controls  Odeon  and 
Charles  J.  Donada,  County  Cinemas.  Regi- 
nald Bromhead  is  to  join  the  board  of  the 
combined  companies  and  a  large  public  stock 
issue  is  expected.  Also  in  the  deal  is  J. 
Amery  Parkes,  lawyer  representing  Do- 
nada's  financial  backers  and  previously  as- 
sociated with  the  Bromheads.  It  is  generally 
believed  along  Wardour  Street  that  the  Hali- 
fax Building  Society's  millions  are  behind 
Deutsch. 

"Approximately  50  new  theatres  have  been 
built  in  Great  Britain  during  the  past  year," 
Sam  Eckman,  in  charge  of  MGM's  activities 
in  England,  said  this  week  upon  his  arrival 
in  New  York  from  London.  "There  are  now 
about  4,500  theatres  in  Great  Britain." 

Arthur  W.  Kelly,  United  Artists  foreign 
head,  declined  to  comment  in  New  York  on 
Tuesday  about  the  possible  participation  of 
the  company  in  British  exhibition. 

New  York  Court  Restrains 
Two  Unions  from  Picketing 

New  York  Supreme  Court  Justice  Edward 
S.  Dore  last  week  signed  an  order  temporar- 
ily restraining  two  unions  from  further  pick- 
eting the  Eltinge  theatre  on  42d  Street.  The 
house  employs  Local  306  men,  and  the  re- 
straining order  affects  the  Empire  State  Mo- 
tion Picture  Operators  Union  and  the  Em- 
pire State  Theatrical  Stage  Employees 
Union.  Seventy-three  men  were  arrested 
last  week  for  mass  picketing  before  the  Ox- 
ford Burlesque  theatre  in  Brooklyn. 

John  Danz  last  week  signed  agreements 
whereby  his  eight  Seattle  theatres  of  the 
Sterling  circuit  will  employ  only  union  mem- 
bers, after  13  years  of  non-union  operation. 


-J, 


Leading  the  Easter  Parade 
to  the  Doors  of  America's 
Great  Theatres  April 
20th  • .  •  the  Most  Exciting 


i 


Combination  Ever  Pre- 
sented In  Any  Warner 
Bros.  Musical!  •    •    •  • 


SHE  DANCES  in  7  different 

languages  lo  the  lune  of  "Latin  From 
Manhattan/'  "About  A  Quarter  to  Nine" 
and  "An  Old- Fashioned  Cocktail." 


hattan/'  "About  A  Quarter  to  Nine/' and 
Warren  and  Dubin's  other  radio-famous 
hits— "Go  Into  Your  Dance,"  "Mammy, 
I'll  Sing  About  You,"  and  2  others.* 


*AIso  "The  Little  Things  You  Used  To  Do,"  sung  by  Helen  Morgan 


IN  A  REAL  STORY 

by  Bradford  Ropes, 
famous  author  of 
"42nd  Slreet" 

SUPPORTED  BT  8 

STARS,  including 
Glenda  Farrell,  Patsy 
Kelly,  Helen  Morgan, 
under  Archie  Mayo's 
direction. 


SURROUNDED  BY 
GIRLS  in  spectacular 
dance  numbers  arrang- 
ed by  Bobby  Connolly. 

A  PRODUCTION 
THAT'S  ''TOPS 
AMONG  THE  MANY 
MUSICAL  FILMS  . 

everything  about  it  is  ab- 
solutely grand"-Los  An- 
geles Herald-Express. 


A  First  National  Picture 


i 


April     13,  1935 


MOTION    PICTURE  HERALD 


25 


OFFICIAL  PLANS  OF  PARENTS  AND 
TEACHERS  VS.  OFFICIAL  DENIALS 


Defines  Policies  and  Procedure 
by  Which  P  -  T  Congresses 
Are  Urged  to  Enter  Field, 
Financed  by  Millions  in  Taxes 

A  study  in  contrasts  between  the  external 
expressions  and  the  internal  designs  of  cer- 
tain leaders  of  the  National  Congress  of 
Parents  and  Teachers  is  afforded  this  week, 
in  documentary  form  from  Washington : 

I  A  publicity  release  from  the  Wash- 
ington office  of  the  organization, 
headed  "Special"  and  dated  April  4, 
says:  "Charges  published  In  the 
Motion  Picture  Herald  of  March 
30  that  "The  National  Congress  of 
Parents  and  Teachers  is  hereby  de- 
clared to  be  contemplating  forcible 
entry  into  the  motion  picture  busi- 
ness to  engage  In  exhibition  in  com- 
petition with  the  existing  institu- 
tion of  the  screen'  were  emphat- 
ically denied  today  by  Mrs.  B.  F. 
Langworthy,  president  of  the  Na- 
tional Congress  of  Parents  and 
Teachers.  ..." 

II  While  Mrs.  Langworthy  was  em- 
phatically denying,  Motion  Picture 
Herald  acquired  a  copy  of  the  de- 
tailed plans  for  Its  motion  picture 
program,  over  the  name  of  Mrs. 
Catheryne  Cooke  (Robblns)  Gil- 
man,  motion  picture  chairman  of 
the  organization,  now  being  Inter- 
nally urged  upon  local  organiza- 
tions, which  upon  examination  Is  at 
considerable  variance  with  Mrs. 
Langworthy's  utterances. 

Meanwhile  Mrs.  Oilman  has  given  out  in- 
formation of  amendments  contemplated  for 
the  Pettengill  bill,  backed  by  the  Parents 
and  Teachers  as  an  instrument  toward  the 
initiation  of  the  program  of  control  of  the 
screen.  The  amendments  would  substantially 
deliver  the  industry  in  all  details  of  produc- 
tion, distribution  and  exhibition  to  the  con- 
trol of  a  government  bureau. 

Since  Motion  Picture  Herald's  original 
presentation  of  the  expressions  of  Mrs.  A. 
R.  Klock,  motion  picture  chairman  of  the 
Parents  and  Teachers  for  the  District  of 
Columbia,  elTorts  have  been  made  by  her 
contemporaries  to  seek  a  repudiation  of  her 
telegram  published  March  30.  No  such  re- 
pudiation has  been  forthcoming. 

Calls  Statement  "Ridiculous" 

Mrs.  Langworthy's  denial  of  Motion  Pic- 
ture Herald's  account  of  the  contemplated  in- 
vasion of  the  industr_v  by  the  National  Con- 
gress follows  in  full : 

"The  statement  that  the  parent-teacher  or- 
ganization contemplates  going  into  the  motion 
picture  business  is  utterly  ridiculous.  Any 
such  activity  would  be  in  direct  violation  of  our 
bylaws  and  our  policy  of  non-commercialism, 
to  which  we  have  adhered  strictly  for  nearly 
40  years.    No  educational  organization  would 


MRS.  GILMAN  GETS 
EQUIPMENT  DATA 

"The  motion  picture  committee  of 
the  National  Congress  would  be  aided 
in  its  efforts  to  develop  sources  of 
supply  of  suitable  instructional  and 
entertainment  motion  pictures  at  rea- 
sonable cost,  to  be  presented  in  peri- 
odical showings  in  classrooms  and 
auditoriums,  if  it  kneu'  the  number  of 
motion  picture  projectors  now  in  the 
hands  of  local  Congress  units,"  de- 
clared a  questionnaire  appearing  in 
The  National  Parent-Teacher,  official 
publication  of  the  organization,  and 
in  which  the  following  questions  were 
asked: 

Have    you    a    motion    picture  projector? 


If  Yes,  give  name  of  maker 


What  is  the  width  of  film  used? 
(35MM)   (I6MM)  

If  other  size,  not  35MM  or  I6MM,  mark 
width  here   

Is  your  projector  for  Silent  (Titled)  Pic- 
tures?  Sound-on-Disc? .  . 

  Sound-on-Film?  

Is  projector  used  for  instructional  pictures 
in  classroom?   

Is  projector  used  for  entertainment  pic- 
tures?   

How  frequently  are  entertainment  shows 
given    (if  any)?  

What  is  the  seating  capacity  of  auditorium 
in  which  motion  picture  entertainment 
is  given?   

If  you  rent  pictures,  what  do  you  pay 
per  reel?   

//  you  have  no  motion  picture  projector, 
would  you  be  interested  in  having  one 
and  giving  motion  picture  programs?* 

If  so,  are  you  interested  in  Silent  (Titled) 
Pictures?   Sound-on-Disc?.... 

  or  Sound-on-Film?  

What   is   the    depth    of   your  auditorium, 

from    last    row    of   seats    to    front  line 

of  seats?   

"Forward  this  to  Catheryne  Cooke  (Rob- 
bins)  Gilman,  Chairman,  Motion  Picture 
Committee,  National  Congress  of  Parents 
and  Teachers,  1929  Second  Street,  Min- 
neapolis, Minn." 

*Note:    Italics  are  the  organization's. 


desire  to  undertake  a  business  program  such 
as  this  article  outlines,  even  if  it  could  afford 
to  finance  it,  which  most  of  them  could  not. 

"Our  sole  interest  in  abolishing  block-book- 
ing and  blind-selling  of  .motion  pictures  is  to 
enable  local  independent  exhibitors  to  choose 
the  pictures  which  their  patrons  wish  to  see, 
instead  of  being  coerced  to  buy  an  entire  block 
of  films,  many  of  which  are  objectionable,  in 
order  to  secure  one  or  two  desirable  pictures. 
This  grouping  of  bad  films  with  good  films  en- 
ables a  distributor  to  force  his  entire  product 
on  the  exhibitor  and  the  public,  regardless  of 


Mrs.  Gilman,  Chairman,  Asks 
Groups  if  They'd  Be  Inter- 
ested in  Having  Projector; 
Invasion  Plan  Is  Now  Denied 

its  merit.  The  combined  effect  of  the  practices 
of  block-booking  and  blind-selling  is  to  prevent 
the  exhibitor  from  exercising  an  informed 
selection  of  films,  and  hence  to  prevent  the 
people  of  a  community  from  influencing  his 
choice  in  the  best  interests  of  the  community. 

"The  Pettengill  bill  to  abolish  block-booking 
and  blind-selling  will  enable  local  exhibitors 
to  choose  all  of  their  pictures  on  a  selective 
basis,  thereby  permitting  them  to  meet  the  de- 
sires of  their  patrons.  Obviously  this  would 
promote  the  best  interests  of  the  theatre  ex- 
hibitors themselves,  as  well  as  serving  the  pub- 
lic." 

Official  Organization  Plan 

Definite  indication  that  the  National  Con- 
gress actually  does,  however,  haye  in  mind  an 
"invasion"  of  the  business,  in  addition  to  regu- 
lation through  the  Pettengill  bill  and  other 
Congressional  proposals,  is  seen  in  the  new 
plan  now  being  circulated  and  urged  for  adop- 
tion by  the  city  and  state  groups  within  the 
organization.  Appearing  over  the  signature  of 
Mrs.  Gilman,  the  official  plan  follows,  ver- 
batim : 

PURPOSES 

1.  Production 

To  secure  for  every  child  under  the  jurisdic- 
tion of  the  United  States  an  adequate  supply 
of  visual  aids  to  education ;  and  the  production 
of  suitable  motion  pictures  for  instruction,  cul- 
ture and  entertainment. 

2.  Distribution 

To  urge  the  establishment  of  local,  state  and 
national  libraries  in  which  to  assemble  and  from 
which  to  distribute  visual  aids  and  motion  picture 
films  to  schools  and  community  auditoriums. 

3.  Exhibition 

To  arrange  for  the  use  of  visual  aids,  and 
for  the  exhibition  of  motion  pictures  in  schools, 
churches,  and  community  auditoriums. 

4.  Supervision 

To  extend  the  authority  of  local  boards  of 
education  or  recreation  to  include  the  responsi- 
bility of  providing  and  administering  leisure 
time  opportunities  for  children  and  youth. 

5.  Legislation 

To  initiate  and  support  local,  state  and  national 
motion  picture  legislation  in  accordance  with 
recommendations  of  the  National  Congress  of  Par- 
ents and  Teachers. 

POLICIES 

To  recognize  and  emphasize  the  objectives 
and  policies  in  Articles  II  and  III  of  the  by- 
laws of  the  National  Congress  of  Parents  and 
Teachers,  as  they  refer  to  the  subject  of  motion 
pictures : 

Article  II. 

Section  1.  To  promote  child  welfare  in 
home,  school,  church,  and  community ;  to  raise 
the  standards  of  home  life ;  and  to  secure  ade- 
quate laws  for  the  care  and  protection  of  chil- 
dren. 

Section  2.  To  bring  into  closer  relationship 
the  home  and  the  school — to  develop  between 
educators  and  the  general  public  such  united 
efforts  as  will  secure  for  every  child  the  highest 

(Continued  on  follo"jcuig  page) 


26 


MOTION    PICTURE  HERALD 


April  'l3,  1935 


MRS.  CILMAN  ASKS  U.  S.  FILM  BOARD 


(.Continued  from  prcccdiufi  frafic) 

advantages  in  physical,  mental  and  spiritual 
education. 

Article  III. 

Section  1.  This  organization  shall  be  non- 
commercial. No  commercial  enterprises  .  .  . 
shall  be  indorsed  by  it.  The  name  of  the  organ- 
ization, its  branches,  or  its  officers  in  their  of- 
ficial capacities  shall  not  be  used  in  any  con- 
nection with  a  commercial  concern  ...  or  for 
any  other  than  the  regular  work  of  the  Con- 
gress. .  .  . 

PROCEDURES 

Organization  Includes: 

(A)  The  selection  of  capable  state,  district, 
and  local  chairmen  who  will  master  the  subject 
material  and  organize  and  lead  committees  to 
carry  out  the  motion  picture  plan  according  to 
the  purposes,  policies  and  procedures  of  the 
National  Congress  of  Parents  and  Teachers. 

These  chairmen  should  be  selected  because  of 
their  ability  to  meet  officials  and  groups  and  be- 
cause they  can  give  the  time  to  the  correspond- 
ence and  the  exacting  duties  of  this  important 
committee.  Needless  to  say,  they  should  not  be 
susceptible  to  the  "industry  appeal." 

(B)  The  appointment  of  active  study  com- 
mittees of  seven  to  15  members  in  local  associa- 
tions with  subcommittees  of  three  to  five 
members  as  functional  groups. 

Functions  Include: 

(A)  The  assembling  of  authoritative  refer- 
ence material  and  bibliographies  on  the  social, 
economic,  political,  legislative,  and  international 
aspects  of  the  subject. 

(B)  The  compilation  of  catalogs  of  non- 
theatrical  films  and  film  equipment,  and  the 
arrangement  under  classifications  such  as : 

(1)  Government  films,  local,  state  and  na- 
tional sources. 

(2)  Instructional  or  documentary  films,  for 
pedagogical  purposes. 

(3)  Cultural  films,  such  as  newsreels,  scenics 
and  general  informational  and  amusement  films. 

(4)  Recreational  films  sold  on  merit  inde- 
pendently, and  trade-shown  later. 

(C)  Contacting  the  United  States  Commis- 
sioner of  Education,  the  State  Superintendent 
of  Public  Instruction,  the  local  boards  of  educa- 
tion, the  superintendents  and  principals  of 
schools,  the  state  and  local  visual  education 
divisions  of  the  National  Education  Associa- 
tion, the  visual  education  directors  of  state  uni- 
versities, state  museums,  research  laboratories 
and  colleges. 

The  Purposes  of  Such  Contracts  Are: 

(1)  To  stimulate  the  establishment  of  a  na- 
tional film  institute  in  the  Office  of  Education, 
the  United  States  Department  of  the  Interior, 
which  will  assemble  and  disseminate  informa- 
tion concerning  educational,  cultural  and  recre- 
ational films,  and  other  visual  aids  to  education 
suitable  for  children  and  youth.  It  will  also 
encourage  the  production  of  instructional,  cul- 
tural and  entertainment  films  for  education  and 
recreation. 

(2)  To  encourage  the  production,  distribu- 
tion and  exhibition  of  classified  films  for  educa- 
tion and  for  recreation  of  children  and  youth. 

(3)  To  assist  in  establishing  national,  state 
and  local  film  libraries  and  other  visual  aids  to 
education. 

(4)  To  suggest  teacher-training  in  the  selec- 
tion and  the  use  of  materials  and  equipment  for 
visual  education  and  recreation. 

(5)  To  seek  cooperation  in  the  development 
of  the  National  Motion  Picture  Plan  of  the 
National  Congress  of  Parents  and  Teachers. 

(D)  ,The  organization  of  regular  film  cir- 
cuits in  schools,  churches  and  community  audi- 


toriums for  classified  motion  picture  entertain- 
ment programs  graded  to  the  ages  and  environ- 
ment of  children  and  youth. 

( 1 )  To  organize  amateur  motion  picture  clubs 
under  competent  leadership  to  produce,  exchange 
and  exhibit  motion  pictures  of  local  interest  and 
to  encourage  the  amateur  clubs  to  conduct  regu- 
lar juvenile  theatre  programs  for  grade  school 
children. 

(2)  To  have  introduced  in  high  schools  a 
regular  credit  course  in  motion  picture  criti- 
cism, for  the  purpose  of  developing  discrimina- 
tion and  appreciation  of  social,  technical  and 
literary  values. 

(E)  The  initiation  and  support  of  local,  state 
and  national  legislation. 

(  I  )  Local  legislation  to  extend  the  jurisdiction 
of  local  boards  of  education  or  recreation  to  be 
responsible  for  the  administration  of  community 
recreation  including  motion  pictures  for  children 
and  youth,  and  for  the  selection  of  qualified 
leaders  and  suitable  films  and  equipment. 

(2)  State  legislation  to  provide  an  increase 
in  the  taxy  levy  or  the  re-allocation  of  funds 
for  necessary  appropriations,  and  enabling  acts 
to  effect  the  changes. 

(3)  National  legislation  to  provide  for  a  mo- 
tion picture  commission  charged  with  the  re- 
sponsibility: of  supervising  the  selection  and 
treatment  of  subject  material  used  in  the  pro- 
duction of  motion  pictures;  and  of  regulating  the 
trade  practices  used  in  the  distribution  of  mo- 
tion pictures,  viz.,  block  and  blind  booking,  un- 
reasonable protection,  zoning,  exclusive  runs,  con- 
tracts, arbitration,  price-fixing,  percentage  buying, 
discrimination  against  small  and  independent  ex- 
hibitors and  other  restrictions  which  interfere  with 
the  satisfactory  conduct  of  the  business  from  the 
point  of  view  of  the  public. 

(F)  Conducting  a  campaign  of  education 
based  upon  the  findings  of  the  Motion  Picture 
Research  Council,  known  as  the  Payne  Fund 
Studies,  Motion  Pictures  and  Youth,  and  co- 
operating with  the  Motion  Picture  Research 
Council  in  so  far  as  its  program  is  in  accord 
with  the  National  Congress  of  Parents  and 
Teachers. 

(G)  Orgajiizing  each  state,  or  in  several 
centers  of  states,  motion  picture  institutes  or 
conferences  of  from  one  to  three  days  for  the 
purpose  of  having  presented  some  of  the  most 
important  phases  of  the  subject,  and  to  outline 
plans  for  action  suitable  to  the  situations  in 
individual  communities.  The  National  Chair- 
man (of  the  National  Congress  of  Parents  and 
Teachers)  will  cooperate  with  state  Congresses 
on  such  a  plan. 

CONCLUSIONS 

(1)  Inasmuch  as  motion  pictures,  as  such, 
are  educative,  regardless  of  the  character  of 
subject  material,  motion  pictures  for  the  recrea- 
tion and  instruction  of  youth  should  be  pro- 
duced, distributed  and  exhibited  by  educators, 
dramatists  and  playwrights  of  professional 
standing. 

(2)  Inasmuch  as  local  boards  of  education 
and  recreation  are  elected  by  the  people  whose 
children  are  to  be  served,  such  boards  should 
have  their  powers  extended  to  provide  and  to 
administer  all  recreation  for  minor  children  in 
a  community. 

(3)  Inasmuch  as  the  National  Congress  of 
Parents  and  Teachers  has  declared  education 
and  child  welfare  to  be  its  objective,  and  has 
adopted  a  policy  of  non-cooperation  with  com- 
mercial agencies  and  institutions,  the  National 
Congress  of  Parents  and  Teachers  will  co- 
operate with  local,  state  and  national  institu- 
tions of  education,  and  departments  of  govern- 
ment to  secure  improvement  in  the  selection  and 
treatment  of  subject  material  used  in  motion 


picture  production,  and  will  not  cooperate  with 
individuals,  organizations  and  companies  con- 
ducting recreation  for  personal  profits  or  divi- 
dends for  stockholders. 

(4)  Inasmuch  as  recreation,  including  motion 
picture  entertainment,  is  one  of  the  most  pow- 
erful, pleasurable  and  universal  incentives  in 
our  present  environment  for  cultural  influences, 
for  character  development,  and  for  mental 
achievement,  the  National  Congress  of  Parents 
and  Teachers  will  adopt  an  active  program  to 
coordinate  the  work  and  focus  the  influence 
of  more  than  20,000  local  units  upon  the  Na- 
tional Congress  Motion  Picture  Plan  as  formu- 
lated by  the  mbtion  picture  chairman  and 
adopted  by  the  board  of  managers  in  1932  and 
1934,  for  securing  these  advantages  to  our  civi- 
lization. 

fi^ luld  jlmend  Bill 
To  Get  U.  S.  Board 

Mrs.  Catheryne  Cook  (Robbins)  Oilman, 
chairman  of  the  motion  picture  committees 
of  both  the  National  Congress  of  Parents 
and  Teachers  and  the  Federal  Motion  Pic- 
ture Council  in  America,  in  a  bulletin  from 
headquarters  at  Washington,  said  that  the 
following  amendments  to  the  Pettengill  Con- 
gressional proposal  to  eliminate  block  book- 
ing had  been  suggested,  and  that  Congress- 
man Pettengill  "has  agreed  to  submit  them 
with  the  bill  at  the  hearing" : 

1.  That  a  minimum  penalty  for  violation 
be  included  in  the  bill. 

2.  That  a  commission,  appointed  by  the 
President  of  the  United  States,  be  created 
and  established,  to  be  known  as  a  Federal 
Motion  Picture  Commission,  and  that  it  be 
authorized  to  make  rules  and  regulations 
necessary  to  carry  out  the  act's  provisions. 

3.  That  the  Federal  Motion  Picture  Com- 
mission be  charged  with  the  duty  of  institut- 
ing proceedings  in  equity  to  prevent  and  re- 
strain violations  of  the  act  in  the  several 
district  courts  of  the  United  States  where 
the  violations  occur. 

The  Oilman  groups  are  also  campaigning 
for  Congressman  Culkin's  two  proposals : 
(1)  providing  for  a  federal  film  commission 
to  supervise  production,  distribution  and  ex- 
hibition, including  regulation  of  trade  prac- 
tices, and  abolishing  block  booking  and  blind- 
selling:  and  (2)  providing  exclusively  for 
abolishment  of  compulsory  block  booking 
and  blind  selling,  with  the  Federal  Trade 
Commission  invested  with  jurisdiction  to  en- 
force the  act. 

The  Pettengill  bill,  as  introduced,  could 
not  be  enforced  unless  an  exhibitor  became 
the  plaintiff  in  a  case  against  the  distribu- 
tor. Mrs.  Oilman,  therefore,  would  have 
the  proposed  Federal  Commission  appear  as 
plaintiff. 

In  attacking  the  Pettengill  bill  this  week, 
the  Motion  Picture  Theatre  Owners  of 
America  warned  that,  "it  is  quite  likely  to 
double  film  rentals  at  the  smaller  theatres, 
insure  uniformly  mediocre  box  office  attrac- 
tions, provide  a  'Roman  Holiday'  for  the 
lawyers  in  endless  costly  litigation,  and 
rapidly  spread  unfair  and  disastrous  non- 
theatrical  competition  in  the  country." 


April     13,  1935 


MOTION    PICTURE  HERALD 


More  Reactions  to  Teachers  Plan 


R.  B.  WILBY.  President 

Wilby-Kiticey  Scriicc  Curporafioii 
Atlanta,  Georgia 

Those  of  us  who  have  seen  PTA  come 
into  this  territory,  and  the  manner  in  which 
they  have  operated,  cannot  believe  that  the 
ladies  have  set  an  objective  so  tremendously 
beyond  their  hope  of  attainment  from  this 
political  administration — and  if  that's  treason 
from  a  life-long  Democrat,  make  a  lot  of  it. 

V 

MORTON  G.  THALHIMER,  President 

M.  P.  T.  O.  of  Virginia,  Inc. 
Colonial  Theatre,  Richmond,  Va. 

I  think  the  article  is  very  clear  and  con- 
cise, and  sums  up  the  general  opinion  of  the 
exhibitors  throughout  the  country. 

It  is  unfortunate  that  so  few  outsiders 
realize  the  enormous  investment  of  the  mov- 
ing picture  industry,  both  from  the  point  of 
view  of  the  producers  and  the  exhibitors. 
It  is  unfortunate  that  this  lack  of  informa- 
tion invites  the  type  of  criticism  that  is 
becoming  so  prevalent. 

It  is  my  opinion  that  block  booking  not 
only  is  not  a  hardship,  but,  on  the  contrary, 
is  beneficial  to  the  majority  of  exhibitors. 
My  personal  experience  with  the  large  pro- 
ducers has  proven  that  they  are  fair  and 
considerate,  and  endeavor  to  the  very  best 
of  their  ability  to  produce  the  type  of  film 
the  public  really  wants.  In  order  to  do  this 
it  is  necessary,  of  course,  that  they  have  an 
outlet  for  their  product. 

After  the  exhibitor  has  gone  to  the  ex- 
pense of  establishing  a  theatre,  equipping 
it  and  doing  everything  within  his  power 
to  nnake  it  comfortable  for  the  patrons  of 
his  community  it  Is  obviously  unfair  and 
improper  to  contemplate  legislation  that 
would  be  ruinous  to  the  investment,  and 
in  the  long  run  throw  a  number  of  people 
out  of  work,  besides  confiscating  invested 
capital. 

We  have  written  our  senators  and  repre- 
sentatives in  Congress,  protesting  against 
this  particular  bill,  as  well  as  the  Culkin  and 
Celler  bills.  We  are  unalterably  opposed  to 
any  legislation  that  seeks  to  create  a  federal 
censor  board  or  to  subject  the  business  to 
unfair  invasion. 

V 

LOUIS  MARCUS 

Mayor,  Salt  Lake  City 

Executive,  Salt  Lake  City  Corporation 

If  the  matter  was  not  so  serious  I  certain- 
ly would  consider  it  very  amusing,  but  sure- 
ly, this  cannot  be  the  attitude  of  the  organi- 
zation that  she  (Mrs.  A.  Raymond  Klock) 
represents.  Otherwise  there  is  no  reason 
why  Parents  and  Teachers  Associations 
should  not  go  into  any  business.  Surely  the 
motion  picture  business  has  been  set  upon 
from  every  angle  and  has  had  to  fight  for  its 
existence  against  blocks  of  all  kinds.  It  has 
been  used  as  a  political  football  wherever 
possible  and  surely  churches  and  schools  are 
taking  a  very  unfair  advantage  if  the  Pet- 
tengill  Bill  would,  by  law,  set  up  a  competi- 
tor that  would  not  only  become  a  Franken- 
stein for  themselves  but  in  the  meantime 
practically  confiscate  a  business  that  is  so 


Exhibitors,  circuit  operators,  exhibitor 
organization  leaders  and  producers  this  week 
contributed  further  expressions  of  their  re- 
actions to  presentations  made  in  the  March 
iOth  issue  of  Motion  Picture  Herald  as 
to  the  announced  program  of  the  National 
Congress  of  Parents  and  Teachers  in  con- 
7tection  with  the  Pet  ten  gill  Bill,  now  before 
Congress.  Herewith  appears  comment  re- 
ceived by  the  Herald  in  the  past  week. 


vital  a  factor  in  our  everyday  life.  It  seems 
strange  that  churches  and  schools  will  admit 
that  they  cannot  meet  competition  coming 
from  a  free  choice  of  educational  advantages. 

V 

ERNST  LUBITSCH 

Managing  Director  of  Production 
Paramount  Productions,  Hollywood 

The  Pettengill  bill,  if  adopted  in  any  form, 
would  all  but  ruin  the  motion  picture  indus- 
try and  definitely  would  prevent  the  indus- 
try from  making  any  pictures  which  are  off 
the  beaten  path.  In  the  latter  class  I  place 
"Alice  in  Wonderland,"  "Sequoia,"  "Tabu," 
"Death  Takes  a  Holiday,"  "Cradle  Song," 
"Babes  in  Toyland,"  "Treasure  Island," 
"Skippy,"  and  similar  wholesome  entertain- 
ment. 

I  certainly  am  in  sympathy  with  Mrs. 
Klock's  demand  for  better  pictures.  Better 
pictures  now  are  being  made. 

This  industry  was  faced  with  a  tremen- 
dous problem  a  year  or  so  ago.  We  took 
it  upon  ourselves  to  correct  the  situation. 
That  this  has  been  done  goes  without  say- 
ing. Why  not  let  the  industry  handle  its 
other  worries  and  try  to  progress  without 
more  obstacles  being  placed  in  our  way? 

The  Pettengill  bill  calls  for  a  submission 
to  exhibitors  of  synopses  of  all  pictures.  If 
there  is  even  the  slightest  change  in  the  final 
picture,  the  producer  stands  liable  for  a 
$5,000  fine  and  a  year  in  prison.  That  clause 
means  that  we  never  would  be  able  to  im- 
prove a  picture,  cut  it,  eliminate  ofif-color 
scenes  or  trim  tiresome  sequences. 

V 

JOSEPH  H.  BRENNAN,  Executive  Secty. 

Allied  Theatres  of  Massachusetts,  Inc. 
Boston,  Mass. 

We  believe  that  this  article  is  most  dam- 
aging to  the  proponents  of  the  Pettengill 
Bill  inasmuch  as  it  (the  bill)  contains  noth- 
ing but  selfish  motives  and  fails  to  show  any 
moral  ground  for  the  enactment  of  any  such 
bill.  We  are  using  the  article  here  to  good 
advantage  calling  attention  of  all  those  in 
the  business  that  we  can  reach. 

V 

JESSE  L.  LASKY,  President 

Jesse  L.  Lasky  Productions 
Hollywood,  California 

I  am  in  favor  of  any  movement  which  will 
encourage  the  patronage  of  better  pictures, 
and  I  am  convinced  that  the  Pettengill  bill, 
if  enacted  into  law,  would  fail  to  achieve  this 
objective. 

And  certainly  it  would  be  manifestly  un- 
fair to  compel  the  producers  by  law  to  ex- 


hibit their  pictures  in  churches  and  schools 
in  direct  competition  to  existing  exhibitors. 

I  understand  that  sponsors  of  this  pro- 
posed legislation  expect,  thereby,  to  reap 
certain  profits  and  use  same  to  finance  cer- 
tain contemplated  "welfare  work." 

Any  profits  taken  from  the  legitimate 
exhibition  end  of  the  industry,  particu- 
larly at  this  time,  would  inevitably  tend 
towards  the  making  of  inferior  films.  Thus, 
the  Pettengill  Bill  would  produce  directly 
opposite  results  from  those  claimed  by  its 
supporters. 

If  the  exhibitor's  profits  are  cut  in  two 
by  a  new  form  of  competition  they  would 
necessarily  pay  less  to  the  producer  for 
their  films  to  remain  in  business.  This  would 
compel  the  producer  to  expend  less  money 
per  picture  on  production.  The  product 
would  suffer,  as  quality  productions  are  ex- 
pensive to  make. 

If  the  sponsors  of  this  bill  are  sincere  in 
their  objectives,  it  strikes  me  they  should 
encourage  the  public,  by  education  and  not 
by  legislation,  to  patronize  the  better  pictures. 
It  is  not  necessary  to  install  expensive  equip- 
ment in  schools  and  churches  for  this  pur- 
pose. 

Existing  theatres  have  the  necessary  facili- 
ties and  seating  capacities. 

V 

FRED  B.  PICKREL 

Theatre  Owners  of  Oklahoma,  Inc. 
Murray  Theatre,  Ponca  City,  Okla. 

We  are  thoroughly  in  accord  with  your 
article;  after  five  years  of  the  toughest  non- 
theatrical  competition  ever  invented  (a  regu- 
lar theatre,  operated  absolutely  free,  two  and 
four  days  each  week)  we  know  whereof  we 
speak. 

However,  the  most  effective  retaliation  to 
Mrs.  Klock  and  other  reformers  is  to  abso- 
lutely ignore  them. 

V 

CHARLES  R.  METZGER,  Attorney 

Associated  Theatre  Oivners  of  Indiana,  Inc. 
Indianapolis,  Ind. 

Please  bear  in  mind  that  this  is  my  per- 
sonal opinion  and  does  not  in  any  way  reflect 
the  opinion  of  members  of  our  Association, 
nor  does  it  reflect  the  official  attitude  of  our 
Association,  which  opinion  can  only  be 
given  by  our  board  of  directors  who  have 
not  met  to  go  into  this  matter  as  yet. 

As  to  the  thought  that  churches  and 
schools  will  compete  for  product  for  show- 
ing in  such  schools  and  churches,  they  have 
always  done  this  in  our  state,  and  many 
times  they  have  been  sold  for  less  than 
the  prices  asked  the  local  exhibitor  for  the 
same  product  when  distributors  felt  that 
the  local  exhibitor  needed  to  be  "taken 
down"  a  bit. 

Such  accounts  have  been  actively  pro- 
moted by  some  distributors  in  the  past  who 
found  themselves  unable  to  get  their  product 
into  the  local  theatre  because  other  distribu- 
tors had  sewed  up  all  the  playing  time.  Even 
under  the  Motion  Picture  Code,  local  ex- 
hibitors facing  such  church  and  school  com- 
petition dare  not  file  complaints  against  the 

(Continued  on  page  33) 


And  so  it  came  to 
pass  that  Universal 
gave  unto  the 
Monster  a  hride — 
^^The  Bride  of  Frankenstein^^! 

A  Carl  Laemmle,  Jr.,  Production 


DASHIELL  HAMMEH'S  CRACKING 


"Universal's  'Mr.  Dynamite'  Surefire  Mystery 
Comedy... Here  is  a  fast-moving, wise-crack- 
ing bundle  of  entertainment  that  fairly 
whizzes  across  the  screen  to  establish  a 
new  character  in  murder  mystery  melo- 
drama which  should  rival  the  popularity 
of  the  'Thin  Man'  .  .  .  'Mr.  Dynamite'  is 
sure-fire  box  office  anywhere"! 

—  Hollywood  Reporter 


.  .  .  With  JEAN  DIXON,  Esther 
Ralston,  Verna  Hillie,  Joyce 
Compton,  Mary  Wallace,  Victor 
Varconi  and  Matt  McHugh  .  . . 
A  UNIVERSAL  PICTURE  directed 
by  ALAN  CROSLAND  .  .  .  E.  M. 
Asher,  Associate  Producer 


''THE  THIN  MAN"! 


From  the  novel  by  Adam 
Hobhouse. .  . ...  This  year's 

tremendous  best-seller  ! 

WITH  AIN8  ALL  STAR  CAST 
A  CARL  LAEMMLE.  JR. 


April    13,  1935 


MOTION    PICTURE  HERALD 


33 


II  Duce  Asks  for 
Profits  on  Film 

Premier  Benito  Mussolini  this  week 
trained  his  heavy  artillery  upon  the  Ameri- 
can promoters  of  "Man  of  Courage,"  II 
Duce's  propaganda  film  about  his  famous 
march  on  Rome,  with  the  launching  of  a 
suit  to  collect  $125,000  in  royalties,  a  share 
in  the  profits  of  the  picture  and  other  emolu- 
ments, the  Ncii}  York  Post  revealed  this 
week. 

According  to  the  Post,  Guido  Orlando, 
promoter  of  such  projects  as  the  Republi- 
cans-for-Roosevelt  clubs  and  the  recent 
vaudeville  tour  of  Aimee  Semple  McPher- 
son,  this  week  moved  before  Supreme  Court 
Justice  Frankenthaler  for  an  order  direct- 
ing Eureka  Productions,  Inc.,  and  Vin- 
cenzo  Melocchi,  Luigi  de  Giorgio,  Jacques 
A.  Koerpel  and  Samuel  Cummings,  defend- 
ants, to  produce  their  records  for  examina- 
tion before  trial.   Decision  was  reserved. 

Mr.  Orlando  claims  "Man  of  Courage" 
will  gross;  $1,500,000  in  this  country  before 
it  has  finished  playing.  H.  H.  Rogers,  Jr., 
head  of  Eureka  Productions,  and  son  of  Col. 
H  H.  Rogers  of  Standard  Oil,  financed  the 
venture. 

"Originally,  II  Duce  was  satisfied  to  get 
his  propaganda  across  with  only  small  re- 
muneration to  himself,"  Mr.  Orlando  told 
the  Post.  "But  after  my  report  (on  its 
grossing  potentialities)  he  apparently  de- 
cided to  have  the  Luce  Institute  of  Rome 
make  it." 

Mr.  Orlando  said  that  his  contract  called 
for  eight  per  cent  of  the  film's  gross  and 
that  to  date  he  has  received  nothing. 


ON  THE  TEACHERS'  PLAN 


United  States,  France  Agree 
On  Elimination  of  Profit  Tax 

The  State  Department  at  Washington  this 
week  announced  ratification  of  a  convention 
by  which  France  will  eliminate  the  double 
taxation  now  imposed  on  American  firms 
with  offices  in  France.  The  agreement  is 
effective  next  January  1. 

Now,  in  addition  to  the  various  French 
taxes  on  French  subsidiaries  of  American 
companies,  a  tax  is  levied  against  the  parent 
concern  in  the  United  States,  based  on  its 
dividend  declarations,  on  the  theory  that  a 
portion  of  the  earnings  came  from  French 
business.  Under  the  agreement,  that  tax  will 
be  dropped,  if  French  subsidiaries  comply 
with  certain  procedure.  In  the  case  of 
American  firms  with  unincorporated  French 
branches,  the  tax  will  be  dropped  on  pay- 
ment of  a  tax  on  three-quarters  of  the  profits 
from  the  French  branch. 


Shanghai  Circuit  Is 
Set  for  Reorganization 

A  plan  for  the  reorganization  of  United 
Theatres,  Inc.,  Shanghai,  China,  operating 
the  Grand  and  Cathay  theatres  there,  is 
expected  to  be  presented  to  Judge  Milton 
J.  Helmick  in  the  United  States  court  for 
China  in  the  near  future,  according  to  the 
China  Press,  Shanghai  newspaper.  The 
company  also  owns  a  majority  of  the  stock 
of  a  company  operating  IS  houses  in  various 
parts  of  China. 

The  court,  in  conformity  with  the  new 
United  States  bankruptcy  law,  approved  a 
petition  changing  title  of  receiver  to  trustee. 


(Continued  from  page  27) 

non-theatrical  school  and  church  competition 
because  they  fear  to  incur  the  hostility  of 
the  school  and  church  groups.  Perhaps  the 
above  condition  is  not  as  prevalent  as  it  was 
five  or  six  years  ago,  but  it  is  still  existing 
and  undoubtedly  will  continue  to  exist,  re- 
gardless of  any  Pettengill  bills. 

It  might  interest  you  to  know  that  we  sent 
out  a  copy  of  the  Pettengill  Bill  to  every  the- 
atre owner  in  Indiana  with  the  request  that 
they  study  the  bill,  and  then  write  their  re- 
actions to  Mr.  Pettengill  and  send  a  carbon 
copy  of  such  letter  to  our  office  for  our  guid- 
ance. 

Without  exception  so  far,  the  smaller 
theatre  owners  in  the  small  towns  favor 
the  Pettengill  Bill.  They  have  written  to 
the  effect  that  they  would  like  to  be  in  a 
position  of  buying  and  offering  to  their 
public  the  twenty  or  so  outstanding  pic- 
tures from  each  distributor  rather  than 
being  forced  to  buy  all  of  the  product  of 
only  three  or  four  of  the  distributors,  which 
condition  prevails  at  present,  and  which 
leads  them  to  exhibit  a  great  many 
"quickies"  and  other  unsuitable  product 
which  does  them  no  good  at  the  box  office, 
nor  does  it  help  particularly  the  distribu- 
tors from  whom  they  buy  their  product. 

The  larger  theatre  owners  of  Indiana  have 
written  in  their  opposition  to  the  Pettengill 
Bill  for  the  reason  that  they  already  enjoy 
contracts  which  permit  them  to  make  selec- 
tions of  those  pictures  which  they  want  and 
to  reject  those  which  they  do  not  want.  Cer- 
tainly the  Pettengill  Bill  would  give  them 
nothing  which  they  do  not  already  enjoy, 
and  many  of  them  honestly  believe  that  the 
privileges  they  enjoy  in  the  matter  of  rejec- 
tions and  selection  are  enjoyed  by  all  the 
other  exhibitors. 

Perhaps  it  is  too  early  to  see  how  the  ulti- 
mate attitude  of  Indiana  exhibitors  will  be 
as  to  the  Pettengill  Bill,  but  for  several  years 
there  has  been  smoldering  resentment  and 
bitterness  growing  among  the  smaller  theatre 
owners  at  what  they  feel  are  the  injustices 
they  suffer  in  this  industry  This  goes  back 
to  the  old  Standard  and  Uniform  Contracts 
which  were  nullified  as  to  any  benefits  they 
conferred  upon  the  smaller  men  by  the  red 
ink  clauses  which  had  the  effect  of  nullifying 
such  benefits.  The  growing  practice  of  pre- 
ferred playing  time  and  averages  and  desig- 
nation of  specials  has  not  added  to  any 
possible  feeling  of  harmony  between  dis- 
tributors and  exhibitors.  The  many  yards 
of  red  tape  and  special  regulations  which 
must  be  followed  under  the  alleged  "ten  per 
cent"  cancellation  privileges  under  the  Code 
impress  the  little  exhibitor  as  being  only  an- 
other example  of  the  injustices  under  which 
he  smarts. 

Sooner  or  later  this  small  exhibitor  re- 
sentment is  going  to  make  itself  felt  in 
either  the  active  support  of  the  Pettengill 
Bill  or  some  other  form  of  industry  regu- 
lation. The  little  fellow  seems  to  feel  that 
his  condition  could  not  possibly  be  worse 
and  that  it  might  possibly  be  better  under 


regulation.  For  this  attitude  upon  the 
part  of  the  smaller  exhibitors,  the  customs 
and  sales  policies  of  the  industry  itself 
are  responsible. 

Most  of  them  have  long  since  despaired  of 
any  hope  that  fair  conditions  will  ever  be 
worked  out  for  them  within  the  industry, 
either  by  their  Code  or  otherwise,  so  why 
not  try  something  in  the  direction  of  legis- 
lation. They  also  are  under  the  impression 
that  something  similar  to  the  Pettengill  Bill 
provisions  exists  in  England,  without  the 
dire  consequences  resulting  which  have  al- 
ways been  prophesied  as  following  such 
legislation  in  this  country. 

V 

I.  R.  REHM,  President 

National  Association  of  Non-Theatrical 
Film  Products,  Inc. 
Oak  Park,  Illinois 

I  do  not  have  authority  to  speak  for  the 
the  Association  since  I  have  not  had  time 
to  bring  this  question  up  for  Board  action. 
However,  there  is  no  doubt  in  my  mind 
but  that  we  are  all  agreed  that  the  school 
and  church  should  not  be  in  competition 
with  the  theatre. 

There  are  many  non-theatrical  subjects 
both  entertaining  and  educational  that  are 
calculated  for  school  and  church  use,  and 
motion  pictures  fill  a  very  important  place 
in  such  a  program. 

Feature  pictures  built  for  theatrical  use 
have  been  rented  to  schools  and  churches 
after  they  have  been  shown  in  the  theatre 
of  the  district  they  are  in. 

Infrequent  showings  on  certain  special 
occasions  for  some  special  purpose  might 
not  be  objectionable,  but  for  any  organiza- 
tion to  make  a  business  of  showing  feature 
pictures  for  profit  in  competition  to  the  the- 
atre which  is  paying  the  tax  and  carrying 
the  load  would  in  my  opinion  not  be  fair 
to  the  interests  that  are  making  these  pic- 
tures possible. 


Seven  Majors  Named  in 
Suit  by  Iowa  Exhibitor 

Donald  and  Eunice  Thornburg,  operating 
the  Family  theatre,  Marshalltown,  la.,  have 
filed  suit  in  federal  court,  Des  Moines, 
against  seven  major  companies  and  the  Mo- 
tion Picture  Producers  and  Distributors  of 
America,  charging  conspiracy  in  restraint 
of  trade.  Two  competitive  theatres,  the  Cap- 
itol and  Casino,  operated  by  C.  C.  Duns- 
moor  and  M.  C.  Roskopf  and  Sam  Horwitz, 
respectively,  are  named  as  co-defendants. 

The  seven  major  companies  named  are 
Paramount,  First  National,  MGM,  Fox, 
United  Artists,  RKO  and  Vitaphone  Dis- 
tributing Corporation. 

KAO  Board  Reelected 

Twelve  of  the  13  directors  of  the  Keith- 
Albee-Orpheum  Corporation  were  reelected 
at  the  annual  stockholders'  meeting  on  Tues- 
day in  New  York.  The  new  member  is  Mon- 
roe Goldwater,  law  partner  of  Edward  F. 
Flynn,  whom  Mr.  Goldwater  succeeds. 


34 


MOTION    PICTURE  HERALD 


April    13,  1935 


Harris  Returning 
To  Head  Circuit 

The  Harris  Amusement  Company  inter- 
ests in  Pittsburgh  will  celebrate,  during  the 
week  of  April  19,  the  return  to  active  thea- 
tre operation  of  John  H.  Harris,  former 
head  of  the  company,  who  has  been  inactive 
for  the  past  five  years  by  the  terms  of  a  con- 
tract signed  with  Warner  in  1930,  when 
that  company  purchased  most  of  the  Harris 
circuit. 

Mr.  Harris  will  resume  active  charge  of 
the  Harris  interests,  and  plans  to  rebuild 
the  circuit  in  the  territory.  Senator  Frank 
J.  Harris  has  had  the  direction  of  the  cir- 
cuit. John  H.  is  the  son  of  the  late  John 
P.  Harris,  founder  of  the  Harris  Amuse- 
ment Company,  and  of  one  of  the  world's 
first  motion  picture  theatres,  in  1905.  He 
is  a  nephew  of  Harry  Davis,  one  of  the  coun- 
try's great  showman  of  an  earlier  day. 

When  John  P.  Harris  died  in  1926,  D.  A. 
Harris,  John  H.  Harris  and  F.  J.  Harris 
continued  the  circuit  operation.  In  1930 
they  sold  out  to  Warner.  Unable,  by  the 
contract,  to  operate  on  his  own,  John  H. 
Harris  was  Warner  zone  manager  for  three 
years',  then  resigned  to  enter  sports  promo- 
tion. 

Associated  with  him  in  the  reorganization 
of  the  Harris  circuit  will  be  John  T.  Mc- 
Greevy  and  James  Balmer,  with  the  com- 
pany for  many  years,  and  George  Tyson, 
formerly  an  assistant  at  Warner.  Senator 
Frank  Harris  will  continue  as  president  of 
the  company. 

Theatre  Liability  Rates 
Are  Revised  Nationally 

The  number  of  admissions  at  the  in- 
dividual theatre,  rather  than  the  seating- 
capacity,  will  be  the  new  basis  for  com- 
putation of  premiums  for  theatre  liability 
insurance,  it  was  announced  this  week  by 
the  National  Bureau  of  Casualty  &  Surety 
Underwriters. 

In  the  metropolitan  area  of  New  York 
the  old  rate  of  40  cents  per  seat  per  year 
for  $5,000  and  $10,000  of  liability  insur- 
ance now  becomes  11  cents  per  100  ad- 
missions. For  most  theatres  in  territories 
throughout  the  country  outside  the  metro- 
politan area,  the  rate  was  12  cents  per  seat 
per  year,  while  under  the  new  plan  it  will 
be  six  cents  per  100  admissions.  For 
theatres  outside  the  metropolitan  area  the 
new  rate  is  expected  to  result  in  substan- 
tially increased  liability  insurance  costs. 

Hess  Again  Heads  Mascot 
Advertising  on  the  Coast 

Jack  Hess  has  been  appointed  director  of 
advertising  and  publicity  for  Mascot 
Pictures  on  the  Coast.  The  appointment 
was  made  by  Nat  Levine.  Mr.  Hess, 
previously  with  Mascot  for  a  short  time, 
recently  has  been  handling  advertising  and 
exploitation  for  the  Orpheum,  San  Diego. 

Gross  Production 
Manager  for  Lesser 

Edward  Gross  has  been  named  production 
manager  for  Sol  Lesser  Pictures  on  the 
Coast. 


FLINN  COMMENDS 
OUIGLEY  AWARDS 

Mr,  Martin  Quigley: 

Exhibition  of  advertising  skill  at 
the  Motion  Picture  Cltib''  and  the 
luncheon  yesterday  are  occasions,  I  be- 
lieve, for  most  unreserved  congratula- 
tions to  yon  and  the  Motion  Picture 
Herald  staff. 

It  must  be  very  gratifying  to  you 
to  know  that  the  idea  of  these  awards 
has  carried  itself  so  far  that  anyone 
with  half  an  eye  can  see  you  have 
created  one  of  the  most  construc- 
tive institutions  in  the  picture  indus- 
try. It  has  taken  advertising  and 
publicity,  as  a  department  of  the 
industry,  a  good  nnany  years  to  win 
the  earnest  consideration  which  it 
deserves. 

Again  I  say  congratulations. 

(Signed)    JOHN  C.  FLINN 
Executive  Secretary,  Code  Authority 
of  the  Motion  Picture  Industry. 

*  Tlie  Shozv  of  Slio-iVinanship. 


96  Per  Cent  of  Features 
Endorsed  Since  July 

Because  of  the  improved  tone  of  pictures 
since  July,  the  International  Federation  of 
Catholic  Alumnae  was  able  to  endorse  96 
per  cent  of  the  product  of  large  producers, 
Mrs.  James  F.  Looram,  motion  picture  chair- 
man of  the  Federation,  told  guests  at  a 
luncheon  tendered  her  at  the  MGM  studios 
by  Louis  B.  Mayer  this  week  in  Hollywood. 


Pascal  Named  to  Head 
Screen  Writers'  Guild 

Ernest  Pascal  has  been  elected  president 
of  the  Screen  Writers'  Guild  on  the  Coast, 
succeeding  Ralph  Block.  Other  officers  are 
Nunnally  Johnson,  vice-president ;  John 
Grey,  treasurer ;  Robert  N.  Lee,  secretary ; 
William  Conselman,  Frances  Goodrich, 
Doris  Maloy,  Frances  Faragoh,  William  S. 
McNutt,  Benjamin  Markson,  Harlan 
Thompson,  Seton  I.  Miller,  Wells  Root, 
E.  E.  Paramore,  Jr.,  and  Joel  Sayre,  mem- 
bers of  the  executive  board. 


Kuykendall  to  Build 
New  House  in  Columbus 

Ed  Kuykendall,  president  of  the  Motion 
Picture  Theatre  Owners  of  America  and 
owner  of  the  Princess  theatre,  Columbus, 
Miss.,  plans  a  second  theatre,  also  in  Colum- 
bus. The  Princess  will  be  remodeled,  with 
work  to  begin  at  once. 


Dismiss  Darmour  Complaint 

A  special  Code  Authority  committee 
unanimously  dismissed  the  complaint  of 
Charles  C.  Burr  against  Larry  Darmour, 
Majestic  Pictures,  Ken  Maynard  and  the 
Small-Landau  Agency  for  breach  of  contract 
on  the  ground  that  Burr  had  failed  to  post 
a  necessary  bond  in  time  to  exercise  an 
option  on  Maynard's  services. 


Erpi  Continuing 
Servicing  Tests 

Experiments  conducted  by  Electrical  Re- 
search Products,  Inc.,  in  connection  with  all 
phases  of  theatre  engineering  servicing  will 
be  concluded  in  about  two  months,  it  was 
said  at  the  Erpi  home  office  in  New  York 
this  week.  Following  the  conclusion  of  the 
experiments  a  final  decision  will  be  made  on 
the  company's  entrance  into  the  extended 
servicing  field  on  a  permanent  basis. 

Erpi's  experiments  in  general  theatre  en- 
gineering servicing  have  been  in  progress 
for  several  months  in  a  number  of  situations 
throughout  the  country  on  a  non-commer- 
cial basis,  and  results  to  date  have  indicated 
the  possibility  of  savings  to  theatre  owners 
ranging  from  $300  to  $3,000  annually  for 
each  house  in  all  types  of  theatres,  it  was 
said  by  an  Erpi  official. 

If  Erpi  decides  to  make  the  extended  ser- 
vicing a  permanent  part  of  its  activities  no 
merchandising  of  parts  and  equipment  aside 
from  that  having  direct  bearing  on  sound 
reproduction  is  contemplated.  It  was  said 
that,  contrary  to  published  reports,  opera- 
tors' locals  have  not  made  official  protest  to 
the  contemplated  servicing  by  Erpi  engineers 
and  that  in  situations  where  the  current  ex- 
periments are  being  conducted  they  have  re- 
garded the  new  service  as  a  distinct  aid  to 
operators  and  have  expressed  their  approval 
of  its  continuance. 


Oregon  Golf  Tourney 
Scheduled  for  May  7-8 

The  Oregon  annual  Motion  Picture  Golf 
Tournament  will  be  held  in  Portland  on 
May  7  and  8,  sponsored  by  leading  film 
executives  who  will  have  as  guests  a  num- 
ber of  Oregon  exhibitors.  Attractive  prizes 
have  been  placed  in  competition. 

On  the  executive  committee  are  Mark 
Cory,  chairman.  Radio ;  Frank  Clark,  Para- 
mount ;  Charles  Powers,  Fox ;  Gordon 
Craddock,  Universal.  Entertainment  com- 
mittee :  Vete  Stewart,  chairman,  Warner ; 
Cecil  Fames,  Sheffield-Monogram.  Handi- 
cap committee :  Mr.  Powers,  chairman ;  Mr. 
Corv,  Mr.  Craddock.  Trophy  committee : 
Mr.'  Clark,  Lou  Amacher.  MGM;  Mr. 
Powers.  Publicity  committee :  James  Beale, 
chairman,  Columbia;  Mr.  Fames,  Mr.  Crad- 
dock. Finance  committee :  Mr.  Amacher, 
Howard  Mapes,  Star  Film;  Mr.  Stewart. 
Ladies  committee :  Mrs.  Mark  Cory,  Mrs. 
Frank  Clark,  Mrs.  James  Beale,  Mrs.  Vete 
Stewart,  Mrs.  Lou  Amacher ;  Mrs.  Cecil 
Fames,  Mrs.  Howard  Mapes,  Mrs.  Gordon 
Craddock. 


Arnold  Reelected  to 
Head  Cinematographers 

John  Arnold  last  week  was  elected  for 
a  fifth  term  as  president  of  the  American 
Society  of  Cinematograohers  on  the  Coast 
Other  officers  are :  Victor  Milner,  first  vice- 
president  ;  James  C.  Van  Trees,  second 
vice-president ;  Charles  B.  Lang,  Jr.,  third 
vice-president ;  Fred  W.  Jackman,  treasurer  : 
Frank  B.  Good,  secretary;  John  W.  Boyle, 
Elmer  G.  Dyer,  A.  L.  Gilks,  Charles  Lang 
and  Joseph  Walker,  members  of  the  board 
of  governors  for  three-year  terms. 


April    13,  1935 


MOTION    PICTURE  HERALD 


35 


THE  CAMERA  CEPCCTS 


FILM  LAWYER  ON  RADIO:  Stanleigh  P.  Friedman  of  the  Warner  legal  department, 
with  those  who  appeared  with  him  at  WJZ  in  honor  of  the  286th  birthday  anniversary  of 
Eli  Yale.  He  told  how  he  wrote  the  Yale  song,  "March,  March  Down  the  Field," 
and  conducted  the  orchestra.  Shown  are  Ben  Cutler,  Frank  Healy,  William  Lyon  Phelps, 
Rudy  Vallee,  Mr.  Friedman  and  John  S.  Young. 

ON  HAND.  (Right)  Al  Jolson, 
newly  re-signed  by  Warners,  arriv- 
ing in  New  York  with  print  of  his 
new  picture  and  for  party  in  his 
honor  last  week. 


TELLS  ADVERTISERS.  (Below)  Merlin  H.  Aylesworth,  president  of  NBC  and 
chairman  of  the  board  of  the  RKO  Corporation,  as  he  microphoned  his  ideas 
on  film  publicity  before  the  AMPA  at  luncheon  at  which  he  was  honor  guest. 
He  suggested  that  producers  use  radio  to  exploit  motion  pictures.  Shown 
seated  behind  him  is  Ned  E.  Depinet,  president  of  RKO  Distributing  Corporation. 


MARRIED.  Louis  Friedlander,  Universal  director,  and 
bride,  the  former  Miss  Carmen  Bouche  of  Chicago, 
who  were  married  upon  his  completion  of  "The 
Raven,"  co-starring  Boris  Karloff  and  Bela  Lugosi. 
They    plan    a    honeymoon    abroad    this  summer. 


36 


MOTION    PICTURE  HERALD 


April    13,  1935 


MEMORIAL.  To  the  late  George 
Eastman,  constructed  on  the 
grounds  of  the  Eastman  Kodak 
Company  plant  in  Rochester,  N.  Y. 

BORROWED.  (Right)  Margaret 
Sullavan,  whom  Paramount  has 
borrowed  from  Universal  for  a 
production  to  be  made  from 
Stark  Young's  "So  Red  the  Rose." 
Production  Is  to  be  started  soon 
after  her  arrival  from  Europe, 
where  she  and  her  husband,  Wil- 
liam Wyler,   have  been  visiting. 


TO  BE  STARS.  Declares  Para- 
mount, which  company  has  chosen 
the  young  players  pictured  above 
as  its  "Proteges"  for  1935-36: 
Gertrude  Michael,  Gall  Patrick, 
Wendy  Barrie,  Ann  Sheridan, 
Katherlne  DeMille  and  Grace 
Bradley. 

SIGNED.  (Left)  Phillip  Reed,  who 
has  been  given  a  long-term  con- 
tract by  Warners  following  com- 
pietion  of  his  role  in  "The  Girl 
from  Tenth  Avenue." 


ADD  COLONELS.  Billy  Mann  of  the  Yacht  Club  Boys,  enter- 
tainers, signed  for  Warner  pictures,  as  he  was  presented  com- 
mission from  Governor  Laffoon  of  Kentucky  by  Sam  E.  Morris 
(left),  Warner  foreign  sales  chief  and  a  Kentucky  "admiral,"  with 
Major  Albert  Warner  (right)  witnessing  the  ceremony. 


AT  THE  KIDDIES'  MATINEE.  A  theatre  full  of  London  youngsters 
at  a  special  afternoon  showing  of  MGM's  "David  Copperfieid," 
one  of  a  group  of  matinees  arranged  by  the  Palace  theatre  in  the 
British  metropolis.  And  did  they  enjoy  the  Dickens' 
Just  look  at  this  picture  for  the  answer! 


classic? 


April     13,  1935 


MOTION    PICTURE  HERALD 


37 


PARAMOUNT  NEWS  READY  FOR  WAR 
WITH  CREWS  LINED  UP  IN  EUROPE 

Camera  Contingents  Organized 
in  Leading  Nations,  Natives 
Chosen  in  Smaller  States; 
Drills  Held  in  Safe  Equipment 

Paramount  Newsreel  is  preparing  for  war 
in  Europe ! 

For  two  months  the  company  secretly  has 
been  laying  camera  fortifications  throughout 
the  Continent  for  its  own  army  of  screen 
news  gatherers,  the  while  European  powers 
continue  in  the  race  to  rearm,  and  to  con- 
script natives  to  strengthen  their  armies  as 
they  move  them  in  ominous  silence  to  their 
borders. 

Details  of  diplomacy  and  strategy  already 
are  completed  for  the  job  of  pitting  camera- 
men against  cameramen  in  enemy  countries, 
all  in  keeping  with  the  international  prob- 
lems and  the  strong  and  strange  laws  which 
govern  cameramen  on  the  firing  lines. 

Began  Preparations  in  February 

That  Paramount  News  began  in  February 
to  take  tangible  recognition  of  the  specula- 
tion existing  in  virtually  all  corners  of  the 
world  over  a  possible  European  conflict 
was  made  known  this  week  by  A.  J  Ricli- 
ard,  editor. 

Mr.  Richard  served  during  the  World 
War  with  federal  administrators  of  motion 
picture  arrangements,  including  largely 
newsreel  accounts  from  the  front.  Delving 
into  that  background  for  the  plan  which  a 
tremendous  job  like  another  war  would 
mean  for  newsreels  with  all  its  concomitant 
complicatons  of  censorship,  Mr.  Richard 
said :  "At  this  very  moment  there  exists  gov- 
ernmental censorship  in  one  form  or  an- 
other in  practically  every  country  in  the 
world.  Even  in  this  country,  they  have  set 
up  regulations  whereby  all  Navy  subjects 
must  be  censored,  and  in  places  such  as  the 
Canal  Zone,  the  Army  has  complete  charge 
of  censorship  of  all  picturemaking.  Ger- 
many and  Russia  have  full  censorship.  Italy, 
France  and  England  have  censorship  of  film- 
ing insofar  as  military  subjects  are  involved. 
Many  of  the  Balkan  and  smaller  countries 
of  Europe  have  established  censorship. 
Cameramen  working  on  the  recent  Greek 
rebellion,  Austrian  putsches  and  even  those 
trying  to  get  into  Abyssinia  or  Italian  Soma- 
liland  have  had  the  greatest  difficulty." 

Lining  Up  Native  Cameramen 

Paramount's  plan  for  coverage  has  been 
modeled  after  that  of  the  Associated  Press. 
The  company  already  has  set  up  its  own 
skeleton  camera  coverage  in  each  of  the 
large  countries  and  has  made  arrangements 
with  the  official  and  semi-official  photo- 
graphic agencies  of  most  of  the  large  coun- 
tries, such  as  Luce,  of  Italy,  and  Ufa,  of 
Germany. 

Paramount  also  has  sent  a  representative 
through  Lithuania,  Poland,  Czechoslovakia, 
Greece,  Turkey  and  Yugoslavia,  tentatively 
lining  up  native  cameramen.  It  was  felt  that 
these  small  states,  several  of  them  having 
developed    out   of   the   Versailles  Treaty, 

(Continued  on  page  40,  column  3) 


yf  S  plans  go  forward  for  news- 
.^J.  reel  coverage  of  any  hostilities 
in  Europe.  A  Paramount  camera  crew 
on  the  Italian  front  is  shown  in  action 
in  the  picture  at  the  top.  Right:  War 
clouds  over  the  newsreel's  European 
camera.  Below:  Cameraman  rehears- 
ing for  gas  attack. 


RADIO  CITY 

THRILLS 
TO  A  NEW 
ADVENTURE 

IN 

SCREEN 
EXCITEMENT 

THIS  WEEK! 


-K  *  *  * 


"HERE'S  SOMETHING  NEW  in  the  line  of 

panionate  romantic  angle  as  popularly  intriguing  as  the  basic  subject  matter  ...  A  laug 
in  almost  every  line  of  dialog^  bit  oF  action  and  situation  .    .  Should  have  a  punchy  and 
interesting  appeal  to  all  classes  I —Motion  Picture  Herald 

"SWELL  ENTERTAINMENT  and  should  prove  profitable  .  .  .  Romance  and  comedy 
closely  linked  with  clues  bringing  the  police,  gangland  and  socialites  in  For  contrasting 
dramatic  interest  ...  Swell  business  For  swell  picture.''  — Motion  Picture  Daily 

"SOCK  ENTERTAINMENT  ANYWHERE  .  .  .  Not  an  angle  has  been  muffed  to 
make  it  box-office."  —Variety  (D^'iIy) 


'TOP-SHELF  BUSINESS  in  any  kind  of  a  house! 


■Hollywood  Reporter 


EASTER  WEEK  ATTRACTION  IN  MORE  THAN  100 
KEY  CITY  FIRST  RUNS  FROM  COAST  TO  COAST! 


PAUL  KELLY  *  GENE  LOCKHART 

RALPH  MORGAN  *  LESLIE  FENTON  *  J.  FARRELL  MacDONALD 
From   the  novel   by   ARTHUR   SOMERS  ROCHE 


40 


MOTION    PICTURE  HERALD 


April     13,  1935 


REVENUE  REVIVES  HOPE 
OF  LOWER  BRITISH  TAX 


Quota  Revision  Doubted;  Exhib- 
itors Assured  Only  One  Tele- 
vision Station  Starts  This  Year 

by  BRUCE  ALLAN 

London  Correspondent 

Unexpectedly  good  revenue  figures,  in- 
dicating a  probable  surplus  in  the  Budget 
to  be  announced  April  15th,  have  revived 
the  trade's'  hopes  of  a  concession  on  Enter- 
tainment Tax,  which  had  seemed  doomed 
by  the  announcement  of  greatly  increased 
expenditures  on  armaments. 

Wardour  Street  opinion  is  now  that  the 
chancellor  of  the  exchequer,  Neville  Cham- 
berlain, will  make  good  his  half-promise 
of  last  year  and  free  the  sixpenny  (12 
cents)  and  cheaper  seats  of  the  tax. 
Encouragement  of  this  view  is  seen  in  the 
friendly  reception  which  a  meeting  of 
members  of  Parliament,  at  the  House  of 
Commons  last  week,  gave  to  a  statement 
of  the  small  exhibitors'  case  by  H.  Victor 
Davis. 

Accepting  adjustment  of  the  Tax  as  a 
probability,  financial  writers  in  the  general 
press  are  canvassing  the  possibility  of  a  general 
rise  in  cinema  share  values,  with  probable 
restoration  of  wage  cuts  against  Government 
employees  expected  to  increase  attendanr^";. 
The  good  figures  shown  by  P.  C.  T.,  Ltd., 
and  A.  B.  P.,  Ltd.,  under  existing  conditio- 
are  cited. 

V 

Doubts  Quota  Revision 

The  most  definite  statement  yet  made  in 
Parliament  in  regard  to  amendment  of  the 
Cinematograph  Films  Act  was  the  negative 
given  by  Walter  Runciman,  president  of  the 
Board  of  Trade,  to  a  question  in  the  House 
of  Commons  suggesting  a  revision  of  quota 
percentages,  after  E.  Doran,  M.  P.,  had  sug- 
gested that  "British  film  production  has  now 
reached  a  stage  of  real  efficiency." 

More  significance  has  been  read  into  the 
Minister's  statement  than,  it  may  be,  it  was 
intended  to  convey.  Revision  of  the  Films  Act, 
officially  recommended  by  the  Advisory  Com- 
mittee, is  expected  to  take  the  form  of  new 
clauses  penalizing"  "quickies"  and  further 
restricting  block  booking. 

The  B.  O.  T.  will  consider  any  information 
placed  before  it,  replied  Sir  John  Gilmour, 
Home  Secretary,  when  Mr.  Doran  drew  his  at- 
tention to  "the  financial  activities  of  alien  film 
producers  who,  having  been  forced  into  liquida- 
tion in  their  own  countries,  were  now  seeking 
to  exploit  the  British  public." 

While  many  people  see  in  improved  British 
production  a  reason  for  still  larger  quotas, 
others  are  beginning  to  regard  the  Films  Act 
as  a  handicap  to  the  established  British 
producer. 

V 

KRS  Not  Taking  Sides 

With  KRS  holding  the  advantage  of  the 
offensive  in  President  John  Maxwell's  statement 
that  KRS  would  not  accept  the  recent  booking 
deals  between  Gaumont  British  and  the  Hyams 
(H  &  G)  and  Union  circuits,  circumstances 
have  given  the  controversy  an  apwarance,  in 
some  ways  misleading,  of  being  yet  another 
phase  of  the  struggle  for  supremacy  between 
the  Ostrer  (GB)  and  Maxwell  (ABP  and 
ABC)  interests.  Undoubtedly,  that  is  one 
aspect,  but  it  would  be  a  serious  mistake  to 


think  that  the  KRS  is  concerned  to  take  sides 
with  one  circuit  against  another ;  what  it  fears 
is  that  hundreds  of  theatre  managements  will 
make  booking  agreements  with  GB  in  order 
to  get  drastic  reductions  in  rentals. 

The  possibility  of  public  agitation  is  very 
obviously  in  the  minds  of  both  the  KRS  leaders 
and  their  opponents. 

V 

Reassurance  on  Television 

Almost  900  film  traders,  mostly  theatre  own- 
ers, who  attended  the  annual  banquet  of  the 
Cinematograph  Exhibitors  Association  at  Gros- 
venor  House,  heard  a  reassuring  statement 
about  television  by  Sir  Kingsley  Wood  who, 
as  postmaster-general,  is  in  charge  of  the  gov- 
ernment department  which  will  control  the 
official  transmitting  stations. 

Only  one  station,  in  London,  will  be  in  opera- 
tion this  year,  he  said,  and  this  one  will  not  be 
completed  until  the  end  of  the  year.  Further- 
more, an  adequate  national  service  is  still  some 
distance  off. 

V 

Pacific  Tone 

Richard  Dooner,  new  president  of  the  CEA, 
at  the  annual  meeting  the  same  day,  said  dis- 
tributors were  now  disposed  to  a  round  table 
discussion  of  the  rental  problem  and  the  allied 
one  of  a  Standard  Contract.  Some  present  may 
have  been  a  little  disappointed  at  this  pacific 
tone.  When  a  London  exhibitor  sought  enlight- 
enment on  the  hint  in  the  annual  report  that 
the  Association  might,  on  suitable  occasion,  be- 
come the  booking  agent  for  exhibitors  as  a 
whole,  Secretary  W.  R.  Fuller  said : 

"It  remains  to  be  seen  what  decisions  will  be 
made  by  the  new  Council,  and  whether  members 
intend  to  give  the  Council  any  instructions  on 
the  point." 

V 

Britons  in  Australia  Organize 

British  film  producers  in  Australia  are  or- 
ganizing themselves  into  the  British  Film  In- 
dustry Association  of  Australasia  under  the 
chairmanship  of  Ernest  Turnbull  of  British 
Dominions  Films.  This  company  handles  B.  & 
D.,  Twickenham,  British  Lion  and  Empire  pro- 
grams. Associated  with  the  move  are  also  Alan 
Williamson  of  Gaumont-British,  Stuart  Doyle, 
for  Associated  British  Pictures  and  Associated 
British  Film  Distributors  and  Gordon  Williams 
of  B.I.P. 

V 

News  Brevities 

The  almost  daily  effort  to  establish  official 
censorship  in  place  of  the  British  Board  of  Film 
Censors,  in  its  latest  form  suggests  the  elevation 
of  the  semi-official  advisory  Film  Censorship 
Consultative  Committee  to  the  status  of  a 
licensing  body  to  "examine  films  on  behalf  of 
all  licensing  authorities  and  advise  on  all  mat- 
ters in  connection  with  film  censorship." 

The  first  British  studio  erected  specifically  for 
production  of  educational  subjects  exclusively 
was  opened  last  week  for  Gaumont-British  In- 
structional, by  H.  Ramsbotham,  Parliamentary 
Secretary  to  the  Board  of  Education.  Situated 
in  Cleveland  street,  a  stone's  throw  from  Ox- 
ford St.,  in  the  center  of  London,  it  provides 
facilities  for  52  sub-standard  films  a  year. 

^       ^  ^ 

The  report  of  Provincial  Cinematograph 
Theatres,  Ltd.,  indicates  a  profit  of  £482,508, 
an  increase  of  £23,018.  The  carry  forward  is 
£122,834  against  £121,280.  Out  of  a  total 
for  distribution  of  £603,280,  depreciation  re- 
serve receives  £91,000  and  general  reserve 
£65,000,  making  the  total  under  the  latter  head 
£530,000.  The  dividend  will  again  be  15  per 
cent. 


Newsreel  Ready 
For  Hostilities 

(Continued  from  page  37) 

might  be  among  the  first  nations  to  become 
involved. 

Of  equal  importance  with  the  arrange- 
ments for  coverage  are  those  made  for  get- 
ting film  out  of  these  countries.  Plans  have 
been  made  for  contracting  of  planes  and 
automobiles.  While  France  moves  reinforce- 
ments to  the  German  border  and  links  her 
chain  of  steel  and  concrete  fortresses  with 
barbed  wire  and  trenches.  Paramount  is 
gathering  pictures  for  its  war  library  on  all 
persons,  locations  and  buildings  that  might 
figure  in  any  hostilities.  This  material  has 
been  flowing  in  for  weeks  from  14  countries. 

Germany  Covered 

In  Germany,  the  company's  war  bureau 
will  be  headed  by  Bruno  Stindt,  who  has 
been  arranging  for  a  chain  of  cameramen 
in  the  most  strategic  points  in  that  country, 
and  in  adjacent  places  where  hostilities 
might  first  develop.  France  has  five  camera- 
men on  the  war  staff,  England  six.  Italy, 
Austria  and  Japan  have  been  similarly 
staffed,  and  rehearsal  has  now  progressed 
to  the  point  where  drills  are  being  held  in 
the  use  of  protective  equipment,  such  as  a 
new  and  improved  gas  mask  for  the  camera- 
men. 

Leading  newly-recruited  camera  contin- 
gents will  be :  In  England,  E.  H.  Hawkins, 
J.  C.  Harding,  J.  F.  Gemmell,  W.  M.  Mac- 
Gregor,  G.  Ercole  and  J.  Taylor ;  France, 
L.  Geiskop,  F.  Conquest,  J.  Albrecht,  M. 
Madru  and  H.  Missir;  Italy,  B.  Albertini, 
G.  Brunacci ;  Germany,  Bruno  Stindt,  J. 
Winterfeldt  and  Franz  Klein;  Austria,  J. 
Dored;  Belgium,  Pec  Antoine,  now  cover- 
ing King  Leopold  and  the  army. 

Millions  of  Feet  of  Film 

During  the  last  war,  the  United  States 
Government  turned  over  to  its  ofiicial  mo- 
tion picture  bureau  in  the  Signal  Corps  the 
task  of  making  pictures  of  the  army  and 
its  activities  in  action.  Millions  of  feet  of 
film  were  exposed,  and  as  fast  as  it  reached 
Washington  it  was  censored  and  then  dis- 
tributed to  all  the  newsreels  at  the  same  time. 

"The  newsreels  have  long  realized  the 
motion  picture  values  of  real  war  material," 
said  Mr.  Richard.  "In  recent  wars  the  news- 
reels  have  adopted  the  plan  of  planting 
cameramenwith  each  contendingforce.  In  the 
Japanese  campaign  in  China  some  American 
cameramen  worked  with  the  Japanese  forces 
while  others  were  with  the  Chinese  inside 
Shanghai.  In  the  recent  Cuban  activity  some 
cameramen  were  located  at  Santiago  at  the 
time  it  was  held  by  the  rebels,  while  others 
were  assigned  to  Havana  when  it  was  held 
by  government  troops." 

Newsreel  coverage  of  any  European  hos- 
tilities would  be  considerably  more  inten- 
sive from  the  standpoint  of  competition  than 
in  the  last  war,  when  Pathe  and  Interna- 
tional Newsreel  were  the  most  active.  The 
industry  would  witness  a  competitive  battle 
even  greater  than  the  fight  last  year  to 
reach  the  screens  first  with  scenes  of  the 
murder  in  France  of  King  Alexander  of 
Yugoslavia  and  the  Austrian  putsch  which 
resulted  in  the  death  of  Premier  Dollfuss, 
when  Pathe,  Paramount,  Hearst  Metrotone. 
Universal  and  Fox  Movietone  engaged  fast 
planes  to  reach  express  steamers. 


April    13,  1935 


MOTION    PICTURE  HERALD 


41 


ASIDES  &  INTCI^LLDES 


IHIIIIIIIIIIIIINII 


By  JAMES  CUNNINGHAM 


Cora  Cowen,  well  known  on  Broadway, 
was  visiting  United  Artists'  Rivoli  and 
stumbled  in  the  darkness  of  the  auditorium 
on  a  package  containing  a  check  book,  bank 
book,  bulgy  financial  papers  and  whatnot. 
Not  locating  an  usher  at  the  moment, 
she  put  the  bundle  of  wealth  into  her  purse 
— Cora  totes  a  very,  very  large  purse.  The 
property  was  forgotten — she  was  watch- 
ing that  "dreamy"  Maurice  Chevalier — until 
she  got  home.  The  following  day  young  Cora 
mailed  the  bundle  to  the  bank.  In  due  time 
she  received  a  letter  from  the  gentleman  to 
whom  it  belonged. 

It  seems  that,  in  his  unselfishness,  he  had 
remembered  the  case  of  this  winter  where 
the  hungry  and  homeless  and  cold  Bowery 
derelict,  finding  a  package  of  considerable 
negotiable  bonds  in  the  street,  returned  them 
to  the  Wall  Street  brokerage  house  that  had 
lost  them,  and  then  went  haywire  from  the 
effects  of  the  sudden  complimentary  atten- 
tion given  to  his  honesty  in  the  press  and  the 
newsreels. 

They  had  rewarded  him  with  some  cash, 
new  clothes  and  a  job — his  first  of  either  in 
many  a  year.  A  few  days  later  he  cracked 
under  iJie  strain,  causing  considerable  physi- 
cal damage  to  his  surroimdings,  and  to  his 
fellow  tenants,  one  of  whom  dropped  dead 
when  faced  with  the  sudden  declaration  of 
the  derelict:  "I  have  been  sent  by  God  and 
I  can  take  who's-ever  life  I  want!" 

Accordingly,  the  owner  of  the  lost  package 
wrote  Cora:  "I  am  duly  grateful  for  your 
kindness  and  should  like  to  reward  you,  but, 
not  being  unmindful  of  what  happened  to  the 
gentleman  recently  rewarded  for  the  return 
of  bonds  which  he  had  found,  for  your  own 
sake,  I  think  I  had  better  simply  thank  you." 

V 

Spring  and  a  young  man's  fancy  struck  us 
amidships  the  other  morning  when  we  picked 
up  from  the  mail  a  postal  card  which  carried 
this  message: 

GENTLEMEN: 

There  is  smart  competition  in  town.  You 
can't  afford  to  miss  it.  Traveling  Sales-lady 
is  now  showing  her  lines  at  the  Strand 
theatre,  Broadway  at  47th  Street. 

We've  got  what  it  takes  to  get  orders. 

JOAN  BLONDELL 
GLENDA  PARREL 

V 

The  tension  in  Boston  motion  picture  circles 
must  be  severe.  And  the  problems  of  theatre 
operation  terrific.  George  and  Spyros  Skouras 
believe  they  have  a  headache  bringing  Skouras 
Theatres  to  the  front  line  for  a  contract  to 
manage  the  reorganizing  Fox  Metropolitan 
Circuit.  Major  Leslie  Thompson,  too,  thinks 
his  job  of  conducting  the  RKO  properties  is 
not  an  easy  one.  Ditto  Ed  Schiller  at  Loew's, 
and  Joseph  Bernard  at  Warners.  We  could 
mention  a  dozen  more,  but  none  so  serious  as 
the  problem  of  Mister  Wasserman,  a  district 
manager  for  the  New  England  M.  and  P.  The- 
atre Circuit,  who,  in  his  large  Boston  office, 
has  hanging  from  the  wall  a  sign  that  warns  : 

Please  Be  Quiet 
While 
MR.  WASSERMAN 
Is  on  the  Telephone 

V 

"You  can't  really  enjoy  opera,"  says 
Walter  Damrosch,  operarian,  "unless  you 
know  what  is  going  on." 

And  when  you  know  what's  going  on, 
you're  indifferent,  observed  Ted  Cook. 

Maybe  you  just  can't  really  enjoy  opera 
unless  you  really  enjoy  opera. 


THROUGH  THE  BRITISH  DOMINIONS, 
'  except  in  Ireland,  the  name  of  Roger  Case- 
ment is  a  curse.  He  was  an  Irishman  who  had 
been  honored  with  positions  of  trust  by  Eng- 
land and  knighted.  Then  he  had  a  change  of 
heart  and  began  to  work  for  the  freedom  of 
Ireland,  renouncing  his  knighthood.  When  the 
World  War  broke  he  believed  Germany  had 
a  good  chance  to  win,  and  cast  his  lot  with 
Germany,  plotting  there  to  go  to  Ireland  and 
start  a  revolution.  A  German  submarine  landed 
him  in  Ireland,  but  the  revolt  he  started  did 
not  last  long.  Casement  was  captured,  tried,  and 
hanged  as  a  traitor. 

But  there  were  many,  including  George  Ber- 
nard Shaw,  who  thought  Casement  a  patriot — 
to  Ireland — rather  than  a  traitor  to  England. 
A  great  petition  for  him  was  signed  in  the 
United  States. 

Julius  Klein,  now  known  in  Hollywood  as 
a  special  assistant  to  Carl  Laemmle,  Sr.,  cov- 
ered the  Casement  trial  as  a  reporter.  Mr. 
Klein  has  been  writing  a  book  about  it.  And, 
so  we  are  told  by  Lee  Shippey,  Los  Angeles 
news  commentator  and  reporter,  Mr.  Klein  has 
broken  the  world's  record  by  getting  a  signed 
statement  from  Bernard  Shaw  for  inclusion  in 
that  book. 

When  it  comes  to  getting  things  from  peo- 
ple in  high  places,  Klein  is  a  miracle  man, 
Shippey  relates.  His  years  as  a  reporter  have 
not  only  won  him  the  friendship  but  the  confi- 
dence of  the  mighty.  At  one  time  when  Hoover, 
as  President,  wouldn't  see  anyone  else,  Shippey 
included,  he  spent  an  hour  or  two  with  Klein. 
Recently  Klein  wrote  an  important  article  for 
the  Los  Angeles  Times  Sunday  Magazine  and 
secured  for  it  signed  statements  from  former 
Ambassador  Gerard  and  from  Colonel  Edward 
Mandell  House — and  there  are  mighty  few  re- 
porters who  could  wiggle  a  statement  of  any 
kind  out  of  the  old  Colonel.  And,  as  for  a 
statement  by  George  Bernard  Shaw,  requested 
for  commercial  publication  in  another's  book, 
well,  that  is  looked  upon  as  the  ultimate  of  the 
unattainable.  One  could  get  a  dozen  long, 
chummy  interviews  with  Greta  Garbo,  or  Her- 
bert Yates,  or  J.  R.  McDonough  quicker  than  a 
Shaw  signature  affixed  under  an  expression  for 
publication — unless,  of  course,  they  used  coin 
.  of  the  realm  for  bait.  However,  Klein  wrote 
G.  B.  S.  an  explanation  of  what  he  was 
going  to  do  in  a  book  on  the  Casement  case  and 
the  greying  old  literarian  sent  back  a  four- 
page  statement. 

V 

The  natives  of  Waterloo  in  Iowa  kept  Jake 
Rosenthal,  of  the  Iowa  theatre,  busy  for  a  full 
day  explaining  to  him  that  bill-posters  had 
pasted  24-sheet  stands  upside  down.  There  was 
many  a  mention  of  the  inversion  in  Waterloo, 
and  many  a  stiff  neck  that  had  been  twisted  out 
of  position  by  the  curious.  They  did  not  know, 
of  course,  that  it  had  been  done  purposely  to 
attract  such  attention,  and  zms  a  stimt  that 
Jake  used  40  years  ago  when  he  _  had  Hall's 
Casino,  a  vaudeville  place  in  old  Chicago. 

One  time,  at  the  Casino,  Jake  put  on  a  big 
free  lobby  display  that  ran  for  a  number  of 
weeks,  with  a  large  tank  in  which  Cora  Beck- 
with  {Mrs.  Jake  Rosenthal),  and  a  number _of 
bathing  beauties,  attired  in  the  old  regidation 
fidl-length  black  tights,  performed  from  11 
in  the  morning  to  II  at  night.  Cora,  a  swim- 
ming champ  in  her  day,  made  long  stays  in  the 
water,  establishing  a-  record  by  floating  si.v 
iveeks  without  leaving  the  tank. 

Jake  used  to  put  chairs  on  the  stage  to  give 
patrons  the  opportunity  to  watch  acts  work  at 
close  range.  They  used  from  40  to  60  acts  in 
those  days,  in  the  90  ^.  A  vaudeville  'shoiv  ivas 
an  endurance  coniest. 


In  Broadway  circles  of  the  drama  they're 
repeating  the  remarkable  story  about  the 
manner  in  which  Crosby  Gaige,  theatrical 
producer  of  note,  came  about  acquiring  the 
rights  to  that  new  comedy  by  Louis  Brom- 
field  and  George  Hawkins,  entitled  "Here 
Today  and  Gone  Tomorrow." 

A  couple  of  months  ago,  it  seems,  the 
agent  for  Mr.  Bromfield  informed  Mr.  Gaige 
by  telephone  that  a  script  by  the  aforesaid 
author  was  being  sent  over  for  considera- 
tion. For  some  reason  the  script  never  ar- 
rived, and  Gaige  promptly  forgot  about  it. 

Last  week  Mr.  Gaige  got  into  a  taxicab 
on  Park  Avenue  at  the  Waldorf-Astoria 
Hotel  for  a  ride  to  his  office  and  was  sur- 
prised to  find  within,  on  the  seat,  an  envelope 
containing  a  manuscript.  Curiosity  compelled 
him  to  have  a  peak  at  it  and,  lo,  it  was  the 
play  by  Mr.  Bromfield.  Immediately  he 
started  to  read  it,  finished  it  that  afternoon 
and  purchased  the  play  two  days  later. 

The  following  day  he  was  requested  to 
bring  the  script  along  when  he  met  Mr. 
Bromfield  to  confer  about  it.  It  is,  advised 
Mr.  Bromfield,  the  only  copy  of  the  script. 


An  Open  Letter  to  all  newsreel  editors : 
Here's  a  tip,  fresh  from  the  inside,  on  a  big 

news  event — and  may  the  best  reel  get  the 

scoop : 

Wilbur  Glenn  Voliva,  of  Zion,  Illinois,  who 
says  the  world  is  flat,  has  looked  into  his  Bible, 
or  crystal,  or  something,  and  predicts  a  battle 
which  will  be  so  fierce  that  it'll  take  "seven 
months  to  bury  the  slain." 

"The  United  States,"  he  explained,  "will  be 
part  of  the  revived  Roman  Empire,  restored  and 
ruled  by  the  Roman  Italian  Prince." 

"The  assimilation  of  the  United  States  into 
the  revived  Roman  Empire  will  be  part  of  two 
general  movements — Italy,  France,  England  and 
the  United  States  into  the  Fascist  alliance,  the 
other  of  the  European  nations  into  the  great 
northeastern  confederacy,  a  modified  type  of 
Communism." 

And  here's  where  the  newsreels  enter  the 
picture.  These  two  forces,  continued  Wilbur, 
will  meet  at  Armageddon  in  1942  or  1943.  He's 
not  sure  which,  but  he'll  shoot  in  more  specific 
information  about  that  later. 

"They  will  destroy  each  other  at  Armaged- 
don in  a  battle  which  will  be  so  bloody  that  it 
will  require  seven  months  to  bury  the  slain," 
he  predicted.  Of  course,  if  it  really  took  that 
long,  Universal  could  turn  out  a  serial. 

V 

"Are  wives  for  sale  or  barter  in  Holly- 
tvoodf"  asked  Paramount  home  office  pub- 
licity— just  like  that.  "Some  people  think  so; 
those  who  persist  in  believing  that  screen  play- 
ers hold  nothing  sacred  but  utter  sophistication, 
and  would  happily  dispose  of  one  zmfe  of  an- 
another." 

All  of  which  is  by  way  of  relating  that  Para- 
mount's  actor,  Sydney  Blackmer,  has  ivithin 
the  past  six  months  received  four  letters  from 
prospective  suitors  of  his  former  wife,  Lenore 
Ulric,  each  epistle  asking  if  he  woidd  advise  a 
marriage  with  her  and  requesting  information 
on  her  disposition  and  financial  condition. 

V 

The  Warner  studio  at  Burbank  in  California 
was  in  the  midst  of  making  "The  G  Men,"  in 
which,  besides  glorifying  the  United  States 
Secret  Service,  they  show  how  these  agents 
track  down  characters  who  had  been  too  liberal 
pouring  lead  out  of  revolvers.  One  of  the  per- 
formers fired  a  shot  the  other  day,  while  por- 
traying a  Secret  Service  man  doing  his  duty, 
and  it  hit  Frank  Evans,  assistant  cameraman, 
just  below  the  hip.   That's  realism  in  reverse. 


42 


MOTION    PICTURE  HERALD 


April    li,  1935 


8  MORE  INDEPENDENT 
COMPANIES  ORGANIZE 


Four  Distributors  Announce  the 
'35-'36  Convention  Plans;  In- 
creased Call  for  Westerns 

Product  structures  for  1935-36  began  this 
week  to  assume  more  tangible  form  as  ten- 
tative schedules  were  being  supplanted  b}' 
actual  story  and  talent  assignments  and  by 
more  definite  programs  from  a  numerical 
standpoint.  Eight  new  independent  com- 
panies were  added  to  the  score  already  an- 
nounced, and  as  production  of  this  season's 
programs  went  into  final  stages,  executives 
of  virtually  every  large  major  and  inde- 
pendent company  were  concentrating  on 
either  coast  in  conference  on  new  product 
and  new  policies. 

Promising  product  for  the  new  year  as 
entirely  new  sources  were  Campbell  Pro- 
ductions, Cartoon  Exhibitors,  Color  Classics, 
Excelsior  Pictures,  Republic  Productions. 
William  Rowland,  Security  Pictures  and 
William  G.  Smith.  Twenty-one  other  new 
units  were  announced  by  Motion  Picture 
Herald  on  March  23,  page  nine. 

Paramount  made  official  announcement  of 
May  23  and  26  as  annual  convention  dates, 
in  New  York,  at  the  Waldorf-Astoria  hotel, 
where  the  company  probably  will  announce 
a  schedule  of  65  features  and  100  short  sub- 
jects; GB  has  decided  on  May,  at  a  place 
as  yet  undecided :  RKO  appeared  to  be  deter- 
mined on  50  features  and  a  June  convention, 
in  Chicago;  Universal  will  meet  May  23, 
likewise  in  Chicago. 

A  new  demand  for  westerns  caused  Fox 
to  renew  with  Sol  Lesser  for  four  more 
with  George  O'Brien.  Columbia  is  set  to 
distribute  eight  Ken  Maynards  and  may 
reissue  eight  Tim  McCoys.  This  season  the 
company  is  releasing  a  similar  number  of 
McCoys  and  eight  Buck  Jones  reissues. 

There  were  only  five  Paramount  westerns 
this  season,  but  the  company  may  double 
the  number  for  1935-36,  three  or  four  to  be 
Zane  Greys.  Universal  will  increase  the 
series  of  six  Buck  Jones  westerns  to  eight. 

The  reason  for  the  trend  is  the  desire  of 
exhibitors  to  satisfy  Saturday  and  Sunday 
demands  for  action  pictures,  in  large  cities 
as  well  as  small. 

Pre-season  selling  continued  to  gain,  with 
some  companies  offering  long  term  contracts 
in  certain  territories,  especially  in  the  South. 
These  in  some  instances  amount  to  a  fran- 
chise, running  for  1935-36  and  1936-37. 
Principally  active  in  advance  selling  are 
Fox,  Paramount  and  Warner. 

This  week's  developments  in  the  formula- 
tion of  programs  of  32  companies  for  1935- 
36  follow : 

A+herton  Productions 

Louis  Hyman,  representing  Sol  Lesser,  presi- 
dent of  Atherton,  arrived  in  New  York  from 
California  to  talk  to  Fox  Film  officials  regard- 
ing a  new  series  of  four  George  O'Brien  west- 
erns. Mr.  Lesser  is  producing  four  O'Brien's 
this  season,  having  already  completed  the  third, 
"Cowboy  Millionaire."  to  be  followed  by  "Hard 
Luck  O'Brien." 

V 

Burroughs-Tarzan 

Ben  S.  Cohen  arrived  in  New  York  from 


Hollywood  to  arrange  distribution  for  another 
combination  serial-feature,  "Adventures  of  Tar- 
zan." 

V 

Campbell 

Reported  in  process  of  formation  in  New 
York's  colored  Harlem  district  was  a  company 
to  be  known  as  Campbell  Productions,  to  pro- 
duce all-colored  pictures. 

V 

Cartoon  Exhibitors 

Comments  and  "gags"  contributed  by  Broad- 
way humorists  are  contained  in  "The  Wise- 
crack Weekly,"  short  subject,  released  this  week 
as  the  first  of  a  series  to  be  produced  by  the 
new  Cartoon  Exhibitors,  Inc. 

V 

Color  Classics 

Walter  Bond,  William  Arthur  Babson  and 
Aurora  Viehbrook  incorporated  Color  Classics, 
Inc.,  in  New  York. 

V 

Columbia 

Columbia's  1935-36  production  and  sales  plans 
were  under  discussion  in  Hollywood.  Jack 
Cohn,  returning  from  the  Coast  last  Saturday, 
indicated  that  the  company  will  not  increase 
its  total  schedule  next  season,  although  the 
present  number  of  10  specials,  out  of  40  re- 
leases, will  be  increased  under  a  plan  to  bolster 
the  star  lineup.  The  number  of  specials  for 
1935-36  may  be  doubled,  with  budgets  increased 
on  the  others. 

Harry  Cohn  will  arrive  in  New  York  in  a 
lew  weeks  for  home  office  conferences  on  the 
eve  of  the  sales  convention.  Reports  had  Frank 
Capra,  director,  heading  his  own  production 
unit. 

The  new  trend  toward  westerns  may  cause 
the  compan)^  to  reissue  eight  Tim  AlcCoy  fea- 
tures, to  add  to  eight  new  Ken  Maynards.  This 
season  there  were  reissues  of  Buck  Jones 
westerns. 

V 

DuWorld 

Distribution  rights  to  Cantor  Josef  Rosen- 
blatt's "Dream  of  My  People"  were  obtained 
bv  DuWorld  from  Palestine-American  Film. 
V 

Educational 

E.  W.  Hammons'  short  subject  producing 
company  started  the  last  of  this  season's  pro- 
gram, now  three-fourths  completed,  and  the 
pace  will  continue  until  the  last  is  finished,  in 
order  to  get  an  early  start  on  next  season's 
program. 

V 

Excelsior 

New  season's  release  of  Premier  Pictures, 
Hollywood,  will  go  out  under  the  new  firm 
name  of  Excelsior,  producers  Sig  Neufeld  and 
Leslie  Simmonds  making  the  change  this  week. 
The  company  will  make  nine  features  for  1935- 
36,  the  first  to  be  "Hell  Breaks  Loose,"  with 
Guinn  Williams  and  Sally  Blane  co-starred, 
and  Sam  Newfield  directing. 

V 

First  Division  Productions 

Production  plans  of  First  Division  Produc- 
tions, Inc.,  filming  division  of  First  Division 
Exchanges,  were  under  discussion  in  New 
York  this  week  at  conferences  in  which  John 
A.  Curtis,  George  Jackson  Hill,  Jr.,  Nicholas 
Ludington  and  Frank  Look  were  participating, 
while  Harry  Thomas,  Al  Friedland  and  William 


L.  Fiske  represented  the  distribution  division. 
The  company  had  not  decided  on  the  total  of 
1935-36  releases.  Hoot  Gibson  is  now  making 
four,  two  of  which  are  ready.  Both  Curtis  and 
Ludington  have  been  in  Hollywood. 

V 

Fox  Film 

Sidnej'  R.  Kent,  president  of  Fox,  was  still 
in  Hollywood  talking  with  studio  executives 
about  1935-36  product.  Sol  Lesser  again  will 
make  four  George  O'Brien  westerns. 

V 

Futter 

Walter  Futter  was  in  New  York  from  Holly- 
wood to  arrange  distribution  for  a  series  of 
Tom  Keene  westerns.  He  brought  East  a  print 
of  "Hong  Kong  Nights,"  first  of  the  group. 

V 

GB  Pictures 

Arthur  A.  Lee,  vice-president  of  GB  Pic- 
tures Company  in  this  country,  announced  the 
annual  convention  will  be  held  in  May.  In 
Hollywood,  Michael  Balcon,  production  head 
from  London,  said  that  the  company  will  dis- 
tribute 16  in  this  country  next  season.  Mr. 
Balcon  has  been  on  the  coast  signing  stars  for 
the  productions  in  London.  He  already  has 
signed  Richard  Dix  and  Madge  Evans  for  "The 
Tunnel,"  in  which  Conrad  Veidt  will  also  ap- 
pear. Maureen  O'Sullivan  and  C.  Aubrey 
Smith  were  acquired  for  Kipling's  "Soldiers 
Three,"  and  Boris  Karloff  and  Peter  Lorre 
were  taken  for  another.  Helen  Vinson  is  an- 
other. Two  of  the  16  will  star  George  Arliss, 
another  will  be  on  the  life  of  Cecil  Rhod'es, 
possibly  with  W^alter  Huston. 

Mr.  Balcon  leaves  Hollywood  Friday  for  a 
week  in  New  York  and  then  returns  to  the 
studios  in  England. 

V 

Grace 

Grace  Pictures  was  reported  to  have  con- 
cluded negotiations  with  M.  D.  Strong's  Cri- 
terion Films  for  distribution  of  its  "Kingfish," 
purported  to  be  a  story  of  the  career  of  Senator 
lluey  Long,  Louisiana. 

V 

H  off  berg 

J.  H.  Hoffberg  Company  will  import  15 
Spanish  features  from  Argentina,  Mexico  and 
Spain,  starting  with  "Dancing,"  from  Argen- 
tina. 

V 

Liberty-Majestic 

M.  H.  Hoffman,  president  of  Liberty  Pic- 
tures, in  Holh^wood,  placed  in  work  the  12th 
and  final  feature  for  1934-35,  entitled  "I'll  Bet 
You."  Meanwhile,  in  New  York,  Majestic  was 
moving  its  home  office  from  Radio  City  to 
Liberty's  quarters  at  1776  Broadway,  where 
joint  sales  operations  will  be  conducted  under 
Budd  Rogers,  Liberty's  sales  manager.  Majes- 
tic will  complete  its  present  program  of  12  fea- 
tures, and  future  plans  will  be  made  known 
within  the  month.  Herman  Gluckman  is  presi- 
dent of  Majestic. 

V 

Metro-Goldwyn-Mayer 

A  new  trend  is  in  the  offing  at  Metro's  Cul- 
ver City  studio,  where  five  stories  of  the  sea 
were  in  preparation,  and  two  others  were  be- 
ing filmed. 

On  the  1935-36  schedule  will  be  a  feature,  his 
first,  from  James  A.  FitzPatrick,  who  produces 
Metro's  "Technicolor  Traveltalks,"  shorts.  Mr. 
FitzPatrick  will  sail  from  New  York  for  Lon- 
don and  Africa  about  April  27  for  location 
scenes  for  the  feature,  "Doctor  Livingston." 
Mrs.  FitzPatrick  is  now  in  Japan  producing 
color  shorts,  and  will  next  work  in  China. 

The  company  started  last  weekend  to  set  its 
short  subject  program  for  next  season,  signing 
a  new  contract  with  Harman  Ising  for  another 
13  "Happy  Harmonies,"  in  Technicolor.  The 
schedule   probably   will   remain   the   same  in 

(Continued  on  page  46) 


April     13,  1935 


MOTION    PICTURE  HERALD 


43 


BRITISH  AND  AMERICAN 
INTERESTS  DRAW  CLOSE 


Jurists  to  See  "Miserables" 
At  Two  New  York  Screenings 

United  Aftists  held  a  screening  Wednes- 
day evening-  of  "Les  Miserables"  in  New- 
York  for  a  group  of  jurists,  headed  by  Ken- 
neth Jones,  of  the  National  Committee  on 
Public  Education  for  Crime  Control,  who 
acted  as  host  to  Judge  Otto  Rosalsky,  Max 
D.  Steuer,  Dudley  Field  Malone,  Judge  Sam- 
uel D.  Levy,  George  Gordon  Battle,  Judge 
Jeannette  Brill,  Judge  John  P.  O'Brien  and 
Bainbridge  Colby. 

On  Thursday  evening  a  second  screening- 
was  scheduled  for  New  York  University, 
under  the  same  sponsorship,  for  Professor 
Frederic  M.  Thrasher's  class  on  motion  pic- 
ture theory  and  art.  Scheduled  to  attend 
were  Judge  Jonah  J.  Goldstein,  Charles  L. 
Chute,  of  the  National  Probation  Associa- 
tion, Sanford  Bates,  of  the  Bureau  of 
Prisons,  Harry  Elmer  Barnes,  George  Z. 
Medalie. 

"Les  Miserables,"  a  20th  Century  produc- 
tion, directed  by  Richard  Boleslawski,  is 
about  to  be  released. 

AMPA  Nominating  Committee 
Names  Candidates  for  Office 

A  nominating  committee  of  the  Associated 
Motion  Picture  Advertisers  on  Wednesday 
announced  candidates  for  office  for  1935-36, 
to  succeed  the  present  administration,  headed 
by  William  R.  Ferguson,  of  MGM,  as  fol- 
lows : 

For  president,  Bruce  Gallup,  who  this 
week  became  advertising-publicity  director 
of  Columbia ;  vice-president,  Charles  Leon- 
ard, Universal ;  secretary,  Alexander  Gott- 
lieb ;  treasurer,  Martin  Starr. 

Nominated  for  the  board  of  directors  are : 
Paul  Benjamin,  William  Ferguson,  Vincent 
Trotta,  Gordon  White  and  Marvin  Kirsch ; 
for  trustee  for  three  years,  David  David- 
son ;  auditing  committee,  Al  Sherman,  Ralph 
Lund,  Rodney  Bush ;  and,  for  national  coun- 
sellor to  the  Chamber  of  Commerce,  Rutgers 
Neilson. 

Both  Mr.  Ferguson  and  Mr.  Benjamin, 
who  have  been  conducting  the  present  ad- 
ministration, along  with  Marvin  Kirsch,  of 
Film  Daily,  declined  to  continue  in  office. 

New  Portable  Address 
System  by  RCA  Victor 

A  new  portable  public  address  and  sound 
reinforcement  system  for  moderate  sized 
public  places,  contained  in  a  carrying-case 
and  weighing  28^  pounds,  has  been  intro- 
duced by  the  RCA  Victor  commercial  sound 
sales  department. 

This  unit  is  said  to  be  suited  for  such 
applications  as  window  demonstrations  in 
dealers'  stores,  counter-to-kitchen  restaurant 
call  systems,  and  for  local  fairs  and  car- 
nivals. 


Sponable  to  Address  SMPE 

E.  I.  Sponable  will  give  a  paper  and  dem- 
onstration before  the  next  meeting  of  the 
Atlantic  Coast  section  of  the  Society  of  Mo- 
tion Picture  Engineers  in  the  theatre  review- 
room  of  Fox  Film  Corporation,  New  York, 
Wednesday  evening,  April  17.  Mr.  Spona- 
bles  paper  is  "The  Progress  in  the  Develop- 
ment of  Sound  Recording  and  Reproducing 
Equipment."  He  will  give  a  demonstration 
of  sound  recordings  from  old  ai'.d  ne'v  sound 
tracks. 


New  Company  to  Produce  in 
Bahamas;  Warner  Expanding 
in  London;  Balcon  Signs  Stars 

The  interests  of  England  and  America  in 
the  motion  picture  were  drawn  closer  to- 
gether this  week  by  several  diverse  develop- 
ments : 

British-American  Cinema  Studios,  Inc., 
was  formed  to  produce  British  quota  pic- 
tures at  Nassau,  an  English  possession,  as 
a  solution  to  the  quota  problems  of  Amer- 
ican companies. 

Warner  Brothers  sent  Irving  Asher  back 
to  London  with  orders  to  expand  the  com- 
pany's production  facilities  and  production 
program  in  England. 

Samuel  Goldwyn  said  he  will  produce 
in  London  if  California's  tax  program 
passes  and  forces  producers  to  abandon 
Hollywood. 

Michael  Balcon,  for  Gaumont  British, 
signed  a  group  of  Hollywood  stars  to  go 
to  England. 

Vincent  Wray,  of  London,  representing 
unnamed  American  and  British  business  in- 
terests, announced  formation  of  British- 
American  Cinema  Studios,  Inc.,  to  effect  "a 
logical  solution  of  one  of  the  most  costly 
and  vexatious  problems  confronting  Ameri- 
can productions"  of  the  British  quota  by 
establishing  studios  at  Nassau  in  the  Ba- 
hama Islands,  where  the  company  will  pro- 
duce quota  pictures  for  American  companies. 

"Up  to  this  time,  quota  pictures  made  in 
England  by  American  companies  have  been 
practically  a  total  loss,  due  to  the  fact  that 
they  are  rarely  ever  shipped  to  the  United 
States,"  explained  Mr.  Wray.  "Production 
cost  limitations  have  made  it  impossible  to 
create  the  type  of  pictures  which  would  find 
favor  on  American  screens ;  and  so  these 
pictures  have  been  made  to  fulfill  the  re- 
quirements of  the  law  and  then  have  been 
promptly  shelved,  with  their  costs,  amount- 
ing to  hundreds  of  thousands,  charged  off 
to  profit  and  loss." 

He  predicted  that  production  costs  of  these 
pictures  for  quota  use  will  be  cut  at  Nas- 
sau to  half  the  expenditure  in  London,  due 
largely  to  weather  conditions  obtaining  in 
the  Bahamas  as  against  the  more  severe  cli- 
mate of  England,  where  little  exterior  shoot- 
ing is  possible. 

Will  Feature  Americans 

"In  addition,"  he  declared,  "we  will  be 
able  to  feature  American  players'  as  they 
will  be  able  to  fly  from  Miami  in  two  hours, 
whereas  many  can  not  consider  the  trip  to 
London  and  return  with  its  loss  of  two 
weeks  in  traveling." 

The  company  will  either  make  the  quota 
pictures  on  assignment,  or  will  make  avail- 
able studio  facilities  to  producers.  A  studio 
also  will  be  built  at  Opalocka,  Florida,  six 
miles  from  Miami.  Sixteen  features'  will  be 
produced  immediately  for  1935-36,  the  first 
release  on  October  1. 

In  New  York  is  Mrs.  Bonnie  Busch,  head 
of  the  company's  story  department,  who  is 


looking-  for  material.  Mrs.  Busch  is  honor- 
ary n-iember  of  the  American  Women's  As- 
sociation in  Florida,  member  and  past  presi- 
dent of  the  Association  of  American  Pen- 
women  and  author  of  several  novels,  includ- 
ing "Waiting"  and  "Progressive  Marriage." 

Permanent  offices  will  be  opened  in  New 
York  within  the  month,  said  Mr.  Wray, 
who  explained  that  the  development  had  no 
bearing  on  the  reputed  contemplation  of  the 
industry  to  move  its  studios  from  Hollywood 
if  California  passes  its  present  tax  legisla- 
tion proposals. 

Warner  Expanding  in  England 

While  the  Wray  interests  were  revealing 
their  plans  for  quota  production  on  this  side, 
Warner  determined  to  expand  in  England. 

Carrying  authoritj^  to  start  construction 
of  a  new  sound  stage  and  enlargement  of 
the  studio  at  Teddington,  near  London,  Irv- 
ing Asher,  production  head  at  the  English 
studios,  sailed  after  conferences  with  Jack 
L.  Warner  in  Hollywood.  Mr.  Warner  has 
in  mind  sending  some  of  the  company's  first- 
line  stars  to  London  to  appear  in  the  British 
product.  Laura  La  Plante,  who  is  Mrs. 
Asher,  will  make  "The  Water  Nymph."  Mr. 
Asher  urged  that  consideration  for  London 
production  be  given  to  the  Jolson-Keeler 
team,  to  Kay  Francis  and  James  Cagney, 
and,  possibly,  Joan  Blondell,  Guy  Kibbee, 
Hugh  Herbert,  Frank  McHugh  and  Allen 
Jenkins. 

"All  English  producers  are  adopting 
American  methods,"  Mr.  Asher  said.  "The 
cinema  is  enormously  popular  all  through 
England,  and  American  stars'  are  welcomed 
enthusiastically." 

Warner  will  make  longer  features  in  Eng- 
land next  year,  said  Mr.  Asher.  This  season 
the  product  runs  from  4,500  to  5,000  feet 
each;  the  new  feature  will  run  7,000  feet. 
He  said  that  the  new  pictures  "will  aim  for 
a  world  market."  Jerome  Jackson,  formerly 
with  Gaumont-British,  will  become  an  asso- 
ciate of  Mr.  Asher. 

Goldwyn  Looking  to  England 

Samuel  Goldwyn,  returning  to  New  York 
last  week  from  England,  said  he  would  not 
join  other  Hollywood  studios  in  any  migra- 
tion to  another  state  if  the  California  tax 
program  is  enacted,  but  would  move  his  di- 
vision of  United  Artists  to  London,  "where 
they  want,  respect  and  appreciate  the  film 
producer." 

"Great  Britain  knows  what  it  means  to 
have  at  its  disposal  wordwide  exploitation 
that  can  be  obtained  through  the  medium  of 
the  films,  and  the  Government  is'  now  trying 
to  pass  laws  to  help  producers  inasmuch  as 
it  means  the  spreading  of  the  name  and  fame 
of  the  country  everywhere  in  the  world." 

A  further  closer  relationship  between  Hol- 
lywood and  London  production  was  being 
effected  this  week  in  Hollywood  where 
Michael  Balcon,  production  head  of  Gaumont 
British,  London,  was  signing  stars'  for  pro- 
duction in  England.  Twentieth  Century  and 
Alexander  Korda,  London  Films,  plan  an  in- 
terchange of  talent.  William  Goetz,  vice 
president  of  20th,  leaves  this  week  for  con- 
ferences with  Mr.  Korda. 


'Only  one  picture  in  a  decade  can  match  its  spiritual  qualities  with 
ts  box-ofFice  power.  'Les  Miserables'  is  that  picture! 

— Louella  Parsons  in  the  great  chain  of  Universal  Service  newspapers. 


'Here,  at  last,  is  the  perfect  picture — the  picture  by  which  all 
talking  screen  achievements  of  the  future  will  be  comparedl 

— Eileen  Percy  in  the  far  flung  chain  of  Block  Publications. 


'It  is  not  often  that  we  really  go  into  raves  over  a  pic 
^ure,  but  'Les  Miserables'  warrants  unloosing  every 
adjective." 

—  Dan  Thomas,  Motion  Picture  Editor,  Newspaper  Enterprise  Association 


'Les  Miserables'  is  a  picture  in  a  million! 

— Alice  Titdesley,  Philadelphia  Public  Ledger  Syndicate 


JOSEPH  M.  SCHENCK  presents 

VICTOR  HUGO'S 


"Your  grandchild  and  your  grandmother  will  be  equally  thrilled  by 
'Les  Miserables' — destined  to  be  the  year's  outstanding  picture!'' 

—  Waliace  X  Rawles,  International  News  Service 


It  is  a  sensational  picture!' 

— Mollie  Merrick,  Norfh  American  Newspaper  Allianct 


The  book,  'Les  Miserables'  is  the  greatest  epic  and  dram- 
atic work  of  fiction  ever  created,  and  the  talking  picture 
of  the  same  name  may  well  go  down  in  history  as  the 
greatest  of  its  kind!' 

— feg  Murray'  "Seeing  Slars,"  King  Feature  Syndicat* 


DARRYL 
ZANUCK 

PRODUCTION 


STARRING 


FREDRIC  MARCH 
CHARLES  LAUGHTON 


CEDRIC  HARDWICKE  -  Rochelle  Hudson  -  Frances  Drake  -  Joan  Beal 


46 


MOTION    PICTURE  HERALD 


April     13,  1935 


FOR  THE  NEW  SEASON 


{Continued  from  page  42) 

number  as  this  season,  when  36  two-reelers  and 
31  singles  are  being  distributed. 

The  Laurel  and  Hardy  combination  will  con- 
tinue under  the  Roach-Metro  banner,  Stan 
Laurel  and  Oliver  Hardy  having  made  up  their 
differences  last  week  and  signed  a  new  contract 
with  Hal  Roach,  starting  with  a  feature  for 
1935-36. 

V 

Monogram 

W.  Ray  Johnston,  president  of  Monogram 
Pictures,  was  touring  the  Midwest,  and  in 
Kansas  City  declared  that  the  company  next 
season  may  increase  its  program  from  36  to 
42  features.  Mr.  Johnston  said  that  all  plans 
will  be  ready  for  approval  of  franchise  holders 
at  the  annual  meeting,  about  May  1,  to  be  held 
probably  in  Cincinnati  or  Cleveland.  He  re- 
turned to  New  York  this  week. 

V 

Ostrow 

Lou  Ostrow,  completing  his  fourth  and  last 
feature  for  Universal,  was  reported  in  Holly- 
wood to  be  considering  a  series  next  season 
for  another  distributor. 

V 

Paramount 

The  company  officially  aimounced  May  23 
to  26  for  its  1935-36  sales  convention,  to  be 
held  in  New  York  at  the  Waldorf-Astoria  hotel. 
Neil  F.  Agnew,  sales  manager,  will  preside 
during  the  first  three  days,  while  George  J. 
Schaeffer  will  preside  when  matters  affecting 
theatre  operations  are  under  consideration. 

The  fourth  day  will  be  given  over  to  group 
meetings  in  which  matters  of  immediate  im- 
portance to  the  individual  districts  will  be 
taken  up.  On  that  day,  too,  Mr.  Schaeffer  will 
talk  to  Paramount  theatre  partners. 

A  number  of  regional  meetings  will  follow, 

While  Paramount  scouts  were  seeking  new 
talent  and  story  material,  the  production  forces 
actually  started  production  on  1935-36  features. 
In  all  probability  the  lineup  will  remain  as  at 
present,  65  features  and  lOO  single-reel  shorts, 
including  a  series  of  six  westerns  to  be  pro- 
duced by  Harry  Sherman ;  eight  to  be  made  by 
Benjamin  Glazer,  and,  possibly  a  series  of  fea- 
tures by  B.  P.  Schulberg,  who  is  to  submit  a 
new  production  proposal  to  the  new  Paramount 
board  of  directors  soon,  as  the  result  of  the 
vetoing  of  a  previous  proposal  by  creditor  rep- 
resentatives. 

Mr.  Schulberg's  new  arrangement  is  expected 
to  provide  for  14  features  in  the  next  two  years, 
to  be  made  at  an  average  cost  of  |250,000.  Pro- 
duction, however,  would  be  at  the  Paramount 
studio,  and  new  financing  proportions  will  also 
be  proposed.  The  first  offer  provided  for  Para- 
mount financing  to  the  extent  of  50  per  cent 
and  the  remainder  divided  between  Electrical 
Research  Products,  Inc.,  and  Ralph  Kohn. 

Already  in  preparation,  or  actually  being- 
filmed  at  Paramount  for  1935-36,  are :  Cecil  B. 
DeMille's  "The  Crusaders"  ;  "Paris  in  Spring," 
Lewis  Milestone  production  with  Tullio  Car- 
minati  and  Mary  Ellis ;  "So  Red  the  Rose," 
directed  by  King  Vidor ;  "The  Rose  of  the 
Rancho,"  Belasco-Tully  musical,  with  John 
Boles :  "The  Milky  Way,"  and,  "Anything 
Goes,"  with  Bing  Crosby. 

All  Paramount  foreign  heads  will  convene  in 
Paris  prior  to  the  May  23  convention  here,  with 
John  W.  Hicks,  foreign  manager,  in  charge. 

Lou  Diamond,  head  of  short  subjects,  said 
this  week  that  the  life  of  two-reelers  is  virtually 
at  an  end,  until  such  time  when  double  features 
may  be  less  popular.  "We  will  produce  only 
single-reel  subjects  during  1935-36,"  said  Mr. 
Diamond,  who  sees  "raucous  flubdub  and  aim- 


less slapstick  healthily  supplanted  in  the  new 
market  with  smartly  made  single-reel  sub- 
jects." 

Paramount,  too,  will  take  note  of  the  trend 
toward  western  features,  increasing  from  the 
current  group  of  five  to  nine  or  ten. 

V 

Peerless 

Peerless  Production  is  making  "Night 
Cargo,"  with  Llovd  Hughes  and  lacqueline 
Wells. 

V 

Radio 

Fifty  features  for  1935-36  and  a  sales  con- 
vention in  June  at  Chicago's  Drake  Hotel  are 
tentative  RKO  decisions.  Plans  for  the  con- 
vention are  being  supervised  by  Jules  Levy, 
sales  manager. 

Studio  conferences  were  being  held  in  Holly- 
wood on  new  product.  Katherine  Brown,  east- 
ern story  editor,  was  at  the  studio  for  the  three 
weeks  of  discussion. 

Ben  Holmes  will  direct  Walter  Catlett  in  a 
1935-36  series  of  six  "Four  Star"  comedies. 
V 

Republic 

Mary  Putane,  John  Pfeier  and  John  Butler 
were  named  as  incorporators  of  Republic  Pro- 
ductions, Inc.,  chartered  in  New  York. 

V 

Rowland 

William  Rowland,  of  Hollywood,  was  re- 
ported planning  four  feature  musicals  for 
1935-36. 

V 

Security 

Prescott  Chaplin,  George  Mooser,  Donald 
Barry.  Richard  Bare  and  Lorrin  Andrews  were 
reported  to  have  formed  Security  Pictures  in 
Hollywood  to  produce  western  features  and 
short  subjects. 

V 

Sennett 

Mack  Sennett  returned  to  New  York  from 
England,  and  told  reporters  he  would  resume 
production  through  a  new  independent  com- 
pany which  will  market  comedies  produced 
both  in  this  country  and  England. 

V 

Smith 

William  G.  Smith  was  reported  to  have  in 
mind  a  series  of  eight  railroad  features.  Now 
in  New  York,  Mr.  Smith  will  return  to  Holly- 
wood within  a  few  days  to  start  preparations. 

Trans-Oceanic 

Arthur  Sanchez  of  Trans-Oceanic  Film  Ex- 
port Company,  purchased  foreign  distribution 
rights  to  a  series  of  Harry  Carey  feature  west- 
erns, the  entire  Mascot  product  for  Venezuela, 
and  to  a  series  of  eight  features  with  Lon 
Chaney,  Jr. 

V 

United  Artists 

Darryl  Zanuck  completed  his  20th  Century 
1934-35  feature  schedule,  with  "Cardinal  Riche- 
lieu," "Les  Miserables"  and  "Call  of  the  Wild," 
and  decided  on  12  for  1935-36,  as  follows : 
"Ivanhoe,"  "The  Man  Who  Broke  the  Bank  of 
Monte  Carlo,"  "Sing,  Governor,  Sing,"  "Shark 
Island,"  "Nile  Patrol,"  "Gentlemen,  the  King," 
"Earthbound,"  "Professional  Soldier,"  and  four 
others.  Production  will  begin  on  Mr.  Zanuck's 
return  from  an  Alaskan  trip.  Henry  Duffy, 
stage  producer,  has  joined  the  staff. 

Samuel  Goldwyn  was  en  route  to  Hollywood 
to  prepare  for  "The  Dark  Angel,"  first  of  six 


to  be  made  by  his  division  of  United  Artists  for 
1935-36.  He  had  been  in  London. 

"Amateur  Lady"  will  be  Reliance's  first  for 
the  new  season.    The  unit  will  be  eight. 

Production  conferences  were  held  one  week 
ago  in  Hollywood,  with  Joseph  M.  Schenck, 
president ;  Mr.  Zanuck ;  Al  Lichtnian,  sales 
manager ;  Edward  Small,  pruduction  head  of 
Reliance,  and  Harry  Goetz,  Reliance  president, 
participating. 

V 

Universal 

Universal  is  considering  meeting  the  demands 
for  westerns  by  increasing  the  Buck  Jones 
series  from  six  to  eight  for  1935-36,  which 
would  bring  the  schedule  to  44. 

Joel  McCrea  will  appear  in  two  features  next 
year,  with  "Magnificent  Obsession"  probably 
the  first.  Claudette  Colbert  may  play  opposite 
and  John  Stahl  will  direct. 

First  sessions  on  new  sales  and  product 
policies  were  held  at  the  coast  studio,  where 
Fred  S.  Meyer,  new  business  manager,  is  lay- 
ing plans  to  erect  a  new  administration  build- 
ing, relandscape  the  studio  grounds  and  re- 
furbish the  entire  plant. 

Mr.  Meyer  declared  last  weekend  that  pro- 
duction activity  for  1935-36  will  be  handled  by 
Stanley  Bergerman  as  executive  producer  and 
Carl  Laemmle,  Jr.,  as  independent  producer. 

"Diamond  Jim  Brady"  will  be  the  first  in 
1935-36. 

V 

Warner 

Al  Jolson  will  continue  with  Warner  Broth- 
ers, having  signed  a  new  contract,  which  may 
embrace  his  extending  starring  activities  to 
include  supervision  of  all  Warner  musicals. 

Hollywood  and  June  were  decided  as  the 
place  and  date  for  the  sales  convention.  Albert 
L.  Warner,  Gradwell  Sears  and  Andrew  W. 
Smith  were  due  at  the  studios  at  Burbank  from 
New  York  to  confer  with  Jack  Warner  on  the 
new-  production  setup. 

Warner  signed  the  Yacht  Club  quartet  to  an 
exclusive  contract  to  appear  in  eight  two-reel 
Vitaphone  musicals  and  one  feature  next  sea- 
son. 

Six  players  will  be  groomed  for  stardom  for 
1935-36,  including :  Olivia  de  Haviland,  Maxine 
Doyle,  June  Martel,  Nan  Gray,  June  Grabiner 
and  Dorothy  Dare. 

"Looiiey  Tones"  and  "Merrie  Melodic,"  short 
subjects,  will  continue  on  Warners'  release 
schedule,  the  company  having  signed  a  new- 
three-year  contract  with  Leon  Schlesinger,  their 
producer.  This  will  be  the  sixth  year  he  has 
been  under  contract  to  the  company. 

V 

Weiss 

Weiss  Brothers  were  reported  to  be  consider- 
ing 34  features  and  three  serials  for  1935-36. 
the  while  a  deal  was  being  closed  with  M.  H. 
Hofifman  for  California  distribution  by  Allied 
Pictures,  24  of  which  Weiss  has  scheduled  for 
this  season.  The  group  includes  six  northwest 
action  features,  six  police  melodramas,  six 
"Range  Riders"  and  a  like  number  of  "Rough 
Riders." 

Production  was  completed  on  "The  Drunk- 
ard," which  will  be  released  by  Stage  and 
Screen  Productions,  and  on  "Cyclone  of  the 
Saddle"  and  "Pals  of  the  Range,"  of  the 
"Range  Rider"  and  "Rough  Rider"  series,  re- 
spectively. 


School  Prepares  List 
Of  Industrial  Pictures 

The  Industrial  Teacher-Training  Library 
of  the  High  School  of  Commerce  in  New 
York  has  prepared  a  bibliography  of  techni- 
cal and  industrial  motion  picture  films  and 
slides  for  sale  to  educators.  The  book  con- 
tains data  on  1,058  films,  which  are  classified 
into  27  difTerent  subjects.  The  book  lists 
the  source  of  the  film  in  each  case,  and  the 
rental  charge. 


April     13,  1935 


MOTION    PICTURE  HERALD 


47 


FILMS  AS  PERENNIALS 

Enduring  Values  Reflected  in  Re- 
bookings of  "If  Happened  One 
Night"  and  ''One  Night  of  Love'' 

by  BEN  H.  ATWELL 


Mr.  Atwell,  by  reason  of  his  very 
long  and  competent  experience  with 
the  exploitations  of  the  speaking 
stage,  the  opera  and  the  screen,  is 
especially  fitted  for  this  discussion  of 
the  possibilities  of  more  enduring 
t  allies  in  motion  picture  production. 
It  chances  that  the  revival  of  the 
tivo  pictures  which  inspired  the 
article  comes  so  closely  on  the  heels 
of  original  release  that  the  demon- 
stration is  something  less  than  per- 
fect. However,  it  would  appear  that 
unless  radical  improvements  in  mo- 
tion pictiire  technique  intervene  there 
can  be  found  a  valuable  residue  of 
box  office  worth  in  each  season's  best 
productions. — T.  R. 


Circuits  Planning 
Revival  of  Pooling 

Major  theatre  circuits  are  discussing  ar- 
rangements for  pooling  deals,  to  become 
effective  approximately  at  the  opening  of 
the  1935-36  season,  which  would  bring- 
about  an  almost  unprecedented  revival  of 
that  form  of  theatre  operation.  The  de- 
velopment is  said  to  have  been  caused  by  a 
desire  to  reduce  operating  costs  and  at  least 
partially  to  eliminate  severe  competition 
according  to  the  Motion  Picture  Daily. 
Also  considered  is  the  fact  that  extended 
use  of  pooling  arrangements  will  tend  to 
reduce  the  difficulties  in  setting  up  clearance 
and  zoning. 

Independent  operators  are  included  in  the 
pooling  deals  already-  placed  in  effect  or 
under  consideration.  A  recent  deal  had 
Paramount  taking  over  operation  of  the 
Peekskill,  in  Peekskill,  N.  Y.,  from  Ray- 
mond Wittickson.  In  Newark  last  week 
Warner  pooled  its  Regent  with  Levin 
Brothers'  Elwood.  The  Capitol,  Belleville, 
N.  J.,  Warner  house,  is  involved,  the  deal 
concluding  a  long  standing  clearance  and 
zoning  case  filed  by  Louis  Levin. 

Loew's  and  RKO  are  partners  in  the 
Orpheum,  Denver,  with  RKO  handling- 
operation.  RKO  had  the  house  alone  before 
Harry  Huffman  took  it  over  from  the  re- 
ceivers. The  house  now  gets  MGM  product 
in  addition  to  Radio.  There  are  reports 
of  Loew's  planning  operation  affiliations 
with  Chicago  independents  to  supplement  a 
number  of  theatres  planned  there. 

This  week  the  pooling  arrangement 
between  Si  Fabian  and  RKO  in  Albany  and 
Schenectady  became  effective.  Mr.  Fabian 
owns  the  Palace  in  Albany  and  the  Plaza 
in  Schenectady,  which  have  been  operated 
by  RKO  in  pools  with  Farley  and  Charles 
Buckley,  operating  other  houses.  Now  Mr. 
Fabian  becomes  the  new  operator,  with 
RKO  buying  and  booking  for  the  houses. 

Waxman  In  Charge  for  NVA 

A.  P.  Waxman,  advertising  counsel  for 
GB,  who  handled  last  year's  National 
Vaudeville  Artists  Drive,  will  act  as  honor- 
ary chairman  of  the  advisory  committee  on 
this  year's  drive,  through  the  courtesy  of 
Arthur  A.  Lee,  vice  president  of  GB.  Wax- 
man  appointed  Ben  Serkowich  publicity  di- 
rector for  the  campaign. 


The  question  whether  the  tendency  to  re- 
gard film  productions  as  ephemeral  assets 
from  which  all  financial  returns  must  be 
harvested  within  a  few  months  is  sound,  or 
if  certain  pictures  may  be  considered  sub- 
stantial properties — perennials,  capable  of 
demonstrating  box-office  power  year  after 
year,  in  the  same  manner  that  oldtime  stage 
productions  enriched  their  owners — is  raised 
by  nationwide  rebookings  of  Columbia's  "It 
Happened  One  Night"  and  "One  Night  of 
Love." 

Both  are  being  resubmitted  to  the  pic- 
ture-going public  on  the  crest  of  a  wave 
of  publicity  growing  out  of  the  awards 
they  recently  were  accorded  for  excel- 
lence. The  returns  reported  by  exhibitors 
have  given  rise  to  the  question  whether, 
after  all,  current  methods  of  selling  film 
productions  are  efficient  as  compared  with 
the  experience  of  stage  producers  in  the 
past,  who  upon  developing  a  smash  hit 
developed  it  into  a  meal  ticket  for  years. 
The  latter  view  may  Involve  a  change  in 
both  production  and  selling  methods,  but 
this  may  be  viewed  as  well  worth  while 
when  the  records  of  certain  stage  produc- 
tions are  considered. 

Outstanding  stage  perennials  include 
"Rip  Van  Winkle"  with  16,000  perform- 
ances spread  over  nearly  a  half  century  in 
the  same  group  of  cities — this  is  a  condition 
true  of  all  "legitimate"  touring  attractions 
— "Ben  Hur"  with  nearly  5,000  perform- 
ances in  the  course  of  fifteen  years ;  "The 
Music  Master"  with  the  same  record  in  a 
dozen  years;  "The  Man  From  Home"  with 
4,000  in  the  same  period;  "Arizona"  with 
3,200  performances  throughout  ten  years ; 
"The  Squaw  Man,"  and  Walter  Hampden's 
production  of  "Cyrano  de  Bergerac"  with  a 
similar  record,  after  Richard  Mansfield  pre- 
viously played  "Cyrano"  some  twentv  years. 
"Charlie's  Aunt,"  "Turn  to  the  Right," 
"Lightnin',"  "Seventh  Heaven,"  "Shore 
Acres,"  "The  Old  Homestead,"  "Monbars," 
"Monte  Cristo,"  "The  Two  Orphans"  are 
similar  instances  of  the  remote  past.  "Green 
Pastures,"  current  on  Broadway  after  an  18- 
month  original  run  and  years  of  touring, 
aft'ords  a  modern  example. 

"Birth  of  a  Nation"  Lone  Film 

D.  W.  Griffith's  "Birth  of  a  Nation"  is  the 
single  outstanding  example  of  the  vitality  of 
this  principle  in  the  realm  of  pictures.  Its 
spread  of  profitable  presentation  covered 
about  10  years.  Of  course,  this,  too,  was 
some  time  ago. 

Today  "It  Happened  One  Xight"  and 
"One  Night  of  Love"  are  subjecting  the 
principle  to  test  through  repeat  presentations 
from  Coast  to  Coast.  Both  productions  enjoy 
the  advantage  of  tremendous  publicity  grow- 
ing out  of  having  received  unusual  awards — 
the  former  from  the  Academy  of  Motion 
Picture  Arts  and  Sciences,  and  "One  Night 


of  Love"  the  first  recognition  accorded  the 
cinema  by  the  venerable  Society  of  Arts  and 
Sciences,  which  for  more  than  half  a  cen- 
tury has  recognized  significant  contributors 
to  American  culture.  This  ha?  stimulated 
the  curiosity  of  patrons  who  failed  to  see  the 
pictures  when  originally  shown,  and  the  de- 
sires of  those  anxious  to  enjoy  the  produc- 
tions again.  In  many  instances  reports  indi- 
cate that  the  latter  account  for  the  demon- 
strated box-office  drawing  power. 

In  any  event  the  test  is  sufficiently  broad 
and  comprehensive  to  throw  light  on  the 
questions  involved  and  to  bring  forth  tangi- 
ble evidence  clarifying  the  theories  growing 
out  of  the  situation.  At  the  Little  Carnegie 
Theatre  in  New  York,  "It  Happened  One 
Night"  was  still  playing  (as  this  was  being 
written)  after  completing  the  third  week  of 
its  fourth  repeat  booking,  during  which  the 
Astor  Theatre  rounded  out  (Thursday,  April 
4)  two  big  weeks  in  Times  Square  after  the 
picture  had  been  shown  in  every  type  of  pic- 
ture house  from  Radio  City  Music  Hall  to 
the  most  remote  neighborhood  theatre.  Co- 
lumbia has  approved  630  repeat  playing  con- 
tracts for  the  picture,  ranging  from  the 
Loew  Circuit  to  small  country  towns,  so  the 
test  will  be  thorough,  indeed. 

A  Story  of  Repeat  Runs 

The  Stanton  theatre  in  Philadelphia,  for 
instance,  found  it  necessary  to  hold  it  over 
for  a  second  week,  while  the  Ritz  in  Tusca- 
loosa, Ala.,  played  to  banner  business  on  a 
repeat  third  booking.  At  San  Jose,  Cal.,  a 
repeat  presentation  on  a  sharing  basis 
brought  the  producers  more  than  nine  times 
the  original  rental.  The  Orpheum  Theatre, 
Davenport,  Iowa;  the  Superba,  San  Diego, 
Cal. ;  the  Tower.  St.  Paul ;  the  Family  at 
Gary,  Ind. ;  Patterson  theatre,  Baltimore, 
and  Gem  in  Salt  Lake  City  are  among  the 
scattered  repeats  already  played. 

One  hundred  and  twenty-nine  approved 
repeat  contracts  are  starting  off  the  test  as 
applied  to  "One  Night  of  Love,"  with  the 
Capitol,  Newark,  leading  the  procession. 
This  test  is  even  more  severe,  for  "One 
Night  of  Love"  was  released  September  15, 
and  is  still  a  "new"  picture  in  many  situa- 
tions. 

"It  Happened  One  Night"  was  released 
seven  months  earlier,  on  Feb.  23,  1934. 

To  Have  Bearing  on  Policies 

No  secret  is  made  of  the  fact  that  insofar 
as  Columbia  is  concerned  the  outcome  of  the 
test  will  have  an  important  bearing  on  its 
future  policies  concerning  productions  giv- 
ing promise  of  qualifying  as  classics  having 
perennial  possibilities. 

Incident  to  the  test,  the  Loew  Circuit  on 
Friday,  May  5,  began  combining  the  two 
award  winners  in  many  situations  where 
double  features  are  presented,  among  them 
the  Palace  theatre,  Hartford ;  Elm,  Worces- 
ter; Byar,  New  Haven,  and  the  Poli  the- 
atres in  Meriden  and  Waterbury. 


48 


MOTION    PICTURE  HERALD 


April    13,  1935 


SHOWMEN*^  REVIEWS 


laiiiiiiiiiiiiiiii 


This  departmenf  deals  wl+h  new  product 
from  the  point  of  view  of  the  exhibitor 
who  is  to  purvey  it  to  his  own  public 


The  Case  of  the 
Curious  Bride 

(First  National) 
Mystery 

Perry  Mason,  clever  criminal  lawyer,  who 
always  works  within  the  law,  and,  incidentally, 
is  more  than  an  amateur  detective  and  usually 
a  couple  of  jumps  ahead  of  the  police  at  their 
own  game,  here  takes  a  hand  in  a  case,  saves 
an  innocent  girl  from  the  chair,  unravels  a 
murder  and  its  background,  and  does  it  in  a 
racy  and  highly  entertaining  fashion. 

Warren  William,  whose  name  should  mean 
something  at  the  box  office,  contrives  to  be  an 
engaging  and  thoroughly  capable  Perry  Mason, 
and  he  is  ably  aided  by  Margaret  Lindsay, 
Donald  Woods,  Claire  Dodd  and  Allen  Jen- 
kins, who  as  Spudsy,  Mason's  general  "handy 
man,"  supplies  some  excellent  comedy  in  his 
own  roughneck  style. 

The  romantic  element,  though  it  is  just  suffi- 
cient to  carry  a  story  thread,  is  largely  inci- 
dental to  the  mystery  and  the  breezy  style  in 
which  Mason  clears  it,  but  the  case  does  revolve 
about  a  marital  problem,  in  a  sense,  hence  the 
value  of  the  title.  Largely  interspersed  with 
comedy,  in  situation  and  dialogue— Jfor  the 
most  part  handled  by  Jenkins  and  William — 
the  story  loses  no  time  in  getting  to  its  point, 
and  moving  from  there  to  the  conclusion.  Mur- 
der, blackmail,  police  baiting  by  Mason,  a  bride, 
her  marriage  in  danger  and  she  involved  in 
a  murder,  and  the  manner  in  which  her  attor- 
ney dextrously  extricates  her  from  all  her 
difficulties,  make  up  the  story  elements  and 
should  offer  much  with  which  the  exhibitor 
may  work  in  the  selling. 

Mason's  help  is  sought  by  Miss  Lindsay,  an 
old  friend,  whose  husband  supposedly  died 
four  years  before  and  who  but  recently  mar- 
ried wealthy  young  Woods.  Mason  learns  that 
the  supposedly  dead  husband  returned  to  black- 
mail her,  a  game  he  apparently  had  played  be- 
fore. At  the  morgue  he  discovers  a  wooden 
Indian  in  the  spot  where  the  body  of  the  hus- 
band should  be.  He  appoints  himself  Miss  Lind- 
say's attorney. 

He  decides  to  confront  the  husband  person- 
ally, but  finds  the  police  ahead  of  him,  and  the 
husband  dead,  via  a  stab  in  the  head  and  a 
poker  clout  on  the  head.  Miss  Lindsay's  keys 
are  found  by  the  body,  and  speedily  she  is 
thrown  into  jail,  while  Mason  sets  to  work 
hard  and  fast  to  find  the  truth,  save  his  client, 
and  outwit  the  police  and  the  district  attorney, 
a  pleasurable  pastime. 

With  Jenkins  the  ferret  at  his  boss's  orders. 
Mason  goes  to  work,  the  trail  leading  to  San 
Francisco  and  a  small  hotel,  through  a  girl 
and  her  brother  who  was  out  to  get  the  hus- 
band, and  involving  Woods'  father,  who  tries 
to  buy  everybody,  including  Mason,  to  send 
his  daughter-in-law  to  the  chair.  Slowly  but 
surely  Mason  builds  his  case,  brings  all  his 
suspects  together  at  a  cocktail  party,  and  pro- 
ceeds to  recount  what  happened,  accurately,  it 
proves,  with  Woods  finally  admitting  his  prox- 
imity to  the  crime,  though  describing  it  as  an 
accident. 

Miss  Lindsay,  then,  feels  herself  free  to  go 
with  the  somewhat  unexplained  Phillip  Reed, 
a  friend,  and  Mason  goes  on  a  vacation  with 
his  capable  secretary.  Miss  Dodd. 

Names,  a  good,  fast-moving  mystery  yarn, 


William  and  Jenkins,  an  intriguing  title,  are  the 
ingredients  for  the  exhibitor  to  mix  in  his 
selling  tonic. — Aaronson,  New  York. 

Produced  and  distributed  by  First  National.  Direc- 
tor, Michael  Curtiz.  Story  by  Erie  Stanley  Gardner. 
Screen  play  by  Tom  Reed.  Additional  diologue  by 
Brown  Holmes.  Photography  by  Dave  Abel.  Film 
editor,  Terry  Morse.  Art  director,  Carl  J.  Weyl. 
P.  C.  A.  Certificate  No.  685.  Running  time,  68  min- 
utes. Release  date,  April  13,  1935.  General  audience 
classification. 

CAST 

Perry  Mason   Warren  William 

Rhoda   Margaret  Lindsay 

Carl   Donald  Woods 

Delia   Claire  Dodd 

Spudsy   Allen  Jenkins 

Dr.  Claude  Millsap  Phillip  Reed 

Detective  Lucas   Barton  MacLane 

Doris  Pender   Winfred  Shaw 

Oscar  Pender   Warren  Hymer 

Coroner   Olin  Rowland 

State's  Attorney   Henry  Kolker 

Montaine,  Sr  Charles  Richman 

Toots  Howard   Thomas  Jackson 

Moxley   Errol  Flynn 

Byrd   Robert  Gleckler 

Fritz   James  Donlan 

Florabella   Mayo  Methot 

Luigi   George  Humbert 


Reckless 

(MGM) 

Melodramatic  Romance 

With  lavishly  atmosphered  settings  and  cos- 
tumes used  in  song  and  dance  sequences,  and 
the  straight  story  similarly  backgrounded,  em- 
bellishing, this  is  a  topically  based,  sophisticated, 
melodramatic  romance.  Running  its  course,  it 
at  various  periods  touches  upon  practically 
every  known  theatrical  and  entertainment  ele- 
ment, including  vivid  spectacle.  As  its  comedy 
is  comic,  its  romance  romantic  and  drama 
dramatic,  there  is  also  much  that  is  entirely 
irrelevant. 

In  the  first  part  it  is  a  theatre-world 
grounded  musical  romance  with  comedy.  With 
Ned  Riley,  a  sports  promoter-gambler,  and 
Granny  as  her  always  dependable  pals,  show- 
girl Mona  has  a  penchant  for  getting  into  jams 
which  her  two  guardians  get  her  out  of.  Mona 
is  arduously  pursued  by  wealthy  playboy  Har- 
rison. With  Blossom  and  Smiley  accenting  the 
comedy  provided  by  the  trio.  Blossom,  after 
being  regaled  with  all  the  luxury  that  money 
can  buy  and  even  though  she  knows  that  Ned 
is  in  love  with  her,  marries  Harrison. 

Then  the  picture  turns  dramatic.  Though 
Harrison,  Sr.,  wants  little  truck  with  his  new 
daughter-in-law  and  Harrison's  elite  friends 
snub  them,  Mona  determines  to  fight  against  it 
and  show  that  she  is  the  stuff  of  which  real  folk 
are  made.  The  marriage  of  Joe,  Harrison's 
erstwhile  fiancee,  is  the  turning  point.  Berated 
by  her  husband  for  happily  thrilling  the  wed- 
ding guests,  Mona  seeks  the  sanctuary  of  Ned's 
rooms.  There  Harrison,  kindly  treated  bv  the 
pair,  takes  his  own  life  after  accusing  Mona 
of  roping  him  in. 

Acquitted  of  a  murder  charge,  Mona  finds 
that  Harrison's  social  crowd  are  keeping  her 
out  of  work.  Ned,  too,  is  having  tough  sledding, 
but  finally  raises  enough  money  to  back  Mona 
in  a  new  show.  Determined  to  keep  Afona  off 
the  stage,  the  club  women  and  socialites  try 
every  scheme  possible  to  bar  her.  Ned,  how- 
ever, is  adamant  in  insisting  that  the  show 
go  on. 

Hissed,  booed  and  clapped  down  as  she  tries 
to  sing,  Mona  makes  a  curtain  speech  telling 
the  whole  truth  of  the  Harrison  affair,  and  the 


jeers  of  the  audience  turn  to  cheers  as  Mona 
finishes  her  number,  while  Ned  is  slipping  a 
ring  on  her  finger. 

The  topical  nature  of  the  production  gives  it 
exploitation  value,  accentuating  that  of  the  ex- 
pensive settings  featured.  Name  values  in  the 
cast  naturally  are  not  to  be  overlooked. — Mc- 
Carthy, Hollywood. 

Produced  and  distributed  by  Metro-Goldwyn-Mayer. 
Produced  by  David  O.  Selznick.  Directed  by  Victor 
Fleming.  Screen  play  by  P.  J.  Wolfson.  From  a  story 
by  Oliver  Jeffries.  Song:  "Ev'ry thing's  Been  Done 
Before,"  music  by  Jack  King.  Lyrics  by  Edwin 
Knopf  and  Harold  Adamson.  Song:  "Hear  What 
My  Heart  Is  Saying,"  music  by  Burton  Lane.  Lyrics 
by  Harold  Adamson.  Musical  number  "Reckless,"  by 
Jerome  Kern.  Lyrics  by  Oscar  Hammerstein,  IL  Pho- 
tographed by  George  Folsey.  Dances  staged  by  Carl 
Randall  and  Chester  Hale.  Orchestra  conducted  by 
Victor  Baravalle.  Synchronized  by  Herbert  Stothart. 
Art  director,  Cedric  Gibbons.  Associates,  Merril  Pye, 
Edwin  B.  Willis.  Gowns  by  Adrian.  Recording  direc- 
tor, Douglas  Shearer.  Film  editor,  Margaret  Booth. 
Assistant  director,  Charles  Dorian.  Running  time, 
when  seen  in  Hollywood,  100  minutes  (to  be  cut). 
Release  date,  April  19,  1935.  Adult  audience  classifi- 
cation. 

CAST 

Mona   Jean  Harlow 

Ned  Riley   William  Powell 

Bob  Harrison   Franchot  Tone 

Granny   May  Robson 

Smiley   Ted  Healy 

Blossom   Nat  Pendleton 

Paul  Mercer   Robert  Light 

Joe  Rosalind  Russell 

Harrison   Henry  Stephenson 

Louise   Louise  Henry 

Dale  Every   James  Ellison 

Ralph   Watson  Leon  WaycofT 

Man  Mountain  Dean  Himself 

Gold  Dust  Farina 

Allan   Allan  Jones 

Carl  Randall   Himself 

Nina   Mae   McKinney  Herself 


It  Happened  in  New  York 

(Universal) 
Comedy  Drama 

A  comedy  drama,  though  with  comedy  the 
dominating  story  element,  this  tells  the  yarn 
of  a  New  York  taxi  driver,  a  tough  lad,  his 
romance  with  a  little  telephone  operator,  and 
the  almost  fatal  accident  to  that  romance  when 
a  temperamental  screen  star,  with  her  press 
agent,  drops  into  town  and  into  the  cabby's 
vehicle,  causing  lots  of  trouble  for  the  couple, 
and  a  good  deal  of  amusement. 

The  names  are  fairly  good  for  selling  pur- 
poses. Lyle  Talbot  is  the  cabby,  Gertrude 
Michael  the  star,  Heather  Angel  Talbot's 
fiancee  and  Hugh  O'Connell  the  star's  ingenious 
and  persistent  press  agent.  It  appears  that 
comedy  is  the  selling  tack  to  take,  making  full 
use  of  the  names  and  title,  tying  that  in  with 
the  complication  of  often  laugh-provoking  epi- 
sodes which  result  when  the  star,  tired  and  an- 
noyed, refuses  to  go  to  the  premiere  of  her  own 
picture,  the  press  agent  is  driven  to  distraction, 
and  Talbot  suddenly  finds  himself  escorting 
the  star  as  the  wealthy  cattleman  of  Australia, 
and  Miss  Angel,  to  get  even,  goes  with  a  bogus 
count  as  the  brilliant  French  feminine  star. 

Not  outstanding  material,  it  is  nonetheless 
well  done  of  its  kind.  The  romantic  angle  and 
its  complications  open  the  way  for  selling. 

Talbot  and  Miss  Angel  are  engaged  and  he 
uses  their  savings  to  become  a  partner  in  the 
garage  business,  but  with  still  several  hundred 
dollars  to  pay.  Miss  Michael  is  en  route  to 
New  York  and  Europe  for  a  vacation,  and  in 
order  to  avoid  a  welcome  at  the  station,  disem- 


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50 


MOTION    PICTURE  HERAlU 


April    13,  1935 


barks  at  125th  street,  rusliing  into  Talbot's  cab. 
He  recognizes  her  and  when  he  hears  a  broad- 
cast for  the  return  of  her  lost  dog,  presents  him- 
self. Miss  Michael  becomes  interested  in  him, 
and  to  save  attending  the  premiere  of  her  latest 
picture  with  the  bogus  count,  persuades  Talbot 
to  go  with  her,  O'Connell  having  to  dress  him 
as  a  wealthy  Australian. 

Miss  Angel,  discovering  the  "date,"  is  an- 
noyed and  she  and  Talbot  quarrel,  although 
the  money  that  is  in  the  "job"  makes  Taliaot 
agree  to  accompany  the  star.  They  go  for  din- 
ner on  a  yacht  and  steal  off  for  a  sail  down 
the  Hudson,  but  eventually  are  caught  by 
O'Connell  and  forced  to  return  to  the  theatre. 
Miss  Angel,  to  get  even,  accedes  to  O'Connell's 
plan  that  she  go  as  a  French  star,  arranged 
by  the  press  agent  to  appease  the  anger  of  the 
"count."  At  the  premiere  Talbot  fights  with 
the  count,  Miss  Michael's  expensive  diamond  i-s 
stolen  and  the  count  is  revealed  as  in  league 
with  the  thieves. 

Miss  Michael  sees  to  it  that  the  romance  of 
Talbot  and  Miss  Angel  shall  go  along  in  the 
right  direction  and  that  Talbot  gets  enough 
money  to  become  a  full  partner  in  the  garage. 

Light  and  lively  entertainment,  telling  of  a 
rather  far  fetched  but  nonetheless  possible  epi- 
sode in  New  York,  where  almost  anything  may 
happen,  the  film  will  fit  almost  any  time  in  the 
week. — Aaronson,  New  York. 

Produced  and  distributed  by  Universal.  Edmund 
Grainger,  associate  producer.  Directed  by  Alan  Cros- 
land.  Story  by  Ward  Morehouse  and  Jean  Dalrymple. 
Screen  play  by  Rian  James  and  Seton  1.  Miller. 
Photography  by  George  Robinson.  P.  C.  A.  Certificate 
No.  W8.  Running  time,  66  minutes.  Release  date, 
March  18,  1935.  General  audience  classification. 
CAST 

Charley  Barnes  Lyle  Talbot 

Vania  Nardi   Gertrude  Michael 

Chris  Edwards  Heather  Angel 

Haywood   Hugh  O'Connell 

Venetti   Robert  Gleckler 

The  Prince   Rafael  Storm 

Fleurette   Adrienne  D'Ambricourt 

Hotel  Manager  Huntley  Gordon 

Radio  Announcer   Phil  Tead 

Toe  Glake   WalHs  Clark 

Publicity  Man   Dick  Elliott 

Landlady   Bess  Stafford 


and  its  conditions.  He  immediately  goes  wildly 
in  search  of  ways  to  spend  his  current  fortune. 
Another  condition  is  that  he  enter  into  no 
feminine  entanglements,  and  tell  no  one  of  the 
will  or  its  stipulations.  He  backs  a  show,  writ- 
ten by  another  boarder  of  his  former  domicile, 
with  Miss  Damita  as  the  star,  which  opens  the 
way  for  song  and  dance  numbers.  Then  he 
loads  the  complete  cast  on  a  yacht  and  is  off  to 
Monte  Carlo  and  a  big  fiesta.  He  tries  to  lose 
at  the  gaming  tables,  but  wins.  He  buys  wildly 
of  supposedly  worthless  stock,  and  it  goes  up. 
He  spends  fortunes  on  the  show,  and  it  is  a 
great  success. 

Eventually,  as  the  zero  hour  draws  near,  and 
Miss  O'Neill  is  annoyed,  while  Miss  Damita  is 
too  attentive.  Jack  succeeds,  by  masterly  dicker- 
ing, in  getting  rid  of  everything  but  the  suit 
he  stands  in,  despite  last  minute  efforts  of  well 
meaning  friends  to  give  him  money  he  does  not 
want.  Finally  he  gets  his  inheritance,  and  takes 
care  of  Miss  O'Neill,  while  the  show's  author 
does  likewise  for  Miss  Damita. — Aaronsox, 
New  York. 

Distributed  by  United  Artists.  Produced  by  British 
and  Dominion.  Producer,  Herbert  Wilcox.  Directed 
by  Thornton  Freeland.  From  the  play  by  Winchell 
Sn'.ith  and  Byron  Ongley.  Screen  story  by  Clifford 
Grey  and  W.  Wilhelm.  Scenario  by  Donovan  Pedelty. 
Dialogue  by  Arthur  Wimperis.  Additional  dialogue 
by  Michael  Joseph  and  Donovan  Pedelty.  Music  by 
Ra.y  Noble.  Adaptation  and  lyrics  by  Douglas  Furber. 
P.  C.  A.  Certificate  No.  655.  Running  time,  78  min- 
utes. Release  date.  May  20.  1935.  General  audience 
classification. 

CAST 

Jack  Brewster  Jack  Buchanan 

Rosalie   Lili  Damita 

Cynthia   Nancy  O'Neill 

Miss  Plimsole  Sydney  Fairbrother 

McLeod  Ian  McLean 

Freddy   Fred  Emney 

Rawles   Allan  Aynesworth 

Grant   Lawrence  Hanray 

Mario   Dennis  Hoey 

Pedro    ..:  Henry  Wenman 

Mrs.  Barry   Amy  Veness 

Frank   Sebastian  Shaw 

Ferago   Anthony  Holies 


Brewster's  Millions 

(United  Artists) 
Comedy  with  Music 

A  gay  comedy  film,  rather  nonsensical  as  to 
story  but  attractively  entertaining  in  its  music, 
dance  numbers,  dialogue  and  situations,  this  pro- 
duction was  made  in  England  for  British  and 
Dominions  by  Herbert  Wilcox  and  is  distributed 
in  this  country  by  United  Artists. 

The  star  is  Jack  Buchanan,  well  known  Brit- 
ish player,  and  the  picture  is  entirely  his.  Bu- 
chanan has  personality  and  comedy  ability,  can 
sing  and  dance,  and  his  speaking  accent  is  less 
definitely  English  than  that  of  many  of  the 
English  players  seen  on  the  screens  of  this 
country.  The  rest  of  the  cast,  unknown  here 
with  the  exception  of  LiH  Damita,  speak  with 
the  customary  accent,  but  much  of  the  footage 
is  devoted  to  song  and  dance. 

The  exhibitor  should  have  ample  opportunity 
for  lively  copy  and  attention-arresting  material 
in  the  theme  of  the  story,  adapted  from  a  well 
known  play  of  the  same  title.  Jack  Brewster, 
impecunious  young  man,  falls  heir  to  £500,000, 
then  discovers  that  an  uncle  has  died  and  left 
him  £6,000,000  on  condition  that  at  the  end  of 
six  months  he  is  absolutely  broke.  His  effort 
to  spend  all  of  his  half-million  pounds  in  the 
required  time  provides  the  backbone  of  the  yarn, 
and  opens  the  way  for  all  sorts  of  diversified 
situations.  Selling  Buchanan's  name  for  what 
it  is  worth,  emphasizing  the  dance  and  song- 
aspects  of  the  story  and  hitting  the  comedy 
angle,  particularly  the  theme,  looks  to  be  the 
best  selling  method. 

Buchanan  is  tossed  over  by  Miss  Damita, 
chorus  girl  with  whom  he  has  become  fascin- 
ated, when  she  learns  he  has  no  money.  Nancy 
O'Neill,  fellow-boarder  at  Jack's  "home,"  is  in 
love  with  him,  which  feeling  is  later  recipro- 
cated. He  falls  heir  to  the  half-million  pounds 
and  a  fine  London  house,  and  is  giving  a  house 
warming  when  he  learns  of  the  second  bequest 


In  Spite  of  Danger 

(  Columbia  ) 
Action  Melodrama 

A  melodramatic  and  fast  paced  action  story 
here  has  been  evolved  from  the  trucking  busi- 
ness. There  is  a  share  of  villainy,  also  a  num- 
ber of  laughs,  and  the  expected  but  rather  in- 
cidental romance.  It  looks  to  be  the  sort  of 
material  whicli,  on  the  regular  run  theatre 
program,  fits  nicely  into  the  weekend  position. 

Wallace  Ford  and  Marion  Marsh  are  the  cast 
leaders,  supported  by  the  perennial  of  trouble 
making  roles,  Arthur  Hohl  and'  Charley  Grape- 
win.  Young  Jay  Walter  Ward,  child  actor, 
supplies  the  greater  portion  of  the  comedy.  The 
title  says  comparatively  little,  but  may  be 
worked  up  for  an  action  picture  with  play  on 
the  last  word.  A  promise  of  thrill  action  would 
not  be  overstatement,  since  one  sequence  in 
particular  has  a  brakeless  truck,  loaded  with 
dynamite,  flying  down  a  long  mountain  grade. 

Perhaps  tieup  arrangements  with  local  truck- 
ing concerns  may  be  effected  by  the  exhibitor, 
whereby  they  will  permit  the  carrying  of  paper 
advertising  the  picture  on  their  trucks.  Selling 
the  action  aspect  of  the  story,  and  spotting  the 
picture  in  the  weekend  position  seem  to  be  the 
best  mothods. 

Ford,  automobile  race  driver,  is  hurt  in  a 
crash  on  the  track  and  recuperates  at  a  western 
home,  where  Miss  Marsh  operates  the  lunch- 
room and  takes  care  of  her  widowed  father 
Grapewin,  and  her  young  brother.  Ward. 
Grapewin's  trucking  business  is  in  a  bad  way, 
chiefly,  it  develops,  through  the  unscrupulous 
tactics  of  Hohl,  who  operates  the  large  rival 
trucking  concern.  When  Ford  learns  he  cannot 
race  again  for  a  long  time,  he  uses  his  savings 
to  buy  a  new  truck  and  enters  into  partnership 
with  Grapewin. 

Hohl  immediately  goes  into  action,  using  his 
trickiest  driver,  Richard  Wessel,  a  former  race 
driver,  to  handle  the  dirty  work.  Ford  loses 
a  good  contract  when  Wessel  cuts  the  ropes 
on  a  crockery  cargo.  Then,  underbid  on  a 
construction  job  supply  contract,  Hohl  chal- 
lenges Ford  to  a  test  run,  the  winner  to  get  the 


contract.  Obstructions  are  placed  on  the  road- 
and  Ford's  truck,  which  is  winning,  goes  over 
the  embankment  and  is  destroyed.  With  an  old 
truck  repaired,  Ford  gets  a  dynamite  delivery 
job.  Wessel,  at  Hohl's  order,  damages  the 
brakes.  The  truck  runs  wild  down  grade. 
Grapewin  and  Ford  jump  as  Ford  runs  the 
truck  over  the  bank  to  save  those  at  the  camp. 
Hohl  is  killed  by  a  falling  pole,  and  the  way 
is  cleared  for  the  trucking  business,  and  the 
romance  between  Ford  and  Miss  Marsh. — 
Aaronson,  New  York. 

Produced  and  distributed  by  Columbia.  Director. 
Lambert  Hillyer.  Assistant  director,  Clifford  Brough- 
ton.  .Story  and  screen  play  by  Anthony  Coldeway. 
Cameraman.  Benjamin  Kline.  Sound  engineer,  Glenn 
Rominger.  Film  editor.  Otto  Meyer.  P.  C.  A.  Cer- 
tificate No.  677,  Runing  time,  56  minutes.  Release 
date.  March  8,  1935,  General  audience  classification. 
CAST 

Bob  Crane  Wallace  Ford 

Sally  Sullivan   Marion  Marsh 

Steve  Lynch  Arthur  Hohl 

Pop  Sullivan  Charley  Grapewin 

Mr.  Merntt  Charles  B.  Middleton 

Dr.  Daley   Edward  Le  Saint 

Monk  Grady   Richard  Wessel 

Tommy  Sullivan   Jay  Walter  Ward 


The  Morals  of  Marcus 

(Twickenham  -  Gaumont  British) 
Romantic  Drama 

W.  J.  Locke's  novel  and  play  were  both  best- 
sellers in  their  day  and  his  plot  and  character- . 
ization  still  present  good  material  for  efifec- 
tive  film  use.  Whether  the  most  has  been 
made  of  them  here  is  a  matter  of  opinion  rest- 
ing on  varying  views  as  to  the  degree  of  mod- 
ernization necessary  to  make  talker  hits  of 
pre-war  stage  successes. 

In  favor  of  this  adaptation  is  the  fact  that 
it  is  not  a  period  piece :  against  it  is  the  point 
that  it  is  not  particularly  up-to-date  either. 
With  a  certain  amount  of  modern  dressing, 
it  retains  an  old-fashioned  atmosphere,  and  its 
tempo  is  decidedly  slow.  This  may  have  its 
own  appeal  to  those  who  remember  the  book. 
Lupe  Velez,  Ian  Hunter  and  Noel  Madison 
are  useful  names,  though  none  has  been  given 
opportunity  to  show  full  capabilities. 

Sir  Marcus  Ordeyne,  book  worm  and 
archeologist,  on  the  way  back  to  England  from 
Syria  finds  that  a  beautiful  girl,  escaped  from 
a  harem,  has  concealed  herself  in  one  of  his 
packing  cases.  In  London  his  "ward"  creates  a 
sensation,  as  much  by  her  presence  as  by  her 
unconventional  behavior  in  rendering  Eastern 
dances  at  a  restaurant.  Judith,  an  English 
woman  in  love  with  Marcus,  divorces  her  hus- 
band and  decides  that  Carlotta  must  be  re- 
moved in  order  that  she  herself  may  have 
Marcus.  She  persuades  the  girl  that  Marcus 
regards  her  as  a  burden.  Carlotta  goes  to 
Paris  with  Pasquale,  Italian  friend  of  Marcus, 
but  leaves  him  when  she  discovers  that  he  does 
not  intend  marriage.  Marcus  turns  d'own 
Judith  and  eventually  traces  Carlotta  to  a  cafe 
where  she  is  singing  for  a  living. 

The  novel  and  play  titles  are  the  obvious  sell- 
ing values  and  something  can  be  made  of  the 
fact  that  Lupe  Velez  has  the  unconventional 
part  of  a  girl  brought  straight  from  the  harem 
into  fashionable  London. — Allan,  London. 

Produced  by  Twickenham  Film  Studios  and  distrib- 
uted by  Gaumont  British.  Directed  by  Miles  Mander. 
From  the  novel  and  play  by  W.  J.  Locke.  Adapta- 
tion by  Guy  Bolton  and  Miles  Mander,  Camera. 
Sydney  Blythe.  Sound,  Baynham  Honri  and  Carlisle 
Mounteney.    Running  time,  75  minutes.  "G." 

CAST 

Carlotta   Lupe  Velez 

Sir  Marcus  Ordeyne  Ian  Hunter 

Judith  Adrianne  Allen 

Tony  Pasquale   Noel  Madison 

The  Hoosier  School  Master 

( Monogram  ) 
Dramatic  Romance 

In  this  production  is  heroized  the  American 
schoolmaster  of  the  little  red  schoolhouse  of 
Civil  War  reconstruction  days.  An  all-family 
attraction,  general  in  appeal,  it  relates  a  dram- 
atic romantic  story  against  a  suggested  but 
seldom  evident  vivid  background.  It  is  based 
on  a  novel  once  widely  read  but  today  rarely 


A  CHALLENG 


from  a 

SHORT  SUBJECT ! 


^THE  LOST  CHICK'^  will  fight  it  out  with 
any  feature  for  the  top  applause  of  the 
show!  This  M'G'M  Happy  Harmony 
Cartoon  in  Color  has  an  unbeaten  record! 
Name  your  date  (Easterns  a  perfect  time) 
and  let  "THE  LOST  CHICK^Mo  the  rest! 


One  of  the  melody  series  known  as 
HAPPY  HARMONIES.  Bringing  fome  fo  its 
producers  HARMAN-ISING  and  joy  fo  M-G-M 


52 


MOTION    PICTURE  HERALD 


April     13,  1935 


heard  of.  Thus  showmanship  necessary  for 
successful  marketing  must  be  derived  directly 
from  the  picture  itself  without  benefit  of  that 
spontaneous  interest  commonly  accruing  to 
more  familiar  semi-historical  romances. 

With  other  veterans,  Ralph  goes  west  to 
Indiana  to  claim  lands  which  the  Government 
has  given  them  as  partial  recompense  for  their 
military  service.  Political  chicanery,  however, 
has  placed  ownership  of  all  the  desirable  lands 
in  the  hands  of  a  greedy  trio,  Hawkins,  Jake 
and  Doc  Small.  Ralph  gets  the  job  as  school 
teacher.  Boarded  in  Jake's  house,  it  is  evident 
that  Ralph  is  falling  in  love  with  bond  girl 
Hannah,  as  Jake's  daughter  Martha  is  falling 
in  love  with  him. 

When  he  achieves  a  bloodless  victory  over 
the  town  bully.  Bud,  the  trio  discover  that  he 
is  aiding  the  squatter-camped  veterans  to  put 
in  legitimate  claims  for  their  lands.  The  teacher 
stands  ace  high  with  his  pupils.  A  spelling  bee 
is  arranged  and  Ralph  and  Hannah,  whose 
affection  has  turned  to  distrust  as  she  believes 
that  Ralph  is  in  love  with  Martha,  are  the  only 
survivors.  Intentionally  failing  on  a  word, 
Ralph  tries  to  tell  Hannah  that  she  is  mistaken. 
He  convinces  her  and  they  plan  to  run  away, 
but  the  land-mad  trio,  seeing  in  Ralph  a  menace 
to  their  holdings,  determine  to  put  him  out  of 
business.  Little  Shocky  rallies  the  ex-soldiers 
to  their  comrade's  assistance,  and  there's  a 
pitched  battle  in  which  the  townsfolk  get  the 
worst  of  it.  In  the  finale  the  Government  rep- 
resentative assures  the  soldiers  they  will  have 
their  rights.  Hannah  is  in  Ralph's  arms. 

The  picture  is  slowly  tempoed,  yet  in  run- 
ning its  course  it  is  dramatic,  romantic  and  at 
the  same  time  carries  a  comedy  relief  that  con- 
trasts with  the  other  elements.  Most  of  the 
thrill  action  is  confined  to  the  sequence  in 
which  the  soldiers  and  townsfolk  battle. — Mc- 
Carthy, Hollywood. 

Produced  and  distributed  by  Monogram.  Directed 
by  Lewis  D.  Collins.  From  the  novel  by  Edward  Eg- 
gleston.  Screen  play  by  Charles  Logue.  Photo- 
graphed by  Harry  Neumann.  Edited  by  Carol  Pier- 
son.  Recorded  by  John  A.  Stransky,  Jr.  Balsley  and 
Phillips  recording  system.  P.  C.  A.  Certificate  No. 
723.  Running  time,  when  seen  in  Hollywood,  75  min- 
utes. Release  date,  May  15,  1935.  General  audience 
classification. 

CAST 


Ralph   Norman  Foster 

Hannah   Charlotte  Henry 

Martha   Dorothy  Libaire 

Shocky  Tommy  Bupp 

Hawkins   Otis  Harlan 

Bud   Fred   Kohler,  Jr. 

Jake   William   V.  Mong 

Doc  Small   Russell  Simpson 

Randall   ,  Joe  Bernard 

Hank  Wallace  Reid,  Jr 

Pearson   George  Hayes 

Sarah   Sarah  Padden 


Abdul  the  Damned 

(Associated  British  Pictures) 
Historical  Drama 

There  are  unusual  elments  in  this  British  pic- 
ture, offering  various  opportunities  for  out-of- 
the-rut  exploitation.  As  a  closeup  of  a  histori- 
cal tyrant  it  is  impressive ;  Abdul  Hamid  II, 
last  Sultan  of  Turkey,  may  not  have  been, 
either  in  appearance  or  actions,  exactly  the 
figure  pictured  by  Fritz  Kortner,  but  what- 
ever license  has  been  taken  by  the  actor  and 
by  his  director,  Karl  Grune,  is  justified  by  its 
artistic  and  dramatic  results. 

The  film  Abdul  is  a  convincing,  repulsive  and 
fascinating  figure.  He  is  almost  the  whole  of 
the  film.  Nils  Asther  as  his  chief  of  police  and 
leading  instrument  of  villainy,  is  very  good, 
and  there  is  a  brilliant  study  of  the  chief  eunuch 
by  Esme  Percy,  but  plot  and  love  interest  are 
so  subsidiary  to  the  study  of  the  Sultan  as  al- 
most to  be  negligible. 

Kortner  is  really  brilliant,  despite  a  tendency 
to  under-act,  which  is  emphasized  by  the  sic  w 
tempo  of  many  scenes. 

The  story  is  a  free  picturization  of  the  pi  e- 
war  struggle  between  Abdul  and  the  Young 
Turk  reformists.  After  granting  a  constitu- 
tion, the  Sultan  uses  his  chief  of  police,  Kadar 
Pasha,  to  stage  an  outrage  for  which  the  Young 
Turks  are  blamed.  The  anger  of  the  mob  is 
a  pretext  for  abolishing  the  constitution  and 


executing  the  reformist  leaders,  but  a  new  rising 
directed  from  Salonika  deposes  the  Sultan. 

Incidental  to  the  political  theme  is  Abdul's 
infatuation  for  Therese,  a  Viennese  opera 
singer  who  is  in  love  with  a  young  Turkish 
officer.  Kadar  has  the  young  man  condemned 
to  death  and  Therese  consents  to  enter  the 
Sultan's  household  in  order  that  her  lover's 
life  may  be  spared.  He  leads  the  final  revolt 
and  rescues  her. 

This  story  is  not  convincing  and  is  chiefly 
of  interest  as  enabling  the  director  to  picture 
Abdul's  character  on  its  personal  side.  There 
is  a  very  amusing  scene  in  which,  alone  in  the 
theatre,  he  watches  the  chorus  through  opera 
glasses.  Later,  it  is  to  Therese  that  he  con- 
fesses his  fears  and  indirectly  explains  the 
tragedy  of  which  he  is  the  center.  All  this  is 
of  minor  interest  compared  with  the  study  of 
Abdul  the  political  tyrant,  who  keeps  a  drunken 
German  actor  to  "double"  him  at  public  func- 
tions and  kills  the  doctor  who  learns  the  secret 
when  the  false  Sultan  is  wounded ;  executes 
the  agents  who  learn  too  much  of  his  plans, 
and  banquets  while  he  listens  to  the  volleys 
which  end  the  lives  of  the  constitutional  rulers 
of  Turkey. 

The  selling  angle  is  therefore  the  historical 
figure  of  Abdul  Hamid  II,  and  Fritz  Kortner. 
Asther  is  worth  using  but  Adrienne  Ames'  part 
is  nothing  much  and  that  of  her  lover,  John 
Stuart,  is  less. — Allan,  London. 

Produced  by  Capitol  Films  in  conjunction  with 
British  International  Pictures  at  Elstree  and  dis- 
tributed by  Associated  British  Pictures.  Story  by 
Robert  Neumann.  Directed  by  Karl  Grune.  Running 
time,  95  minutes.  "A." 

CAST 

Abdul  Hamid  II  Fritz  Kortner 

Kadar  Pasha   Nils  Asther 

Therese   Adrienne  Ames 

Talak  Pasha   John  Stuart 

Ali,  Chief  Eunuch   Esme  Percy 

The  Call  of  the  Savage 

(Universal) 
Jungle  Serial 

Universal's  latest  serial,  in  12  chapters,  taken 
from  the  "Argosy"  Magazine  story,  "Jan  of 
the  Jungle,"  this  is  in  the  nature  of  a  somewhat 
different  "Tarzan  of  the  Apes."  Featuring  Noah 
Beery,  Jr.,  with  Dorothy  Short  and  H.  L. 
Woods  in  chief  support,  the  serial  is  crowded 
with  all  the  action,  cannibals,  hairbreath  escapes, 
jungle  animal  battles,  villainy  and  the  like  which 
is  to  be  expected.  A  group  of  doctors  go  to 
the  African  jungle  to  develop  an  infantile 
paralysis  serum,  the  discovery  of  which  will 
bring  $500,000.  One  of  the  doctors  attains  the 
goal,  two  others  attempt  to  get  it  and  in  the 
ensuing  excitement,  the  doctor  is  lost,  his  wife 
killed  and  his  small  son  wanders  off  into  the 
jungle  with  his  chimpanzee  playmate.  Then 
the  story  jumps  15  years,  to  find  Jan  a  familiar 
of  the  jungle,  wearing  on  his  wrist  a  band  on 
which  is  engraved  half  of  his  father's  valuable 
formula.  Jan  is  captured  by  a  sea  captain,  the 
ship  is  wrecked,  and  Miss  Short,  daughter  of 
a  jungle  trader,  and  Woods  are  rescued  by  Jan. 
Then  their  adventures  begin  in  the  jungle,  as 
the  two  unscupulous  doctors  return  to  Africa 
to  find  the  formula,  when  they  hear  the  missing 
doctor  has  been  found,  but  with  his  mind  gone. 
The  first  three  chapters,  "Shipwrecked,"  "Cap- 
tured by  Cannibals"  and  "Stampeding  Death," 
run  28,  2'1  and  19  minutes,  respectively. 

His  Bridal  Sweet 

(Columbia) 
Numerous  Laughs 

There  are  numerous  laughs  in  this  more  or 
less  slapstick  comedy,  featuring  the  "dead- 
panned"  Harry  Langdon.  Harry,  just  mar- 
ried, stops  with  his  bride  on  their  way  to  the 
train  to  see  the  demonstration  house  of  the 
type  they  plan  to  buy.  Everything  in  it  is  of 
the  electrical  gadget  type,  and  Harry's  troubles 
begin  before  he  gets  inside.  When  the  house 
is  quarantined  for  the  night,  things  get  worse 
and  worse,  as  Harry  is  locked  in  the  bedroom 
with  a  burly  inebriate.  H?.  and  his  wife  escape 
finally,  but  it  is  by  way  of  a  window. — Run- 
ning time,  20  minutes. 


The  Golden  Touch 

(United  Artists) 
Excellent 

An  excellent,  and  highly  entertaining  color 
cartoon,  this  number  of  Walt  Disney's  Silly 
Symphonies  series  recounts  the  story  of  the 
legendary  King  Midas,  the  greatest  gold 
hoarder  of  them  all,  and  tells  of  the  lesson  he 
learned  in  greed  and  its  consequences.  The  elf 
comes  to  him  in  his  counting  room,  gives  him 
the  golden  touch,  and  old  Midas  is  on  top  of 
the  world,  until  he  discovers  that  his  golden 
touch  makes  it  impossible  for  him  to  eat.  Goldie 
takes  away  the  touch,  at  the  king's  appeal,  but 
also  takes  his  kingdom  and  wealth — for  a  ham- 
burger sandwich.  Unusually  clever,  the  subject 
appears  worthy  of  special  exhibitor  attention. — 
Running  time,  8  minutes. 

The  Old  Grey  Mayor 

(Vitaphone) 
Amusing 

There  are  amusing  moments  in  this  comedy, 
featuring  Bob  Hope,  comedian  of  the  musical 
comedy  stage,  who  is  the  timid  suitor  for  the 
hand  of  the  daughter  of  the  town's  tough  mayor. 
The  girl  is  also  the  object  of  the  attention  of  the 
mayor's  friend,  equally  tough.  Hope,  practical 
joker,  is  tossed  out  of  the  office,  and  conceives 
a  scheme,  whereby  the  girl  shall  pretend  she 
shot  herself.  Hope  arrives  in  whiskers  and  a 
uniform  as  an  ambulance  doctor,  and  the  two 
drive  off  to  Westchester  to  be  married,  after 
the  mayor  makes  it  impossible  in  the  city.- — 
Running  time,  19  minutes. 

Hayseed  Romance 

(Educational) 
Good 

Buster  Keaton,  frozen-faced  comic,  is  chiefly 
responsible  for  the  fact  that  this  may  rate  as  a 
good  comedy,  although  there  is  little  to  its  story, 
which  is  largely  concerned  with  slapstick  ex- 
citement. Buster  answers  an  ad  with  an  "object 
matrimony"  attached,  and  goes  to  work  on  the 
farm,  despite  the  advertisers'  elderly  and  bulky 
appearance.  Buster's  difficulties  with  his  attic 
bed,  when  the  roof  begins  to  leak,  are  amus- 
ing. He  falls  for  the  owner's  pretty  niece,  de- 
cides to  leave,  and  is  hauled  off  to  the  justice 
of  the  peace  and  forced  to  marry — the  girl  he 
wants. — Running  time,  20  minutes. 

Baby  Be  Good 

(Paramount) 
Good 

An  attractive  little  cartoon  number  of  the 
Betty  Boop  variety,  in  which  Betty  cannot  get 
her  small  brother  to  sleep,  and  tells  him  a  story, 
in  song,  of  the  bad  little  boy,  who  did  wrong 
things  until  he  was  frightened  by  a  lion.  The 
good  fairy  permits  him  literally  to  go  backward, 
undoing  all  the  things  he  had  done,  which  story 
is  enacted  in  cartoon.  The  youngsters  especially 
should  enjoy  the  subject. — Running  time,  seven 
minutes. 

Fantasy  in  Fashion 

(Blake — Bondy) 

Feminine  Appeal 

In  the  nature  of  an  advertising  subject,  pro- 
duced by  B.  K.  Blake  in  the  interests  of,  and 
sponsored  by  the  manufacturer  of  "Sheer  Rip- 
ple," a  cotton  fabric,  and  distributed  by  Al 
Bondy,  this  should  have  a  wide  feminine  ap- 
peal. Done  in  excellently  executed  color,  the 
subject  first  tells  something  of  the  fabrication 
of  cotton  goods,  from  plant  to  cloth,  then  moves 
to  the  smart  resorts  of  Florida,  where  is  held 
something  very  like  a  fashion  parade  of  the 
results  of  designer's  skill  with  this  particular 
brand  of  cotton  goods.  At  the  theatre  there 
v.'as  real  feminine  interest  in  the  subject,  and 
the  advertisino'  message,  though  much  more 
pronounced  in  the  latter  sequences,  is  not  too 
heavy. — Running  time,  10  minutes. 


'■^^ 

itv    It  is  continuously  l.ght,  gay 
J  ciryond,  OS  it  teUso  catchy 

comedy  romonce  story,  there 
is  never  a  serious  moment. 
The  show  is  the  kind  of 
entertainment  in  which 
diences  always  find 


SPENCER  TRACY 

WENDY  BARRIE 
RAYMOND  WALBURN 

Produced  by  Edward  Butcher 
Directed  by  Irving  Cummings 

From  the  story  "Highway  Robbery"  by  Albert 
Treynor.   Screen  play  by  Sam  Hellman  and 
Gladys  Lehman 


Not  a  line  of  type  of  any  of  the  previous  editions  of  this 
famous  work  is  being  used  in  Richardson's  new  BLUE 
BOOK  OF  SOUND  AND  PROJECTION.  Alert  to  the  re- 
finements in  equipment,  accessories  and  practices  of  the  last 
several  years  that  have  made  his  previous  editions  obsolete, 
Richardson  has  written  a  completely  new  book.  Leading 
engineers  and  projectionists  who  read  it  in  manuscript  rate 
it  as  the  most  comprehensive  and  useful  treatise  on  the 
subject  that  has  yet  been  published.  It  contains  over  700 
pages  and  153  illustrations.  The  new  edition  is  6x9  in  size, 
allowing  for  large  readable  type. 


THE  AUTHOR 


The  name  of  F.  H.  Richardson  is  synonymous  with 
good  projection  everywhere.  Three  decades  spent 
in  this  important  branch  of  the  theatre  have  won 
him  international  recognition  from  theatre  owners, 
producers  and  manufacturers.  He  has  travelled 
widely  in  behalf  of  his  profession,  has  lectured  and 
taught  his  favorite  subject  in  many  places,  and  has 
written  innumerable  articles.  His  Blue  Book  School 
of  Projection  in  Motion  Picture  Herald  is  an  estab- 
lished feature  of  the  industry.  He  carries  on  a 
vast  correspondence  with  projectionists  all  over  the 
world,  and  thousands  follow  his  Questions  and 
Answers  in  Better  Theatres.  He  is  one  of  the 
founders  of  the  American  Projection  Society.  His 
Blue  Books,  in  previous  editions,  are  used  in  thou- 
sands of  projection  rooms  where  skill  and  honest 
craftsmanship  is  valued. 


QUICLEY 
PUBLICATIONS 


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Because  of  the  wide  demand  from  projectionists  and  theatre  managers  for  autographed 
copies  of  the  new  BLUE  BOOK,  Mr.  Richardson  has  consented  to  autograph  200  booics 
to  go  to  the  first  200  buyers.  The  prompt  return  of  this  coupon  will  reward  you  with  one 
of  these  highly  prized  autographed  copies. 

Nearly  700  Pages  of  Text 

QUICK-FINDING  INDEX  SYSTEM 

The  indexing  system  used  in  the  new  Blue  Book  is  another  of  Richardson's 
many  important  contributions  to  the  art  and  science  of  motion  picture 
projection.  It  Is  comprehensive  and  extremely  simple  and  enhances  the  value 
of  the  work  to  every  theatre  technician.  Since  Richardson's  books  are 
designed  to  be  used  as  part  of  each  day's  projection  routine  it  is  essential 
that  the  projectionist  find  what  he  wants  within  the  instant.  By  the  indexing 
method  Richardson  has  especially  devised  for  this  new  Blue  Book  a  twirl  of 
the  pages  with  your  thumb  is  enough  to  take  you  at  once  to  the  text  dealing 
with  your  problem.  Projectionists  of  long  experience  In  projection  rooms 
will  be  the  first  to  appreciate  this  time-saver. 


QUIGLEY  BOOKSHfdf 

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6th  Edition 


BOOK  OF  PROJECTION 


A  PRACTICAL  GUIDE  TO   GOOD  OPERATING 
AND  QUICK  TROUBLE-SHOOTING 


IN  ONE  HANDY  VOLUME 

Richardson's  new  Blue  Book  is  connple+e  in  one  handy  volunne. 
It  is  a  great  improvement  over  the  former  expensive  and 
cumbersome  three-volume  sets.  The  new  book,  running  to 
nearly  700  pages  (containing  153  illustrations),  is  up-to-the- 
minute  in  sound  and  projection  practices  and  equipment,  and 
has  the  most  efficient,  quick-finding  index  yet  devised  for  an 
information  text.    It  is  handy  to  keep  and  handy  to  use. 

COMPLETE  AND  UP-TO-DATE 

The  new  Blue  Book  does  a  three-fold  job:  (1)  it  gives  a  valuable 
and  detailed  description  of  the  construction,  wiring  and  func- 
tioning of  every  piece  of  sound  and  projection  apparatus  used 
in  a  modern  projection  room.  (2)  It  gives  careful  instructions 
on  the  operation  and  maintenance  of  this  equipment,  and  (3) 
it  contains  a  complete  trouble-shooting  department,  enabling 
the  projectionist  to  spot  and  repair  sudden  breakdowns.  It 
displaces  all  previous  texts  because  of  its  completeness  and 
up-to-dateness. 


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tance  by  next  mail.    Remember  that 
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ordered    will    bear  Richardson's 
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Although  it  Is  superior  in  every  respect,  it  is 
priced  at  only  $5.00.  The  new  price  places  it 
within  the  purchasing  power  of  every  projec- 
tionist and  theatre  attache  in  the  country. 


GENTLEMEN: 


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OF  PROJECTION,  Sixth  Edition,  autographed  by  the 
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Name  

Street 


City 


State 


*  *  *  * 


pOt* 


Picture  I)aUy/ 

,  publication* 


Very 


mt< — 


April    13,  1935 


MOTION    PICTURE  HERALD 


57 


Somerset  to  Remodel 
Theatre  in  Kentucky 

The  Somerset  Amusement  Company,  with 
headquarters  in  Lexington,  Ky.,  plans  to  re- 
model the  Kentucky  theatre  in  Somerset  at 
an  approximate  cost  of  $22,000.  The  plan 
was  announced  by  Anna  Belle  Ward,  secre- 
tary-treasurer and  general  manager  of  the 
Somerset  company  and  an  official  of  the 
Phoenix  Amusement  Company,  operating 
the  three  Lexington  theatres.  The  re- 
modeled house  will  be  opened  in  September, 
and  will  seat  885. 

DeForest  and  Duovac  Suits 
Against  Erpi  Up  in  May 

Trial  of  the  DeForest  and  Duovac  mo- 
nopoly suits  against  Electrical  Research 
Products,  Inc.,  instituted  in  1932,  is  ex- 
pected to  take  place  sometime  next  month 
in  U.  S.  district  court,  Wilmington. 

When  the  suit  was  instituted  in  1932, 
Stanley  Company  of  America  was  a  party, 
but  withdrew  following  settlement  of  litiga- 
tion between  Erpi  and  Warner  Bros. 


Porter  Agency  in 
Deal  with  Coast  Firm 

Verne  Porter,  Inc.,  literary  agency,  has 
concluded  an  agreement  with  Mayer-Cutler- 
Landy,  Inc.,  Hollywood,  whereby  the  latter 
will  handle  only  Porter's  clients  and  their 
work  for  the  screen.  Among  them  are  Peter 
B.  Kyne,  Donald  Henderson  Clarke,  Court- 
ney Ryley  Cooper,  Zona  Gale,  Francis 
Yeats-Brown  and  others. 


Pathe  Asks  Listing 

Pathe  last  week  applied  to  the  New  York 
Stock  Exchange  to  list  636,032  shares  of 
$1  par  common  stock.  The  company's  re- 
cently approved  reorganization  plan  pro- 
vides for  the  issuance  of  2,000,000  shares 
of  new  common  stock. 


Develop  Organ  Novelties 

H.  Rosenberg,  managing  director  of  Cos- 
mopolitan Studios,  New  York,  has  developed 
a  new  service  for  theatres  on  effect  slides 
and  a  special  arrangement  on  organ 
novelties. 


Horlacker  Resunnes 

Horlacker  Film  Delivery  Service  resumed 
operations  in  New  York  this  week  after  an 
absence  of  five  years.  James  Clark,  presi- 
dent of  the  National  Film  Carriers'  Asso- 
ciation, also  heads  Horlacker. 


Manager  Writing  Song 

Louis  C.  Shimon,  assistant  manager  of 
the  Garden  theatre  in  Milwaukee,  in  col- 
laboration with  Art  Krueger,  orchestra 
leader  of  the  Vanity  Cafe,  is  writing  a 
popular  song,  "Whispering  Pines." 


Zanuck  Signs  Brower 

Otto  Brower  has  been  signed  as  a  director 
by  Darryl  Zanuck,  production  head  of  20th 
Century.  Mr.  Brower  was  formerly  with 
Paramount  and  Radio. 


Honor  E.  M.  Loew 

The  38th  birthday  of  Elias  M.  Loew  was 
celebrated  last  week  at  his  home  in  Hyde 
Park,  near  Boston.  Mr.  Loew  operates  the 
E.  M.  Loew  theatre  circuit. 


Supply  Dealers  Will  Hold 
Session  in  Chicago  June  15 

The  Independent  Theatre  Supply  Dealers' 
Association,  of  which  J.  E.  Robin  is  presi- 
dent, will  hold  its  fifth  annual  convention 
for  four  days  at  the  Edgewater  Beach 
Hotel,  Chicago,  starting  June  15,  in  order 
not  to  conflict  with  the  annual  convention 
of  the  Society  of  Motion  Picture  Engineers, 
scheduled  for  Hollywood  in  May.  Mr. 
Robin  and  the  other  officers  are  expected  to 
be  reelected.  The  code  for  theatre  equip- 
ment firms  will  be  the  chief  topic  of  dis- 
cussion. Equipment  displays  will  be  a 
feature  of  the  convention. 


Florida  Operator 
Seeks  Sunday  Films 

Fred  J.  Case,  operating  the  La  Belle 
theatre  in  La  Belle,  Fla.,  last  week  petitioned 
the  city  council  for  permission  to  show  films 
on  Sunday.  His  petition  contained  330 
names'.  Despite  Mr.  Case's  effort,  Mayor 
F.  Watts  Hall  declared  that  so  long  as  he 
was  mayor,  he  would  oppose  Sunday  films. 
The  petitioner  also  pointed  out  that  other 
forms  of  amusement  were  allowed  in  the 
town  on  Sunday,  and  that  the  signatures  on 
his  petition  indicated  the  sentiment  of  the 
townspeople  on  the  question.  The  petition 
was  received  for  further  consideration  by 
the  council. 


ON  A  BED 
WITHOUT  SPRINGS? 

Theatre  goers  are  comfort  lovers. 
Take  no  chance  on  losing  business— 
RESEAT  with  comfortable  chairs. 

Ask  Us, '  'How  can  I  reseat  and  pay  for  new  chairs  conveniently? " 

AMERICAN  SEATING  COMPANY 

Makers  of  Dependable  Seating  for  Theatres  and  Auditoriums 
General  Offices:  Grand  Rapids,  Michigan 
BRANCHES    IN    ALL    PRINCIPAL  CITIES 

COMFORT  — The    Greatest    Star    Of  Them  All! 


WE  DOOURPAKT 


58 


MOTION    PICTURE  HERALD 


April  13,1935 


CONFIRMS  PARAMOUNT 
REORGANIZATION  PLAN 


Judge  Coxe  Releases  Company 
from  Supervision  of  Court; 
Plan  No  Shift  in  Directors 

The  plan  of  reorganization  for  Paramount 
Publix  Corporation  was  confirmed  last  Fri- 
day in  New  York  by  Federal  Judge  Alfred 
C.  Coxe  and  the  company  thus  was  released 
from  court  supervision.  After  a  little  more 
than  two  years  Paramount's  long  drawn  out 
process  of  financial  rehabilitation  has  come 
to  an  end  and  the  few  things  remaining  to 
be  accomplished  are,  for  the  most  part,  in- 
ternal functions  pertaining  to  the  launching 
of  the  new  Paramount  company,  which  can 
be  undertaken  independently  of  the  court. 

Stockholders  to  Meet 

The  first  matter  to  be  disposed  of  in  this 
way  is  the  immediate  calling  of  a  special 
meeting  of  stockholders  formally  to  elect 
the  board  of  16  directors.  Ten  days'  notice 
of  this  meeting  is  required,  which  has  not 
yet  been  given.  At  the  same  meeting,  elec- 
tion of  officers  of  the  new  company  and  the 
discharge  by  the  court  of  the  trustees  in 
bankruptcy  of  Paramount — Charles  D. 
Hilles  and  Eugene  W.  Leake — will  be  com- 
pleted. 

No  change  in  the  proposed  board  of 
16  directors,  already  agreed  upon,  will  be 
made.  At  Friday's  session,  Judge  Coxe 
cut  short  the  expected  opposition  to  the 
board  of  Morris  L  Ernst  and  Louis  M. 
Levy,  attorneys  for  Paramount  bondhold- 
ers, with  the  statement  that  the  selection 
of  a  board  was  not  regarded  as  within 
the  court's  province  and  should  "remain 
in  the  hands  of  those  who  own  the  com- 
pany". 

The  16  proposed  directors  were  agreed 
upon  by  various  creditor  groups  some  weeks 
ago.  They  are  Gerald  Brooks,  Stephen  Cal- 
laghan,  Robert  K.  Cassatt,  H.  A.  Forting- 
ton,  William  S.  Gray,  Jr.,  Duncan  G.  Har- 
ris, John  D.  Hertz,  Percy  H.  Johnston, 
Henry  R.  Luce,  Charles  A.  McCulloch, 
Maurice  Newton,  Floyd  B.  Odium,  Charles 
E.  Richardson,  George  J.  Schaefer,  Frank 
A.  Vanderlip  and  Adolph  Zukor. 

Joyce  Allows  Claims 

Special  Master  John  E.  Joyce  submitted 
a  report,  prior  to  confirmation  of  the  reor- 
ganization plan,  which  allowed  provision- 
ally claims  against  Paramount  amounting 
to  $50,952,937,  which  were  entitled  to  vote 
on  acceptance  of  the  plan.  Section  77-B  of 
the  bankruptcy  reorganization  statutes  re- 
quiring that  in  order  for  a  reorganization 
plan  to  be  confirmed  by  the  court  it  must 
have  the  assent  of  two-thirds  of  the  creditors 
and  a  majority  of  the  stockholders.  Assents 
to  the  plan  received  totaled  $34,605,368,  or 
approximately  $840,000  more  than  required. 
In  addition,  the  assents  of  2,068,323  shares 
of  the  outstanding  3,221,000  shares  of  com- 
mon stock  were  received. 

Judge  Coxe  denied  the  petition  of  William 
Yoost  to  intervene  in  the  reorganization 
proceedings  in  order  to  enter  objections  to 


the  company's  proposed  new  domestic  re- 
cording license  agreement  with  Electrical 
Research  Products,  Inc.  The  petition  was 
denied  on  the  ground  that  the  court  held  the 
Paramount  trustees  and  their  counsel  com- 
petent to  act  in  the  best  interests  of  the 
company  in  effecting  the  settlement  of 
Erpi's  $1,900,000  claim  against  Paramount, 
which  embraces  the  new  license  agreements. 

There  was  no  opposition  to  the  plan  it- 
self voiced  at  Friday's  hearing.  Approval 
by  the  court  also  included  confirmation 
of  the  plan  of  reorganization  for  Par- 
amount Broadway  Corporation,  holding 
company  for  the  Paramount  Building  and 
theatre  in  Times  Square. 

It  is  expected  that  the  underwriting  of  the 
$6,400,000  of  new  Paramount  stock  sub- 
scription warrants  will  be  agreed  upon  by 
the  creditor  groups  in  the  near  future,  with 
present  indications  pointing  to  underwriting 
by  a  group  to  include  Kuhn,  Loeb  &  Co., 
Hayden,  Stone  &  Co.,  Lehman  Bros.,  Lazard 
Freres  and  possibly  others.  The  new  securi- 
ties must  then  be  approved  by  the  Securities 
Exchange  Commission. 

MPTOA  Names 
Executive  Board; 
Other  Units  Meet 

Exhibitors  who  are  members  of  the  Mo- 
tion Picture  Theatre  Owners  of  America 
during  1935-36  will  have  a  voice  in  the 
national  organization  through  a  new  execu- 
tive committee,  announced  this  week,  as 
follows : 

George  A.  Giles,  Cambridge,  Mass.,  repre- 
senting Albany,  Buffalo,  New  Haven  and 
New  York  City  zones ;  O.  C.  Lam,  Rome, 
Ga.,  representing  Atlanta,  Charlotte,  Dallas, 
Memphis,  New  Orleans  and  Oklahoma  City ; 
Jack  Miller,  Chicago,  Detroit,  Indianapolis 
and  St.  Louis ;  Lewen  Pizor,  Cincinnati, 
Cleveland,  Philadelphia  and  Washington ; 
Charles  E.  Williams  of  Omaha,  represent- 
ing Denver,  DesMoines,  Milwaukee  and 
Minneapolis ;  Morgan  A.  Walsh  of  San 
Francisco,  representing  Los  Angeles,  Port- 
land, Ore.,  Salt  Lake,  San  Francisco  and 
Seattle. 

Exhibitor  Activities  in  Field 

In  Boston,  the  Independent  Exhibitors  of 
Massachusetts,  Allied's  New  England  affiliate, 
was  meeting  to  discuss  potential  adverse  legis- 
lation. William  McGlaughlin,  A.  Bendslev  and 
Edward  Stoneman  were  appointed  to  the  mem- 
bership committee ;  Frank  Lydon,  Mr.  Stone- 
man  and  Mr.  McGlaughlin  were  named  to  the 
grievance  committee,  and  Walter  Littlefield,  R. 
B.  Rubin  and  Edward  Ansin  were  designated  to 
clearance  and  zoning.  Also  appointed  were : 
Max  Levenson,  Joseph  Levenson  and  Mr. 
Lydon,  to  the  legislative  committee,  and  Ralph 
Sindler,  Mr.  Ansin  and  Phillip  Smith  to  the 
cooperative  buying  committee. 

The  Independent  Theatres  Protective  Asso- 


ciation, Milwaukee  called  a  statewide  meeting 
of  all  independents  for  April  12  to  protest  a 
four  per  cent  ta.x  bill  on  admission  grosses. 
They  passed  a  resolution  favoring  the  Petten- 
gill  bill  to  outlaw  block  booking,  and  drafted  a 
plan  for  raising  admissions  together  with  cir- 
cuits. Abram  Myers  was  named  legislative  rep- 
resentive  at  Washington. 

The  organization  was  successful  in  obtaining 
from  Sidney  R.  Kent,  president  of  Fox,  an  as- 
surance that  the  company's  theatre  affiliates 
will  not  be  permitted  to  book  pictures  for  a  fee 
purely  as  a  booking  combine.  The  organiza- 
tion had  protested  against  Wisconsin  Amuse- 
ment Enterprises,  Inc.,  a  Fox  subsidiary,  which 
was  charged  with  booking  on  a  percentage  or 
flat  fee  for  some  30  theatres,  whereas  the  cir- 
cuit has  only  six  properties  of  its  own. 

Elections  at  New  Orleans 

Opposition  against  daylight  saving,  and 
against  exchanges  favoring  circuits  in  booking 
and  selling  arrangements  to  the  detriment  of 
independents,  and  a  stand  in  favor  of  dual  bill 
policies  were  taken  late  last  week  in  New  Or- 
leans at  the  convention  of  the  Allied  Theatre 
Owners  of  Louisiana,  held  at  the  Jung  Hotel 

Henry  Lazarus  was  elected  president  and 
treasurer,  replacing  A.  J.  Bethancourt  as  presi- 
dent. H.  S.  McLeod  and  Joe  Alsina  were 
elected  vice-presidents,  but  Mr.  McLeod  re- 
signed the  next  day,  due  to  pressure  of  business. 
Harry  Schulman  was  named  secretary,  while 
the  following  were  elected  to  the  directorate : 
Philip  Sliman,  chairman ;  R.  J.  Brunet,  A.  E. 
Grosz,  Frank  Ruffino,  and  J.  A.  Dicharry,  all 
of  New  Orleans,  and  Joe  Barcelona,  Baton 
Rouge;  D.  L.  Suddath,  Natchitoches.  Plans 
were  drawn  for  the  anti-daylight  saving  fight, 
which  reaches  the  legislature  next  week,  and 
decision  was  made  to  carry  a  campaign  to  con- 
tinue duals  to  the  courts  if  necessary. 

Deciding  upon  a  new  schedule  of  bi-weekly 
meetings,  the  Independent  Theatre  Owners  As- 
sociation, New  York,  designated  its  president, 
Harry  Brandt,  to  act  for  members  in  negotiat- 
ing new  labor  scales  with  projectionists,  and 
began  an  analysis  of  new  product. 

Mr.  Brandt  named  six  new  committee  chair- 
men, each  to  appoint  his  own  committee,  as  fol- 
lows :  Dave  Weinstock,  light  and  power  com- 
mittee ;  Leon  Rosenblatt,  code ;  John  Benas, 
film ;  Morris  Fleischman,  entertainment ;  Louis 
Meyers,  insurance ;  Bernard  Barr,  legislation. 
Mr.  Fleischman  was  named  board  chairman. 


Koplar  Organizes 
Suburban  Circuit 

Harry  Koplar,  veteran  exhibitor  in  the  St. 
Louis  territory,  and  one  of  the  original 
franchise  holders  of  First  National,  last 
week  resigned  from  the  Fanchon  &  Marco 
organization  to  organize  St.  Louis  Subur- 
ban Theatres,  Inc.,  which  will  start  immedi- 
ate construction  of  a  number  of  neighbor- 
hood and  suburban  theatres  in  the  St.  Louis 
area. 

The  Fanchon  &  Marco  unit  has  been  op- 
erating the  Grand  Central,  Ambassador, 
Missouri,  St.  Louis  and  Fox  theatres  in  St. 
Louis  for  the  past  18  months.  Mr.  Koplar 
was  active  in  the  suburban  field  before  join- 
ing the  Skouras  Brothers  several  years'  ago. 

Mr.  Kaplar  is  president  and  general  man- 
ager of  the  new  company.  His  brother, 
Sam  Koplar,  builder  and  managing  director 
of  the  Park  Plaza  Hotel,  will  be  associated 
with  him.  The  first  of  the  new  theatres 
will  be  in  the  West  End  and  North  Grand 
district.  The  second  will  be  at  the  corner 
of  Natural  Bridge  and  Grand  avenue.  A 
third  on  the  South  Side  and  a  fourth  in  the 
Maplewood  center  are  planned. 


AND  I'LL  SEE  YOU  BOYS 
AT  THE  A.  M.  P.  A.  PARTY! 

Last  call  for  tickets  — 
LIMITED  TO  1000- 
And  only  236  are  left  ! 
Dancing,  entertainment,  fun  — 
And  no  speeches!  A  pleasure! 

Tickets  from  Paul  Benjamin,  Nat.  Screen  Service,  630 — 9th  Ave. 
Reservations  made  as  tickets  are  paid  for.  Cash  or  check  with  order. 


NAKED  TRUTH  DINNER! 

A  M  P  A 

SAT.  NIGHT— APRIL  27th  \ 
$7.50  PER  PERSON  { 

HOTEL  ASTOR 


60 


MOTION    PICTURE  HERALD 


April    13.  1935 


RUSSIAN  PICTURES  "NOT  SUBVERSIVE" 

—MATTY  RADIN,  RADLEV  THEATRE  CIRCUIT,  INC.,  NEW  YORK  CITY 


DEFENDS  SHOWING 
OF  SOVIET  FILMS 

To,  THE  Editor  of  the  Herald  : 

I  had  the  pleasure  of  reading  Mr.  Kraska's 
letter  published  in  your  paper  of  the  April 
6th  issue.  I  presume  is  is  an  apology  for 
having  shown  any  Soviet  pictures,  and  at 
the  same  time  correcting  the  seating  capac- 
ity of  his  theatre.  He  did,  however,  state 
that  my  group  had  the  only  theatres  show- 
ing Russian  films,  calling  your  attention 
to  the  fact  that  only  two  theatres  in  New 
York  play  all  Soviet  pictures.  He  should 
have  mentioned  that  these  two  theatres  are 
the  Cameo  and  Acme,  the  latter  theatre 
boasting  of  the  fact  that  it  is  "the  only 
Soviet  Kino  in  America." 

Let  us  be  frank ;  I  show  Soviet  pictures 
in  my  theatres  not  with  any  apology  but  for 
the  following  reasons : 

First :  They  possess  great  box  office  value. 

Second :  They  are  artistic  and  well  pro- 
duced. 

Third :  They  educate. 

Fourth :  They  entertain. 

Fifth :  They  create  desire  to  see  more. 

Sixth:  There  is  a  nefarious  and  unjust 
agreement  or  contract  on  the  part  of  Ameri- 
can producers  and  distributors  which  makes 
it  impossible  for  an  independent  theatre  to 
show  first-run  films,  or  to  pick  the  outstand- 
ing and  meritorious  product  and  leave  the 
rest  on  the  shelf,  commonlv  known  as 
"block  booking." 

Again,  I  do  not  apologize  for  showing 
Soviet  product  in  the  main  and  desire  to 
correct  the  erroneous  impression  created  by 
your  articles  that  only  the  metropolitan  press 
so  greatly  laud  and  acclaim  the  Soviet  pro- 
ductions. The  Nation,  The  New  Republic, 
Columbia  Spectator,  National  Board  of  Re- 
view, Literary  Digest  and  so  many  other 
college  periodicals  as  well  as  Filmarte,  pub- 
lished in  Glasgow,  Scotland,  coupled  with 
the  press  in  Washington,  D.  C. ;  Boston, 
Massachusetts,  Hollywood,  California  and 
oh  so  many  newspapers  throughout  the 
country  sing  in  harmony  the  praise  of  Senn- 
wald,  Richard  Watts,  Jr.,  Bill  Boehnel  and 
Thornton  Delehanty,  and,  lest  I  forget,  Wal- 
ter Winchell,  who  called  Chapayev  "the 
great  Soviet  wow." 

However,  if  I'm  not  taking  too  much  of  your 
time  in  this  letter,  which  by  now  has  taken 
the  shape  of  an  essay,  let  me  say  that  I  fully 
agree  with  Mr.  Hearst  (quite  unusual), 
Mr.  Ramsaye  and  his  entire  staff  on  this 
premise,  that  if  Soviet  pictures  directly  or 
indirectly  tend  to  destroy  our  country,  its 
institutions  or  ideals,  these  pictures  should 
not  be  permitted  to  be  imported  to  the 
United  States.  They  should  not  pass  censor- 
ship and  any  exhibitor,  producer  or  dis- 
tributor or  newspaper,  including  Hearst 
publications,  who  aid  and  abet  in  the  exhibi- 
tion of  these  pictures  or  advertising  of  same, 
including  periodicals,  is  equally  guilty  of 
a  nefarious  practice.  But  if  these  pictures 
do  not,  and  I  say  they  do  not  in  any  shape, 
form  or  manner,  directly  or  indirectly  tend 
to  be  subversive  to  our  institutions,  then  let 
the  alarmist,  slanderer  and  reactionary  who 
desires  to  stifle  art,  freedom  of  thought  and 
expression  hold  his  peace. 

I  thank  you  for  having  read  this  letter 
and  would  greatly  appreciate  and  feel  highly 


lionored  if  you  could  see  a  way  clear  to 
quote  from  this  letter  in  your  publication 
so  that  my  position  may  be  made  clear  to 
the  thousands  of  your  readers  who  have 
known  me  in  the  trade  for  twenty  years. — 
Matty  Radin,  Radlev  Theatre  Circuit. 
Inc.,  130  West  42nd  Street,  New  York, 
N.  Y. 


MAINE  RISES 
TO  OBJECT 

To  THE  Editor  of  the  Herald  : 

I  would  like  to  call  your  attention  to  Mr. 
Brady's  article  on  the  American  Theatre 
in  the  March  30  issue. 

He  says  in  part — "Just  think,  that  in  al- 
most 30  or  40  states,  of  48  states  in  our 
L^nion,  that  the  theatre,  the  spoken  theatre, 
is  finished — in  Texas,  Mississippi,  North 
Carolina,  South  Carolina,  Maine,  New 
Hampshire,  no  longer  is  the  theatre  heard." 

I  must  object  to  Mr.  Brady's  use  of  Maine 
in  that  list.  Perhaps  he  has  not  heard  of 
Lakewood,  the  theatre  which  brings  Broad- 
way to  Maine.  While  it  is  not  open  in  win- 
ter, the  Lakewood  Theatre  is  active  during 
the  summer  and  includes  among  its  players 
such  well  known  names  as  Thurston  Hall, 
Kate  Byron,  Owen  Davis,  Jr.,  Peg  Ent- 
wistle,  Gladys  Hurlbut,  William  Harrigan, 
Jean  Dixon  and  many  others. 

A  number  of  plays,  successful  on  Broad- 
way, have  had  their  premiere  at  the  Lake- 
wood  Theatre.  Many  authors  come  to  Lake- 
wood  just  for  the  season's  outing. 

And  Lakewood  is  not  the  only  theatre  in 
Maine.  There  are  at  least  two  others, 
equally  famous,  on  the  coast. 

I  don't  pretend  to  know  much  about  the- 
atres of  drama,  but  I  do  know  that  Maine 
does  have  them  and  manages  to  have  the 
"mosta  of  the  besta"  in  actors,  actresses  and 
directors. — Ralph  E.  Gibson^  33  High 
Street,  Fairfield,  Maine. 


Increases  Directorate 

The  Motion  Picture  Foundation  of  the 
United  States  of  America,  a  membership 
corporation,  which  was  chartered  at  Al- 
bany, N.  Y.,  in  1933,  has  filed  a  certificate 
increasing  its  directorate  from  five  to  not 
more  than  nine. 


Photophone  Names  Kreuzer 

Barton  Kreuzer,  formerly  of  the  RCA 
Victor  engineering  research  and  service 
staffs,  has  been  appointed  consulting  en- 
gineer in  charge  of  Photophone  recording 
sales,  with  headquarters  in  New  York. 


U.  S.  Refuses  to  Ban  Film 

The  United  States  Department  of  Jus- 
tice has  refused  the  request  of  the  German 
consul  in  New  Orleans  to  bar  "Hitler's 
Reign  of  Terror"  from  showing  at  the  Won- 
derland theatre.  The  consul  declared  Ger- 
many was  misrepresented  in  the  film. 


Harley  in  Paris  for  Fox 

F.  L.  Harley  has  been  named  new  Fox 
representative  in  Paris,  succeeding  J.  C. 
Bavetta,  who  has  been  transferred  to  South 
America. 


Mexican  Players 
Form  Federation 

By  JAMES  LOCKHART 

Mexico  City  Correspondent 

Higher  pay  and  better  working  conditions 
for  regular  players  and  more  "breaks"  for 
extras  are  the  objectives  of  Mexico's  first 
union  of  film  actors  and  actresses.  A  group 
of  these  players,  regulars  and  extras,  met 
here  and  decided  to  form  the  union,  the 
Federation  of  Cinematographic  Employees 
of  Mexico,  after  hearing  speeches  to  the 
effect  that  employers  have  it  all  their  own 
way.  Compensation  for  regulars  and  extras 
who  become  ill  or  are  injured  while  working 
on  pictures  is  also  demanded  by  the  Fed- 
eration. 

More  foreign  technical  talent  has  ap- 
peared in  Mexico's  film  producing  industry 
with  the  arrival  as  members  of  the  staff  of 
Cinematografica  Mexicana,  S.  A.,  one  of 
the  larger  Mexican  producers,  at  its  Mexico 
City  headquarters  of  Lauron  (Jack) 
Draper,  cameraman,  who  worked  for  sev- 
eral years  with  Metro  in  Hollywood  and 
France,  and  Robert  Quigley,  formerly  assist- 
ant art  director  with  RKO,  Metro,  Univer- 
sal and  Monogram.  Both  are  working  on 
Cinematografica's  new  picture,  "Janitzio," 
a  Mexican  folk  lore  story  that  is  nearing 
completion. 

Al  Somerbee  Given 
Testimonial  in  Boston 

A  testimonial  dinner  for  Al  Somerbee, 
in  honor  of  his  assumption  of  the  presi- 
dency of  the  G.  B.  Lothrop  Company  after 
35  years  of  service,  was  held  at  the  Copley- 
Plaza  Hotel  in  Boston  this  week.  Allied 
Theatres  of  Massachusettes,  MPTOA  affili- 
ate, of  which  Mr.  Somerbee  is  a  member, 
sponsored  the  affair.  Joseph  Brennan. 
executive  secretary  of  the  exhibitor  unit, 
was  in  charge  of  arrangements,  assisted  by 
Louis  M.  Boas  and  Stanley  Sumner,  acting 
as  treasurer  and  secretary,  respectively. 

With  some  500  persons  in  attendance. 
Governor  Curley,  acting  on  telegraphed 
authority,  made  Mr.  Sommerbee  a  Kentucky 
colonel.  Thomas  B.  Spry  was  toastmaster. 
Among  the  speakers  were  Thomas  H.  Buck- 
ley, state  auditor ;  E.  W.  Roemer,  building 
commissioner ;  John  M.  Casey,  former  city 
censor ;  Herbert  L.  McNary,  cit}'  censor ; 
Theodore  A.  Glynn,  former  fire  commission- 
er ;  Lieutenant-Colonel  Paul  G.  Kirk,  head 
of  the  state  police  ;  Edward  P.  Barry.  Among 
theatrical  men  present  were  E.  M.  Loew, 
Victor  Morris  and  John  Ford,  circuit  heads. 


House  Starts  Advertising 

The  Regent  theatre,  Kansas  City,  began 
using  newspaper  advertising  space  last  week 
for  the  first  time  in  15  years.  Operated 
by  the  Dubinsky  Brothers  since  1920,  ad- 
vertising was  considered  unnecessary  for 
successful  operation,  but  recently  competition 
has  developed  for  the  house. 


April    13.  1935 


MOTION    PICTURE  HERALD 


6! 


THE  HOLLYWOOD  SCENE 


by  VICTOR  M.  SHAPIRO 
Hollytvood  Correspondent 

In  tune  with  Easter,  Paramount  "Pro- 
teges," Warner  "Starlets"  and  Fox  "Debu- 
tantes" made  their  budding  appearance  this 
%veek  as  Spring  struck  twelve. 

Proteges,  Starlets  and  Debutantes  are 
younger  players  to  be  groomed  for  stardom 
by  their  studios. 

The  Paramount  list  includes : 

Gertrude  Michael  Ben  Baker 

Gail  Patrick  Kent  Taylor 

Katherine  DeMille  Fred  MacMurray 

Wendy  Barrie  Joe  Morrison 

Grace  Bradley  Ray  Milland 

Ann  Sheridan 

Warner  selected  the  following  young  play- 
ers : 

Olivia  de  Haviland  Nan  Gray 

Maxine  Doyle  June  Grabiner 

June  Martel  Dorothy  Dare 

Fox  picked  these  as  the  company's  "Debu- 
tantes" : 

Rita  Cansino  Rosina  Lawrence 

Frances  Grant  Barbara  Blane 

Publication  of  these  names  has  raised  the 
question  of  the  standing  of  Wampas  Baby  Star 
selections  for  the  1935-36  season,  and  the  com- 
parative value  of  Wampas'  and  individual  studio 
selection. 

Studios  say  the  facilities  of  their  complete 
organizations  can  better  cope  with  problems  of 
publicity,  makeup,  casting  and  general  protec- 
tion necessary  to  young  folk  embarking  on  a 
career.  In  a  nutshell,  they  want  complete  juris- 
diction over  their  contract  players,  and  want  no 
outside  organization,  whether  by  political  elec- 
tions or  otherwise,  to  try  to  forecast  their 
destiny. 

Wampas  are  said  to  claim  that  such  lists  of 
"Stars  of  Tomorrow"  should  not  be  publicized 
under  the  trademark  of  any  one  studio.  They 
contend'  that  the  original  idea  of  naming  "Baby 
Stars"  was  an  industry  affair,  and  point  to  past 
selections,  such  as  Janet  Gaynor,  Lois  Wilson, 
Lupe  Velez,  who  were  helped  on  their  way  to 
the  top  by  the  combined  efforts  of  the  entire 
Wampas  membership. 

It  has  not  been  determined  as  yet  whether 
the  Wampas  will  make  their  nominations  from 
freelance  players  or  will  receive  cooperation 
from  studios  other  than  those  named. 

It  is  uncertain  whether  MGM  will  submit 
names.  Metro's  policy  is  to  school  and  exploit 
their  young  talent  in  their  own  way,  without 
unusual  fanfare. 

V 

Lesser  Sees  Color  Gaining 

Sol  Lesser,  though  he  is  not  planning  a  pro- 
duction in  color,  has  some  of  his  own  ideas  on 
the  subject.  He  believes  that  color  sequences 
soon  will  be  used  in  all  black  and  white  films, 
to  lend  dramatic  emphasis  to  stories,  and  give 
distinction  between  the  real  and  the  fantastic. 

"Interest  in  color  is  growing  daily  in  Holly- 
wood," he  said.  "Most  major  studios  have  an- 
nounced shorts  to  be  made  all  in  the  new  three- 
color  Technicolor  process,  and  many  features 
are  also  being  considered." 

V 

36  Features,  Says  Fred  S.  Meyer 

Fred  S.  Meyer,  former  exhibitor  leader  in 
Milwaukee,  who  has  been  appointed  executive 
manager  of  Universal  City,  in  a  circular  letter 


STARLETS  RAISE  WAMPAS  BABY  STAR  PROBLEM 
36  UNIVERSAL  FEATURES,  SAYS  FRED  MEYER 
LEGITIMATE  THEATRE  ON  COAST  IS  CHEERFUL 
TEN  FEATURES  FINISHED,  NINE  ARE  STARTED 


to  studio  employees  announced  that  Universal 
will  make  36  features,  the  usual  number  of 
serials.  Buck  Jones  action  melodramas,  and 
short  subjects.  He  said  plans  are  being  laid 
for  a  new  administration  building,  for  reland- 
scaping  and  refurbishing  of  the  plant. 

Stanley  Bergerman  will  act  as  executive  pro- 
ducer in  the  new  alignment.  Carl  Laemmle,  Jr., 
will  function  as  an  independent  producer  with 
his  own  unit.  Mr.  Meyer  will  confine  his  own 
activities  to  the  business  end,  with  studio  and 
picture  budgets  his  particular  field. 

V 

Legitimate  Theatre  Cheerful 

The  legitimate  theatre  in  Los  Angeles  is  look- 
ing up. 

Producers  of  the  New  York  hit,  "Three  Men 
on  a  Horse,"  in  negotiating  for  the  Hollywood 
rights  asked  $2,000  advance,  and  10  per  cent 
of  the  gross,  which  on  good  plays  has  hit  as 
high  as  $7,500.  Ready  to  close,  the  coast  pro- 
ducers were  informed  the  price  had  skyrocketed, 
the  plans  now  calling  for  shipment  of  part  of  the 
New  York  cast  to  the  Coast,  the  producer  taking 
his  own  gamble. 

"Tobacco  Road,"  with  nine  performances  a 
week,  is  averaging  between  $10,000  and  $11,000. 
Originally  scheduled  for  two  weeks  at  the 
Belasco,  six  weeks  are  now  in  prospect. 

"Ziegfeld  Follies,"  smartly  advertised  for  "one 
week  only,"  did  $37,000. 

"Merrily  We  Roll  Along"  closed  after  a 
brave  try,  minus  about  $6,000. 

"As  Thousands  Cheer"  opened  lustily  to  good 
business. 

V 

News  Flashes 

Harry  Sherman,  independent  producer,  will 
make  six  action  pictures  for  Paramount  at  the 
Prudential  Studios.  .  .  .  Charles  Skouras  planed 
in  from  New  York,  immediately  called  a  meet- 
ing of  Southern  California  district  managers 
of  Fox  West  Coast  Theatres  for  distribution  of 
bonus  checks,  went  on  to  San  Francisco  to  take 
care  of  the  bonus  situation  up  there.  .  .  .  Irving 
Asher,  foreign  production  head  for  Warner,  is 
en  route  to  England  with  a  brief  case  loaded 
with  plans  for  a  large  sound  stage  at  the 
Teddington  Studios.  .  .  .  Spencer  Tracy's 
first  vehicle  at  MiQM  will  be  the  Frances 
Marion  story,  "Riff  Rafif."  Educational  sees 
fit  to  close  up  their  Coast  studios  temporarily 
and  concentrate  on  production  in  the  East.  The 
former  studio  manager,  E.  H.  Allen,  will  trek 
East  shortly,  it  is  reported.  .  .  .  Katharine 
Brown,  New  York  story  head  for  RKO  is  here 
for  conferences  with  studio  executives.  .  .  .  Rob- 
ert Presnell  has  resigned  as  associate  producer 
at  Warner.  .  .  .  Everyting's  going  to  be  all 
right  again  with  the  Laurel  and  Hardy 
comedy  team.  Stan  Laurel  signed  a  new 
long  term  ticket  with  Hal  Roach  studios  and 
the  two  go  ahead  from  where  they  left  off. 
The  next  picture  is  "McLaurel  and  Mc- 
Hardy."  .  .  .  The  Screen  Actors'  Guild  has  in- 
augurated a  campaign  to  swing  Hollywood 
players  over  to  their  own  conciliation  commit- 
tee instead  of  allowing  the  Academy  to  arbi- 
trate in  contract  disputes. 

V 

Nine  Pictures  Start 

Although  ten  features  were  transferred  to  the 
cutting  rooms,  production  became  noticeably  ac- 
tive as  nine  new  pictures,  several  of  which 
have  large  casts,  were  put  into  work. 


Four  pictures  were  finished  at  Warner.  "G- 
Men,"  directed  by  William  Keighley,  has  James 
Cagney,  Margaret  Lindsay,  Ann  Dvorak,  Rob- 
ert Armstrong.  "Crashing  Society"  has  Guy 
Kibbee,  June  Martel,  Phil  Regan,  Edward 
Everett  Horton,  Zasu  Pitts.  Robert  Florey  di- 
rected. Completed  also  was  "In  Caliente,"  with 
Dolores  Del  Rio,  Pat  O'Brien,  Edward  Everett 
Horton,  Glenda  Farrell,  Leo  Carrillo.  Lloyd 
Bacon  directed.  "The  Girl  from  10th  Avenue," 
formerly  titled  "Men  on  Her  Mind,"  features 
Bette  Davis,  Ian  Hunter,  John  Eldredge,  Phil- 
lip Reed,  Katherine  Alexander,  Colin  Clive,  Ali- 
son Skipworth,  and  was  directed  by  Alfred  E. 
Green. 

MGM  completed  two.  "Age  of  Indiscretion," 
directed  by  Edward  Ludwig^  will  present  Paul 
Lukas,  Madge  Evans,  May  Robson.  "The 
Flame  Within"  includes  Ann  Harding,  Herbert 
Marshall,  Maureen  O'Sullivan. 

At  Columbia,  "Jim  Burke's  Boy"  was  com- 
pleted. Directed  by  Lambert  Hillyer,  the  cast 
includes  Jack  Holt,  Florence  Rice,  Jimmy  But- 
ler, Katherine  Burke. 

Paramount's  contribution  is  "The  Glass  Key," 
teaming  George  Raft  and  Edward  Arnold,  di- 
rected by  Frank  Tuttle. 

Shooting  was  finished  at  Radio  on  "Nit 
Wits,"  a  Wheeler  and  Woolsey,  directed  by 
George  Stevens. 

The  one  independent  picture  completed  was 
"Honeymoon  Limited,"  Monogram,  with  Neil 
Hamilton,  Irene  Hervey,  Lloyd  Hughes.  Ar- 
thur Lubin  directed. 

Three  Independents  Start 

Independent  producers  accounted  for  three  of 
the  nine  starting  pictures.  Beacon  Productions 
got  "Anything  for  a  Thrill"  underway,  with 
Charles  Starrett,  \'irginia  Cherill,  Al  Herman 
directing. 

Excelsior  started  "Hell  Breaks  Loose,"  direct- 
ed' by  Sam  Newheld  and  featuring  Guinn  Will- 
iams, Sally  Blane. 

"Rustler's  Paradise"  was  started  by  Criterion 
Pictures,  with  Harry  Carey. 

Fox  started  "Farmer  Takes  a  Wife,"  Victor 
Fleming  directing,  with  Janet  Gaynor,  Henry 
Fonda. 

Warner  started  "Page  Miss  Glory,"  Cosmo- 
politan Production,  starring  Marion  Davies,  sup- 
ported by  Dick  Powell,  Pat  O'Brien,  Mary  As- 
tor,  with  Mervyn  LeRoy  directing. 

At  Radio  work  began  on  "The  Peacemaker," 
to  feature  Richard  Dix,  Louis  Calhern,  Margot 
Grahame. 

Two  pictures  started  at  Universal.  In  "Dia- 
mond Jim"  Edward  Arnold  is  playing  the  char- 
acter role,  and  Edward  Sutherland  directing. 
"Border  Brigands"  is  a  Buck  Jones  action  melo- 
drama. 

MGM  began  work  on  "Masquerade."  Rob- 
ert Z.  Leonard  is  directinsr  and  the  cast  will 
feature  William  Powell,  Myrna  Loy,  Mady 
Christians,  Virginia  Bruce,  Frank  Morgan,  Regi- 
nald Owen,  Henry  Travers  and  Lucille  Watson 


Majestic  Shifts  Title 

Majestic  Pictures  has  changed  the  title 
of  "Thunder  in  the  Streets,"  just  completed 
by  Larry  Darmour,  to  "Motive  for.  Murder," 
because  of  possible  confusion  with  the  title 
of  a  United  Artists  release,  "Thunder  in 
the  East."  United  Artists  suggested  the  pos- 
sibilitv  of  confusion. 


62  MOTION    PICTURE    HERALD        ,  April    13,  1935 


WHAT  THE  I^ICTUCE 
DID  ECD  ME 


Columbia 

BROADWAY  BILL:  Warner  Baxter,  Myrna  Loy— 
A  splendid  picture,  excellent  action  and  will  please 
both  adults  and  children.  Most  exciting  race  sequence 
seen  in  months.  Drew  better  than  average  attendance. 
Played  February  17. — Russell  Anderson,  Casino  Thea- 
tre, Gunison,  Utah.    Small  town  patronage. 

DEFENSE  RESTS,  THE:  Jack  Holt,  Jean  Arthur— 
We  discarded  a  newer  picture  and  replaced  it  with  this 
old  one  and  our  judgment  was  good  this  tirne.  If  you 
have  not  played  it,  pick  it  up  and  you  will  be  glad 
you  did.  Running  time,  seven  reels.  Played  March 
22-23.— G.  A.  Van  Fradenburg.  The  Valley  Theatre, 
Manassa,  Col.    Farming  community  patronage. 

IT  HAPPENED  ONE  NIGHT:  Dark  Gable,  Claud- 
ette  Colbert — Repeat  this  picture  by  all  means  if  you 
have  a  dull  day  you  want  to  raise.  This  played  four 
days  on  first  showing  over  a  year  ago;  returned  for 
one  day  and  did  capacity  business.  Played  return  en- 
gagement March  19. — Ted  Siler,  Dickinson  Theatre, 
Hiawatha,  Kan.    Small  town  and  rural  patronage. 

WHOLE  TOWN'S  TALKING,  THE:  Edward  G. 
Robinson,  Jean  Arthur— Better  than  average,  but  not 
up  to  all  the  fuss  made  about  it.  Drew  only  average 
business.  Played  March  10. — Russell  Anderson,  Casino 
Theatre,  Gunnison,  Utah.    Small  town  patronage. 

WHOLE  TOWN'S  TALKING:  Edward  G.  Robin- 
son, Jean  Arthur — Am  informed  we  were  the  first  in 
the  state  to  use  the  Chevrolet  factory  tieup  with  the 
local  Chevy  dealer  in  connection  with  this  picture.  If 
you  have  time  before  playing  it's  a  dandy.  By  all 
means  get  the  special  trailer  from  Columbia.  The 
picture  is  there  and  will  satisfy.  Running  time,  nine 
reels. — E.  C.  Arehart,  Princess  Theatre,  Odebilt,  Iowa. 
General  patronage. 


First  National 

FLIRTATION  WALK:  Dick  Powell,  Ruby  Keeler— 
Here's  a  swell  picture  with  good  songs,  a  dandy  cast 
and  plenty  of  action.  Running  time,  97  minutes. 
Played  March  3-4. — Horn  &  Morgan,  Inc..  Star  Thea- 
tre, Hay   Springs,   Neb.     Small  town  patronage. 

LIVING  ON  VELVET:  Kay  Francis,  George  Brent, 
Warren  William — What  a  honey.  I  would  like  to  have 
one  like  this  on  every  program  for  a  while.  Perhaps 
I  could  lift  the  old  place  out  of  the  mire.  Running 
time,  8  reels.  Played  March  24-26.— E.  J.  McClurg, 
Grand  Theatre,  Preston,  Idaho.  Rural  and  small  town 
patronage. 

MAYBE  IT'S  LOVE:  Gloria  Stuart,  Ross  Alexander 
—While  this  can't  be  rated  any  better  than  a  program 
ofTering.  it  does  rate  as  a  nice  little  piece  of  enter- 
tainment. No  box  office  appeal  but  if  you  can  get 
them  in  and  not  promise  too  much,  it  will  please  most 
of  your  patrons.  Running  time,  62  minutes.  Played 
March  22-23.— M.  R.  Harrington,  Avalon  Theatre, 
Qatskanie,  Ore.    Small  town  and  rural  patronage. 

MAYBE  IT'S  LOVE:  Gloria  Stuart,  Ross  Alexand- 
er— Gloria  Stuart  can  play  in  any  picture  for  me  and 
Ross  Alexander  is  a  coming  starlet.  The  picture 
was  thoroughly  enjoyed  by  our  "Pal  Night"  crowd 
who  are  increasing  weekly.  Running  time,  62  minutes. 
Played  March  6-7.— Horn  &  Morgan,  Inc.,  Star  Thea- 
tre, Hay  Sprigs.  Neb.    Small  town  patronage. 

MURDER  IN  THE  CLOUDS:  Ann  Dvorak,  Lyie 
Talbot — A  nice  little  program  picture  with  plenty  of 
action  and  the  always-present  fine  supporting  cast 
which  can  be  seen  in  Warner-First  National  produc- 
tions. Running  time,  61  minutes.  Played  March  15- 
16. — Horn  &  Morgan,  Inc.,  Star  Theatre,  Hay  Springs, 
Neb.    Small  town  patronage. 

WOMAN  IN  RED,  THE:  Barbara  Stanwyck.  Gene 
Raymond — The  censors  who  panned  this  one  must  have 
been  trying  to  earn  their  money,  for  I  saw  nothing 
objectionable  about  it.  A  good,  entertaining  story, 
excellent  acting,  plenty  of  thrills  and  a  good  courtroom 
scene  make  up  what  I  call  an  excellent  show.  Pleased 
my  patrons.  Running  time,  68  minutes.  Played  March 
23-24.— Gladys  E.  McArdle,  Owl  Theatre,  Lebanon, 
Kan.    Small  town  patronage. 


Fox 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn— 
This  picture  and  Universal's  "Imitation  of  Life"  are 
the  two  best  so  far  this  year.  "Bright  Eyes"  is  a 
cleanup  at  the  box  office.  The  best  business  in  many 
months.  Many  came  back  the  second  night  to  see  it 
once  again.  Go  after  it,  boys,  you  have  a  great  show 
here,  and  you  will  make  more  money  than  any  picture 
released  in  six  months.  Congratulations,  Fox. — S.  H. 
Rich,  Rich  Tlieatre,  Montpelier,  Idaho.  General  pa- 
tronage. 


IN  this,  the  exhibitors'  own  de- 
partment, the  theatremen  of  the 
nation  serve  one  another  with 
information  on  the  box  office  per- 
formance of  product  for  their  mu- 
tual benefit.  It  is  a  service  of  the 
exhibitor  for  the  exhibitor.  Address 
all  communications  to — 

What  the  Picture  Did  for  Me 

MOTION  PICTURE  HERALD 
1790  Broadway,  New  York 


BRIGHT  EYES:  Shirley  Temple,  James  Dunn- 
Swell!  Elegant!  Supreme.  And,  of  course,  Colossal. 
And  all  other  adjectives  referring  thereto.  Packed  the 
house  two  times  in  one  night,  here  in  a  hamlet  of  500. 
They  even  drove  fifty  miles  to  see  this  one.  Actually 
outgrossed  Will  Rogers,  who  has  been  ace  box  office 
here  for  many  moons.  We  advance-advertised  this  by 
sending  cut  postcards.  You  can't  go  wrong  on  this 
one.  Plug  it  to  the  limit.  Played  March  24-25.— Chas. 
Summers  &  Son,  Elite  Theatre,  Selling,  Okla.  Small 
town  and  rural  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— Good 
picture,  but  not  Rogers'  best  by  a  long  way.  It  did 
only  70  per  cent  of  "Judge  Priest"  business.  I  just 
saw  Rogers'  new  picture,  "Life  Begins  At  40"  and  I 
want  to  tell  all  you  fellows  that  this  is  the  best  pic- 
ture Rogers  ever  made,  outside  of  "State  Fair."  When 
you  play  "Life  Begins  at  40"  "give  it  the  works." — 
S.  H.  Rich,  Rich  Theatre,  Montpelier,  Idaho.  General 
patronage. 

DUDE  RANGER,  THE:  George  O'Brien,  Irene  Her- 
vey — Good  western,  but  it  drew  slow  at  box  office  be- 
cause George  O'Brien  new  in  this  town.  Played 
March  30.— J.  T.  Justice,  Jr.,  Pickfair  Theatre,  Kern- 
ersville,  N.  C.    Small  town  patronage. 

LIFE  BEGINS  AT  48:  Will  Rogers— His  best  pic- 
ture since  "State  Fair."  You  cannot  oversell  this 
one,  so  get  out  the  old  dust  rag  and  start  dusting  off 
the  front  row  seats.  Running  time,  80  minutes.  Played 
March  24-25-26.— Ted  Siler,  Dickinson  Theatre,  Hia- 
watha, Kan.    Small  town  and  rural  patronage. 

MYSTERY  WOMAN:  Mona  Barrie,  Gilbert  Roland 
— The  mystery  is  why  was  it  made.  It  is  deadly  slow, 
lacks  the  tempo  that  should  go  with  a  mystery  pic- 
ture. Just  another  program  picture  that  will  not  even 
ripple  the  surface  with  your  audience.  At  least  it 
did  not  with  mine.— A.  E.  Hancock,  Columbia  Theatre, 
Columbia  City,  Ind.    General  patronage. 

ONE  MORE  SPRING:  Janet  Gaynor,  Warner  Bax- 
ter— The  general  consensus  among  our  patrons  was 
that  Fox  must  be  trying  to  use  Gaynor,  finest  box- 
office  star  among  the  femmes,  and  Baxter,  a  grand 
actor,  to  make  money  for  them  in  a  cheap  picture. 
As  always,  they  present  swell  performances  liut  if 
Fox  wants  to  keep  them  at  the  top  of  the  list,  they'll 
have  to  do  better  by  them  in  stories.  Played  March 
17-18.— Horn  &  Morgan,  Inc.,  Star  Theatre,  Hay 
Springs,  Neb.    Small  town  patronage. 

UNDER  PRESSURE:  Edmund  Lowe,  Victor  Mc- 
Laglen — Too  much  technical  stuff  and  too  much  Mc- 
Laglen.  The  men  may  like  it,  but  the  women  will 
turn  thumbs  down  on  it.  Deals  with  sand  hogs,  so- 
called  tunnel  builders.  We  had  a  number  walk  out 
on  it.  The  usual  McLaglen-Lowe  opus.  They  quarrel, 
they  fight — the  same  old  technique  since  "The  Cock- 
eyed World."  Every  once  in  a  while  Fox  tries  them 
out  again  and  that  is  tough  on  the  exhibitor.  Fox 
does  not  seem  smart  enough  to  know  that  this  eternal 
bickering  and  the  inevitable  battle  that  always  ensues, 
gets  old.  especially  when  these  two  stars  have  always 
done  this  same  thing.  The  audience  can  anticipate 
every  sequence  in  this  pair's  pictures.  It  has  been 
done  so  often  the  same  line. — A.  E.  Hancock.  Colum- 
bia Theatre,  Columbia  City,  Ind.    General  patronage. 

WHEN  A  MAN'S  A  MAN:  George  O'Brien,  Doro- 
thy Wilson — Unusually  well  liked.  Good  cast,  direction 
and  photography.  Our  best  weekend  business  for 
many  moons.  Running  time,  seven  reels. — E.  C.  Are- 
hart, Princess  Theatre,  Odebolt,  Iowa.  General  pat- 
ronage. 

WHEN  A  MAN'S  A  MAN;  George  O'Brien— George 
always  delivers  for  us,  especially  when  it  is  a  Zane 
Grey  story  or  some  other  equally  prominent  author 
such  as  Harold  Bell  Wright.  This  lived  up  to  omv 
expectations  but  did  not  draw  quite  as  good  as  the 


Zane  Greys  do.  Played  March  6-7.— Horn  &  Morgan, 
Inc.,  Star  Theatre,  Hay  Springs,  Neb.  Small  town 
patronage. 

WHITE  PARADE,  THE:  Loretta  Young,  Jane 
IJarwell — If  this  is  not  included  among  the  ten  best 
of  the  year,  there  will  be  a  mighty  number  of  fans 
whose  opinions  aren't  worth  much.  Here's  one  picture 
you  can't  over-advertise  in  advance  simply  because 
you  can't  do  it  justice.  A  big  bouquet  to  Lasky  and 
the  cast,  particularly  Loretta  Young  and  Jane  Dar- 
well.  And  why  doesn't  Hollywood  boost  this  Darwell. 
She's  a  coming  star  if  there  ever  was  one.  Business 
swell  and  audience  reaction  great.  Running  time,  83 
minutes.  Played  March  13-14.— M.  R.  Harrington, 
-Avalon  Theatre,  Clatskanie,  Ore.  Small  town  and 
rural  patronage. 


MGM 

BABES  IN  TOYLAND:  Stan  Laurel,  Oliver  Hardy, 
Charlotte  Henry — This  is  a  fine,  entertaining  picture; 
wonderful  settings;  great  acting  by  all  the  cast;  the 
stars  fine;  comedy  funny;  but  it  did  not  draw  at  this 
house  as  a  special.  Too  good  for  a  programmer,  and 
not  good  enough  for  a  special,  is  about  it  for  this 
town.  Played  March  17-18.— Bert  Silver,  Silver  Fam- 
ily Theare,  Greenville,  Mich.  Town  and  country 
patronage. 

BAND  PLAYS  ON,  THE:  Robert  Young,  Stuart 
Lrwin,  Leo  Carrillo,  Betty  Furness— Why  they  re- 
leased this  football  picture  so  close  up  to  the  opening 
of  the  baseball  season  I  will  always  wonder.  For 
fall,  it  is  and  would  have  been  a  natural,  but  the 
public  is  not  football-minded  now  and  the  picture 
flopped  for  that  one  reason,  I  think.  A  little  more 
restraint  would  have  been  better  all  around  for  the 
good  of  the  picture.— A.  E.  Hancock,  Columbia  Thea- 
tre, Columbia  City,  Ind.     General  patronage. 

BIOGRAPHY    OF    A    BACHELOR    GIRL:  Ann 

Harding,  Robert  Montgomery — I  know  of  no  picture 
that  would  be  more  certain  to  take  a  nosedive  in  this 
house  than  one  headed  by  Harding  and  Montgomery. 
My  public  is  getting  fed  up  with  these  collar  ad 
Adonises.  Sophisticated  society  stufif  is  what  we  are 
getting  in  a  lot  of  eictures  and  my  public  is  craving 
some  action  and  a  little  of  the  rough  and  ready  in 
their  pictures.  Where  are  the  he-men  of  Hollywood? 
Gable  and  Beery  and  that  is  the  lot.  The  rest  of 
them  are  a  lot  of  stuffed  shirts  and  the  audiences  are 
getting  satiated  with  them  and  the  box  office  shows 
It.  I  forgot  Bickford.  who  gets  nothing  to  do.  The 
above  picture  that  I  am  reporting  on  is  dialogued  to 
death  and  it  is  "My  darling  this  and  my  darling  that" 
until  it  gags  the  audience  and  did  that  thing.  This 
Montgomery  is  not  the  fair  haired  child  that  Metro 
thinks  he  is.  He  is  just  a  type  of  which  there  are 
about  eight  others  that  were  shook  out  of  the  same 
sack.  The  audience  almost  get  up  and  cheer  when 
we  have  a  picture  that  has  been  taken  out  of  doors 
and  has  some  action.— A.  E.  Hancock,  Columbia  Thea- 
tre, Columbia  City,  Ind.    General  patronage. 

EVELYN  PRENTICE:  William  Powell,  Myrna  Loy. 
Una  Merkel— A  swell  picture  that  was  well  received 
by  our  weekend  audience.  Should  do  business  in  any 
situation.  Runr;ing  time,  80  minutes.  Played  March 
15-16— B.  A.  McConnell,  Emerson  Theatre,  Hartford, 
Ark.     Small  town-general  patronage. 

FORSAKING  ALL  OTHERS:  Clark  Gable,  Joan 
Crawford,  Robert  Montgomery — Swell  entertainment — 
if  your  patrons  enjoy  the  light,  breezy  comedy  type 
of  picture.  The  cast  is  perfect  in  this  and  they 
romp  through  the  whole  thing  as  though  they  were 
having  the  time  of  their  lives.  Business  not  quite  up 
to  expectations,  but  good,  and  audience  reactions  were 
distinctly  favorable.  Running  time,  84  minutes.  Played 
March  17-19.— M.  R.  Harrington,  Clatskanie,  Ore. 
Small  town  and  rural  patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford,  Dark 
Gable.  Robert  Montgomery,  Charles  Butterworth — 
Personally,  I  thought  this  decidedly  weak,  but  it 
seemed  to  please  the  patrons.  Good  acting,  but  too 
much  Charles  Butterworth,  and  I  wish  some  of  Billie 
Burke's  enemies  would  tell  her  she  talks  too  fast. 
However,  seemed  to  please  the  patrons  and  that  is  all 
that  is  necessary.  Running  time.  84  minutes.  Played 
March  29-30-31.— Gladys  E.  McArdle.  Owl  Theatre, 
Lebanon,  Kan.    Small  town  patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford,  Rob- 
ert Montgomery,  Clark  Gable,  Charles  Butterworth, 
Frances  Drake — A  wow  of  a  picture.  Charles  Butter- 
worth was  the  big  laugh  in  this  picture.  Metro 
makes  a  few  pictures  that  the  small  town  can  cash 
in  on.  Running  time,  84  minutes.  Played  March  22- 
23-24. — Harry  M.  Newman,  Liberty  Theatre,  Lynden, 
Wash.    Small  town  patronage. 

FORSAKING  ALL  OTHERS:  Joan  Crawford.  Clark 
Gable.    Robert    Montgomery,    Charles  Butterworth— 


April     13,  1935 


MOTION    PICTURE  HERALD 


63 


Good  picture.  Swell  pictures.  Good  stars.  Picture 
liked  b.v  everyone.  Business  fair. — S.  H.  Rich,  Rich 
Theatre,  Montpelier,  Idaho.    General  patronage. 

GAY  BRIDE,  THE:  Carole  Lombard,  Chester  Mor- 
ris, Zasu  Pitts,  Leo  Carrillo,  Nat  Pendleton — Why 
Metro  was  so  dumb  as  to  change  this  title  from  "Re- 
peal" to  "The  Gay  Bride"  is  more  than  I  can  tell, 
but  the  box  office  will  tell  them,  or  did,  that  it  was  a 
grievous  error  to  put  a  title  like  that  on  this  picture 
of  a  story  that  was  so  widely  read  in  the  Saturday 
Evening  Post.  I  pegged  it  for  a  Friday -Saturday  pic- 
ture and  so  it  was,  but  the  damn  title  killed  business. 
Strange  what  a  title  will  do  to  the  bo.x  office  in  a 
small  town.  We  stressed  the  story  in  the  advertising, 
but  they  evidently  don't  believe  in  what  they  see  in 
the  papers.  Lombard  overplayed  her  role;  she  emoted 
too  much  for  the  Friday -Saturday  crowd. — A.  E. 
Hancock,  Columbia  Theatre,  Columbia  City,  Ind.  Gen- 
eral patronage. 

NIGHT  IS  YOUNG,  THE:  Ramon  Novarro,  Evelyn 
Laye,  Charles  Butterworth,  Una  Merkel,  Edward  Ev- 
erett Horton — Another  artistic  failure;  beautiful,  no 
doubt,  but  it  is  one  of  those  princess  and  prince 
things  that  the  producers  must  put  out  once  in  a 
while.  Personally,  I  think  that  Novarro  is  getting 
through  and  outside  of  Laye's  voice,  she  looked  too 
old  for  the  part  she  took.  If  prestige  will  pay  your 
bills,  this  is  your  meat,  but  if  you  have  to  use  money, 
then  you  will  be  out  of  luck  or  at  least  that  is  the 
writer's  experience. — A.  E.  Hancock,  Columbia  Thea- 
tre, Columbia  City,  Ind.    General  patronage. 

PAINTED  VEIL,  THE:  Greta  Garbo-This  one  is 
almost  too  gruesome  to  be  really  entertaining,  but 
the  realistic  Chinese  background  makes  it  sufficiently 
interesting  to  excuse  its  other  shortcomings.  I  be- 
lieve it  will  give  as  much  satisfaction  as  the  average 
program  picture,  but  nothing  more  notwithstanding 
its  quite  lavish  presentation.  Running  time,  86  min- 
utes. Played  March  29-30. — G.  A.  Van  Fradenburg, 
The  Valley  Theatre,  Manassa,  Col.  Farming  com- 
munity patronage. 

PAINTED  VEIL,  THE:  Greta  Garbo,  Herbert  Mar- 
shall, George  Brent — This  is  one  of  Garbo's  best  pic- 
tures, but  in  my  town  it  did  not  do  as  much  business 
as  a  plain  program  picture.  Running  time,  89  min- 
utes. Played  March  15-16-17. — Harry  M.  Newman, 
Liberty  Theatre,  Lynden,  Wash.  Small  town  patron- 
age. 

PAINTED  VEIL,  THE:  Greta  Garbo,  Herbert  Mar- 
shall, George  Brent — By  far  the  best  Garbo  ever  made. 
A  great  story,  a  good  cast,  and  a  profit  on  the  run. 
Bill  it  for  all  you  are  worth.  It's  a  great  show. — S.  H. 
Rich,  Rich  Theatre,  Montpelier,  Idaho.  General  pat- 
ronage. 

SEQUOIA:  Jean  Parker,  Russell  Hardie— Drama, 
comedy,  tragedy  and  romance  in  the  animal  kingdom, 
with  Sequoia  National  Park  for  a  stage,  this  is  the 
best  animal  film  I  ever  saw.  Pleased  old  and  young 
alike.  Jean  Parker  and  Russell  Hardie  are  very  good 
and  don't  forget  little  Harry  Lowe,  Jr.,  in  a  very 
clever  part.  Beautiful  scenery,  a  good  musical  back- 
ground and  animals  perfect  in  their  parts  make  this 
production  one  of  the  very  best.  Played  March  27- 
28.— Gladys  E.  McArdle,  Owl  Theatre,  Lebanon,  Kan. 
Small  town  patronage. 

WICKED  WOMAN :  Mady  Christians,  Charles 
Bickford — Miss  Christians  and  Charles  Bickford  cer- 
tainly make  a  fine  combination  and  we  had  lots  of 
favorable  comments  on  this  picture.  You  don't  have 
to  apologize  for  this  one.  Running  time,  74  minutes. 
Played  March  21.— B.  A.  McConnell,  Emerson  Theatre, 
Hartford,   Ark.     Small  town-general  patronage. 

Monogram 

MILLION  DOLLAR  BABY:  Arline  Judge,  Ray 
Walker — If  you  want  to  freeze  your  box-office  so  it 
will  never  thaw  out,  play  this  three  days.  It  was  not 
accepted  here  for  either  good  or  bad  entertainment. 
■They  did  not  come  out. — W.  H.  Brenner,  Cozy  Thea- 
tre, Winchester,  Ind.    General  patronage. 

MILLION  DOLLAR  BABY:  Arline  Judge,  Ray 
Walker— Seemed  to  please,  but  further  than  that  we 
say  not.  We  thought  the  photography  was  very  ordi- 
nary and  the  usually  fine  supporting  cast  we  are  ac- 
customed to  seeing,  was  lacking.  Running  time,  65 
minutes.  Played  March  13-14.— Horn  &  Morgan,  Inc., 
Star  Theatre,  Hay  Springs,  Neb.  Small  town  patron- 
aee. 

MILUON  DOLLAR  BABY:  Jimmy  Fay,  Arline 
Judge,  Ray  Walker— This  did  pretty  well  here.  A  nice 
program  picture  with  quite  a  little  action,  excitement 
and  comedy.  Well  liked  by  all.  Jimmy  Faye  will 
bear  watching  as  a  child  actor.  He's  plenty  good. 
However,  methinks  that  some  of  our  patronage  was 
due  to_  the  fact  that  La  Temple's  name  was  men- 
tioned in  the  advertising  sent  out  by  the  distributor. 
Played  March  3-4.— Chas.  Summers  and  Son,  Elite 
Theatre,  Selling,  Okla.  Small  town  and  rural  patron- 
age. 

MONEY  MEANS  NOTHING:  Wallace  Ford,  Gloria 
Shea — Fair  program  picture.  No  drawing  power. 
Wish  I  hadn't  played  it.  Running  time,  63  minutes. 
Played  March  27.— J.  T  Justice,  Jr.,  Pickfair  Thea- 
tre, Kernersville,  N.  C.    Small  town  patronage. 

TRAIL  BEYOND,  THE:  John  Wayne,  Verna  Hil- 
f'^A  picture  with  plenty  of  action  from  start  to  fin- 
ish. A  Jarnes  Oliver  Curwood  story  with  some  of  the 
most  beautiful  scenerv  we've  shown  for  some  time. 
Played  March  8-9.— Chas.  Summers  &  Son,  Elite  Thea- 
tre. Selling,  Okla.    Small  town  and  rural  patronage. 


WOMEN  MUST  DRESS:  Minna  Gombell,  Gavin 
Gordon — Another  fine  picture  from  Monogram.  Clean 
and  entertaining.  Well  acted  and  directed.  Good 
satisfaction. — Bert  Silver,  Silver  Family  Theatre, 
Greenville,  Mich.     Town  and  country  patronage. 


Paramount 

BEHOLD  MY  WIFE:  Sylvia  Sidney,  Gene  Ray- 
mond— This  play  surprised  me.  I  thought  it  would  be 
a  dead  one,  but  it  turned  out  to  be  a  good  play. 
Sylvia  Sidney  and  Gene  Raymond  certainly  make  a 
great  pair.  We  even  had  two  people  faint  on  this  one. 
Running  time,  79  minutes.  Played  March  9-10. — Wm. 
Day,  Jr.,  Grand  Theatre,  Dunkirk,  Ohio.  General 
patronage. 

BEHOLD  MY  WIFE:  Sylvia  Sidney,  Gene  Ray- 
mond— A  good  picture  to  good  business.  An  excep- 
tionally good  story,  well  acted. — S.  H.  Rich,  Rich 
Theatre,  Montpelier,  Idaho.    General  patronage. 

CLEOPATRA:  Claudette  Colbert— Not  a  drawing 
card  here  at  all.  Production  like  all  Cecil  B.  DeMille's 
was  great  but  that  does  not  bring  them  in.  Let's  get 
away  from  these  costume  pictures  again.  Running 
time,  101  minutes.  Played  March  10-11.— Horn  & 
Morgan,  Inc.,  Star  Theatre,  Hay  Springs,  Neb.  Small 
town  patronage. 

CLEOPATRA:  Claudette  Colbert,  Henry  Wilcoxon, 
Warren  William — Wonderful  picture  of  its  kind.  But 
it  did  not  do  much  business  for  me.  Typical  DeMille 
production,  and  where  this  type  of  picture  is  liked  it 
will  go  well,  but  the  small  towns  do  not  appreciate 
the  magnitude  of  this  production.  Consequently,  when 
we  pay  top  money,  it  just  does  not  leave  a  profit.— 
S.  H.  Rich,  Rich  Theatre,  Montpelier,  Idaho.  General 
patronage. 

COLLEGE  RHYTHM:  Joe  Penner,  Lanny  Ross- 
Good  music  and  a  dandy  cast  if  they  had  left  Joe 
Penner  out  of  it.  How  people  can  go  for  his  silli- 
ness is  more  than  we  can  tell.  However,  the  young 
folks  seemed  to  get  a  big  kick  out  of  his  antics.  Run- 
ning time,  83  minutes.  Played  March  24-25. — Horn 
&  Morgan,  Inc.,  Star  Theatre,  Hay  Springs,  Neb. 
Small  town  patronage. 

COLLEGE  RHYTHM:  Joe  Penner,  Jack  Oakie, 
Lanny  Ross,  Lyda  Roberti,  Helen  Mack— This  is  the 
kind  the  young  folks  like.  Good,  light  entertainment 
to  good  business.--S.  H.  Rich,  Rich  Theatre,  Mont- 
pelier, Idaho.    General  patronage. 

FATHER  BROWN,  DETECTIVE:  Walter  Connolly, 
Paul    Lukas— Fair    detective    play.     This    play  sur- 


rounds the  life  of  a  criminal  and  how  he  is  changed 
by  the  faith  of  a  good  Catholic  priest.  Running 
time,  65  minutes.  Played  March  5-6. — Wm.  Day,  Jr., 
Grand  Theatre,  Dunkirk,  Ohio.    General  patronage. 

FATHER  BROWN,  DETECTIVE;  Walter  Connol- 
ly, Paul  Lukas,  Gertrude  Michael — Business  normal. 
Two  or  three  walkouts  on  this  picture,  but  those  who 
commented  were  uniformly  well  pleased.  Connolly,  as 
usual,  was  admirable  and  Miss  Michael  is  very  beau- 
tiful as  well  as  capable.  Played  March  30. — C.  W. 
Mills,  Arcade  Theatre,  Sodus,  N.  Y.  Family  patron- 
age. 

GILDED  LILY,  THE:  Claudette  Colbert,  Fred  Mac- 
Murray — Very  good  picture  and  Colbert  is  natural 
draw.  Played  March  8. — Russell  Anderson,  Casino 
Theatre,  Gunnison,  Utah.    Small  town  patronage. 

GILDED  LILY,  THE:  Claudette  Colbert,  Fred 
MacMurray — Splendid  romantic  drama  with  both  Clau- 
dette and  MacMurray  doing  most  pleasing  work.  Good 
story,  well  directed.  Fred  in  role  of  careless  appear- 
ing young  reporter,  who  eats  popcorn  and  "watches 
the  world  go  by,"  as  he  sits  on  a  park  bench  with 
Claudette.  Running  time,  80  minutes.  Played  March 
17-18.— P.  G.  Estee,  S.  T.  Theatre,  Parker,  S.  D. 
Small  town  patronage. 

GILDED  LILY,  THE:  Oaudette  Colbert,  Fred 
MacMurray,  Ray  Milland — Just  fair,  some  comedy  and 
rather  draggy  in  a  lot  of  spots. — A.  E.  Hancock, 
Columbia  Theatre,  Columbia  City,  Ind.  General  pat- 
ronage. 

LEMON  DROP  KID,  THE:  Lee  Tray,  Helen  Mack, 
Baby  LeRoy — Only  fair.  Hardly  up  to  average.  It's 
just  a  picture. — S.  H.  Rich,  Rich  Theatre,  Montpelier, 
Idaho.    General  patronage. 

LIVES  OF  A  BENGAL  LANCER:  Gary  Cooper, 
Franchot  Tone — Excellent.  Everyone  spoke  very  well 
of  it.  Did  extra  at  box  office.  Has  everything  in  it 
but  girls,  but  what  do  we  care  as  long  as  they  flock 
to  see  it.  Running  time,  108  minutes.  Played  March 
17-19.— E.  J.  McClurg,  Grand  Theatre,  Preston,  Idaho. 
Rural  and  small  town  patronage. 

LIVES  OF  A  BENGAL  LANCER:  Gary  Cooper, 
Franchot  Tone,  Richard  Crornwell,  Sir  Guy  Standing 
— We  have  waited  for  years  for  this  picture.  I  bought 
it  on  every  group  of  Paramount  Pictures  that  has 
been  released  in  five  or  six  years  and  at  last  we  get 
it,  and  what  a  picture  it  is.  I  call  it  one  of  the  best 
of  this  or  any  other  year.  I  am  sorry  to  report  it  did 
not  do  much  business,  in  fact  just  about  average, 
with  top  film  rental,  so  we  lost  money.  The  picture 
will  be  listed  as  one  of  the  ten  best.  Step  on  it,  boys, 
{Continued  on  followinci  page) 


64 


MOTION    PICTURE  HERALD 


April     13,  1935 


you  have  a  great  piece  of  merchandise  here.  Put  it 
over  if  you  can.  I  couldn't. — S.  H.  Rich,  Rich  Thea- 
tre, Montpelier,  Idaho.    General  patronage. 

LOVE  IN  BLOOM:  Burns  &  Allen,  Joe  Morrison, 
Dixie  Lee — Dandy  little  picture  and  will  please  most 
all.  Lively  action  and  comedy.  Don't  be  afraid  of 
this  one.  Played  March  23. — Russell  Anderson,  Ca- 
sino Theatre,  Gunnison,  Utah.    Small  town  patronage. 

MRS.  WIGGS  OF  THE  CABBAGE  PATCH:  Paul- 
ine Lord,  W.  C.  Fields,  Zasu  Pitts,  Kent  Taylor, 
Evelyn  Venable— This  is  the  kind  of  a  picture  my 
patrons  like.  It  has  everything  for  an  evening's  en- 
tertainment. Paramount  has  some  mighty  fine  pic- 
tures this  year.— S.  H.  Rich,  Rich  Theatre,  Mont- 
pelier, Idaho.    General  patronage. 

NOW  AND  FOREVER:  Gary  Cooper,  Carole  Lom- 
bard. Shirley  Temple,  Sir  Guy  Standing — This  picture 
would  have  been  O.  K.  if  we  had  played  it  before 
"Bright  Eyes,"  but  following  that  picture  it  just  fell 
flat.  Only  fair  entertainmenj:  and  a  little  disappoint- 
ing to  the  Shirley  Temple  fans. — S.  H.  Rich,  Rich 
Theatre,   Montpelier.   Idaho.     General  patronage. 

PRESIDENT  VANISHES,  THE:  Edward  Arnold, 
Arthur  Byron,  Paul  Kelly,  Peggy  Conklin — Don't 
think  our  patrons  cared  for  this.  In  fact,  believe  they 
would  have  thanked  us  for  a  right  good  out-of-door 
instead.  Mystery  angle  O.  K.,  but  a  litle  too  much 
pacifist  propaganda.  Running  time,  83  minutes. 
Played  March  15-16.— P.  G.  Estee,  S.  T.  Theatre, 
Parker.  S.   D.     Small  town  patronage. 

PURSUIT  OF  HAPPINESS.  THE:  Francis  Lederer, 
Joan  Bennett — Do  not  make  the  mistake  I  did  and  sit 
idly  by  and  let  this  picture  flop.  Put  the  bundling 
thing  over  in  a  big  way  and  sell  this  picture  for  all 
it's  worth.  It  is  entertainment  and  deserves  extra 
billing.  Will  weaken  a  little  and  tell  you  Joan  Ben- 
nett was  never  more  beautiful  and  all  others  connected 
with  the  picture  are  okay. — ^W.  H.  Brenner,  Cozy 
Theatre,  Winchester,  Ind.    General  patronage. 

PURSUIT  OF  HAPPINESS,  THE:  Joan  Bennett, 
Francis  Lederer — Played  this  on  a  midnight  showing 
with  fine  results.  Plenty  of  chuckles  and  the  "bund- 
ling scene"  brought  gales  of  laughter.  An  awkward 
situation  deftly  handled  and  inoflensively  so.  But  it 
is  no  bed-time  story  for  the  kiddies.  Running  time. 
72  minutes.  Played  March  16. — M.  R.  Harrington. 
Avalon  Theatre.  Clatskanie,  Ore.  Small  town  and 
rural  patronage. 

ROCKY  MOUNTAIN  MYSTERY:  Randolph  Scott, 
"Chic"  Sale — A  very  well  executed  western  of  a  dif- 
ferent style.  For  once  there  is  no  mortgage  on  the 
farm  for  the  hero  to  step  in  and  lift  ofi.    Very  good 


mystery  holding  the  audience  in  suspense  until  the 
last.  "Chic"  Sale  furnishes  plenty  of  laughs.  Run- 
ning time,  64  minutes.  Played  March  27-28. — Ted 
Siler,  Dickinson  Theatre,  Hiawatha,  Kan.  Small  town 
and  rural  patronage. 

RUMBA:  George  Raft,  Carole  Lombard — Splendid 
picture  and  made  to  order  for  women.  Best  dance 
numbers  and  staged  more  cleverly  than  any  shown 
here  recently.  Very  good  draw.  Played  March  15. — 
Russell  Anderson,  Casino  Theatre,  Gunison,  Utah. 
Small  town  patronage. 

READY  FOR  LOVE:  Richard  Arlen.  Ida  Lupino 
— Fair  love  play.  Will  please  the  ordinary  crowd. 
Nothing  extra.  Running  time,  65  minutes.  Played 
February  26-27. — Wm.  Day,  Jr.,  Grand  Theatre,  Dun- 
kirk, Ohio.    General  patronage. 

RUMBA:  George  Raft,  Carole  Lombard — No  wonder 
Cuba  got  all  riled  up  over  this  thing.  It  is  a  shame 
to  waste  good  talent  and  expensive  sets  with  such  as 
this.  Cheap  story  spoils  the  whole  works  on  this  one. 
Running  time,  seven  reels.  Played  March  22-23. — E. 
J.  McClurg,  Grand  Theatre,  Preston,  Idaho.  Rural 
and  small  town  patronage. 

RUMBA:  George  Raft,  Carole  Lombard — Just  an 
average  program.  No  wonderful  acting  or  dancing. 
Fair  business.  Raft  is  much  better  in  rough  pictures. 
Running  time,  70  minutes.  Played  March  12-13. — 
Harry  M.  Newman,  Liberty  Theatre,  Lynden,  Wash. 
Small  town  patronage. 

SHE  LOVES  ME  NOT:  Bing  Crosby.  Miriam  Hop- 
kins, Kitty  Carlisle — The  best  Bing  Crosby  ever  ap- 
peared in.  It's  a  fine  show  and  real  entertainment 
and  a  fair  profit  at  the  end  of  the  run. — S.  H.  Rich, 
Rich  Theatre,   Montpelier.  Idaho.    General  patronage. 

WAGON  WHEELS:  Randolph  Scott— Not  as  many 
western  fans  out  as  might  have  been  expected.  Billy 
Lee  especially  pleasing;  our  audiences  particularly  at- 
tracted by  the  juvenile  actors.  Business  normal. 
Played  March  16.— C.  W.  Mills.  Arcade  Theatre,  So- 
dus,  N.  Y.     Family  patronage. 

WINGS  IN  THE  DARK:  Gary  Grant.  Myrna  Loy 
— A  good  picture  and  cast  well;  pleased  all.  Aviation 
pictures  seem  to  get  them  in.  Played  February  22. — 
Russell  Anderson,  Casino  Theatre,  Gunnison.  Utah. 
Small  town  patronage. 

WINGS  IN  THE  DARK:  Myrna  Loy.  Gary  Grant 
— Story  of  flyer  made  blind  by  accident  and  his  later 
success  with  an  invention  for  "blind  flying"  (radioed 
direction.)  Myrna  Loy,  also  in  flying  role,  does  very 
nice  work,  and  the  romantic  angle  is  pleasing.  Pic- 


Ella:  What's  a  Werewolf,  Betty? 

Betty:  /  dunno,  but  Vm  sure  gonna  see  the 
picture  to  find  out! 


ture  more  than  satisfied.  Running  time,  75  minutes. 
Played  March  24-25.— P.  G.  Estee,  S.  T.  Theatre, 
Parker,  S.  D.    Small  town  patronage. 

WINGS  IN  THE  DARK:  Myrna  Loy,  Gary  Grant 
— Another  grand  picture  with  plenty  of  action  and  one 
of  the  sweetest  of  the  feminine  stars.  I  wish  Para- 
mount had  her  all  the  time.  Running  time,  75  min- 
utes. Played  March  20-21.— Horn  &  Morgan,  Inc., 
Star  Theatre,  Hay  Springs,  Neb.  Small  town  patron- 
age. 

RKO  Radio 

ANNE  OF  GREEN  GABLES:  Anne  Shirley,  Tom 
Brown — This  play  was  good  but  it  failed  to  draw  any 
kind  of  a  crowd.  We  should  have  done  a  landslide 
busmess  on  this  play  but  it  failed  to  click  with  our 
patrons.  Running  time,  79  minutes.  Played  March 
2-3.— Wm,  Day,  Jr.,  Grand  Theatre,  Dunkirk,  Ohio. 
General  patronage. 

ANNE  OF  GREEN  GABLES:  Anne  Shirlev,  Tom 
Brown— A  swell  picture!  Anne  Shirley  should  go  far 
with  such  a  grand  personality.  Support  by  O.  P. 
Heggie  and  Helen  Westley  w^  as  fine  as  could  be 
had.  Clean  and  interesting  throughout.  Running 
time,  78  minutes.  Played  March  22-23.— Horn  &  Mor- 
gan, Inc.,  Star  Theatre,  Hay  Springs,  Neb.  Small 
town  patronage. 

AGE  OF  INNOCENCE:  John  Boles.  Irene  Dunne- 
This  is  really  a  very  fine  picture.  But  small  town 
exhibitors  had  better  lay  ofif.  Just  didn't  go  over 
here  at  all.  About  all  it  drew  was  some  not  exactly 
printable  remarks  as  to  the  picture's  worth,  from  our 
patrons.  They  just  don't  go  for  this  type  of  picture 
here.  Played  March  10-11.— Chas.  Summers  &  Son, 
Elite  Theatre,  Selling,  Okla.  Small  town  and  rural 
patronage. 

BACHELOR  BAIT:  Stuart  Erwin— A  swell  picture. 
My  patrons  like  Stu'  Erwin  and  he's  really  himself 
in  this  picture.  Good  for  any  spot  where  they  like 
good  wholesome  comedy,  with  the  smut  done  away 
with.  Played  March  28th.— B.  A.  McConnell,  Emer- 
son Theatre,  Hartford.  Ark.  Small  town-general  pat- 
ronage. 

MURDER  ON  A  HONEYMOON:  Edna  May  Oliver, 
James  Gleason— A  swell  comedy  and  will  be  liked  by 
your  patrons  if  you  can  get  them  in.  For  us  it  turned 
in  the  poorest  box  office  report  in  a  long  time.— W.  H. 
Brenner,  Cozy  Theatre,  Winchester,  Ind.  General 
patronage. 

RENEGADES  OF  THE  WEST:  Tom  Keene— My 
audience  likes  a  western  once  or  twice  each  month, 
and  this  one  pleased  them  very  much.  The  real  facts 
are  we  play  westerns  because  they  make  us  money 
to  pay  for  the  clucks  we're  forced  to  run,  against  our 
better  judgment  and  the  wishes  of  our  audience. 
Played  March  23.— B.  A.  McConnell,  Emerson  Theatre, 
Hartford,  Ark.    Small  town-general  patronage. 

ROMANCE  IN  MANHATTAN:  Francis  Lederer, 
Ginger  Rogers— From  start  to  finish  this  picture  was 
great.  Above  average  business.  Pleased  everyone 
that  saw  it  and  they  were  not  slow  in  telling  me. 
Pictures  of  this  type  are  always  welcome.  Running 
time.  78  minutes.  Played  March  8-9-10.— Harry  M. 
Newman,  Liberty  Theatre,  Lynden.  Wash.  Small 
town  patronage. 

SILVER  STREAK,  THE:  Sally  Blane.  Charles 
Starrett— One  of  the  best  railroad  pictures  we  ever 
played.  Certainly  a  novelty.  Action  and  lots  of 
it.  _  Great  scenery.  This  picture  should  satisfy  any 
audience.  Clean  and  entertaining.  Played  March  19- 
20.— Bert  Silver,  Silver  Family  Theatre,  Greenville, 
Mich.    Town  and  country  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix,  Martha 
Sleeper— This  is  a  mighty  fine  western  picture.  Stars 
fine  and  all  the  cast.  Very  interesting  story.  Years 
ago  would  have  drawn  good  business  as  a  special,  but 
now  it  did  not  do  it,  though  it  is  extra  good  enter- 
tainment. The  highbrows  will  not  go  to  see  a  west- 
em  (not  even  a  "Covered  Wagon").  Played  March 
24-25.— Bert  Silver,  Silver  Family  Theatre,  Greenville, 
Mich.    Town  and  country  patronage. 


United  Artists 

CLIVE  OF  INDIA:  Ronald  Colman,  Loretta  Young 
— Another  class,  not  mass,  picture.  Did  not  draw  any 
additional  business  and  pleased  about  50  per  cent  of 
audience.  Story  is  jerky  and  long  drawn  out.  Not 
so  hot  for  the  sticks.  Played  March  17.— Russell  An- 
derson, Casjno  Theatre,  Gunnison,  Utah.  Small  town 
patronage. 

KID  MILLIONS:  Eddie  Cantor,  Ann  Sothern,  Ethel 
ilerman.  Block  and  Sully — Cantor  is  slipping  here.  No 
great  shakes  at  the  box  office.  Disappointed  at  the 
returns  after  all  the  ballyhoo  given  this  picture. 
Played  February  24.— Russell  Anderson.  Casino  "Thea- 
tre,  Gunnison,  Utah.     Small   town  p_atronage. 

TRANSATLANTIC  MERRY-GO-ROUND:  Gene 
Raymond.  Nancy  Carroll,  Jack  Benny.  Sydney  How- 
ard. Mitzi  Green — A  fair  picture  that  did  the  smallest 
Friday-Saturdav  business  this  year.  This  picture  and 
Universal's  "The  Good  Fairy"  hold  the  record  for 
Door  business  in  1935. — S.  H,  Rich,  Rich  Theatre, 
ATontpelier,  Idaho.    General  patronage. 

WE  LIVE  AGAIN:  Anna  Sten.  Fredric  March— 
Sten  is  an  actress;  of  that  there  is  no  doubt.  But, 


April    13,  1935 


MOTION    PICTURE  HERALD 


65 


this  is  the  third  time  we  have  run  this  picture.  It  is 
Tolstoy's  "Resurrection,"  and  Universal  made  it  silent 
and  again  in  sound,  and  I  ask  you  if  that  is  not  too 
much  of  a  handicap  for  any  picture.  It  was.  There 
was  no  material  change  in  the  story,  the  same  except 
a  different  cast.  The  picture  was  whipped  at  the  box 
office  before  it  started.  Too  bad;  it  was  well  pro- 
duced and  fine  char.icter  work  on  the  part  of  Sten 
and  March. — A.  E.  Hancock,  Columbia  Theatre,  Col- 
umbia City,  Ind.    General  patronage. 


Universal 

CHEATING  CHEATERS:  Fay  Wray,  Cesar  Ro- 
mero— Satisfied  everyone;  business  normal.  Fay  Wray 
is  good,  besides  being  pleasing  to  the  eye,  and  Cesar 
Romero  should  be  heard  from.  Played  March  9. — C. 
W.  Mills,  Arcade  Theatre,  Sodus,  N.  Y.  Family  pat- 
ronage. 

GOOD  FAIRY,  THE:  Margaret  SuUavan,  Herbert 
Marshall,  Frank  Morgan — A  good  picture  of  its  kind. 
The  cast  do  very  well,  but  for  some  reason  it  did  the 
smallest  Sunday -Monday  business  this  year.  I  think 
the  title  is  bad,  and  people  just  stayed  away.— S.  H. 
Rich,  Rich  Theatre,  Montpelier,  Idaho.  General  pat- 
ronage. 

IMITATION  OF  LIFE:  Claudette  Colbert,  Warren 
William — My  choice  for  the  best  picture  in  months. 
Drew  very  big  for  me.  Picture  pleased  everyone.  It 
has  that  rare  quality  we  all  wish  for  in  a  picture, 
the  ability  to  get  people  out  and  make  movie  fans 
of  them.  Played  March  20.— Russell  Anderson,  Casino 
Theatre,  Gunnison.  Utah.    Small  town  ])atronage. 

IMITATION  OF  LIFE:  Claudette  Colbert,  Warren 
William — Here  is  the  best  picture  released  this  year. 
Absolutely  the  best  story,  best  cast,  and  best  pro- 
duced picture  this  year.  Out  of  the  ten  best,  this 
rates  No.  1.  Wonderful  picture.— S.  H.  Rich,  Rich 
Theatre,  Montpelier,  Idaho.    General  patronage. 

I'VE  BEEN  AROUND:  Chester  Morris,  Rochelle 
Hudson— A  very  good  program  picture.  Played  on  a 
double  bill  and  I  guess  they  were  satisfied.  I  call  it 
good  entertainment. — Bert  Silver,  Silver  Family  Thea- 
tre, Greenville,  Mich.   Town  and  country  patronage. 

ONE  EXCITING  ADVENTURE:  Binnie  Barnes, 
Neil  Hamilton — Although  business  was  not  as  good  as 
expected,  those  who  attended  were  well  pleased.  Miss 
Barnes  is  excellent,  and  Grant  Mitchell  and  Eugene 
Pallette  furnish  the  comedy.  Played  March  23.— C.  W. 
Mills,  Arcade  Theatre,  Sodus,  N.  Y.  Family  pat- 
ronage. 

RENDEZVOUS  AT  MIDNIGHT:  Ralp;h  Bellamy— 
A  good  program  picture. — Bert  Silver,  Silver  Family 
Theatre,  Greenville,  Mich.  Town  and  country  pat- 
ronage. 

STRAIGHT  FROM  THE  HEART:  Baby  Jane,  Mary 
Astor — A  weak  story  which  even  the  hard  work  of 
the  cast  fails  to  put  over.  This  new  baby  star  is 
worth  watching.  Younger  than  Shirley  Temple  and  a 
different  personality,  she  proved  the  one  redeeming 
feature  in  this  picture,  which  can  only  be  classified  as 
program,  at  the  best.  Running  time.  76  minutes. 
Played  March  20-21.— M.  R.  Harrington.  Avalon 
Theatre,  Clatskanie,  Ore.  Small  town  and  rural  pat- 
ronage. 

STRAIGHT  FROM  THE  HEART:  Mary  Astor, 
Roger  Pryor,  Baby  Jane — A  very  good  program  pic- 
ture; clean  and  entertaining,  and  this  Baby  Jane  is 
a  clever  kid.  The  picture  gave  good  satisfaction.  The 
whole  cast  very  good. — Played  March  26-27. — Bert  Sil- 
ver, Silver  Family  Theatre,  Greenville,  Mich.  Town 
and  country  patronage. 

STRANGE  WIVES:  Roger  Pryor,  June  Oayworth, 
Esther  Ralson,  Ralph  Forbes — Fair  program  only. 
Tale  of  the  young  man  whose  bride  brings  all  her 
relatives  to  live  at  his  expense.  Running  time,  75 
minutes.  Played  March  15-16.— P.  G.  Estee,  S.  T. 
Theatre,  Parker,  S.  D.    Small  town  patronage. 

STRANGE  WIVES:  June  Qay worth,  Roger  Pryor— 
Both  "Rendezvous  at  Midnight"  and  "Strange  Wives" 
are  good  program  pictures  to  play  on  a  double  bill. 
Both  clean  entertainment,  but  it  takes  two  of  most  of 
the  program  pictures  nowadays  to  make  a  show.  Very 
few  will  stand  alone,  even  with  good  short  subjects. 
If  the  idea  of  building  up  this  double  feature  thing  is 
what  they  are  all  doing,  they  are  getting  away  with 
it  in  a  big  way. — Bert  Silver,  Silver  Family  Theatre, 
Greenville,  Mich.    Town  and  country  patronage. 

TRANSIENT  LADY:  Gene  Raymond.  Henry  Hull— 
The  patrons  didn't  go  to  sleep  on  this  one:  neither  did 
they  have  too  much  to  say  one  way  or  the  other.  So 
this  will  probably  rate  fair  entertainment.  Used  as  a 
midnight  preview  feature.  It  served  the  purpose. 
Running  time.  75  minutes.  Played  March  23. — M.  R. 
Harrington.  Avalon  Theatre,  Clatskanie,  Ore.  Small 
town  and  rural  patronage. 


Warner  Bros. 

BORDERTOWN:  Paul  Muni,  Bette  Davis— Paul 
Muni  and  Bette  Davis  deliver  a  fine  performance.  A 
splendid  picture  for  rural  trade  and  a  western  title 
to  get  them  in  from  the  farms.  Good  business  getter 
for  midweek  or  weekend.  Played  February  20. — Rus-_ 
sell  Anderson.  Casino  Theatre,  Gunnison,  Utah.  Small 
town  patronage. 


BORDERDOWN:  Paul  Muni  Bette  Davis— It's  a 
toss-up  as  to  who  does  the  best  job  of  acting  in  this 
one — Muni  or  Bette  Davis.  They  both  turn  in  swell 
performances  that  will  long  be  remembered.  Good 
story,  a  bit  sordid  perhaps,  but  well  told,  and  though 
the  action  is  conspicuous  by  its  absence,  the  dialogue 
and  splendid  acting  do  not  let  the  interest  down  for 
a  single  minute.  Not  for  the  kiddies.  Business  good 
and  audience  reaction  most  favorable.  Running  time, 
90  minutes.  Played  March  24-26.— M.  R.  Harrington, 
Avalon  Theatre,  Clatskanie,  Ore.  Small  town  and 
rural  patronage. 

DEVIL  DOGS  OF  THE  AIR:  James  Cagney,  Pat 
O'Brien,  Margaret  Lindsay — Good  picture,  good  cast 
and  fair  business. — S.  H.  Rich,  Rich  Theatre,  Mont- 
pelier, Idaho.    General  patronage. 

RIGHT  TO  LIVE,  THE:  George  Brent,  Josephine 
Hutchinson,  Colin  Clive,  Peggy  Wood,  Henrietta 
Crosman — A  good  feature  and  seemed  to  please  all, 
but  for  some  reason  the  second  night  slipped.  Run- 
ning time,  66  minutes.  Played  March  28-29. — J.  T. 
Justice,  Jr.,  Pickfair  Theatre,  Kernersville,  N.  C. 
Small  town  patronage. 

SECRET  BRIDE,  THE:  Barbara  Stanwyck,  War- 
ren William — A  good  story  of  political  intrigue  giving 
Stanwyck  another  opportunity  for  dramatic  presenta- 
tion of  a  fine  role.  Warren  William  also  fine.  Run- 
ning time,  64  minutes.  Played  March  27-28. — Horn  & 
Morgan,  Inc.,  Star  Theatre,  Hay  Springs,  Neb.  Small 
town  patronage. 

SWEET  ADELINE:  Irene  Dunne.  Donald  Woods- 
Pleased  most  of  them,  but  not  up  to  expectations. 
Drew  fair,  but  not  a  super  super  as  advertised.  Play- 
ed March  3. — Russell  Anderson,  Casino  Theatre,  Gun- 
nison, Utah.   Small  town  patronage. 

SWEET  ADELINE:  Irene  Dunne,  Donald  Woods- 
Very  disappointing  from  every  angle.  Plot  like  a 
dozen  other  musicals,  disguised  with  costumes  and 
customs  of  the  gay  nineties.  Music  had  a  sameness 
that  became  tiresome.  The  whole  thing  could  have 
been  cut  to  advantage,  but  even  so  could  scarcely  rate 
much  better  than  program  class.  Business  not  too 
good.  Audience  reaction  only  fairly  favorable.  Run- 
ning time,  87  minutes.  Played  March  15-16. — M.  R. 
Harrington,  Avalon  Theatre,  Clatskanie,  Ore.  Small 
town  and  rural  patronage. 

SWEET  ADELINE:  Irene  Dunne.  Donald  Woods, 
Hugh  Herbert,  Ned  Sparks — A  erood  production  for 
some  towns,  but  not  this  one.  The  picture  was  en- 
joyed by  the  few  who  saw  it.  When  I  say  few.  I 
mean  the  smallest  attendance  that  I  have  ever  had  for 


Monday-Tuesday.  Running  time,  82  minutes,  ir'layea 
March  25-26.— J.  T.  Justice,  Jr.,  Pickfair  Theatre, 
Kernersville,   N.  C.    Small  town  patronage. 

SWEET  MUSIC:  Rudy  Vallee,  Ann  Dvorak— This 
pleased  about  90  per  cent.  Picture  is  slow  in  spots 
but  there  is  enough  comedy  scattered  throughout  to 
make  it  a  good  show  for  any  day  of  the  week.  Rudy 
does  some  fine  singing  as  per  usual  of  his  pictures. 
Running  time,  90  minutes.  Played  March  31-April  1. 
— Ted  Siler,  Dickinson  Theatre,  Hiawatha,  Kan.  Small 
town  and  rural  patronage. 

WHITE  COCKATOO,  THE:  Jean  Muir,  Ricardo 
Cortez — Ran  this  while  we  are  having  days  and  days 
of  wind  and  dust  storms,  so  howhng  wind  and  slam- 
mings  doors  are  no  treat  to  us.  Added  to  this  was  a 
lot  of  French  dialect  that  could  not  be  understood 
and  a  crazy  cockatoo  that  solved  a  murder  mystery 
by  flapping  his  (or  her)  wings.  Pleased  about  fifty 
per  cent.  Tean  Muir  is  very  good.  Running  time,  70 
minutes.  Played  March  20-21.— Gladys  E.  McArdle, 
Owl  Theatre.  Lebanon,  Kan.    Small  town  patronage. 

WHITE  COCKATOO,  THE:  Ricardo  Cortez— An 
e.xtra  good  mystery  murder  picture.  Pleased  all  and 
did  good  at  box  office.  Running  time,  70  minutes. 
Played  March  20-21.— E.  J.  McClurg,  Grand  Theatre, 
Preston,  Idaho.    Rural  and  small  town  patronage. 

Short  Features 
Columbia 

I'M  A  FATHER:  Andy  Clyde — A  very  good  com- 
edy. Play  it.  Running  time,  20  minutes. — ^J.  T.  Jus- 
tice. Jr.,  Pickfair  Theatre.  Kernersville,  N.  C.  Small 
town  patronage. 

MEN  IN  BLACK:  3  Stooges— Very  good  comedy. 
Sure  to  get  laughs.  Running  time,  20  minutes. — J.  T. 
Justice,  Jr.,  Pickfair  Theatre,  Kernersville,  N.  C. 
Small  town  patronage. 

Educational 

HELLO,  SAILORS:  Tom  Patricola.  Buster  West— 
A  swell  comedy  for  small  town  patronage.  Running 
time.  20  minutes. — J.  T.  Justice,  Jr.,  Pickfair  Thea- 
tre. Kernersville.  N.  C.    Small  town  patronage. 

SHE'S  MY  LILLY:  Will  Mahoney— One  of  the  best 
I  have  ever  run  or  seen.   Running  time,  20  minutes. — 

(Continued  on  following  page) 


Tony:  Hey,  Joe,  whatsa  dees  Werewolf? 

Joe:  Everybody  wantsa  see  one,  but  nobody 
wantsa  be  one! 


66 


MOTION    PICTURE  HERALD 


April     13,  1935 


J.  T.  Justice,  Jr.,  Picklair  Theatre,  Kernersville,  N. 
C.    Small  town  patronage. 

SONG  PLUGGERS:  Sylvia  Froos— Not  much  to  this 
except  for  a  very  catchy  song  number.  Running  time, 
9  minutes. — M.  R.  Harrington,  Avalon  Theatre,  Clat- 
skanie,  Ore.    Small  town  and  rural  patronage. 

PALOOKA  FROM  PADUCAH:  Buster  Keaton— 
This  one  will  keep  the  crowds  roaring  from  beginning 
to  finish.  Running  time,  19  minutes. — Ted  Siler,  Dick- 
inson Theatre,  Hiawatha,  Kan.  Small  town  and  rural 
patronage. 

MGM 

HEY,  HEY,  FEVER:  Happy  Harmonies  Series— 
The  old  Fairy  Tales  come  to  life  in  beautiful  color. 
This  series  by  MGM  is  the  best  yet.  Running  time, 
1  reel.— Gladys  E.  McArdle.  Owl  Theatre,  I^banon, 
Kan.    Small  town  patronage. 

LIVE  GHOSTS:  Laurel  and  Hardy— Got  plenty  of 
laughs.  Running  time,  20  minutes. — M.  R.  Harrington, 
Avalon  Theatre,  Clatskanie,  Ore.  Small  town  and 
rural  patronage. 

LIVE  GHOSTS:  Laurel  and  Hardy— This  is  no 
doubt  the  best  laugh  of  all  the  Laurel-Hardy  comedies. 
— Harry  M.  Newman,  Liberty  Theatre,  Lynden,  Wash. 
Small  town  patronage. 

LOST  CHICK,  THE:  Happy  Harmonies  Series— 
Every  one  of  this  series  seems  better  than  the  pre- 
ceding one.  They  are  bringing  out  some  of  the  two 
and  three-year-old  kiddies  and  their  parents.  They  are 
enjoyed  as  much  as  the  feature.  Running  time,  1  reel. 
— Gladys  E.  McArdle,  Owl  Theatre,  Lebanon,  Kan. 
Small  town  patronage. 

OPENED  BY  MISTAKE:  Todd-Kelly— Another 
Todd-Kelly  scream,  or  series  of  screams.  This  team 
sure  gets  the  laughs.  Running  time.  2  reels. — Gladys 
E.  McArdle,  Owl  Theatre,  Lebanon,  Kan.  Small  town 
patronage. 

SHRIMPS  FOR  A  DAY:  Our  Gang— A  very  good 
comedy  that  pleased  the  Family  Night  patrons,  espe- 
cially the  kiddies.    Running  time,  2  reels. — Gladys  E. 

McArdle,  Owl  Theatre.  Lebanon,  Kan.  Small  town 
patronage. 

TAKING  CARE  OF  BABY:  Oddities— Just  why 
this  one-reeler  was  produced  I'm  sure  none  of  the 
MGM  organization  has  been  able  to  figure  out.  and 
the  goofy  guy  that  figured  it  out  surely  must  be  nuts. 


We  canned  it  after  the  first  run.  Running  time,  1 
reel.— B.  A.  McConnell,  Emerson  Theatre,  Hartford, 
Ark.    Small  town — general  patronage. 

Paramount 

NERVE  OF  SOME  WOMEN,  THE:  Paramount 
Varieties — The  daredevils  of  the  fair  sex  doing  their 
stufif  for  the  camera.  Interesting  and  thrilling.  Run- 
ning time,  11  minutes. — M.  R.  Harrington,  Avalon 
Theatre,  Clatskanie,  Ore.  Small  town  and  rural  pat- 
ronage. 

SPORTLIGHTS:  Here's  another  short  which  we 
never  hesitate  on  using.  How  in  the  world  they  con- 
tinue to  show  so  many  interesting  things  is  more 
than  I  can  tell.  But  still  they  come  and  no  let-up  on 
quality. — Horn  &  Morgan,  Inc.,  Star  Theatre,  Hay 
Springs,  Neb.    Small  town  patronage. 

RKO  Radio 

BANDITS  AND  BALLADS:  Ruth  Etting— Everyone 
seemed  to  enjoy  this  two-reeler.  Lots  of  good  comedy 
in  it  and  Ruth  Etting's  singing  is  really  good.  Every- 
one came  out  humming  "In  the  Shade  of  the  Old 
Apple  Tree."  Running  time,  2  reels. — B.  A.  McCon- 
nell, Emerson  Theatre,  Hartford,  Ark.  Small  town — 
general  patronage. 

DIONNE  QUINTUPLETS:  This  short  surprised  us 
very  much  by  drawing  extra  business  and  who  is 
there  who  has  seen  this  subject  and  not  fallen  for 
those  big,  big  eyes  ?  We  thought  this  a  swell  sub- 
ject.— Horn  &  Morgan,  Inc.,  Star  Theatre,  Hay 
Springs,  Neb.    Small  town  patronage. 

United  Artists 

BIG  BAD  WOLF:  Silly  Symphonies— The  "Three 
Little  Pigs"  back  again  with  the  villainous  wolf  pur- 
suing "Little  Red  Riding  Hood"  and  being  foiled 
Great.  Running  time.  8  minutes. — M.  R.  Harringtonj 
Avalon  Theatre,  Clatskanie,  Ore.  Small  town  and 
rural  patronage. 

Universal 

OH  WHAT  A  BUSINESS:  Universal  comedies— 
Another  of  those  dandy  vaudeville  offerings  presented 
a  little  differently.  Running  time,  19  minutes — M.  R. 
Harrington,  Avalon  Theatre,  Clatskanie,  Ore.  Small 
town  and  rural  patronage. 


WANTS  MORE  ONE-REEL 
VAUDEVILLE  COMEDIES 

"We  are  getting  too  many  cartoon 
comedies  and  not  enough  vaudeville 
act  comedies  of  the  type  of  Para- 
mount's  Headliners,"  writes  Herman 
J.  Brown  of  the  Majestic  and  Adelaide 
theatres  at  Nampa,  Idaho. 

"Independent  producers  should  make 
them  and  make  them  good.  We  get 
travel,  screen  song  and  cartoon  stuff 
and  that  ends  it  and  it  is  not  enough. 
It  is  stupid  and  reflects  the  natural 
tendency  of  the  producer  to  be  un- 
original, imitative.  The  shorts  we  get 
are  good,  hut  the  single  reels  are  in 
a  three  way  channel." 


STRANGER  THAN  FICTION:  No.  6— Up  to  the 

usual  good  standard  of  these  varied  presentations. 
Running  time,  10  minutes. — M.  R,  Harrington,  Ava- 
lon Theatre,  Clatskanie,  Ore.  Small  town  and  rural 
patronage. 

Vitaphone 

BROADWAY  BREVITIES:  Now  these  generally 
are  very  good.  Our  people  like  these  and  we  plan  on 
playing  every  one  of  them.  Some  are  exceptionally 
fine.— Horn  &  Morgan,  Inc.,  Star  Theatre,  Hay 
Springs,  Neb.    Small  town  patronage. 

CORN  ON  THE  COP:  Harry  Gribbon— Won't  Jay 
'em  in  the  aisles,  but  is  as  good  as  average.  Running 
time,  20  minutes.— M.  R.  Harrington,  Avalon  Theatre, 
Clatskanie,  Ore.    Small  town  and  rural  patronage. 

GOOD  MORNING,  EVE:  Leon  Errol— Beautiful 
color,  some  good  music  and  spectacular  pageantry 
make  this  a  very  entertaining  short.  Running  time, 
2  reels. — Gladys  E.  McArdle,  Owl  Theatre,  Lebanon, 
Kan.    Small  town  patronage. 

HIS  FIRST  FLAME:  Shemp  Howard,  Daphne  Pol- 
lard— Good.  Will  get  laughs  on  Saturday.  Running 
time,  2  reels.— J.  T.  Justice,  Jr.,  Pickfair  Theatre, 
Kernersville,  N.  C.    Small  town  patronage. 

HONEYMOON  HOTEL:  Merrie  Melodies— colored 
cartoon  greatly  enjoyed  by  our  patrons.  Running 
time,  9  minutes.— M.  R.  Harringon,  Avalon  Theatre, 
Clatskanie,  Ore.    Small  town  and  rural  patronage. 

MELODY   MASTERS:    Never    get   a   bad   one  of 

these.  Tliey  are  always  good.  Of  course  some  are 
better  than  others  but  we'll  take  our  chance  on  any 
of  them  any  old  time. — Horn  &  Morgan,  Inc.,  Star 
Theatre,  Ha_v;  Springs,  Neb.    Small  town  patronage. 

SAMOAN  MEMORIES:  E.  M.  Newman  Travel 
Talks — Nothing  particularly  outstanding  in  this  travel 
reel.  Running  time,  10  minutes. — M.  R.  Harrington, 
Avalon  Theatre,  Qatskanie,  Ore.  Small  town  and 
rural  patronage. 

SHEMP  HOWARD  COMEDIES:  What's  the  mat- 
ter with  our  patrons?  Aren't  they  like  other  people? 
Seems  that  elsewhere  this  star's  comedies  are  going 
over,  but  they  certainly  do  not  here.  And  what's 
wrong  with  most  all  comedies?  They  generally  seem 
to  be  terrible  with  few  exceptions. — Horn  &  Morgan, 
Inc.  Star  Theatre,  Hay  Springs.  Neb.  Small  town 
patronage. 

SONGS  THAT  LIVE:  Gus  Edwards— Just  fair. 
Running  time,  1  reel.— J.  T.  Justice,  Jr.,  Pickfair 
Theatre.  Kernersville,  N.  C.    Small  town  patronage. 

VACATION  DAZE:  Big  V  Comedies— Have  seen 
better  and  worse,  so  this  will  have  to  take  an  average 
rating.  Running  time,  20  minutes. — M.  R.  Harrington, 
Avalon  Theatre,  Clatskanie,  Ore.  Small  town  and 
rural  patronage. 


New  Bell  &  Howell  Catalog 

Bell  &  Howell,  Chicago  equipment  manu- 
facturer, has  issued  a  16mm.  catalog,  illus- 
trating and  describing  latest  company  devel- 
opments, in  cameras  and  projectors,  in  the 
16mm.  field. 


"La  Cucaracha"  in  Germany 

"La  Cucaracha,"  Pioneer  Pictures'  color 
short  subject,  released  by  RKO  Radio,  has 
been  sold  to  Europa  Films,  Berlin,  for  dis- 
tribution in  Germany. 


Dowager:  What  is  this  Werewolf  picture 
you're  announcing? 


X.  Ibitor:  From  all  the  questions,  it  looks  like 
it's  going  to  be  a  box  office  miracle! 


April     13.  1935 


MOTION    PICTURE  HERALD 


67 


TRAVELERS 


Nicholas  S.  Ludingtok,  president  of  First 
Division  Productions,  was  scheduled  to  arrive 
in  New  York  from  Hollywood  for  home 
office  conferences. 

Arthur  Hornblow,  Paramount  associate  pro- 
ducer, leaves  Hollywood  en  route  to  England 
April  21. 

David  Loew  returned  to  New  York  from 
Hollywood. 

Frank  A.  Vanderlip  and  Percy  H.  Johnston, 
Paramount  directors,  returned  to  New  York 
from  a  visit  to  the  company's  Hollywood 
studio. 

Hoot  Gibson  left  New  York  for  an  unknown 
destination  after  confering  with  Xohn_  A. 
Curtis  and  other  First  Division  executives. 

Harry  C.  Arthur,  who  has  been  in  St.  Louis 
for  some  time,  returned  to  New  York. 

Samuel  Goldwyn  left  New  York  for  Holly- 
wood by  plane. 

Helen  Vinson  is  stopping  in  New  York  for 
a  fortnight  before  leaving  to  make  a  picture 
in  England. 

Irene  Rich  is  in  New  Orleans  this  week. 

Dolores  Del  Rio  is  vacationing  in  Palm 
Springs. 

Orry  Kelly,  Warner  studio  stylist,  is  in  New 

York  for  a  brief  holiday. 
Ann  Sothern,  RKO  Radio  featured  player, 

plans  to  have  a  vacation  in  New  York  as 

soon  as  "Hooray  For  Love"  is  finished. 
Miriam  Hopkins  planned  to  leave  New  York 

for  Hollywood  this  week. 
Charles  Glett  of  Audio  Productions,  plans 

to  leave  New  York  shortly  on  a  trans-con- 
tinental trip. 
Sam  Eckman,  London  head  of  MGM,  arrived 

in  New  York  in  the  lie  de  France. 
Robert  Wolff,  Radio  branch  manager  in  New 

York,  is  vacationing  in  Miami. 
Charles  MacDonald,  William  England  and 

Roy  Byron,  all  of  RKO,  are  enjoying  a 

week's  vacation  in  Bermuda. 
Eddie  Careier,  MGM  exploiteer,  returned  to 

New  York  from  Texas. 
Roland  Young  sailed  for  Europe. 
AuRioL  Lee  and  Laddie  Cliff,  English  stage 

producer  and  comedian,  respectively,  sailed 

from  New  York  for  England. 
Charles    Laughton    arrived   at   the  MGM 

studios  to  begin  work  in  "Mutiny  on  the 

Bounty." 

Phoebe  Foster,  Broadway  stage  star,  left  for 

the  MGM  studios. 
Will  H.  Hays  is  expected  back  in  New  York 

from  Hollywood  this  week. 
Jack    Cohn   and   Abe   Montague,   both  of 

Columbia,  and  Katharine  Hepburn  were 

among  those  flying  to  New  York  from  Holly- 
wood last  week. 
Robert  M.  Gillham,  Paramount  advertising 

and  publicity  head,  returned  to  New  York 

from  the  Coast. 
Miriam    Howell,    newly    appointed  eastern 

production  manager  for  Universal,  left  New 

York  to  visit  the  studios. 
Nate  J.  Blumberg,  general  manager  of  the 

RKO  circuit,  returned  to  New  York  after  a 

trip  through  the  West. 
Jack  Buchanan  left  New  York  for  England. 


WOR  Features  Interview 
With  Two  Pathe  Reel  Men 

Mark  Hawley,  current  events  announcer 
and  interviewer  of  Station  WOR,  in  his 
broadcast  last  Saturday,  interviewed  Pathe 
cameraman  Harry  Smith  and  his  sound  man, 
Clarence  Ellis.  The  subject  of  the  broad- 
cast was  "The  Thrills  of  a  Sound  Camera- 
man." Mr.  Smith  was  a  cameraman  during 
the  World  War  and  since  has  covered  such 
notable  news  events  as  the  Sino- Japanese 
fighting  at  Shanghai  and  the  disaster  to  the 
airship  Akron. 


SHORT  PRODUa 
PLAYING  BROADWAY 


Week  of  April  6 


ASTOR 

The  Gloom  Chasers  Columbia 

MAYFAIR 

Two  Little  Lambs  Universal 

Eggs  Marks  fhe  Spot  Vitaphone 

An  Ear  for  Music  Educational 

MUSIC  HALL 

Going  Places  No.  8  Universal 

Hold  That  Shark  Columbia 

Do  a  Good  Deed  Universal 

PARAMOUNT 

Pleased  to  Meet  Cha!  Paramount 

Shorty  on  the  Farm  Paramount 

Fantasy  in  Fashion  Al  Bondy 

RIALTO 

Song  of  the  Birds  Paramount 

Nerve  Control   Paramount 

RIVOLI 

Screen  Snapshots  No.  7.  .  .  .Columbia 
Irish  Melody   First  Division 

ROXY 

We  Aim  to  Please  Paramount 

Object  Not  Matrimony ....  Educational 
Marching  With  Science.  ...  Fox 

STRAND 

Shoestring  Follies  .Vitaphone 

Guess  Stars   Vitaphone 


Resigns  from  GB 

S.  L.  Pilkinton,  formerly  connected  with 
the  Dallas  branch  office  of  GB  Productions, 
has  resigned. 


WABASH  AVENUE 


CHICAGO 

The  case  of  the  Astor  and  Public  theatres  in 
U.  S.  district  court  on  ten  cent  admissions  and 
double  features,  scheduled  to  go  to  trial  on 
Monday,  was  continued  until  April  19.  The 
conspiracy  actions  in  the  cases  are  directed 
against  distributors,  circuits  and  various  ex- 
hibitors. 

V 

Travelers :    Louis  Hyman  of  Principal  Pic- 
tures and  Lou  Berman  of  Popular  Pictures  were 
conferring  with  exchanges  along  the  Row. 
V 

Roy  Barger  is  congratulating  himself  on  the 
big  opening  week  for  his  rejuvenated  Rialto 
theatre,  now  playing  vaudeville  and  pictures. 
In  the  new  type  of  advertising  used  by  the 
Rialto,  the  cut-out  models  wear  real  clothes, 
giving  a  striking  effect. 

V 

Expecting  to  cover  6,200  miles  in  three  weeks, 
Alex  Halperin,  Warner  booker,  and  Sol  Bragin, 
booker  for  Balaban  &  Katz,  set  out  last  week 
to  burn  up  the  highways  between  Chicago  and 
California. 

V 

Henri  Ellman  of  Capitol  Film  Exchange  has 
acquired  the  Carnera-Pelletiere  fight  films  as 
well  as  the  Joe  Lewis-Les  Ramages  bout  pic- 
tures for  Illinois,  Indiana  and  Wisconsin. 
V 

Reidy  and  Broderick  have  opened  the  Frank- 
lin theatre  at  31st  and  Prairie  avenue.  Another 
opening  of  last  Sunday  was  the  Rosette  at  2150 
W.  22nd  street  by  M.  Zimmerman. 

V 

A  Milwaukee  office  of  First  Division  Pictures 
has  been  opened  by  Henri  Ellman  with  Roy 
Bassett  as  representative,  handling  First  Divi- 
sion pictures  and  March  of  Time. 

HOLQUIST 


68 


MOTION    PICTURE  HERALD 


April    13,  1935 


THE  CUTTING  ROOM 


11 


Advance  outlines  of  productions  nearing 
completion  as  seen  by  Gus  McCarthy  of 
Motion  Picture  Herald's  Hollywood  Bureau 


THE  RAVEN 

Universal 

Although  suggested  by  the  poem  of  the  same 
title,  this  production  emphatically  is  not  a  pic- 
turization  of  any  part  of  or  any  of  the  person- 
alities dealt  with  in  Edgar  Allen  Poe's  classic. 
Featuring  a  pair  of  actors  whose  reputations 
have  been  made  by  their  participation  in  simi- 
larly atmosphered  pictures,  it  is  essentially  a 
super-terrorizer.  It  is  the  story  of  a  madman 
whose  inhuman  tendencies  are  made  more  mor- 
bid by  his  continual  study  of  the  weird  signifi- 
cance of  the  intent  of  the  Poe  poem.  He  desires 
to  possess  a  beautiful  girl,  lures  her,  her  sweet- 
heart, father  and  a  man  more  beast  than  human 
to  his  home,  and  perpetrates  one  more  fiendish 
act  after  another,  in  the  end  to  fall  victim  to 
his  devilish  plot. 

Production  values  being  all  that  anyone  could 
expect  in  their  ability  to  transform  blood  into 
ice  water,  the  screen  play,  which  permits  end- 
less opportunity  for  nerve  tensing  reactions,  is 
by  David  Boehm  and  Jim  Tully,  whose  grim 
realistic  stories  of  tramp  life  have  made  him 
famous.  Direction  is  by  Louis  Friedlander, 
making  his  first  efi^ort  with  horror  material. 

The  two  players  featured  in  the  production's 
most  grim  and  even  grisly  situations  are  Kar- 
lofif  and  Bela  Lugosi,  whose  names  are  synony- 
mous with  entertainment  of  this  character.  Ro- 
mantic interest  is  centered  upon  Irene  Ware, 
recently  seen  in  "Night  Life  of  the  Gods"  and 
"Rendezvous  at  Midnight,"  and  Lester  Mat- 
thews, a  newcoming  young  British  actor,  who 
before  this  picture  is  released  will  have  been 
in  "Werewolf  of  London."  The  story's  human 
interest  centers  about  Samuel  Hinds,  now  in 
"Private  Worlds,"  in  the  role  of  the  girl's 
father.  Inex  Courtney,  Spencer  Charters,  Ian 
Wolfe,  Maidel  Turner  and  Arthur  Hoyt  com- 
plete the  cast. 


only  to  score  a  job  saving  scoop  when  he  pho- 
tographs him  as  Ford  is  busy  filming  the  ar- 
rival of  a  visiting  king.  Others  in  the  picture 
are  Wesley  Barry,  Ernie  Adams,  Mark  Law- 
rence, George  Offerman,  Gene  Morgan,  Stan- 
ley Taylor  and  Charles  Wilson. 

The  director  is  Lambert  Hillyer,  maker  of 
"Against  the  Law,"  "Behind  the  Evidence"  and 
many  other  dramatic  action  excitement  pictures. 


HOT  NEWS 

Columbia 

This  story  seeks  to  capture  the  drama,  ro- 
mance, excitement,  fun  and  thrill  of  two  news- 
paper cameramen  whose  job  it  is  to  photograph 
the  hot  news  for  which  the  world  is  waiting. 
Covering  fires,  accidents,  floods,  police  activi- 
ties and  shipwrecks,  in  line  of  duty,  the  story 
is  given  a  triangular  love  interest  when  both 
men  fall  in  love  with  the  same  girl.  Then,  pur- 
suing a  familiar  vein  with  the  consequent  com- 
edy, action,  near  tragedy,  menace  and  suspense 
with  the  hero  bravely  rising  to  an  occasion 
previously  muf¥ed,  it  concludes  in  the  expected 
fashion. 

With  the  exciting  character  of  its  story  con- 
tent of  potential  interest  to  thrill  action  fans, 
plus  a  romantic  angle  that  should  be  appealing 
to  women,  the  principal  selling  quality  seems 
to  be  the  production  itself  which  is  readily  un- 
derstood by  the  meaning  read  into  the  title.  Yet 
the  cast  offers  one  name,  Richard  Cromwell, 
which  because  of  the  success  of  his  most  recent 
picture,  "Lives  of  a  Bengal  Lancer,"  should 
have  a  stimulating  box  office  eflect.  The  trio 
who  are  associated  with  him  in  most  of  the 
action  are  Wallace  Ford,  in  the  role  of  re- 
sourceful boss  cameraman ;  Billie  Seward,  seen 
in  many  Columbia  pictures,  as  the  girl  over 
whom  both  lose  their  hearts  and  eventually  split 
up,  and  Jack  LaRue,  the  gangster  whom  Crom- 
well once  unwittingly  saved  from  police  clutches 


DINKY 

Warner 

Not  by  far  is  Jackie  Cooper  this  production's 
sole  showmanship  asset.  An  emotion-stirring 
story  of  a  boy  and  his  mother,  who  are  innocent 
victims  of  cruel  dishonesty,  it  seems  to  be  full 
of  the  qualities  in  theme  content  and  production 
values  that  appeal  equally  to  old  and  young 
and  both  sexes. 

The  picture  is  based  on  a  story  by  John 
Fante,  Frank  Fenton  and  Samuel  Gilson 
Browne.  Screen  play  is  by  Harry  Sauber, 
author  of  "Happiness  Ahead."  It  is  being  di- 
rected by  D.  Ross  Lederman. 

Principal  locales  are  a  boys'  military  academy 
and  an  orphan  asylum.  First  Jackie  appears 
as  "first  boy."  His  mother,  a  victim  of  her  em- 
ployer's treachery,  is  sent  to  prison  and  the 
news  is  kept  from  Jackie.  The  school  snob  sees 
that  he  learns  about  it  and  as  other  parents  are 
demanding  that  this  contaminating  influence  be 
removed  from  their  children,  Jackie  runs  away. 
Found  and  returned  to  an  adjacent  orphan 
asylum,  Jackie  organizes  a  football  team  whose 
objective  game  is  with  the  cadets.  The  story 
is  highlighted  by  a  fire  in  the  orphanage  from 
which  Jackie  is  rescued  by  the  cadet  snob.  The 
game  is  on,  and  the  perpetrator  of  the  crime 
for  which  Jackie's  mother  was  jailed  having 
been  arrested,  she  arrives  in  time  to  see  her  son 
score  the  winning  points  in  the  final  minutes  of 
play. 

The  cast,  which  has  Mary  Astor  as  the 
mother  and  Roger  Pryor  as  her  friend,  features 
many  children,  including  Betty  Jean  Haney, 
Jimmy  Butler,  George  Ernest,  Edith  Fellows, 
Sidney  Miller,  Richard  Quine  and  Frank  Ger- 
nardi.  Adults  are  Henry  Armetta,  Jenry 
O'Neill,  Florence  Fair,  Joseph  Crehan,  Addison 
Richards  and  James  Burke. 

Selling  that  convinces  patrons  that  the  pro- 
duction is  not  essentially  a  juvenile  attraction 
naturally  is  in  order.  The  latent  material  is 
undoubtedly  there.  The  right  kind  of  showman- 
ship should  bring  it  out. 


FRISCO  LADY 

Universal 

Murder  and  mystery  in  San  Francisco's 
Chinatown,  always  a  reliable  lure  for  the  thrill- 
shudder  fans,  are  the  principal  ingredients  of 
this  production,  which  also  tells  a  unique  ro- 
mantic story. 

The  story  is  an  original  by  L.  G.  Blochman, 
author  of  "Chinatown  Squad,"  "Secret  of  the 
Chateau"  and  "Bombay  Mail,"  the  two  last 
named  produced  by  Universal.  The  screen  play 
is  by  Dore  Schary,  a  specialist  in  mystery 
drama  and  romance,  as  indicated  by  association 
with  "Blue  Moon  Murder,"  "Murder  in  the 
Clouds"  and  "Red  Hot  Tires."  Direction  is  by 
Murray  Roth,  recently  credited  with  "Million 
Dollar  Ransom"  and  "Don't  Bet  on  Love." 

Principals  in  the  cast  are  also  most  familiarly 


known  for  their  connection  with  similarly  at- 
mosphered pictures.  In  the  leads,  Valerie  Hob- 
son,  soon  to  be  seen  in  "Werewolf  of  London," 
"Bride  of  Frankenstein"  and  featured  in  "Mys- 
tery of  Edwin  Drood"  and  "Rendezvous  at 
Alidnight,"  is  teamed  with  Lyle  Talbot,  last 
seen  in  "It  Happened  in  New  York"  and  pre- 
viously in  "Return  of  the  Terror,"  "Murder  in 
the  Clouds"  and  "Dragon  Murder  Case." 

Featured  supports  include  Hugh  O'Connell, 
Andy  Devine,  last  seen  in  "Hold  'Em,  Yale," 
following  his  appearances  in  "Hell  in  the 
Heavens"  and  "The  President  Vanishes" ;  and 
Henry  Armetta.  Others  prominent  in  the 
story's  action  are  Leslie  Fenton,  Clay  Clement 
and  E.  Alyn  (formerly  Fred  Warren). 

With  a  lot  of  money  and  a  girl's  honor  and 
reputation  at  stake,  the  story  focuses  attention 
on  the  age-old  conflict  of  the  Orient  and  the 
Occident.  Playing  the  subject  for  all  it's  worth 
in  the  line  of  trick  mystery  and  tense  drama, 
it  brings  an  ex-cop  into  the  case  not, only  to 
protect  the  girl  and  win  her  affections,  but  to 
solve  the  mystery  of  the  many  killings  to  assure 
his  reinstatement  on  the  San  Francisco  police 
force. 


THE  HEALER 

Monogra  m 

In  story  content  this  is  the  dramatic,  ro- 
mantic story  of  a  doctor  whose  miraculous  heal- 
ing powers  made  him  beloved  of  those  he  cured 
as  well  as  all  who  knew  him.  It's  a  simple 
story,  told  in  straightforward  fashion  which 
builds  strong  romantic  conflict  embellished  with 
drama  and  thrill  that  make  use  of  the  most  po- 
tent entertainment  elements. 

The  cast  in  itself,  when  recent  performances 
are  noted,  is  a  decided  box  office  asset.  Ralph 
Bellamy,  now  in  "The  Wedding  Night"  and 
soon  to  be  seen  in  "Air  Fury,"  plays  the  leading 
role.  Opposite  him  is  Karen  Morley,  who  be- 
cause of  her  outstanding  work  in  the  forth- 
coming "Black  Fury"  with  Paul  Muni,  is  sure 
to  add  measurably  to  her  many  followers.  Third 
most  important  character  is  Judith  Allen,  who, 
luring  Bellamy  away  from  the  plain  folk  and 
Miss  Morley,  is  the  motivating  force  which 
builds  the  story's  tense  drama.  One  other  char- 
acter, Mickey  Rooney,  seen  in  a  role  of  a  crip- 
pled child  whom  Bellamy  had  partially  cured 
is  also  a  focal  character  about  whom  the  story's 
thrill  centers  when  Bellamy  rescues  him  from 
the  pretentious  sanitarium  as  it  is  destroyed  by 
fire  and  the  one  who  leads  Bellamy  back  to  the 
girl  he  loves  and  the  place  where  he  was  most 
appreciated.  Others  are  Robert  McWade,  Bruce 
Warren,  J.  Farrell  MacDonald  and  Vessie  Far- 
rell. 

The  story  is  adapted  from  the  published  novel 
by  Robert  Herrick  with  screen  play  by  James 
Knox  Millen  and  John  Goodrich.  Direction  is 
by  Reginald  Barker,  maker  of  "Moonstone" 
and  the  current  "Women  Must  Dress." 

Although  the  title  and  atmospheric  content 
might  lead  one  to  believe  that  there  is  a  direct 
similarity  between  this  and  story  of  the  "Mira- 
cle Man"  type  such  is  not  the  case.  Actually 
it  is  the  picturization  of  an  idyllic  world  of 
faith  and  trust  blasted  when  the  lure  of  money, 
fame  beyond  dreams  and  infatuation  for  a  girl 
beyond  his  station  leads  to  disillusionment  that 
only  a  dramatic  restoration  to  the  old  order  can 
cause  to  live  again. 


April    13,  1935 


MOTION    PICTURE  HERALD 


69 


THE  CUTTING  ROOM 


ALIAS  MARY  DOW 

Universal 

The  type  of  story,  plus  the  value  of  the  per- 
sonnel chosen  to  interpret  it,  should  be  con- 
ducive of  much  worthwhile  showmanship. 
While  not  at  all  new,  the  plot  and  the  manner 
in  which  it  is  developed  make  use  of  elements 
that  have  proved  their  entertainment  and  ex- 
ploitation value.  It  is  the  dramatic  and  romantic 
story  of  a  waitress  dancehall  girl  who  for  a 
fee,  but  with  little  sincerity,  yet  to  save  a 
mother's  life,  poses  as  the  matured  personage 
of  a  child  once  kidnaped.  A  strange  girl  in  a 
strange  world,  with  a  continual  yearning  to 
return  to  the  atmosphere  from  which  she  came, 
she  encounters  many  dramatic  and  romantic  ex- 
periences that  not  only  lead  her  to  true  love,  but 
also  permit  her  to  capture  the  kidnaper  of  the 
girl  she  is  supposed  to  be. 

The  original  story  is  by  Forrest  Halsey  and 
William  A.  Johnston.  The  screen  play  is  by 
Gladys  Unger,  Rose  Franken  and  Arthur 
Caesar,  a  trio  which,  individually,  have  ac- 
counted for  several  recent  popular  successes. 
Direction  is  by  Kurt  Neuman,  recent  maker  of 
"Let's  Talk  It  Over"  and  "Half  a  Sinner"  ;  also 
"Wake  Up  and  Dream." 

Sally  Filers,  last  seen  in  "Carnival,"  and 
again  in  a  hard,  brittle  characteristic  role,  has 
the  lead.  She  has  two  lovers ;  in  the  early 
waitress  day.  Chick  Chandler,  and  later  in  the 
most  sophisticated  times,  Ray  Milland,  one  of 
the  "The  Gilded  Lily"  trio.  Roles  of  the  father 
and  mother  are  assumed  by  Henry  O'Neill, 
seen  in  many  Warner  pictures,  and  Katherine 
.  Alexander.  Supporting  players  include  Clar- 
ence Muse,  Lola  Lane,  Corbit  Morris  and 
Phyllis  Crane. 

The  title  naturally  suggesting  a  criminal- 
court  drama,  care  should  be  taken  that  advance 
publicity  completely  identifies  the  production's 
character.  Exploitation  explanatory  of  the  ele- 
ments with  which  it  deals,  properly  applied, 
should  be  able  to  do  this. 


HOORAY  FOR  LOVE 

Radio 

Comedy  romance,  music  and  dancing,  both 
as  an  essential  part  of  the  story  and  in  specialty 
form,  are  the  materials  of  which  this  production 
is  being  made.  It  is  based  on  a  story  by  Marc 
Lachman  with  screen  play  by  Lawrence  Haz- 
ard, author  of  "I'll  Love  You  Always,"  and 
Ray  Harris,  who  participated  in  the  prepara- 
tion of  "Laddie,"  "We're  Rich  Again,"  "En- 
chanted April"  and  "Many  Happy  Returns." 
Music  and  lyrics  are  by  Dorothy  Fields  and 
James  McHugh.  Direction  is  by  Walter  Lang, 
who  handled  "The  Mighty  Barnum"  and  "Car- 
nival." 

Against  a  theatre  atmosphere  it  tells  a  story 
of  a  young  fellow  who  wants  to  be  a  producer 
and  also  star  the  girl  who  is  the  apple  of  his 
eye.  As  all  the  trials  and  tribulations  of  one 
so  inclined  are  graphically  narrated,  the  future 
builds  to  a  situation  wherein  his  prospective 
father-in-law  is  forced  to  marry  an  old  dow- 
ager in  order  to  get  finances  wherewith  the 
show  may  be  produced  and  the  sustaining  love 
affair  brought  to  the  proper  climax. 

Ann  Sothern  and  Gene  Raymond,  last  in 
"Transatlantic  Merry-Go-Round,"  are  teamed 
in  the  leads,  with  Pert  Kelton  in  a  characteris- 
tic showgirl  role.  A  newcomer,  the  veteran 
stage  actor,  Thurston  Hall,  known  to  many 
for  his  participation  in  radio  broadcasts,  par- 
ticularly with  Eddie  Cantor,  is  making  his 
screen  debut.  This  group  with  Georgia  Cane, 
carry  the  straight  story  thread,  which  is  high- 
lighted by  both  Raymond  and  Miss  Sothern  in 
several  song  numbers  against  spectacular  pro- 
duction and  personnel  backgrounds.  Specialties 


feature  Bill  Robinson,  the  famous  colored 
dancer  seen  with  Shirley  Temple  in  "The  Lit- 
tle Colonel,"  Jeni  LeGon,  another  noted  colored 
dancer,  and  Maria  Gambarelli,  ballerina  dancer, 
who  also  will  be  seen  for  the  first  time  in  a 
feature  picture. 


THE  G-MEN 

Warner 

The  terse  title  readily  identifies  this  produc- 
tion's character.  Based  on  the  most  sensational 
of  the  last  few  years'  newspaper  headlines,  it 
is  a  story  of  the  deeds,  danger  and  heroism  of 
the  agents  of  the  U.  S.  Department  of  Justice 
in  the  new  war  on  crime.  Blending  fact  with 
fiction,  the  theme  of  the  story  follows  one  of 
the  most  notorious  "public  enemy"  cases. 

The  cast  is  made  up  entirely  of  known  screen 
personalities.  James  Cagney,  who  broke  into 
pictures  originally  in  gangster  roles,  will  be 
seen  as  the  epitome  of  all  G-men.  As  the  story 
closely  follows  the  fact  matter  of  one  of  the 
most  vicious  cases  with  which  the  Government 
has  had  to  deal,  even  going  into  the  locales 
where  most  of  its  dramatic  action  took  place, 
roles  that  were  actualities  a  few  months  ago, 
are  played  by  Margaret  Lindsay,  Ann  Dvorak, 
Robert  Armstrong,  Barton  MacLane,  Lloyd 
Nolan,  William  Harrigan,  Russell  Hopton, 
Edward  Pawley,  Noel  Madison,  Monte  Blue, 
Regis  Toomey,  Harold  Huber,  Addison  Rich- 
ards and  Raymond  Hatton. 

A  topical  story,  the  production  is  adapted 
from  a  story  by  Gregory  Rogers,  with  screen 
play  by  Seton  I.  Miller.  The  director,  William 
Keighley,  recently  completed  "The  Right  to 
Live,"  and  has  handled  many  topically  based 
productions,  among  them  "The  Match  King." 


CRASHING  SOCIETY 

Warner 

Three  established  comedians  are  featured  in 
this  "society"  comedy  romance.  The  yarn  has 
a  unique  fun  premise  which  completely  elimi- 
nates any  atmosphere  of  sophistication.  It  deals 
with  the  mix-ups  that  ensue  when  a  bungling 
business  manager  seeks  to  revive  a  busted 
aristocratic  family's  fortunes  by  marrying  their 
destinities  to  the  "daughter"  of  a  pair  of  bu- 
colic hayshaking  social  climbers.  Comedy  mo- 
tivation is  given  a  semi-dramatic  twist  in  the 
climax  for  a  rather  tense  but  nevertheless  all's- 
well-that-ends-well  finale. 

In  the  story,  Guy  Kibbee  and  Zasu  Pitts  are 
teamed  in  the  leads  with  Zasu  as  the  ambitious 
climber  into  the  elite  set  and  Kibbee  the  hus- 
band willing  to  spend  any  part  of  his  oodles 
of  millions  that  she  may  achieve  her  ambition. 
In  the  role  of  their  daughter,  but  actually  a 
waitress  to  whom  Kibbee  has  taken  a  shine, 
will  be  seen  June  Martel,  one  of  Warner's 
newer  young  players.  Edward  Everett  Horton 
is  the  go-between  for  the  Kibbee  family  and 
the  parents  of  Ross  Alexander,  about  whom  the 
legitimate  if  somewhat  artificially  stimulated 
romance  is  spun.  Gordon  Westcott  again  will 
be  seen  in  one  of  those  difficult  parts  to  which 
he  seems  doomed,  as  the  snake-in-the-grass 
secret  husband  of  Miss  Martel  whose  efforts 
to  do  a  little  blackmailing  cause  him  to  be 
shown  up  as  a  bigamist.  For  a  specialty  fea- 
ture, Judy  Canova,  hill-billy  singer,  soon  to  be 
seen  in  "Caliente,"  will  be  seen. 

The  production  is  based  on  a  play,  "Social 
Pirates,"  by  Ralph  Spence,  the  screen  play  is 
by  Edward  Kaufman,  who  did  the  screen  plays 
on  "Romance  in  Manhattan"  and  "Gay  Di- 
vorcee," and  had  a  hand  in  "Lives  of  a  Bengal 
Lancer,"  and  by  Sy  Bartlett,  associated  with 
many  Warner  productions.  Ben  Markson  con- 
tributes added  dialogue.  Direction  is  by  Robert 
Florey. 


RCfl  VICTOR 

PHOTOPHONE 

THAT  GIVES  GREATEST  SOUND 
SATISFACTION   AND   OFFERS  YOU: 

•  A  Sound  Box-Office 
Attraction 

•  Complete  Ownership 

•  A  Self-Liquidating 
Investment 

•  RCA  Super-Service 


PHOTOPHONE  DIVISION 

RCA  Manufacturing  Co.,  Inc. 

Camden,  N.  J. 

A  Radio  Corporation  of  America  Subsidiary 


70 


MOTION    PICTURE  HERALD 


April    13,  1935 


Corpus  Christ!,  Texas 

Dear  Herald: 

From  the  window  of  the  rooms  we  occupy 
we  can  loolt  right  out  on  the  bay  and  every 
time  the  wind  comes  of¥  the  bay  it  smells 
like  a  gas  main  had  busted,  and  yet  they  tell 
us  how  healthy  it  is  here  in  Corpus  Christi. 
Well,  maybe  it  is. 

Corpus  Christi  is  a  town  of  something 
like  fifty  thousand  people,  including  about  ten 
thousand  fishermen  and  families  who  live 
along  the  water  front  in  anything  from 
shacks  built  of  drygoods  boxes'  to  trailer 
houses,  and  from  there  on  up  but  mostly 
down.  The  business  section  is  very  much 
like  any  other.  They  have  chain  stores, 
chain  garages,  chain  oil  stations,  chain  thea- 
tres, (except  that  one  chain  owns  all  the 
theatres),  chain  hotels  and  the  finest  and 
longest  dock  we  ever  saw. 

Keeping  the  Pot  Boiling 

But  speaking  of  docks,  there  may  be 
longer  ones  but  we'll  bet  there  are  no  better 
ones.  This  one  is  about  a  mile  and  a  half 
long  and  the  large  ocean-going  boats  can 
dock  here  in  35  feet  of  water,  and  some  of 
the  largest  freight  boats  that  run  the  ocean 
come  here  for  cargoes.  One  boat  is  loading 
cotton  and  lead  ore  to  go  to  Italy,  which 
makes  us  wonder  if  they  are  getting  ready 
to  fight  over  there,  if  so,  let  'em  fight.  A 
Japanese  boat  recently  loaded  with  a  cargo 
of  s'crapiron  and  cotton  and  lead  to  go  to 
Japan,  which  might  indicate  that  they  were 
going  to  shoot  a  few  Russians,  all  of  which 
indicates  to  us  that  about  the  whole  world 
is  soon  to  declare  an  open  season  on  every- 
body else.  Yesterday  there  was  a  boat  came 
in  here  loaded  with  bananas,  and  today,  and 
in  fact  right  now,  we  are  eating  one  that 
cost  as  high  as  ten  cents  a  dozen  under  the 
NRA  and  we'll  betcha  that  the  boy  who 
raised  that  banana  lives  on  scenery, 
seasoned  with  ocean  water,  and  the  trans- 
portation company  had  huckleberry  pie  for 
dinner. 

Yesterday  they  had  a  big  parade  of 
beautiful  floats  of  all  kinds  and  descriptions 
and  the  R  &  R  theatre  circuit  had  one 


that  ought  to  have  taken  first  prize.  It 
was  a  dandy  and  the  chief  architect  of  the 
float  was  Mr.  Thames,  manager  of  the 
Palace  theatre,  and  Mr.  Thames,  by  the 
way,  is  a  man  who  helped  put  Corpus 
Christi  and  Texas  on  the  map,  although 
they  made  the  map  before  Mr.  Thames 
left  Little  Rock,  Arkansas,  where  he  was 
helping  make  theatrical  history,  and,  while 
he  didn't  help  make  the  map,  yet  he  was 
the  man  who  discovered  and  named  the 
Thames  river  at  London,  England. 

We  saw  Mr.  Thames  but  didn't  get  to  see 
Mr.  Collins,  (the  man  who  operates  the  Ritz 
theatre),  who  is  another  reason  why  Corpus 
Christi  is  such  a  fine  city.  We  are  sorry  we 
didn't  get  to  see  Mr.  Collins  for  we  were  told 
that  he  was  one  of  the  shining  lights  of  the 
town,  but  we  did  get  to  visit  Mi^^s  Bernice 
Blanton,  the  brunette  who  tickles  the  keys 
of  Mr.  Collins'  typewriter,  and  Miss  Hurene 
Cobb,  the  lady  who  doesn't  claim  to  be  a 
relative  of  Ty  Cobb  but  who  handles  the 
books  of  the  R  &  R  theatres  in  Corpus  and 
who  wouldn't  dispute  us  when  we  say  that 
she  is  better  looking  than  the  balance  of  the 
whole  Cobb  family  put  together.  The  R  &  R 
boys  know  how  to  pick  good  looking  office 
help,  we  can  see  that  right  now,  but,  gee 
whiz,  what  kind  of  young  men  do  they  have 
in  Corpus  Christi  anyhow? 

Before  we  leave  the  subject  we  would  like 
to  advise  you  that  another  boat  has  just 
come  into  the  harbor  here  from  the  Pacific 
Northwest  loaded  with  potatoes.  They  tell 
us  that  the  boat  came  through  the  Panama 
Canal  and  one  fellow  said  it  carried  a  cargo 
of  three  hundred  carloads  of  potatoes.  They 
talk  in  big  figures  down  here.  Guess  they 
must  have  heard  the  president's  W?"-"'i 
Springs  speech  when  he  said  "Big  figures 
don't  mean  a  thing  to  me." 

V 

San  Antonio,  Texas 

We  got  here  a  little  too  late  to  see  the 
boys  who  are  furnishing  South  Texas  with 
amusement  in  the  afternoons,  and  last  night 
we  didn't  feel  well  enough  to  fight  the 
traffic  downtown,  and  listen  Elmer,  when 
you  fight  the  traffic  in  San  Antonio  in  the 
early  evening  you  will  know  that  you  have 
had  a  busy  half  hour  (and  maybe  two 
hours,)  and  we  didn't  feel  equal  to  the  task 
last  night. 

In  the  morning  we  are  heading  for  the 
north  land  and  probably  snow  banks  and 
sand  storms,  but  somehow  we  feel  that  the 
North  is  calling  us,  and  when  the  North 
calls  us  we  have  to  go,  and  besides  that  we 
want  to  get  back  where  our  "home  doctor" 
can  look  us  over  and  change  the  medicine. 
However,  we  don't  feel  that  any  change  is 
necessary. 

Prefers  the  Monkeys 

San  Antonio  gets  its  name  from  the 
Mexican  language  and  we  are  told  that  bet- 
ter than  40  per  cent  of  the  population  is 
Mexican,  notwithstanding  that  the  Alamo  is 
located  right  in  the  heart  of  the  city.  Ac- 
cording to  Uncle  Sam's  latest  guess  the 


town  has  a  population  of  231,000  people,  the 
most  of  whom  are  under  the  NRA  and  we 
trust  are  doing  well,  and  we  presume  they 
are.  If  you  are  going  from  Winnipeg, 
Canada,  to  Mexico  City  (a  distance  of  some 
3,000  odd  miles)  get  on  highway  No.  81  and 
stick  to  it  and  you  will  come  right  through 
our  country  and  on  down  to  San  Antonio, 
but  you  better  stop  and  look  our  country 
over,  although  this  is  a  pretty  good  countrv 
down  here.  There  are  two  things  we  didn't 
hear  in  San  Antonio,  a  jazz  orchestra  and  a 
love  song  crooner,  but  maybe  the  town  has 
them,  since  all  well  regulated  towns  seem 
to  have,  and  maybe  they  were  entertaining 
the  public  while  we  were  out  in  Brecken- 
ridge  park  watching  the  monkeys,  but  then 
somehow  we'd  sooner  watch  the  monkeys 
pick  fleas  than  to  hear  crooners  anyhow. 

We  came  through  the  country  yesterday 
from  Corpus  Christi  that  was  originally 
civilized  by  Mr.  Taft,  brother  of  the  ex- 
president,  and  if  you  are  looking  for  a  beau- 
tiful country  that  has  been  planted  to  corn, 
cotton,  carrots,  beets,  onions,  cabbage,  spin- 
ach and  other  crops  you  should  see  this 
country,  which  is  as  level  as  a  billiard-table 
as  far  as  you  can  look,  and  then  you  can't 
see  the  edge  of  it.  The  town  of  Taft  is 
located  about  in  the  center  of  this  country 
and  the  work  is  mostly  done  by  Mexicans 
instead  of  American  labor.  Mexican  chil- 
dren from  10  to  18  years  old  work  in  the 
vegetable  fields  instead  of  going  to  school. 
Anyhow  we  are  going  to  go  home  and  let 
Texas  run  her  own  business,  and  we  are  go- 
ing to  stop  right  here  and  give  you  a  rest. 
How's  that? 

COLONEL  J.  C.  JENKINS, 
The  HERALD'S  Vagabond  Colyumnist 


Films  Used  in  Damage 
Action  in  Massachusetts 

The  Haverhill  Fruit  and  Produce  Com- 
pany, defendant  in  a  damage  action  brought 
by  10-year  old  Daniel  Nadreau  and  his 
father,  Joseph  C.  Nadreau,  of  Haverhill,  re- 
sorted to  motion  pictures,  in  superior  civil 
court  at  Lawrence,  Mass.,  to  prove  that  the 
boy  was  able  to  climb  and  play  like  other 
boys. 

Daniel  was  struck  by  one  of  the  fruit 
company's  trucks  three  years  ago,  which  is 
the  basis  of  the  action,  the  boy  claiming  he 
has  been  unable  to  participate  in  sports  to 
the  same  extent  as  before  the  accident.  The 
pictures,  taken  by  Joseph  Shaw  of  Medford, 
amateur,  were  supposed  to  have  shown  the 
boy  actively  playing.  Daniel  said  that  the 
boy  in  the  picture  was  his  older  brother. 

New  Children's  Magazine 
To  Have  Child's  Film  Guide 

The  Children's  Magazine,  new  publication 
which  will  appear  initially  in  September,  will 
include  a  children's  motion  picture  guide 
among  its  features.  The  section  will  con- 
tain pictures  and  articles  on  child  stars  hav- 
ing an  appeal  to  children  between  seven  and 
16.  Hal  Kafka  is  managing  editor,  J.  G. 
Tanenbaum  editor,  and  Charlotte  Carter  as- 
sociate editor.  David  L.  Herman  is  pub- 
lisher. 


April     13,  1935 


MOTION    PICTURE  HERALD 


71 


THEATRE  RECEIPTS 


The  total  of  theatre  receipts  for  the  calendar  week  ended  April  6,  1935,  fronn  I  10 
theatres  in  18  major  cities  of  the  country,  reached  $1,004,187,  a  decrease  of  $71,538 
from  the  total  for  the  preceding  calendar  week,  ended  March  30,  when  108  the- 
atres in    18  major  cities  aggregated    $1,075,725  (revised  figure). 

(Copyright,  1935:    Reproduction  of  material  from  this  department  without  credit  to  Motion  Picture  Herald  expressly  forbidden) 


Theatres 

Boston 

Boston   3^6 

Fenway    1,382 


Metropolitan 
Paramount  . 


2Sc-S0c 
30c-50c 


Loew's  State   ...  3,537      25c- SSc 


4,332  35c-6Sc 
1,793  25c-50c 


Current  Week 

Picture  Gross 

"Princess    O'Hara"    (Univ.)   9,000 

"Gold  Diggers  of  1935"  (F.  N.)  and  5,000 
"Behind  tlie  Evidence"  (Col.) 


'Vanessa:   Her  Love  Story"   10,000 

(MGM)  and  "Casino  Murder  Case" 
(MGM) 

'Private    Worlds"    (Para.)   41,000 


"Gold  Diggers  of  1935"  (F.N.)  and 
"Behind  the  Evidence"  (Col.) 


8,000 


Previous  Week 

Picture  Gross 


"It  Happened  in  Nevf  York"   9,000 

(Univ.) 

"Ruggles  of  Red  Gap"  (Para.)  and  5,500 
"Baboona"  (Fox) 


"West  Point  of  the  Air"  (MGM)  13,000 
and  "Times  Square  Lady"  (MGM) 

"Mississippi"   (Para.)    24,000 

"Ruggles  of  Red  Gap"  (Para.)  and  8,000 
"Baboona"  (Fox) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  UM.) 
(Dates  are  1934  unless  othemriaB  specified.) 

High  12-29  "West  of  Pecoi"   23.000 

Low  2-2-35  "One  Exciting  Adventure"..  8.500 
High  1-6  "Lady  Killer"  \ 

and  "Girl  Without  a  Room"  1 
Low  3-9-35  "One  More  Spring"  and  ) 
"Lottery  Lover"  ) 

High  4-7  "Riptide"    22i600 

Low  3-9-35  "Whole  Town's  Talking"  \ 

and  "Society  Doctor"       J  9.000 

High  4-6-35   "Private  Worlds"   41,000 

Low  1-19-35  "The  County  Chairman".. 
High  1-6  "Lady  Killer" 

and  "Girl  Without  a  Room" 
Low  3-23-35  "Love  in  Bloom"  and 
"Car  99" 


12.000 
2,500 


Buffalo 

Buffalo                  3.500  30c-S5c 

Century                 3.000  2Sc 

Great  Lakes  ....  3.000  2Sc-«)c 

Hippodrome            2.100  25c-«)c 

Lafayette               3.300  2Sc 

Chicago 

Apollo    aSc-SOc 

Chicago   4.000  2Sc-68c 

Garrick                    900  2Sc-40c 

Oriental                 3.940  25c-40c 

Palace   2.S09  2Sc-S0c 

Roosevelt   1.S91  2Sc-50c 

Sute-Lake             2.776  20c-3Sc 

United  ArtisU...  1.700  30c-60c 


'Gold  Diggers  of  1935"   (F.N.)....    14,800      "West  Point  of  the  Air"  (MGM)  17,000 


Cleveland 

AUen   


3,300  25c-3Sc 


"Love  in  Bloom"  (Para.)  and....  4,900 
"Rocky  Mountain  Mystery"  (Para.) 


'Roberta"   (Radio)    9,200 

(2nd  week) 


"The  Wedding  Night"  (U.  A.).... 


8.000 


"The  Best  Man  Wins"  (Col.)  and  6,700 
'Among  the  Missing"  (Col.) 


"Gold  Diggers  of  1935"  (F.  N.)... 
"West  Point  of  the  Air"  (MGM). 

"Let's   Live   Tonight"  (Col.)  

"The  Winning  Ticket"  (MGM)... 

"Roberta"  (Radio)   

(2nd  week) 
"The  Whole  Town's  Talking"... 

(Col.) 

"Death   Flies   East"  (Col.)  


"Folies  Bergere"  (U.  A.). 
(10  days) 


"Roberta"  (Radio) 
(2nd  week) 


6,000 
30,000 

i,m) 
17,000 
27,000 

9,0015 
12.000 

13,000 
5,100 


Hippodrome  . 
RKO  Palace  . 

..  1,875 
..  3,100 

20c-30c 
30c-42c 
30c-60c 

"It  Happened  One  Night"  (Col.) . 

(15c-30c)  (revival) 
"Life  Begins  at  40"  (Fox)  

(2nd  week) 

6,100 
7.100 
39,000 

..  3,«>0 

30c-42c 

"Mississippi"  (P.ira.)   

8,900 

1.900 

25c-3Sc 

4,000 

"Car  99"    (Para.)    and   5,000 

"Enter  Madame"  (Para.) 


"Roberta"    (Radio)    10,400 

(1st  week) 

"Enchanted  April"  (Radio)  and..  6,600 
"Murder  on  a  Honeymoon"  (Radio) 


"Evergreen"  (GB  Pictures)  and.. 
"Jealousy"  (Col.) 


7,200 


'Ruggles  of  Red  Gap"  (Para.)....  7,000 

"Gold  Diggers  of  1935"  (F.  N.)..  40,000 

"The  Little  Colonel"   (Fox)   5,000 

(2nd  week) 

"The  Firebird"  (W.  B.)    15,000 

"Roberta"    (Radio)   30,000 

(1st  week) 

"Sequoia"   (MGM)    12,000 

"Schools  for  Girls"  (Liberty)   14,000 


"The  Scarlet  Pimpernel"  (U.A.)..  11,000 
(2nd  week) 


"Helldorado"   (Fox)    950 

(3  days) 

"Roberta"   (Radio)    4,300 

(4  days-lst  week)  (30c-42c) 

"Lottery  Lover"  (Fox)    5,500 

"Life  Begins  at  40"  (Fox)   14,500 

(1st  week) 

"The  Whole  Town's  Talking"....  19.000 
(Col.) 

"West  Point  of  the  Air"  (MGM)  12,500 

"Car  99"    (Para.)    3,30C 


"Design  for  Living"  

"Music  in  the  Air"  

"The  Lost  Patrol"  and  } 
"Three  on  a  Honeymoon"  ( 
"I  Am  a  Thief  and  \ 
"Side  Streets"  J 

"Belle  of  the  Nineties"  

"Gentlemen  Are  Born"  and  ) 
"Marie  Galante"  f 
"The  House  of  Rothschild".. 
"Here  Comes  the  Navy  


High  1-6 
Low  12-29 
High  4-21 

Low  12-29 

High  9-29 
Low  12-22 

High  5-19 
Low  7-28  ' 

High  3-10  "It  Happened  One  Night"  } 

and  "Before  Midnight"  ( 

Low  11-17  "Jane  Eyre"  and  \ 

''Young  and  Beautiful"  J 


High  9-8  "The  Cat's  Paw"  

Low  11-24  "The  Captain  Hates  the  Sea" 

High  8-11  "She  Loves  Me  Not"  

Low  5-26  "Thirty  Day  Princess"  

High  2-23-3S  "Baboona"  

Low  4-6-35  "Let's  Live  Tonight"  

High  1-5-35  "Big  Hearted  Herbert".... 

Low  6-16  "Registered  Nurse  

High  3-30-35  "Roberta".  

Low  12-1  "Kentucky  Kernels"  

High  1-5-35  "Forsaking  All  Others".... 

Low  8-18  "Paris  Interlude"  

High  9-8  "The  Most  Precious  Thing  in 

Life"   

Low  5-2-35  "Helldorado"   

High  5-5  "House  of  Rothschild"  

Low  4-28  "Looking  for  Trouble"  


26.000 
5.000 

8.100 

4,000 
18.800 

3.800 
18.000 
4.800 


16.700 
4.200 


16.000 
5.000 
66.000 
19,000 
8.500 
3,000 
25,000 
12,000 
30,000 
8,000 
27.000 
6.000 

19.000 
11.000 
30.000 
10,000 


High  10-27  "Six-Day  Bike  Rider"   7,000 

Low  12-15  "Silver  Streak"    1,400 


High  3-16-35  "Roberta"   23.000 

Low  3-17  "Journal  of  a  Crime"   2.900 

High  4-6-35  "Transient  Lady"   39,000 

Low  5-19  "Where  Sinners  Meet"   4,000 

High  1-12-35  "Forsaking  All  Others"..  28.000 

Low  12-29  "Private  Life  of  Don  Juan"..  3,500 

High  9-15  "Chained"   10,000 

Low  1-12-35  "Our  Daily  Bread"   2.000 


Denver 

Aladdin    1,500  25c-S0c 

Broadway    1,500  25c-40c 

Denham    1,500  25c-50c 

Denver    2,500  25c-40c 

Orpheum    2,600  2Sc-40c 

Paramount    2,000  2Sc-50c 


"The  Great  Hotel  Murder"  (Fox)  2,000 
"Life  Begins  at  40"  (Fox)   3,000 


"Car  99"  (Para.) 


(U.  A.).... 


5,500 
6,000 


"The  Wedding  Night" 
(25c-50c) 

"Roberta"   (Radio)    6,000 

(2nd  week) 
"The    Casino   Murder    Case"   4.000 

(MGM) 


"Let's   Live   Tonight"    (Col.)   2,000 

"After  Office  Hours"   (MGM)....  800 

(3  days) 

"Power"  (GB  Pictures)   600 

(4  days) 

"All  the  King's  Horses"   (Para.)  4,000 

"Life  Begins  at  40"  (Fox)    13,000 

"Roberta"   (Radio)    10,000 

(1st  week) 

"Living  on   Velvet"   (F.    N.)   3,500 


High  5-5 
Low  8-11 


'House  of  Rothschild"   9,000 

•I  Give  My  Love"   1,300 


High  9-29  "Belle  of  the  Nineties"   16,500 

Low  4-7  "She  Made  Her  Bed"   800 

High  1-13  "Roman  Scandals"    17.500 

Low  9-29  "British  Agent"   4.000 

High  2-17  "Hi  Nellie"    19.500 

Low  12-29  "Hat,  Coat  and  Glove"   1,000 

High  1-13  "Dinner  at  Eight"   5.500 

Low  6-9  "Uncertain  Lady"   400 


Hollywood 

Chinese    2,500  30c-55c 

Pantages    3.000  2Sc-40c 

W.  B.  Honywood  3.000  25c-6Sc 


"Folies  Bergere" 
(6  days) 


(U.  A.)   8.875 

2,9(Jt) 


"Broken  Melody"  (Olympic)  and 
"Mystery  Man"  (Monogram) 

"Traveling  Saleslady"  (F.  N.) . . . . 
(6  days) 


8,600 


"After  Office  Hours"   (MGM)....  6.900 
(6  days) 

"Princess  O'Hara"  (Univ.)  and..  3,000 
"The  Ghost  Walks"  (Invincible) 

"Roberta"   (Radio)   9,125 

(6  days-3rd  week) 


High  4-14 
Low  12-29 


"House  of  Rothschild"   25.171 

'Music  in  the  Air"   4,292 


High  12-8  "Imitation  of  Life"   12.200 

Low  3-3  "Fugitive  Lovers"  and  } 

"The  Poor  Rich"  f  1.500 

High  9-8  "Dames"    25.000 

Low  12-29  "Sweet  Adeline"   6,300 


72 


MOTION    PICTURE  HERALD 


April    13,  1935 


[THEATRE  l5ECEIPT$--C€NT'i:)l 


Theatres 


Indianapolis 

1  100 

25c-40c 

2  800 

25c-40c 

2Sc-40c 

.  2.000 

25c-40c 

3.000 

2Sc-40c 

3,100 

lSc-40c 

4,000 

lSc-40c 

1.800 

25c-40c 

2.200 

2Sc 

2.000 

2Sc-40c 

Los  Angeles 

.  800 

40c-S5c 

900 

40c-S5c 

Loew'i  State.... 

.  2.416 

0UC*93C 

.  3.596 

RKO   

,  2,700 

United  Artiitt.. 

.  2.100 

2Sc-SSc 

W.  B.  Downtown  3.<00 

25c-40c 

Minneapolis 

.  1.650 

25c-40c 

.  1.238 

20c-25c 

900 

lSc-2Sc 

RKO  Orpheum.. 

.  2.900 

25c-40c 

State   

.  2.300 

25c-40c 

Time   

300 

20c-25c 

World   

400 

25c-S5c 

Montreal 

,  2.547 

25c-60c 

1.914 

2Sc-40c 

.  3,115 

30c-60c 

2.600 

30c -65c 

,  2.272 

30c-65c 

New  York 

.  1.012 

25c-7Sc 

.  4.700 

35c-$1.65 

,  2.300 

3Sc-65c 

.  2.500 

2Sc-75c 

,  3,700 

3Sc-99c 

Rialto  

.  2.200 

25c-6Sc 

.  2.200 

40c-99c 

RKO  Music  Han  5.945 

35c-$1.6S 

.  6.200 

Zc-55c 

.  3,000 

2Sc-55c 

Current  Week 

Picture  Gross 

"Gold  Diggers  of  1935"  (F.  N.)....  2,000 

(2nd  week) 

'•Roberta"   (Radio)    2,500 

"McFadden's  Flats"  (Para.)   10,000 

"Traveling  Saleslady"  (F.   N.)....  11,000 

"Casino  Murder  Case"   (MGM)...  2,750 


"Living  on  Velvet"  (F.  N.)   4,500 

(6K'  days) 

"Casino  Murder   Case"   (MGM)    ..  7,900 

"Mississippi"  (Para.)    6,600 

(2nd  week) 

"It  Happened  In  New  York"   7,800 

(Univ.) 

"George  White's  1935  Scandals"..  5,900 
(Fox)    (9  days) 

"Chapayev"   (Amkino)    2,750 

(40c -50c) 

"The  Scarlet  Pimpernel"  (U.A.) . .  5,500 

(6  days-2nd  week) 

"Folies  Bergere"  (U.  A.)   7,300 

(6  days) 

"Mississippi"   Para.)    23,000 

"Traveling  Saleslady"  (F.  N.)....  7,600 
(6  days) 

"Car  99"  (Para.)  and   3,200 

"$10  Raise"  (Fox) 
(6  days) 

"Roberta"    (Radio)    9,600 

(6  days) 

"Sequoia"    (MGM)    4,200 

"Under    Pressure"    (Fox)   1,500 

"Mutiny  Ahead"   (Majestic)   2,000 

"The  Woman  in  Red"  (F.  N.)...  6,500 

"Mississippi"    (Para.)    6,500 

"Mills  of  the  Gods"  (Col.)   1,500 

"The  Scarlet  Pimpernel"  (U.A.)..  3,000 
(2nd  week) 


"Ruggles  of  Red  Gap"  (Para.)  and 
■'Rumba"  (Para.) 

'Stormy  Waters"   


11,000 


3,000 


'Devil  Dogs  of  the  Air" 
and  "Babbitt"  (F.  N.) 


(W.  B.)  8,500 


"Gold  Diggers  of  1935"  (F.  N.)..  10,000 
(25c-65c) 

'Let's  Live  Tonight"  (Col.)  and..  7,000 
"The  Best  Man  Wins"  (Col.) 


"It  Happened  One  Night"  (Col.)..  7.300 

(2nd  week-revival) 

"Naughty  Marietta"  (MGM)   27,000 

(2nd  week) 

"Tlie  Man  Who  Knew  Too  Much"  8,000 

(GB  Pictures)  (2nd  week) 

"Roberta"   (Radio)    12,000 

"Private    Worlds"    (Para.)   34,000 

"Ruggles  of  Red  Gap"  (Para.)....  15,500 

'The  Wedding  Night"  (U.  A.)....  12,623 
(3rd  week) 

"The  Little  Colonel"  (Fox)    58,000 

(2nd  week) 

"I'll  Love  You  Always"  (Col.)....  19,000 

"Traveling  Saleslady"  (F.  N.)....  12,189 


Previous  Week 

Picture  Grou 

"Gold  Diggers  of  1935"  (F.N.)....  5.O0O 

(1st  week) 

"Laddie"  (Radio)    4.500 

"Roberta"  (Radio)    6.000 

(2nd  week) 

"In  Spite  of  Danger"  (Col.)   5,500 

"West  Point  of  the  Air"  (MGM)  4,500 


"The  Mystery  of  Edwin  Drood"..  7,200 

(Univ.)  (25c-40c) 

"West  Point  of  the  Air"  (MGM)  9,400 

"Mississippi"   (Para.)    8,500 

(1st  week) 

"Transient    Lady"    (Univ.)   6,300 

"The  Little  Colonel"  (Fox)   2,200 

(6  days-3rd  week) 


"Little  Friend"  (GB  Pictures)  


"The  Scarlet  Pimpernel"  (U.A.).. 

(6  days-lst  week) 
"After  Office  Hours"  (MGM).... 

(6  days) 

"Ruggles  of  Red  Gap"  (Para.)... 

(2nd  week) 
"Roberta"    (Radio)    12,000 

(6  days-3rd  week) 
"The  Little  Colonel"  (Fox)    4,900 

(6  days) 


2,000 
5,900 
9,000 
13,000 


"A  Night  at  the  Ritz"  (W.  B.)  and 
"Death  Flies   East"  (Col.) 
(6  days) 


6,400 


"Ruggles  of  Red  Gap"  (Para.)....  4,300 
(2nd  week) 

"Shadow  of  Doubt"  (MGM)   1.500 

"The  Mystery   Man"   (Mono.)....  2,500 

"Roberta"   (Radio)    6,500 

(2nd  week) 

"Devil  Dogs  of  the  Air"   (W.B.)  5,000 

"The  Scarlet  Pimpernel"  (U.A.)..  3,000 
(1st  week) 


"The  Scarlet  Pimpernel"  (U.  A.)  9,000 
(2nd  week) 

"Young  and   Beautiful"   (Mascot)  3.500 


"Life  Begins  at  40"  (Fox)  and...  9,500 
"Charlie  Chan  in  Paris"  (Fox) 

"After  Office  Hours"   (MGM)....  12,000 


'Power"   (GB  Pictures)   and   7,000 

"Things  Are  Looking  Up"  (British) 


"It  Happened  One  Night"  (Col.)..  10,000 

(1st  week-revival) 

"Naughty  Marietta"  (MGM)   38,000 

(1st  week) 

"The  Man  Who  Knew  Too  Much"  13,000 

(GB  Pictures)  (1st  week) 

"Living  on  Velvet"  (F.  N.)   7,500 

"Ruggles  of  Red   Gap"   (Para.)..  22,000 

(3rd  week) 

"Mystery   of    Edwin    Drood"   13,000 

(Univ.) 

"The  Wedding  Night"  (U.  A.)....  20,500 

(2nd  week) 

"The    Little    Colonel"    (Fox)   84,000 

(1st  week) 

"The  Woman  in  Red"  (F.  N.)....  26,000 

"Gold  Diggers  of  1935"  (F.  N.)....  13.500 
(2nd  week) 


High  and  Low  Gross 

(Tabulation  covers  period  fram  January,  1134.) 
(Dates  are  1934  unless  otherwise  specifi«L) 

High  2-23-35  "One  More  Spring"   7,S0n 

Low  2-9-35  "Baboona"   2,000 

High  12-15  "Lady  By  Choice"   8.500 

Low  1-19-35  "The  President  Vanishes"  1 

and  "Enter  Madame"       J  2,000 

High  3-2-35  "Woman  in  Red"   12.000 

Low  1-12-35  "Little  Women"   1.500 

High  4-6-35  "Traveling  Saleslady"   11,000 

Low  7-28  "Half  a  Sinner"  and  ) 

"Embarrassing  Moments"    {  2,000 

High  2-3  "Sons  of  the  Desert"   12.500 

Low  4-6-35   "Casino  Murder  Case"   2,750 

High  6-23  "Glamour"   23.000 

Low  1-12-35  "I  Sell  Anything"   2.000 

High  4-7  "Riptide"    21,400 

Low  12-22  "Private  Life  of  Don  Juan"  4,000 

High  9-29  "Belle  of  the  Nineties"   14.000 

Low  8-25  "Indies  Should  Listen"  and  ) 

"Call  It  Luck"  (  3.600 

High  1-12-35  "Broadway  BiU"   14.000 

Low  5-5  "Let's  Fall  in  Love"   4,000 

High  10-27  "Judge  Priest"   9.200 

Low  1-27  "Good  Bye  Again"   1.700 

High  4-14  "Moon  Over  Morocco"   7.600 

Low  6-30  "Island  of  Doom"   160 

High  3-3  "Devil  Tiger"   7,800 

Low  12-15  "Have  a  Heart"   2,500 

High  4-7  "Riptide"    28.500 

Low  12-29  "Music  in  the  Air"   4,206 

High  9-1  "Now  and  Forever"   29.998 

Low  12-22  "One  Hour  Late"   12,500 

High   3-16-35    "Roberta"   16,000 

Low  1-27  "Let's  Fall  in  Love"   1.800 

High  1-20  "I'm  No  Angel"   13.000 

Low  5-12  "Sorrell  and  Son"   2.500 

High  9-8  "Dames"    20.000 

Low  12-29  "White  Lies"  and  j 

"The  Last  Wilderness"       I  4,900 

High  10-20  "Barretts  of  Wimpole 

Street"    6.500 

Low  3-16-35   "Rumba"    4,000 

High  3-16-35  "Baboona"    2,000 

Low  1-27  "Jimmy  and  Sally"   500 

High  1-5-35  "Romance  in  the  Rain"   3,000 

Low  4-6-35  "Mutiny  Ahead"   2,000 

High  3-23-35  "Roberta"  ..'  '   7,000 

Low  8-25  "The  Lady  is  Willing"  .,  2.700 

High  8-18  "She  Loves  Me  Not"   7,000 

Low  7-28  "Here  Comes  the  Navy"   5,000 

High  10-20  "Girl  of  the  Limberlost" . . . .  3,500 

Low  12-8  "Cimarron"    1,000 

High  4-14  "Private  Life  of  Henry  VUI"  4,000 

Low  3-23-35  "Narcotic"   2,000 

High  2-24  "Queen  Christina"   13,500 

Low  12-22  "Great  Expectations"  and  J 

"Wake  Up  and  Dream"      f  3,500 
High  6-23  "Wine,  Women  and  Song"  I 

and  "Pride  of  the  Legion"  (  6,500 

Low  3-3  "Fanny"    1,500 

High  12-8  "Six  Day  Bike  Rider"   14,500 

Low  7-21  "Fog  Over  Frisco"  and  } 

"Affairs  of  a  Gentleman"     (  4,500 

High  12-1  "The  Merry  Widow"   14,000 

Low  7-21  "Shoot  the  Works"  and  ( 

"Friday  the  13th"  j  6.000 

High  1-5-35  "Kid  Millions"  and  ) 

"Fugitive  Lady"  }  10.500 

Low  8-4  "House  of  Rothschild"  and  j 

"Most  Precious  Thing  in  Life"  I  4,500 


High  3-31  "House  of  Rothschild"   2J.600 

Low  2-23-35  "Little  Men"   6,000 

High  10-6  "Barretts  of  Wimpole  Street"  65,860 

Low  12-29  "The  Band  Plays  On"   4.500 

High  1-27  "Sixteen  Fathoms  Deep"   15,300 

Low  6-2  "Unknown  Soldier  Speaks"....  1,250 

High  7-21  "Of  Human  Bondage"   16,200 

Low  12-22  "Babbitt"    6.500 

High  8-25  "Qeopatra"    72.000 

I>ow  8-11  "Elmer  and  Elsie"   10,500 

High  4-7  "The  Lost  Patrol"   32,80r) 

Low  5-12  "Success  at  Any  Price"   7,700 

High  11-17  "Kid  Millions"   Sl.nno 

Low  2-23-35  "The  Right  to  Live"   15,000 

High  1-5-35  "The  Little  Minister"   110,000 

Low  1-19-35  "Evergreen"   52,000 

High  12-1  "Imitation  of  Life"   44,000 

Low  6-30  "Affairs  of  a  Gentleman"   13,700 

High  3-10  "Wonder  Bar"   43.863 

Low  1-20  "Kaaj  to  Love"   9,271 


April     13,  1935 


MOTION    PICTURE  HERALD 


73 


t THEATRE  RECEIPTS— CONT'D] 


Theatres 

Olclafioma  City 

Capitol    1,200 

Criterion    1,700 

Liberty    1,S00 


Current  Week 


Previous  Week 


10c-41c 

10c-35c 
10c-36c 


Midwest                  1,500  10c-56c 

Omaha 

Brandeis                 1,200  2Sc-40c 

Omaha                     2,200  25c-40c 

Orpheum                  3,000  2Sc-40c 

Paramount               2,800  3Sc-5Sc 


Philadelphia 

Aldine                     1,200  3Sc-55c 

Arcadia                     600  25c-50c 

Boyd                      2,400  35c-S5c 

Earle                       2.000  2Sc-55c 

Fox                        3,000  40c-6Sc 

Karlton                   1,000  2Sc-40c 

Keith's                   2,000  30c-S0c 

Ivocust                     1,300  40c-55c 

Stanley                   3,700  35c-5Sc 

Stanton                   1,700  30c-50c 

Portland,  Ore. 

Broadway                1,912  2Sc-40c 

Mayfair                  1,700  25c-40c 

Oriental                  2,040  25c-40c 

Orpheum                 1,700  2Sc-40c 

Paramount              3,008  2Sc-40c 


Picture 


■•Times  Square  Lady"  (MGM).... 

"West  Point  of  the  Air"  (MGM) 

"While  the  Patient  Slept"  (F.  N.) 
(4  days) 

"We're  Rich  Again"  (Radio)  

(3  days) 

"Gold  Diggers  of  1935"  (F.  N.).... 


Gross 

1.600 
5,500 
2,500 
i,60O 
4.000 


"Living  on  Velvet"  (F.  N.)  and..  .kSOO 
"While  the  Patient  Slept"  (F.  N.) 

"Mississippi"    (Para.)    6,200 

"Life  Begins  at  40"  (Fox)  and....  9.500 
"Mystery  Woman"  (Fox) 

"Love  in  Bloom"   (Para.)    5,500 

(3  days)  {25c-40c) 

"The  Scarlet  Pimpernel"  (U.  A.)  2,000 
and  "Mills  of  the  Gods"  (Col.) 

(4  davs"!  (25c-35c) 


"The   Wedding   Night"    (U.   A.)..  5,800 

(6  days-3rd  week) 
"All   the   King's   Horses"    (Para.)  2,000 

(6  days) 

"Private   Worlds"    (Para.)   15,500 

(6  days) 

"Love  in  Bloom"  (Para.)   15,000 

(6  days)  (25c-50c) 
"$10   Raise"    (Fox)    13,500 

(6  davs) 

"Transient  Lady"   (Univ.)   2,400 

(6  days) 

"Gold  Diggers  of  1935"  (F.  N.)....  3,700 
(6  days) 

"Man  of  Courage"   (Eureka)   1,900 

(5  days) 

"West  Point  of  the  Air"  (MGM)..  16,000 
(9  davs) 

"Casino   Murder   Case"    (MGM)..  6,000 
(6  days) 


"Traveling  Saleslady"  (F.  N.)  and  4.8O0 
"Casino  Murder  Case"  (MGM) 

"The  Best  Man  Wins"  (Col.)  and  3,000 
'Carnival"  (Col.) 


"Clive  of  India"  (U.  A.)   1,900 

(15c-25c) 


'Princess  CHara"  (Univ.). 


5,000 


'Baboona"    (Fox)    7,500 


Picture 


"Society    Doctor"    (MGM) . 


Gross 


1,900 


"Roberta"   (Radio)    8,000 

"Rocky    Mountain    Mystery"   2,300 

(Para.)    (4  days) 

"Adventure   Girl"    (Radio)   500 

(3  days) 

"The  Little  Colonel"  (Fox)   6,000 


"Gold  Diggers  of  1935"  (F.  N.)...  5,100 


"West  Point  of  the  Air"  (MGM)  6,000 

"The  Good  Fairy"  (Univ.)  and....  7,400 
"We  Live  Again"  (U.  A.) 

"Rumba"   (Para.)    9,500 

(25c-40c) 


"The  Wedding  Night"   (U.A.)....  8,500 

(6  days-2nd  vireek) 

"Sequoia"    (MGM)    3,400 

(8  days) 

"Roberta"    (Radio)    12,000 

(6  days-3rd  week) 

"Let's  Live  Tonight"   (Col.)   14,000 

(6  days) 

"Life  Begins  at  40"  (Fox)    16,000 

(6  days-2nd  week) 

"The  Florentine  Dagger"  (W.  B.)  2,800 

(6  days) 

'Vanessa:    Her  Love  Story''   1,800 

(MGM)  (4  days-2nd  week) 


'Gold  Diggers  of  1935"  (F.  N.)..  5,000 

(6  days-2nd  week) 

'It  Happened  One  Night"  (Col.)..  9,500 

(9  days- revival) 


"The   Iron   Duke"    (GB   Pictures)  7,800 

"Life  Begins  at  40"   (Fox)   3,200 

"West  of  the  Pecos"  (Radio)....  1,700 

"Laddie"  (Radio)    7,500 

"Mississippi"   (Para.)    8,500 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  unless  otherwise  specified) 


High  1-6  "Going  Hollywood"   4,100 

Low  9-8  "You  Belong  to  Me"   800 

High  1-27  "Dinner  at  Eight"   9,000 

Low  10-13  "Madame  Du  Barry"   3,000 

High  4-6-35  "While  the  Patient  Slept"  ) 

and  "We're  Rich  Again"      |  4.100 

Low  3-23-35  "The  Winning  Ticket"....  400 

High  12-29  "Bright  Eyes"   9,540 

Low  5-26  "Merry  Wives  of  Reno"   2,000 


High  1-12-35  "The  Little  Minister"   9,100 

Low  2-16-35  "Babbitt"  and  } 

"Murder  in  the  Qouds"    {  3.000 


High  3-10  "Easy  to  Love"   17,250 

Low  12-29  "Babes  in  Toyland"  and  I 

"Home  on  the  Range          (  5.000 

High  2-16-35  "The  Secret  Bride"   13,200 

Low  2-24  "Six  of  a  Kind"  and  ) 

"Good  Dames"                       )  5,250 


High  5-5  "House  of  Rothschild"   23,000 

Low  6-9  "Sorrell  and  Son"   4.000 

High  1-6  "Duck  Soup"   6,500 

Low  1-27  "Women  In  His  Life"   400 

Higii  1-6  "Little  Women"   30,000 

Low  2-23-35  "The  Night  Is  Young"....  6,500 
(5  days) 

High  4-7  "Harold  Teen"   40,000 

Low  7-21  "Cockeyed  Cavaliers"   11,000 

High  12-29  "Bright  Eyes"   28,500 

Low  7-28  "She  Was  a  Lady"   7.000 

High  11-3  "One  Night  of  Love"   8,500 

Low  11-24  "Wednesday's  Child"    2.200 

High  3-3  "Carolina"    8,000 

Low  1-5-35  "Sweet  Adeline"   1,500 

High    10-6   "Caravan"    8,500 

Low  4-6-35  "Man  of  Courage"   1,900 

High  1-5-35  "Broadway  Bill"   22,000 

Low  12-29  "Behold  My  Wife"   7,500 

High  3-31  "The  Lost  Patrol"   9.000 

Low  1-5-35  "Man  Who  Reclaimed  His 

Head"    2,000 


United  Artists...    945      2Sc-40c      "Naughty  Marietta"  (MGM)   8,500      "West  Point  of  the  Air"  (MGM)  5,000 


High  4-7  "Wonder  Bar"   

Low  7-14  "The  Circus  Oown"  and  I 

"I  Give  My  Love"  j 

High  3-2-35  "The  Little  Colonel"  

Low  1-19-35  "Behold  My  Wife"  and  J 
"Defense  Rests"  ) 

High  5-26  "Merry  Wives  of  Reno"  

Low  10-6  "The  Human  Side"  and  ( 

"Hat,  Coat  and  Glove"  ( 

High  12-1  "Kentucky  Kernels"  

Low  11-10  "Wednesday's  Child"  

High  3-24  "David  Harum"  and  ) 
"Once  to  Every  Woman  J 
Low  6-30  "Now  I'll  Tell"  and  ) 
"Springtime  for  Henry"  j 

High  4-28  "House  of  Rothschild"  

Low  8-4  "Paris  Interlude"  , 


13.000 

3.900 

4,000 

1.600 
4,800 

1,500 
8,000 
3,500 

12,000 

4,000 
9,800 
3,700 


San  Francisco 

Fox                        4,600  lSc-40c 

Golden    Gate          2,800  25c-40c 

Orpheum                  3.000  15c-40c 

Paramount               2,670  25c-40c 

St.  Francis             1,400  15c-5Sc 

United  Artists...  1,200  15c-55c 

Warfield                 2,700  25c-6Sc 

Seattle 

Blue  Mouse              950  25c-55c 

Vifth  Avenue  ...  2,500  2Sc-S5c 

Liberty                   1,800  lSc-50c 

Music  Box                950  2Sc-55c 

Music    Hall           2,275  2Sc-S5c 

Orpheum                  2,450  25c- 50c 

Paramount               3,050  25c-35c 


"It   Happened   in    New    York"   7,500 

(Univ.)  and  "I'll  Love  You  Always" 
(Col.) 

"Roberta"   (Radio)    8,500 

(4th  week) 

"Unwelcome  Stranger"  (Col.)....  6,000 
"Let's  Live  Tonight"  (Col.) 

"Gold  Diggers  of  1935"   (F.  N.)..  9,500 
(2nd  week) 


'Ruggles   of   Red   Gap"  (Para.). 


8,500 


'The  Wedding  Night"  (U.  A.)...  9,000 
'West  Point  of  the  Air"  (MGM)..  23,500 


"Folies   Bergere"   (U.  A.)   4,100 

(8  days) 

"Ruggles  of  Red  Gap"  (Para.)....  6,400 

(6  days-2nd  week) 

"The  Crimson  Trail"  (Univ.)  and  3,700 
"Behind  the  Evidence"  (Col,) 

"Roberta"   (Radio)    4,300 

(4th  week) 

"A  Night  at  the  Ritz"  (W.  B.)..  7,100 

"Grand  Old   Girl"   (Radio)   5,600 

"Car  99"   (Para.)   and   5,200 

"The  Iron  Duke"  (GB  Pictures) 


"A  Night  at  the  Ritz"  (W.B.)  and  8,000 
"Behind   the    Evidence"  (Col.) 

"Roberta"   (Radio)    12,000 

(3rd  week) 

"Transient  Lady"  (Univ.)  and....  6,000 
"Great  God  Gold"  (Monogram) 

"Gold  Diggers  of  1935"  (F.  N.)..  12,500 
(1st  week) 


'Life  Begins  at  40"  (Fox) . 


7,000 


'The  Scarlet  Pimpernel"  (U.A.)..  6,500 
"Ruggles  of  Red  Gap"   (Para.)..  26,500 


"The  Wedding  Night"  (U.  A.)....  3,100 

(6  days-2nd  week) 

"Ruggles  of  Red  Gap"   (Para.)..  8,700 

(1st  week) 

"Monte  Carlo  Nights"  (Mono)   3,600 

and  "Best  Man  Wins"  (Col.)  (10c-3Sc) 

"Roberta"   (Radio)    4,100 

(3rd  week) 


"It  Happened  In  New  York"   5,300 

(Univ.) 


High  3-3  "Son  of  Kong"  

Low  8-18  "Sin  of  Nora  Moran"  and  ) 

"Along  Came  Sally"  ) 

High  3-16-35  "Roberta"  

Low  7-7  "Cockeyed  Cavaliers"  

High  6-9  "Sing  and  Like  It"  

Low  6-30  "Affairs  of  a  Gentleman"  } 

and  "Orders  is  Orders"  j 

High  9-29  "Belle  of  the  Nineties"  

Low  1-20  "Four  Girls  in  a  Boat"  and  I 

"Fugitive  Lovers"  ) 
High  1-19-35  "The  County  Chairman".. 
Low  4-14  "Registered  Nurse"  and  ) 

"Murder  in  Trinidad"  j 

High  1-6  "Roman  Scandals"  

Low  3-9  "Private  Life  of  Don  Juan''  

High  12-29  "Bright  Eyes"  

Low  3-31  "Gambling  Lady"  


"Mystery  Woman"  (Fox)  and... 
"McFadden's  Flats"  (Para.) 


5,250 


High  2-17  "Roman  Scandals"  

Low  7-7  "Tomorrow's  Children"  

High  4-14  "Riptide"  

Low  3-24  "Fashions  of  1934"  

High  2-16-35  "Broadway  Bill"  (2d  week) 
Low  10-6  "Jane  Eyre"  and  ( 

"King  Kelly  of  U.  S.  A."  f 

High  4-14  "Spitfire"   

Low  1-26-35  "Man  Who  Reclaimed  His 

Head"   

High  5-26  "Wild  Cargo"   

Low  2-2-35  "Enchanted  April"  (6  days) 

High  12-1  "Kentucky  Kernels"  

Low  4-21  "Two  Alone"  and  } 

"1  Believed  in  You"  ( 

High  3-23-35  "Shadow  of  Doubt"  

Low  12-8  "Peck's  Bad  Boy"  and  I 

"Menace"  I 


14,000 

4,500 
23,000 
10,200 
19,500 

5.000 
19.000 

8.000 
11.000 

3.500 
15.000 

4,000 
29,000 
15,500 


7,500 
2.550 
12.750 
3,500 
7.100 

3,100 
6,500 

2,850 
11,500 
3,900 
8,400 

3,756 

8,700 

3.300 


74 


MOTION    PICTURE  HERALD 


April    13,  1935 


I. 


TECHN€L€GICAL 


The  BLUEBOOK  School 

By  F.  H.  RICHARDSON 

BLUEBOOK  SCHOOL  QUESTION  NO.  261.— (A)  Name  the  general  requirements  necessary  for  good  sound 
reproduction  in  theatre  auditoriums.  (B)  Name  the  reasons  why  constant  care  should  be  exercised  to  prevent  the 
projector  mechanism  oil  from  getting  on  the  sound  equipment.  (C)  Explain,  in  detail,  why  projectors,  in  the 
reproduction  of  sound  pictures,  should  never  be  run  at  any  speed  other  than  the  standard  90  feet  per  minute, 
regardless  of  any  desire  to  speed  up  or  shorten  the  show. 


Answer  to  Question  No.  255 


Blnebook  School  Question  No.  255  was : 
{A)  What  is  the  practical  effect  if  the  pic- 
ture is  too  small  for  the  distance  of  the 
screen  from  the  rear  seats? 

There  were  several  excellent  answers,  but 
I  believe  we  may  rightly  select  that  of  L. 
Hutch  and  D.  Goldberg  as  best.  These 
gentlemen  say: 

"We  regard  this  question  as  covering  a 
subject  of  much  dispute  among  authorities. 
As  we  see  it,  if  the  picture  be  too  small  the 
question  immediately  arises  as  to  just  what 
'too  small'  may  mean.  Mr.  Richardson,  the 
Bluebook  School  has  taught  us  to  study  pro- 
jection, or  at  least  to  make  a  very  serious 
attempt  to  do  so.  To  us  it  seems  the  'too 
small'  question  may  be  answered  in  more 
than  one  way.  In  this  our  manager,  who 
has  been  kind  enough  to  join  with  us  in 
Bluebook  School  study,  is  in  agreement. 
What  is  perhaps  the  best  answer,  every- 
thing considered,  is  that  the  picture  dimen- 
sions should  be  those  that  best  serve  the 
entire  auditorium,  and  that  of  course  depends 
a  lot  upon  the  depth  and  width  of  the  seating 
space. 

"We  would  say  that  within  reasonable 
limits,  a  too-small  picture  (viewed  as  too 
small  from  the  viewpoint  of  seating  space) 
makes  the  seats  down  in  front  more  valuable 
and  those  at  the  rear  less  desirable.  A 
small  picture,  of  course,  requires  less  light 
for  a  given  brilliancy  of  illumination,  there- 
fore is  less  costly  to  project.  It  has  a  flatter 
field,  hence  may  be  assumed  to  be  sharper  in 
focus  over  its  entire  area.  Faults  in  the  film 
or  in  projection,  being  less  magnified,  will 
be  less  visible,  unless  brilliancy  of  screen 
image  be  increased  proportional  to  the  re- 
duction in  size.  As  a  general  thing,  objects 
will  be  more  nearly  of  life  size,  the  advan- 
tage of  which  may  be  viewed  differently  by 
different  individuals.  We,  however,  are  of 
the  opinion  that  your  published  position  in 
the  matter  is  correct. 

"Another  point  is  that  if  the  maximum 
viewing  distance  (screen  to  rear  seats)  be 
long,  the  picture  brilliancy  must  be  so  high 
that  it  will  be  hard  on  the  eyes  of  those 


RESUMING  THE 
BLUEBOOK  SCHOOL 

With  the  first  of  a  new  series  of 
questions,  the  "Bluebook  School"  is 
resumed  in  this  department.  Many  of 
the  new  series  of  questions  have  been 
especially  prepared  by  a  group  of 
leading  sound  engineers.  Others  will 
be  selected  by  Mr.  Richardson  him- 
self. Not  only  are  the  "regular  stu- 
dents" urged  to  continue,  but  pro- 
tectionists who  have  not  previously 
participated  in  the  "school,"  and  also 
managers,  are  invited  to  submit  an- 
stvers  to  the  new  group  of  questions. 
For  the  next  several  issues,  the  an- 
swers presented  will  be  to  the  final 
questions  in  the  previous  series,  and 
with  each  of  these  answers  a  question 
in  the  new  series  will  be  published. 


seated  down  front,  or  even  in  the  front  half 
of  the  auditorium." 

I  compliment  these  gentlemen  on  their 
answer. 

Messrs.  C.  Rau  and  S.  Evans  say:  "Mini- 
mum picture  width  should  be  twelve 
feet  for  the  smallest  auditorium,  and  20  feet 
for  the  largest,  save  in  exceptional  cases 
where  shape  of  seating  space  may  make 
necessary  some  little  increase.  Generally 
speaking,  the  18-foot  picture  is  of  sufficient 
size  for  1,200  to  2,400  seats.  For  theatres 
of  less  size  the  picture  size  may  be  reduced 
until  for  500  or  less  seats  (except  the  audi- 
torium be  very  deep)  a  twelve-foot  or  even 
in  some  cases  a  ten-foot  picture,  may  best 
serve  the  needs." 

D.  Danielson  expresses  his  views  as  fol- 
lows. 

"I  believe  there  is  a  tendency  toward  larg- 
er pictures.  Of  late  there  has  been  consid- 
erable inclination  to  use  the  magnascopic  ef- 
fect on  important  scenes,  which  is',  of  course, 
a  temporary  increase  in  picture  dimensions. 

"However,  increase  in  picture  dimensions 


has  the  effect  of  decreasing  the  value  of 
front  seats.  On  the  other  hand  it  increase.'^ 
the  value  of  those  seats  at  the  rear,  especially 
in  the  event  that  the  picture  detail  bft 
small. 

"In  future  we  will  be  getting  away  from 
the  wider  theatres  and  will  probably  have 
a  minimum  of  30  feet  from  the  screen  to 
first  row  of  seats.  There  seems  to  be  some 
question  as  to  just  what  the  maximum  width 
of  screen  image  should  be.  At  times  it  ap- 
pears as  though  the  room  available  for  place- 
ment of  a  screen  is  the  limiting  factor.  I 
believe  the  final  maximum  will  be  limited 
only  by  seating  space,  finances',  projection 
equipment,  personal  opinion,  harmony  of  pic- 
ture size  with  theatre  decorations,  etc.  It 
is  no  easy  matter  to  place  any  maximum 
upon  screen  image  size."  Concerning  which, 
had  we  sufficient  space,  I  would  have  a  little 
argument  with  Brother  Danielson  on  that 
point. 

Marcus  Calls  for  Industry 
"Cha  mpions"  to  Defend  It 

Louis  Marcus,  present  mayor  of  Salt 
Lake,  a  Paramount  theatre  partner  and  a 
pioneer  distributor  and  exhibitor  in  that 
section,  presented  the  case  of  "The  Motion 
Picture  and  Public  Opinion,"  last  week,  to 
the  Extension  Division  of  the  University  of 
LTtah.  He  told  the  students  that  the  motion 
picture  is,  and  has  been  practically  since  its 
inception,  in  need  of  champions  rather  than 
anything  else,  "especially  if  we  consider  only 
tlie  viewpoint  of  a  comparatively  few  people 
who,  with  the  best  of  intention  and  the  best 
of  thought,  believe  themselves  to  be  the 
moral  censors  of  the  particular  community  in 
which  they  live." 

"The  motion  picture  has  done  much  in 
its  attempt  to  try  to  reach  a  great  number  of 
people  with  the  idea  of  educating,"  ob- 
served Mayor  Marcus.  He  compared  the 
six  to  eight  million  people  reached  every 
day  by  the  motion  picture  to  the  42,000,000 
mass  circulation  of  the  daily  newspapers, 
and  27,000,000  radio  families.  He  estimated 
that  the  average  feature  cost  between  $200,- 
000  and  $250,000. 


April    13,  1935 

A 


MOTION    PICTURE  HERALD 


75 


OF       X  ^\ 

/V--  MOTION  ^T^^ 
.««.•  PICTURE 
O      HEIlAtD  llm 


MANAGERS* 
ROUND  TARLE  CLUR 


international  association  of  showmen  meeting  weekly 
in  MOTION  PICTURE  HERALD  for  mutual  aid  and  progress 


OP. 


THE  INDUSTRY  MUST  LEAD 

As  concerns  showmanship,  it  becomes  more  apparent  that 
national  advertisers,  department  stores,  et  al,  are  taking  quite 
a  bit  of  the  play  from  the  theatre.  Sales  promotion  angles  of 
one  kind  or  another,  contest  and  club  ideas  follow  with  amaz- 
ing rapidity  over  the  radio,  in  newspaper  and  magazine  adver- 
tising. Sags  and  slants  peculiar  to  showbusiness  have  been 
revamped  by  smart  merchandisers  and  put  into  action. 

There  are  of  course  many  spots  where  such  activities  are 
accepted  wisely  by  showmen  sufficiently  adept  in  turning  the 
tide  of  these  promotions  into  theatre  channels.  But  situa- 
tions of  this  kind  are  not  in  the  majority. 

Not  so  long  ago,  the  motion  picture  was  definitely  identi- 
fied with  unquestioned  leadership  in  developing  hard-hit+ing 
selling  Ideas.  That  this  leadership  must  remain  ours  if  profit- 
able grosses  are  to  continue  was  emphasized  by  Martin 
Quigley  who,  speaking  before  the  Show  of  Showmanship 
Motion  Picture  Club  Forum,  said  in  part: 

"...  Despite  anything  of  any  other  character  that  might 
be  done  anywhere  else,  throughout  the  length  of  the  industry, 
there  is  nothing  to  suggest  continued  progress  and  development 
unless  there  is  continued  progress  and  development  in  methods 
of  promotion  and  exploitation." 

V  V  V 

ALSO  A  FIRST 

It  so  happened  that  Ed  Douglas  received  official  recogni- 
tion from  the  Borough  President  of  Brooklyn  a  few  days  before 
he  was  a  guest  at  the  Motion  Picture  Club  to  again  accept 
his  Quigley  February  Bronze  from  Grover  Whalen.  Reports 
of  both  ceremonies  were  carried  in  last  week's  pages  and  this 
is  jotted  down  to  forestall  a  lifting  of  eyebrows  from  readers 
inclined  to  wonder  at  the  magic  (?)  of  Ed  being  In  both  places 
at  one  time — or  In  one  issue,  should  we  say? 

Fuzzy  Knight  is  of  course  the  first  manager  to  win  two 
Awards,  but  if  Ed  Is  record-minded  he  may  claim  to  be  the 
first  to  receive  two  presentations  on  one  plaque. 

V  V  V 

What  the  snapper  Is,  we  can't  say,  but  Bill  Hendricks  sends 
newspaper  clippings  announcing  the  appointment  of  ole 
Colonel  hloward  \Vaugh  to  the  position  of  Bishop  of  the 
Memphis  Diocese,  In  the  Liberal  Church  of  Denver.  Informed 
of  Waugh's  ascension,  Mort  Blumenstock  made  whatever 
comment  the  occasion  calls  for  by  saying: 

"It  must  be  a  very  liberal  Liberal  church." 


CANT  EXPECT  MIRACLES 

No  matter  how  strongly  the  cause  of  exploitation  may  be 
championed,  over-enthusiasm  cannot  be  looked  for  from 
managers  handicapped  by  the  "opry  house"  type  of  opera- 
tion. The  world's  greatest  publicity  fireball  is  only  a  wet 
match  if  his  theatre  is  lacking  physically. 

The  Spring  and  Summer  number  of  Better  Theatres,  edited 
by  our  amiable  confrere,  George  Schutz,  sets  forth  in  detail 
a  mass  of  helpful  information,  authoritative  articles  and  care- 
ful indexing  to  aid  those  whose  situations  require  such 
servicing. 

Exploitation  cannot  be  expected  to  accomplish  miracles  of 
rejuvenation  for  theatres  in  desperate  need  of  face-lifting 
and  general  modernizing.  Ballyhoo  not  backed  by  comfort 
and  convenience  Is  just  so  much  noise. 

V  V  V 
SAD  COMMENTARY 

"...  If  it  were  not  for  the  fact  that  thousands  of  theatre 
managers  the  country  over,  and  myself  included,  were  afraid 
of  losing  their  jobs,  these  managers  would  write  you,  for  pub- 
lication, letters  telling  you  how  much  they  appreciate  the 
splendid  stand  you  are  taking  in  our  behalf.  The  articles  re- 
cently published  on  the  editorial  page  of  the  Round  Table 
Club  are  splendid,  and  I  know  that  theatre  managers  are 
appreciative  of  your  efforts  In  their  behalf,  but  what  can  they 
do  to  show  their  appreciation,  when  any  article  or  letter  under 
any  manager's  signature,  especially  on  the  subject  under  dis- 
cussion would  result  in  dismissal  from  service,  on  some  trumped- 
up  charge.  ..." 

The  above  is  an  extract  from  a  recently  received  letter  and 
represents  a  condition  the  Industry  can  hardly  view  without 
concern.  'Tis  a  sad  commentary  Indeed  upon  the  present- 
state  of  morale  in  the  theatre. 

V  V  V 

Governor  Ruby  Laffoon  has  given  Bill  Rellly  down  in  hlen- 
derson,  Ky.,  a  colonel's  commission  as  the  first  prize  in  a 
Shirley  Temple  resemblance  contest,  and  now  Colonel  Gert 
Merriam  wistfully  gazes  Into  her  mirror  and  ponders. 


76 


MOTION    PICTURE  HERALD 


April     13,  1935 


Tipped- In  Stills 


SHOWMEN'S     LOBBY  LAFFS 


The  creator  of  this 
cartoon  is  Ray 
Baker,  Grand  The- 
atre, Littleton,  Colo. 


Wally  Uses  Cinderella 
Stunt  for  "Wedding  Nite" 

Large  booter_v  shop  in  Toledo  displayed 
special  pair  of  wedding  slippers  in  window 
for  Wally  Caldwell's  "Wedding  Night"  date 
at  the  Valentine.  Any  customer  guessing 
the  correct  size  and  width  was  awarded  pair 
of  shoes  and  tickets  to  picture. 

Merchants'  co-op  ads  carried  theatre  copy 
and  windows  used  scene  stills.  Lobby  con- 
tained poster  cutouts  and  shadow  box  with 
photos  of  stars. 

Make  193  5  Your  Aivard  Year 


ADVANCE  LOBBY.  Sid  Dannenberg,  War- 
ner's exploiteer  in  Cleveland,  arranged 
this  display  of  cutouts  of  Keeler  and 
Jolson    in    "So    Into   Your  Dance". 


Johnny  Says  No  Foolin' 
On  April  Fool's  Day 

Johnny  McManus,  Loew's  Midland, 
Kansas  City,  Mo.,  doesn't  let  any  grass  ^ow 
under  his  feet  and  takes  advantage  of  every 
oportunity,  holidays  or  otherwise,  even  cash- 
ing in  on  April  Fool's  Day  which  he  tied  in- 
to his  "Casino  Murder  Case"  date  with  ads 
reading  "All  fools  day,  but  no  foolin'  this 
picture  is  foolproof  entertainment." 

On  "Folies  Bergere,"  Johnny  contacted 
local  ballroom  which  put  on  a  "Folies 
Bergere  Night,"  plugging  all  hit  tunes.  De- 
partment store  came  through  with  beauty 
salon  ad  on  Sothern's  coiffure  and  hosiery 
ad  tied  in  with  picture. 

Make  193  5  Yoiir  Aivard  Year 

Lynn  Open-Letters 
Editor  for  "Sequoia" 

Lynn  Smith,  Crystal  Theatre,  Gonzales, 
Texas,  for  "Sequoia"  wrote  in  form  of  open 
letter  to  the  editor  of  daily  stating  that  with 
all  the  ado  about  better  motion  pictures,  he 
wanted  to  take  that  means  of  informing  the 
Gonzales  public  of  the  "finest,  most  educa- 
tional and  thrilling  film  this  theatre  has 
shown."  Editor  gave  letter  four  column 
break,  donating  space. 

Lynn  constructed  entire  atmospheric  front 
with  box-office  and  sides  covered  with  artifi- 
cial moss  on  which  was  hung  antler's  heads, 
skins,  and  other  appropriate  fixin's. 


Offered  to  Readers 

What  no  doubt  might  be  effected  in 
similar  situations  is  tlie  star-newspaper  tie- 
up  promoted  by  Lionel  H.  Wasson,  publicity 
chief,  Central  States  Theatres  who  put  the 
stunt  on  in  Ames,  Iowa,  as  follows : 

Paper  runs  a  "Personality  of  the  W'eek" 
four  column  box  on  drama  page  with  copy 
on  star  booked  at  the  local  house  in  the 
chain.  Stuff  is  called — keyhole  portrait — 
and  contains  a  lot  of  low  down  on  star's 
likes,  dislikes,  background  and  other  newsy 
reading. 

The  topper  on  the  gag  is  an  actual  eight 
by  ten  colored  glossy  still  of  that  star  which 
is  tipped  into  the  box,  the  photo  being  in- 
cluded in  every  copy  of  the  paper.  Paper 
advertises  the  slant  as  a  tieup  with  the  MGM 
studios  and  asks  readers  to  send  along 
names  of  other  stars  they  would  like  to  see 
publicised  in  the  same  manner. 

Sounds  like  a  smart  variation  of  the  news- 
paper stuffer  slant  and  should  do  well  where 
it  can  be  put  across.  It's  novel  and  Lionel 
states  there  is  quite  a  demand  for  the  dif- 
ferent photos  used  weekly. 

Make  193  5  Your  Award  Year 

Longenbach  Stages  Fashion 
Show  for  "Women  Must  Dress" 

The  College  Theatre  in  Bethlehem,  Pa., 
for  "Women  Must  Dress,"  was  the  scene  of 
great  activity  when  Hal  Longenbach  decided 
to  put  on  a  fashion  show.  Special  runway 
was  built  as  well  as  revolving  pedestals  to  set 
off  models.  Department  store  tied  in  sup- 
plying latest  models  for  the  show  and  devot- 
ing windows  and  ads  to  the  fashions  with 
theatre  plugs. 

Other  merchants  contributed  footwear  and 
accessories,  with  beauty  salon  holding  exhi- 
bitions of  hairdressing,  using  models  as  sub- 
jects. Aaron  Klein,  director  of  the  Civic 
Little  Theatre  rehearsed  the  girls  in  posture, 
carriage  and  gestures  in  order  to  make  the 
show  as  professional  as  possible. 

Make  193  5  Yonr  Award  Year 

La  Falce  Gives  Ladies 
"Love  in  Bloom"  Roses 

Frank  La  Falce,  Warner  Washington  ad 
head,  and  Charles  Brennan,  manager,  Metro- 
politan Theatre,  arranged  tieup  with  florist 
for  credit  card  distributing  roses  (see  photo) 
to  first  500  women  attending  opening  per- 
formance of  "Love  in  Bloom." 


La  Falce-Brennan  Flouer  Giveaway 


April     13,  1935 


MANAGERS'    ROUND  TABLE 


77 


Honor  Composer  At 
''Marietta'  Opening 

Standout  music  tieups  were  made  by 
Billy  Ferguson  on  opening  of  MGM's 
"Naughty  Marietta"  at  New  York  Capitol, 
one  being-  a  "Composers  Night"  wherein 
many  niusicmen  attended  in  a  body  to  honor 
memory  of  Victor  Herbert  who  wrote  the 
score  for  original  production.  Nelson  Eddy, 
male  lead,  gave  three  recitals  in  advance  of 
date  and  these  were  used  to  steam  up  interest 
among  opera  patrons  and  musical  organiza- 
tions. Announcements  were  sent  to  Blue 
Book  names,  superintendents  and  principals 
of  New  York  schools. 

New  slant  was  claimed  for  theatre  front 
with  novelty  neon  sign  (see  photo)  across 
entrance  above  box  office.  Letters  had 
chromium  steel  background  reflecting  red 
neons  in  front,  giving  double  sign  effect.  At 
side  was  seven  foot  head  of  MacDonald 
with  animation  supplied  by  winking  eye. 

Advance  type  of  sky-reflector  was  used 
for  bally,  machine  shooting  beam  claimed 
to  be  six  million  candle  power.  Apparatus 
projected  on  solid  backgrounds  and  clouds 
and  shoots  color  beam,  takes  up  70  feet  of 
space  and  moves  under  its  own  power. 

Press  book  request  standees  were  distrib- 
uted at  night  clubs.  These  contain  names 
of  all  songs  in  the  score  and  proved  helpful. 
Radio  stations  also  cooperated  as  this  is 
said  to  be  anniversary  of  "Marietta."  Com- 
plete scores  were  furnished  leading  com- 
munity singing  groups  in  return  for  plug. 

MacDonald  exploitation  stills  suitable  for 
show  shoe  windows,  florists,  and  piano 
stores  were  circulated,  and  another  neat 
hookin  involved  pet  stores  that  tied  in  copy 
on  live  canaries  to  voice  of  the  star. 

Make  193  J  Your  Award  Year 

DeHaven  Posts  "Devil 
Dog"  Ad  on  City  Hall 

Manager  Director  Milo  DeHaven,  Cha- 
keres  Theatres,  Inc.,  Greenville,  Ohio,  on 
"Devil  Dogs"  had  girl  in  aviator's  outfit 
distribute  Old  Gold  samples  in  ofirces,  homes, 
stores  and  on  street  corners.  Quaker  Oats 
streamers  were  planted  in  grocery  stores 
in  Wilmington,  Ohio,  also,  as  date  was 
being  played  in  both  towns,  and  heralds  with 
theatre  imprint  were  distributed. 

DeHaven  promoted  a  fine  bit  of  publicity 
when  he  obtained  permission  to  mount  a  24- 
sheet  on  the  City  Hall,  which  he  reports  was 
the  first  time  these  towns  allowed  theatrical 
advertising  to  be  thus  displayed. 

Make  193  5  Yotir  Award  Year 


REILLY,  FRED  SOUTTAR 
SHARE  MARCH  AWARDS 


First  yientions 


Wm.  A.  Barron,  Manager,  Kenyon,  Pitts- 
burgh, Pa.  "Devil  Dogs  of  the  Air. 

Morris  Rosenthal,  Manager,  Majestic, 
Bridgeport,  Conn.  "Whole  Town's 
Talking." 

Al  Weiss,  Manager,  Oriental,  Brooklyn,  N. 
Y.  "Clive  of  India." 

Jiiynmahle  Mentions 

Harry  Black,  Manager,  Poli,  New  hiaven, 
Conn.   "Little  Colonel." 

Russell  A.  Bovim,  Manager,  Ohio,  Colum- 
bus, Ohio.  "Folies  Bergere." 

Dick  Brown,  Manager,  Rowland,  Wilklns- 
burg,  Pa.   "David  Copperfield." 

Ken  A.  Butterfield,  Manager,  Roxy,  Frank- 
fort, Indiana.   "David  Copperfield." 

Gus  Carlson,  Manager,  Palace,  Superior, 
Wis.    "David  Copperfield." 

J.  Lloyd  Dearth,  Manager,  Capitol,  Van- 
couver, B.  C.  "David  Copperfield." 

Charles  Dilley,  Manager;  Gordon  Carson, 

Adv.  Dir.,  Colonial,  Port  Arthur,  On- 
tario. "Imitation  of  Life." 

Z.  Epstin,  Manager;  Irving  Windisch,  Pub. 
Dir.,  Strand,  New  York  City.  "Gold  Dig- 
gers of  I  935." 

George  E.  Freeman,  Manager,  Poli,  Spring- 
field, Mass.  "One  More  Spring." 

H.  D.  Grove,  Manager,  Fort  Theatre,  Rock 
Island,  III.  "Devil  Dogs  of  the  Air." 

George  Laby,  Manager,  Victory,  hHolyoke, 
Mass.  "David  Copperfield. 

Bill  Novak,  Manager,  Gaiety,  Winnipeg, 
Canada.  "Don  Juan." 

Roy  L.  Patterson,  Manager,  Gordon,  Mid- 
dletown,  Ohio.  "Whole  Town's  Talking." 

Wm.  T.  Powell,  Manager,  Paramount, 
Newport,  R.  L  "Ruggles  of  Red  Gap." 

Jack  Ross,  Manager,  Orpheum,,  Lansing, 
Mich.  "It  Happened  One  Night." 

Raleigh  W.  Sharrock,  Manager,  Palace, 
Morrilton,  Ark.  "Lives  of  a  Bengal  Lan- 
cer. 

Jack  Simons,  Manager,  Poll's,  Hartford, 
Conn.  "Roberta." 

Everett  Steinbuch,  Manager;  Milt  Harris, 

Pub.     Dir.,     State,     Cleveland,  Ohio. 
"Folies  Bergere." 
C.  L.  Yearsley,  Manager,  Smoot,  Parkers- 
burg,  W.  Va.  "Sequoia." 


Quigley  Silver  Plaque  Goes  to 
Kentucky  Warneri+e;  Illinois 
Fox  Manager  Finishes  Second 

The  Blue  Grass  State  now  joins  up  with 
the  winners,  as  Manager  William  J-  Reilly 
of  Warners'  Kentucky,  in  Henderson,  snaps 
across  the  tape  in  the  March  competitions 
just  a  long  whisker  ahead  of  the  field  with 
his  campaign  on  Fox's  "Little  Colonel." 

And  only  just  a  bit  behind  in  a  rush 
comes  Fred  C.  Souttar,  skipper  of  Fox's 
Midwest  Lincoln  Theatre,  in  Belleville,  111., 
with  a  very  brave  showing  on  MGM's 
"David  Copperfield,"  which  nets  him  the 
second  prize,  the  Quigley  Bronze. 

Both  these  showmen  are  first-time  win- 
ners, and  Souttar  has  the  further  distinction 
of  being  the  first  theatreman  from  his  cir- 
cuit to  enter  the  charmed  circle. 

Grouped  in  a  bunch  are  the  First  Men- 
tion showmen,  three  taking  down  these 
honors  as  follows:  Bill  Barron,  Warners' 
Kenyon,  Pittsburgh,  on  "Devil  Dogs" ; 
Morris  Rosenthal,  Loew's  Majestic,  Bridge- 
port. Conn.,  on  "Whole  Town's  Talking," 
and  Al  Weiss,  Loew's  Oriental,  Brooklyn, 
New  York,  on  U.  A.'s  "Clive  of  India." 
Rosy  did  his  usual  hangup  job,  while  both 
Barron  and  Weiss  take  bows  for  their  work 
in  subsequent-run  situations. 

Selection  of  the  Honorable  Mentions,  if 
anything,  proved  to  be  as  diiificult  as  pick- 
ing the  top  finishers.  The  same  situation 
as  obtained  in  the  past  month  repeated  itself 
with  the  result  that  19  entries  are  so  labeled. 
Incidental!)',  it  was  the  intention  of  the 
judges  to  confine  the  Honorables  in  1935 
to  a  smaller  number,  but  with  the  quality 
and  quantity  of  campaigns  the  picking  be- 
comes tougher  each  month. 

Interesting  is  the  fact  that  10  of  the 
March  winners  click  for  the  first  time  and 
gratifying  is  the  number  of  new  circuits 
and  independents  represented  among  the 
"Honorables."  Readers  will  note  the  inclu- 
sion in  column  to  left  of  names  of  pictures 
and  this  addition  will  be  carried  from  now 
on  so  that  entrants  will  know  what  features 
brought  in  the  honors.  The  suggestion  is 
"Fuzzy"  Knight's.  A-MIKE. 

Make  193  5  Your  Award  Year  ■ 


New  York  Capitol  Neon  Front 


60-FOOT  DISPLAY.  J.  Schoeppel,  Midwest 
Theatre,  Oklahoma  CHy,  Okla.,  is  respon- 
sible for  this  display  on  "One  Night  of 
Love"  which  was  60  feet  wide. 


78 


MOTION    PICTURE  HERALD 


April     13,  1935 


r-Trj4 


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Lyices  Holds  "Wings" 
Screening  on  Plane 

Jack  Lykes,  Loew's  Stillman  Theatre, 
Cleveland,  Ohio,  put  over  a  neat  one  for 
"Wings  in  the  Dark"  by  tying  in  with 
American  Airlines  for  screening  on  route 
from  Cleveland  to  Detroit.  Accompanying 
photo  shows  passengers  enjoying  picture. 
Stunt  broke  all  papers  and  airlines  planted 
displays  in  windows. 

Cleveland  Press  sponsored  special  show 
for  members  of  Junior  Aviation  Club  and 
airplane  cutout  cards  with  title  on  wings 
were  distributed  in  schools,  making  children 
walking  ballys. 


Esberg  Holds  "Wings" 
Show  for  Birdmen 

Through  the  courtesy  of  Arthur  Esberg, 
Aztec  Theatre,  San  Antonio,  Texas,  a  free 
"Wings  in  the  Dark"  show  was  given  for 
the  Junior  Birdmen  of  America,  stunt  break- 
ing papers.  Personal  appearance  of  Bon- 
nie Lassie,  dog  featured  in  picture,  also  got 
Art  extra  mention. 

Junior  Birdmen  air  course  run  daily  in 
papers  carried  plug  picture  and  accompany- 
ing photo  shows  boy  members  gathered  at 
theatre  prior  to  showing. 

Make  193  5  Your  Award  Year 

Newspapers  Aid  "Vanessa" 

Les  Pollock,  Loew's  Rochester,  Rochester, 
N.  Y.,  got  himself  plenty  of  newspaper 
breaks  on  "Vanessa."  Fashions  section  fea- 
tured cut  of  Helen  Hayes  with  detailed  de- 
scription of  gown  she  wore  in  picture, 
Whoozit  contest  was  run  in  classified  section 
and  art  work  with  synopsis  was  used  on 
movie  page. 

Make  193  5  Your  Award  Year 

Souttar  Garners  Notice 
With  Missing  Quint  Gag 

Manager  Fred  C.  Souttar,  Lincoln,  Belle- 
ville, 111.  planted  an  ingenious  ad  reading, 
"Lost — Strayed  or  Stolen — One  of  the  five 
Dionne  Quintuplets  baby  dolls."  Copy  of- 
fered two  free  tickets  to  party  returning  doll, 
and  ended  with  a  plug  on  "Biography  of  a 
Bachelor  Girl,"  feature  playing  with  Quint 
short.  Ad  broke  daily  with  humorous  ac- 
count of  missing  baby. 

On  "Kid  Millions"  Fred  distributed  bottle 
hangers,  each  bearing  number.  Patrons 
having  number  displayed  in  lobby  of  theatre 
were  awarded  guest  ticket.  Numerous  win- 
dow displays  were  promoted  through  dairy 
tieup. 

Make  193  5  Your  Award  Year 

Store  Cooperates  With 
Novak  on  "Bright  Eyes" 

Ken  Finlay  and  Manager  Bill  Novak, 
Gaiety  Theatre,  Winnipeg,  secured  an  ex- 
cellent no-cost  tieup  with  leading  depart- 
ment store  on  "Bright  Eyes"  with  merchant 
featuring  Temple  dresses  in  children's  de- 
partment; large  window  display  of  Shirley 
cutout  books  (see  photo)  ;  music  counter 
plugging  tunes  and  toy  department  display- 
ing Temple  dolls.  In  addition  to  this  store 
p.  a.  system  made  announcements  of  play- 
dates. 

For  "It's  a  Gift,"  man  dressed  as  W.  C. 
Fields  paraded  streets  distributing  imprinted 
envelopes  containing  "love  sand,"  copy  read- 
ing "put  this  under  your  pillow  and  if  you 
fail  to  dream  of  your  hero,  come  to  see  him." 
Make  193  5  Your  Award  Year 

Merchants  Supply  Simons' 

O         •  lie  •11 

Pennies  on  bequoia 

Slightly  different  twist  to  the  old  penny 
;gag  was  used  by  Jack  Simons,  Poll  Theatre, 
Hartford,  Conn.,  on  "Sequoia"  with  leading 
merchants  cooperating.  In  the  windows  of 
these  stores  large  cards  were  prominently 
displayed  three  days  before  with  copy  "Free 
money  will  be  given  away  here  Friday  noon, 
no  strings,  no  obligations ;  come  in  and  get 
yours  while  the  supply  lasts."  No  mention 
of  picture  title  was  made,  but  when  the  on- 
slaught began,  imprinted  cards  with  new 
pennies  in  slot  at  top  were  distributed. 
Newspapers  played  along  with  stunt. 


Esberg's  ]u7tior  Birdmen  Show 


Make  193  5  Your  Award  Year 

"Copperfield"  Editorial 
Works  Well  for  Ingram 

A  laudatory  editorial  on  "David  Copper- 
field"  was  cleverly  utilized  by  Manager 
Marty  Ingram,  Hudson,  Kearney,  N.  J.  who 
forwarded  clippings  to  schools  already  con- 
tacted by  mail,  and  to  theatre's  select  mail- 
ing list.  Editorials  were  posted  on  school 
bulletin  boards.  Two  weeks  prior  to  date, 
Marty  visited  principals  and  discussed  the 
coming  feature. 

Several  sets  of  passes  were  offered  for 
best  composition  on  Dickens'  novel  at  each 
high  school,  and  special  screening  was  held 
for  principals. 


Lykes'  "Wings"  Screening  in  Plane 


F inlay-Novak  "Bright  Eyes"  Books 


Fields'  "Devil  Dogs"  Lobby  Display 


Special  screening  was  held  for  educational 
societies  and  Capt.  Phifer  lectured  before 
them.  Leading  school  supply  outfit  tied  in 
on  essay  contest,  offering  prizes  to  children 
and  playing  up  contest  in  ads. 

Beauty  salon  featured  Jean  Parker  coif- 
fure and  used  cut  in  their  ads ;  book  store 
gave  up  entire  window  to  stills  and  florist 
created  a  special  "Sequoia"  display. 


Make  193  5  Your  Award  Year 

Campbell  Stages  Kid 
"Barnum"  Masquerade 

A  costume  matinee  for  children  was 
staged  by  Jack  Campbell,  Capitol  Theatre, 
Ontario,  on  "Mighty  Barnum"  with  donated 
prizes  for  best  costumes  on  display  in  vari- 
ous merchants'  windows  with  picture  cut- 
outs and  playdates. 

Sandwich  man  paraded  streets,  tieup  with 
grocer  brought  house  to  house  distribution 
of  herald  with  theatre  ad  in  center  and  en- 
tire front  was  gaily  decorated  with  flags. 

Make  193  5  Your  Award  Year 

Decker  Plants  Plane  on 
Marquee  for  "^Devil  Dogs" 

As  an  attraction  getter.  Bill  Decker,  Cam- 
bria Theatre,  Johnstown,  Pa.,  constructed 
large  airplane  on  his  marquee  whose  con- 
stantly revolving  propellers  informed  all 
that  "Devil  Dogs  of  the  Air"  was  playing. 

Bill  also  tied  up  the  local  Army  recruit- 
ing station,  broadcasts  were  put  on  two 
weeks  ahead,  full  page  ad  was  secured  in 
church  paper  and  street  car  cards  and  taxi 
bumpers  used. 

Make  193  5  Your  Award  Year 

Fields  Prints  Special 
"Devil  Dogs"  Tabloid 

Jules  Fields,  De  Witt,  Bayonne,  N.  J., 
got  out  a  four-page  De  Witt  Movie  News 
devoted  entirely  to  "Devil  Dogs"  and  dis- 
tributed throughout  city  and  outlying  dis- 
tricts. Entire  staf¥  was  dressed  in  marine 
uniforms  with  imprinted  chest  bands  and  ac- 
companying photo  shows  airplane  skeleton 
and  24-sheet  pasted  to  floor. 

Jules  also  constructed  art  set  piece  fea- 
turing stars  in  picture  and  obtained  full  win- 
dow on  tieup  with  toy  airplane  manufac- 
turer. Local  bus  line  carried  bumper  cards 
and  taxis  helped  advertise  the  picture. 


April     13,  1935 


MANAGERS'    ROUND  TABLE 


79 


De  Vilbiss  Entertains 
"Old  Girl"  Original 

The  highlight  of  Temple  De  Vilbiss' 
campaign  on  "Grand  Old  Girl"  at  the  Col- 
orado Theatre,  Pueblo,  was  the  invitation 
extended  to  Laura  Bales,  resident  of  Par- 
sons, Kan.,  former  Pueblo  school  teacher 
and  the  inspiration  for  the  scenario,  to  at- 
tend the  opening  of  the  picture.  Delega- 
tion met  Miss  Bales  at  station  with  battery 
of  photographers  and  story  with  pictures 
broke  dailies. 

Another  stunt  pulled  was  tieup  with 
Western  Union  for  wire  service  set  up  in 
lobby  (see  photo)  Temple  reports  that  two 
hundred  messages  were  sent  the  first  after- 
noon. 

Make  195  5  Your  Award  Year  ■ 

Jenkins'  Personal  Appearance 

When  Allen  Jenkins,  featured  in  "Sweet 
Music"  recently  vacationed  in  Vancouver, 
Maynard  Joiner  at  the  Orpheum  playing  the 
picture  at  the  time,  contacted  him  for  per- 
sonal appearance.  Comic  talked  over  radio 
station,  getting  in  a  plug  for  the  date,  and 
accompanying  photo  shows  Mr.  and  Mrs. 
Jenkins  at  broadcast  with  Joiner  at  left. 
Stunt  got  plenty  of  publicity  in  local  dailies. 

Make  193  5  Your  Award  Yeai 

Solomon  Offers  Sweets 
For  Best  Valentine  Card 

St.  Valentine's  Day  preceding  by  a  week- 
end "Here  Is  My  Heart"  date  at  the  Em- 
bassy, Mt.  Vernon,  N.  Y.  seemed  a  natural 
to  Manager  Mark  Solomon.  Accordingly, 
he  distributed  to  all  stationery  stores  in 
town  and  vicinity  window  streamers  offering- 
box  of  chocolates  for  best  Valentine  greeting 
card  received  by  sendee.  Each  entry  was 
returned  with  autographed  photo  of  Bing 
Crosby. 

Cards  were  displayed  in  lobby  and  patrons 
asked  to  select  the  three  best  Valentines.  A 
pair  of  guest  tickets  were  awarded  to  the 
next  five  entries. 

Make  193  5  Yottr  Award  Year 

Stowell's  Lobby  Helps 
Sell  "Ruggles" 

An  attractive  lobby  display  on  "Ruggles 
of  Red  Gap"  was  used  by  Harry  Stowell, 
Paramount  Theatre,  Middletown,  N.  Y., 
with  usherette  turning  pages  of  large  book, 
each  page  (see  photo)  containing  sock  copy. 
Illuminated  nine  foot  cutout  display  of  cast 
completed  the  flash. 

Barber  paid  for  printing  and  distribution 
of  heralds  one  half  of  which  was  devoted  to 
theatre  ad.  Stationery  store  devoted  win- 
dow to  display  of  "Ruggles"  books  and  radio 
script  was  presented  over  air  by  local 
players. 

Make  193  5  Your  Award  Year 

Public  Acts  as  Critic 
For  "Music"  Broadcast 

The  New  York  Strand  had  a  gala 
"Sweet  Music"  opening  arranged  by  Irv 
Windisch  under  the  supervision  of  Harry 
Charnas,  managing  director  Warners' 
metropolitan  theatres,  starting  five  days  be- 
fore opening  in  cooperation  with  local  sta- 
tion to  broadcast  reviews  of  the  picture  by 
patrons.  First  three  hundred  to  respond 
were  given  tickets  to  opening  and  at  break 
of  show,  lined  up  in  lobby  to  tell  the  world 
at  large  what  their  reactions  were.  Best 


T>e  Vilbiss'  Wire  Service  in  Lobby 


Joiner  Greets  Mrs.  and  Allen  Jenkins 


Stowell's  Oversized  "Ruggles"  Book 


Rudy  and  Whiteman  at  "Music"  Opening 


voices  were  offered  announced  auditions. 

Celebrities  were  invited  to  opening  to 
extend  congratulations  to  Vallee  and  ac- 
companying photo  shows  crowd  milling 
about  Vallee  and  Paul  Whiteman.  Week 
before  opening,  autographed  photos  of  star 
were  distributed  at  theatre  and  restaurant 
where  Vallee  performs. 


Screening  Held  at  Zoo 
For  Animals  on  "Sequoia" 

Manager  William  Saxton  and  publicist 
Herb  Morgan,  Loew's  Century,  Baltimore, 
Md.,  held  a  special  screening  of  "Sequoia" 
for  the  deer  at  the  Smithsonian  Zoo  in 
Washington  selling  Drs.  Hohman  and  Dor- 
cus  of  the  Johns  Hopkins  Hospital  the  idea 
of  traveling  to  the  Capital  city  to  watch  the 
reactions  of  the  animals  for  experimental 
purposes.  Feature  writers  of  two  newspa- 
pers and  photographers  also  made  the  trip. 

Newspaper  sponsored  a  "Sequoia"  party 
at  zoo,  inviting  children  to  be  guests  of  the 
animals.  Noted  animal  authorities  conducted 
the  party,  explaining  history  and  habits  of 
various  types.  Expedition  landed  full  men- 
tion in  paper. 

Tieup  with  Huyler's  brought  announce- 
ments inserted  in  all  candy  and  bakery  pack- 
ages. Classified  section  ran  coloring  contest 
and  public  libraries  featured  stills  in  all 
branches. 

Make  193  5  Your  Award  Year 

Feldman  Promotes 
"Diggers"  Fashion  Section 

Joe  Feldman,  advertising  manager,  War- 
ners Theatre  in  the  Pittsburgh  zone,  con- 
tacted leading  department  store  to  get  up  a 
special  six-page  newspaper  supplement  tying 
in  their  spring  fashion  show  to  "Gold  Dig- 
gers of  1935."  Each  page  plugged  picture 
and  display  cards  were  used  in  all  depart- 
ments of  store.  In  addition  to  above,  attrac- 
tive windows  were  arranged  in  other  promi- 
nent spots. 

Make  193  5  Your  Award  Year 

Cake-Eating  Patrons 

Harvey  Anderson,  Apollo,  Atlantic  City, 
N.  J.,  got  a  little  extra  publicity  on  "Folies 
Bergere"  as  part  of  his  first  anniversary 
celebration.  Local  baker  donated  six-foot 
cake  and  patrons  were  invited  to  come  to 
theatre  and  "cut  yourself  a  piece  of  cake." 
Make  193  5  Your  Award  Year 

"Devil  Dogs"  Co-op 
Promoted  by  Allen 

Wally  Allen  sends  along  a  co-op  page  on 
"Devil  Dogs"  at  the  Keeney,  Elmira,  N.  Y. 
wherein  airplane  models,  helmets,  rings, 
goggles,  books,  etc.  are  offered  to  boys  and 
girls  for  three  trade  marks  from  Quaker 
Oats  packages. 

An  attractive  herald  plugged  a  radio  land 
screen  revue  and  carried  pertinent  copy  on 
the  feature  "Living  On  Velvet."  Restau- 
rants displayed  fancy  imprinted  setpieces  on 
"Sweet  Adeline,"  inviting  patrons  to  see 
the  picture  after  the  meal. 

Make  193  5  Your  Award  Year 

Woolley  Transforms  Lobby 
For  "Transatlantic"  Date 

The  entire  front  of  the  Regal  Theatre  in 
London  was  transformed  by  manager  Bar- 
nard Woolley  into  an  ocean  liner  for  "Trans- 
atlantic Merry-Go-Round"  with  cutout  of 
liner  placed  atop  marquee.  Box  office  was 
made  to  appear  like  customs  office  and  lobby 
was  a  replica  of  steamship  booking  office. 

One  of  Barnard's  outstanding  lobby  dis- 
plays was  model  liner  done  in  colored  wool 
arranged  through  tieup  in  knitting  contest. 
Huge  illuminated  models  of  liners,  displays 
of  ship  apparatus  and  miniature  of  ship  in 
Yarmouth  Harbor  completed  the  lobby. 


80 


MOTION    PICTURE  HERALD 


Apri,    13,  1935 


SEES  NEED  FOR  "ART"  THEATRE 

Metropolitan  Round  Tabler  Looks 
Forward  to  Special  Theatres  and 
Shores  for  ^Intelligent  Minority' 

by  MILTON  H.  CHAMBERLAIN 

Plaza  Theatre,  New  York  City 


Is  there  a  market  for  "intelligent"  movie 
entertainment  ?  I  think  so ;  not  a  vast  one, 
perhaps,  but  in  every  community  in  Amer- 
ica a  considerable  and  influential  element — 
the  people  who  "'don't  go  to  the  movies 
much" — who  can  be  appealed  to  with  profit 
by  alert  and  intelligent  managers. 

Admittedly,  the  mass  turnover  in  enter- 
tainment merchandising  for  some  time  to 
come  will  be  found  in  mass  audiences,  mass 
product,  mass  selling.  Eventually,  if  the 
motion  picture  is  to  achieve  its  full  possibil- 
ities as  a  form  of  expression,  on  art  form, 
if  you  will,  I  look  forward  to  special  theatres 
in  every  town  and  community,  and  special 
pictures  to  show  in  them,  which  will  appeal 
primarily  to  educated  and  cultured  people, 
just  as  in  the  publishing  field  we  have  tab- 
loids and  New  York  Timeses,  pulp  maga- 
zines and  Atlantic  Monthlies'. 

Meanwhile  there  is  a  growing  potential 
audience — not  necessarily  the  intelligentsia 
but  the  "intelligent  minority" — which  is  not 
now  being  reached  for  one  reason  or  an- 
other but  which  can  be  "sold"  on  movie  en- 
tertainment with  product  now  available  if 
tliey  are  properly  approached. 

How  to  reach  these  people  and  make  them 
friends  and  patrons  of  your  theatre  ? 

Intelligence  and  Good  Taste  Required 

Primarily,  it  seems  to  me,  intelligence  and 
good  taste  are  required  to  start  with  before 
a  theatre  can  hope  to  atract  intelligent  au- 
diences. You  can't  turn  an  ex-shipping 
clerk  loose  with  the  title  of  manager  and 
expect  him  to  win  the  respect,  and  the  busi- 
ness, of  thinking  people.  By  training  and 
education  he  must  be  able  to  meet  such  peo- 
ple on  their  own  intellectual  level,  go  into 
their  homes  and  clubs  and  meetings  and  dis- 
cuss the  things  they  are  discussing.  All 
about  his  theatre,  in  his  advertising,  in  what 
goes  on  his'  screen,  must  be  evidence  of  his 
own  ability  to  distinguish  between  cheap- 
ness and  worth — in  short,  good  taste. 

Direct  Mail  Productive 

In  advertising  especially  is  it  important 
to  use  intelligence  to  interest  intelligent  peo- 
ple. We  have  found  direct  mail  advertising 
most  effective,  but  it  has  to  be  good.  Cheap 
literature,  such  as  a  chain-store  grocery 
manager  might  stuff  mail-boxes  with  will 
not  do ;  nor  will  the  blatant  and  extravagant 
claims  of  press  sheet  superlatives.  A  sim- 
ple, well  written  letter  or  circular  or  pro- 
gram which  gives  actual  information,  time- 
schedules  included,  is  appreciated  by  your 
fastidious  movie  prospect.  We  frequently 
send  out  special  invitations  with  a  neatly 
printed  announcement  describing  the  thea- 
tre's advantages  to  lists  of  new  arrivals  at 
the  better  hotels  and  new  lessees  in  nearby 
apartment  houses.  A  self-addressed  post 
card  requesting  that  their  names  be  placed 
on  our  permanent  mailing  list  is  enclosed 
for  their  convenience.  The  weekly  mailing 
list,  incidentally,  totals  about  7,000  names. 


Of  even  greater  importance  than  adver- 
tising of  course,  is  the  show  itself.  Natur- 
ally, a  theatre  catering  to  sophisticated  au- 
diences week  in  and  week  out  has  to  make 
a  selective  buy  of  pictures,  both  features  and 
shorts  and  then  choose  with  utmost  care. 
Some  forty  or  fifty  pictures  a  year  which 
achieve  wide  general  popularity  will  be 
equally  appealing  to  the  most  intelligent  of 
audiences,  such  as  "It  Happened  One 
Night,"  "David  Harum"  and  "One  Night  of 
Love."  With  good  luck,  there  may  be  an 
equal  number  of  pictures  that  do  not  mean 
much  elsewhere  but  which  can  be  played  to 
advantage  in  the  better  houses — pictures  like 
"The  Barretts  of  Wimpole  Street,"  "Crime 
Without  Passion"  and  most  George  Arliss 
films.  For  the  rest,  the  manager  of  your 
"intelligent"  movie  house  has  to  pick  from 
special  sources — an  occasional  foreign  pic- 
ture including  English  importations  which 
do  not  achieve  general  distribution ;  and,  of 
great  value  to  houses'  of  this  kind,  or  houses 
which  would  go  after  this  special  business, 
revivals  of  past  successes.  It  is  a  pity  more 
exchanges  do  not  maintain  prints  of  out- 
standing hits  of  other  years.  Those  that  can 
be  had  invariably  do  well  both  at  the  box 
office  and  in  winning  the  good  will  of  special 
audiences.  We  have  revived  such  classics  as 
"The  Guardsman,"  "Trouble  In  Paradise," 
"Outward  Bound"  and  "Reunion  in  Vienna" 
time  and  again  with  success.  In  short,  the 
better  cartoons  are  appreciated  as'  well  as 
good  travel  subjects,  sport  reels,  screen  sou- 
venirs and  good  musical  novelties. 

Extra  Attentions  Expected 

A  sphere  of  activity  of  great  importance, 
it  seems  to  me,  for  any  theatre  that  would 
attempt  to  appeal  to  the  better  element  in  its 
community  or  neighborhood  is  active  co- 
operation with  better  film  groups,  parent- 
teachers  organizations,  literary  societies  and 
churches.  Just  the  names  of  such  organiza- 
tions suggest  dozens  of  ways  in  which  the 
theatre  can  make  its  influence  felt  and  re- 
spected among  the  substantial,  intelligent 
people  whose  patronage  it  would  attract. 

Finally,  as  to  the  theatre  itself,  its  ap- 
pointments and  the  manner  in  which  it  is 
conducted.  Fastidious  audiences  expect 
more  conveniences,  more  service  than  others 
and  the  house  that  would  win  them  over 
permanently,  or  even  bring  them  in  occasion- 
ally, has  to  provide  them.  Hearing  aids  for 
the  deaf,  tea  and  coffee  service  in  the  lounge 
with  a  trained  hostess  to  s'upervise  it,  the 
finest  projection  and  sound  facilities  avail- 
able, personal  attention  to  their  comfort  and 
enjoyment  while  in  the  theatre,  are  a  few 
of  the  special  things  we  try  to  supply.  Vul- 
garity and  cheapness,  whether  in  the  man- 
ners of  an  employee  or  in  an  offensive  news 
item  or  in  decoration  and  furnishings,  have 
to  be  studiously  avoided.  Just  as  in  ad- 
vertising intelligent  people  resent  being  over- 
sold through  newspaper  copy  in  poor  taste 
or  a  trailer  which  promises  too  much,  so 
they  are  apt  to  be  offended  by  garish  dis- 


?LAYS  SECOND  RUNS 
AT  HIGHER  SCALE 

Possibly  one  of  the  world's  most 
nniqtie  theatres  is  the  Plaza,  in  the 
heart  of  New  York's  Park  Avenue 
sector.  For  here  is  a  house  that,  if 
anything,  caters  to  a  special  class  of 
patronage,  plays  second  and  third 
runs  with  an  admission  scale  about 
twice  as  high  as  surrounding  houses. 

Milt  Chamberlain  has  managed  the 
present  and  former  Plaza  Theatres 
almost  continuously  since  1918  and 
has  worked  out  a  number  of  proven 
slants  to  attract  what  he  terms  the 
"intelligent  majority".  He  believes 
there  is  a  growing  potential  audience 
in  many  situations  composed  of  those 
who  do  not  ordinarily  attend  the 
movies.  — A-MIKE 


play  and  over-decoration  in  the  theatre  it- 
self. 

I  look  upon  the  few  so-called  art  theatres 
in  various  metropolitan  centers  throughout 
the  country  and  such  specialized  operations 
as  our  own  here  in  New  York  as  pioneers  in 
the  specialized  theatre  of  to-morrow ;  it 
seems  to  me  that  managers  who,  by  fortune 
of  suitable  location,  are  today  in  a  position 
to  build  good  will  among  special  audiences 
can  already  profit  by  doing  so,  and  cer- 
tainly will  in  the  not  distant  future. 

Make  193  5  Your  Award  Year 

Mayor  Wilton  Welcomes 
Newcomers  to  Town 

Being  in  the  unique  position  of  Mayor  of 
Hamilton,  Canada,  and  manager  of  the 
Strand  Theatre  there,  H.  E.  Wilton  on  offi- 
cial stationery  writes  letters  of  welcome 
to  all  new  arrivals  to  his  city  inviting  them 
to  avail  themselves  of  the  comfort  and  ex- 
cellent shows  at  the  theatre. 

"H.  E."  has  tied  up  with  local  printer 
who  does  his  programs  gratis  each  month 
for  ad  on  back  page. 

Make  193  5  Your  Award  Year 

Good  Luck,  Campus 

When  Roy  E.  Martin,  Milledgville,  Ga. 
recently  opened  his  new  Campus  theatre, 
merchants  came  through  with  large  con- 
gratulatory ads  and  F.  D.  Adams,  manager 
took  full  page  to  deliver  good-will  message 
to  potential  patrons. 


PIPE  WINDOW.  Planted  in  exclusive  Dun- 
hill  pipe  shop  on  Fifth  Avenue  ■for  "Bengal" 
date  at  the  Paramount.  Center  of  display  was 
pipe  endorsement  letter  from  Gary  Cooper. 


April     13,  1935 


MANAGERS'    ROUND  TABLE 


81 


Bamberger's  "Copperfield"  Lobby 


Some  Copperfields 
From  Afield 


Before  Herman  Bamberger  left  the  Para- 
mount in  North  Adams,  Mass.,  for  Spring- 
field, he  engineered  a  contest  for  "David- 
Copperfield"  in  which  10  merchants  co- 
operated ;  each  store  featured  photo  of  star 
in  "Copperfield"  and  entrants  were  asked 
to  supply  correct  list  of  names  of  the  stars, 
giving  the  parts  played  by  each  and  name 
of  store  in  which  each  photo  had  been  seen. 
Tickets  were  awarded  to  winners. 

Other  stunts  were  "Copperfield"  calling 
cards  left  at  homes,  book  marks  in  libraries 
and  accompanying  photo  shows  lobby  display 
used  two  weeks  in  advance. 

In  Atlanta,  Ga. 

Eddie  Melniker  at  the  Loew's  Grand  for 
his  street  bally  had  a  10-foot  book  placed 
on  truck  with  life-size  cutout  spotted  around 
and  driven  about  town ;  another  bally  was 
old-fashioned  tallyho  driven  by  four  ponies 
with  theatre  banners  on  sides.  Blotters 
were  picture  cuts,  distributed  in  schools 
and  offices. 

In  Nashville,  Tenn. 

Ray  Jones  at  Loew's  Vendome  contacted 
paper  on  classified  ad  tieup,  offering  tickets 
to  anyone  finding  and  returning  any  lost 
articles  advertised  in  daily.  Department 
store  came  through  with  ads  for  millinery 
section  using  cuts  of  stars  in  picture  with 
demure  bonnets  and  copy  tying  in  with  pic- 
ture comparing  chapeaux  styles  then  and 
now. 

And  in  Onnaha 

At  the  World  Theatre  where  Charlie 
Schlaifer,  advertising  director,  and  Ted 
Emerson,  manager,  secured  cooperation  of 
public  libraries  for  all  librarians  to  plug 
picture  and  book.  Displays  were  placed  in 
circulating  library  windows,  special  drama- 
tization of  script  was  given  over  radio  and 
special  screening  was  held  for  selected  list. 

Make  19  i  5  Your  Award  Year 

Kids  Wear  Robinson 
Masks  for  Hicks 

The  whole  town  of  Altoona  was  seeing  as 
well  as  talking  when  Bob  Hicks  at  the 
Strand  played  the  picture  by  that  name  and 
distributed  Eddie  Robinson  masks  to  all 
children  who  marched  from  school  looking 
like  so  many  hundred  miniatures  of  the 
star. 

Police  cards  were  placed  in  all  parking 
autos,  co-op  ads  all  carried  "Town's  Talk- 
ing" banners  with  art  work  and  Liberty 
magazine  boys  distributed  heralds  at  homes. 


THE  STAR  GUESSING  CONTEST 

Warner  Zone  Chief  Details  Ways 
and  Means  of  Planting  Profitable 
Contest  Put  On  in  His  Theatres 

by  RALPH  E.  CRABILL 

Warner  Jamestown  District  Manager 


What  has  proved  to  be  a  positive  business 
builder  during  the  two  weeks  of  its  run,  is 
the  star  guessing  contest  via  the  screen  as 
put  on  in  his  zone  by  Ralph  Crabill,  Warner 
Theatres  Jamestown  district  manager,  who 
was  kind  enough  to  forward  the  details. 
Crabill's  procedure  has  had  to  do  in  this  case 
with  the  theatres  in  his  district,  but  no  doubt 
interested  members  will  be  able  to  adopt  the 
stunt  successfully  to  their  indi\idual  situa- 
tions. 

Organizing  the  Contest 

From  the  trailer  material  which  may  be 
promoted  or  secured  at  little  cost,  as  the 
case  may  be,  two  single  reels  are  made  up, 
each  consisting  of  six  stars  appearing  in 
coming  pictures  who  are  presented  by  pic- 
ture or  by  voice  alone.  These  reels  are  run 
for  two  weeks,  one  each  week. 

Patrons  are  presented  with  identification 
blanks  which  are  to  be  filled  in  as  each  star 
appears  in  the  reel.  Lights  are  to  be  brought 
up  so  that  patrons  may  see  to  write.  Patrons 
retain  answers  until  conclusion  of  contest 
and  prizes  are  given  for  correctness  and 
novelty  in  form  of  submission  of  answ^ers. 
Judges  should  be  local  prominents  and  prizes 
announced  and  awarded  on  a  special  night 
at  the  theatre. 

Prizes  and  Other  Tieups 

These  awards  are  of  course  to  be  pro- 
moted from  local  merchants  who  are  to  re- 
ceive screen  and  other  credits.  Crabill  sug- 
gests that  as  the  merchants  obtain  three 
weeks  screen  credits — a  week  in  advance 
and  the  two  weeks  of  the  contest — that  the 
prizes  be  worth  while  and  that  at  least  ten 
be  promoted. 

Newspaper  cooperation  is  also  in  line, 
with  daily  participating  in  credits  in  ex- 
change for  publicity  explaining  contest  and 
carrying  long  lists  of  stars  from  which  those 
in  contest  are  selected. 

Street  ballys,  lobby  displays  and  prom- 
inent windows'  are  also  helpful  and  contest 
should  be  underlined  in  advance  and  cur- 
rently in  all  heralds,  window  cards,  ones 
and  threes,  in  addition  to  newspaper  ads. 
Trailers  plugging  the  stunt  in  advance  and 
during  the  first  week  are  also  suggested. 

About  the  Actual  Reels 

The  success  of  the  stunt  in  the  theatre 
depends  upon  how  well  the  operators  han- 
dle the  guessing  reels  and  Crabill  stresses 
the  importance  of  going  over  each  reel  care- 
fully with  operator.  On  the  voice  reproduc- 
tion guesses,  lights  must  be  doused  before 
shot  appears  so  that  identification  cannot  be 
made.  Operators  should  also  familiarize 
themselves  with  ends  of  voice  shots  so  that 
they  can  pick  up  light  immediately  on  next 
frame. 

If  time  permits,  the  completed  reels  should 
be  run  several  times  in  advance  so  that 
operator  is  entirely  familiar  with  each 
change.  Careless  projection  will  ruin  the 
contest  completely. 


Other  Suggestions 

Prizes  should  be  carried  in  newspaper 
advertising  as  well  as  all  other  copy.  Cash 
of  course  is  preferable  but  desirable  mer- 
chandise is  also  acceptable,  and  these  latter 
should  be  displayed  in  lobby,  tastefully 
presented.  Where  more  than  one  theatre  is 
concerned,  perhaps  Grand  Prizes  can  be 
awarded.  In  this  case,  the  best  answers  from 
each  house  are  entered  for  the  main  awards. 

Managers  can  build  up  the  contest  by 
making  brief  talks  from  the  stage  in  ad- 
vance and  at  various  lunch  club  and  other 
local  organization  meetings. 

Make  193  5  Your  Aivard  Year 

Hunt  Brings  Paris  to 
Louisville  for  "Folies" 

The  front  of  Loew's  State  in  Louisville 
was  done  up  in  real  Parisian  style  for 
"Folies  Bergere"  with  sidewalk  tables  and 
chairs  at  which  girls  in  Parisian  costumes 
were  seated.  Four  foot  letters  spelling  out 
title  and  two  huge  reproductions  of  the  Eif- 
fel Tower  were  displayed. 

Special  invitations  were  sent  to  promi- 
nents, dresser  cards  placed  in  hotel  rooms 
and  leading  hotel  orchestras  featured  hit 
songs. 

Make  193  5  Your  Award  Year 

Star  Features  Rhythm 
Window  on  "Folies" 

Leading  department  store  in  Boston,  co- 
operated with  Joe  Di  Pesa  at  Loew's  State 
on  "Folies  Bergere"  by  using  the  Rhythm 
in  the  Rain  number  for  display  of  parasols 
and  umbrellas. 

For  street  bally  two  fellows  wearing  shiny 
straw  hats  gave  out  small  Chevalier  calling 
cards.  Lobby  radio  played  song  hits  and 
dance  halls  were  supplied  with  orchestra- 
tions. Dramatization  was  given  over  radio 
with  daily  plugs  and  Oberon  gowns  featured 
in  department  store,  with  stills  and  picture 
copy. 

Make  19  iS  Your  Award  Year 


ARMY  FRONT.  Charles  Mahone.  Oklaho- 
man  Theatre,  Hobart,  Okla.,  turned  his  front 
into  a  dugout  for  "First  World  War"  with 
sandbags,  wireless  operator,  etc. 


82 


MOTION    PICTURE  HERALD 


April    13,  1935 


CHARLIE  GARRETT 

dropped  into  Club  headquarters  from 
Havana,  Cuba  where  he  represents  RKO. 
Nice  to  have  seen  you,  Charlie. 

V 

JACK  SIMONS 

from  Hartford,  Conn.,  came  down  for  the 
Show  of  Showmanship  with  Don  Ross. 

V 

CHARLES  A.  ANDERSON 

has  taken  over  the  Strand  m  Wellsburg", 

W.  Va. 

V 

EDWARD  BATLAN 

has  replaced  ANDREW  GOLDBERG  at 
the  Regent  in  Newark  with  JERRY  ROSE 
from  Union  City  going  to  the  Fabian  in 
Hoboken. 

V 

JOHN  I.  OXFORD 

has  been  appointed  advertising  manager  of 
the  Capitol  Theatre  in  Sioux  City,  la. 

JACK  BLUM 

has  taken  over  the  management  of  the  Loew 
Boston  Road  Theatre  in  the  Bronx. 

V 

ROBERT  MOMM  ^u-,,-  n 

formerly  at  the  Sherman  m  ChiUicothe, 
Ohio,  is  now  at  the  Ohio  in  Sidney-  with 
RAY  ALLISON  replacing  him  m  Chilli- 
cothe.  ■  ^ 

A.  E.  POST  ^  , 
has  left  the  Iris  Theatre,  Red  Lodge,  Mon- 
tana, where  he's  headin'  for  the  American 
in  Roundup,  Montana.  ^ 

GEORGE  E.  PLANCK  . 
is  now  managing  the  Palace  and  Marion 
Theatres  in  Marion,  Ohio. 

V 

E  E.  WERDERMANN 

has  purchased  the  lease  of  Willow  Glenn 

Theatre,  Willow  Glenn,  Cal.,  from  ROBERT 

SCOTT. 

V 

L.  B.  HARVEY 

is  managing  the  Grove  Theatre,  Isleton,  Cal. 

V 

RALPH  E.  PHILLIPS 
has  been  promoted  from  the  Paramount  in 
Mitchell,  S.  D.,  to  the  State  in  Sioux  Falls, 
South  Dakota. 

V 

JAMES  WALKER 

is  managing  the  Taft  Theatre  in  Cincinnati, 
Ohio. 

V 

SAMUEL  STRAUSBERG 
operating  a  string  of  nabe  houses  in  Brook- 
lyn is  planning  on  opening  another  house 
there  on  Fourth  Avenue. 

V 

MRS.  A.  GARRETT 

formerly  of  Havana,  Cuba,  is  in  New  York 
now  at  the  Warner  Brothers  Home  Office 
working  on  Spanish  press  books. 

V 

MICHAEL  BERG 

will  open  the  Stroud  Theatre  in  Stroudsburg, 
Pa. 

V 

JACK  TRUIT 

and  BRECK  FAGAN  are  reopening  the 
Royal  Theatre  in  Kansas  City.  Mo. 
A 


POSTER  ART  WORK 
IN  THE  THEATRE 


Archie  Clark,  artist  at  the  Liberty,  Norton, 
Kan.,  is  responsible  for  this  attractive 
"Six-Day  Bike  Rider"  poster,  the  back- 
ground of  which  is  yellow,  title  red  and 
the  star   name   done   in  black. 


APPLICATION  FOR 
MEMBERSHIP 

MANAGERS'  ROUND 
TABLE  CLUB 

1790  Broadway,  New  York 

Please  enroll  me  in  the  Club  and 
send  me  my  framed  certificate. 

}^ame   

Position   

Theatre   

Address  

City   

State   

Absolutely  No  Dues  or  Fees! 


SOME  OF  OUR  NEWLY 
REGISTERED  MEMBERS 


DON  BLOXHAM, 

Advt.  Mgr.  Iowa,  Sheldon,  la. 

CLIFFORD  BOYD, 

Asst.  Paramount,  N.  Adams,  Mass. 

MERRILL  I.  COWAN, 

Manager,  Alhambra,  Cleveland,  Ohio 

H.  G.  CRAWFORD, 

Owner,  Palace,  Piano,  Texas 

BERYL  DAVIS, 

Manager,  Princess,  Crested  Bntte,  Colo. 

GILBERT  S.  EISENSTADT, 

Asst.  Waldorf,  Brooklyn,  N.  Y. 

GEORGE  FORBES, 

Manager,  Lafayette,  St.  Louis,  Mo. 

ERNEST  H.  FOX, 

Manager,  Union,  St.  Louis,  Mo. 

HARRY  L.  FREEMAN, 

Manager,  Union,  Spartanburg,  S.  C. 

PAUL  GOTTSCHALL, 

Owner,  Neptune,  Richland,  Pa. 

WILLIAM  HOPPE,  JR., 

Dist.  Mgr.  St.  Louis  Amusement  Co., 

St.  Louis,  Mo. 

JAMES  M.  IRVING, 

Manager,  Mikado,  St.  Louis,  Mo. 

H.  M.  JOHNSON, 

Manager,  Unique,  Pricelyn,  Minn. 

JOSEPH  KEATING, 

Manager,  Congress,  St.  Louis,  Mo. 

KEN  KREH, 

Asst.  Granada,  St.  Louis,  Mo. 

GENE  LASHLEY, 

Manager,  Rialto,  Greensboro,  N.  C. 

JERRY  LYNCH, 

Manager,  Paramount,  Needham,  Mass. 
MAURICE  F.  MAGERS, 
Manager,  Lindell,  St.  Louis,  Mo. 

FRANK  MANGHAM, 
Manager,  Lyric,  Bisbee,  Ariz. 

RALPH  W.  PINKHAM, 
Manager,  Temple,  Houlton,  Maine 

HENRY  P.  ROKOSZ, 
Asst.,  Feeley,  Hazleton,  Pa. 

MARVIN  STIVER, 
Manager,  Lyric,  St.  Louis,  Mo. 

HARRY  C.  SWAN, 

Mgr.,  Washington,  Granite  City,  III. 

R.  W.  SWEARINGEN, 
Manager,  Beacon,  Hopewell,  Va. 

CLARENCE  A.  TURBIN, 
Asst.,  Granada,  Milwaukee,  Wis. 

JAMES  W.  WALKER, 
Manager,  Aubert,  St.  Louis,  Mo. 

JOHN  WALSH, 

Asst.,  Paramount,  Newport,  R.  I. 

M.  B.  WARRICK, 

Manager,  Granada,  Norfolk,  Neb. 


April    13,  1935 


MOTION    PICTURE  HERALD 


83 


THE  I^ELEASE  CHART 


Productions  are  listed  according  to  the  names  of  distributors  in  order  that  the  exhibitor  may  have  a  short-cut  towards  such 
information  as  he  may  need,  as  well  as  information  on  pictures  that  are  coming.  Features  now  in  work  or  completed  for  release 
later  than  the  date  of  this  issue  are  listed  under  "Coming  Attractions."  Running  times  are  those  supplied  by  the  companies. 
Asterisk  indicates  running  time  as  made  known  by  West  Coast  studio  before  announcement  by  home  office  in  New  York.  Varia- 
tions also  may  be  due  to  local  censorship  deletions.  Dates  are  1934,  unless  otherwise  specified.  Letter  In  parentheses  after 
title  denotes  audience  classification  of  production:  (A)  Adult,  (G)  General.  Numerals  following  audience  classification  are  pro- 
duction numbers. 


AMBASSADOR  PICTURES 


Features 

Titis 


Star 


Running  Time 
Rel.  Date      Minutes  Reviewed 


15. 


Fighting  Trooper.  The  Kermit  Maynard- Barbara  Worth.. Wev. 

Northern  Frontier  <G)  Kermit  Maynard-Eleanor  Hunt.. .Feb.     l.'35  57. Mar. 

Wilderness  Mall  (0)  Kermit  Maynard-Fred    Kehler  Mar.  I3,'3S  'SS.Mar. 

Coming  Attractions 

Hl$  Fighting  Bleed   Kermit  Maynard   July  1,'35   

Red  Blood  of  Courage  Kermit  Maynard   Apr.  20,'35  

Sandy  of  the  Mounted  Kermit  Maynard   Sept.  I2,'35  

Timber  War   Kermit  Maynard   May  27,'35     .  .. 

Trails  of  tha  Wild  Kermit  Maynard   Aug.  6.'35   


CHESTERFIELD 


Features 

Title 


Star 


Curtain  Falls,  The  (A)  Henrietta  Crosman   Oct. 

Green  Eyes  (G)   Charles  Starrett-Shlrley  Grey  June 

Shot  In  the  Dark,  A  Charles  Starrett-Marlon  Shilling. .  Feb. 

Sons  of  Steel  C.  Starrett  •  Polly  Ann  Young.. Dec. 

World  Accuses,  The  (G)  Dickie  Moore  -  Russell  Hopton -. .  Nov. 

Coming  Attractions 

circumstantial  Evidence   Chick  Chandler-Shirley  Gray  

Girl  Who  Came  Back  

Happiness  C.O.D  


Running  Time 
Rel.  Date      Minutes  Reviewed 


IS..., 
IS.'3S. 
15... 
12... 


.67. 
....67.. 
,. ..68.. 


Oct. 
.Dec. 


.63. Mar.  30,'35 


COLUMBIA 


25.. 


20. 
5.'35. 
27.... 


Features 

Title  Star  Rel. 

Against  the  Law  (A)  John  Mack  Brown-Sally  Blane. .  .  .Oct. 

Behind  the  Evidence  (G)  Norman  Foster-Sheila  Manner*. .  .Jan. 

Best  Man  Wins,  The  (G)  Tim  McCoy-Shirley  Grey  July 

Beyond  the  Law  (G)  J.  Holt-Florence  RIce-E.  Lowe... Jan. 

Broadway  BUI  (G)  Warner  Baxter-Myrna  Ley  Dec. 

J.  Durante  -  Lee  Tracy  -  Sally 

Carnival   (G)    Eilers  -  Florence  Rice  Feb. 

Death  Flies  East  (G)  Florence  Rice-Conrad  Nagei  Feb. 

Fugitive  Lady  (G)  Neil   Hamilton-Florence  Rice  Oct. 

Girl  In  Danger  (A)  Ralph  Bellamy-Shirley  Grey  Aug. 

I'll  Fix  It  Jack  Holt-Mona  Barrio... „  Oct. 

I'll  Love  You  Always  (G)  Nancy  Carroll-George  Murphy  Mar. 

In  Spite  of  Danger  Marian  Marsh-Wallace  Ford  Mar. 

(See  "Devil's  Cargo"   "In  the  Cutting  Room,"  Jan.  26,'35.) 

Jealousy  (G)   Nancy  Carroll-Donald  Cook  Nov. 

Lady  by  Choice  (G)  Carole  Lombard  -  May  Robson  - 

Walter  Connolly- Roger  Pryor..Oct. 

Law  Beyond  the  Range  Tim  McCoy-Billie   Seward  Feb. 

Let's  Live  Tonight  (G)  Lilian  Harvey-Tulllo  Carmlnati. .  Mar. 

Men  of  the  Night  (6)  Bruce  Cabot-Judith  Allen   Nov. 

Mills  of  the  Gods  (G)  May  Robson  -  Victor  Jory  •  Fay 

Wray   Dec. 

Preseott  Kid   Tim  McCoy-Shella  Manner*  Nov. 

Revenge   Rider   Tim  McCoy-Billle  Seward  Mar. 

(See  "Alias  John  Law"  "In  the  Cutting  Room,"  Dee.  8.) 

Square  Shooter  (G)   Tim  McCoy   Jan. 

That's  Gratitude  (A)  Frank  Craven-Shella  Manner*. ..  .Oct. 

Voice  In  the  Night  Tim  McCoy-Billle  Seward   Apr. 

Westerner,  The   Tim  McCoy-Marian   Shilling  Dee. 

White   Lies  (A)  Victor  Jory-Fay  Wray   Nov. 

Whole  Town'*  Talking,  The  (G).Edw.  G.  Robinson-Jean  Arthur.. .  Feb. 

Coming  Attractions 

Air  Hawks   Ralph  Bellamy-Tala  Birail  Apr.  30,'3S. 

(See  "Air  Fury"  "In  the  Cutting   Room,"   Mar.  30,'35.) 

Black  Room  Mystary  Boris  KarlolT   

Call  to  Arm*  Wlllard  Mack-Ban  Lyon-Shiala 

Mannors-Wera  Engei*   

(See  "in  the  Cutting  Room,"  Nov.  3.) 

China  Roars   

Depths  Below   

Eight  Belt*   Ann  Sothern-Ralph  Bellamy  Apr.  Ii.'35. 

(See  "in  the  Cutting  Room,"  Feb.  23,'35.) 
Feather  In  Her  Hat,  A. 


Running  Time 
Date      Minutes  Reviewed 


....61.. 


.  Dee. 


I 


20,'35  57.  Feb.  2,'35 


.57  Dec.  20 

..68.  Jan.  5,'35 
•105. ...Nov.  10 


I0,'35  75.  Feb.  23,'35 

28,'35....*65.Mar.  9.'3S 
21  68. Mar.  iS.'SS 

29  61  Dec.  I 

15  69  Nov.  17 

20,  '35  68.  Apr.     6. '35 

8,'35  

20  60  Dee.  IS 

15  "85.... Oct.  I 

I5,'35  58  

I, '35  69. Mar.  23,'SS 

26  58  Dee.  t 

15  67. Jan.  I9.'35 

8  56  

I8,'35  57  

21,  '35  57. Mar.  9,'35 

6  64....  Nov.  17 

6  59  


10. 

27    74. Jan.  5,'35 

22,'35....*93.Jan.  26,'35 


Fighting  Shadow*  Tim  McCoy-Geneva  MIteheil  Apr.  iS.'SS. 

Frisco  Fury   lack  Holt   

Georglana   Ann  Sothern   

Girl  Friend.  The  Lupe  Velez-Jack  Haley   

Grand  Exit   

If  You  Could  Only  Cook  Claudette  Colbert   

Jim  Burke'*  Bey  Florence  Rice-Jack  Holt  

Lady  Beware   

Love  Me  Forever   Grace  Moore  •  Leo  Carrlllo  - 

Robert  Allen   

Maid  of  Honor  

Men   of  the   Hour  Richard  Cromwell-Bltlle  Seward .  .Apr.  25,'35. 

Party  Wire   Jean  Arthur-Victor  Jory  Apr.  27,'35. 

(See  "In  the  Cutting  Room,"  Apr.  6, '35.) 

Range  Raiders   Tim  McCoy-Billle  Seward  

Sure  Fire   Gene  Raymond-Ann  Sothern  

Swell  Head   Wallace  Ford-Barbara  Kent  Apr.  8,'35. 

Unwelcome  Stranger   Jack  Holt-Mona  Barrle   Apr.  20,'35. 

(See  "Girapy"  "in  the  Cutting   Room,"  Mar.  2,'35.) 


DU  WORLD  PICTURES 


Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Blue  Light  5029   LenI  RIefenstahl   Oct.    15  90  

Cranquebllle   5038  Dee.  15  

Girl  In  the  Case  5005   Jimmy  Savo-Eddle  Lambert- 
Dorothy  Darling   00. 


Kocha,  Lubl  Szanule  5041  (Polish)   Nov. 

L'Agonle  des  Algles  (A)  5032. Pierre  Renoir   D*e. 

Man  Who  Changed  HI*  Name, 

Th*  (A)  5036   Lyn  Harding   

Marie  5043   Annabella   Jan. 

Old  Bill  5038   Anatole  France  story  Feb.  . 

Viennese  Leva  Song  Maria  Jerltza   72 

World  In  Bevfit   Graham  McNamee   Mar.  I,'35. 

Coming  Attractions 

Camllle   Y.  Printemps-Plerre  Fresnay  Apr.  I5,'35. 

Oream  of  My  People  Cantor  Rosenblatt   June  I  


l,'35... 
I0,'35. 


.72.. 
.80.. 

.65.. 
.67.. 
70.. 


.Dee.  8 
.Oct.  27 


FIRST  DIVISION 


9.'35 
i6,'35 


(Releases  Monogram,  Liberty,  Chesterfield  and  Invincible  pictures  in  certain  territories.) 
Features  Running  Time 

Title  Star  Dist'r  Rel.  Date      Minutes  Reviewed 

Convention   Girl  Rose  Hobart    Oct.  31  

Flirtation   Jeannette  Loff- 

Ben   Alexander  Nov.  9  

Hel  Tiki  (G)   (All  Native  Cast) ...  Principal   Feb. 

Little  Damozel   Anna  Neagle  Dee. 

Return  of  Chandu  Maria  Alba- 

Bela  LugosI  Principal   Oct. 

Sunset  Range  (G)   Hoot  Gibson- 
Mary  Doran   May 


I, '35.  86. Feb. 
I  


9, '35 


i.'S5...5S.Mar.  9,'35 


White  Heat   Virginia    Cherrill  Oct. 


FIRST  NATIONAL 


Features 

Title 

Babbitt  (G)  869  

Flirtation  Walk  (G)  752. 


Gentlemen  Are  Bom  (G)  872. 
Gold  Diggers  of  1935  (G)  851 

Happiness  Ahead  (G)  854  

Living  On  Velvet  859  (G)  


Maybe  It's  Love  (G)  876 
Murder  in  the  Clouds  (G)  877. 

Red  Hot  Tires  (G)  878  

Six  Day  Bike  Rider  (G)  864.. 
Traveling  Saleslady  (G)  870... 
While  the  Patient  Slept  (G)  874 
Woman  in  Red,  The  (G)  863 


Star  Rel. 

Aline  MacMahon-Guy  KIbbee  Dee. 

Dick  Powell  -  Ruby  Keeier-Pal 

O'Brien   Dee. 

Franchot  Tone-Jean   Mulr  Nov. 

Dick  Powell-Glorla  Stuart  Mar. 

Dick   Powell-J.   Hutchinson  Oct. 

Kay  Francis  •  George  Brent  - 

Warren  William  Mar. 

Gloria  Stuart- Ross  Alexander. ..  .Jan. 

Lyie  Talbot-Ann  Dvorak   Dec. 

Lyle  Talbot-Mary  Aster   Fob. 

Joe  E.  Brown-Maxina  Doyle  Oct. 

Joan  Blondell   Apr. 

Aline  MacMahon-Guy  KIbbee  Mar. 

B.  Stanwyck-Gene  Raymond  Feb. 


Running  Time 
Date      Minutes  Reviewed 
8  *75....Nov.  17 

1  97.... Nov.  10 

17  *75....0ct.  20 

i6,'35  95. Mar.  23,'S9 

27  86  Sept.  22 

2.'3S  80.  Mar.  I6,'35 

12, '35  62  Nov.  24 

15  61.  Jan.  5.'35 

2."35  66. Mar.  9,'35 

20  69  Nov.  10 

8,  '35  63. Apr.  6,'35 

9,  '35  6 1.  Mar.  9,'SS 

I6,'35  58.  Mar.  30,'35 


90.  Apr.  6,'35 


Coming  Attractions 

Alibi  Ike   Joe  E.  Brown   

(See  "In  the  Cutting  Room."  Apr.  6. '35.) 

Black   Fury   (G)  Paul  Muni-Karen  Morley  May  4.'3S. 

Captain   Blood   Robert  Donat-Jean  Mulr  

Case  of  the  Curious  Bride  879. Warren  William   Apr.  I3.'35  

G   Men,  The  James  Cagney- Margaret  Lindsay.  .May  I8,'35  

Girl  From  Tenth  Avenue,  The..Bette   Davis-Ian  Hunter  

(See  "Men  on  Her  Mind"  "In  the  Cutting  Room,"  Mar.  30,'35.) 

Go  Into  Your  Dance  (G)  853. .Al  Jolson-Ruby   Keeler  Apr.   20.'35  97. Mar.   23, '35 

In  Caliente  856   Dolores  Dei  Rio-Pat  O'Brien. ...  May  25,'35  

(See  "In  the  Cutting  Room,"  Feb.  2,'35.)  „ 
Mary  Jane's  Pa  875  Aline  MacMahon-Guy  KIbbee  Apr.   27,  35  

(See  "Wanderlust"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Napoleon   Edw.  G.  Robinson-Bette  Davl*  

Oil  for  the  Lamps  of  China  867. .  J.   Hutchinson-Pat  O'Brien  

(See  "In  the  Cuttin;  Room,"  Mar.  30,'35.) 
Singer  of  Naples  .Enrico  Caruso,  Jr  


FOX  FILMS 


Features  „  , 

Title  Star 

Baboona  (G)  530  Mr.  &  Mrs.  Martin  Johnien. . .  -  -  Feb. 

Bright  Eyes  (G)  524  Shirley  Temple-Jamea  Dunn.  ..•  Dee. 

Charlie  Chan  in  Paris  (G)  526.  Warner  Oland   f  eb. 

County  Chairman,  The  (G)  525.  Will  Rogers   ■  J*"- 

Elinor  Norton  (A)  510  Claire  Trevor  -  Norman  Foster - 

Hugh  Wllllams-G.  Roland  Nov. 

First  World  War,  The  (A)  519  Nov. 

Gambling   (A)   512   George  M.  Cohan   Nov. 

George   White's   1935  Scandal*  _       .  _ 

(A)  534   Alice  Faye-Jame*  Dunn  Mar. 

Great  Hotel  Murder  (G)  522. .Edmund  Lowe-Victor  MeLaglen. .Mar. 

Helldorado  (G)  522  Richard  Arlen-Madge  Evans  Dee. 

Hell  In  the  Heavens  (A)  517..  Warner  Baxter-C.  Montenegro  fjov. 

Life  Begins  at  40  (G)  533.. ..Will   Rogers   Mar. 

Llliom    (A)   Charles  Boyer  -  Mar. 

Little  Colonel  (G)  531  Shirley  Temple-L.  Barrymore  Feb. 

Lottery  Lover  (G)  523  "Pat"  Patersen-Lew  Ayres   Jan. 

Marie  Galante  (A)  511  Spencer  Tracy-KettI  Gaillan  Oct. 

Musle  In  the  Air  (Q)  513  Gloria  Swanson  -  John  Boles  - 

Douglass  Montgomery  Dec. 

Mystery  Woman  (G)  515  Mona  Barrle-Gllbert  Roland  Jan. 

One  More  Spring  (G)  529  Janet  Gaynor-Warner  Baxter  Feb. 

Peck's  Bad  Boy  (6)  516  Jackie  Cooper-Thomas  Meighan- 

Dorothy  Peterson-Jackie  SearL.Oct. 
Spring  Tonic  535  Lew  Ayres-Claire  Trevor  Mar. 

(See  "Man  Eating  Tiger"  "in  the  Cutting  Room,"  Mar.  9,'35. 

$10  Raise  (G)  537  Edward  Everett  Horton  ..Apr. 

365   Nights  In   Hollywood  (G) 

514   Alice  Faye- James  Dunn  Oct. 

Under  Pressure  521  Edmund  Lowe-Vletor  MeLaglen.  .  .Jan. 

(Reviewed  under  the  title  "Man  Lock") 

When  a  Man's  a  Man  (G)  527.  George  O'Brien   Feb. 

White  Parade,  The  (G)  518. ..John   Boles-Loretta  Young  Nov. 

Coming  Attractions 

Argentina   Alice  Faye-Gilbert  Roland  

Black  Sheep   Edmund   Lowe-Claire  Trevor  

Charlie  Chan  in  Egypt  Warner  Oland-"Pat"  Paterson  

Dante's  Inferno   Claire  Trevor-Alice  Faye  

(See  "In  the  Cutting  Room,"  Mar.  2, '35.) 
Daring  Young   Man,  The  James  Dunn-Mae  Clarke  May 

(See  "Man  Proposes"  "In  the  Cutting  Room,"  Apr.  6, '35.) 

Doubting  Thomas    ..Will  Rogers   May  3I,'35. 

(See  "In  the  Cutting  Room,"   Mar.  30. '35.) 

Ginger   Jackie  Searle-Jane  Withers  

It's  a  Small  World  (A)  536. ..  Spencer  Tracy-Wendy  Barrle  Apr.    12, '35. 

Ladies    Love    Danger  Gilbert  Roland-Mona  Barrle  Apr. 

(See  "in  the  Cutting  Room,"  Mar.  30,'35.) 
Our  Little  Girl  Shirley  Temple   May 

(See  "In  the  Cutting  Room."  Apr.  6, '35.) 

Under  the  Pampas  Moon   Warner  Baxter-Ksttl   Galilan. .  . .  May 

Work  of  Art  Lew  Ayres-Claire  Trevor  


Running  Time 
Date      Minutes  Reviewed 

8,'35  72. Jan.  26,'S5 

28  83  Dee.  la 

l,'35....''70.Jan.  5,'SS 
il,'35  78. ...Dee.  a 


2.... 

23  

3.... 

29.'35. 
I. '35. 
21.... 
9.... 
22.'35. 
I6.'35. 
22,'S5. 

4,  '35. 
26.... 

7.... 
I8,'35. 
I5,'35. 

19.... 
I5,'35. 

I 

5,  '35. 


12.... 
25.'35. 

i5,'35. 
18.... 


.72.... Oct  zr 
.78.... Nov.  17 
.80  Dee.  II 

*90.Apr.  6,'35 
.70.  Feb.  23,'S5 
.74.... Dee.  IS 
.80. ...Nov.  S 
•78. Mar.  23,'35 
.90.  Mar.  23,'35 
.80.  Feb.  le.'SS 
.82.  Feb.  9.'S9 
.88  Nai*.  24 

.81  Dee.  it. 

.69.  Jan.  zs.'sa 
.90.  Feb.  9,'35 

.70  Sept.  ■ 


*70.Mar.  23,'35 


..74....Nev.  17 
'65.  Jan.  it.'SS 

..68.  Mar.  2,'35 
.83.... Oct.  27 


i7,'35. 


26,'35. 
3,'35. 
24, '35. 


*70.Apr.     6, '35 


84 


MOTION    PICTURE  HERALD 


April     13,  1935 


ITHC  CCLCASC  CHACT"C€NT'D) 


GB  PICTURES 


Features 

Title 


Star 


Rei.  Date 


Chu  Chin  Chow  (G)  3401  Anna  May  Wong-George  Robey...Oct. 

Evensong  (A)  3406  Evelyn  Laye   Dee. 

Evergreen    (A)    3405  Jessie   Matthews-Sonnle  Hala....Dee. 

Iron  Duke,  The  <6  )  3407  George  Arliss   Jan. 

Jack  Ahoy  (G)  3404  lack  Hulbert   Feb. 

Little  Friend  (A)  3403  Nova  Pilbeam-Matheson  Lang. ...Nov. 

Lover  Divine  3410   Marta   Eggerth   Mar. 

(Reviewed   under  the  title   "Unflnished  Symphony") 

Loves  of  a  Dictator  (A)  Olive   Brook-Madeleine   Carroll.  .  .Apr. 

Man  Who  Knew  Too  Much,  The 

(G)  3415   Peter  Lorro-Nova  Pllbean  Apr. 

Man  of  Aran  (A)  3413  Robert  Flaherty   Dee. 

My  Heart  Is  Calling  (G)  3409. Jan  Klepura   May 

My  Song  for  You  3414  Jan  Klepura   June 

Power  (A)  3402  Conrad  Veldt-Benlta  Hume  Nov. 

Princess  Charming  3408  Evelyn  Laye-Henry  Wlleoxon  Jan. 


Running  Time 

Minutes  Reviewed 

 95  Sept.  1% 

 82  Nov.  I 

 98  June  23 

35  90....  Deo.  22 

•35         70.  Feb.  I8,'35 

 88....0et.  It 

35  Oet.  II 

35  95.  Feb.  IS.'SI 

,'35  80  Dee.  2* 

 77  Oet  27 

'35  90.  Fab.  2,'35 

'35  Nov.  ID 

 103.... Oet  II 

'35  81  


INVINCIBLE  PICTURES 

[Distributed  tlirough  Chesterfield] 

Features  Running  Time 

jltl.  Star  ReL  Date      Minutes  Reviewed 

Ghost   Walks,   The  John  Miljan-Juno  Collyer  Doe.     I   ^•••••i; 

One  In  a  Million  (G)  Dorothy  Wllson-C.  Starrett  Sept    5  2S  -"HfI-  V, 

Port  of  Lost  Dreams  (G)  Wm.  Boyd-Lola  Lane   Oct    15...  68  Nn.  14 

Public  Opinion   Lois  Wilson-Shirley  Grey  Mar.   I5,'35  66  

Symphony  for  Living  Evelyn  Brent-Al  Shean  Jan.    20,35  75  

Coming  Attractions 

Death  from  a  Distance  

Room  and  Board   


LIBERTY  PICTURES 


Star 

Leila  Hyams-Phllllps  Holmee.. 

Marian  NIxon-Noll  Hamilton.. 

Sidney  Fox-Paul  Kelly  

Marian  Nixon-Tom  Brown  


Running  Time 
Rel.  Date      Minutes  Reviewed 
.Oct     8  70  July  21 

.Dee.    14  72  May  10 

.Feb.   |g.'3S  73.  Mar.  9.'35 

.Mar.     5,'35  81. Fab.  23,'35 


Neil  Hamllton-Mlrlam  Jordan.. 
Richard  Cromwell-Arllne  Judge. 


.Oct 
.July 


2.... 
20.... 


.71. ...Oet  13 
.74  


M.  Rambeau-Florlna  McKlnney 
H.  B.  Warner-Onslow  Stevens.. 
Mary  Carlisle-Lawrence  Gray.. 
M.  Churchill-Bruce  Cabot  


.May  l,'35. 


Apr.  I5,'35. 


Features 

Title 

No  Ransom  (A)  1004  

Once   to    Every    Bachelor  (A) 

1005   

School  For  Girls  (A)  1007  

Sweepstake  Annie  (G)  

Two  Heads  on  a  Pillow  (A) 

1006   

When  Strangers  Meat  1002  

Coming  Attractions 

Dizzy  Dames   

I'll  Bet  You  

Old  Homestead,  The   

Without  Children  1008  

MAJESTIC 

Features  Running  Time 

Tide  Star  Rel.  Date      Minutes  Reviewed 

Night  Alarm   (G)   505  Bruce  Cabot-Judith  Allen-H.  B.    (New  York) 

Warner  -  Fuzzy  Knight  Dee.  15  ... 

Perfect  Clue,  The  (G)  512  David  Manners-Dorothy  LIbaIre . .  Mar.  I0.'35 

She  Had  to  Choose  (G)  504... Larry  "Buster"  Crabbe  -  Isabel 

Jewell  •  Sally  Blana  Sept.  14... 

Coming  Attractions  „ 

Motive  for  Revenge  (G)  Donald  Cook-Irene  Hervey  *65.Mar.  30,35 

Mutiny  Ahead   Neil  Hamilton-Kathleen  Burke  

(See  "In  the  Cutting  Room,"  Jan.  26,'35.) 


..65.. 
.*63.. 


...65. 


.Sept  22 
.Dt*.  I 

.Aug.  II 


MASCOT  PICTURES 


Features 

Title  Star 
Behind  the  Green  Lights  (G). .Norman  Foster-Judith  Allen 

Crimson  Romance  (A)  Ben  Lyon-Sarl  Marltza  Oct 

In  Old  Santa  Fo  (G)  Ken  Maynard-Evalyn  Knapp  Nov. 

Little  Men  (6)   Erin  O'Brlen-Moore-R.  Morgan.. pec. 

Lost  Jungle.  The  Clyde  Beatty   ...   J""' 

Marines  Are  Coming,  The  William  Haines-Armlda 

Conrad  Nagel-Esther  Ralston.  .  .Nov. 
Young  and  Beautiful  (A)  William  Halnes-Judlth  Allen  Sept. 

Coming  Attractions 

One  Frightened  Night  Chas.  Grapewin-Mary  Carlisle  Apr. 


Running  Time 
Rel.  Date      Minutes  Reviewed 

Mar.   1 1. '35  70.  Mar.  23,'35 

1  67  Oet  6 

15  63  Nov.  24 

14  72  Dee.  22 

13  68  


20.... 
2.... 

20.'35. 


METRO-GOLDWYN-MAYER 

Features 

Title  Star  Rel. 

After  Office  Hours  (G)  C.   Bennett-Clark  Gable  Fob. 

Babes  in  Toyland  (G)  Laurel  and  Hardy-C.  Henry  Nov. 

Barretts  of  Wimpole  Street  (A). Norma  Shearer-Charles  Laugh- 

ton-Fredric   March   Sept. 

Band  Plays  On,  The  (G)  Robt  Young-Betty  Furness  Dee. 

Biography  of  a  Bachelor 
Girl  (A)   R.   Montgomery-Ann  Harding. ..  .Jan. 

Casino  Murder  Case  Paul  Lukas   Mar. 

(See   "In   the  Cutting   Room,"    Feb.  I6,'35.) 

David  Cogperfleld  (G)   Frank  Lawton  -  Freddie  Bar- 
tholomew -  W.  C.   Fields  -  L. 
Barrymore-Edna  M.  Oliver. ..  .Jan. 

Evelyn  Prentice   (A)  William  Powell-Myrna  Loy  Nov. 

Forsaking  All  Others  (A)  Joan  Crawford  -  Clark  Gable  - 

Robert  Montgomery   Dec. 

Gay  Bride,  The   (A)  Carole  Lombard-Chester  Morris.  ..  Dec. 

Have  a  Heart  (G)   Jean  Parker  -  James  Dunn  • 

Stuart  Erwin  -  Una  Merkel  Sept. 

Merry  Widow,  The  (A)   Maurice  Chevailer-J.  MacDonald  . .  Nov. 

Naughty  Marietta  (G)   J.  MacDonald-Nelson  Eddy  Mar. 

Night  Is  Young,  The  (B)  Ramon  Novarro- Evelyn  Laye  Jan. 

Painted  Veil,  The  (A)  Greta  Garbo-Horbert  Marshall- 
George  Brent   Nov. 

Sequoia  (G)   Jean  Parker-Russell  Hardle  Feb. 

Shadow  of  Doubt  (G)   RIcardo  Cortez-Vlrglnia  Bruce... Feb. 

Society  Doctor   Chester  Morris-V.   Bruce  Jan. 

(Reviewed  under  the  title  "Only  8  Hours") 

Times  Square  Lady  (G>  Robert  Taylor-Vlrglnia  Bruce  Mar. 

Vanessa:  Her  Love  Story  (A). .Helen  Hayes-Robert  Montgomery.  .Mar. 

West  Point  of  the  Air  (G)  Wallace  Beery-Robert  Young  Mar. 

What  Every  Woman  Knows  (G) .  Helen  Hayes-Brian  Aherne  Oct. 

Wicked  Woman  (A)   Mady  Chrlstlans-Chas.  Blckford  . .  Dec. 

Winning  Ticket,  The  (G)  Leo  Carrillo-L.  Fazenda  Feb. 


RunnI 
Date  M 
22,'35.. 
30  

21 .... 
21.... 

4,'35. 
I5.'W. 


.70.... Dm.  li 
.68....8*»t.  ■ 


ng  Time 

inutet  Reviewed 
.    73.  Fab.  I8,'I5 
79....N««.  24 

...1 1 1....  Aug.  4 
 85  Dae.  19 


.84. 

.84. 


.Dm. 


I8,'35... 


28  

14  

7  

2  

29,'3S... 
M,'35... 

23  

I, '35... 
1 5, '35... 
25,'35... 


133. Jan.  I9,'35 
.80  Nov.  3 


.84. ...Dm. 
.82....Ntv. 


ir 


8.'35.. 

I,'35  . 
22.'35.. 
19  

7  

8,'35.. 


..82.... Oct  27 
.100.... Sept  8 
.106.  Mar.  2.'S5 
..82  Dec.  29 

..86.... Nov.  10 
..72... Nov.  17 
.73.  Feb.  9,'35 
..68.  Jan.  I2,'35 

..69.  Mar.  2,'35 
.  77.  Feb.  23,'35 
.*88.Mar.  I6.'25 

.92  Oct  13 

..74  Dee.  I 

..70. Jan.  I9,'35 


Coming  Attractions 

Age  of  Indiscretion  May  Robson-Madge  Evans  

(See  "In  the  Cutting  Room."  Mar.  30,'35.) 

Anna  Karenlna   Greta  Garbo-Fredrlc  March  

Baby  Face  Harrington  (G)  Charles  Butterworth   Apr.    I2,'35  63. Mar.  30,'35 

China  Seas   Wallace  Beery-Clark  Gable  

Flame  Within,  The  Ann   Harding-Herbert  Marshall..^  

Garden  of  Allah,  The  Joan  Crawford   

Mark  of  the  Vampire  (A)  L.  Barrymore-Bela  LugosI  Apr.   26,'35  '80. Apr.     6, '35 

MasQuerade   William   Powcll-Myrna  Loy  


Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Mutiny  on  the  Bounty  Clark  Gable-Charles  Laughton- 

Robert  Montgomery   

Murder  in  the  Fleet  Robert   Taylor-Jean  Parker  

No  More  Ladies  Joan  Crawford  

One  New  York  Night  Franchot  Tone-Una   Merkel  Apr.     5,'35  71  

(See  "Mystery  In  Room  309"  "In  the  Cutting  Room,"  Mar.  I6,'35.) 
Public  Hero  No.  I  Chester  Morris-Jean  Arthur  

(See  "In  the  Cutting  Room,"  Mar.  30. '35.) 
Reckless   Jean  Harlow- Wm.  Powell   Apr.  I9,'35  99  

(See  "In  the  Cutting  Room,"  Feb.  I6,'35.) 

Typoo   Mala,  Lotus  Long  

Vagabond  Lady   Robert  Young-Evelyn  Venabia  

(See  "In  the  Cutting  Room,"   Mar.   16, '35.) 


MONOGRAM  PICTURES  CORPORATION 


Running  Time 
Date      Minutes  Reviewed 
I  70.... Nov.  17 

15  8e....8*»t  I 

17  65. ...Nt*.  It 

.     1  63....Auf.  4 

22    54.F«b.  2.'IS 


15  64. 

I5,'35  65. 

20  62. 


.Get  B 
.Dm.  H 


Features 

Title  Star  Rel. 

Flirting  With  Danger  (6  )  3023.  Robert  Armstrong- Marlon  Bums.. Dec. 
Girl  of  the  Limberlost  (G) 

3001   Marian  Marsh-Ralph  Morgan  Oet 

Girl  0'  My  Dreamt  (Q)  3015. .Mary  Carllsle-Creighton  Chaney..Nov. 

Happy  Landing  (G)  3029  Ray  Walker-Jacqueline  Walls  Sept. 

Lawless  Frontier  <G)  3035  John  Wayne-Shella  Terry  Nov. 

Lost  In  the  Stratosphere  (G) 

3020   June  Collyer-WIIIIam  Cagney. .  . .Nov. 

Million  Dollar  Baby  (G)  Arllne  Judge  •  Ray  Walker  • 

Jimmy  Fay   Jan. 

Monte  Carle  Nights  (A)  2024..  Mary  Brian-John  Oarrow  May 

Mysterious    Mr.    Wong,  The 

(A)    3022   Bela  Lugosi -Wallace  Ford  Jan. 

'Neath  Arizona  Skies  (0  )  3032.  John  Wayne-Sheila  Terry  Dec. 

Nut  Farm,  The  (Q)  Wallace  Ford   Mar. 

Rainbow  Valley  (G)  John  Wayne-Lucille   Brown  Mar. 

Reckless  Romeos  (G)  3019. ...  Robt.  Armstrong-Wm.  Cagney  

Redhead   (A)  3012  Bruce  Cabot-Grace  Bradley  Nov. 

Sing  Sing  Nights  (A)  Conway  Tearie-Mary  Doran  Dee. 

Star  Packer,  The  2041  John  Wayne-Verna  Hlllle  July 

Successful  Failure,  A  (G)  3024. Wm.   Collier,  St.  -  Lucille 

Gleason   Oct, 

Texas  Terror   John  Wayne   Feb. 

Tomorrow's  Youth  3021   Dickie  Moore  -  Martha  Sleeper  - 

John  Mlljan-Gloria  Shea  Sept 

Trail  Beyond,  The  (G)  3031...  John  Wayne-Verna  Hlllle  Oct 

Women  Must  Dress  (6)  Minna  Gombell-Gavin  Gordon  Fab. 

Coming  Attractions 

Cheers  of  the  Crowd  

Dawn   Rider,  The  John  Wayne-Marlon  Burns   

Desert  Trail   John  Wayne-Mary  Kornman  Apr.   22,'3S  54  

(See  "in  the  Cutting  Room,"  Feb.  23, '35.) 

Great  God  Gold  (A)  Sidney  Blackmer-Gloria  Shea  Apr.    I5,'S5  72. Mar.  9,'35 

Healer,  The   Ralph  Bellamy-Karen  Morley  

Honeymoon  Limited   Neil   Hamilton-Irene  Hervey  

Hoosler  Schoolmaster,  The  Charlotte  Henry-Norman  Foster.. May  I5,'35  

(See  "In  the  Cutting  Room,"   Mar.  9,'35.) 

Keeper  of  the  Bees,  The  Neil   Hamilton-Bctty  Furness  

Mystery  Man  (G)  Robert  Armstrong   Apr.  25/35  62. Fab.  I(,'M 

Paradise  Ranch   John   Wayne-Marion  Burns  


25,'35  68. Jan.  II,'M 

S  52.... Da*,  it 

25.'35  65.  Feb.  t.'M 

15/35  52.  Mar.  IS.'SS 

■  ■  i '. ; ;  ■. .'  .76 .'  .■ .' .  stit  ■  n 

15  BO.Ftb.  l.'SS 

30   54  


15  82. 

1/35  51. 


.Get 


IS  S3  

22    55....S«pt  21 

1/35  77. Jan.  28/U 


PARAMOUNT 


Gilded  Lily.  The  (G)  3426... 
Here  Is  My  Heart  (G)  3423.. 
Home  on  the  Range  (G)  3421. 
It's  a  Gift  (G)  3418. 


Running  Time 
Data      Minutes  Reviewed 
.  22.'35....'85.Feb.  23/35 

7  79.  Feb.  23/IS 

1. '35....  VS.  Feb.  18/35 

23.  •83.... No*.  10 

4/35          83....  Nov.  I 


21  •65....  Dm.  I 

25.'3S...  .•80.Jan.  5/35 

25  76. ...Dm.  I 

21  55  Mar.  2,'3S 

30  68.... Nov.  24 

9  66....  Dm.  22 

I8,'3S  89. Jan.  5.'35 

I5.'35  '77.  Mar.  9,'35 

22,  '35  •SO. Mar.  2,'35 


19.... 
14.... 
11/35. 


....73... 
....75... 
 83... 


Aug.  23 
.Dm.  • 
.N«v.  24 


16  72.... Sept 

8.'35  63  


8,'35...  •90.Fab.  I6.'35 
l5,'35....*70.Feb.  2,'35 
I, '35  75.  Ju.  Ii,'ll 


Features 

Title  Star  Rel. 

All  the  King's  Horses  (G)  3430.  Mary  Ellis-Carl  Brtsson  Feb, 

Behold  My  Wife  (A)  3419  Sylvia  Sidney-Gene  Raymond  Dee. 

Car  99  (G)  3432  Fred  MacMurray-Ann  Sheridan. .. Mar. 

College  Rhythm  (G)  3417  Joe  Penner-Lanny  Ross  Nov. 

Enter  Madame  (A)  3414  Elissa  Landl-Cary  Grant  Jan. 

Father  Brown,  Detective  (G) 

3420   Walter  Connolly- Paul  Lukat- 

Gertrude  Michael   Dee, 

.C.  Colbert-Fred  MacMurray  Jan. 

.  BIng  Crosby-Kitty  Carlisle  Dec. 

.Jackie  Coogan- Randolph  Scott. ...  Dec. 

W.  C.  Fields-Baby  LeRoy  Nov. 

Limehouse  Blues  (A)  3415  George  Raft-Jean  Parker  Nov. 

Lives  of  a  Bengal  Lancer  (G) 

3427   Gary  Cooper- Franchot  Tone  Jan. 

Love  in  Bloom  (G)  3434  Joe  Morrison-DIxle  Lee  Mar. 

Mississippi  (G)  3433  BIng  Crosby-Joan  Bennett  Mar. 

Mrs.  WIggs  of  the  Cabbage 

Patch  (G)  3407   Pauline  Lord  -  W.  C.  Fields  - 

Zasu  Pitts  -  Kent  Taylor  - 

Evelyn  Venable   Oct. 

One  Hour  Lata  (G)  3422  .Joe  Morrison-Helen  Twelvetreet . . Dae. 

President  Vanishes  (G)  3416..  Arthur  Byron-Janet  Beecher  Jan. 

Pursuit  of  Happiness,  The 

(A)  3409   Francis  Lederer-Joan  Bennett. ...  Nov. 

Rocky  Mountain  Mystery  3428.  R.  Scott-Chas.  "Chic"  Sale  Fob. 

(See  "Vanishing  Pioneer"  "In  the  Cutting  Room,"  Nov.  10.) 
Ruggles  of  Red  Gap  (G)  3431.  Charles  Laughton-Mary-Boland- 

Charles  Ruggles-Zazu  Pitts  Mar. 

Rumba  (A)  3429  George  Raft-Carole  Lombard  Feb. 

Wings  In  the  Dark  (G)  3424.  Gary  Grant-Myma  Loy  Feb. 

Coming  Attractions 

College  Scandal   Arline  Judge-Kent  Taylor  

Crusades,  The   Loretta  Young-Henry  Wlleoxon  

(See  "In  the  Cutting  Room."  Mar.  30, '35.) 
□  evil  Is  a  Woman,  The  (A) . . .  Marlene  Dietrich-Cesar  Romero..  May 

7167 

Four  Hours  To  Kill  (A)  6574.  Richard  Barthelmess   Apr. 

Glass  Key,  The  George  Raft   May 

(See  "In  the  Cutting  Room."  Mar.  30, '35.) 
Coin'  to  Town  Mae  West   May 

(See  "How  Am  1  Doln'7"  "In  the  Cutting  Room,"  Feb.  23, '35.) 

Hold   'Em  Yale   (G)  Patricia   Ellis-Cesar   Romero  Apr. 

McFadden's  Flats  (G)  Betty  Furness- Richard  Cromwell.  .Apr. 

Milky  Way.  The  Harold  Lloyd-Adolphe  Menjou  

Once  In  a  Blue  Moon  3425  I.  Savo-Michael  Dalmatoff  May  I0,'35 

Paris   In   Spring  Tulllo  Carmlnatl-Mary  Ellis  

(See  "In  the  Cutting  Room,'^  Feb.  23,'35.) 

People  Will  Talk   (G)  Chas.  Ruggles-Mary  Boland  May 

Private  Worlds  (A)  3435  C.  Colbert-J.  Bennett-C.  Boyer..Apr. 

Scoundrel.  The   Noel  Coward-Julie  Haydon  Apr. 

So  Red  the  Rose  Margaret   SuMavan-Fred  Stone- 
Pauline  Lord   

Stolen    Harmony   George    Raft-Ben    Bernie  Apr.    19, '35  

(See  "In  the  Cutting  Room,"  Feb.  2,'35.) 

PRINCIPAL 

Features  Running  Time 

TIIT*  Star  Rel.  Date      MInutet  Reviewed 

Little  Damozel  722   Anna  Neagle-James  Rennle  June    II   59  

Peck's  Bad  Boy  (G)  Jackie  Cooper-Thomas  Melghan- 

Dorothy  Peterson-Jackie  Searl..Oet     19  70  Sept.  * 

Return  of  Chandu,  The 
300-312   Bela  Lugosl-Maria  Alba  Oet      1  65  


3,'35... 

26,'35... 
3I,'35... 


I7,'35.. 

I2,'35. 
22,'35.. 


•90.  Mar. 

*70.Apr. 


2.'35 

6,'35 


..*65.Mar.  30,'35 
.  .*67.Mar.     9. '35 


24,'35  *68.Apr.  6,'35 

I9,'35...  *84.Mar.  I6,'35 
26,'35  


April     13,  1935 


MOTION    PICTURE  HERALD 


85 


(THE  RELEASE  CHAI3T"C€NT'D) 


RKO  RADIO  PICTURES 


Dog  of  Flanderi  (G)  

Enchanted  April,  Th«  (A).. 
Gty  Divorce*.  Tht  (G)  505. 
Glgolette 


Features 

Titio  Star 

Anno  of  Groon  Gibles  (G)  507.  Anno  Shirley-Tom  Brown  Nov. 

Captain  Hurrloano  (G)  James  Barton-Helen  Westley  Mar. 

Dangerous  Corner  (A)  506  Molvyn  Douglas- Virginia  Bruce- 

Conrad  Nagel   Oct. 

.  Frankie  Thomas- Helen  Parrlsh. .  •  Mar. 

.Ann   Harding-Frank   Morgan  Feb. 

.  Fred  Astaire-Ginger  Rogers  Oct. 

.  Adrienne  Ames-Ralph  Bellamy.  .. Feb. 

Grand  Old  Girl  (G)  519  May  Robson-Hale  Hamilton  Jan. 

Gridiron  Flash  (6)  511  Eddie  Quillan-Betty  Furnoss  Oct. 

Laddie  (G)   John  Seal-Gloria  Stuart  Apr. 

Lightning   Strikes   Twice  (G) 

517   Bon  Lyon-Pert  Kelton  Ott. 

Little  Minister  (G)  512  Katharine  Hepburn-John  Beal  Dec. 

Murder  on  a  Honeymoon  (G)..Edna  May  Oliver-J.  Gleason  Feb. 

People's  Enemy   Preston  Foster-Melvyn  Douglas. ..  Mar, 

Red  Morning  515   Steffi   Duna-Regis  Toomey  Dec, 

(See  "Girl  of  the  Islands,"   "In  the  Cutting  Room,"  Sept. 

Raberta  (G)   Irene  Dunne  -  Fred  Astaire  • 

Ginger  Rogers   Mar, 

Romance  In  Manhattan  (G)  518.  Francis  Lederer-Ginger  Rogers. .  .Jan. 

Silver  Streak,  The  (G)  513  Sally  Blane-Charlps  Starrett  Dec. 

West  of  the  Pecos  (G)  516  Richard  Dix-Martha  Sleeper  Jan. 

Woman  In  the  Dark  (G)  Fay  Wray-Ralph  Bellamy  Nov. 


Coming  Attractions 


Running  Tim* 
Date      Minutes  Reviewed 

23  79  Ott  V 

I, '35  72.  Feb.  II.'M 

5   .67. Jan.  I8.'S5 

22.'35...  *72.Mar.  2.'J5 

I, '35...  "78  Dee.  15 

19  •107. ...0«L  la 

I5.'35  

I8,'35  72.  Jan.  I2,'35 

26  64.  Jan.  26,'35 

5,'35  *82.Mar.  9,'3» 

7  66. Mar.  2,'35 

,    28  110  Dee.  22 

,  22.'S5...  .731/2. Feb.  1,'IS 

I5.'35  

14  66  

29.) 

8.'3S...  1 051/2 Feb.  23,'W 

ll,'35  78...  Doe.  I 

21  72....  Dec.  .8 

4,'35  69.  Jan.  5,'35 

9  70  Dec.  8 


80. Apr.  6,'35 


Becky  Sharp    Miriam  Hopkins   

(See  "In  the  Cutting  Room."  Mar.  9,'35.) 
Break  of  Hearts  K.  Hepburn-Charles  Boyer  

(Sec  "In  the  Cuttinfl  Room,"  Apr.  6,'35.) 

Chasing  Yesterday  (G)   Anne  Shirley   May  10,35. 

Hooray  for  Love  Gene  Raymond-Ann  Solhern  

Informer,  The   Victor  McLaolen-Margot  Graham    

(See  "In  the  Cutting  Room,"   Mar.  I6,'35.) 
Nitwits,  The   Wheeler  and  Woolsey  

(See  "In  the  Cutting  Room,"  Mar.  30,'35.) 

She   Helen  Gahagan- Randolph  Scott  

Star  of  Midnight  (G)   William  Powell-Ginger  Rogers. .  .Apr.        |f  •  •  •  6,  35 

Strangers  All   (G)   May  Robson   Apr.    26,'35. . .  .*70.  Mar.  30,35 

Village  Tale   Randolph  Scott-Kay  Johnson  May  3.35  

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 


STATE  RIGHTS 


Features 

Title  Star 

Are  You  a  Mason?  (A)  Sonnie  Hale   

Calling  All  Cars  (G)  Jack  LaRue  

Cowboy  Holiday  (G).      ..  Bio  Boy  Williams 

Cyclone  Ranger,  The  (Gj.   Bill  Cody   

Dealers  In  Death  (A)  

Life  In  the  Congo  (G)  

Lost  City.  The  (G)  Wm.  Boyd  -  Claudia 

Dell   

Loyalties   Basil  Rathbone  . 

Man  of  Courage  (G)  

Norah  O'Neale   Lester  Mathews  . 

Maryjka   Ina  Benita   

Sangen  Till  Heine  (G)  Martin  Osman  

Ticket  to  a  Crime  (G)  lalph  Graves   

War  Is  a  Racket  (A)  

Woman  Condemned   Slaudia  Dell   


Running  Time 
Dist'r  Rel.  Date      Minutes  Reviewed 

M.  J.  Kandel  Oet.    Mv,v«5- .3? 

Empire  Films  ....Jan.    25.  35. .  .67.  Jan.  26.35 

Syndicate   Jan.     1. '35. .  .57.  Jan.   26.  35 

Spectrum  Pictures  ■  Il  *"''^  „ 

TBplcal  Films  ....Dee.    13  -  S 

KInematrade   Nov.    29           60.... Dee.  29 


Regal   Pleturas. . . .  Feb.  I4.'35. 

Harold  Auten  ...  Oct.  24.... 

Eureka   Nov.  12.... 

 Oct.  24  

Principal  Film  .  ..Dee.  I 


.74.  Mar.  9,'35 


.74. . .  .Nov. 
.95.... Nov. 

.66  Nov. 

.65  Dm. 


3 
24 

3 
15 


Scandinavian   ■  ■  ■  ;           m      n..  '  »o 

Syndicate   Dee.    15  67.... Dee.  29 

Eureka  Proil  Dee.     8  68  Dee. 

Marcy  Pictures. .. -Apr.     4  SB  


29 


Title  star 
Notorious  Gentleman.  A  8032 .. Charles  Blekford-Holen  Vinson. 
One  Exciting  Adventure  (G) 

8027   BInnle    Barnes-Nell  Hamilton.. 

Princess  O'Hara  (G)  8013  Jean  Parker-Chester  Morris  

Rendezvous  at  Midnight  8031. .Ralph  Bellamy   

(See  "In  the  Cutting  Room,"  Nov.  17.) 
Secret  of  the  Chateau  (G)  8033. Claire  Dodd-Clark  Williams... 
Straight  from   the   Heart  (A) 

8036   Mary  Aster-Roger  Pryor-Baby 

Jane   

Strange  Wives  (G)  8020  June  Clayworth- Roger  Pryor... 

Rocky  Rhodes  (G)  8001  Buck  Jones-Sheila  Terry  

There's  Always  Tomorrow  (A) 
8035   Frank  Morgan-Elizabeth  Young- 
Lois  Wilson-Blnnie  Barnes.... 

Transient  Lady  (G)  8019  Gene  Raymond-Henry  Hull  

Wake  Up  and  Dream  (G)  8021.  Russ  Columbo  -  Juno  Knight  

When  a  Man  Sees  Red  (0)  8082.Buck  Jones   


Running  Time 
Rel.  Date      Minutes  Reviewed 
.Jan.    21, '35...  .'75. Jan.  I9,'35 

.Oct.     15  '73       Oct.  « 

.Apr.  l,'35....*80.Mar.  30.'35 
.Feb.  Il,'35  


.  Dec. 


3  


.Sept. 


.Jan.    I4.'3S...  '68. Feb.  IS,'35 

.Dec.    10  75  Dee.  • 

.Sept.  24  60  Da*.  22 


.Sept.   10  87.  ..Nov.  17 

.Mar.    4,'3S  72. Mar.  23,'35 

.Oct.       1  78.... Ott.  20 

.Nov.    12  60. Jan.  2t,'S5 


Coming  Attractions 


UNITED  ARTISTS 


Alias  Mary  Dow  8011  Sally  Eilers-Ray  Milland  May  20,'33... 

Bride  of  Frankenstein  8009... Boris  KarlofT   Apr.  22,'35... 

(See  "In  the  Cutting  Room,"  Feb.  I6,'35.) 

Chinatown  Squad  8017  Lyie  Talbot-Valerie  Hobson  May     6, '35... 

Diamond    Jim  Edward  Arnold-Binnie  Barnes  

Mister   Dynamite  (G)  8012  Edmund  Lowe-Esther   Ralston  Apr.  22,'35... 

Raven,  The  8016  Karloff-Bela  Lugosi   May    16, '35... 

Sing  Me  a  Love  Song  8026  

Stone  of  Silver  Creek  8084  Buck  Jones-Noel  Francis  Apr.  I5.'35... 

Werewolf  of  London  8015  Henry  Hull   Apr.    29, '35... 

(See  "In  the  Cutting  Room."   Mar.  30. '35.) 


WARNER  BROS. 

Features 

Title 

Bordertown  (A)  806  

Church  Mouse  881  

Devil  Dogs  of  the  Air  (G)  816. 

Firebird.  The  (A)  825  

Florentine  Dagger,  The  829  

(See  "In  the  Cutting  Room 

I  Am  a  Thief  (G)  826  

Night  at  the  Rit2,  A  823... 

(See  "King  of  the  Ritz. 

Right  to  Live  (A)  828  

St.  Louis  Kid,  The  (G)  817  .. 

(Reviewed  under  the  title, 

Secret  Bride,  The  (G)  811  

Sweet  Adeline  (G)  802  

Sweet  Music  (G)  805  

White  Cockatoo  (G)  827  

Coming  Attractions 

Broadway  Gondolier   Dick  Powell-Joan  Blondell  

Crashing  Society   Guy  KIbbee-Zasu  Pitts  

Dinky   Jackie  Cooper-Mary  Aster  May 

Goose  and  the  Gander  Kay  Francis-George  Brent  

(See  "In  the  Cutting   Room."  Mar.  9.'35.) 

Green  Cat   Bette  Davis   

Haircut   George  Brent-Jean  Mulr  

Irish  In  Us.  The  James  Cagney-Pat  O'Brien  

Living  Up  To  Lizzie  Aline  MacMahon   

Midsummer  Night's  Dream  All  Star   

Money  Man   Edw.  G.  Robinson-Bette  Davis  

Page  Miss  Glory  Marlon  Davies-Dick  Powell  

Present  from  Margate.  A  Kay  Francls-lan  Hunter  

Stranded   Kay  Francls-Geo.  Brent  

Women  Are  Bum  Newspapermen Glenda  Farrell   


*65.Apr.  6,'35 


Star  Rel. 

Paul  Munl-Betta  Davis  Jan. 

Laura  La  Plante  Dee. 

James  Cagney-Pat  O'Brien  Feb. 

Verree  Teasdale-Rlcardo  Cortez..Nov. 
Donald  Woods-Margaret  Lindsay. .  Mar. 
Jan.  26,'35) 

Mary  Astor-Ricardo  Cortez  Nov. 

William  Gargan-Patricia  Ellis... Mar. 
"in  the  Cuting  Room."  Jan.  26,'35) 

George  Brent-J.  Hutchinson  Jan. 

James  Cagney   Nov. 

"A  Perfect  Week-End") 

B.  Stanwyck-Warren  William. ...  Dee. 

Irene  Dunne-Donald  Woods  Dee. 

Rudy  Vallee-Ann  Dvorak  Feb. 

Jean  Muir-Ricardo  Cortez  Jan. 


Running  Time 

Date      Minutes  Reviewed 

5.'35  90.  Feb.  2,'35 

15  

9.'35  86.  Feb.  9,'35 

3  •75. ...Oet.  13 

30,'35  69  


24  64.... Nov. 

23,'35  62  


17 


26.'35  66.  Feb.  23.'35 

10  67  Oet.  20 

22  64.  Feb.  9,'S5 

29  *82  De*.  15 

23,'35  95.  Mar.  Z.'3S 

I9.'35  70. Jan.  2S.'35 


,'35. 


Features 

Title 

Cllve  of  India  (G)  

Folies  Bergere  (G)  

Kid  Millions  (G)  

Last  Gentleman,  The  (G)  

Mighty  Barnum.  The  (G)  

Private  Life  of  Don  Juan,  Tha. 

Runaway  Queen   

Scarlet  Pimpernel,  The  (G).... 
Transatlantic  Merry-Go-Round 
„  (A)   

Wedding  Night,  The  (G)  

We  Live  Again  (A)  


Star 

Ronald  Colman-Loretta  Young... 
Maurice  Chevalier-Merle  Oberon. 
Eddie    Cantor  -  Ann    Sothern  - 

Ethel  Merman   

George  ArlTss   

Wallace  Beery  -  Adolphe  Men- 

Jou- Janet  Beecher-V.  Bruce... 
Douglas  Fairbanks,  Sr.  •  Merle 

Oberon   

Anna  Neagle-Fernand  Graavey.. 
Leslie  Howard-Merle  Oberon.... 

Gene    Raymond-Naney  Carroll- 
Sydney  Howard- Jack  Pi>"ny... 

Anna  Sten-Gary  Cooper  

Anna  Sten-Fredric  March  


Running  Time 
Rel.  Date      Minutes  Reviewed 
Jan.    25,'35...  .*90.Jan.  26,'35 
Feb.    22,'35....*85.Fob.  23,'3'= 


.  Dee.  28  

.Sept.  21  


•92  0*1. 

.72. ...May 


27 
12 


.Dee.    25  'lOS... 


.Nov. 
.  Dec. 
.Feb. 


30   . 

21  

IS.'SS  85. Jan 


.D««  ( 

s«ft.  a 

"26,"'35 


Nov.  2.... 
Mar.  8.'35. 
Nov.  16  


92... Nn.  ir 
•QO.Fob.  23,'35 
•83  Sept.  2« 


Coming  Attractions 

Brewster's  Millions   Jack  Buchanan-LIII  Damlta  May 

Call  of  the  Wild.  The  C.  Gable-Loretta  Young  May 

(See  "In  the  Cutting  Room."  Mar.  2,'35.) 

Cardinal  Richelieu  (G)   George  Arliss   Apr. 

Congo  Raid   Leslie  Banks  -  Paul  Robeson  - 

Nina  Mae  MacKlnney  

Les  Miserables   (G)  Fredric  March-C.  Laughton  Apr. 

Let  'Em  Have  It  Richard  Arlen- Virginia  Bruce..  

Nell  Gwyn  (AJ  Anna  Neagle-Cedrle  Hardwicke  75 

•'bunder  In  the  East  Charles  Boyer-Merle  Oberon  May    I3.'35  75 

(Reviewed  under  the  title  "The  Battle") 


20.|S5  

28,'35....*80.Mar.  30,'35 


2I,'35...  lOS.Apr. 


July  14, 
. . .  Dec. 


'35 
•35 


UNIVERSAL 

Features 

THIa  Star  Rel. 

Crimson  Trail,  The  (G)  8083.. Buck  Jones   Feb. 

C'lh  of  Gab  (G)  8030  Edmund  Lowe  -  Gloria  Stuart - 

Alice  White   Sept. 

Good  Fairy,  The  (G)  8003  Margaret  Sullavan-H.   Marshall .  .  Feb. 

Great  Expectations  (G)  8029.. Henry  Hull-Jane  Wyatt-Phllllps 

Holmes   Oct. 

Imitation  of  Life  (G)  7003.  . .  Claudette  Colbert-W.  William  Nov. 

It  Happened  in  New  York  8023.  LyIe  Talbot- Heather  Angel  Mar. 

(See  "In  the  Cutting  Room,"  Jan.  26,'35.) 

I've  Been  Around  (A)  8025. .  .  .Chester  Morris   Dec. 

Man  Who  Reclaimed  His  Head 

(6)  8028   Claude  Rains-Joan  Bennett  Dee. 

Mystery  of  Edwin  Drood  (G)  8024CIaude  Rains-Heather  Angel  Feb. 

Night  Life  of  the  Gods  (G) 
8008   Alan  Mowbray   Mar. 


Running  Time 
Date      Minutes  Reviewed 
I8.'35  58.  Mar.  I6,'35 

24  *7l....8a»t  It 

I8.'35  98.  Feb.  O.'SS 

2Z  102.... Oet  20 

26  111. ...On.  I 

I8,'35  66  

31  *75....Do«.  20 

24  *80....De«.  S 

4,'35  87. Mar.  30,'35 

ll.'35....*75.Jan.  I2.'35 


OTHER  PRODUCT  (FOREIGN) 


30  68....D*e.  I 

I2.'35.  .  .95.Jan.  2t,'35 
ll.'35...80  


8.. 


.Da*. 


Features  Running  Time 

Title  Star  Dist'r  Rel.  Date      Minutes  Reviewed 

Bella  Donna  (A)  Mary  Ellis   Gaumont-Brltlsh  85. Jan.  5.'35 

Broken  Melody,  Th*  John  Garrick- 

Merle  Oberon  Dlympic  Pictures .  .Oct. 

Chapayev  (A)  Amkino   Jan. 

Cornflower    Irene  A  pal   Danubia  Pictures.  .Jan. 

(Hungarian  Dialogue) 
Czar  Wants  to  8l*e»  (A).  M.  Yanshin   Amkino   Dec. 

Dandy  Dick   (G)   Will  Hay   Assoc.  British  70. Mar.  I6,'35 

Death  at  Broadcasting 

House    Ian  Hunter   ABFD   British  90. Jan.  I2.'SB 

Dirty  Work  (0)   Ralph  Lynn   Gaumont-Brltlsh  80. Jan.  2«,'35 

Forbidden  Territory,  The.  Gregory  Ratoff   Gaumont-Brltlsh  87  Nov.  24 

Doctor's  Orders    Leslie  Fuller   British  Int'l  75. Jan.  5,'35 

Everything  for  the  Women  Tiber   Von    Halmay.  Danubia  Pictures .  .Oct.     10  84  

(Hungarian  Dialogue) 
Father  Knows  Best  Szoke  Szakall  Danubia  Pictures .  .Jan. 

(Hungarian  Dialogue) 

House  of  Greed   V.  Gardin   Amkino   Aug. 

In  a  Monastery  Garden  (A). John  Stuart  R  &.  S  Mar. 

It's  a  Bet  (G)  Gene  Gerrard- 

Helen   Chandler. .  .British   Int'l  80. Mar.  I6.'35 

La  Crise  Est  Finie  (G)... Albert   Preiean  European    Films.. .Mar.    I2,'35. .  .81 .  Mar.  30.'35 

Lady  in  Danger  (A)   Tom  Walls   Gaumont-Brltlsh  63  Dee.  29 

Lorna  Doone  (G)  John  Loder   ABFD   British  80. Feb.  2,'35 

Madame  Bovary  (A)  Pierre  Renoir   John   Tapernoux.  . .Nov.    17  100  Dot.  • 

Marionettes    L.  Leonldoff   Amkino   May 

Miracles    V.  Gardin   Amkino   Oct. 

My  Wife  the  Miss  Irene  Agal  -  Paul 

(Hungarian  Dialogue)        Javor   Danubia  Pictures. .Aug 


I8.'35...80  


M.... 
I2,'35. 


5.. 
IS.. 


74  

77.  Mar.  30,'35 


.83... 


26. 


.79  


Oh!    Daddy   (G)  Leslie  Henson   Gaumont-Brltlsh  75. Mar.  I6,'35 


2,'39 
9,'35 
9,'35 


12,'SS 


Old  Curiosity  Shop  Elaine  Benson   Assoc.  British  85. Feb. 

One  Night   Ingert  Bluggren   Scandinavian   80.  Feb 

Phantom  Light,  The  (Q).. Gordon  Harker   Gaumont-Brltlsh  75. Feb 

Radio  Parade  of  1935  Will   Hay  ■  Helen 

Chandler   Assoc.  British  85. Jan. 

Rakoczi  March   Paul  Javor   Danubia  Pictures ..  Nov.    12  89  

Rakoczy  Marsch   

(Hungarian  Dialogue)      Gustav  Froehlich- 

(German   dialogue)         Camilla    Horn  Danubia  Pictures. .Mar.     I, '35.  ..82  

Shepherdess'  Sweetheart  ..(Greek  Feature)    ...Frank  Norton  ....Fob.  I7,'35..II8  

Soviet  Russia  Today  (G)  Amkino   Mar.    3.'35. ..  .67. Mar.  16,'35 

Such  Is  Life  (Greek  Feature)    ...Frank  Norton  ....Jan.  I9,'35..II9  

Strictly  Illegal   (G)  Leslie  Fuller   Gaumont-Brltlsh  70. Mar.  I6,'35 

Ta  Galazia  Keria  (Greek  Feature)    ...Frank  Norton  ....Oct.     15  S^....  

Ten  Minute  Alibi  (A)  Phillips   Holmes   ...British  Lion  80  F»I>-  8,'S5 

Three  Songs  About  Lenin  Amkino    ..  ....  ..Nov.     8  .64.  .  Nov.  17 

They  Are  Looking  Up  (G)  Cicely  Courtneldge  .Gaumont-Brltlsh  100. Feb.  9,'S5 

Triumph  of  Sherlock  Holmo!  ...  .  „_ 

The  (A)   Arthur  Wontner   Gaumont-Brltish   .87. Mar. 

Victor  and  Victoria  (G)...Renate  Mueller   Ufa   Jan.    26,'35. .  .84.  Feb. 

Wandering  Jew.  The  (A)  .  Conrad    Veldt  Olympic  Pictures  83.  Jan. 


9.  "15 
2,'S5 

10.  'SB 


86 


MOTION    PICTURE  HERALD 


April    13,  1935 


(THE  CHACT—CONT'i:)) 


FILMS 

{All  dates  are  1934  unless 
otherwise  stated"] 

CELEBRITY  PROD'TIONS 

Title                           R«l-  Date  Mill. 
COiHICOLOR  CARTOONS 

jMk  and  the  Bean$tall(  Jan.    2  8... 

Tha  Little  Red  Hen  Feb.  16  7... 

The  Brave  Tin  Soldier  Apr.    7  7... 

Puit  In  Boote  IHay  17  1  rl. 

The  Queen  of  Hearts  June  25  7... 

Aladdin   Aug.  10  7... 

The  Headless  Horsemaa  Oct.    I  I  rl. 

The  Valiant  Tailor  Oet.  29  1  rl. 

Don  ttulxote   Nov.  28  8... 

Jack  Frost   Dae.  24  8... 

LIttIa  Black  Sambo  Feb.  6/35.. I  rl. 

Bremen  Town  Musicians  Mar.  6/35.. I  rl. 

Old  MMher  Hubbard  Apr.  3/35. . I  rl. 

Mary's  Little  Lamb  May  1/35. . I  rl. 


Ral.  Date 


COLUMBIA 


Title  Ral 

BROADWAY  COMEDIES 
Gum  Shoes   Mar. 

(All  Star) 
His  Bridal  Sweet  Mar. 

Harry  Langdon 
His  Old  Flama  Jan. 

Charlie  Murray 
Horse  Collars   Jan. 

(3  Stooges) 
Tn  ■  Father  Fab. 

Andy  Clydi 
In  tha  Dog  House  D«s. 

Andy  Clyde 
It'a  the  Cat's  Oct. 

Andy  Clyde 
Man  In  Black  Sept. 

(3  Stooges) 
Old  Sawbones   Apr. 

Andy  Clyde 
Ona  Too  Many  Dec. 

Leon  Errol 
Parfectly  Mismatsd   Nov. 

Laon  Errol 
Pop  Goes  the  Easel  Mar. 

(3  Stooges) 
Restless  Knights   Feb. 

(3  Stooges) 
Shivers   Dec. 

Harry  Langdon 
Three  Little  Pigskins  Dee. 

(Stooge  Comedy) 

COLOR  RHAPSODIES 

I934'35 

A  Cat.  a  Bell  and  Mtuse  

Babes  at  Sea  Dec. 

Holiday  Land   Nov. 

Make  Believe  Revue,  The.  .Mar. 
Shoemaker  and  the  Elves... Jan. 

KRAZY  KAT  KARTOONS 

1934-35 

3.  Krazy's  Waterloa   Nov. 

4.  Birdman   Feb. 

5.  Hotcha  Melody   Mar. 

6.  Goofy  Gondolas   Dee. 

LAUGHING  WITH 

MEDBURY   

1934-35 

Among  the  Caceona  Nov. 

At  a  County  Fair  Dee. 

Medbury  in  Hollywood  Jan. 

In  the  Old  Days  Mar. 

LIFE'S  LAST  LAUGHS 

1934-35 

No.    I —  Sept. 

No.    2—  Oet. 

No.   3—  Nov. 

No.  4 —  Dec. 

No.    5—  Jan. 

No.    6—  Feb. 

SCRAPPY  CARTOONS 

Gloom  Chasers,  Tha  Jan. 

Happy  Butterfly   Dee. 

Serappy's  Experiment   

Serappy's  Ghost   

1934-35 

Concert  Kid   Nov. 

Gold  Getters   Mar. 

Graduation  Exercises   Apr. 

SCREEN  SNAPSHOTS 


Date 

I, '35. 
I5,'35. 
29,'SS. 

10,  '85. 
7.'35, 
I.... 

II.... 
28.... 

1 1,  '35. 
28. . . . 
20.... 
29,'35. 
20,'35. 
24.... 

8.... 


Min 
21... 
20... 
20... 
20... 
20... 
20... 
20... 
20... 
20... 
20... 
20... 
,20... 
I6>/,. 
20... 
20... 


22,'35. 
20.'3S 


16.... 
I.'3S. 
I5,'35. 
21.... 


9.... 

7.... 
Il,'35. 
22,'35. 


15.... 
12.... 

9.... 

12  

4/35. 

1,'SS. 

IS.'SS. 
20.... 


No. 

No.  2—  

No.  3—  

No.  4—  

No.  5—  

No.  6—  

No.  7  

No.  8—  

SPICE  OF  LIFE 

1934-35 

No.  2—  

No.  3—  

No.  4—  

No.  5—  

No.  6—  

WORLD  OF  SPORT 

Air  Thrills   Mar. 

Anything  for  a  Thrill  

Flying  Pigskins  Nov. 

Helgh-He  the  Fox  June 

1934-35 

Hold  That  Shark  Mar. 

Good  Golfers  Start  Young. .  .Sept. 

Pardon  My  Grip  Feb. 

Polo   Thrills   Oet. 

Thrill  Flashes   Dec. 

When  Men  Fight  Jan. 


Sept. 
Oct. 
Nov. 
Dec. 
Jan. 
Feb. 
Mar. 
Apr. 


.Sept. 
.Dec. 
.Dec. 
Jan. 
.Mar. 


2.... 
I.'35. 
12,'39. 

29.... 
26.... 
23.... 
21.... 
IS.'SS. 
22.'35. 
15,'35. 
12,'35. 


29.... 
13..., 
31.... 
20,'S5. 
I, '35. 

1/35. 


20. 


.7.. 
.7.. 
.7.. 

lO'/j 
lO'/j 
lO'/j 
10'/, 
10.. 
10.. 
lO'/j 
ID.. 


10.. 
10.. 
10.. 
10.. 
10.. 

10.. 
.1  rl 
10.. 
.1  rl 


29,'35, 
20.... 

I, '35. 
12.... 
12. .. . 

4/35. 


DU  WORLD  PICTURES 

Title  Rel.  Date  Min. 

QUEST   OF  PERFECT 

WOMAN  SERIES 

(TOM  TERRI8) 

t.  Veiled  Dancer  of  Etoued.July  15. ...10  

2.  Vampire  of  Marrakesh. . .  Aug     I  9 


I.. 
I.. 
I.. 


26... 
15... 
.8... 


Title 

SEMI-FEATURES 
AND  SHORTS 

Bride  of  Samoa  Mar. 

Chump   Nov. 

Frankie  and  Johnny  Oct. 

Charles  Laughtan 

MIre  Unga   Aug. 

Prisoner   Sept.  15  18. 

Retribution  of   Clyde  Bar- 
row and  Bonnie  Parker. . .July  10  20. 

Stars  In  the  Making  Oct. 

Frank  Albertson 

Swerd  of  the  Arab  Sept.  15 

Duncan  Renaldo 

Yokel  Dog  M .Kos  Good  Sept.  I. 


Min. 


1....I7.... 
.28.... 


...18.. 


EDUCATIONAL 

[Distributed  through  Fox  Films] 


Ral.  Date 


3. ...22. 
31 ....20. 

5. ...21. 
28.. ..It. 

8,*35.IS. 
8,'35.I8. 
17. ...20. 
16. ...20. 


26. 
14.. 
30.. 

21.. 


.10. 
.It. 
.18. 


Title 
BING  CROSBY 
SPECIALS 

1 —  I  Surrender  Dear  Aug. 

2 —  One    More    Chance  Aug. 

3—  Billboard    Girl   Oct. 

t— Dream    House   Sept. 

CORONET  COMEDIES 

An  Ear  for  Music  Mar. 

Easy  Money   Feb. 

Hello,  Sailors   Aug. 

Rural    Romeos   Nov. 

Second   Hand   Husband  Oct. 

Super-Stupid   Sept. 

Two  Lame  Ducks  Nov. 

FROLICS  OF  YOUTH 

Boosting  Dad   Dec. 

Campus  Hoofer,  The  Nov. 

Educating  Papa   Nov. 

Little  Big  Top,  The  Fab. 

MARRIAGE  WOWS 

SERIES 

Domestic  Bllss-Ters   Oct. 

Dumb  Luck   Jan. 

How  Am  I  Doing?  Jan. 

MUSICAL  COMEDIES 

Big  Business   -Dec. 

Girl  from  Paradise,  Tha  Nov. 

Good  Luck — Best  Wishes. . -Aug. 

Hail    Brother   .Mar. 

Nifty  Nurses   Oct. 

She's  My  Lilly    Sept. 

SONG    HIT  STORIES 

Bounding  Main,  The  -Nov. 

Fireman's  Day  Off  .Apr. 

Gay  Old  Days  .Jan. 

House  Where  I  Was  Born, 

The   .Oct. 

Mountain  Melody   .Aug. 

Old  Camp  Ground,  The  .Mar. 

Song  Plugger    Jan. 

Time  on  Their  Hands  .Sept. 

Way  Down  Yonder   Dee. 

STAR  PERSONALITY 

COMEDIES 

A    Nose  for   News   Apr. 

Hayseed  Romance   .Mar. 

Mr.  Widget    Jan. 

Object   Not   Matrimony  .Mar. 

One-Run  Elmer   .Feb. 

Only  the  Brave  Apr. 

Paloaka  From  Padueah  Jan. 

Tars  and  Stripes  .May 

TERRY-TOONS 

Black  Sheep,  Tha  -Oct. 

Bull  Fight,  The  Feb. 

Dog  Show.  Tha   Dec. 

Fireman  Save  My  Child. ...  Feb. 

First  Snow,  Tha   Jan. 

Five   Puplets   Apr. 

Flying  Oil   Apr. 

Hot  Sands   Nov. 

Jack's  Shack   Nov. 

Jail  Birds   Sept. 

Magic  Fish,  The  Oct. 

Mice  In  Council  Aug. 

Modern  Red  Riding  Hoed, 

A   May 

Moth  and  the  Spider,  The. -Mar. 

My  Lady's  Garden  July 

Old  Dog  Tray  Mar. 

Opera   Night  May 

Peg  Leg  Pete,  the  Pirate.. May 

South  Pole  or  Bust  Dec. 

Tom  Tom  the  Piper's  Son.  . Nov. 

What  A  Night  Jan. 

^hy  Mules  Leave  Home  Sept. 

TREASURE  CHEST 

Chums   Mar. 

Harlem  Harmony   Dec. 

Hollywood  Movie  Parade, 

The   Nov. 

Tamins  the  Wild  Apr. 

Then  Came  the  Yawn  Aug. 

Your  Stars  for  1935  Oct. 

YOUNG  ROMANCE 

Moon  Over  Manhattan  Feb. 

Three  Cheers  for  Love  Dec. 

FIRST  DIVISION 

MARCH   OF  TIME 

No.  I   Feb.    I. '35.... 

No.  2   Mar.  8,'35  

No.  3   Apr.  19, '35  

MUSICAL  MOODS 

(Technicolor) 

In  a  Monastery  Garden. ...  Oct.    2  7. 

Mexican    Idyll   Oct.  16  

By  the  Waters  of 

Minnetonka   

Hymn  to  the  Sun  

Les  Preludes   

October  Day   9. 

Italian  Caprice   8. 

Voices  of  Spring  

Irish  Melody   R. 

Countryside   Melodies  May   4. '35.. 8. 

Mediterranean  Songs   7. 

Barcarolle   8. 

In  a  Mountain  Pass  

Finqal's  Cave   Nov.  13  

(Black  &  White) 

Waltz  in  A  Flat  Major  

Dance  of  the  Hours  Dec.  15  

Air  for  the  G  String  Nov.  3  

Llebestraum   

6  THRILLING  JOURNEYS 

Old  Faithful  Speaks  8. 

Realm  of  Ghosts  


Min. 


21. 
9. ...It. 
2.. ..18. 
I,'35.2I. 


12. ...19... 
I8,'35.I7... 
4,'35.20... 

7. ...19... 
23. ...21... 
24. ...21... 
22,'35.I9... 
19. ...20... 
7.... 22... 

16. ...10... 
I2,'35..l  rl. 
4,'35.I0... 

26....I0... 
31. ...10... 
I5,'35..1  rl. 
18,'35..9... 
14. ...II... 
7....  1 1... 


5/35.17.... 
I5.'35.20.... 
25,'35.2I.... 

1.'35.I8.... 
22,'35.I9.... 
I9,'35..2  ris. 

Il,'35.20  

3,'35..2  rIs. 

5  6.... 

8,'35..6.... 

28  6.... 

22,'35..6.... 
II,"S5..6.... 

I9.'35.  .6  

5,'35..l  rl.. 

2  6.... 

30  8.... 

21  8.... 

19  6  

24  8.... 


I7.'35..l  rl. 
8.'35..l  rl. 

13  8... 

21, '35. .6... 
31, '35. .  I  rl. 
3,'35..1  rl. 

14  6... 

16  6... 

25,'35..6... 
7  6... 


1,  '35..9... 
21. ...10... 

2  t.  . 

26. '35. .  I  rl. 

10  8... 

19.. ..II... 


15.'35.I7... 
14. ...II... 


Title  Ral.  Data  Min. 

Deep  Sea  Harvest  

Ride  Along  Dude  

City  of  Proud  Memories  

Craters  of  the  Moon  


5..........    FOX  FILMS 


Min. 


Title  Ral.  Date 

ADVENTURES  OF  THE 

NEWSREEL  CAMERAMAN 

Casting  for  Luck  10  

Man's  Mania  for  Speed  10.... 

Marching  With  Science  S.... 

On  Foreign  Service   9.... 

Tracking  the  Explorers  10,.,. 

MAGIC  CARPET 

SERIES 

The  Coast  of  Catalonia  

Crossroads  of  the  World  t.... 

Geneva-By-The-Lake   10.... 

MOVIE  TINTYPE  SERIES 
The  Heart  of  Valeska  Mar.  9  ID  


MI«. 

.17.... 

..20.... 
..18.... 
..20.... 
..19.... 
..18.... 
..II.... 
.21. 


Title  Ral.  Date 

Wash-ee  Iren-ea   Sept.  29... 

TODD-KELLY 

Bum  Voyage   Dec.  15... 

Done  In  Oil  Nov.  10. .. 

Maid  In  Hollywood  May  19.. 

Misses  Stooge,  Tha  

One  Horse  Fanaer*  Sept.  I.. 

Opened   by  Mistake  Oct.  8.. 

Sing,  Sister,  Singl  

Three  Chumps  Ahead  2  rli. 

Tin   Man,  The  |6. 

Treasure   Blues   18. 

WILLIE  WHOPPER 

Cave  Man   7. 

Good  Seout   j. 

InsultIn'  tha  Sultan  Apr.  14  8. 

Jungle  Jitters   7. 

Raslln'  Round   

Reducing  Creme   May  19  •. 

Robin  Hood,  Jr  Mar.  10  1. 

(Color) 

Viva  Willie   7. 


MASTER  ART  PRODUCTS  MONOGRAM 


Title  Ral.  Data  Min. 

HUMAN  SIDE  OF  (Varlablt) 
THE  NEWS 
(EDWIN  C.  HILL) 

1.  Roosevelt  Family  in 

America   II.... 

2.  A  Visit  to  West  Point  10.... 

3.  Carrie  Jacobs  Bond  I.... 

MELODY  MAKERS 

Fields  and   McHugh  t  

ORGANLOGUES 
What's  In  a  Name  I.... 

RAIN  SONGS 
Irving  Kaufman-Lew  White  

SPECIAL 

Take  a  Letter  Please  

Eddie  Stanley- 
Evelyn  San 

METRO-GOLDNAnrN- 


MAYER 


Min. 


It 


1... 

 I  rt. 

 I  rl. 

IS  I... 

S  I... 

2.'SS..8... 
18  1... 

8.'8t..7... 
10  1... 


I  ri. 
8. ...10... 
8  t... 

3. ...10... 
 10... 


Title  Ral.  Date 

ALL-STAR  COMEDIES 

Caretaker's  Daughter   Mar.  10.. ..10..., 

Movie  Daze   II.... 

Mrs.  Barnacle  Bill  Apr.  21  20.... 

CRIME  DOESN'T  PAY 
No.  I— Burled  Loot  It  

CHARLEY  CHASE 

Chases  of  PImpIe  Straat  Dae.  22  20.... 

Fate's   Fathead   Nov.  17  18  

I'll  Take  Vanilla   May    9  18.... 

It  Happened  One  Day  July    7  It  

Something  Simple   Sept.  8  It.... 

You  Said  a  Hatful  Oet.   IS  It  

IRVIN  S.  COBB 
Ballad  of  Padueah  Jail.... Oet.  20.... It.... 

Nosed  Out   Stpt,  IS  18  

Speaking  of  Relations  It.,.. 

You  Brings  tha  Dueki  Nov.  24  18.... 

FITZPATRICK 

TRAVEL  TALKS 

Africa,  Land  of  Cantratt  t.... 

Citadels  of  tha 

Mediterranean   I  rl.. 

Colorful  Guatemala   

Colorful  Ports  of  Call  Jan, 

Cruising  In  the  South  Baas  

Glimpses  of  Erin  

Holland  In  Tulip  Tint  Sept 

Ireland,  The  Emerald  Ule..Dea. 

Rainbow  Canyon   Feb, 

Switzerland,  Tha  Baaotlfal.Oat. 
Zeeland.  Tha  Hidden 

Paradise   Jan. 

ZIon,  Canyon  of  Color  Nov, 

GOOFY  MOVIES 

No.  4   Mar   ■  t. 

No.    5   8. 

No.  6   

No.   7   Sapt 

No.  8   Oet 

No.    9   Nov. 

No.  10   

HAPPY  HARMONIES 

(Harman-lsing) 

2—  Old  Pioneer   Sapt.  21  t.... 

3 —  A  Tale  of  the  Vienna 

Woods   Oet  27  t.... 

4 —  Bosco's  Parlor  PraRlM...Nov.  24  t  

5 —  Toyland  Broadcast   Dee.  22  8  

6 —  Hey,  Hey,  Fever  Jan.  8,'S5..9  

7—  When  the  Cat's  Away... Feb.  16/35.. 9  

8—  The  Lost  Chick  10.... 

9 —  Calico    Dragon  8  

LAUREL  &  HARDY 

Fixer-Uppers   

Going  Bye-Bye   

Live  Ghosts   

Them  Thar  Hills   

Tit  for  Tat   Jan. 

MUSICAL  COMEDIES 

Musle  In  Your  Hair  June 

Roamin*  Vandals   Apr. 

MUSICAL  REVUES 

Gentlemen  of  Polish  

Grandfather's  Clock   Oet 

Gypsy  Night   

Star  Night  at  tha  Cacoanirt 

Grove   Dee.    I  21. 

What  Price  Jazz?  18. 

ODDITIES 

Dartmouth  Days   Ne*.  17.... II, 

Donkey  Baseball   8. 

Motorcycle  Cossaeki   Jan.  I2,'SS..I. 

Little   Feller   May  28  8. 

Old  Shop   June  23  t. 

Plchlannl  Troupe   Sept  22  1. 

Pro   Football   I. 

Rugby   Dee. 

Strikes  and  Spares   Oet. 

Taking  Care  of  Baby  Aug. 

Trick   Golf   Mar. 

Vital  Victuals   Mar. 

(Color) 

Windy   II. 

OUR  GANG 

Anniversary  Trouble   18. 

Peginner's  Luck   19. 

Mama's  LIttIa  Pirate  Nov.    3  18. 

Shrimps  for  a  Day  21. 


 21.... 

 21.... 

 21.... 

 2  ria. 

8.'S8.20..., 

2.. ..17.... 
28.. ..II.... 


...2rls. 
..17.... 
, .18.. .. 


27. 


IS....  10. 

20  1. 

25  B. 

24  8. 

8.. ..10. 


PORT  0'  CALL  SERIES 

10.  Dravldian  Glamour  ....Sept. 

11.  Adventure    Isle   Oct. 

12.  Queen  of  the  Indies  Nov. 

13.  A  Mediterranean  Mecca.  Dec. 


..10. 
..10. 
..10. 
..It. 


PARAMOUNT 

Title 

BETTY  BOOP 

CARTOONS 

Baby  Be  Good  Jan. 

Betty  Beep's  Life  Guard... July 

Betty  Boop's  LIfa  Pal  Sept 

Betty  Boop's  Prize  Show... Oet. 

Betty  Boop's  Trial  June 

Stop  That  Noise  Mar. 

Swat  the  Fly  Apr. 

Taking  the  Blame  Feb. 

Keep  In  Style  Nov. 

There's  Somethint  About  a 

Soldier   Aug. 

When  My  Ship  Comas  la... Dee. 

COLOR  CLASSICS 
An  Elephant  Never  Fariats.Dee. 

Little  Dutch  Mill   Oet 

poor  Cinderella   Aug 

Song  of  the  Birds  Mar. 

HEADLINERS 
Feminine  Rhythm   Feb 

Ina  Ray  Hutton  and  Her 

Melodears 
Club  Continental   Oct. 

Leon  Belasco  &  Orchestra 

George  GIvet  -Vivian  Janis 

Grace  Barry 
Hark  Ye,   Hark  Mar 

Ben  Bernie-Graca  Barry 
Hollywood  Rhythm   Nov. 

Gordon  and  Revel  -  Lyda 

RobertI  -  Jack  Oakla-Nar- 

man  Taurog-LeRoy  Prlnz- 

Edlth  and  Bill  Wllshira 
Ladles  That  Play  Dee. 

Phil   Spltalny   and  His 

Musical  Ladfas 

Melody  Magic    .Apr. 

Johnny  Green  and  His  Or- 
chestra   

Million  Dollar  Notes  Fab' 

Red  Nichols  and  his  World 

Famous  Pennies 
Radio  Announcer's  Review.  .Sept. 
Rhythm  on  the  Roof  Oct 

Anson  Weeks  &  Orchestra 
Song  Writers  of  tha  flay 

Nineties   Mar. 

Pat  Rooney 
Yacht  Club  Beys  Garden 

Party   Dae. 

PARAMOUNT  PICTORIAL 
(NEW  SERIES) 

No.  4— Tub  Boat  Ahoy— Hat. Nov. 
Dog — Mabel  Wayne 

No.  5 — Rose  of  Bulgaria — .Dec. 
0.  Soglow — Coney  Island 

No.  6— Twilight  Melody  —.Jan. 
Pets   from    the  Wild- 
Howard  Chandler  Christy 

No.  7— Queen  of  the  Waters. Feb. 
—Billy  Blue  Gum — Merl- 
cano 

Mo.  8— Aubrey  Rainier— Old. .... . 

Madeira — Rube  Goldberg, 
World  Famous  Humorist. 

No.    9—   Mar. 

No.  10—   Apr. 

PARAMOUNT  VARIETIES 

7—   Feb. 

N«-    8—   Mar. 

No-    9—   Mar. 

Baby  Blues   ^  Oct. 

(Technicolor) 

Coo-Coo  News   Jan. 

Jungle  Antics   Feb. 

Madhouse  Movies  No.  I.... Aug. 

Manhattan  Rhythm   Mar. 

Monkey  Shines   Nov 

Movie  Sideshow   Jan. 

Nerve  of  Some  Women,  The. Nov. 

Old  Kentucky  Hounds  Sept. 

Screen  Souvenirs  No.  I  Sept 

Screen  Souvenirs  No.  2  Nov. 

Screen  Souvenirs  No.  3  Feb. 

Screen  Souvenirs  No.  4  Apr' 

Shorty  on  the  Farm  Apr. 

Superstition  of  tha  Black 

Cat   Aug. 

Superstition  of  the  Rabbit's 

Foot   Mar. 

Superstition  of  Three  on 

a  Match   Oct. 

Superstition  of  Walking 

Under  a  Ladder  Dee. 

POPEYE  THE  SAILOR 

A  Dream  Walking  Sept 

Axe  Me  Another  Aug. 

Be  Kind  to  "Aminais"  Feb. 

Beware  of  Barnacle  Bill... Jan. 
Dance  Contest   Nov 


Ral.  Date 


18/35. 
13.... 
21.... 
10.... 
IS.... 

15,  '35. 

16.  '35. 
15,'3S. 
18.... 


Mia. 


17.... 
21.... 


28.... 
28.... 

S.... 

I.'SS. 


S,'35.I0. 


.11. 


22,'35 
18.... 


7..., 
1 2, '35. 


10..:. 
It.... 

It.... 


8,'35.ll... 


14... 
28.... 


I, '35. 
28.... 

9  

7.... 
4,'35. 

1,'35. 


10... 
II... 


10.... 
It.... 

10.... 
10.... 
10.... 

10  

.1  rl.. 


29.'35. 
26,'35. 

I, '35. 
I, '35. 
29,'35. 
5.... 

25,'35. 
22,'35. 
24.... 
22,'35 
16.... 
II,'3S. 

2.... 
,  7.... 
21.... 
30.... 
8, '35. 
19,'35. 
5,'35. 

10.... 

S.'35. 

19.... 

28 

28.... 
24.... 
22,'35. 
25,'3S. 

23. . . . 


10. 


10. 

10. 
10. 
.9. 
10. 
10. 

II.. 

10. 
10. 
10.. 
10., 
10. 


10.. 
.8.. 
II.. 
11.. 

.7.. 
.7.. 

.7.. 
.7.. 
.7.. 


A 


r  I 


I  3 


9  3  5 


MOTION    PICTURE  HERALD 


87 


(THE  RELEASE  CHAI3T--C€NT'D) 


TItIt  R*l-  D>t«  Min 

Hyp-Nut-TIrt,  The  Apr.  26,'35. . . . . . 

PiMud  t*  Meet  Chal  Mar.  22,'35.  .7. . . , 

Sblmr  Me  Timber*  July  27  7... 

Sheeln'  He»«ee   June    I  7... 

Streng  te  the  FInleh  June  29  7... 

Twe  Alwra  Fire  Oct.  2t  7... 

We  Aim  to  Pleeie  Dee.  28  7... 

PARAMOUNT  SOUND 

NEWS 
Twe  Editlene  Weekly 

6RANTLAND  RICE 

SP0RTLI6HTS 

(NEW  SERIES) 

Ne.  3 — Water    Rede*  Sept.  28  10... 

Ne.  ♦—Keeping   Time  Oot.  26.. ..II... 

No.  5— Saddle    Champa  Nov.  30  II... 

No.  &— A  Sportlllht  CKk- 

tail   Dee.  28  10... 

Ne.  7— King  of  the  Ever- 

glidee   Jan.  25,'35.I0... 

Ne.  8— Feline   Athletee  Feb.  22.'35. 10. . . 

No.  9 — Sporting  Sounds  ...  .Mar.  22,'35  

No.  10— Nerve  Control  Apr.  I9,'35  

TWO  REEL  COMEDIES 
Making  the  Roundc  July    6  21... 

Pallette-Catlett 
New   Dealer*.  Tb*  Apr.    6. ...20... 

Pallette-Catlett  ^ 
New*  Hound*   June    I  20... 

Pallette-Catlett 
Ne  More  Bridge*   Mar.  16.... 21... 

Leon  Errel 

Oil'*  Well   May    4.... 22... 

Chle  Sale  , 
Old  Bugler,  The  Jan.    5  20... 

Cl>l«  Sale  ,      „  ,„ 

Petting  Preferred   Apr.  M. . . .  10. . . 

Pleued  to  Meet  Chal  Mar.  M,  35  

8»«1lng  sound*   Mar.  22,  35...... 

U»  and  Down   ..Mar.  2,'35.2I... 

Franklyn  Pangbem 


PRINCIPAL 


Title  Rel- 

Death  Day   Apr- 

eiory  of  the  Kill  May 

Newilaugh— No.  2  Dee. 

Wonder*  of  the  Treple*  Dee. 

CONFLICTS  OF 

NATURE  SERIES 
Circle  of  Life  af  tha  Ant 

Lion,   The  Feb. 

Farmer'e  Friend   ^  Oot. 

Fram  Ceeeon  to  Butterfly..  .Jan. 
Her  Majeety  the  ttuaan  Bae.Dee. 

Ineeet  Clown*   ....Mar. 

aueen  of  the  Underworld... Dee. 


Date 

10... 

23... 

20.'33 

I3.'33 


14... 
II... 
10... 
1/33 
4... 
6,'33 


Min 
17... 
28... 
.S... 
32. 


.7... 
.7... 
.7... 
.6... 
.7... 
.7... 


RKO  RADIO  PICTURES 


Title  Rel.  Date 

BLONDE  and  RED 
HEAD  SERIES 

Daneing  MllllonaIra   S«£- J.? 

Hanger  Pain*   Feb.  22,'35. 

Oeaan  Swell*   OeL  12.... 

Pickled  Peppers   June    7, 3S. 

Rough  Neeking   Apr.  27.... 

Wig  Wag   

CHICK  CHANDLER 
COMEDIES 

Big  Mouthpiece   Nov. 

Her**  Heir   Feb. 

Raised  and  Called  Mar. 

Unlucky  Strike   Aug. 

CLARK  &  McCULLOUflH 
SERIES 

Alibi  Bye  Bye  June 

Bedlam  of  Bearda  Apr. 

Everything's  Ducky   Oet 

Flying  Down  te  Zer*  Apr. 

In  a  Pig'*  Eye  Dee. 

In  the  Devil  Dog  Hau**  Feb. 

Odor  In  the  Court  Aug. 

CUBBY  THE  BEAR 

CARTOONS 

Cubby's  Stratoephere  Flight. Apr.  20  

FIddlin'  Fun   June  15  

DUMBBELL  LETTERS 

Ne.   4   Sept.  28.... 

No.   5   Oot  26.... 

N*.   6   Nov.  23.... 

Na.   7   Doe.  21.... 

N*.   8   Jan.  4,'35. 

Na.    9   Jan.  I8,'35. 

No.  10   Feb.  I,'35. 


Min. 


19... 
l7'/a. 
21... 

20*. '.1 

19'/,. 


I, '35 
22,'35 
31... 


I4,'35, 
13..., 
19.... 
I9.'35. 
28.... 

2.... 

2.... 


.20... 
.l9>/>. 
20... 
.20'/,. 


21'/, 
18.. 
21... 
19.., 
20'/,. 
21... 
21'/.. 


.7... 
.7... 


.4'/,. 
.5... 
.4'/,. 
.5... 
.5'/,. 
.5... 
.5... 


EASY  ACES 

Little  New  New  York  

Pharaohland   Feb.  22,'35..9. 

Topnotchers   II. 


FOUR  STAR 

COMEDIES 

Fixing  the  Stew  Nov.    2.... 20.... 

Hit  and  Rum  Apr.  26,'35  

Haw  to  Break  90 

at  Croquet   Jan.  4,'35.I5  

HEADLINER  SERIES 
No.  6— Well  Cured  Ham.... June  22.... 19.... 

HEADLINER  SERIES 

(1934-35) 

N*.  I — Songs  of  the  Colleges. Oet.    5  IS  

Na.  2 — Ferry  Go  Round  ...Nov.  23  20  

No.  3— This   Band   Age  Jan.  25,'35.2l>/2.. 

Ne.  4 — Simp  Phoney  Concert. Mar.  I5,'35.2I  

EDGAR  KENNEDY 

COMEDIES 

BrIe-a-Brac   Jan.  I8,'35.I9... 

Love  on  a  Ladder  Sept.  7  20'/2. 

Poisoned  Ivory   Nov.  16  21... 

Sock  Me  to  Sleep  May  I7,'35  

South  Seasickness   20'/:. 

Wrong  Direction   Nov.  16  21... 


MUSICALS 

Everybody  Likes  Mnele  Mar.  9  19'/,.. 

Henry  the  Ape  Jan.  26  2rls. 

Bert  Lahr 


Sept. 
Feb. 


Title 

If  This  Isn't  Love... 
Spirit  of  1976   

MUSIC0MEDIE8  SERIES 

CRuth  Etting) 

An  Old  Spanish  Onion  Mar. 

Bandits  and  Ballads  Dee. 

Southern   Style   Sept 

Ticket  Or  Leave  It  May 


Rel.  Date 


28... 
I5,'35 


I, '35 
7.... 

14... 

26,'35 


Min. 

21'/ 


20.... 
18'/,.. 
.20.... 


PATHE  NEWS 
Released  twice  a  week 

PATHE  REVIEWS  (1933-1934) 
Released  once  a  month 

PATHE  TOPICS 
Released  seven  time*  a  year 

RAINBOW 

PARADE  CARTOONS 

Japanese  Lantern   8... 

Parrotville  Old  Folk*  Jan.  25,'35..7... 

Spinning  Mice   

Sunshine  Makere,  The  Jan.  Il.'35..8. .. 

SOGLOW'S   "THE  KING" 
CARTOONS 

Cactu*  King   June   8  1  rl. 

SPECIALS 

Century  of  Progress  June  15  22... 

A    Day    witli    the  Dionne 

Quintuplets   

Grand  National  Irish 

Sweekstake*  Race,  1 934... Apr.  2... 
La  Cucaracha   Aug.  31... 

Stefll  Duna-Don  Alvarado 

(Technicolor) 

TODDLE  TALE 
CARTOONS 

A  Little  Bird  Told  M*  Sept.  7... 

VAGABOND  ADVENTURE 
SERIES 

Eyes  on  Russia   Aug. 

Fakeers  of  the  East. 

Isle  of  Spice   

Jamaica 


.10... 
.20'/^. 


9....II... 


Red  Republle 

Roumania  . . . . 


....Dec.  7. ...18'/,. 
 Jan.  II,'35.I0'/,. 

 m- 

 Sept.  21....  10... 


STATE  RIGHTS 

CARTOON  EXHIBITORS 

Of  All  Things  4.... 

CENTRAL 

Child  of  Mother  India  30.... 

Hindu   Holiday   9.... 

MARY  WARNER 
Olympic  Winter  Sport* 

Capital   8.... 

METROPOLITAN  LIFE 
Once  Upon  a  Time  10  

UNITED  ARTISTS 

Title  Rel.  Date  Min. 

MICKEY  MOUSE 

6.  Mickey's  Steamroller  June  15  7.... 

7.  Orphans'  Benefit   Aug.  II  8.... 

8.  Mickey  Plays  Papa  Sept.  29  

9.  The  Dognapper*   Nov.  10  

10.  Two-Gun  Mickey   Dec.  25  

11.  Mickey's  Man  Friday. .  Jan.  17. '35. 

12.  Band  Concert   Feb.  23,'35. 

13.  Mickey's  Service  Station. Mar.  15, '35. 

14.  Mickey's  Kangaroo  

SILLY  SYMPHONIES 

7.  The  Flying  Mouse  July 

8.  Peculiar  Penguin*   Sept 

9.  Goddess  of   Spring  Nov. 

10.  The  Golden  Touch  Mar. 


S... 
,7... 


9.... 


12.... 

6  

I.... 

21. '35. 


.7... 
.8... 


UNIVERSAL 

Title  Rel.  Date 

CARTUNE  CLASSICS 

No.  I— Jolly  Little  Elves. .  .Oct.  I  

No.    2 — Toyland    Premiere. .  Dec.  10  

No.    3 — Candyland   Apr.  22. '35. 

GOING  PLACES 

with  LOWELL  THOMAS 

No.    3   Nov.  5  

No.    4  Dec.  3  

No.    5   Dee.  31.... 

No.    6   Jan.  I4,'35 

No.   7   Feb.  I8.'35. 

No.    8   Mar.  25.'35 

No.    9    May  6,'35. 

GOOFYTONE  NEWS 
No.    7   Apr.  30... 

OSWALD  CARTOONS 

Do  a  Good  Deed   Mar.  25,'3S. 

Elmer  The   Great   Dane. ..  .Apr.  29,'35. 

Hill  Billys   Fob.  I.'3S. 

Robinson  Crusee  Isle  Jan.  7,'35. 

Sky  Lark*   Oet.  22.... 

Spring  In  the  Park  flov.  12  

Two  Little  Lambs  Mar.  Il,'35. 

STRANGER  THAN 

FICTION  SERIES 

No.    2— Novelty   Sept.  24  

No.   3— Novelty   Oct.  22  

No.  4 — Novelty   Nov.  26  

No.  5 — Novelty   Dec.  17  

No.    6— Novelty   Jan.  28,'35. 

No.    7— Novelty   Mar.  4,'35. 

No.    8— Novelty   Apr.  I,'35. 

No.  9 — Novelty   Apr.  22.'35. 

UNIVERSAL  COMEDIES 
At  the  Mike  Oet.  10  

(Mentone  No.  3-A) 
Bring  'Em   Back  a  Lie. . .  .  Apr.  24,'35. 

(Van   Ronkei   No.  3) 
Demi  Tasse   Oct.  3  

(Doane  Musical  No.  I) 
Desert   Harmonies  Apr.  I0,'35. 

(Mentone  No.  12-A) 
Doin'  the  Town   Jan.  30,'35. 

(Mentone  No.  9-A) 
Father  Knows  Beet  Feb.  20,'35. 

Sterling  Holloway 


8'/,. 


Min. 


.9... 

.9... 

.1  rl. 


.1  rl. 
.1  ri. 
.1  ri. 
.9... 
.9... 
II... 
I  rl. 


.7... 
I  rl. 
.9... 
.9... 
.8... 
.7... 
.8'/,. 


10.... 
.9.... 
.9.... 
.9.... 
.8.... 
.8.... 
10. . .. 
10.... 

20. . . . 
.2  rls. 
.2ri*. 
.2  rls. 
18.... 
.2  rl*. 


Title  RoL  Date  Min. 
Henry's  Social  Splash  Dec.  19  21  

Henry  Armetta 
Here's  the  Gang  May  S,'3S..2rls. 

(Mentone  No.  13-A) 

Hollywood  Trouble   Jan.  9,'35.20  

Just  We  Two  Aug.   8  19  

Knickerbocker  Knights   Dec.  12  20  

Mentone 

Meet  the  Professor   Feb.  I3,'35. 19. . . . 

(Mentone  No.  lO-A) 
Oh  What  a  Business  Nov.  26  2  rls. 

(Mentone  No.  5-A) 
Old  Age  Pension  Mar.  27,'35.  .2  rl*. 

Henry  Armetta 
Revue  a  la  Carte  Jan.  I6,'35.I7  

Tom  Patricola 

(Mentone  No.  6) 
Sterling's  Rival  Romeo  Nov.  14  2  rls. 

Sterling  Holloway 

Telephone   Blues   Mar.  13, '35. 19  

(Mentone  No.   1 1 -A) 
Tid  Bits   Oct.    24  2  fla. 

(Doane  Musical  No.  2) 
Well,  By  George  Oct.  31. ...20.... 

(Mentone  No.  4-A) 

George  Price 
Whole  Show.  The  Dee.  26.... 20.... 

(Mentone  No.  7-A) 

James  Barton 
World's  Fair  and  Warmer.. Oct.   17  22  


VITAPHONE  SHORTS 


Title  Rel.  Date  Min. 

BIG  V  COMEDIES 

1 934-35 

All  Sealed  Up  Sept.  15  19  

Ben  Blue 

Get  Rich  Quick  Apr.  20,'3S..2  fl*. 

Allen  Jenkins 
His  First  Flame  Mar.  9,'35.I9  

Shemp  Howard 

Daphne  Pollard 
Oh  Sailor  Behave  Sept.  29  17  

El  Brendel 

Old  Grey  Mayor,  The  Apr.  6,'35.I8  

Bob  Hope 

Smoked  Hams   Oct.  20  18  

Shemp  Howard 

Daphne  Pollard 
So  You  Won't  T-T-T-Talk.. Nov.    3. ...20.... 

Roscoe  Ates 

Out  of  Order  Nov.  17  19  

Ben  Blue 

Vacation  Daze   2  rls. 

Jenkins  &  Donnelly 
Dizzy  and  Daify  Dec.  IS  19  

Dizzy  and  Daffy  Dean 
Once  Over  Lightly  Jan.  I2,'35.20  

Roscoe  Ates 

Radio  Scout   Jan.  26.'35. 19. . . . 

El  Brendel 

Why  Pay  Rent?  May  4.'35..2rls. 

Roscoe  Ates-Shemp  Howard 


BROADWAY  BREVITIES 

1934-35 

Syncopated  City   Sept. 

Hal  LeRoy- Dorothy  Dare 
Paree,  Paree   Sept. 

Dorothy  Stone-Bob  Hope 
Good  Morning  Eve  Sept. 

Leon  Errol 

(Technicolor) 
No  Contest   Oct. 

Ruth  Etting 
Off  the  Beat  Oet. 

Morton  Downey 
The  Flame  Song  Oet. 

Bernico  Claire- 

J.  Harold  Murray 
Gem  of  the  Ocean  Nov. 

Jeanne  Aubert 
Gypsy  Sweetheart   Mar. 

Winifred  Shaw- 
Phil  Regan 
Hear  Yel  Hear  Yel  Dee. 

Vera  Van  and  the 

Yacht  Club  Boys 
See.  See,  Senorita  Jan. 

Tito  Guizar  Armlda 
What,  No  Men?  Jan. 

El  Brendel-Phil  Regan 

(Technicolor) 
Soft  Drinks  &  Sweet  Music.  Dec. 

George  Price-Sylvia  Froos 
Show  Kids   Jan. 

Maglln  Kiddies 

Tad  Alexander 
Radio  Silly   Jan. 

Cross  Ic  Dunn 
Cherehez  La  Femme  Feb. 

Jeanne  Aubert 
In  the  Spotlight  Feb. 

Hal  LeRoy  &  Dorothy  Lee 
Mr.  &   Mrs.  Melody  Mar. 

llSmay  Bailey— Lee  Sim* 
Shoestring  Follle*  Feb. 

Eddie  Peabody 
Singing  Silhouette,  The...  .Apr. 

Olga  Baclanova 
Castle  of  Dreams,  The  Apr. 

Morton  Downey 
Cure  It  With  Music  Apr. 

Fifl  D'Orsay 
In  This  Corner  Apr. 

Roscoe  Ails 
Main  Street  Follies  May 

Hal  Le  Roy 


I.... 20.... 
8....tl.... 

22. ...19.... 

6.. ..21.... 
18.. ..20.... 
27. ...19.... 

19.... 20.... 

30,'35.20  

22  2  rls. 

I7,'35..2  rls. 
5.'35.2I.... 

8. ...20.... 

5,  '35.20.... 

9,'35..2  rls. 
2,'35..2  ri*. 

22,'35.20.... 
I6,'35.20.... 
I6,'35.2I.... 

6,  '35. 20  

6.'35.20  

I3,'35..2  rls. 
27,'35..2  rts. 
Il,'35..2  rls. 


LOONEY  TUNES 

No.  13— Viva  Buddy   I  rl. . 

(1934-1935) 

No.    I — Buddy's  Adventures   Irl.. 

No.    2— Buddy  the  Dentist  Irt.. 

No.  3 — Buddy  of  the 

Legion   7... 


.7... 
,7... 

I  n. 


Title  Rel.  Date  Min. 

No.  4 — Buddy's    Theatre  7  

No.  5 — Buddy's   Pony  Ex- 
press  I  rl. . 

No.  6 — Buddy  in  Africa  7  

No.  7— Buddy's  Lost  World  I  ri.. 

MELODY  MASTERS 
1934-1935 

Mirrors   Sept  8  II.... 

Freddy  Rich  &  Orchestra 
Phil  Spitalny  and  HI* 

Musical  Queens   Oct.    6  10.... 

Richard  Himber  and  Hi* 

Orchestra   Nov.    3  10.... 

Don  Redman  and  His  Band. Dee.  20  10  

Will  Osborne  and  His  Or- 
chestra  Dec.    I  10.... 

A  &  P  Gypsies  Jan.  26,'35. 10. . . . 

Harry  Horiick 

Charlie  Davis  and  Band... .Feb.  I6,'35.I0  

Rimac's  Rhumba  Orchestra. Apr.  I3,'3S. . I  rl. . 
Barney  Rapp  and  His  Now 

Englanders   Mar.  I6,'35. 10  

Freddy    Martin    and  His 

Orchestra   May  ll.'3S..I  rl.. 

MERRIE  MELODIES 

1934-35  (In  Color) 
No.    3— Mr.  tc  Mrs.  I*  the 

Name   

No.  4 — Country  Boy   

No.    5—1  Haven't  Got  a  Hat  

No.    6— Along  Flirtation 

Walk   7  

No.    7 — My  Green  Fedora  I  ri.. 

SEE  AMERICA  FIRST 

E.  M.  NEWMAN 

Ne.    I— Pilgrim  Daya   Oct  27  II  

No.    2— Boston  Tea  Party. .Nov.  17  II  

No.   3— Hail  Columbia   Dec.    8  10  

No.  4 — Remember  the 

Alamo   Dee.  20  10.... 

No.  5— Trail  ef  the  49ere..Jan.  I9,'S9.I0  

Ne.    6— Dixieland   Feb.  O.'SS.IO  

No.   7— Blue  and  the  Gray. Mar.  2.'35.I0.... 

No.  8— -The  Mormon  Trail.  Mar.  23, '35.  ID  

No.  9— Westward  Bound  . . Apr.  I3,'35. . I  rl. . 
Ne.  10 — Remember  the 

Maine   May  4,'3S..lrl.. 

PEPPER  POT 

1 934-35 

Little  Jack  Little  Sept  I  0  

Radio  Reel  No.  I  Sept  15  9  

Mr.  and  Mrs.  Jesse  Crawford . Sept. 29  0  

Vaudeville  Reel  No.  I  Oct.  13  II.... 

Movie  Memories   Oct.  27  8.... 

Songs  That  Live  Nov.  10  0  

Gus  Edward* 
Two  Boobs  in  a  Balloon  

Edgar  Bergen 

Good  Badminton   Nov.  24  Irl.. 

Stuffy's  Errand  of  M*rey...Dee.  IS  0  

Listening  In   Dee.    8  10  

Radio  Reel  No.  2 

Vaudeville  Reel  No.  2  Dec.  20  10.... 

Harry  Von  Tllzer   Jan.  S,'35.I0  

Cbas.  Aheam   Jan.  I0,'35.I0  

A  Trip  Thru  a  Hollyaeed 

Studio   Feb.  2.'35..0  

We  Do  Our  Part  Feb.  0.'3S..I  rl.. 

Radio  Reel  No.  3 

Vaudeville  Reel  Na.  S  Feb.  I6,'3S..I  rl.. 

Gues*  Star*   Mar.22.'SS.I0  

Radio  Rambler* 

Billy  Hill   Mar.  I6.'SS  

Eggs  Marks  the  Spot  Mar.  30,'35.ll  

Radio  Reel  Ne.  4 
Some  Bridge  Work  Apr.  I3.'35.I0  

Easy  Aces 

Vaudeville  Reel  Na.  4  Apr.  27.'3S.  .1  ri. . 

SEI2IALS 

12  Epiiede*  Each  Unleie  Olhervlsa  SpeelAed 
Title  Rai.  Date  Mia. 

FIRST  DIVISION 

Young  Eagles   July    I  2  ria. 

Boy  Scouts 


MASCOT 


Burn  'Em  Up  Bamae  June  16  2rl*. 

Jack  Mulhall-Lela  Lane-  (aaeh) 

Frankie  Darro 
Lost  Jungle,  The  Juno  13  2  rt*. 

Clyde  Beatty  (aMh) 

Law  of  the  Wild  Sept  5  2  rIa. 

Rex,  Rin  Tin  Tin,  Jr.  (eaeb) 

Ben  Turpin,  Bob  Custer 
Mystery  Mountain   Dee.    3  2  ria. 

Ken  Maynard-Verna  Hlllle  (eaeb) 

Phantom  Empire   Feb.  23,'35.  .2  rl*. 

Gene  A utry- Frankie  Darre  (eaeli) 


PRINCIPAL 

Chandu  on  the  Magie  Island 
Bela  Lugosi- Maria  Alba 

Return  of  Chandu,  The  

Bela  Lugosi -Maria  Alba 


Oct  I  

(Seven-reel  featora 
followed  by  elgbt 
two-reel  epleadea) 


UNIVERSAL 

Call  of  the  Savage  Apr.  IS,'35.20  

Noah  Beery,  Jr.  (eaeb) 

Red  Rider,  The  July  16  20  

Buck  Jones  («aeb) 

(15  episodes) 

Rustler's  of  Red  Dog  Jan.  2I,'3S.20. . . . 

John  Mack  Brown  (each) 

Tallspin  Tommy   Oct  29. ...20  

Maurice  Murphy-  (aneli) 

Noah  Beery,  Jr. 
Vanishing  Shadow,  The  Apr.  23  20.... 

Onslow  Stevens-Ada  Inee  (eaeh) 


88  MOTIONPICTUREHERALD  Aprlll3,l935 


CLASSIFIED 
ADVERTISING 


I. 


the  great 
national  medium 
for  showmen 


Ten  cents  per  word,  nnoney-order  or  check  with  copy.  Count  initials,  box  nunnber  and  address.  Minimum  insertion, 
$1.    Four  insertions  for  the  price  of  three.    Contract  rates  on  application.    No  borders  or  cuts.    Forms  close 
Mondays  at  5  P.M.    Publisher  reserves  right  to  reject  any  copy.   Address  correspondence,  copy  and  checks  to 
MOTION  PICTURE  HERALD,  Classified  Dept.,  1790  Broadway,  New  York  City 


USED  ECUII^MCNT 


UNUSUAL  BARGAINS  IN  USED  OPERA 
chairs,  sound  equipment,  moving  picture  machines, 
screens,  spotlights,  stereopticons,  etc.  Projection 
machines  repaired.  Catalog  H  free.  MOVIE  SUPPLY 
COMPANY.    Ltd.,   844   So.    Wabash   Ave.,  Chicago. 


WISE  EXHIBITORS  KNOW  WHERE  TO  BUY 
those  good  guaranteed  rebuilt  Simplex  and  Powers 
projectors,  reflector  lamps,  rectifiers,  Mazda_  equip- 
ment, sound  accessories,  parts,  supplies.  Quality  bar- 
gains always.  Free  catalog.  Play  safe  with  MONARCH 
THEATRE  SUPPLY  CO.,  Memphis,  Tenn.  Estab- 
lished 25  years. 


A  REAL  BARGAIN  ON  HIGHGRADE  PROJEC- 
tion  lenses.  Cash  or  trade.  BOX  537,  MOTION 
PICTURE  HERALD,  407  So.  Dearborn  St.,  Chicago, 
111. 


NEW  ECUIPMENT 


SALE  LASTS  TWO  MORE  WEEKS  —  BRAND 
new  bargains— 14"  reels  2,000'  regularly  $1.50,^  now 
39c;  30  ampere  Weston  meters  for  arcs,  rectifiers, 
generators,  regularly  $10,  now  $2.25;  sound  screens, 
Beaded,  diffusive  or  Ortho  Krome.  regularly  75c, 
now  29c  square  foot;  enclosed  rewinds.  Approved 
fireproof,  regularly  $75.00,  now  $29.75.  Cash  with 
order.     S.   O.   S..   1600  Broadway,   New  York. 


UNUSUAL  VALUE.  9x9  PERFORATED  SOUND 
•creen  together  with  collapsible  metal  frame,  black 
velour  masking  drapes,  all  complete  in  specially 
built  Bal  trunk.  These  are  brand  new.  Were  made 
for  Western  Electric  portable  sound  systems.  $24.95 
each  while  they  last.  Act  quick.  BOX  534.  MOTION 
PICTURE  HERALD. 


SPECIAL  MAIN  DRIVE  GEAR  FOR  SIMPLEX, 
RCA  or  Western,  $2.75  for  April  only.  Order  your 
supply  now.  MODERN  THEATRE  EQUIPMENT 
CORP..    133    Meadow    St..    New    Haven,  Conn. 


BABY  SPOT  WITH  AUTOMATIC  COLOR 
wheel,  complete  $12.50.  An  effect  display  unit  for 
every  theatre.  Send  for  our  sanitary  supply  list. 
CROWN,    311    West    44th    St.,    New  York. 


POSITICNS  WANTED 


SOUND  PROJECTIONIST  —  EXPERIENCED, 
unmarried,  young,  will  go  anywhere.  BOX  517, 
MOTION  PICTURE  HERALD. 


SENEDAL 
ECDIDAiENT 


HAWAII.  COLOMBIA.  POLAND,  WALES— ALL 
installing  SOS  Cineniaplione  Wide  Fidelity  sound. 
Complete,  $179.70  up;  soundheads,  $59.50  up;  portable 
sound  film,  16  mm..  35  mm  from  $295.00;  amplifiers, 
$39.50  up.  Trades  taken.  S.  O.  S.,  1600  Broadway, 
New  York. 


SLIP  COVERS  FOR  ANY  STYLE  CHAIR  OR 
seat.  Cushions  for  veneered  and  squab  seats. 
FLORENCE  BEDDING  CO.,  Florence,  S.  C. 


SMALL  THEATRES  NEEDN'T  BE  BACK  NUM. 
bers — new  reflector  arc  lamps  or  rectifiers,  $49.50 — 
replace  dull,  current  consuming  wrecks.  S.  O.  S., 
1600  Broadway,  New  York. 


BARGAINS!— POWERS  MECHANISMS,  MOTOR 
generator.  Parts.  TROUT  THEATRE  EQUIPMENT. 
Enid,  Okla. 


JIORELITE  DELUXE  LOW  LAMPS  REBUILT, 
$125  pair;  15  ampere  Forest  rectifiers,  $45  each  new. 
Pair  rebuilt.  $80  with  bulbs.  CROWN,  311  West 
44th  St..  New  York. 


DEPI5E$ENTATIVE« 
WANTED 


SALESMAN  WITH  CAR,  EXPERIENCED  SELL- 
ing  to  theatres.  Must  be  able  to  invest  $75.  actual 
cost  of  demonstrators  and  selling  equipment.  Liberal 
commissions  and  big  opportunity  for  hustlers.  A 
modern  necessitv;  highly  endorsed  by  leading  ex- 
hibitors.    HARRY  K.   LUCAS,   Charlotte,   N.  C. 


DDINTING  SERVICE 


100  WINDOW  CARDS,  14  x  22,  3  COLORS,  $3.75; 
no  C.O.D.     BERLIN  PRINT,  Berlin.  Md. 


TECHNICAL 

Dccrs 


ORDER  NOW!  RICHARDSON'S  NEW  BLUE 
Book  of  Projection — 6th  edition,  complete  in  one  vol- 
ume, more  than  600  pages,  over  100  illustrations.  Full 
text  on  projection  and  sound  combined  with  trouble- 
shooter.  $5.00.  Mr.  Richardson  will  autograph  the 
first  two  hundred  copies  ordered.  QUIGLEY  BOOK- 
SHOP, 1790  Broadway,  New  York. 


SCDND  ECUIDMENT 


"A  NOTEWORTHY  SOUND  OUTFIT,"  SUG- 
gests  Captain  House,  Educational  Adviser,  C.C.C. 
Camps.  "Has  many  good  points."  The  Govern- 
ment likes  Cinemaphone.  S.  O.  S..  1600  Broadway, 
New  York. 


GRATITUDE  ABOUNDS  IN  PROJECTION 
booths  since  we  announced  these — 9,000  cycle  film 
copyrighted  instructions,  $1.50.  Buzz  and  chopper 
track,  $2.50.  Combination  of  both,  $3.  S.  O.  S.,  1600 
Broadway,  New  York. 


WANTED  TC  DDT 


WANT  SIMPLEX,  POWERS  PROJECTORS, 
anything,  for  cash.  S.  O.  S.,  1600  Broadway, 
New  York. 


THEATRES  WANTED 


WANT  TO  BUY  OR  LEASE  THEATRE  IN 
Texas,  Colorado  or  Arizona  state.  BOX  538, 
MOTION  PICTURE  HERALD. 


WANTED  THEATRE,  2,000  TOWN,  MINNESOTA 
or  Wisconsin.  Write  particulars.  BOX  468,  James- 
town, N.  D. 


TRAINING  SCTiCCLS 


LEARN  MODERN  THEATRE  MANAGEMENT. 
Catalog  free.  THEATRE  MANAGERS  INSTITUTE, 
315  Washington  St.,  Elmira,  New  York. 


THEATRES 


FOR  RENT  THEATRE,  EQUIPPED,  600  SEATS. 
A.  G.  ABBOTT,  Grand  Island,  Nebr. 


FOR  SALE  THEATRE,  NORTHERN  ILLINOIS 
town  8.000.  No  competition.  BOX  542,  MOTION 
PICTURE  HERALD. 


Cameramen 

INSPIRATION 


/CAMERAMEN  long  ago  decided 
that  Eastman  Super  Sensitive  ''Pan" 
is  fit  company  on  any  flight  of  genius.  And 
results  vindicate  their  judgment.  For  four 
years  in  succession  the  great  bulk  of  the 
really  inspired  motion  pictures  have  been 
photographed  on  this  superlative  film. 
Eastman  Kodak  Company,  Rochester,  N.  Y, 
(J.  L.  Brulatour,  Inc.,  Distributors,  New 
York,  Chicago,  Hollywood.) 


EASTMAN  Super  Sensitive 
Panchromatic  Negative 


.CONSOLIDATION  OF  EXHIBITORS  HERALD-WORLD  AND  MOTION  PICTURE  NEWS 


OP 


U.  S.  PLANS  RAISING  THEATRE 
LOAN  LIMIT  TO  $50,000 

Enactment  of  Pending  Legislation 
Increasing  insurance  Maximum  from 
$2,000  will  be  Followed  by  Cam- 
paign  by  Housing  Administration 

WARNER'S  438  THEATRES 
MAKE  CIRCUIT  3d  LARGEST 

Map  in  Color  Shows  Location  of 
Houses  in  23  States,  with  Total 
Seating  Capacity  of  594,296,  an 
Average   of    1,300   a  Theatre 


joming  Next  JVeek  m  The  Round  Table: 

'BY-PRODUCTS  OF  THE  PRESS  BOOK"-by  C.  L.  YEARSLEY 


CONGRATULATIONS 
TO  THOSE  WHO 
MADE  IT: 

JEAN  HARLOW, 
WILLIAM  POWELL,' 
Franchot  Tone,  May 
Robson,Ted  Healy,  Nat 
Pendleton,  Robert 
Light  and  the  whole  cast. 
To  producer  David  O. 
Selznick  and  director 
Victor  Fleming.  To 
Jerome  Kern  and  the 
other  composers.  Not 
to  mention  LEO! 


now  let's  turn  to  PAGE  35 


*'A  thunderbolt  of 
film  coura  ge  ! 
Muni's  supreme 
achievement  on 
the  talking  screen. 
Characterization 
stamps  its  star  as  a 
peer  in  his  class. 
It  will  be  Michael 
Curtiz's  claim  to  a 
directorial  award 
when  they're  being 
handed  out  late  in 
1935.  An  excel- 
lent, unforgettable 
production — a  val- 
iant effort  of  the 
Warner  Brothers. 


''Grand,  smashing 
melodrama.  Writ- 
ers and  adaptors 
have  handled  a 
controversial 
theme  with  rare 
diplomacy,  and  the 
actors  have  given 
them  magnificent 
assistance.  Prob- 
ably Paul  Muni's 
most  impressive 
performance. 
More  effective 
than  *I  Am  a  Fugi- 
tive.' "  —  Eileen 
Creelman  in  the 
New  York  Sun. 


if 


Countless  laughs  as  well  as  breathless 
gasps.  The  him  leads  up  to  a  sensational, 
smashing  climax.  The  concluding  reel  is  so 
amazing  and  breath-taking  that  it  just 
must  be  viewed  to  reap  its  deep,  powerful 
significance.  'Black  Fury'  is  really  one  of 
the  greatest  motion  pictures  ever  made!" 
....  Irene  Thirer  in  the  New  York  Post. 


"The  film  is  riotous 
with  action.  It  tells 
an  entirely  plaus- 
ible story.  Muni's 
performance  is 
dazzling  in  its 
force  and  power. 
He  assumes  the 
character  of  the 
*bohunk'  miner,  en- 
gaging, simple  and 
heroic,  with  a  skill 
unmatched  by  any 
actor  in  recent 
films.  He  makes 
the  difficulties  of 
Jan  exciting.  A 


spectacular  cast 
supports  him,  with 
Karen  Morley,  J. 
Carroll  Naish, 
John  Qualen, 
Vince  Barnett, 
William  Gargan 
and  Sarah  Haden. 
It  is  a  rousing,  he- 
man  and  action- 
packed  melo- 
drama  that  is  ex- 
cellently produced 
and  brilliantly 
acted."  .  .  .  Bland 
Johaneson  in  the 
N.Y.  Daily  Mirror. 


'Takes  its  place  as 
one  of  Hollywood's 
most  arresting  screen 
achievements.  Paul 
Muni's  characteriza- 
tion surpasses  even  his 
memorable  portrayal 
in  *I  Am  a  Fugitive  from 
a  Chain  Gang.'  The 
Warner  Bros.  Studios 
which,  more  than  any 
other,  are  alive  to  topical 
subjects,  have  made  of  it 
an  important  and  courage- 
ous document.  *Black  Fury' 
is  bound  to  become  one  of 
the  most  widely  discussed 
productions  in  years.  It  is  not 
to  be  missed."  —  Rose  Pels- 
wick  in  N.  Y.  Eve.  Journal. 


'Melodrama  at  its  best.  By  far 
the  most  courageous  document 
that  Hollywood  has  produced. 
It  lashes  forth  with  the  fury  of  a 
wounded  animal  at  bay.  A  melo- 
drama so  tense  and  thrilling  that 
it  may  leave  you  slightly  blanch- 
ed around  the  gills  but  also  bliss- 
fully happy  with  excitement. 
Good  performances  also  by  Karen 
Morley,  Vince Jlk  Barnett  and 


William  Gar- 
Curtiz's  direc- 
he  has  ever 
thoughtful,  lu- 


gan.  Michael 
tion  is  the  best 
d   o   n   e  - 
cid  and  vivid." 


— Wm.  Boehnel  in  N.  Y.  World-Tel. 
"Dynamic  film.  Muni  has  set  an  act- 
ing standard  that  should  win  every 
Academy  award.  A  rousing,  exciting 
melodrama.  Screen  entertainment  that 
will  stir  you  as  you  never  had  been 
stirred.  Striking  film.  By  all  means  see 

this  picture."  Al  Sherman 

in  t  h  efl^^Hjj^lF^  New  York 
M  o  r  n  i  n  fir  ^^^^^^^  Telegraph. 


The  Greatest  of  All  Warner  Bros.'  Trail- Blazers! — 


in 


A  First 


"Paul  Muni  acts 
strong,  daringrole. 
Punch-packed  as 
a  power-house,  a 
dynamo  of  drama. 
^Black  Fury'  is 
earthy,  elemental, 
brutally  primitive ; 
it  is  possessed  of 
strength,  suspense  j 
and  daring  seldom 
encountered  in  mo- 
tion pictures  and 
distinguished  by 
what  must  be  ad- 
judged its  star's 
most  vital  charac- 
terization.  The 
tale  that  is  told  on 
the  screen  of  the 
Strand  will  leave 
you  gasping  and 
quivering  with  the 
shock  of  its  dyna- 
mite. Paul  Muni 
undergoes  a  com- 
plete transforma- 
tion. Here  he  as- 
sumes a  character 
totally  unlike  any 
before  portrayed 
in  his  extensive  ca- 
reer. Terrifically 
suspensef  ul  scenes 
match  anything 
the  screen  has  seen 
for  sheer  tense 
drama.  The  direc- 
tion of  Michael 
Curtiz  imparts  still 
further  power  to  a 
Titan-strong  tale." 

 Regina 

Crewe  in  New 
York  American. 


**One  of  the  most 
thrilling  climaxes 
the  screen  has  of- 
fered in  months. 
^Black  Fury'  easily 
surpasses  anything 
that  has  come  out  of 
Hollywood  in  the 
last  two  years."  .  . 
Martin  Dickstein  in 
Brooklyn  Eagle. 

"Hollywood  makes 
a  trenchant  contri- 
bution to  the  socio- 
logical drama  in 
*Black  Fury.'  Mag- 
nificently perform- 
ed by  Paul  Muni. 
Warner  Brothers 
exhibited  almost  a 
reckless  air  of  cour- 
age in  producing 
the  picture  at  all. 
Mr.  Muni  is  alto- 
gether superb  in  all 
the  varied  scenes 
which  describe  Joe 
Radek's  climb  out 
of  peasant  obscur- 
ity to  the  forefront 
of  a  crisis  which  he 
never  understands. 
In  the  smaller  roles 
there  are  a  score  of 
splendid  character- 
izations. Both  in 
Michael  Curtiz's  direction  and  I 
in  the  screen  play  by  Abem 
Finkel  and  Carl  Erickson,  the| 
photoplay  achieves  a  melodra- 
matic vigor  and  an  air  of  cumu-| 
lative  power  which  is  so  rare] 
in  the  Hollywood  cinema."  .  .  *. 

 Andre  Senn- 

wald  in  the  New  York  Times.  I 


'Fury'  may  well 
be  considered  one 
of  the  greatest  dra- 
matic  pictures  of 
this  or  any  other 
year.  Different 
drama,  without 
any  excusing  or 
qualifying  conces- 
sions, it  rips,  tears 
and  crashes  in 
honest,  straight 
from  the  shoulder 
style  into  the  pow- 
erful story  it  tells. 
.  .  .  Finely  and 
authentically 
produced." 
G.  McCarthy  in| 
M.  P.  Herald. 

"Has  abreathlessl 
suspense  that 
keeps  the  audi- 
ence on  the  edge  | 
of  their  seats. | 
Michael  Curtiz  j 
moves  his  story  j 
along  with  thei 
precision  of  a 
sledge  hammer 
at  work,  and( 
gets  the  maxi- 


mum dramatic 
effect.  He  has 
hand-picked  a| 
staff  that  gives 
him  and  Muni 
splendid  sup- 
port."   

.  .  New  York 
Daily  News. 


king  All  Records  for  Past  18  Months  at  N.  Y.  Strand! 


7 


eir  rel 


■■■■ 


WTu'J/  1 

MOTION  PICTURE  HERALD 


Vol.  119.  No.  3 

April  20.  1935 

REPUBLIC  IS  BORN 

NEWSREEL  SCALES 

ANEW  national  distributor  steps  forth — Republic  Pictures 
Corporation — born  of  independent  beginnings  as  every 
big  company  in  the  industry  has  been,  and  with  per- 
sonnel abundantly  experienced.  For  instance,  there's  Mr.  W. 
Ray  Johnston,  young  enough  to  make  us  forget  that  he  began 
in  the  days  of  the  late  and  able  Mr.  Charles  Hite  at  the 
Thanhouser  studios  in  New  Rochelle  when  the  Mutual  Program 
was  forming  to  give  competition  to  the  august  General  Film 
Company.  General  was  a  crystallization  of  patent  proprietors 
and  infringing  "independent"  competitors  brought  together 
in  peace  under  blanket  license.  Mutual,  like  contemporary 
Universal,  was  a  coalition  of  a  new  crop  of  independents.  The 
"independent"  path  has  been  the  way  into  and  upward  in  the 
world  of  the  motion  picture  ever  since.  It  is  a  process  of  attain- 
ment by  energetic  merit. 

AAA 

THE  $5,000  LOOK 

ONCE  each  week  a  young  man  from  an  agent's  office 
goes  to  the  paymaster's  office  of  Paramount  studios 
in  Hollywood  and  picks  up  Miss  Mae  West's  salary 
check  for  $5,000.  He  then  proceeds  to  hunt  up  Miss  West 
and  let  her  look  at  the  check.  After  she  has  regaled  her  eyes 
upon  it  he  continues  on  his  errand  to  deposit  it  in  the  bank  to 
her  credit.  It  seems  that  she  has  no  doubt  about  the  matter, 
but  she  just  wants  to  see  it — every  time. 

AAA 

THREE  POINT  LANDINGS 

MR.  LEO  BULGAKOV,  formerly  of  the  Moscow  Art 
Theatre,  has  made  the  thrilling  discovery  that  every- 
thing in  Hollywood,  seemingly,  including  the  camera, 
the  microphone  stand,  the  dollies,  the  lights  and  the  monitor 
booth,  all  stand  on  three  legs.  It  is,  to  be  sure,  simple 
geometric  principle,  because  four  legs  call  for  a  perfectly  level 
floor  for  stability,  while  three  always  make  contact.  After  a 
while  Mr.  Bulgakov  will  maybe  learn  that  the  triangle,  the 
three  point  suspension  as  it  were,  is  the  most  stable  element 
of  drama,  in  Hollywood  and  elsewhere. 

AAA 

GADGET  of  THE  WEEK— From  Detroit  come  tidings  that 
the  scientists  have  evolved  an  electrical  device,  amplifying 
brain  impulses,  which  will  trace  the  curve  of  the  intensity  of 
a  man's  thinking  processes.  Another  older  method,  and  more 
positive,  is  to  deal  him  a  straight  flush  open  in  the  middle. 


THE  newsreel  cameramen  are  in  negotiation,  not  to  say 
controversy,  about,  mainly,  hours.  There  have  been  issues 
and  debates  on  the  subject  for  some  years.  Generally 
speaking  the  newsreel  cameramen  have  never  been  much  more 
regimented  than  the  newspaper  reporters,  with  whom  they  are 
blood  brothers,  plus  several  hundred  pounds  of  equipment. 

Without  respect  to  or  consideration  of  the  points  at  issue, 
it  may  be  observed  that  the  real  value  of  the  newsreel  man 
can  never  be  measured  on  any  scale  of  hours  and  pay. 

The  fact  is  that  the  actual  value  of  the  newsreel  cameraman 
is  to  be  measured  almost  exactly  by  how  much  fun  he  gets  out 
of  the  job.  That,  to  be  sure,  does  not  argue  that  he  is  to  be 
paid  off  in  fun,  only.  The  best  newsreel  men  are  underpaid 
at  the  scale  and  others  are  overpaid.  Unions  and  scales  came 
into  the  newsreel  business  with  the  coming  of  sound,  brought  in 
chiefly  through  the  agency  of  the  organized  electrical  workers 
accompanying  the  recording  mechanisms.  The  result,  including 
the  influence  of  sound  itself,  has  been  to  reduce  employment 
and  to  increase  costs  of  production.  The  product  fares  no 
better  with  the  customers  than  in  the  silent  days. 

AAA 

MR.  RICHARDSON'S  BLUE  BOOK 

■  HE  announcement  of  Mr.  Frank  H.  Richardson's  new 
Blue  Book  of  Projection,  the  sixth  edition,  gives  occasion 
to  the  observation  that  the  author's  career  in  motion 
picture  journalism  is  unique  in  covering  a  quarter  of  a  century 
of  continuous  active  service  and  in  a  single  position — the 
authority  on  the  projection  machine  and  the  affairs  of  the  man 
— Mr.  Richardson  will  insist  on  two  men — in  the  booth.  Ag- 
gressive, emphatic,  philosophizing  Mr.  Richardson  has  achieved 
the  triumph  of  becoming  an  institution  while  remaining  ex- 
ceedingly active  and  extant.  His  new  Blue  Book,  the  authority 
of  the  craft  of  the  projectionist,  published  by  Quigley  Publica- 
tions, will  appear  shortly. 


AAA 


OPINIONS 


MR.  ANDRE  SENNWALD  has  decorated  his  New  York 
Times  column  with  a  reference  Indicating,  perhaps 
not  too  seriously,  resolutions  for  1935  Including  "to 
love  Terry  Ramsaye."  The  editor  of  the  Herald  requires  no 
resolution  to  admire  the  excellent  writing  concerning  the  screen 
performed  by  Mr.  Sennwald.  But  the  charm  of  his  skill  still 
does  not  inhibit  variance  with  his  opinions  on  art,  and  maybe 
politics. 


MOTION  PICTURE  HERALD  MARTIN  QUIGLEY.  Editor-in-Chief  and  Publisher 

Incorporating  Exhibitor's  Herald,  founded  1915;  Motion  Picture  News,  founded  1913;  Moving  Picture  World,  founded  1907;  Motography,  founded  1909;  The  Film  Index, 
founded  1906.  Published  every  Thursday  by  Quigley  Publishing  Company,  1790  Broadway,  New  York  City.  Telephone  Circle  7-JIOO.  Cable  address  "Quigpubco,  New  York." 
Martin  Quigley,  Editor-in-Chief  and  Publisher;  Colvin  Brown,  Vice-President  and  General  Manager;  Terry;  Ramsaye.  Editor;  Ernest  A.  Rovelstad  Managing  Editor;  Chicago 
Bureau,  407  South  Dearborn  Street,  Edwin  S.  Clifford,  manager;  Hollywood  Bureau,  Postal  Union  Life  Building,,  Victor  M.  Shapiro,  manager;  London  Bureau,  Remo  House.  310 
Regent  Street,  London  W  1,  Bruce  Allan,  cable  Quigpubco  London;  Berlin  Bureau.  Berlin-Templehof.  Kaiserin-Augustastrasse  28,  Joachim  K.  Rutenberg,  representative;  Paris 
Bureau,  19,  Rue  de  la  Cour-des-Noues,  Paris  20e,  France.  Pierre  Autre,  representative,  cable  Autre-Lacifral-20  Paris;  Rome  Bureau.  Viale  Gorizia.  Rome,  Italy.  Vittorio  Malpassuti, 
representative,  Italcable.  Malpassuti.  Rome;  Sydney  Bureau.  400  George  Street,  Sydney.  Australia.  Cliff  Holt,  representative;  Mexico  City  Bureau.  Apartado  269.  Mexico  City, 
Mexico.  James  Lockhart,  representative;  Prague  Bureau.  Na  Slupi  8.  Prague  II.  Czechoslovakia.  Harry  Knopf,  representative;  Cape  Town  Bureau,  10  St.  George's  Villas.  Green 
Point,  Cape  Town,  South  Africa,  H.  Hanson,  representative;  Budapest  Bureau,  3.  Kaplar  -u.  Budapest.  Hungary,  Endre  Hevesi,  representative;  Buenos  Aires  Bureau.  Cuenca  52, 
Buenos  Aires,  Argentina,  N.  Bruski,  representative.  Member  Audit  Bureau  of  Circulations.  All  contents  copyright  1935  by  Quigley  Publishing  Company.  Address  all  corre- 
spondence to  the  New  York  Office.  Better  Theatres,  devoted  to  the  construction,  equipment  and  operation  of  theatres,  is  published  every  fourth  week  as  section  2  of  Motion 
Picture  Herald.      Other  Quigley  Publications:  Motion  Picture  Daily,  the  Motion  Picture  Almanac,  pubJished  annually,  and  the  Chicagoan. 


8 


MOTION    PICTU  RE  HERALD 


April    20,  1935 


THIS  WEEK  - 


OP 


THEATRE  GAINS 

Theatre  business  on  the  Coast  has  in- 
creased I  5  to  20  per  cent  in  the  past  year, 
reports  Al  hianson,  Los  Angeles  city  man- 
ager for  Fox  West  Coast.  Other  Indus- 
tries likewise  are  showing  gains,  he  said. 
He  declared  that  the  four  yearly  drives 
conducted  by  the  circuit  have  been  suc- 
cessful, the  plans  being  In  the  nature  of 
profit-sharing  with  managers.  Charles 
Skouras  has  taken  over  four  first-runs  in 
Los  Angeles.  .  .  . 

"PROPAGANDA" 

Termed  "commercial  propaganda,"  the 
radio  code  authority  has  banned  free 
handling  by  broadcasters  of  the  United 
Artists  program,  "Last-Minute  Flashes." 
These  programs  should  be  handled  only  at 
commercial  rates,  according  to  a  bulletin 
issued  to  broadcasters  from  the  authority's 
headquarters  In  Washington.  .  .  . 

RUSSIAN  PURCHASE 

Soviet  Russia  last  week  bought  Its  first 
American  films  with  the  purchase  of  "The 
Invisible  Man,"  "Peter,"  "La  Cucaracha," 
"The  Three  Little  Pigs,"  "Penguin  Island" 
(both  Disney),  for  Russian  distribution.  The 
films  had  been  sent  to  Moscow  for  the 
World  Cinema  Festival.  Other  deals  are 
reported  pending.  ... 

DANZIG  DECREE 

A  recent  decree  of  the  Senate  of  the 
City  of  Danzig,  in  Europe,  requires  a  "kul- 
tur"  film  be  shown  with  every  feature 
presentation.  The  "kultur"  film  must  be  of 
specific  length  and  must  pass  the  Danzig 
censor  relative  to  Its  artistic,  educational 
and  political  value  to  the  state.  .  .  . 

DROP  SOVIETS 

When  the  Boston  American  Legion  pro- 
tested that  "reds"  were  flocking  to  the 
Majestic,  showing  Soviet  films,  the  Levrad 
Corporation  abandoned  the  Importations. 
Al  Tul  Ipan,  manager,  however,  explained 
the  move  as  due  to  unsatisfactory  business, 
rather  than  to  the  Legion's  demand.  .  .  . 

RESOLUTION 

Meeting  in  39th  annual  convention  at 
Columbus,  Ohio,  last  week,  the  Ohio  Fed- 
eration of  Women's  Clubs  adopted  a  reso- 
lution to  recommend  legislation  looking  to 
moral  training  In  schools  and  the  produc- 
tion of  better  motion  pictures.  .  ..^ 


AD  SHORTS 

To  sell  Westinghouse  Streamline  Refrig- 
erators this  year,  the  company  plans  to  rely 
largely  on  one-minute  film  trailers,  in  Tech- 
nicolor. With  six  available,  the  company 
claims  outlet  through  5,000  theatres,  the 
subjects  made  In  Hollywood  with  experi- 
enced players.  .  .  . 


DOUBLE  BILLS 

A  Columbus  study  revealed  26  out  of 
30  neighborhood  houses  playing  double 
bills  at  least  one  day  last  week,  one,  the 
RIvolI,  playing  duals  plus  vaudeville  one 
day.  Many  are  charging  10  cents,  a  few 
15  cents.  One  downtown  theatre  played 
doubles  the  entire  week.  .  .  . 

TO  REMAIN  WHN 

Loew's  officials  have  decided  not  to 
change  the  name  of  Its  radio  station 
WHN,  to  WMGM.  The  reasons:  WHN 
has  become  fixed  In  the  public  mind  and 
is  easier  to  remember  than  WMGM.  Real 
success  Is  reported  lately  with  the  station's 
amateur  hour,  and  a  deal  Is  reported  in 
progress  with  Ward  Baking  Company  to 
sponsor  the  amateur  broadcast.  .  .  . 

KENTUCKY  COLONELS 

The  expansive  regiment  of  Kentucky 
Colonels,  of  whom  many  are  somehow 
concerned  with  the  motion  picture  Indus- 
try, will  rally  In  and  about  Louisville  on 
April  29,  the  session  extending  through 
May  4.  It  so  happens  that  the  Kentucky 
Derby  will  be  run  at  about  that  time. 
Churchill  Downs,  therefore,  is  likely  to  be 
the  parade  ground.  Budd  Rogers,  general 
sales  manager  of  Liberty  Pictures,  Is  the 
latest  to  join  Governor  Ruby  Laffoon's 
Colonels.  .  .  . 


In  This  Issue 

U.  S.  plans  to  raise  limit  of  theatre  loans 
to  $50,000 

Warner's  438  theatres  make  circuit  third 
largest 

Color  map  of  Warner  theatres 
Republic  Pictures  to  succeed  Monogram 

as  national  producer-distributor 
Conspiracy  charged  in  federal  suits  by 

th  ree  theatre  companies 

Distributors    oppose    20%  cancellations 
of  pictures 

FEATURES 

Editorial 

The  Camera  Reports 
The  Hollywood  Scene 
J.  C.  Jenkins — hlis  Colyum 

DEPARTMENTS 

What  the  Picture  Did  for  Me 
Showmen's  Reviews 
Managers'  Round  Table 
Technological 

Short  Features  on  Broadway 
Productions  in  Work 
The  Release  Chart 
Box  Office  Receipts 
Classified  Advertising" 


Page  9 

Page  15 
Page  16 

Page  24 

Page  25 

Page  52 

Page  7 

Page  I  I 

Page  44 

Page  66 


Page  69 
Page  34 
Page  73 
Page  67 
Page  52 
Page  81 
Page  54 
Page  46" 
Page  82 


SOUTHERN  PRODUCTION 

Reported  In  New  Orleans  Is  the  plan  of 
George  Orth,  New  York,  recently  consult- 
ing with  A.  Harrison,  Jr.,  of  New  Orleans, 
to  construct  a  two-stage  sound  studio  In 
the  southern  city.  Planned,  says  the  re- 
port. Is  acquisition  of  a  50-acre  tract,  work 
to  start  May  I.  Production,  and  renting 
'of  studio  space  Is  part  of  the  reported 
plan,  despite  the  conclusion  the  city  Is  not 
suitable  atmospherically  for  film  produc- 
tion. .  .  . 

BOOK  TITLES 

The  Federal  Trade  Commission  has  an- 
nounced at  Washington  that  Charles 
Scrlbner's  Sons  has  agreed  not  to  sell 
books  under  titles  differing  from  those  un- 
der which  the  books  were  serialized  in 
magazines,  unless  the  original  title  Is  clearly 
Indicated  on  the  book.  The  specific  case 
involved  Arthur  Train's  book,  "No  Matter 
Where,"  published  earlier  in  "Good 
Housekeeping"  as  "The  Man  Who  Went 
Back."  .  .  . 

NEW  BLIMP 

From  John  Arnold  of  the  MGM  camera 
department  on  the  Coast  has  come  the  In- 
vention of  a  new  camera  blimp,  which  Is 
to  be  used  for  the  first  time  on  Irving 
Thalberg's  "No  More  Ladles."  The  de- 
velopment has  an  automatic  finder,  and 
weighs  only  100  pounds,  as  compared,  it 
Is  said,  with  the  regular  blimp's  weight  of 
240  pounds.  .  .  . 

SELZNICK'S  OFFER 

Beside  saying  he  has  received  a  "hand- 
some offer"  to  join  another  company  In 
a  production  post,  David  O.  Selznick  would 
have  nothing  to  say  relative  to  the  report 
he  is  to  leave  MGM.  Reports  declared 
he  would  form  a  new  producing  unit,  with 
Myron  Selznick,  but  that  has  been  denied. 
It  Is  understood  In  Hollywood,  however, 
that  a  new  unit  Is  definitely  planned.  .  ,  . 

LOEW'S  IN  CHICAGO 

Loew's  has  closed  for  five  theatre  sites 
In  Chicago  In  its  Invasion  to  seek  represen- 
tation for  MGM  pictures.  Seven  other 
deals  are  expected  momentarily.  Robert 
Lynch  and  Ernest  Schwartz,  of  the  MGM 
Philadelphia  sales  office,  are  In  Chicago 
working  on  the  theatre  acquisitions.  Ex- 
tending the  policy  abroad,  Loew's  has 
purchased  the  Capitol,  Madrid.  ... 

NEW  COLOR  FILM 

Eastman  Kodak's  house  organ,  "Cine- 
Kodak  Salesman,"  reports  a  newly  devel- 
oped 16mm.  color  film,  Kodachrome, 
which  may  be  used  In  ordinary  cameras 
without  special  lenses  and  may  be  pro- 
jected with  regular  lamps.  Three  very  thin 
emulsions  on  the  negative,  each  sensitive 
to  a  primary  color,  is  the  method.  .  .  . 


April    2  0,    19  3  5  MOTION    PICTURE    HERALD  9 


U.  S.  PLANS  TO  INCREASE 
LIMIT  ON  THEATRE  LOANS 


Oh  pages  16  aiiJ  17  appears 
a  color  map  of  the  United  States 
which  shows  at  a  glance  exactly  where 
the  Warner  circuit,  now  the  third 
largest  in  the  business,  has  its  houses. 
In  each  state  luhere  Warner  theatres 
are  situated  the  number  following  the 
name  of  the  state  indicates  the  num- 
ber of  theatres  operated,  while  under- 
neath each  name  is  the  Warner  houses' 
total  seating  capacity  in  that  state. 
Folloiving  the  map  is  a  state  and  city 
listing  of  theatres. 

This  is  the  third  of  a  series  of  the- 
atre listings  of  the  large  circuits  in 
the  United  States.  Paramount  Publix 
holdings  were  listed  and  mapped  in 
the  isue  of  January  5,  Loew's  in  the 
Febrtiary  7th  issue.  The  Fox  and 
RKO  structures  will  be  presented 
soon. 


Arrange  Standing 
Exploitation  Show 

As  a  result  of  the  interest  shown  in  thea- 
tre campaigns  displayed  at  the  first  annual 
Show  of  Showmanship,  a  permanent  ex- 
hibition of  these  exploitation  pieces  was  an- 
nounced Tuesday  by  A-Mike  Vogel,  chair- 
maru  Managers'  Round  Table  Club  of  Mo- 
tion Picture  Herald,  at  a  general  meet- 
ing of  Skouras  Metropolitan  circuit  man- 
agers in  the  Paramount  Building.  Space 
has  been  set  aside  in  the  offices  of  Quigley 
Publications,  1790  Broadway,  where  the 
campaigns,  including  winning  Quigley 
Award  entries,  will  be  available  for  exam- 
ination by  all  interested  managers. 

Mr.  Vogel  credited  increased  theatre 
grosses  and  managerial  promotions  to  the 
Quigley  Awards,  quoting  statements  from 
various  circuit  heads  to  this  effect.  He  also 
emphasized  the  rulings  of  the  Awards  com- 
petitions which  gave  every  entrant  an  equal 
opportunity  to  win,  irrespective  of  his  situ- 
ation. It  was  shown  that  plaques  had  been 
won  frequently  by  managers  in  subsequent 
runs  and  neighborhood  houses. 

"If  managers  would  stop  worrying  over 
the  proximity  of  opposition  houses  and  con- 
centrate on  getting  a  fair  share  of  business 
from  their  immediate  drawing  areas,  a  hap- 
pier state  of  affairs  would  come  about  for 
all  concerned,"  said  Mr.  Vogel. 

"Plenty  of  live  showmen  in  the  subse- 
quents  roll  up  fat  grosses  on  pictures  that 
have  not  been  milked  dry  in  the  first  runs. 
These  men  have  forgotten  the  existence  of 
competing  theatres.  As  far  as  they  are  con- 
cerned, dates  are  first  runs. 


Legislation  to  Extend  to  $50,000  the  Amount  of 
Loans  for  Modernizing  Structures  under  Housing 
Act  will  be  Followed  by  Federal  Campaign  to 
Acquaint    Exhibitors    with    Privileges  Available 

Enactment  of  pending  legislation  by  Congress  to  increase  to  $50,000  the 
amount  to  which  loans  for  modernization  of  theatres  and  other  busi- 
ness structures  may  be  insured  by  the  Government  under  the  Federal 
Housing  Act,  will  be  followed  by  an  intensive  drive  by  the  Housing  Ad- 
ministration, to  acquaint  every  motion  picture  theatre  owner  in  the  coun- 
try with  the  privileges  of  which  he  may  avail  himself  to  rehabilitate  and 
modernize  his  property. 

Under  the  present  act,  the  insurance  limit  guaranteed  banks  by  the  Government  is 
$2,000  and  while  a  number  of  exhibitors  have  made  mortgages  in  that  amount  in  order 
to  secure  money  with  which  to  improve  their  theatres,  the  great  majority,  it  is  said, 
have  been  unable  to  take  advantage  of  the  law  because  the  maximum  securable  was 
insufificient  for  any  extensive  renovation. 

Extension  of  the  limitation  to  $50,000  is  expected  by  the  Housing  Administration 
at  Washington  to  find  immediate  favor  in  exhibition,  which  automatically  would  also 
benefit  theatre  equipment  manufacturers  and  construction  interests  furnishing  new 
material. 

Contrary  to  reports  which  have  reached  the  Administration,  there  has  been  no 
contraction  of  the  Administration's  activities  in  recent  weeks  as  they  concern  theatre 
loans,  and  applications  may  be  made  as  heretofore,  if  the  $2,000  maximum  now 
available  is  sufficient  for  the  borrower's  needs. 

MODIFYING  OF  STATUTES  SOUGHT 
TO  INCREASE  SERVICE  TO  THEATRE 

Reports  also  have  been  received  that  bank  enlisted  by  the  Administration  in  mak- 
ing the  actual  loans  have  refused  exhibitors'  applications.  While  it  is  true  that  in  one 
or  two  states  some  handicaps  have  been  encountered  because  of  state  laws  which  per- 
mit the  charging  of  a  higher  rate  of  interest  than  the  Government  will  allow,  there 
has  been  no  general  rejection  of  applications  by  the  Washington  authorities,  and  ne- 
gotiations are  now  underway  in  the  high-interest  states  for  modification  of  their 
statutes,  so  that  the  banks  will  be  compelled  to  lower  their  rates  in  keeping  with  the 
FHA's  regulations. 

It  is  also  possible  that  some  of  the  complainants  in  exhibition  may  have  applied  for 
loans  to  banks  which,  for  one  reason  or  another,  have  not  participated  in  the  Govern- 
ment plan.  Authorization  is  given  banks  by  the  Administration  to  participate  in  the 
plan  when  the  banks  make  such  application. 

UTMOST  CONSIDERATION  ASSURED 
EXHIBITORS  FOR  THEIR  COOPERATION 

While  the  acceptance  or  rejection  of  an  application  is  up  to  the  local  bank,  any  ex- 
hibitor whose  request  for  a  loan  has  been  denied  for  any  reason  other  than  that  a  poor 
risk  was  involved,  need  only  write  to  the  officials  of  the  Housing  Administration 
and  his  case  will  be  investigated  and,  if  possible,  he  will  be  financed. 

Because  of  the  fact  that  the  exhibitors  of  the  country  have  cooperated  whole- 
heartedly with  the  Administration  In  Its  publicity  work,  they  will  receive  utmost 
consideration,  It  was  Indicated  at  Washington. 

Housing  Administration  officials  are  highly  grateful  for  the  showing  of  their  films. 
They  are  showing  that  appreciation  in  concrete  ways  by  making  every  effort  to  help 
every  exhibitor  who  has  difficulty  in  obtaining  a  loan,  it  was  said. 

Exhibitors  everywhere  recently  received  material  from  the  Administration  outlin- 
ing the  assistance  they  can  obtain  from  the  Government.  As  soon  as  the  bill  to  increase 
the  loan  maximum  is  enacted,  additional  material  will  be  sent  out  showing  how  best 
a  theatre  owner  may  take  advantage  of  these  facilities. 


10 


MOTION    PICTURE  HERALD 


April    20,  1935 


Kuykendall  Scores 
Pettengill  Measure 


LICHTMAN  ATTACKS 
USE  OF  GIVEAWAYS 


Says  Practice  Is  Damaging  Qual- 
ity of  Films  and  Heading  Ex- 
hibitionToward  'Nickelodeons' 

The  practice  of  giveaways,  two-shows- 
for-the-price-of-one,  Bank  Nights  and  other 
inducements  calculated  to  stimulate  theatre 
business  came  in  for  a  severe  attack  this 
week  from  Al  Lichtman,  vice-president  and 
general  manager  of  United  Artists,  who 
said  such  methods  not  only  were  impairiiig 
the  quality  of  films  but  slowly  were  head- 
ing the  whole  system  of  motion  picture  ex- 
hibition toward  disaster  and  the  days  of 
the  "catch-penny  nickelodeon." 

"The  film  industry  is  no  longer  thought 
or  spoken  of  as  being  in  'swaddling 
clothes,'"  Mr.  Lichtman  said.  "With  the 
release  of  such  intelligent  and  highly  en- 
tertaining pictures  as  'David  Copperfield,' 
'Les  M'iserables,'  'One  Night  of  Love'  and 
others,  motion  pictures  attain  their  full  ma- 
turity. 

Cites  High  Production  Costs 

"I  was  impressed,  on  my  recent  trip  to 
Hollywood,  by  the  amount  of  money  pro- 
ducers are  spending.  A  good  picture  costs 
not  less  than  $400,000.  One  film  this  year 
already  has  run  up  to  $1,700,000. 

"And  yet  in  Chicago  alone  exhibitors 
are  giving  away  $30,000  worth  of  pottery 
a  week  on  premium  nights.  They  are  giv- 
ing more  dollars'  worth  of  merchandise 
than  a  major  department  store  can  sell  in 
a  year.  That  money  eventually  comes  out 
of  the  producer's  pocket  because  it  forces 
him  to  make  cheaper  pictures.  When  an 
exhibitor  spends  so  much  for  premiums  he 
is  forced  to  chisel  elsewhere.  In  the  end 
the  product  is  cheapened,  the  public  sours 
and  the  vicious  circle  is  completed." 

Mr.  Lichtman  said  that  if  the  public  de- 
mands double  features  the  distributors 
should  allow  them — but  not  two  features  for 
the  price  of  one. 

"Cut-Throat  Practice" 

"This  is  only  a  cut-throat  practice  and 
exhibitors  should  remedy  it  by  charging  ad- 
missions fair  to  producers  and  thereby  en- 
courage the  making  of  better  films,"  the 
United  Artists  executive  said.  "Most  ex- 
hibitors will  fight  any  outside  factors  that 
attack  their  business.  Why  shouldn't  they 
be  equally  patriotic  and  fight  the  enemies 
from  within? 

"The  exhibitor  must  keep  the  business 
healthy  by  not  cheapening  the  product  with 
such  degrading  tricks  as  premiums,  bank 
nights,  double  features  and  similar  'rackets.' 
This  is  equivalent  to  telegraphing  the  pro- 
ducers to  stop  making  good  pictures  I" 

Chicago's  premium  war  was  further  com- 
plicated when  Essaness  Theatres  extended 
the  practice  of  giveaways  throughout  its 
circuit  to  meet  the  competition,  using  one 
"Bank  Night"  plan,  15  on  "Screeno,"  16 
"Stamp  Clubs"  and  18  dish  and  kitchenware 
giveaways.    More  than  one  plan  is  in  use. 

In  Ohio,  the  House  judiciary  committee 


WEBB  RESIGNS  AS 
PATHE  PRESIDENT 

Stuart  W.  Webb  resigned  this 
week  from  the  presidency  of  Pathe 
Exchange,  Inc.  Mr.  Webb  had 
served  three  years  in  that  office. 
Frank  J.  Kolbe,  a  partner  in  Young  & 
Kolbe,  New  York  investment  brokers, 
was  elected  president  of  Pathe,  and 
Robert  W.  Atkins  of  Proctor  &  Paine, 
also  a  stockholder,  was  elected  execu- 
tive vice-president. 

Mr.  Webb  has  been  identified 
with  the  motion  picture  industry  since 
1928,  when  he  was  brought  upon 
the  film  scene  under  the  regime  of 
Joseph  P.  Kennedy  in  FBO.  Mr.  Ken- 
nedy subsequently  took  over  manage- 
ment of  Pathe  and  Mr.  Webb  trans- 
ferred his  attentions  to  that  concern. 
After  the  sale,  in  1930,  of  Pathe's 
studio  and  production  assets  to 
RKO,  Mr.  Kennedy  withdrew  from 
active  participation  and  Mr.  Webb 
became  president  of  Pathe  Ex- 
change, Inc. 


of  the  legislature  at  Columbus  recommended 
for  passage  a  proposal  to  submit  to  a  vote 
of  the  people  a  constitutional  amendment 
permitting  the  state  to  operate  lotteries. 

A  Des  Moines  grievance  board  ruling  on 
Bank  Nights  was  upheld  by  the  federal  court 
in  that  city,  which  refused  to  grant  an 
injunction  restraining  the  board  and  six 
major  distributors  from  interference  with 
the  practice. 

Although  the  Kansas  City  office  of  Fox 
Midwest  Theatres  declared  that  the  idea  will 
be  confined  to  that  territory,  it  was  believed 
that  the  "Gift  Stamp"  premium  plan  start- 
ing at  Kansas  City  Easter  Sunday  may  be 
adopted  also  by  Fox  divisions  elsewhere. 
Cash  prizes  will  range  from  $5  to  $50  and 
merchandise  prizes  will  be  awarded. 

At  the  same  time,  the  state  attorney-gen- 
eral's office  in  Missouri  ruled  that  "Bank 
Nights"  constitute  a  lottery  and  are  illegal. 
A  bill  to  outlaw  the  plan  was  recently  killed 
in  the  House. 

Federal  court  at  Los  Angeles  temporarily 
has  prevented  the  discontinuance  of  "Bank 
Nights"  there.  Judge  McCormack  ruling  in 
the  test  case  of  the  Oxnard  Theatres,  Inc., 
against  the  Local  Grievance  Board  and  dis- 
tributors. The  court  denied  a  motion  for 
dismissal  and  gave  the  defendants  20  days 
in  which  to  answer. 

At  Milwaukee,  the  Grievance  Board 
ordered  the  Hollywood  theatre  to  discontinue 
awarding  bags  of  groceries. 

The  Bank  Night  plan  in  Florida  ex- 
perienced a  setback  with  the  announcement 
by  Postmaster  Wall  at  Tampa  that  news- 
papers would  be  barred  from  the  mails  if 
the  line  "Bank  Night  Tonight"  appears  in 
any  future  theatre  advertising. 


Ed  Kuykendall,  president  of  the  Motion 
Picture  Theatre  Owners  of  America,  told 
the  annual  convention  of  the  Tri-States  Mo- 
tion Picture  Theatre  Owners  at  Memphis 
on  Monday  that  if  the  Pettengill  bill  pro- 
hibiting block  booking  were  to  pass  the 
moral  issues  involved  would  not  be  solved 
and  the  law  would  be  a  detriment  to  both 
the  industry  and  the  public. 

"We  find  to  our  amazement  that  several 
organizations  within  the  industry  are  taking 
the  trouble  to  support  this  measure,"  Mr. 
Kuykendall  said.  "These  groups  are  misled 
and  misinformed  as  to  the  results  that  would 
be  achieved. 

"Exhibitors  would  continue  to  buy,  as 
now,  separately  rather  than  in  groups,  the 
pictures  that  bring  hte  best  results  at  the 
box  office.  It  would  be  no  help  to  the  small 
town  operator  if  he  were  forced  to  go  to 
an  exchange  center  to  see  all  the  product 
before  buying,  and  it  would  be  demoraliz- 
ing to  the  production  end  of  the  industry." 

Other  speakers  at  the  convention  were 
M.  A.  Lightman,  Harry  Martin  of  the 
Memphis  Commercial- Appeal  and  Jack 
Bryan  of  the  Memphis  Press  Scimitar. 

No  election  of  officers  was  scheduled  for 
the  convention,  the  annual  election  being 
held  at  the  autumn  meeting.  A  resolution 
was  passed  putting  the  association  on 
record  as  endorsing  block  booking,  provided 
reasonable  cancellation  be  allowed  by  dis- 
tributors in  all  contracts. 

Support  of  the  Pettengill  bill  was  pledged 
at  a  meeting  of  directors  of  the  New  York 
Allied  unit  in  Albany  this  week. 

KAO  Board  Elections 
Make  "Truce"  Permanent 

The  stockholders  of  Keith-Albee-Or- 
pheum  Corporation  in  annual  session  last 
week  reelected  12  of  the  13  directors  of  the 
company,  thus  wiping  out  the  lines  of  de- 
marcation within  the  KAO  board  which 
have  existed  for  several  years  and  have 
brought  the  faction  representing  the  large 
M.  J.  "Mike"  Meehan  stock  interest  into 
sharp  conflict  with  RKO  interests  over  the- 
atre financial  policy  on  a  number  of  occa- 
sions. 

A  balance  of  representation  between  RKO 
and  Mr.  Meehan  was  effected  a  year  ago 
when  Herbert  Bayard  Swope  entered  KAO 
and  the  provisional  truce  which  resulted 
was  so  successful  in  quieting  opposing  fac- 
tions^ on  the  board,  it  was  said,  that  last 
week's  meeting  was  influenced  to  make  the 
arrangement  permanent.  Reelected  were 
Herbert  Bayard  Swope,  chairman;  David 
Sarnoff,  M.  H.  Aylesworth,  L.  E.  Thomp- 
son, W.  G.  Van  Schmus,  Paul  M.  Mazur, 
Frank  B.  Altschul,  M.  J.  Meehan,  Donald 
K.  David,  Jay  E.  Eddy,  Malcolm  Kings- 
burg  and  Peter  J.  Maloney.  Elected  was 
Monroe  Goldwater,  law  partner  of  Edward 
F.  Flynn,  whom  he  succeeds. 


Rochfort  Promoted 

Robert  Rochfort,  who  has  been  attached 
to  the  Paris  office  of  Paramount,  has  been 
appointed  director  of  all  the  company's  ex- 
changes in  northern  Africa. 


April    2  0,    19  3  5  MOTION    PICTURE    HERALD  II 


OP 


THE  CAMERA  CCDCCTS 


qi> 


SEASONAL  ZIP.  (Below)  With  zipper.  As  we 
approach  the  swimming  months,  Annie  Darling 
(soon  to  be  seen  in  Universal's  "The  Bride  of 
Frankenstein")  comes  up  with  this  one-piece 
garment  of  washable  print  cotton  and  they're 
both  attractive. 


THEIR  STARDOM  PROPHESIED.  The  Warner  Starlets  of  1 936-37— those  feminine 
players  on  the  Warner  roster  judged  most  likely  to  attain  the  screen's  firmament 
next  year.  Reading  up  the  ladder,  they  are  Myra  Moore,  Olivia  de  Haviland, 
Maxine  Doyle  and  Dorothy  Dare,  demonstrating  on  the  lot  the  promise  attributed 
to  them.  Meanwhile,  it  will  be  noted,  sets  are  being  built  and  technicians  ride  the 
cranes  in  attention  to  immediate  attainments. 


GOIN"  FISHIN'.  Col.  Royal  Quincy 
Byron,  public  relations  executive  of 
RKO  Theatres,  pictured  as  he  left  New 
York  for  Bermuda  in  relentless  pursuit 
of  the  obstinate  Tuna. 


TO  HEAD  NEWSREEL.  Sir  Malcolm 
Campbell,  the  famed  English  auto- 
speedster,  who  has  been  named  editor 
of  British  Movietone  News,  succeeding 
Gerald  Sanger,  now  producer. 


INTENSE.  And  petite.  A  Helen  Hayes  type.  So 
they  say  of  Luise  Rainer,  dynamically  pictured 
above.  Prominent  on  the  Continent  as  a  dra- 
matic actress,  she  has  been  signed  by  MGM 
for  screen  roles  in  this  country. 


12 


MOTION    PICTURE  HERALD 


April    20,  1935 


THROUGH  A  FENCE.  Will  James  Cagney  be 
seen  at  this  point  in  "The  G  Men,"  his  new 
Warner  Brothers  picture,  and  this  is  how  mat- 
ters were  arranged  by  Director  William  Keighley 
and  Cameraman  Sol  Polito. 


FIRST  LAP.  Helen  Vinson  at  the  end  of 
her  plane  trip  from  Hollywood  to  New 
York,  to  sail  for  England  to  appear  in 
"King  of  the  Damned,"  GB  production 
shortly  to  go  into  work. 


FIRST  ASSIGNMENT.  (Left)  Jean  Dixon,  for 
years  a  prominent  actress  of  the  New  York 
stage,  who  will  make  her  screen  debut  in  "Mr. 
Dynamite,"  forthcoming  Universal  production  in 
which  she  will  appear  opposite  Edmund  Lowe. 


DIRECTOR  HONORED.  Louis  B.  Mayer,  vice  president  of  MGM  in  charge  of  EXHIBITED.  A  reproduction  of  the  oil  painting, 
production,  and  some  of  his  guests  at  a  party  given  in  Los  Angeles  for  W.  S.  Van  "Reflections,"  in  the  exhibit  of  the  Society  of 
Dyke,  in  tribute  to  the  latter's  direction  of  "Naughty  Marietta."  Shown  are  Van  Independent  Artists  at  the  Grand  Central  Pal- 
Dyke,  Elsa  Lanchester,  Mayer,  Jeanette  MacDonald,  star  of  the  musical;  Eddie  -  ace  in  New  York.  It  is  the  work  of  Tony  Gablik, 
Ma  nnix.  Nelson  Eddy  and  Hunt  Stromberg,  producer.  Warner  art  director. 


April    20,  1935 


MOTION    PICTURE  HERALD 


13 


REWARDED.  Because  of  their  sales  record, 
Arthur  C.  Bromberg,  Monogram  Southern  fran- 
chise holder,  gave  his  district  salesmen  a  trip 
to  Hollywood.    Arrivers  and  greeters: 

H.  Y.  Harrell,  H.  H.  Everett,  William  Fulton,  Cy  Dillon. 
Carl  Floyd,  John  Wayne  (Western  star),  Bronnberq 
John  Mangham,  Leon  Seicshnaydre,  Trem  Carr,  vice- 
president;    Henry   Glover,   Jack    London   and    Ed  Orte. 

SIGNED.  (Right)  Joseph  Calleia,  Broadway  stage 
star,  whom  MSM  has  placed  under  contract. 
His  first  picture  will  be  "Public  Enemy  No.  I." 


WORKWARD.  Following  a  vacation  in 
the  East.  Marlene  Dietrich  has  returned 
to  Hollywood  to  begin  a  new  picture. 
She  is  shown  as  she  entrained  in  New 
York  for  Chicago. 


ARRIVES  FOR  PREMIERES.  Joseph  Moskowitz, 
treasurer  of  20th  Century,  greeting  Darryl  F. 
Zanuck,  vice  president  and  production  chief,  on 
the  letter's  arrival  In  New  York  for  premieres 
of  "Cardinal  Richelieu"  and  "Les  MIserables." 


MICKEY  SETS  TELEVISED.  The  adventurous  Mr.  Mouse  added  to  his  career  as 
a  United  Artists  star  the  other  day  when  one  of  the  Walt  Disney  cartoons  was 
transmitted  from  the  Baird  television  studio  in  London  to  the  room  shown  above, 
ten  miles  distant,  to  demonstrate  new  high-deflnltion  reception.  The  screen  em- 
ployed measured  twelve  by  nine  inches. 


14 


MOTION    PICTURE  HERALD 


April    20,    19  3  5 


14  PRODUCERS  BOUGHT  48  BOOKS 
AND  PLAYS  IN  MARCH  FOR  1935-36 


28  Original  Manuscripts,  15 
Books  and  Plays  Purchased, 
Largest  Number  Since  Last 
Nov.;  Paramount  Heads  List 

Producers  in  March  started  with  vigor 
to  build  1935-36  feature  release  schedules 
with  outstanding  books  and  plays,  14  com- 
panies acquiring  28  original  manuscripts,  15 
books  and  five  plays,  for  a  total  of  48,  the 
largest  of  any  month  since  last  November. 
Purchases  were  made  as  follows : 


Tofals 
for 


Company  O 

riginals 

Books 

Plays 

Month 

1 

1 

3 

3 

3 

4 

7 

Fox   

3 

3 

6 

Goldwyn  (UA)... 

1 

1 

Mascot   

1 

1 

3 

2 

5 

Paramount   

7 

2 

9 

1 

1 

1 

2 

3 

Reliance  (UA)... 

2 

1 

3 

20th  Century  (UA) 

1 

1 

3 

2 

5 

Warners   

1 

2 

TOTALS  FOR 
THE  MONTH.. 

28 

15 

5 

48 

Original-story  purchases  continued  in  March 
to  be  the  chief  source  of  material,  providing 
59  per  cent  of  all  material  purchased,  against 
the  31  and  10  per  cent  contributed  by  books 
and  plays,  respectively.  For  seven  months, 
since  last  September  1st,  these  three  story 
sources  stand  as  follows:  original  manuscripts, 
50  per  cent  (186  purchases)  ;  books,  38  per 
cent  (142  purchases);  plays,  12  per  cent  (42 
purchases),  for  a  total  of  370  for  the  period, 
as  follows : 


Month  Originals    Books       Plays  Totals 


September    28  40  7  75 

October    25  20  6  51 

November    39  17  8  64 

December    19  19  6  44 

January    26  14  7  47 

February    21  17  3  41 

March    28  15  5  48 


Totals  for  Seven 

Months   186         142  42  370 


Virtually  all  purchases  now  made  are  for 
1935-36  programs,  which  are  the  principal  sub- 
jects of  conference  both  in  distribution  and  pro- 
duction quarters,  as  executives  prepare  to  gather 
in  annual  sales  convention,  in  May  and  June, 
for  an  unusually  early  seUing  season. 

There  were  many  important  properties  ac- 
quired in  March.  Of  special  interest  to  ex- 
hibitors, for  their  possible  box-office  value,  are 
several  widely  read  books  and  some  successful 
stage  plays. 

Richard  Grace's  well  known  novel,  "Arctic 
Wings,"  was  taken  by  Columbia  and  "Brace- 
lets," a  Vina  Delmar  manuscript,  went  to 
Paramount.  Clarence  Budington  Kelland's 
"Dreamland"  was  a  Goldwyn  acquisition,  for 
Eddie  Cantor,  while  Fox  negotiated  the  popular 
expose  of  the  so-called  "400"  set,  "Farewell  to 
Fifth  Avenue,"  by  Cornelius  Vanderbilt,  Jr. 

Metro  purchased  "Gold  Eagle  Guy,"  Melvin 
Levy  play,  and  Reliance  bought  "The  Last  of 


the  Mohicans,"  James  Fenimore  Cooper.  The 
Milneaux  play,  "New  Divorce,"  from  the 
French,  was  another  Paramount  acquisition. 
The  company  also  took  Ferenc  Molnar's 
"Pastry  Baker's  Wife."  One  of  the  outstand- 
ing purchases  of  the  month  was  Warners'  buy, 
"Three  Men  on  a  Horse,"  the  Alex  Yokel  play 
of  the  season. 

Paramount  made  two  important  acquisitions 
in  the  properties  of  the  life  of  Garibaldi  and  of 
Victor  Herbert,  including  some  500  Herbert 
musical  compositions  for  inclusion  therein.  The 
48  March  purchases,  complete,  with  available 
production  credits,  follow : 

Alias  Mary  Dow,  original,  William  A.  John- 
ston and  Forrest  Halsey,  purchased  by  Uni- 
versal, which  assigned  continuity  to  Rose 
Franken  and  dialogue  to  Arthur  Caesar. 

Amateur  Lady,  original,  anonymous.  By  Re- 
liance (United  Artists). 

Arctic  Wings,  book,  Richard  V.  Grace.  By 
Columbia. 

Atlantic  Adventurer,  book,  Diana  Bourbon. 
By  Columbia,  which  assigned  Fred  Niblo,  Jr. 
and  Albert  De  Mond  to  adaptation. 

Bracelets,  original,  Vina  Delmar.  By  Para- 
mount, for  Carole  Lombard. 

Butler,  original,  William  A.  Johnston  and 
Johnny  Hines.    By  Columbia. 

Champagne  Charlie,  original.  By  Fox,  for 
Edmund  Lowe. 

Dance  Director,  original,  anonymous.  By  Par- 
amount, for  George  Raft. 

Death  on  the  Wing,  original,  Barry  Bar- 
ringer.    By  Premier  Pictures. 

Diamond  Horseshoe,  original,  Bess  Meredyth 
and  George  Marion,  Jr.  By  20th  Century 
(United  Artists),  for  Lawrence  Tibbett. 

Dreamland,  book,  Clarence  Budington  Kelland. 
By  Samuel  Goldwyn  (United  Artists),  for 
Eddie  Cantor,  with  Howard  Lindsay  and 
Russel  Grouse  assigned  to  adapt. 

Farewell  to  Fifth  Avenue,  book,  Cornelius 
Vanderbilt  Jr.    By  Fox. 

Gentle  Grifter,  original,  Arthur  Horman.  By 
Fox. 

Glass  Key,  original,  Dashiel  Hammett.  By 
Paramount,  for  George  Raft,  with  direction 
assigned  to  Frank  Tuttle. 

Gold  Eagle  Guy,  play,  Melvin  Levy.  By 
Metro. 

High  Hat,  original.  Alma  Sioux  Scarberry. 
By  Cameo  Productions. 

I  Sing  For  Love,  original,  anonymous.  By 
Paramount  for  Jan  Kiepura,  with  Frank  Tut- 
tle assigned  to  direct. 

Last  of  the  Mohicans,  book,  James  Fenimore 
Cooper.  By  Reliance  (United  Artists),  for 
Merle  Oberon. 

Legion  of  Valor,  original,  Joseph  Moncure 
March  and  Elmer  Harris.  By  Reliance  for 
Richard  Arlen,  Virginia  Bruce  and  Alice 
Brady,  with  direction  assigned  to  Sam  Wood. 

Long  Haul,  original,  Arthur  Horman.  By 
Radio. 

Maytime,  play,  purchased  by  Metro. 

Moon  Is  Right,  original,  Robert  Brent  and 
Norman  Huston.    By  Fox. 

New  Divorce,  play,  from  the  French,  by  Mil- 
neaux. Purchased  by  Paramount,  for  Gary 
Cooper  and  Claudette  Colbert. 

Pastry  Baker's  Wife,  play,  Ferenc  Molnar. 
By  Paramount,  which  assigned  scenario  to 
Samuel  Hoffenstein. 

Penthouse  Love,  original.  Alma  Sioux  Scar- 
berry.    By  Cameo. 

Portrait  of  a  Rebel,  book,  Netto  Syrett.  By 
Radio. 

Powdersmoke  Range,  book,  William  Colt  Mc- 
Donald.   By  Radio  for  Richard  Dix. 


Original  Stories  Continue  to 
Lead  as  Source  of  Material 
for  Screen,  Providing  59 
Per  Cent  of  All  Purchased 

Rip  Roaring  Riley,  original.    By  C.  C.  Burr 

Productions. 
Rise  and  Shine,  original,  Paul  Sloane  and 

Victor  Mansfield.  By  Metro,  for  Ted  Lewis. 
Second  Mrs.  Lynton,  original,  Wilson  ColU- 

son.    By  Metro. 
Serves  You  Right,  original,  George  Bilson. 

By  Warner,  for  Joan  Blondell,  Glenda  Farrell 

and  Hugh  Herbert,  with  adaptation  assigned 

to  Erwin  Gelsey. 
She  Married  Her  Boss,  book,  Thrya  Samter 

Winslow.     By    Columbia,    which  assigned 

adaptation  to  Sidney  Buchman. 
Silver  Lining,  original,  Joseph  McCord.  By 

Cameo. 

Strangers  at  the  Feast,  book,  Beatrice  Lu- 

bitz.  By  Universal,  for  Margaret  Sullavan. 
Summer  Breeze,  original,  Oscar  Hammerstein, 

II  and  Jerome  Kern.    By  Metro. 
Thanks  For  All  Your  Efforts,  book,  Sophie 

Kerr.    By  Fox. 
Theodora  Goes  Wild,  book,  Mary  McCarthy. 

By  Columbia. 
Thousand  Dollars  A  Minute,  book,  Everett 

Freeman.    By  Mascot. 
Three  Men  on  a  Horse,  play,  Alex  Yokel. 

By  Warner. 
Two   Sons,   original,   Harrison  Jacobs.  By 

Columbia. 

Unconscious,  original,  Frank  Dazey.  By  Uni- 
versal, for  Hugh  O'Connell. 

Virginia  Judge,  original,  Octavus  Roy  Cohen 
and  Waher  C.  Kelly  (The  Virginia  Judge). 
By  Paramount  for  Kelly. 

While  The  Crowd  Roars,  book,  Carl  Tum- 
berg.    By  Universal. 

Work  of  Art,  book,  Sinclair  Lewis.  By  Fox, 
for  Lew  Ayres. 

Untitled  original,  R.  C.  Sheriff.  By  Uni- 
versal, for  Irene  Dunne. 

Uhtitled  original,  about  the  life  of  Garibaldi, 
by  E.  Alexander  Powell,  purchased  by  Para- 
mount. 

Untitled  original,  about  the  life  of  Victor 
Herbert,  including  rights  to  some  500  of  his 
musical  compositions,  purchased  by  Para- 
mount. 

Untitled  original.  Gene  Towney  and  Graham 
Baker.  By  Columbia,  which  assigned  adapta- 
tion to  Benny  Rubin  and  Gertrude  Purcell, 
and  direction  to  Eddie  Buzzell. 


H.  J.  Yates  Reelected 
Consolidated  President 

Herbert  J.  Yates  was  reelected  president 
of  Consolidated  Film  Industries,  Inc.,  this 
week  at  a  meeting  of  the  new  board  of  direc- 
tors. All  other  officers  were  reelected,  M.  J. 
Seigel,  formerly  an  assistant  treasurer,  suc- 
ceeding George  W.  Yates  as  a  vice-presi- 
dent. Officers  are :  Ben  Goetz,  executive 
vice-president;  Ralph  I.  Poucher,  Walter 
Vincent,  vice-presidents;  H.  J.  Yates,  Jr., 
secretary-treasurer;  C.  J.  Bigelow,  assistant 
treasurer;  Nathan  K.  Loder,  Joe  Aller  and 
W.  F.  Ferris,  assistant  secretaries. 


RKO  Honors  Shirley  Temple 

Shirley  Temple's  sixth  birthday  on  April 
22  will  be  celebrated  by  26  RKO  houses  in 
Greater  New  York. 


April    20.    19  3  5  MOTION    PICTURE    HfRALD  15 


WARNER'S  438  THEATRES 
MAKE  CIRCUIT  3d  LARGEST 


Centralized  Operation  Main- 
tained While  Theatre  Com- 
pany Shows  Steady  Profit; 
Houses  in  23  States  Now 

Warner  Brothers  Theatres,  Inc.,  which 
started  with  one  Httle  nickelodeon  opened 
in  Newcastle,  Pa.,  22  years  ago  by  the  four 
Warner  brothers — Harry  M.,  Major  Albert, 
Jack  L.,  and  the  late  Sam  Warner — today 
is  the  third  largest  circuit  in  the  business 
and  is  the  largest  in  the  United  States  to 
have  kept  clear  of  receivership.  \_Map  show- 
ing Warner  theatres  is  on  pages  16  and  17; 
listing  of  houses  is  on  pages  18  and  19. 

Operating  in  23  states  of  the  Union,  there 
are  438  theatres  in  the  Warner  fold,  con- 
trolled and  manager  on  a  centralized  basis 
direct  from  the  company's  home  office  in 
New  York,  in  contrast  with  the  extensive 
program  of  decentralization  of  operations 
embarked  upon  two  and  one-half  years  ago 
by  Paramount,  Fox  and  RKO. 

Despite  depression  and  the  fact  that 
two  years  ago  there  were  several  situa- 
tions in  the  Warner  circuit  which  had  to 
be  closed  or  otherwise  disposed  of  be- 
cause of  the  general  business  retrogres- 
sion, the  theatre  subsidiary  has  continued 
to  return  a  proPt  to  the  parent  company, 
while  its  outlook  for  the  coming  new  sea- 
son was  said  to  be  better  than  at  any 
time  in  five  years. 

Warner  Bros,  reported  that  it  had  bettered 
its  earning  position  during  the  fiscal  year 
1934  by  $3,761,235,  reducing  losses  from 
$6,291,748  in  1933  to  $2,530,513  in  1934,  and 
at  the  same  time  doubling  its  cash  position 
to  $4,664,138,  better  than  in  any  year  of  the 
depression.  Largely  contributing  to  this 
condition  was  the  theatre  department. 

The  438  Warner  theatres  currently  oper- 
ating in  strategic  territories  seat  a  total  of 
594,296  persons,  an  average  of  1,300  a  the- 
atre. The  circuit  has  less  than  one-half  as 
many  theatres  as  has  Paramount,  whose 
houses  in  the  United  States  total  970  and 
seat  1,131,561  persons,  but  the  Warner 
seating  capacity  averages  approximately 
one-third  more  per  theatre. 

Four  More  States  Than  in  1931 

Warner  today  is  operating  theatres  in 
four  more  states  than  in  1931,  having  at  that 
time  but  19  states  on  its  theatre  map.  The 
four  additional  states  are  Kentucky,  with 
eight  theatres ;  North  Carolina,  one ;  Ore- 
gon, two,  and  Texas,  one. 

As  Warner  entered  the  year  1931  it  had 
476  theatres  in  its  circuit,  38  more  houses 
than  it  operates  today.  The  majority  of 
theatres  dropped  since  then  were  in  the 
Philadelphia  territory  and  today  there  are 
only  58  Warner  houses  in  that  city  as  com- 
pared with  86  early  in  1931. 

In  1933  Warner  Bros,  formed  Warner 
Bros.  Circuit  Management  Corporation,  un- 


der the  laws  of  New  York  State,  to  manage 
all  theatres  owned  by  Warner  Bros.  The- 
atres, Inc.  The  new  unit  then  was  described 
as  part  of  a  reorganization  of  the  corporate 
structure  of  Warner  theatres  throughout  the 
United  States. 

More  Acquired  in  East  and  Midwest 

Within  a  few  months  thereafter,  negotia- 
tions were  under  way  for  acquisition  of  a 
number  of  theatres  in  the  East  and  Middle- 
west.  Ohio  and  New  England  then  were 
regarded  as  the  two  most  advantageous  sec- 
tors for  theatre  additions.  At  the  time,  Pub- 
lix,  RKO  and  the  various  Fox  units  were 
in  the  process  of  decentralization,  dropping 
houses  daily.  Warner  started  a  program  in 
direct  contrast  with  decentralizing. 

The  reason  for  the  Warner  move,  it  was 
said  at  that  time,  was  to  make  the  circuit 
more  compact,  with  elimination  of  darkened 
houses  in  situations  which  were  not  support- 
ing existing  theatres.  To  this  end,  approxi- 
mately 40  unprofitable  Warner  theatres  were 
dropped,  although  in  some  situations  where 
houses  were  closed,  the  company  retained 
them  in  the  hope  of  reopening  when  condi- 
tions warranted. 

Warner  was,  then,  undertaking  a  program 
of  inter-company  reorganization  to  be  fol- 
lowed by  expansion,  which  was  carried  out 
without  the  receivership  eventuality  which 
several  other  companies  experienced. 

Zones  Given  More  Latitude 

Since  the  Warner  organization  first 
started  building  up  its  circuit  into  national 
prominence,  actual  management  of  the  vari- 
ous properties  has  been  vested  in  the  home 
office,  nor  does  the  company  contemplate 
decentralization.  Although  its  district  man- 
agers recently  were  granted  wider  operating 
authority,  final  authority  remains  at  head- 
quarters under  Joseph  Bernhard,  head  of  the 
theatre  subsidiary. 

Zone  managers  now  are  given  direct 
charge  of  operation  of  their  units,  this  in- 
cluding authority  to  purchase  all  supplies 
and  equipment,  and  individual  auditing  sys- 
tems for  each  zone  have  been  inaugurated. 

The  438  theatres  currently  are  under  the 
supervision  of  the  home  office  and  12  zone 
managers  in  the  field.  James  Coston  is  in 
charge  of  zone  operations  in  Chicago  and 
Milwaukee.  Cleveland  is  the  headquarters 
of  Nat  Wolf;  I.  J.  Hoi¥man  is  at  New 
Haven;  Don  Jacocks,  Newark;  Moe  Silver, 
Albany ;  Ted  Schlanger,  Philadelphia ; 
Harry  Kalmine,  Pittsburgh;  J.  J.  Payette, 
Washington,  D.  C. ;  Herbert  Copelan,  At- 
lantic City ;  L.  J.  Halper,  Hollywood ;  How- 
ard Waugh,  Memphis. 

Contrary  to  reports  that  Warner  Brothers 
is  considering  further  divestments  of  theatre 
holdings,  it  was  indicated  at  a  meeting  of 
the  company's  zone  managers  in  New  York 
that  additional  acquisitions  may  be  under- 
taken within  the  year. 

Ben  Berinstein  is  negotiating  with  War- 
ner for  the  repurchase  of  four  houses  in 
Elmira,  N.  Y.,  sold  to  the  circuit  several 
years  ago.   Only  one  of  the  four  is  open. 


Educational  Marks 
20th  Anniversary 

Next  month  Educational  Pictures  will 
celebrate  its  twentieth  anniversary  as  a  pro- 
ducer of  short  subjects  exclusively.  The 
celebration  will  be  in  the  form  of  a  special 
sales  and  booking  drive  by  Fox  Film,  dis- 
tributor of  Educational  product,  concentrat- 
ing on  the  short  subjects. 

In  May,  1915,  Fade  W.  Hammons, 
founder  of  the  company  and  still  Educa- 
tional's  president,  organized  Educational 
Films  Corporation  of  America.  Twenty 
years  ago,  Mr.  Hammons,  a  real  estate  op- 
erator, undertook  to  supply  screen  entertain- 
ment and  deliver  a  talk  on  the  film,  before  a 
meeting  of  the  Red  Cross  at  Briarcliff 
Manor.  He  used  a  scenic  picture  just  com- 
pleted by  Robert  C.  Bruce,  a  friend.  The 
interest  shown  in  the  picture  gave  rise 
shortly  after  to  the  formation  of  the  com- 
pany, which  at  first  contemplated  the  pro- 
duction of  pictures  for  school,  club  and 
other  non-theatrical  purposes.  Later  atten- 
tion was  directed  toward  the  theatrical  field, 
with  special  concentration  on  the  short  sub- 
ject, which  was  followed  by  the  organiza- 
tion of  Educational  Film  Exchanges,  Inc. 
In  1933  the  distribution  of  Educational 
product  was  transferred  to  Fox  Film. 

Among  the  players  who  appeared  for 
Educational  during  the  20  years  were 
Johnny  Hines,  Dorothy  Mackail,  Lloyd 
Hamilton,  Wallace  Beery,  Lewis  Stone, 
Bing  Crosby,  Edward  Everett  Horton  and 
Shirley  Temple.  Well  known  producers,  and 
directors  did  early  work  for  Educational. 
Joe  Cook,  Buster  Keaton,  Ernest  Truex, 
Sylvia  Froos,  Tom  Howard,  Tom  Patricola 
and  Buster  West  are  among  the  stars  now 
appearing  in  Educational  subjects. 

Among  the  new  two-reel  pictures  ready 
for  the  anniversary  celebration  are:  Joe 
Cook  in  "A  Nose  For  News" ;  Ernest 
Truex  in  "Only  The  Brave" ;  Buster  Keaton 
in  "Tars  and  Stripes" ;  Tom  Howard  and 
George  Shelton  in  "Grooms  in  Gloom"; 
Sylvia  Froos  in  "Stepmother  Blues" ;  a  com- 
edy with  Junior  Coghlan  and  Dorothea 
Kent ;  Buster  West  and  Tom  Patricola, 
signed  last  week,  in  "Dame  Shy." 

Single-reel  pictures  include  several  Paul 
Terry-Toon  cartoons,  "The  Life  of  the 
Party,"  a  Song  Hit  Story  featuring  the 
Cabin  Kids,  and  several  new  subjects  in  the 
Treasure  Chest  series. 

A.  T.  &  T.  Quarterly 
Earnings  $30,097,288 

The  American  Telephone  &  Telegraph 
Company  reported  this  week  a  net  income 
of  $30,097,288  for  the  first  quarter  of  1935, 
equal  to  $1.61  a  share  earned  on  18,662,275 
shares  of  capital  stock. 

This  income  compared  with  $32,992,340, 
or  $1.77  a  share,  for  the  1934  quarter. 


MOTION    PICTURE  HERALD 


April    20,  1935 


Warner  s  438  U.  S.  Theatres 


IDAHO 
(None) 


NEVADA 
/None) 


,<^ALlFORNu  (12) 
(Seafm^:  19,007) 


UTAH 
(None) 


ARJZONA 
(None) 


MONTANA 

(None) 


The  total  of  Warner  theatres  in  a 
state  is  shown  by  the  number  in 
parentheses  immediately  following 
the  name  of  the  state.  Below  the 
state  name  is  given  the  number  of 
seats  in  the  Warner  houses  in  that 
state.  The  red  dots  show  the  loca- 
tions of  the  theatres  themselves. 
Practically  all  sections  of  the  country 
have  their  Warner  theatre  repre- 
sentation. 


COLORADO 
(None) 


NEW  MEXICO 
(None) 


NORTH  DAKOTA 
(None) 


SOUTH  DAKOTA 
(None) 


NEBRASKA 
(None) 


KANSAS 
(None) 


OKLAHOMA  (9 
(Seating:  10,429) 


TEXAS  (I) 
(Seating:  1,200) 


April    20,  1935 


MOTION    PICTURE  HERALD 


17 


4nd  JVhere  They  re  Situated 


llJklEW  JERSEY  (73) 
•T»i(Seating:  118,876) 

:.Vi 


.jLAWARE  (5) 
Seating:  6,967) 


18 


MOTION    PICTURE  HERALD 


April    20,    19  3  5 


WARNER  THEATRES,  CITIES  AND  SEATS 


California  (12) 

(Seating  Capacity:  19,007) 

Seating 

City  Iheatre  Capacity 

Beverly  Hills   Beverly  Hills    1,620 

Fresno   Fresno    2,400 

Hollywood   Hollywood   2,756 

Huntington  Park-  Huntington  Park    1,468 

Los  Angeles   Downtown    2,500 

Forum    2,000 

Western    900 

San  Bernadino   Ritz    840 

San  Pedro   San  Pedro    1,600 

Santa  Barbara   California    912 

Granada    1,011 

Mission    1,000 

Connecticut  (12) 
[Seating  Capacity:  36,322] 

Ansonia   Capitol    1,488 

Bridgeport   Cameo    1,160 

Bristol   Cameo    1,660 

Danbury   Capitol    1,497 

Palace    1,995 

Derby   Commodore-Hull    1,335 

Hartford   Colonial    1,194 

Lenox    946 

Lyric    999 

Regal    946 

Rialto    743 

Strand    1,489 

West  Hartford   Central    984 

South  Manchester   State    1,346 

New  Britain   Embassy    1,368 

Strand    2,225 

New  Haven   Roger  Sherman   2,076 

New  London   Garde    1,603 

Norwich   Broadway    1,307 

Palace    1,307 

South  Norwalk   Palace    1,171 

Rialto    929 

Torrington   Warner    1,866 

Waterbury   State    1,944 

Strand    1,556 

Willimantic   Capitol    1,188 

Delaware  (5) 

[Seating  Capacity:  6,967) 

Wilmington   Aldine    1,819 

Arcadia    1,401 

Grand  Opera  House  1,372 

Queen    1,675 

Savoy    700 

District  of  Columbia  (14) 
(Seating  Capacity:  16.499) 

Washington   Ambassador    1,457 

Apollo    998 

Avalon    794 

Avenue  Grand    899 

Central    851 

Colony    1,073 

Earle    2,240 

Home    650 

Lincoln    1,534 

Metropolitan   2,000 

Savoy    1,093 

Tivoli    1,975 

York    935 

Illinois  (17) 

(Seating  Capacity:  25,289) 

Chicago   Avalon    2,400 

Capitol    491 

Cosmo    1,222 

Frolic    872 

Grove    1,857 

Hamilton    997 

Highland   2,059 

Jeffery    1,795 

Lexington    721 

MetropoHtan    1,442 

Oakland  Square    1,495 

Orpheum    677 

Shore    1,4'98 

Stratford    2,460 

Symphony    1,700 

West  Englewood   2,065 

Granite  City   Washington    1,538 

Indiana  (2) 

[Seating  Capacity:  2,374) 

Hammond  Orpheum    874 

Parthenon   1,500 

Kentucky  (8) 

[Seating  Capacity:  5,589) 

Danville   Kentucky    793 

Fulton   Orpheum    400 

Henderson   Kentucky    980 

Princess   523 

Mayfield   Princess    833 

Owensboro   Bleigh    853 

Empress    756 

Princeton   Savoy    451 

Maryland  (7) 

[Seating  Capacity:  10,837) 

Baltimore   Metropolitan    1,500 

Stanley    .^,287 


On  this  and  the  following 
page  are  listed  all  438  Warner 
theatres  in  the  United  States, 
by  city,  theatre  name  and  seat- 
ing capacity.  .The  total  follow- 
ing the  state  name  shows  the 
number  of  Warner  theatres  in 
that  state. 


Frederick   Opera  House    1,000 

Tivoli    1,400 

Hagerstown   Academy    1,000 

Colonial    1,050 

Maryland    1,600 

Massachusetts  (12) 

[Seating  Capacity:  15,714) 

Amesbury   Strand    755 

Clinton   Strand    1,107 

Everett   Capitol    1,955 

Lawrence   Broadway    1,300 

Palace    1,777 

Lynn   Waldorf    1,440 

Warner    1,802 

Newburyport   Premier    820 

Springfield   Capitol    1,824 

Waverly   Strand    700 

Woburn   Strand    900 

Worcester   Warner    1,334 

Missouri  (23) 

[Seating  Capacity:  29,309) 

St.  Louis   Aubert    1,440 

Capitol    871 

Congress   898 

Downtown  Lyric    555 

Granada    1,585 

Grand  Florissant    1,750 

Gravois    1,012 

Hi-Pointe    756 

Kingsland    1,507 

Lafayette    756 

Lindell    1,650 

Maffitt    955 

Manchester    1,542 

Maplewood    1,466 

Mikado    1,348 

Orpheum   2,000 

Pageant    1,400 

Shubert-Rialto    1,710 

Shaw    1,140 

Shenandoah    1,560 

Union    1,044 

West  End-Lyric    1,032 

University  City   Tivoli    1,332 

New  Jersey  (73) 
(Seating  Capacity:  118,876) 

Atlantic  City   Colonial    1,450 

Stanley    1,999 

Virginia    1,225 

Bayonne  DeWitt    2,708 

Strand    1,300 

Belleville   Capitol    1,292 

Beverly   Beverly    500 

Bloomfield   Royal    1,806 

Bordentown   Fox    900 

Bridgeton  Stanley    1,550 

Burlington   Fox    1,428 

Camden   Grand    1,193 

Lyric   2,145 

Princess    900 

Stanley   2,228 

Clementon   Clementon    1,380 

Collingswood   Collingswood    1,533 

Cranford   Cranford    1,194 

Dover   Baker    1,579 

Playhouse    800 

East  Orange   Hollywood    1,674 

Elizabeth   Regent   2,462 

Ritz    4815 

Hackensack   Eureka    920 

Oritani    1,967 

Hoboken   Fabian   '3,036 

United  States    1,048 

Irvington   Castle    1,493 

Rex    1,240 

Sanford   1,734 

Jersey  City  Central   2,069 

Ritz    1,491 

^  Stanley   4.335 

Kearny   Hudson    1,625 

-,,.„,  Lincoln    1,270 

MiUburn   Millburn    966 

^illville.   Leroy    1,526 

Montclair   Claridge    1,336 

T,,^    XT  „  Wellmont   2,137 

Mt.  Holly   ..pox    1064 

Newark   American    943 

Branford   2,966 

Cameo    944 

Capitol    1,027 

Central    1,399 

Goodwin    728 

Hawthorne    1,068 

Regent    1,992 

Ritz    1.920 


Newark   (Cont.)   Roosevelt    1,649 

Savoy    1,472 

Stanley    1,977 

Tivoli    1,946 

Orange   Embassy   2,044 

Passaic   Capitol    3,500 

Montauk   2,796 

Playhouse    1,684 

Paterson  Fabian   3,285 

Garden    1,227 

Regent    1,992 

Rivoli    1,802 

Penns  Grove   Broad    1,013 

Pleasant ville   Rialto    827 

Rahway   Rahway    1,827 

Ridgewood   Warner    1,542 

Riverside  Fox    1,228 

South  Orange   Cameo    976 

Swedesboro   Embassy    400 

Union   Union    1,304 

Union  City   Lincoln    1,822 

Roosevelt    1,858 

Vineland   Grand    1,273 

Woodbury   Rialto    1,127 

New  York  (27) 

(Seating  Capacity:  37,403) 

Albany   Albany    6S1 

Madison   1,400 

Ritz    1,134 

Strand    1,943 

Batavia   Family   1,000 

Lafayette    1,107 

Brooklyn   Strand   2,870 

Dunkirk   Capitol    1,200 

Elmira   Keeney    2,362 

Regent    850 

Hornell   Majestic    770 

Jamestown   Palace    1,700 

Winter  Garden    1,000 

Medma   Diana    650 

New  York  City  Strand   2,758 

Hollywood    1,553 

Warner    1,286 

Olean   Havens   1,118 

State    481 

Syracuse   Strand    1,000 

Troy   American    700 

Lincoln    978 

Troy    1,980 

Utica   Avon    1,662 

Stanley   2,800 

Utica    2,000 

Wellsville   Babcock    450 

North  Carolina  (I) 
[Seating  Capacity:  1,400) 

Charlotte   New  Broadway    1,400 

Ohio  (26) 

(Seating  Capacity:  36,736) 

Akron   Strand   1,155 

Canton   Alhambra    850 

Chillicothe   Sherman    750 

Cleveland   Hippodrome   3,529 

Uptown   3,580 

Variety    1,931 

Coshocton   Pastime    677 

Sixth  Street    650 

Findlay   Harris    1,010 

Lima   Ohio    1,800 

Sigma    900 

State    1,000 

Lorain   Palace    1,750 

Mansfield   Madison    1,520 

Ohio    1,620 

Massillon   Lincoln    979 

Portsmouth   Columbia    1,000 

„     ,    ,  Le  Roy    1.385 

Sandusky   Ohio    700 

Plaza    500 

Sidney   Ohio    1,300 

Springfield   Fairbanks    1,300 

Regent    1,450 

State    800 

Steubenville   Capitol   2,000 

Youngstown   Warner   2,600 

Oklahoma  (10) 

(Seating  Capacity:  10,429) 

Oklahoma  City   Capitol    1,200 

Circle    964 

Empress    985 

Folly    800 

Liberty   1,300 

Midwest    1,600 

Ritz    800 

Victoria    830 

Warner    1,950 

Oregon  (2) 

[Seating  Capacity:  2,568) 

Salem   Capitol    1,168 

Elsinore    1,400 

Pennsylvania  (135) 
[Seating  Capacity:  178,783) 

Ambler   Ambler    1,227 

Ambridge   Ambridge    1,360 

Ardmore   Ardmore    1,483 

(Continued  on  following  page) 


April    20,  1935 


MOTION    PICTURE  HERALD 


19 


THIRD  OF  HOLDINGS  IN  PENNSYLVANIA 


Pennsylvania  (Con+inued) 


Red  Lion   Lion 

Ridseway   Strand 


1,000 
910 


Brookville 
Butler    . . . 
Chester    . . 


Darby  .. 
Donora  . 
Dormont 


Drexel  Hill 
Erie   


Etna   

Gettysburg 
Greensburg 

Hanover  . . . 


Holmesburg 
Johnstown  . 
Lancaster   . . 


Lansdowne   

McKeesport   

New  Kensington 


Ogontz  . 
Palmyra 


Philadelphia 


Pittsburgh 


Pottstown   

Prospect  Park 
Punxsutawney 
Reading   


.Columbia    496 

.Butler    1.500 

.  Stanley    2,400 

State    1,200 

Washington    1,576 

.Parker    2,000 

.Harris    55.> 

.Harris    1,222 

Hollywood    800 

•  Waverlv    1,622 

.Strand    1,200 

Warner    2,585 

•Harris    1.546 

•  JIajestic    1,140 

•  Grand    1,226 

Manos    1,856 

•  State    970 

Strand    490 

•  Holme    1.364 

•  Cambria    1,200 

•  Capitol    1.214 

Grand    990 

Hamilton    1,046 

•  Lansdowne    1,633 

•  Memorial    2.060 

Victor    757 

•  Liberty    ggg 

Ritz    900 

•  Yorktown    550 

•  Seltzer    928 

•  Aldine    1,416 

Alhambra    1.699 

Allegheny    2,858 

Astor    1,350 

Auditorium    4I6 

Avon    600 

Benn    1,345 

Broadway    2,183 

Boyd    2,338 

Capitol    565 

Circle    2,991 

Colney    1,952 

Colonial    500 

Columbia    884 

Commodore    1,400 

Cross  Keys    2,123 

Earl    1,000 

Earle    2,750 

Fairmount    1,344 

Family    547 

Felton    1,362 

Forum    1,700 

Germantown    1,168 

Grange    499 

Harrovvgate    1,150 

Imperial    1,040 

Karlton    1,005 

Kent    1,910 

Keystone    500 

Lawndale    1,217 

Leader    986 

Liberty    1,484 

Lindley    1,163 

Lindy    1.470 

Logan    1.924 

Midway    2,780 

Model    980 

New  Palace    675 

Ogontz    1,750 

Orient    500 

Orpheum    1,693 

Palace    1,100 

Park    1,735 

Plaza    1,425 

Princess    450 

Richmond    1,000 

Roxy-Mastbaum    4,683 

Savoy    396 

Sedgwick    1,636 

Stanley    3,000 

Stanton    1,418 

State    3,059 

Strand    450 

333  Market  Street   952 

Uptown    3,146 

Victoria    987 

Wishart    904 

Wynne    1,653 

■■Arsenal    672 

Belmar    600 

Cameraphone    850 

Oavis    1,823 

Enright    3,300 

Kenyon    1,636 

Manor    1,146 

Palace    300 

Plaza    500 

Regent    925 

Ritz    768 

Schenley    1,722 

Sheridan   Square    2,034 

Stanley    2,886 

Warner    1,800 

..Strand    1.032 

, .  Manor    1,248 

•  •Tefferson    1,014 

..Astor    2.485 

Strand    1,700 


Sbajon   Columbia    1,788 

State  College   Cathum    1,060 

Nittany    440 

Tacony   Liberty    1,484 

Northeastern    999 

Tarentum   Harris    965 

Titusville   Orpheum    600 

Upper  Darby   69th  Street    1,796 

Warren   Liberty    1,052 

Washington   State    1,278 

Washington    750 

Waynesboro   Arcade    1,000 

Strand    444 

Weslevville   Penn    600 

West  Chester   Rialto    600 

Warner    1,640 

Wilkinsburg   Rowland    1,129 

Willow  Grove   Grove    800 

York   Capitol    1,024 

Rialto    790 

Ritz    600 

Strand    1,300 

Tennessee  (I) 

(Seating  Capacity:  2,300) 

Memphis   Warner   

Texas  (I) 

(Seating  Capacity:  1,200) 

San  Antonio   Empire   


2,300 


1,200 


Virginia  (9) 

(Seating  Capacity:  7,076) 

Clifton  Forge   Masonic   

Harrisonburg   New  Virginian 

Lexington   Lyric   

New   

Lynchburg   Trenton   

Staunton   New   

Strand 


....  800 
....  1,028 
....  454 
....  694 
....  700 
....  1.100 
....  600 

Winchester   Capitol    1,000 

Colonial    700 

Washington  (I) 
(Seating  Capacity:  1,050) 

Aberdeen   Aberdeen    1,050 


West  Virg 
(Seating  Ca 

Charleston 

Clarksburg 
Fairmont   . . 


nia  (14) 

pacity:  15,408) 


Martinsburg 

Morgantown 
Parkersburg 

Wheeling    . . 


Wisconsin  (II) 

(Seating  Capacity:  14,160) 


 Rialto    800 

Virginian    1,000 

 Ritz    1,136 

 Fairmont    1,270 

Virginia    863 

 Apollo    969 

Central    787 

 Warner   1,300 

 Smoot    921 

Strand    726 

 Capitol    2,527 

Court    909 

Liberty    1,000 

Victoria    1,200 


Appleton 
Kenosha   . . 
Milwaukee 


Racine  ... 
Sheboygan 


.Appleton    909 

.Kenosha   2,090 

.Egyptian    1,400 

Granada    916 

Juneau    1,100 

Lake    967 

Warner    2,414 

,  State    1,003 

Venetian    955 

.Majestic    890 

Sheboygan    1,516 


Company  Plans  New 
House  in  West  Kentucky 

The  West  Kentucky  Amusement  Com- 
pany, with  headquarters  at  Mayfield,  plans 
to  open  a  new  theatre  shortly  at  Fulton. 
Seating-  800  to  1,000,  the  house  will  be  mod- 
ernly  equipped,  with  the  latest  sound  equip- 
ment and  air  conditioning.  H.  C.  Neale,  who 
managed  the  Princess  and  Dixie  theatres 
in  Mayfield  for  several  years,  will  manage 
the  new  house. 


Screen  Writers'  Meet 

The  new  board  of  directors  of  the  Screen 
Writers'  Guild  on  the  Coast  held  its  first 
meeting  early  this  week. 


Harry  Arthur  Hits 
Coast  Zoning  Plan 

'J  he  plan  of  Fox  West  Coast  to  consoli- 
date the  28  different  zones  proposed  in  the 
Los  Angeles  clearance  and  zoning  schedule 
into  about  nine  zones  and  to  increase  the 
requested  seven  days'  protection  to  14  days 
for  each  five-cent  advance  in  admissions 
was  the  subject  of  a  bitter  attack  by  Harry 
C.  Arthur  at  a  Code  Authority  meeting  in 
New  York  last  week  at  which  Harry  A. 
Babcock,  an  official  observer  for  the  Fed- 
eral Trade  Commission,  was  present. 

Mr.  Arthur  said  that  the  "extension  of 
zones  as  proposed  by  Fox  West  Coast  would 
perpetuate  a  monopoly  and  would  put  inde- 
pendents out  of  business,"  adding  that  "the 
only  chance  independent  exhibitors  have  is 
to  play  within  the  zones  as  constituted." 

The  hearings  of  the  Code  Authority  on 
FWC's  application  for  a  rehearing  of  the 
Los  Angeles  plan  were  described  on  Friday 
as  illegal  procedure  by  Ben  Berinstein, 
president  of  the  Independent  Theatre  Own- 
ers of  Southern  California.  Mr.  Berinstein 
said  that  the  Los  Angeles  plan  had  the 
approval  of  the  exhibitors  of  the  territory 
and  the  Code  Authority  and  that  the  code 
does  not  authorize  petitions  for  rehearings 
such  as  the  one  now  in  progress  in  New 
York.  Neither,  Mr.  Berinstein  asserted, 
does  the  code  provide  for  changes  in  an 
adopted  clearance  and  zoning  plan  by  any 
procedure  such  as  that  invojted  by  FWC. 
The  Code  Authority  postponed  its  ruling  on 
the  case  to  April  23. 


Fanchon  &  Marco  to  Split 
Operation  in  Three  Sections 

Fanchon  &  Marco  has  determined  to  divide 
its  theatre  operation  into  three  divisions, 
operating  from  New  York,  St.  Louis  and 
Los  Angeles.  The  plan  will  become  effective 
in  the  fall,  when  Harry  Arthur  will  move 
his  headquarters  to  St.  Louis  and  supervise 
the  middlewestern  houses  from  that  point. 
Jack  Partington  will  be  in  New  York  and 
Marco  Wolff  in  Los  Angeles.  The  circuit 
operates  four  in  New  England,  five  in  St. 
Louis,  two  in  Salt  Lake  City  and  23  on  the 
Coast. 

The  circuit  is  closing  the  Ambassador  in 
St.  Louis  on  Saturday  because  of  inability  to 
obtain  sufficient  first  run  films  for  the  Am- 
bassador, Fox  and  Missouri.  First  runs  will 
continue  to  be  shown  at  the  Fox  and  Mis- 
souri, Class  A  at  the  Fox  and  Class  B  at 
the  Missouri. 


David  Bernstein  Marks 
30th  Year  with  Loew's 

David  Bernstein,  vice-president  and  treas- 
urer of  Loew's,  Inc.,  Metro-Goldwyn-Mayer 
and  Loew's  subsidiaries,  last  week  observed 
his  thirtieth  year  with  Loew's.  He  joined 
Marcus  Loew's  People's  Vaudeville  Com- 
pany in  1905,  operating  a  penny  arcade  on 
23rd  street,  in  New  York. 


Few  producers  hove  ever  had 
the  distinction  of  showing  two 
of  their  greatest  productions 
simultaneously.  Darryl  Zanuck 
is  having  this  unique  experience 


OPENED  THURSDAY,  APRIL  18th 
RADIO  CITY  MUSIC  HALL 


JOSEPH  M.  SCHENCK  pre.enls 

Richelieu 

STARRING 

GEORGE  mm 


with 


Maureen  O'Sullivan 
E<3ward  Arnold  •  Francis  Lister 
Douglas  DumWillc  •  Cesar  Romero 

Direcfed    by    Rowlond   V.  lee 


u 


by  attending  the  New  York 
premieres  of  two  pictures,  ac- 
claimed by  critics  everywhere 
as  the  greatest  to  come  out  of 
Hollywood ! 


OPENS  SATURDAY,  APRIL  2Qtli, 
RIVOLI  THEATRE 


JOSEPH  M.  SCHENCK  presvnti 

VICTOR  HUGO'S 

mmahhs 


Starring 


FREDRIC  MARCH 
CHARLES  LAUGHTON 

CEDRIC  HARDWICKE 

Rodwlk  WDSON  •francM  DRAKE  >  Mm  BEAL 


U  RY 
RES 


AL 


r  e  s  e 


n  t  s 


1  J  "THE  BA'^f 
formerly  t'tled  ^^..^RE 


by  CLAUDE 


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''Pov.er^u\\yorrest>ng^Cha  and 

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24 


MOTION    PICTURE  HERALD 


April    2  0,     19  3  5 


REPUBLIC  PICTURES  SUCCEEDS 
MONOGRAM;  NEW  NATIONAL  UNIT 


Exchanges  Will  Remain  in  In- 
dividual Hands  but  Owners 
Will  Not  Own  Any  Part  of 
Republic  Pictures  Company 

The  industry's  ninth  so-called  "national" 
producing  and  distributing  structure  was 
born  over  the  weekend  out  of  the  W.  Ray 
Johnston — Trem  Carr — Monogram  Pictures 
interests,  to  be  known  as  Republic  Pictures 
Corporation.  With  Republic  there  came 
the  beginning  of  a  related  development  to 
eliminate  much  of  the  competition  and  con- 
fusion of  many  independent  distribution  in- 
terests now  doing  business  on  the  state 
rights  market. 

Monogram  will  deliver  the  remainder  of 
the  product  promised  for  this  season,  and 
then  bow  out.  Republic's  first  release  will 
start  the  1935-36  season. 

Six-Year  contracts  will  be  closed  within 
the  week  with  the  exchanges  now  afFiliated 
with  Monogram  as  franchise  holders,  and 
these  will  be  merged  into  the  new  organi- 
zation as  rapidly  as  possible.  The  names 
of  all  the  33  exchanges  will  be  changed 
to  Republic  Pictures.  They  are  now  known 
by  the  names  of  their  Individual  owners  or 
by  individual  company  names. 

Republic  Pictures  is  not  buying  any  interest 
in  these  exchanges.  Their  ownership  will  re- 
main in  individual  hands  as  at  present.  How- 
ever, the  exchange  owners  will  not  own  any 
part  of  Republic  Pictures,  as  they  did  in  Mono- 
gram. Their  stock  in  Monogram  will  be  pur- 
chased out  of  a  liquidation  fund  set  up  for  the 
purpose.  This  fund  will  pay  a  "handsome" 
profit  to  the  exchange  owners  according  to  the 
management.  Mr.  Johnston  and  Mr.  Carr  hold 
together  46  per  cent  of  Monogram's  stock. 

The  new  company  also  is  conducting  nego- 
tiations to  acquire  and  merge  additional  ex- 
changes in  those  cities  where  elimination  of 
competition  will  strengthen  the  distribution 
facilities  and  product  structure. 

A  new  exchange  is  being  set  up  at  515  Tenth 
street,  Des  Moines,  and  the  home  ofiice  execu- 
tives Wednesday  were  completing  plans  for 
establishment  of  exchanges  in  New  York  and 
Philadelphia,  to  follow  withdrawal  of  distribu- 
tion arrangements  from  Harry  Thomas'  First 
Division  exchanges.  Last  month  Monogram 
repurchased  Mr.  Thomas'  franchise  in  those 
two  places.  Whether  Republic  will  establish 
its  own  New  York  and  Philadelphia  branches, 
or  sign  six-year  distributing  contracts  with  ex- 
isting exchanges,  had  not  been  determined  at 
press  time. 

Exchange  to  Become  Unit 

Each  exchange  becomes,  for  six  years,  a  unit 
of  the  corporation,  distributing  Republic  Pic- 
tures exclusively.  This  arrangement  differs 
from  the  prevailing  system  of  national  dis- 
tribution only  in  that  the  exchanges  will  be 
operated  by  their  owners,  and  not  by  employee 
managers  who  have  no  interest  other  than  a 
job.  As  a  result,  Republic's  management  be- 
lieves that  the  exchange  owner-operators,  hav- 
ing their  own  business  at  stake,  are  more  apt 
to  further  gross  sales. 

However,  the  local  franchise  system  which 
made  each  exchange  an  independent,  all  dif- 
ferently named,  is  abandoned  in  favor  of  the 


W.  RAY  JOHNSTON  ^ 

national  selling  procedure  of  clearing  and  con- 
firming contracts  through  New  York  headquar- 
ters. 

Previously,  under  the  franchise  plan  of  local 
autonomy,  when  Monogram  in  New  York  was 
negotiating  a  contract  with,  for  example,  the 
circuit  of  438  Warner  theatres,  permission  first 
would  have  to  be  obtained  from  each  of  a  dozen 
or  more  of  the  franchise  holders  in  those  ter- 
ritories where  Warner  operated.  And,  if  any 
one  franchise  owner  refused  to  permit  sale  of 
the  product  to  the  theatres  in  his  territory,  be- 
cause he  favored  a  deal  with  another  account, 
then  the  New  York  office  could  not  conclude 
the  arrangement  for  that  territory. 

Republic  Pictures  will  supply  all  prints  and 
the  exchanges  will  receive  a  flat  percentage  of 
the  gross,  paying  exchange  and  sales  overhead. 
They  also  will  buy  accessories  outright,  retail- 
ing them  to  the  account.  The  amount  of  the 
gross  percentage  varies  according  to  the  size, 
overhead  and  potentialities  of  the  business  of 
each  exchange. 

Monogram  Franchise  Holders 

The  complete  exchange  structure,  although 
practically  the  same  as  Monogram's,  will  be 
announced  within  the  week.  Monogram's 
franchise  holders  included : 

Albany:  B.  H.  Mills. 
Atlanta:  Arthur  Bromberg  Attractions. 
Boston:   Hollywood   Films,   Herman  Rifkin. 
Buffalo:  Standard  Film  Exchanges,  Jack  Ber- 
kowitz. 

Charlofl-e:  H.  H.  Everett. 

Chicago:  Security  Pictures,   Irving  Mandel. 

Cincinnati:  William  Onie. 

Cleveland:  Monogram  Pictures  Corporation 

of  Ohio,  Nat  Lefton  and  J.  S.  Jossey. 
Dallas:  Independent  Film  Distributors,  Claude 

Ezell  and  W.  G.  Underwood. 
Denver:  J.  H.  Sheffield. 

Detroit:  Graphic  Exchanges,  Inc.,  Sam  Se- 
plowin. 

Indianapolis:  L.  W.  Marriott. 

Kansas  City:  Midwest  Film  Distributors,  Inc., 

Robert  Withers. 
Little  Rock:  Independent  Film  Distributors, 

Inc.,  B.  F.  Busby. 
Los  Angeles:  Howard  Stubbins. 


TREM  CARR 

Milwaukee:  J.  G.  Frackman. 

Minneapolis:  Monogram  Pictures  Corpora- 
tion of  Minneapolis,  Gilbert  Nathanson. 

New  Orleans:  L.  Seichshnaydre. 

Oklahoma  City:  Independent  Film  Distribu- 
tors, Inc.,  Sol  Davis. 

Omaha:  L.  O.  Ringler. 

Pittsburgh:  Monogram  Pictures,  Inc.,  J.  H. 

Alexander. 
Portland,  Ore.:  C.  J.  Fames. 
St.  Louis:  Premier  Pictures  Corporation,  Nat 

Steinberg  and  Barney  Rosenthal. 
Salt  Lake  City:  W.  D.  Frazer. 
San  Francisco:  Cooperative  Film  Exchange, 

Floyd  St.  John. 
Seattle:   Monogram   Exchanges,   Inc.,  J.  T. 

Sheffield. 
Tampa:  Carl  Floyd. 

Washington,  D.  C:  Liberty  Film  Exchange, 
Sam  Flax. 

The  corporate  structure  of  Republic  Pictures 
is  practically  the  same  as  Monogram's.  W. 
Ray  Johnston  is  president ;  Trem  Carr,  vice- 
president  ;  J.  P.  Friedhoff,  secretary  and  treas- 
urer ;  Edward  A.  Golden,  sales  manager,  and 
Edward  Finney,  director  of  advertising  and 
publicity.  The  post  of  secretary  of  Monogram, 
held  by  Madeline  S.  White,  was  combined  with 
that  of  treasurer  in  the  new  setup,  although 
Miss  White's  status  as  executive  assistant  to 
the  president  remains  unchanged. 

Republic  Productions  Formed 

Republic  Productions,  Inc.,  has  been  orgaji- 
ized  as  a  wholly-owned  subsidiary  to  handle 
production,  which  will  continue  at  the  Pathe 
Studios  in  Culver  City.  The  present  Monogram 
production  personnel  is  maintained  in  its  en- 
tirety. Monogram's  west  coast  corporate  organ- 
ization is  Monogram  Productions,  Inc.,  with 
the  same  list  of  officers  as  the  New  York  com- 
pany. 

Officers  of  the  production  company  are  the 
same  as  the  parent  corporation,  witli  the  fol- 
lowing, in  addition,  continuing  to  hold  their 
present  posts :  Robert  Welsh,  executive  pro- 
ducer ;  Herman  Schlom,  production  manager ; 
Ernie  Hickson,  technical  director;  Lindsley 
Parsons,  coast  publicity  head,  and  Billy  Leyser. 

(Confl nurd   on    page  26) 


April    20,,  1935 


State  Theatre  at  Lincoln,  Neb., 
Says  Contracts  Were  Reject- 
ed; Two  New  Jersey  Actions 
Are  Aimed  at  Block  Booking 

Charging  conspiracy  and  combination  re- 
sulting in  its  ultimate  ruin,  State  Theatres, 
Inc.,  Lincoln,  Neb.,  brought  suit  in  federal 
court  last  week  against  Lincoln  Theatres 
Corporations  of  Delaware  and  Nebraska; 
J.  H.  Cooper,  New  York ;  R.  R.  Livingston, 
Lincoln;  Paramount  Publix,  Paramount 
Distributing  Corporation ;  Warner  Broth- 
ers; Vitaphone;  Vitagraph;  First  National; 
RKO  ;  RKO-Pathe ;  Metro-Goldwyn-Mayer ; 
Universal;  United  Artists  and  Fox.  Amount 
of  damages  sought  totals  |444,000,  under 
the  triple  damage  clause. 

Paul  Good,  former  state  attorney  general 
and  victor  in  the  Youngclaus  protection  suit 
in  Nebraska,  is  in  charge,  for  the  plaintiff, 
assisted  by  Loren  Laughlin. 

Charge  Product  Was  Assured 

Assertion  was  made  in  the  petition  that  the 
State  theatre  was  only  incorporated  and 
equipped  to  the  extent  of  $12,000,  after  the 
defendant  film  companies  had  assured  presi- 
dent G.  L.  Hooper,  Topeka,  Kan.,  and  gen- 
eral manager  George  Monroe,  Beatrice,  Neb., 
that  they  would  sell  them  second-run  pictures, 
which,  prior  to  1931,  according  to  ihe  charges, 
were  not  exhibited  in  Lincoln  along  with  num- 
bers of  first-run  pictures,  because  of  Mr.  Coop- 
er's monopoly  of  the  local  situation.  Mr. 
Cooper,  charged  the  petition,  had  as  many  as 
five  theatres  closed  at  one  time  in  the  city  as 
well  as  having  all  the  available  first-run  product 
bought  to  discourage  any  competition. 

Declare  Contract  Rejected 

After  the  State  opened  and  a  contract  signed 
by  them  was  forwarded  to  MGM,  it  was  re- 
fused, giving  evidence,  alleged  the  petition,  that 
there  was  conspiracy  between  LTC  and  the 
defendant  MGM.  This  happened  in  order  as 
contracts  were  presented  to  each  of  the  other 
defendants.  In  addition,  it  was  charged  that 
LTC  closed  its  Delaware  Corporation  in  1932 
and  moved  the  assets  over  to  the  present  Neb- 
raska Corporation,  to  defraud  creditors  of  the 
former  corporation.  After  tying  up  the  sec- 
ond-runs, stated  the  petition,  prices  were  cut, 
the  shuttered  houses  opened  and  double  featur- 
ing started,  contributing  to  the  damage  to  the 
State,  finally  forcing  its  closing  April  30,  1934. 

Statement  was  made  that  90  per  cent  of  fea- 
ture film  is  controlled  by  the  defendants  and 
that,  as  in  other  Nebraska  keys.  Paramount 
Publix  had  entered  exhibition  for  the  purpose 
of  controlling  the  business  in  Omaha,  Grand 
Island,  Norfolk,  Columbus  and  Freemont,  so 
also  had  the  company,  in  association  with  Mr. 
Cooper,  sought  to  control  the  Lincoln  situa- 
tion. 

The  State  operated  to  a  profit  of  $15,000  in 
the  depression  years  of  late  1931  and  early 
1932,  which  if  continued  for  the  duration  of  the 
lease  would  have  amounted  to  $125,000.  In- 
stead, indebtedness  of  $11^000  was  faced  when 
the  house  closed.  Damages  of  $148,000  on  that 
basis  were  figured  with  added  attorney  fees 
bringing  the  total  threefold  to  $444,000.  An- 
other suit  of  triple  proportions  is  contemplated 
of  like  content  for  Independent  Theatres  Cor- 
poration, which  had  a  similar  experience. 

Meanwhile  in  New  Jersey,  the  Ledirk 
Amusement  Co.,  owner  of  the  Palace  Theatre 


MOTION    PICTURE  HERALD 


at  East  Orange,  and  the  Strand  Theatre  Op- 
erating Company,  having  the  Strand  in  the 
same  city,  filed  trade  conspiracy  suits  in  federal 
court  at  Newark  against  27  film  corporations 
and  individuals.  Ledirk  is  suing  for  $745,000; 
the  Strand  corporation  for  $315,000.  With- 
holding of  product  with  resultant  depreciation 
in  the  value  of  their  theatres  was  charged  by 
both  plaintilTs.  The  suits  were  aimed  at  block 
booking. 

Companies  named  include  Warner  Bros.  Pic- 
tures, Inc.,  and  10  other  Warner-controlled 
companies ;  United  Artists ;  Columbia  Pictures  ; 
Radio  Corporation  of  America;  several  RKO 
companies ;  Fox  Film ;  Paramount  Pictures 
Distributing.,  and  five  Paramount  subsidiaries ; 
First  National  Pictures,  Inc. ;  Vitagraph,  Inc. ; 
Vitaphone,  and  Stanley  Company  of  America. 

The  individuals  named  are  Harry  M.,  Jack 
L.  and  Major  Albert  Warner;  Joseph  Bern- 
hard  and  Don  Jacocks,  all  of  Warner  Bros. 

It  was  reported  from  Washington  that  the 
Department  of  Justice  does  not  consider  the 
recent  St.  Louis  indicements  involving  War- 
ner, RKO  and  Paramount  and  several  of  their 
officials,  on  charges  of  monopoly  of  product,  as 
sufficiently  strong  to  warrant  any  nationwide 
investigation.  However,  the  Department's  agent 
is  continuing  his  preparation  of  the  case  against 
the  event  of  its  coming  to  trial. 

The  Ambassador  Theatre  in  St.  Louis  an- 


25 

U.S.  SUITS 
CONCERNS 


nounced  it  would  close  its  doors  in  a  week,  for 
an  indefinite  period,  because  of  inability  of  the 
management  to  obtain  sufficient  first-run  pro- 
duct to  keep  that  theatre  and  the  Fox  and 
Missouri  houses  in  operation.  The  Ambassador 
and  the  other  two  are  Fanchon  &  Marco  thea- 
tres. 

Conspiracy  and  restraint  of  trade  were 
charged  to  seven  producing  and  distributing 
companies  and  the  Motion  Picture  Producers 
and  Distributors  of  America,  Inc.,  in  a  suit 
filed  last  week  in  Des  Moines  federal  court  by 
Don  and  Eunice  Thornburg,  operators  of  the 
Family  theatre  at  Marshalltown,  Iowa.  Film 
companies  named  are  Paramount,  First  Na- 
tional, MGM,  Fox,  Vitaphone,  RKO,  United 
Artists. 


Paramount  Team  Wins 
Bowling  Championship 

Paramount  last  week  won  the  champion- 
ship of  the  Motion  Picture  Bowling  League, 
RKO  and  Fox  taking  second  and  third. 

The  five  high  men  in  order  of  score  in 
the  competition  were :  Clausen,  Paramount ; 
Ronan,  RKO ;  Fuchs,  Paramount^  Cosmos, 
Fox ;  Adams,  Paramount. 


CONSPIRACY  CHARGED  IN 
LAUNCHED  BY  THEATRE 


LONDON  TO  HEAR  ABOUT 
AMERICAN  CODE 

Martin  Quigley  to  Explain  Workings  to  the 
Producers'  Group  of  the  Federation  of  British 
Industries — Carl  E.  Milliken  Represents  MPPDA 

Will  H.  Hays,  President  of  the  Motion  Picture  Producers  and  Distributors  of 
America,  Inc.,  has  received  from  Film  Producers  Group,  Federation  of  British 
Industries,  an  invitation  to  present  at  a  conference  in  London  an  explanation  of 
the  Production  Code  under  which  the  organized  motion  picture  industry  In  the 
United  States  Is  operating.  The  conference  is  Intended  better  to  familiarize 
British  producers  with  the  requirements  of  the  Code  In  order  to  facilitate  dis- 
tribution of  their  pictures  In  the  American  market. 

On  account  of  engagements  in  the  United  States  which  make  it  impossible 
for  him  to  attend  the  conference,  Mr.  Hays  has  Invited  Martin  Quigley,  editor- 
in-chief  of  Motion  Picture  Herald  and  Motion  Picture  Daily,  to  attend  In  his  stead 
and  has  designated  Governor  Carl  E.  Milliken  to  attend  as  secretary  of  the 
Association.  Mr.  Quigley  has  accepted  the  Invitation  and  together  with  Governor 
Milliken  will  arrive  in  London  on  May  2nd. 

■"For  many  years,"  said  Mr.  Hays,  "Mr.  Quigley  has  cooperated  actively  in 
the  Industry's  plans  and  arrangements  to  provide  effective  self-regulation  of  the 
moral  character  of  motion  pictures  to  the  end  that  pictures  should  attain  the 
widest  possible  acceptability  with  the  public. 

"In  the  development  In  1930  of  the  Production  Code  to  its  present  scope 
and  character,  Mr.  Quigley  played  a  leading  part.  Prior  to  that  time  and  since, 
he  has  taken  an  active  Interest  in  the  work  and  is  well  qualified  to  detail  for  the 
Information  of  British  film  Interests  the  Production  Code  as  It  affects  the  exhibition 
and  distribution  of  motion  pictures  In  the  United  States. 

"Mr.  Milliken,  in  his  official  capacity,  Is  thoroughly  familiar  with  the  details 
of  the  Industry's  progress  under  the  Code,  and  will  be  of  assistance  in  meeting 
the  purposes  of  the  British  invitation. 

"The  Association  and  myself  are  gratified  that  Mr.  Quigley  and  Governor 
Milliken  are  able  to  attend  the  conference." 


26 


MOTION    PICTURE  HERALD 


April    20,  1935 


WILL  INCREASE  PRODUCT 


{Continued  from  j^aijc  24) 

editor-in-chief  of  the  house  organ,  "The  Co- 
operator." 

A  new  advisory  committee  of  home  office 
executives  and  exchange  representatives  was 
formed  to  plan  and  direct  the  poHcies  of  the 
new  organization,  and  determine  the  type  ot 
production  to  be  pursued,  as  follows :  Mr. 
Johnston,  Mr.  Carr,  Norton  V.  Ritchey,  foreign 
distributing  head;  and  these  exchange  owners: 
Herman  Rifkin,  Boston;  Claud  Ezell,  Dallas; 
Irving  Mandel,  Chicago;  Arthur  Bromberg, 
Atlanta;  J.  S.  Jossey,  Cleveland;  Floyd  St. 
John,  San  Francisco. 

Monogram  had  a  similar  committee,  which 
was  limited,  however,  to  Johnston,  Jossey, 
Rifkin,  Ritchey  and  Mandel. 

Ritchey  Heads  International 

Another  company,  called  Republic  Interna- 
tional Corporation,  was  formed,  with  Norton 
V.  Ritchey  as  president,  Mr.  Johnston  as  vice- 
president  and  J.  V.  Ritchey  as  secretary  and 
treasurer,  to  continue  to  handle  foreign  activi- 
ties, maintaining  agencies  in  London,  Paris, 
Buenos  Aires  and  the  Far  East.  Mr.  Johnston 
had  not  previously  been  an  officer  of  the  Ritchey 
company,  which  has  its  headquarters  in  the 
Republic  home  offices  in  the  RKO  Building  at 
Rockefeller  Center,  New  York. 

Some  $2,000,000  in  new  capital  is  being  added 
for  production  purposes.  About  60  per  cent,  or 
$1,200,000,  was  supplied  by  "outside  interests," 
and  the  balance  by  the  Herbert  Yates-Consoli- 
dated  Film  interests,  which  previously  have 
financed  Monogram  projects. 

The  participation  by  Air.  Yates  in  Monogram, 
while  confined  solely  to  financing,  is  expected 
to  result  in  Republic  distributing  the  product 
of  other  companies  financed  by  the  Yates  in- 
terests, principally  Liberty  Pictures  and  Ma- 
jestic Pictures.  Mr.  Johnston  would  not  dis- 
cuss the  merging  of  these  interests  for  pur- 
poses of  concentrating  distribution. 

Would  Continue  as  Producers 

Mr.  Johnston  did  say,  however,  that  it  is 
intended  to  place  the  distribution  of  other  in- 
dependents in  the  Republic  machinery,  elimin- 
ating much  of  the  unnecessary  exchange  com- 
petition in  the  field.  These  additional  units, 
such  as  Liberty  Pictures  and  Majestic,  would 
continue  as  producers,  contributing  a  number 
of  features  to  Republic  for  distribution.  At 
present  these  companies  are  compelled  individu- 
ally to  make  separate  deals  with  independent 
exchanges  on  the  state  rights  market,  and  in 
some  places  the  product  of  the  two,  plus  Mon- 
ogram's pictures,  has  been  sold  through  two 
and  three  dif¥erent  exchanges.  Under  the  in- 
tended plan  all  would  be  brought  under  the 
same  exchange  system. 

Majestic  is  headed  by  Herman  Gluckmann, 
and  Liberty  by  M.  H.  Hof¥man,  with  Budd 
Rogers  acting  as  sales  manager  for  both.  Their 
headquarters  are  at  1776  Broadway,  home  office 
of  Mr.  Yates  and  Consolidated  Film  Indus- 
tries. 

Whichever  companies  are  brought  into  the 
Republic  distribution  structure,  and  deals  are 
expected  to  be  concluded  shortly,  will  auto- 
matically lose  their  identities  from  a  distribu- 
tion standpoint.  That  is,  their  product  will  be 
sold  as  Republic,  presented  only  on  the  screen 
in  the  name  of  the  producer. 

Will  Increase  Product 

One  of  the  first  product  expansion  moves  to 
be  undertaken  by  Republic  will  be  the  increas- 
ing of  the  present  Monogram  lineup  from  20 
features  and  eight  westerns,  to  26  features  and 
16  westerns,  eight  of  which  will  star  John 
Wayne.    That  much  is  definite.    There  will  be 


MATRONS  GET 
MAE  WEST  WEEK 

Mae  West  for  breakfast,  dinner  and 
supper  was  virtually  the  portion  of 
the  San  Angela,  Texas,  patrons  of 
manager  Pete  Barnes  of  the  Angehts. 
In  one  week,  playing  two  days  each, 
he  showed  Parantount's  "Belle  of  the 
Nineties,"  for  the  first  time;  "I'm  No 
Angel,"  for  the  second  time,  and  "She 
Done  Him  Wrong,"  for  the  third 
time.  His  "Mae  West  Week,"  Mr. 
Barnes  reported  to  the  Paramount 
studios,  gave  him  a  gross  30  per  cent 
better  than  average. 


additional  product,  depending  on  the  distribu- 
tion deals  to  be  made,  but  not  more  than  ten 
additional,  for  a  total  of  36  features  and  16 
westerns  in  1935-36.  Rather  than  extend  the 
program  beyond  this.  Republic  will  assign  some 
of  its  contemplated  productions  to  any  other 
independents  brought  into  the  fold,  if  it  is 
necessary. 

Mr.  Johnston  declared  Wednesday  that  there 
will  be  a  50  per  cent  increase  in  negative  costs 
of  Republic  pictures  over  those  made  by  Mono- 
gram. There  is  no  radical  change  contemplated 
in  production  poHcy,  which  for  the  most  part 
has  been  confined  to  pictures  intended  for  the 
family  trade.  The  increased  budget,  however, 
will  allow  for  considerable  strengthening  of 
story  properties,  talent  structure  and  produc- 
tion' itself,  while  the  plan  to  line  up  other  in- 
dependents under  the  Republic  distribution  ban- 
ner is  expected  to  provide  a  wider  variety. 

Although  a  complete  production  schedule 
will  not  be  announced  for  two  weeks,  Trem 
Carr  this  week  acquired  rights  to  "The  Legion 
of  the  Lost,"  by  Ex-Legionnaire  No.  1384; 
Gene  Stratton-Porter's  "Harvester"  and 
"Michael  O'Halloran,"  "Forbidden  Heaven," 
by  Christian  Jope-Slade,  which  Sada  Cowan' 
was  assigned  to  adapt,  and  "Leavenworth  Case," 
by  Anna  Green. 

Reginald  Barker  to  Direct  Four 

Mr.  Carr  also  has  signed  Reginald  Barker 
to  direct  four  productions  on  the  1935-36  pro- 
gram. 

The  first  John  Wayne  western  by  Republic 
will  be  "Westward  Ho,"  while  "The  House  of 
Seven  Gables,"  by  Nathaniel  Hawthorne, 
previously  purchased,  also  was  placed  on  the 
schedule. 

The  passing  of  Monogram  as  an  independent 
producer  and  state  rights  distributor,  and  the 
birth  of  Republic  Pictures  Corporation  as  a 
national  organization,  comes  on  W.  Ray  Johns- 
ton's 21st  anniversary  in  the  business. 

Born  in  Bristow,  Iowa,  Jan.  2,  1892,  and 
educated  at  Janesville,  Iowa,  high  school,  and 
the  College  of  Commerce,  at  Waterloo,  Mr. 
Johnston  started  as  a  reporter  on  the  Waterloo 
Reporter,  leaving  for  the  Citizens'  Gas  and 
Electric  Company,  of  Waterloo.  Several  years 
later  he  became  secretary  to  a  local  banker 
whose  interests  served  to  bring  him  to  the 
secretaryship  of  the  Vaughan  Land  Company, 
the  Western  Realty  and  Investment  Company 
and  the  Iowa  Mausoleum  Company,  all  of 
Waterloo.  Here,  at  19,  he  was  in  charge  of 
35  mausoleum  salesmen  and  a  construction 
crew  of  several  hundred  men. 

One  day  in  1914,  when  a  business  acquain- 
tance of  Wilbert  Shallenberger,  who  was  in- 
terested in  Thanhouser,  Mutual^  Majestic,  New 


York,  and  Keystone  film  companies,  remarked 
to  Mr.  Johnston  that  the  position  of  secretary 
to  Charles  J.  Hite,  Shallenberger  associate,  was 
open,  he  traveled  to  New  York  and  a  motion 
picture  career. 

"The  Million  Dollar  Mystery" 

Two  months  later  he  became  secretary  of 
Syndicate  Film  Company,  which  was  organized 
by  Hite  and  Shallenberger  and  his  brother,  W. 
E.  Shallenberger,  to  distribute  "The  Million 
Dollar  Mystery."  At  a  negative  cost  of  $70,- 
000,  it  grossed  $1,600,000. 

Mr.  Johnston  introduced  Al  Jennings,  Okla- 
homa bandit,  to  pictures,  and  acted  for  Mr. 
Hite  in  supervising  two  theatres  at  New 
Rochelle,  N.  Y.  He  was  a  Thanhouser  actor, 
managed  that  studio  and  was  assistant  treas- 
urer. In  1917  he  joined  W.  E.  Shallenberger 
in  Arrow  Film,  continuing  for  seven  years,  be- 
coming vice-president  and  general  sales  man- 
ager. 

In  January,  1924,  Mr.  Johnston  organized 
Rayart  Pictures,  running  a  stock  investment 
of  $10,000  up  to  $1,250,000.  During  the  change- 
over to  sound,  he  produced  24  silent  westerns 
to  serve  unwired  houses,  and  allied  himself  with 
Trem  Carr,  independent  producer,  who  took 
charge  in  Hollywood,  while  Mr.  Johnston  han- 
dled business  details  from  New  York. 

Monogram  developed  in  1931  as  a  coopera- 
tive venture  with  Mr.  Carr  and  the  exchahge 
franchise  holders,  patterned  somewhat  after  the 
old  First  National  idea. 

Mr.  Johnston  represents  the  independent  pro- 
ducers and  distributors  on  the  Code  Authority, 
and  has  been  active  in  campaigning  for  their 
rights. 


Paramount  Trustees'  Plans 
On  Litigation  Are  Approved 

Reports  approving  with  minor  changes 
the  proposals  of  the  Paramount  Publix 
trustees  for  settlement  of  various  litigations 
constituted  the  only  developments  of  im- 
portance since  the  federal  court  approved 
the  reorganization  two  weeks  ago.  Reports 
of  approval  by  the  trustees  for  settlement 
of  the  Chicago  Marks  Brothers  litigation, 
retention  by  Paramount  of  the  Astoria,  Long 
Island,  studio  and  film  depot,  and  dissolu- 
tion of  the  Elwood  theatre  property  in 
Miami,  Fla.,  were  submitted  last  week  by 
Special  Master  John  E.  Joyce  to  Federal 
Judge  Coxe,  who  approved  them  Tuesday. 

The  Marks  settlement  provides  for  discon- 
tinuance of  litigation  by  Paramount  in  con- 
sideration of  payments  to  the  latter  of  $56,- 
208  by  the  Continental  Illinois  Bank.  Leas- 
ing of  the  Long  Island  studio  by  Paramount 
News  until  1941  is  authorized  in  the  special 
master's  report,  while  the  Elwood  proposal 
provides  for  assignment  to  Paramount  of  a 
mortgage  held  by  the  former  on  the  Miami 
Community  Theatre  Building,  together  with 
two  mortgage  notes  totaling  $73,180,  as 
against  indebtedness  of  Elwood  to  Para- 
mount, and  cancellation  of  $56,000  of  claims 
against  Paramount  and  payment  to  the  latter 
of  $33,180. 


Pathe  News  Employs 
Three  Regular  "Voices" 

Pathe  News,  entering  its  25th  year  as  a 
newsreel,  has  engaged  the  service  of  three 
announcers  who  will  regularly  handle  the 
accompanying  description  on  the  reel. 
Harry  Von  Zell,  Columbia  Broadcasting 
announcer,  has  been  sighed  as  the  regular 
"voice  of  Pathe  News,"  which  is  released 
by  RKO.  Teddy  Bergman,  radio  dialect 
comedian,  will  handle  the  dialogue  on  all 
humorous  material,  and  Clem  McCarthy, 
racing  authority,  will  do  the  talking  for  all 
sporting  events. 


April    20,     I  9  JO 


MOTION    PICTURE  HERALD 


27 


Quality  Is  Fital^ 
Says  IVill  Hays 


PLAYDATE  LAW  FLARES 
BACK  AT  OHIO  THEATRE 


Will  H.  Hays,  president  of  the  Motion 
Picture  Producers  and  Distributors  of 
America,  speaking  last  week  at  the  annual 
meeting  on  the  Coast  of  the  Motion  Picture 
Producers'  Association,  stressed  the  point 
that  quality  in  supply  and  quality  in  demand 
are  both  vital  considerations  for  the  in- 
dustry. Mr.  Hays  is  now  back  in  New 
York. 

He  urged  the  continuation  of  production 
of  diversified  entertainment,  feeling  certain 
quality  can  be  produced  in  quantity  and  that 
public  support  can  be  still  further  encour- 
aged. He  pointed  out  that  indications  from 
various  parts  of  the  country  were  to  the 
effect  that  the  industry  had  successfully  met 
its  responsibility  to  the  public,  and  added 
that  the  motion  picture  industry  stands  now 
in  a  position  of  high  respect  and  friendship, 
with  an  increasingly  appreciative  public. 

Louis  B.  Mayer  was  reelected  president  of 
the  association  on  the  Coast  for  the  fifth 
term.  All  other  officers  were  likewise  re- 
elected, including  Jack  L.  Warner,  first  vice- 
president  ;  Winfield  Sheehan,  second  vice- 
president;  Fred  W.  Beetson,  secretary-treas- 
urer ;  Joseph  I.  Breen,  director  of  Produc- 
tion Code  Administration.  The  board  of  di- 
rectors was  reelected  with  two  exceptions, 
Henry  Herzbrun  succeeding  Emanuel  Cohen 
for  Paramount  and  Stanley  Bergerman  suc- 
ceeding Carl  Laemmle,  Jr.,  for  Universal. 

20th  Century  Has 
Second  Birthday 

Darryl  Zanuck,  vice-president  and  in 
charge  of  production  of  20th  Century  Pic- 
tures, reaching  New  York  by  plane  on  Tues- 
day, proposed  a  shutdown  of  all  studios  for 
one  month  to  solve  the  double  feature  prob- 
lem. He  said  production  would  move  from 
California  unless  the  taxation  situation  is 
definitely  cleared. 

"Cardinal  Richelieu,"  starring  George 
Arliss,  opens  Thursday  at  the  Radio  City 
Music  Hall,  and  "Les  Miserables,"  starring 
Fredric  March  and  Charles  Laughton, 
opens  Saturday  at  the  Rivoli. 

The  20th  Century  producing  company  was 
organized  in  April,  1933,  by  Mr.  Zanuck 
and  Joseph  M.  Schenck,  president  of  United 
Artists,  who  is  also  president  of  20th  Cen- 
tury. With  the  release  of  "Les  Miserables" 
and  "Cardinal  Richelieu"  the  current  sea- 
son's schedule  calls  for  the  production  of 
only  one  more,  Jack  London's  "Call  of  the 
Wild,"  in  which  Clark  Gable  will  be  starred. 


Technicolor  Net  Loss 
For  1934  Is  $282,608 

Technicolor,  Inc.,  and  wholly  owned  sub- 
sidiaries, for  the  year  1934,  has  reported 
net  loss,  after  taxes,  depreciation,  amortiza- 
tion of  patents,  and  the  like,  of  $282,608, 
and  after  capitalizing  expenditures  of 
$30,806  deemed  to  be  patent  and  research 
costs.  This  compares  with  net  loss  of 
$249,396  for  the  previous  year,  after  capital- 
izing expenditures  of  $36,830  deemed  to  be 
research,  patent  and  development  costs. 


Exhibitors  Feel  Repercussion 
from  Bill  They  Sponsored; 
Other    Legislatures  Active 

Repercussions  from  the  Ohio  exhibitor- 
sponsored  Waldvogel  bill,  which  prohibits 
the  designation  of  playdates  in  exhibition 
contracts  and  which,  on  April  6,  became  a 
state  law,  were  beginning  to  be  felt  by 
Cleveland  exhibitors  this  week.  The  Cleve- 
land Cinema  Club,  organized  in  1916  to 
study  the  art  of  the  motion  picture  and  its 
educational  and  moral  effect,  officially  an- 
nounced that  exhibitors  no  longer  will  have 
any  excuse  for  not  playing  such  "big"  pic- 
tures, suitable  for  the  entire  family,  as 
"David  Copperfield,"  "Lives  of  a  Bengal 
Lancer,"  "Sequoia,"  "Laddie"  and  others, 
on  Friday  and  Saturday. 

Patrons  Designate  Pictures 

Ohio  independent  exhibitors  sponsored  the 
Waldvogel  bill  with  the  definite  purpose  of 
eliminating  preferred  playing  time ;  they  now 
are  apparently  placed  in  the  position  of  having 
their  patrons  designate  what  pictures  shall  be 
shown  and  when,  instead  of  the  distributors. 
For  many  years  the  excuse  of  the  exhibitors 
with  respect  to  lack  of  availability  of  product 
for  weekend  shows  has  been  that  they  do  not 
play  the  socalled  big  pictures  on  Friday  and 
Saturday  because  of  block  booking  and  the 
preferred  playing  time  policy  of  the  distribu- 
tors. 

After  the  Ohio  legislature  had  passed 
the  measure,  Governor  Davey  sought  an 
opinion  on  its  legality  from  the  state's 
attorney  general,  who  ruled  the  bill  un- 
constitutional, interfering  with  rights  and 
property  of  copyright  owners  under  fed- 
eral laws  and  an  unwarranted  interference 
with  the  rights  of  private  contract  of  the 
owners  of  film. 

The  bill,  however,  became  law  without  the 
governor's  signature.  Major  distributors  are 
reported  planning  to  test  the  new  law  through  a 
move  to  obtain  an  injunction  to  prevent  its 
operation. 

California  Tax  Bill  Passed 

The  motion  picture  industry  suffered  its  first 
major  defeat  at  the  hands  of  the  California 
legislature  last  week  when  the  Assembly  passed 
the  income  tax  bill — which  calls  for  a  levy  of 
one-third  the  federal  rate  and,  with  surtaxes 
combined,  would  make  the  tax  on  a  $1,000,000 
income  about  76  per  cent- — by  a  vote  of  70-5. 
Although  the  bill  will  meet  opposition  in  the 
Senate,  and  despite  indications  the  Senate  may 
lower  the  rate  to  25  per  cent  of  the  federal 
rate,  it  is  expected  Governor  Merriam's  pres- 
sure will  force  passage. 

One  ray  of  hope  in  the  California  legis- 
lative scene  was  the  defeat  last  week  of 
the  film  tax  of  one-half  cent  a  foot  in- 
tended to  raise  $20,000,000  biennially.  The 
Assembly  also  killed,  by  48  to  27,  the 
"soak  the  rich"  amendment  to  the  state 
administration's  income  tax,  which  would 
have  made  the  rate  from  2  to  25  per  cent. 
Far  more  severe  than  the  federal  tax. 

Other  legislative  developments  during  the 
week,  aside  from  Washington,  which  continued 


quiet  with  respect  to  film  matters,  were  as  fol- 
lows : 

Colorado:  Adjournment  of  the  legislature 
automatically  killed  a  bill  calling  for  a  two  per 
cent  ticket  tax.  The  two  per  cent  sales  tax 
now  in  effect  exempts  admissions. 

Illinois  Sales  Tax  Killed 

Connecticut  :  Motion  picture  interests  op- 
posed, in  a  hearing  before  the  legislature's 
finance  committee,  the  proposed  five  per  cent 
amusement  tax,  terming  it  the  "death  knell" 
of  the  industry  in  the  state.  A  large  delegation 
of  the  state  MPTO  appeared  before  the  judi- 
ciary committee  to  oppose  a  bill  requiring  two 
operators  in  every  booth. 

Florida  :  Imposition  of  a  10  per  cent  amuse- 
ment tax  held  certain.  Legislators  over  the 
weekend  explained  the  tax  is  not  a  straight  10 
per  cent  levy  on  all  admissions,  but  that  tickets 
would  have  an  added  tax  of  10  cents  on  each. 
Thus  a  20-cent  ticket  would  become  30  cents. 

Illinois  :  The  House  has  killed  the  proposed 
three  per  cent  sales  tax  bills,  one  of  which 
proposed  inclusion  of  public  utilities,  theatre 
admissions  and  other  items.  A  state  censorship 
bill  is  pending. 

Maine  :  Moves  to  legalize  Sunday  shows 
throughout  the  state  died  in  committee.  A  sub- 
stitute bill  was  refused  consideration,  78-58  in 
the  House,  and  24-6  in  the  Senate. 

Minnesota:  A  10  per  cent  admission  tax  bill 
was  passed  by  the  House.  The  Senate  is  ex- 
pected' to  adopt  the  measure. 

Missouri  Delays  Action 

Missouri  :  Final  action  on  the  two  per  cent 
sales  tax  bill  again  was  delayed  by  the  Senate 
ways  and  means  committee  because,  it  is  re- 
ported, some  of  the  committee  members  are 
convinced  the  delay  will  bring  out  a  strong 
expression  of  public  opinion  against  the  in- 
crease from  one-half  of  one  per  cent,  and 
they  say  the  problem  can  probably  be  solved 
by  broadening  the  base  of  the  tax.  A  bill  to 
tax  vending  and  other  coin  machines  has  passed 
the  House. 

Nebraska  :  The  legislature  killed  the  pro- 
posed two  per  cent  sales  tax  bill,  which  iq- 
cluded  a  levy  on  all  admissions,  58-25.  Two 
other  bills,  one  for  a  tax  on  circuits  and  the 
other  calling  for  two  men  in  a  booth,  are  still 
before  the  session,  but  neither  is  expected  to 
pass. 

New  York  :  Adjournment  of  the  legislature 
this  month  is  expected  without  any  adverse  film 
legislation,  although  much  has  been  proposed. 

Oklahoma  :  Distributors  would  be  required 
to  file  their  booking  schedules,  including  all  in- 
formation concerning  rentals,  under  a  bill  just 
proposed.  It  is  reported  sponsored  by  the  Mo- 
mand  theatre  interests. 

Pennsylvania  :  Among  bills  killed  last 
week  in  committee  were  the  labor  measure  re- 
quiring employment  of  a  special  switchboard 
attendant  at  theatres,  a  bill  regulating  sign 
board  advertising  and  one  imposing  a  tax  on 
sales  and  distribution. 

Tennessee  :  Tennessee's  12-year-old  Sunday 
blue  laws  came  to  an  end  last  week  by  action 
of  the  legislature  and  cities  and  towns  through- 
out the  state  will  exercise  local  option  on  Sun- 
day showings. 

Electrical  Strike 
Darkens  Mexican  Cities 

Nine  of  Mexico's  largest  cities  were  com- 
pletely dark  last  week  as  a  result  of  a  strike 
of  electrical  workers,  who  walked  out  in 
sympathy  with  electricians  of  Tampico,  who 
had  gone  out.  The  government  was  attempt- 
ing to  settle  the  strike. 


NEW 


happi 
suspense 


CRITIC 


N.  Y.  Daily  News  .  .  .  . 
charming  team^^  — 
ment. .  recommended 


AY 


tiRAND 


ivelVf  amusing  and  effecffiAe''— N.  Y. 


reoffs  cloihies.  Bill  is  a  male 


ertainme 


as  brmht  a  bit  oi  wit 
»  « ^^«3ia|^9  ivf##V  ami 
-  ^wwt.^  -Entertain 


break  for  Music  Hall  audiences  . . .  carefree  laughter,  taut 
.  •  •  grand  mystery  story,  one  of  the  Aesf'^— N.  Y.  Sun  « •  •  • 
the  most  amusing  and  absorhing  comedies  this  season^^'-^ 
Sparkles  and  entertains  .  .  .  Powell  and  lUIss  Rogers  a 
N.  Y.  Daily  Mirror  •  •  •  •  Sleek,  witty  and  engaging  entertain^ 
both  as  humor  and  as  melodrama'^ -^H,  Y.  Times  •  •  •  • 
Herald  Tribune  •  •  •  •  ^^Neat  and  nicely  turned  out .  •  •  Ginger 
fashion  plate''*-- N.  Y.  Post  •  •  •  •  Jaunty,  light-hearted 
and  nonsense  as  the  season  has  seeii''— N.  Y.  American 
exciting  . . .  a  thriller  de  luxe^^-^  N.  Y.  World -Telegram  •  •  •  • 


ment^'^H.  Y.  Evi 


POWFf  T. 

ROCEMS 


III 


PAUL  KELLY  *  GENE  LOCKHART 

RALPH  MORGAN  •  LESLIE  FENTON  •  J.  FARRELL  MocDONALD 


m 


AR  or  MIDNIGHT 


RKO-RADIO  PICTURE 


From  the  novel  by  ARTHUR  SOMERS  ROCHE 
•  •  •  •  .  Directed  by  Stephen  Roberts  ,  .  .  ,  , 


30 


MOTION    PICTURE  HERALD 


April    20,  1935 


14  MORE  COMPANIES 
MAKE  1935-36  PLANS 


Several  Start  Next  Season  Pro- 
duction; Zanuck  Announces  12 
Coming  from  20th  Century 

New  product,  sales  and  convention  plans 
effected  by  14  companies,  and  the  annual 
warning-  to  theatre  owners  from  exhibitor 
organizations  to  proceed  with  caution  in 
making  1935-36  product  commitments  dur- 
ing the  pre-season  sales  drive  now  being 
conducted  by  some  distributors,  were  prin- 
cipal developments  this  week  in  the  move  to 
get  the  new  season  off  to  an  unusually  early 
start. 

First  of  the  usual  exhibitor  organization 
warnings  to  members  against  any  unnecessary 
early  buying  came  from  the  Associated  The- 
atre Owners  of  Indiana  and  the  Independent 
Theatre  Owners  of  Ohio. 

Following  are  new  product  developments: 

Bavaria  Films 

Bavaria  Films  will  distribute  next  season  a 
feature  with  Max  Schmeling  and  Anny  Ondra, 
made  in  Europe,  and  entitled  "A  Young  Girl — ■ 
A  Young  Man." 

V 

Danubia  Films 

Danubia  Pictures,  Inc..  obtained  several  Hun- 
garian features  for  1935-36.  commencing  with 
"Hussar  Romance,"  starring  Irene  Agai  and' 
Paul  Javor. 

V 

Fox 

With  three  more  features  to  complete  his 
1934-35  schedule  of  17  features.  Sol  Wurtzel, 
Fox  Film  executive  producer,  already  is  launch- 
ing his  program  of  21  or  24  productions  for 
next  season.  In  various  stages  of  script  prepar- 
ation or  completion  are:  "Steamboat  'Round 
the  Bend,"  for  Will  Rogers;  "Hawk  of  the 
Desert,"  Warner  Baxter;  "Ramona."  John 
Boles  and  Gilbert  Roland ;  "Ginger,"  Jackie 
Searle  and  Jane  Withers;  "Farewell  to  Fifth 
Avenue,"  Cornelius  Vanderbilt's  novel,  which 
may  be  a  special;  "Thunder  in  the  Night"  and 
"Private  Beach,"  for  Alice  Fave  and  Jack 
Haley. 

Fox  and  Educational  will  jointly  hold  a 
short  subject  booking  drive,  to  be  called  the 
"Twentieth  Birthday  Party,"  May  3  to  June  6. 
It  will  mark  Educational's  20th  anniversary  in 
the  short  subject  field. 

V 

Gaumont  British 

Arthur  Caesar  and  Rian  James  will  sail  for 
London  early  in  June  to  write  feature  stories 
for  1935-36  release  by  Gaumont. 

V 

Hoffberg 

J.  H.  Hoffberg,  Inc.,  purchased  distribution 
rights  for  this  country  to  the  Hungarian  feature, 
"March  Tale,"  made  by  Ibusz  in  Budapest. 

'v 

Latin  Artists 

Frank  Clemente,  of  Latin  Artists  Pictures, 
will  distribute  several  Mexican  features  in  this 
country  next  season,  having  signed  with 
Manuel  Sereigo,  who  was  in  New  York  repre- 
senting several  producers  in  that  country. 
V 

Metro-Goldwyn-Mayer 

Action  pictures  are  coming  back  next  season, 
said  Metro-Goldwyn-Mayer's  New  York  office, 


which  cited  nine  features  of  this  type  in  story 
preparation,  including:  "China  Seas,"  "Mutiny 
on  the  Bounty"  and  "Typee,"  already  in  pro- 
duction; "PubHc  Hero  Number  1,"  "Forty 
Davs  of  Musa  Dagh,"  "Tell  No  Tales,"  "Joa- 
quin Murietta,"  "Murder  in  the  Fleet"  and 
"Marines  Have  Landed." 

Hal  Roach  arrived  at  the  New  York  home 
office  to  confer  on  his  short  subject  program 
for  1935-36.  He  probably  will  have  32  shorts, 
and  several  features,  including  two  based  on 
amateur  shows,  with  the  winners  of  a  con- 
test tieup  with  WHN  and  Loew  theatres. 

Ronald  Colman  will  be  starred  in  Charles 
Dickens'  "Tale  of  Two  Cities." 

Two  more  1935-36  feature  properties  were 
acquired;  James  Grant's  Liberty  Magazine 
story.  "The  Whipsaw,"  and  the  "Ma  Petten- 
gill"  series,  Harry  Leon  Wilson  adapting. 

V 

Paramount 

With  80  stars  and  featured  players  under 
contract,  and  72  writers  and  20  directors,  Para- 
mount in  Hollywood  is  about  to  undertake  a 
production  program  embracing  29  features, 
much  of  it  for  next  season.  The  pictures :  "Men 
Without  Names,"  with  Fred  MacMurray, 
Madge  Evans  and  Lynne  Overman;  "Big 
Broadcast  of  1935,"  Sylvia  Sidney  and  Herbert 
Marshall;  "Accent  on  Youth";  W.  C.  Fields' 
next  comedy,  untitled ;  "Last  Outpost" ;  "Two 
for  Tonight,"  Bing  Crosby,  Joan  Bennett  and 
Mary  Boland;  "Peter  Ibbetson,"  Gary  Cooper; 
•'Rose  of  the  Rancho,"  Gladys  Swarthout  and 
John  Boles;  "So  Red  the  Rose,"  Margaret 
Sullavan  and  Pauline  Lord;  "Annapolis  Fare- 
well," Sir  Guy  Standing;  an  untitled  comedy 
with  George  Burns  and  Gracie  Allen. 

Ernst  Lubitsch's  production  staff  now  in- 
cludes :  Harold  Hurley,  Lewis  Gensler,  Ben- 
jamin Glazer,  Arthur  Hornblow,  William 
Lackey.  William  Le  Baron,  Albert  Lewis, 
Louis  D.  Lighton,  Douglas  MacLean,  Charles  R. 
Rogers  and  E.  Lloyd  Sheldon. 

After  12  years  as  an  independent  producer, 
Harold  Lloyd  has  signed  with  Paramount  to 
star  in  "The  Milky  Way,"  which  Leo  McCarey 
will  direct. 

Paramount  was  said  to  be  planning  a  series 
of  six  "Popular  Science"  shorts,  done  in  Cine- 
color,  for  1935-36. 

Walter  Wanger  will  produce  "Every  Night 
at  Eight,"  with  direction  by  Raoul  Walsh,  and 
featuring  George  Raft  and  Frances  Langford. 

V 

Pioneer 

John  Hay  Whitney  cabled  Melville  Baker  in 
London  to  acquire  stories  for  Pioneer's  1935-36 
Technicolor  feature  program. 


V 


Popular  Pictures 

Alexander  Dumas'  "Mark  of  Zorro,"  made 
as  a  silent  by  Douglas  Fairbanks  years  ago, 
will  be  the  first  of  18  features  to  be  produced 
and  distributed  next  season  by  Popular  Pic- 
tures. Lou  Berman  is  president  and  associated 
with  him  is  Bryan  Foy.  The  budget  will  be 
$2,000,000.  A  distribution  system  for  the  United! 
States  and  Great  Britain  has  been  arranged. 
After  "Mark  of  Zorro"  will  come  "Lavender 
and  Old  Lace,"  "Big  Blonde,"  "Love  Is  No  Sin," 
"Ladies  on  the  Loose,"  "Lovers  No  More,"  be- 
sides two  musicals. 

V 

Screen  Gems 

Sam  Mintz,  president  of  Screen  Gems,  Inc., 
purchased  "Barney  Google,"  newspaper  car- 
toon strip,  from  King  Features,  for  an  ani- 


mated cartoon  series.  The  deal,  for  an  unnamed 
number  of  shorts,  was  arranged  by  the  Will- 
iam Morris  interests. 

V 

United  Artists 

Darryl  Zanuck,  production  head  of  20th  Cen- 
tury, and  Harry  Brand,  his  publicist,  arrived 
in  New  York  Tuesday  from  Hollywood  on  the 
second  anniversary  of  the  company. 

Also  arriving  was  William  Goetz,  vice-presi- 
dent of  20th  Century,  who  sails  Saturday  for 
London  to  complete  arrangements  for  inter- 
changing talent  with  London  Films,  another 
United  Artists  affiliate,  during  1935-36. 

Mr.  Zanuck  announced  20th  Century's  en- 
larged schedule  of  12  productions,  as  compared 
with  six  this  season,  all  to  be  released  through 
United  Artists. 

Ten  are  already  in  the  hands  of  a  writing 
staff,  two  more  being  plotted  for  adaptation. 
They  go  before  the  cameras  beginning  in  July. 

Stars  already  under  contract  to  20th  Cen- 
tury include  Ronald  Colman,  Fredric  March, 
George  Arliss,  Wallace  Beery,  Lawrence  Tib- 
bett,  Loretta  Young.  Among  the  directors  Mr. 
Zanuck  has  signed  are  Gregory  La  Cava,  Roy 
Del  Ruth,  John  Ford  and  Rowland  V.  Lee. 
The  adapting  writers  are  Nunnally  Johnson, 
Bess  Meredyth,  Garrett  Fort,  George  Marion, 
Jr.,  Phillip  McDonald,  Harold  Long,  Howard 
Smith  and  W.  P.  Lipscomb. 

The  executive  staff,  headed  by  William 
Goetz,  vice-president  and  associate  producer, 
will  be :  William  Dover,  business  manager,  and 
Aid'en  Roark,  scenario  editor.  Associate  pro- 
ducers are  Raymond  Griffith  and  Henry  Duffy. 
The  following  films  are  in  preparation: 
"Ivanhoe,"  by  Sir  Walter  Scott;  "The  Man 
Who  Broke  the  Bank  at  Monte  Carlo,"  Ronald 
Colman,  directed  by  John  Ford  from  the 
scenario  by  Nunnally  Johnson;  "Sing,  Gov- 
ernor, Sing!"  with  Paul  Whiteman's  band,  Phil 
Baker  and  "his  stooges."  and  Rubinoff,  with 
songs  and  musical  score  by  Gus  Kahn  and 
Arthur  Johnson ;  "The  Diamond  Horseshoe," 
Lawrence  Tibbett.  with  screen  play  by  Bess 
Meredyth  and  George  Marion,  Jr. ;  "Shark 
Island."  starring  Fredric  March  and  based  on 
the  life  of  Dr.  Samuel  Alexander  Mudd  from 
the  book  by  his  daughter;  "Professional 
Soldier,"  Wallace  Beery,  with  scenario  by 
Harold  Long. 

Four  films  for  which  no  stars  have  been 
selected  are  "Nile  Patrol,"  by  Phillip  Mc- 
Donald; "Gentlemen,  the  King!"  by  Howard 
Smith ;  "Earthbound,"  by  W.  P.  Lipscomb, 
and  "It  Had  to  Happen,"  by  Howard  Smith. 
V 

Universal 

While  N.  L.  Manheim,  foreign  executive, 
was  arriving  in  California  from  New  York  to 
talk  about  1935-36  production  with  Carl 
Laemmle,  James  R.  Grainger  was  returning 
East  after  spending  several  weeks  aiding  in 
-  selection  of  the  new  program,  for  which  20 
features  already  have  been  lined  up.  Mr.  Grain- 
ger returned  to  New  York  to  prepare  for  the 
annual  sales  convention  in  Chicago  May  27. 

Mr.  Grainger  also  set  the  release  dates  for 
six  new  productions:  "Magnificent  Obsession," 
in  August;  "Showboat"  and  "Sutter's  Gold," 
October  1 ;  Margaret  Sullavan's  next,  October 
15,  with  "The  Hunchback  of  Notre  Dame"  and 
"Hangover  Murders"  following.  "Under  Two 
Flags"  will  be  another  1935-36  release. 


Warner 

Major  Albert  Warner,  Gradwell  Sears  and 
A.  W.  Smith,  home  office  executives,  were  in 
Hollywood  conferring  with  Jack  Warner,  pro- 
duction head.  They  will  also  set  plans  for  the 
sales  convention,  to  be  in  Los  Angeles  in  June. 

Still  to  be  released  this  season  are  "In  Cali- 
ente,"  with  Dolores  Del  Rio:  "Oil  for  the 
Lamps  of  China,"  second  Cosmopolitan  produc- 
tion; "Goose  and  the  Gander"  and  "Stranded," 
both  films  starring  Kay  Francis  and  George 
Brent,  and  the  first  RIarion  Davies-CosmopoHtan 
production,  "Page  Miss  Glory."  There  are 
14  others  to  complete  the  1934-35  schedule. 


April    2  0,     19  3  5 


MOTION    PICTURE  HERALD 


31 


The  chart,  based  on  Motion  Picture  Herald's  tabulation  of  box  office  grosses,  compares 
done  in  each  of  fourteen  key  cities  in  the  three  weeks  period  from  March  23  to  April  6 
the  receipts  from  the  same  cities  during  the  previous  three  weeks,  from  March  2  to  March  I 
city  the  gross  for  the  earlier  period  is  taken  as  100  per  cent. 


the  business 
.  1935,  with 

6.  For  each 


Radin  Gets  Retraction 
From  Paper  on  Soviet  Story 

Matty  Radin,  head  of  Levrad  Amusement 
Corporation,  this  week  obtained  a  printed 
retraction  of  the  statement  in  the  Washing- 
ton Herald  to  the  effect  that  the  Belasco 
theatre  in  Washington  was  showing  films 
designed  to  spread  Soviet  propaganda. 

The  Washington  Herald,  a  Hearst  paper, 
in  its  retraction  ran  stories  on  its  front  page 
and  in  the  amusement  section  stating  that 
the  pictures  at  the  Belasco  were  booked 
solely  on  the  basis  of  artistic  merit  and  with- 
out any  intention  of  Communistic  propa- 
ganda. The  situation  arose  as  a  result  of 
Motion  Picture  Herald's  survey  of  Soviet 
pictures  and  theatres  showing  them  through- 
out the  United  States,  which  the  Hearst  pa- 
pers re-wrote  to  coincide  with  the  Hearst 
anti-Soviet  policy. 


Breen  to  Get  Vacation 
For  Two  Months  Abroad 

Joseph  I.  Breen,  Production  Code  Admin- 
istrator, will  leave  for  a  two-month  vacation 
in  Europe  around  the  first  of  July,  it  was 
announced  this  week  at  the  New  York  office 
of  the  Motion  Picture  Producers  and  Dis- 
tributors of  America. 

This  will  be  the  first  holiday  Mr.  Breen 
has  had  since  he  became  a  member  of  the 
MPPDA's  executive  staff  five  years  ago. 
During  his  vacation  his  office  in  Hollywood 
will  handle  his  work  witln  the  cooperation 
of  the  New  York  office. 


Universal  Drops 
Post  Advertising 

After  29  years  of  intermittent  advertising 
and  10  years  of  continuous  weekly  space  in 
the  Saturday  Evening  Post,  Universal  Pic- 
tures this  week  discontinued  the  policy.  The 
Post  advertising  was  the  first  ever  inserted 
in  any  publication  by  Carl  Laemmle,  Uni- 
versal president,  and  during  the  29  years 
which  followed  the  expenditure  in  this  pub- 
lication alone  ran  into  many  hundreds  of 
thousands  of  dollars. 

The  space  taken  by  Universal  in  the  Post 
was  invariably  a  one-column  display  inviting 
the  opinions  of  readers  concerning  the  com- 
pany's product.  The  company  recently  of- 
fered a  $50  prize  for  the  best  letter  written 
on  any  single  Universal  picture  or  the  com- 
pany's product  as  a  whole.  Universal  main- 
tained a  staff  of  eight  persons  in  its  home 
office  to  answer  letters  from  readers  exclu- 
sively. 


U.  A.,  Warner  Are  Named 
In  Two  Plagiarism  Suits 

Two  suits  charging  plagiarism,  and  ask- 
ing damages  in  excess  of  $1,500,000  were 
filed  against  United  Artists  and  Warner  in 
federal  court,  New  York,  Tuesday.  The  ac- 
tion brought  against  United  Artists,  by  Mort 
Eisman,  Clare  Bellar  and  Robert  Shayon, 
asks  an  injunction  and  accounting  and  dam- 
ages of  $1,000,000  on  "Roman  Scandals," 
which  is  alleged  to  be  a  plagiarism  of  "Oh, 
Shah,"  written  in  1929  and  said  to  have  been 
submitted  to  Eddie  Cantor  in  1934.  The  ac- 
tion names  both  Mr.  Cantor  and  Samuel 
Goldwyn. 

The  second  action,  naming  Warner,  First 
National  and  Witmark,  music  publishing 
subsidiary  of  Warner,  is  brought  by  Irving 
Gielow  of  Chicago,  who  alleges  song  and 
story  plagiarism  in  "Flirtation  Walk,"  of  his 
drama,  "Give  Me  This  Night."  The  plaintiff 
asks  injunctive  relief,  an  accounting  and 
$500,000  damages. 


Giles,  Massachusetts 
Allied  Head,  Dies 

George  A.  Giles,  president  of  Allied  of 
Massachusetts  and  secretary  of  the  Boston 
unit  of  the  Motion  Picture  Theatre  Owners 
of  America,  died  at  his  home  in  Boston 
Monday.  Funeral  services  were  held 
'\\'ednesda3'. 


Cockburn  Added  to 
Directorate  of  B.  &  D. 

William  H.  Cockburn,  former  partner  in 
Price,  Waterhouse,  Fuller  &  Co.,  in  South 
.\merica,  has  been  elected  to  the  board  of 
British  &  Dominions  Pictures  Corp.,  Ltd.,  it 
was  announced  in  London  this  week. 

E.  Ronald  Grammond  is  now  chairman  of 
the  board,  succeeding  the  late  Hubert  Marsh. 


Glass  Loses  Texas  Appeal 

R.  Z.  Glass,  head  of  a  group  of  Dallas 
theatres,  on  Tuesday  lost  an  appeal  for  an 
injunction  to  restrain  Interstate  Circuit, 
Karl  Hoblitzelle,  president,  and  others  from 
an  alleged  agreement  that  enables  them  to 
regulate  neighborhood  prices. 


Dillon  Elected 
To  Fox  Board 

John  R.  Dillon  of  Hayden,  Stone  and 
Company,  was  elected  to  the  board  of 
directors  of  Fox  Film  Corporation  this  week 
to  fill  the  vacancv  left  bv  the  death  of 
Richard  F.  Hoyt.  ' 

Mr.  Dillon's  appointment  was  made  at 
the  annual  meeting  of  stockholders  in  New 
York  Tuesday,  at  which  the  other  members 
of  the  board  were  re-elected.  The  directors 
re-elected  all  the  officers  of  the  company. 


Klein  Quits  Universal 

Julius  Klein,  Chicago  newspaperman  who 
was  named  assistant  to  Carl  Laemmle,  presi- 
dent of  Universal,  about  15  months  ago  and 
later  was  appointed  to  the  post  of  associate 
producer,  has  resigned. 


II 


OF  SHORT  SUBJECT  SPECIAUIATfON 

LEADING  THEIR  OWN  FIELD  ALWAYS. 
CONTRIBUTING  ALWAYS  TO  THE  SCREEN'S 
PROGRESS  THROUGHOUT  THE  PERIOD  OF 
ITS  GREATEST  GROWTH. 


r..>HBn 


34 


MOTION    PICTURE  HERALD 


April    20.  1935 


$HOWMEN*$  REVIEWS 


This  departmenf  deals  wifh  new  product 
from  the  point  of  view  of  the  exhibitor 
who  is  to  purvey  it  to  his  own  public 


Doubting  Thomas 

(Fox-DeSylva) 
Comedy 

In  this  novelly  different  Rogers  picture,  the 
whole  show,  rather  than  formula  concentration 
on  one  central  theme  or  character,  is  the  out- 
standing entertainment  and  potential  exploita- 
tion value.  Nothing  that  patrons  have  come  to 
expect  of  Will  Rogers  is  missing,  but  there  is 
something  surprisingly  unique  to  both  enter- 
tain and  talk  about.  Standardized  production 
technique  is  cleverly  violated  as,  all  things  be- 
ing considered  and  undoubtedly  smartly,  Rogers 
is  for  the  most  part  "played  down."  Yet  as 
practically  all  others  in  turn  have  the  spotlight 
focused  on  them,  the  stage  is  so  set  that  his  one 
big  moment  is  a  riot  of  glee.  It  comes  in  the 
anticlimax,  when,  via  reproduced  screen  test, 
Rogers  contributes  a  ridiculous  burlesque  of  a 
crooner  singing  "Blue  of  the  Night."  Hilarious 
as  is  the  scene,  the  element  of  surprise  that  ac- 
companies it  so  swept  the  preview  audience  off 
its  feet  that  the  accompanying  sound  effects 
were  completely  drowned  out  by  the  merriment. 
Sound  is  hardly  necessary,  as  Rogers'  dainty 
makeup  and  "mike-eating"  antics  convey  all 
necessary  meaning. 

The  show  is  all  comedy.  It  has  a  simple  and 
understandable,  amusing  premise.  Mrs.  Pampa- 
nelli,  torchbearer  of  the  amateur  Little  Theatre 
movement,  has  no  difficulty  in  convincing  Paula 
Brown,  Tom's  wife,  that  she  is  destined  to  be 
a  great  dramatic  actress.  Hubby's  objections 
are  met  with  scornful  resentment  and  the  accus- 
sation  that  he's  selfishly  stifling  his  wife's  career. 
The  show  is  presented,  a  farcical  amateur  thing. 

Then  Tom  starts  to  play  cards.  In  collusion 
with  LaMaze,  Hollywood  talent  scout,  he  has 
had  the  show  photographed.  Bringing  in  Von 
Blitzen,  the  hotel  washroom  attendant,  and 
palming  him  off  as  a  great  Hollywood  direc- 
tor, the  histrionics  of  Paula  and  several  others 
are  projected,  only  to  have  Von  Blitzen  sneer 
derisively  at  them.  Then  comes  Tom  in  his 
crooner  satire  to  be  acclaimed. 

Essentially  the  attraction  is  an  exploitation 
show.  Naturally  the  Will  Rogers  name  is  the 
dominating  interest-creating  factor,  but  no  one 
should  lose  sight  of  all  that  is  additionally  com- 
mercially valuable.  Patrons  may  be  assured  that 
"Doubting  Thomas"  is  ridiculous  amusement 
with  a  laugh  in  almost  every  line  of  dialogue 
and  bit  of  action  and  a  burst  of  hilarity  for  the 
windup. — McCarthy,  Hollywood. 

Produced  and  distributed  by  Fox.  Produced  by  B. 
G.  DeSylva.  Directed  by  David  Butler.  Screen  play 
by  William  Conselman.  From  the  play  "The  Torch 
Bearers,"  by  George  Kelly.  Adaptation  by  Bartlett 
Cormack.  Photographed  by  Joseph  Valentine.  Sound, 
Joseph  Aiken.  Art  director,  Jack  Otterson.  Gowns, 
Hubert.  Musical  director,  Arthur  Lange.  P.  C.  A. 
Certificate  No.  720.  Running  time,  when  seen  in 
Hollywood,  75  minutes.  Release  date.  May  31,  1935. 
General  audience  classification. 

CAST 

Thomas  Brown   Will  Rogers 

Paula  Brown   Biltie  Burke 

Mrs.  Pampinelli   Alison  Skipworth 

Spindler   Sterling^  HoUoway 

Hossefrosse   Andrew  Tombes 

Florence  McCrickett    Gail  Patrick 

Peggy  Burns   Frances  Grant 

Jimmy  Brown   Frank  Albertson 

Nelly  Fell   Helen  Flint 

Ralph  Twiller   Johnny  Arthur 

La  Maze   T.  Roy  Barnes 

Jenny   Ruth  Warren 

Von  Blitzen   John  Qualen 

Teddy   Fred  Wallace 

Stage  Hand  George  Cooper 

Mrs.  _  Sheppard   Helen  Freeman 

Caddie   William  Benedict 


The  Bride  of  Frankenstein 

(Universal) 
Drama 

Horror  is  the  showmanship  and  commercial 
value  of  this  picture.  The  manner  in  which, 
about  three  and  a  half  years  ago,  the  theatre- 
going  public  received  the  original  "Franken- 
stein," as  well  as  the  success  accruing  to  sim- 
ilar intervening  pictures,  amply  demonstrated 
the  field  for  this  type  of  picture  under  proper 
showmanship  guidance. 

A  good  deal  of  the  picture  is  in  the  nature 
of  a  sequel.  Phoenix-like,  the  beastly  monster, 
product  of  looted  graveyards,  rises  unharmed 
from  the  destroyed  windmill.  As  it  wreaks 
havoc  upon  all  with  whom  it  comes  in  contact, 
in  the  most  fiendish  ways  imaginable,  Henry 
Frankenstein,  again  played  by  Colin  Clive,  is 
forced  by  the  ghoulish  Doctor  Pretorious  to 
collaborate  in  the  fabrication  of  a  mate  for  the 
monster.  Running  a  course  that  should  without 
difficulty  precipitate  the  maximum  number  of 
screams,  gasps,  chills  and  thrills,  the  story  builds 
to  a  point  where  amidst  a  sensational  collection 
of  ultra-scientific  apparatus,  Pretorious  and 
Frankenstein  expose  the  mummy-like  female 
figure  to  the  fury  and  flame  of  a  crashing  thun- 
der storm.  Life  comes  to  the  fantastic  creature. 
The  monster  is  brought  to  her.  Each  shuns  the 
other  with  an  unearthly  hate.  The  monster 
which  has  come  to  know  the  tenderness  of  human 
beings,  even  though  that  emotion  has  been  the 
result  of  fear,  wants  nothing  to  do  with  any- 
thing artificial.  Pulling  a  lever,  he  blows  him- 
self, the  mate,  Pretorious  and  all  the  others  to 
destruction. 

Even  though  much  time  has  elapsed  since 
presentation  of  "Frankenstein,"  it  is  hardly  to 
be  doubted  that  the  impression  it  created  will 
serve  to  give  this  picture  the  benefit  of  a  run- 
ning head  start  in  public  curiosity.  As  there 
was  no  way  of  concealing  the  horrifying  high- 
lights of  that  picture,  there  is  no  way,  either, 
of  toning  down  or  softening  the  fantastic  illu- 
sionary  reality.  In  its  own  way,  "The  Bride  of 
Frankenstein"  is  equally  daring,  yet  at  the  same 
time  so  widely  different  in  its  scare-power  that 
it  demands  showmanship  consideration  and  re- 
spect in  its  own  peculiar  way,  putting  audiences 
in  the  proper  mythical  mood  to  look  upon  the 
picture  as  novel  entertainment,  without  becom- 
ing too  serious  minded  about  what  they  see 
and  feel. — McCarthy,  Hollywood. 

Produced  and  distributed  by  Universal.  Produced 
by  Carl  Laemmle,  Jr.  Directed  by  James  Whale.  An 
original  screen  play  by  John  L.  Balderston  and  Will- 
iam Hurlbut.  Photographed  by  John  Mescall.  Music 
by  Franz  Waxman.  Assistant  directors,  Harry  Menke 
and  Joseph  McDonough.  Art  director,  Charles  D. 
Hall.  _  Film  editor,  Ted  Kent.  Editorial  supervision, 
Maurice  Pivar.  Sound  supervision,  Gilbert  Kurland. 
Running  time,  when  seen  in  Hollywood,  80  minutes. 
Release  date,  April  22,  1935.  Adult  audience  classifica- 
tion. 

CAST 

The  Monster   Karloff 

Henry  Frankenstein   Colin  Clive 

Elizabeth   Valerie  Hobson 

The  Mate   Elsa  Lanchester 

Mary  Shelley   Elsa  Lanchester 

Dr.  Pretorious   Ernest  Thesiger 

The  Hermit   O.  P.  Heggie 

Karl   D wight  Frye 

Burgomaster   E.  E.  Clive 

Minnie   Una  O'Connor 

Shepherdess   Anne  Darling 

Percy  Shelley   Douglas  Walton 

Lord  Byron   Gavin  Gordon 

R"dy   Neil  Fitzgerald 

Hans   Reginald  Barlow 

His  Wife   Mary  Gordon 

Uncle  Glutz  Gunnis  Davis 


Stone  of  Silver  Creek 

(Universal) 
Western 

A  western  film  with  a  difference  and  a 
popular  star,  this  production  has  the  ingredi- 
ents for  audiences  who  like  their  action  films, 
and  especially  when  played  in  the  weekend  posi- 
tion. Although  there  is  somewhat  less  of  hard 
riding,  shooting  and  general  jousting  than  is 
usual  in  westerns,  this  picture  rather  makes 
up  for  that  deficiency  in  that  it  has  more  story 
backbone. 

Charles  Buck  Jones  is  the  star,  which  in 
itself  should  be  a  strong  point  in  the  selling 
of  a  western.  He  is  supported,  in  addition  to 
his  horse.  Silver,  by  Noel  Francis,  Niles  Welch 
and  Marion  Shilling  in  particular.  The  story 
reflects  the  successful  effort  of  a  preacher  in  a 
rough  western  town  of  years  ago  to  reconcile 
the  hardboiled  owner  of  the  town's  main  saloon 
to  the  idea  of  a  church  in  the  town.  With  the 
addition  of  romance,  which  is  three-cornered, 
involving  six  persons,  a  menace  in  the  form  of 
two  disgruntled  crooks,  and  a  bit  of  comedy 
and  song,  it  is,  on  the  whole,  an  entertaining 
story,  giving  a  rather  different  flair  to  the  west- 
ern. 

Jones  is  the  hardboiled  Mr.  Stone,  who  op- 
erates the  saloon  in  his  own  two-fisted  manner, 
but  entirely  on  the  square.  Miss  Francis  is  his 
chief  entertainer,  and  in  love  with  Grady  Sut- 
ton, owner  of  the  local  hardware  store.  Stone 
saves  an  old  miner  from  the  crooked  work  of 
two  gamblers,  and  insists  on  becoming  the  old 
man's  partner.  The  latter's  daughter,  Miss 
Shilling,  is  more  than  a  little  interested  in 
Welch,  the  minister,  who  is  in  love  with  her. 
Welch  turns  down  Stone's  sincerely  offered 
contribution  for  church  repairs,  because  he  can- 
not square  his  teachings  with  the  operation  of 
a  saloon,  though  he  likes  Stone  personally. 
Stone,  it  is  understood,  has  left  a  sweetheart 
showgirl  in  the  east  after  a  quarrel  several 
years  before. 

The  two  crooks  try  to  get  even,  but  Stone 
beats  them  to  the  draw.  Welch  overhears  them 
plotting  revenge,  and  urges  Stone  not  to  use 
force  but  to  permit  him  to  reason  with  them. 
His  reasoning  is  unsuccessful,  and  Welch  is 
shot.  Stone  goes  after  the  two,  when  they 
escape,  and  engages  them  after  a  fast  chase 
in  the  mountains.  As  one  cpmes  up  behind 
him,  help  arrives,  and  Welch  saves  Stone's  life 
with  a  well  directed  shot.  Returning,  Welch 
finds  Miss  Shilling  waiting  for  him.  Miss  Fran- 
cis and  Sutton  decide  to  marry,  and  Stone  finds 
the  girl  he  left  in  the  east  at  the  saloon,  to 
which  she  came  in  answer  to  his  request  for 
new  talent. — Aaronson^  New  York. 

Produced  and  distributed  by  Universal.  Producer, 
Irving  Starr.  Directed  by  Nick  Grinde.  Story  by  R. 
R.  Harris.  Continuity  by  Earle  Snell.  Photographed 
by  Ted  McCord.  P.  C.  Certificate  No.  668.  Running 
time,  60  minutes.  Release  date,  April  15,  1935.  Gen- 
eral audience  classification. 

CAST 

T.  William  Stone   Buck  Jones 

Timothy  Tucker   Niles  Welch 

George  J.  Mason   Murdock  MacQuarrie 

Lola   Noel  Francis 

Martha  Mason   Marion  Shilling 

Nancy  Raymond  Peggy  Campbell 

Graves   Rodney  Hilderbrand 

Simmons   Harry  Semels 

Jimmy   Grady  Sutton 

Ben   Kerman  Cripps 

Tom  Lucas   Frank  Rice 

Hotel  Proprietor  Bob  McKenzie 


WEDNESDAY! 


BVSmESS 

(?ErrA... 


"tlAVGHTY 
MAKII.rTA 


WEDNESDAY  BEATS  OPENING  FRIDAY!  LOOK! 


12% 

better 

in 

Baltimore 

14% 

better 

in 

Bridgeport 

32% 

better 

in 

Dayton 

8% 

better 

in 

Columbus 

81% 

better 

in 

Harrisburg 

30% 

better 

in 

Providence 

95% 

better 

in 

Reading 

18% 

better 

in 

Springfield 

50% 

better 

in 

Syracuse 

54% 

better 

in 

Toledo 

75% 

better 

in 

Wilmington 

37% 

better 

in 

Indianapolis 

20% 

better 

in 

Kansas  City 

8% 

better 

in 

Su  Louis 

40% 

better 

in 

Atlanta 

43% 

better 

in 

l^ashville 

HOLD  EXTRA  TI!VIE  FOR ''NAUGHTY  IVIARIETTA'' 
TURN  THE  PAGE  AND  WATeH  IT  BUJLD! 


36 


MOTION    PICTURE  HERALD 


April    20,  1935 


Party  Wire 

(  Columbia  ) 
Comedy  Drama 

The  entertainment  which  "Party  Wire"  pro- 
vides is  of  the  character  which  average  audi- 
ences appreciate.  In  addition  to  that  quahty, 
it  affords  a  showmanship  and  exploitation  me- 
dium which,  the  title  tone  graphically  indicat- 
ing, can  be  adapted  economically  in  many  ways. 
Basically  the  theme  is  romantic  love  interest, 
amplified  by  unusual  topical  comedy  and  as  it 
turns  dramatic  and  near  tragic  in  the  anti- 
climax a  vein  of  tense  suspense  is  introduced. 

The  locale  is  a  typical  American  small  town 
where  the  residents'  chief  diversion  and  means 
of  picking  up  the  latest  news  gossip  is  by  listen- 
ing in  on  the  party  line  telephones.  The  towns- 
folk, particularly  mothers  of  marriageable 
daughters,  are  anxiously  awaiting  the  home- 
coming of  Matthew  Putnam.  Object  of  much 
fuss,  he  seems  to  be  looking  only  for  his  old 
pal  Bill  Oliver  and  his  daughter  Marge,  the 
only  ones  in  town  who  apparently  haven't  paid 
much  attention  to  his  arrival. 

Romance  grows  apace  for  Matt  and  Marge, 
until  Bill  discovers  discrepancies  in  church  ac- 
counts which  Marge  and  Roy  have  been  work- 
ing on.  An  innocent  remark  made  by  Roy  in 
phone  conversation  with  Bill  and  overheard  by 
listeners-in  is  misinterpreted  and  the  finger  of 
scandal  is  pointed  at  Marge.  Eventually  learn- 
ing of  the  gossip.  Matt  makes  plans  to  marry 
Marge  immediately.  A  business  matter  prevent- 
ing his  arrival  at  the  church  on  time.  Bill, 
thinking  he  is  responsible  for  the  lovers' 
troubles,  attempts  suicide. 

An  indignation  meeting,  called  to  protest 
Matt's  action  in  discharging  all  local  employees 
of  his  dairy  plant  is  attended  by  his  Aunt 
Nettie,  who  in  a  scathing  tirade  denounces  the 
community  for  all  that  has  been  said  and  done. 
Having  been  an  inveterate  listener  herself,  she 
has  all  the  dope  about  everybody's  private  life. 
Fearing  her  revelations,  they  promise  to  re- 
frain from  party  line  gossip,  which  they  of 
course  don't. 

When  Bill  recovers.  Matt  and  Marge  start  on 
a  Niagara  Falls  honeymoon,  while  the  town 
returns  to  its  business  of  picking  up  the  re- 
ceiver. 

Exploitation,  particularly  in  the  smaller 
towns  and  more  compact  neighborhoods,  that 
takes  advantage  of  the  suggested  idea  of  using 
the  telephone  to  let  patrons  know  about  the 
worth  of  this  show,  should  be  decidedly  bene- 
ficial in  substantiating  other  forms  of  adver- 
tising.— McCarthy,  Hollywood. 

Produced  and  distributed  by  Columbia.  Original 
story  by  Bruce  Manning,  Vera  Caspary.  Screen  play 
by  John  Howard  Lawson,  Ethel  Hill.  Directed  by 
Erie  Kenton.  Assistant  director,  C.  C.  Coleman. 
Cameraman.  Al  Seigler.  Sound  engineer.  Glenn  Rom- 
inger.  Film  editor,  Viola  Lawrence.  Associate,  pro- 
ducer, Robert  North.  Running  time,  when  seen  in 
Hollywood.  65  minutes.  Release  date,  April  27,  1935. 
General  audience  classification. 

CAST 

Marge  Oliver   Jean  Arthur 

Matthew   Victor  Jory 

Nettie  Putnam   Helen  Lowell 

Bill  Oliver   Charlie  Grapewin 

Rov   Robert  Allen 

Mathilda   Clara  Blandick 

Irene  Sherman   Geneva  Mitchell 

Clara   Maude  Eburne 


Red  Morning 


(RKO  Radio) 
Melodrama 

Melodramatic  and  averagely  entertaining  ma- 
terial, this  picture  tells  a  tale  of  the  Southern 
Seas,  the  romance  of  an  insurance  agent  and 
a  Portuguese  girl,  the  sabotage  of  a  freighter 
for  the  insurance  money  by  the  villains  of  the 
piece,  and  the  assistance  rendered  by  friendly 
island  natives  after  the  girl  saved  the  life  of 
one  of  them. 

The  production  appears  to  have  enough  ac- 
tion to  warrant  a  billing  toward  the  end  of  the 
Aveek,  though  not  as  much  as  the  title  might 
indicate.  There  is  comparatively  little  of  story 
strength  to  constitute  a  selling  factor ;  nor 
does  the  cast  indicate  any  names  which,  by 


themselves,  will  serve  on  the  marquee  to  draw 
patronage.  Thus  the  film  will  have  to  be  sold 
on  the  basis  of  the  action  and  melodrama  in  it. 

Steffi  Duna  and  Regis  Toomey  share  the 
leads,  names  familiar  if  not  outstanding.  In 
chief  support  are  Raymond  Hatton  and  \lh- 
chell  Lewis. 

Miss  Duna  is  second  mate  on  the  freighter 
owned  by  her  father,  Lewis.  She  and  Toomey, 
insurance  agent  in  the  islands,  are  engaged.  She 
promises  to  give  up  the  sea  and  marry  him  after 
this  one  difficult  voyage,  taking  a  short  cut 
through  the  islands  to  their  destination.  En 
route  Miss  Duna  is  locked  in  her  cabin,  Hatton, 
the  first  mate,  slugs  Lewis,  and  the  crew  is 
permitted  to  drown,  with  the  exception  of  Hat- 
ton and  two  seamen  working  with  him.  He 
thinks  the  ship  has  gone  down,  but  it  has 
fastened  securely  on  a  reef.  Miss  Duna  and 
her  father,  in  an  open  boat,  reach  a  small  island 
and  are  in  time  to  save  the  life  of  the  chief's 
son  with  their  medical  kit.  Lewis  dies  on  the 
island,  and  his  daughter  leaves. 

Hatton  meanwhile  has  reported  the  loss  of 
the  ship  and  all  hands,  working  in  league  with 
two  men  on  shore.  Toomey  refuses  to  believe 
the  story  and  charters  a  small  boat  to  search 
the  islands.  He  and  Miss  Duna  meet  and  she 
is  instrumental  in  rescuing  him  from  cannibals. 
They  learn  that  Hatton  and  his  confederates, 
discovering  the  ship  did  not  go  down,  have  set 
out  to  sink  it  with  dynamite.  Miss  Duna  calls 
on  the  native  she  saved,  and  the  war  canoes 
rally  to  protect  the  ship.  They  are  just  too  late, 
the  ship  is  blown  up,  and  Hatton  with  it,  but 
his  confederates  are  caught,  and  the  romance 
of  Miss  Duna  and  Toomey  is  completed. — 
Aaronson,  New  York. 

Produced  and  distributed  by  RKO  Radio.  Directed 
by  Wallace  Fox.  Story  by  Gouverneur  Morris.  Screen 
play  by  John  Twist  and  Wallace  Fox.  Photography 
by  Harold  Wenstrom.  Recorded  by  Earl  A.  Wolcott. 
Edited  bv  Ted  Cheesman.  Running  time,  63  minutes. 
Release  date,  Dec.  14,  1934.  P.  C.  A.  Certificate  No. 
382.   General  audience  classification. 

CAST 

Kara  Perava    Steffi  Duna 

John  Hastings    Regis  Toomey 

Hawker    Raymond  Hatton 

Captain  Perava    Mitchell  Lewis 

Stanchon    Charles  Middleton 

Mao    George  Lewis 

Sakki    Francis  McDonald 

Glibb    Arthur  Pat  West 

Magistrate    Brandon  Hurst 


Song  of  Happiness 

(Amkino) 
Drama 

An  interesting  and  rather  well  executed  pro- 
duction is  this  latest  importation  from  the 
LTnion  of  Socialist  Soviet  Republics,  which 
nevertheless  has  its  wide  thread  of  propaganda 
as.  it  would  seem,  every  picture  coming  out  of 
Russia  must  have.  In  this  case  is  told  how  the 
great  Soviet  state  makes  every  eff^ort  to  seek 
out  and  develop  the  potential  latent  talents  of 
its  people,  even  though  they  may  live  in  a  far 
province  of  the  wide-flung  Russian  state. 

There  is  rather  less  of  propaganda,  directly 
put,  in  this  picture  than  in  many  a  feature  from 
Russia  in  recent  months,  and  it  is  compara- 
tively a  reasonably  effective  drama. 

This  feature  is  said  to  recount  the  story  of 
the  life  of  one  of  the  Soviet's  greatest  artists, 
who  after  years  of  hardship  and  struggle  has 
achieved  recognition  by  the  Musical  Conserva- 
tory of  Moscow.  The  execution  of  this  picture 
indicates  that  the  Russian  producers  are  com- 
ing more  clearly  to  recognize  the  value  of  dra- 
matic plot  development  in  the  weaving  of  a 
motion  picture,  with  a  portion  of  comedy,  and 
romance,  and  conflict,  instead  of  just  conflict 
alone. 

The  story  is  set  in  the  Mari  Province  on 
the  Volga  River,  and  in  Moscow,  and  tells  of 
a  young  lumberman,  Kavirlia,  and  his  sweet- 
heart, Anuk.  Despite  the  supposed  socialist 
operation,  a  cruel  boss  still  lords  it  over  the 
men,  and  when  he  breaks  Kavirlia's  home-made 
flute,  the  boy  fights,  thinks  he  has  killed  the 
man,  and  escapes  to  the  woods.  There  he  is 
found  by  a  petty  thief,  who  forces  him  to  work 
with  him  at  the  markets,  the  boy  playing,  he 


singing.  But  one  day  he  steals,  escapes  and 
Kavirlia  is  captured,  landing  in  a  Moscow 
reform  school. 

There  he  learns  to  read  that  he  may  write 
to  Anuk,  and  the  superintendent  of  the  school 
takes  an  interest  in  his  playing.  He  succeeds 
in  having  the  boy  enrolled  in  the  Conservatory 
of  Music,  under  the  special  attention  of  an  old 
German  music  teacher.  Meanwhile,  in  Mari, 
the  girl  determines  to  learn  to  read  and  write 
that  she  may  understand  the  boy's  letters.  Un- 
der an  assumed  name,  Kavirlia,  after  five  years, 
becomes  an  artist  with  the  flute,  and  at  a  re- 
form school  concert  he  is  recognized  by  his 
former  companion.  Anuk,  when  she  reads  of 
his  success,  goes  to  see  him,  but  he  pretends 
he  does  not  recognize  her,  fearful  that  he  is  a 
murderer.  The  superintendent  learns  the  truth, 
the  boy  is  told  he  is  free,  and  he  returns  in 
triumph  to  his  province,  to  teach  others.  There, 
too,  he  and  Anuk  are  reconciled. 

It  is  a  well  told  story  of  a  boy's  musical  and 
mental  struggle  against  the  force  of  circum- 
stances, and  his  romantic  difficulties.  There  are 
numerous  subtitles  in  English. — Aaronson, 
New  York. 

Distributed  by  Amkino.  Produced  by  Vostokfilm. 
Directed  by  M.  Donskoy  and  V.  Legoshin.  Story  by 
G.  Hohnsky.  Music  composed  by  G.  Lobachev.  Run- 
ning time.  90  minutes.  Release  date,  April  6,  1935. 
General  audience  classification. 

CAST  ' 

Kavirlia   M.  Victorov 

Anuk    J.  Zheimo 

Professor  of  music    V,  R.  Gardin 

A  prisoner    Leonid  Kmit 

Director  of  the  penitentiary  V.  Teshin 


Sanders  of  the  River 

(London  Films  -  United  Artists) 
Spectacle  Drama 

In  its  very  different  way,  this  picture  breaks 
new  ground  almost  as  decisively  as  did  "The 
Private  Life  of  Henry  VIII." 

The  producers"  achievement  is  that  they  have 
successfully  combined  definite  story  values  of  a 
popular  type  with  pictorial  and  "documentary" 
merits  superior  to  those  of  the  average  trav- 
elogue. Outstanding  spectacular  qualities  are 
reinforced  by  an  impressive  use  of  sound ;  here 
again  realism  and  popular  appeal  go  hand  in 
hand,  the  reproduction  of  authentic  African 
melodies  being  accompanied  by  a  series  of 
specially  written  and  "catchy"  song  numbers. 

Essentially  the  film  is  a  panorama  of  native 
life  and  customs  in  Africa,  with  a  marked  em- 
phasis on  the  pageantry  of  tribal  life  as  ex- 
pressed in  ritual  dances,  war  chants  and  actual 
warfare.  Additional  is  a  story  dramatizing  white 
rule,  based  on  the  personal  prestige  of  a  single 
British  officer,  which  maintains  i>eace  among 
tribes  to  whom  mutual  hatred  is  a  thousand 
years  old  tradition.  Still  further  is  a  love  story 
with  a  native  chief  as  leading  actor,  and  that 
chief  is  Paul  Robeson,  in  his  best  vein. 

Robeson  has  a  whole  series  of  swinging  num- 
bers, of  which  "The  Song  of  the  Spear"  is  the 
most  effective,  but  for  many  patrons  there  will 
be  even  greater  appeal  in  the  dramatic  render- 
ing of  the  authentic  "Lion  Song." 

The  stor}-,  from  a  series  by  the  late  Edgar 
Wallace,  centers  on  the  personality  of  Sanders, 
British  Commissioner  in  a  district  of  Africa 
peopled  by  antagonistic  tribes  and  exploited  by 
slave  traders  and  crooked  importers.  Fear  and 
love  of  Sanders  alone  keep  the  tribes  from  each 
other's  throats,  but  he  has  a  valuable  native 
ally  in  Bosambo,  an  ex-convict  who  so  suc- 
cessfully defeats  slave  raiders  that  Sanders  con- 
firms him  in  a  chieftainship  he  has  usurped. 

Selling  values  are  numerous.  The  beauty  of 
the  settings  and  the  big  scale  of  the  spectacle  are 
assets  in  themselves  and  they  frame  incidents  of 
striking  originality.  Typical  is  the  "palaver" 
of  Sanders  with  Mofoluba.  The  king,  sur- 
rounded by  his  warriors,  advancing  menacingly 
on  the  solitary  white  man,  is  mastered  by  his 
personality.  Equally  dramatic  are  the  scenes  of 
native  battle ;  the  warriors,  magnificent  types, 
live  their  parts,  and  there  is  an  atmosphere  of 
barbaric  splendor  about  the  action.  The  au- 
thenticity of  the  picture,  vouched  for  by  the 
co-operation  of  the  British  authorities,  is  an 


THIS  IS 
THURSDAY! 


MARIETTA 
..  YOU'RE 
NAUGHTY 
3UT  NICE.... 
TO  THE 
BOX-OFFICE 


THURSDAY  BEATS 
OPENING  FRIDAY! 
WATCH  IT  BUILD! 


45%  better  in 

4%  better  in 

87%  better  in 

45%  better  in 

86%  better  in 

7%  better  in 

48%  better  in 

68%  better  in 

41%  better  in 

16%  better  in 

52%  better*  in 

53%  better*  in 

*Best  day  of  engagement  to  date, 


Dayton 

Columbus 

Harrisburg 

Providence 

Reading 

Springfield 

Syracuse 

Wilmington 

Indianapolis 

Kansas  City 

Atlanta 

Nashville 

except  Saturday. 


'MARIETTA!  '  YOU  GET  BETTA  AND  BETTA! 

.U/r>i^r>  CYTPA  TIMi;i..  MEYT..D 


38 


MOTION    PICTU  RE  HERALD 


April    2  0,     19  3  5 


enormous  asset,  but  it  is  more  important  that, 

in  this  case,  authenticity  has  resulted  in  much 
better  entertainment  than  could  have  been 
achieved  by  studio  convention. 

"Sanders  of  the  River,"  emphatically  an  out- 
of-the-rut  picture,  can  best  be  sold  by  emphasis 
on  that  fact.  A  view  of  the  film  is  certainly  de- 
sirable, if  only  to  convince  the  exhibitor  of  the 
exceptional  pictorial  values  he  can  offer  on  top 
of  the  personality  value  of  Paul  Robeson.  Ex- 
cellent as  he  is,  the  real  stars  are  the  thousands 
of  natives  who  so  amazingly  re-live  their  primi- 
tive but  vigorous  and  picturesque  tribal  histo- 
ries.— Allan,  London. 

Produced  by  London  Film  Productions  and  distrib- 
uted by  United  Artists.  From  the  book  by  Edgar 
Wallace.  Directed  by  Zoltan  Korda.  Camera:  studio, 
Georges  Perinal,  African  locations,  Osmond  Borro- 
daile.  Art  director,  Vincent  Korda.  Technical  ad- 
viser, Major  Claude  Wallace.  English  lyrics  by  Arthur 
Wimperis  set  to  music  by  M.  Spoliansky.  Running 
time,  95  minutes.  "G." 

CAST 

Bosambo   ■  •  •   Paul  Robeson 

Sanders    Leslie  Banks 

Lilongo   •         Nina  Mae  McKinney 

Fergusson    Martin  Walker 

Tibbetts   Robert  T.  Cochrane 

Smith   Eric  Maturin 

Makara    Bertrand  Frazer 

Bosambo's  son    Anthony  Fopafio 

Ferrini    Marquis  de  Portage 

Hamilton   Richard  Gray 

King  Mofoluba   Tony  Wane 

Topolaka    Beresford  Gale 

Kaluba   James  Solomon 

K'Lova   Orlando  Martins 

Obiboo    John  Thomas 

Akasavas  chief    Robert  Moore 


Escape  Me  Never 

(British  &  Dominions-U.A.) 
Romance 

There  is  a  big  play  title  to  publicize  here, 
and  with  it  the  name  of  the  actress  who  has 
made  it  a  London  and  New  York  success.  Be- 
hind the  play  is  the  book,  or  rather  books,  by 
Margaret  Kennedy  in  which  the  eccentric- 
genius  family  of  Sanger  made  its  appearances. 
The  film  itself  is  brilliant  in  its  own  right  and 
the  star,  Elisabeth  Bergner,  as  on  the  stage, 
acts  magnificently  in  a  highly  original  and  al- 
together fascinating  role.  Miss  Bergner's  per- 
sonality is  undoubtedly  exceptionah  fitted  to 
the  role;  the  part  of  Gemma  Jones,  waif,  un- 
married mother  and  victim  of  a  super-egoist 
musician,  offers  the  star  the  full  range  of  farce, 
comedy,  irony,  tragedy.  The  theme  of  a  woman 
who,  knowing  the  worst  of  a  man,  chooses  to 
remain  with  him,  has  its  own  possibilities  for 
exploitation.  The  complete  sincerity  and  real- 
ism of  the  picture  make  anything  like  stunt 
methods  out  of  place. 

There  is  a  tempestuous  and  effective  introduc- 
tion of  Gemma  in  the  very  first  scenes.  A 
schoolgirl  breaks  away  from  a  party  being 
escorted  over  the  Venetian  palace  tenanted  by 
Sir  Ivor  and  Lady  McClean  and  their  daughter 
Fenella,  and  invades  the-  private  apartments. 
Questioned,  she  confesses  that  she  has  attached 
herself  to  the  schoolgirls  in  order  to  share  their 
meal.  Actually  she  is  homeless.  Casually,  she 
tells  the  horrified  English  that  she  has  a  baby 
and  that  she  is  living  with  a  musician,  son  of 
the  famous  composer  Sanger.  The  description 
fits  Caryl  Sanger,  who  is  informally  engaged 
to  Fenella.  The  McCleans  hastily  leave  Venice 
for  the  Dolomites,  leaving  no  address  for  Caryl. 

Actually,  Gemma's  companion  is  Sebastian, 
brother  of  Caryl.  Gemma  realizes  what  has 
happened  when,  for  the  first  time,  she  meets 
Caryl.  The  three,  penniless,  tramp  the  moun- 
tains to  find  Fenella.  Sebastian  meets  her  first, 
and  she  is  fascinated  by  him,  but  Gemma  inter- 
rupts them  and  tells  Fenella  of  the  misunder- 
standing.    The  lovers  are  reconciled. 

Sebastian,  Gemma  and  the  baby  go  to  London, 
where  Sebastian  hopes  to  get  his  new  ballet 
produced.  To  support  him.  Gemma  takes  a  job 
as  maidservant.  Sebastian  continues  to  see 
Fenella,  and  Gemma,  now  married  to  Sebas- 
tion,  warns  Fenella  of  his  completely  selfish 
character.  Gemma's  baby  dies.  Fenella  is  will- 
ing to  run  away  with  Sebastian  but  Caryl  half 
strangles  his  brother.  Sebastian,  temporarily 
penitent,  takes  Gemma  in  his  arms. 

Backgrounds  are  varied  and  excellent.  Both 


\'enetian  and  Dolomite  scenes  were  done  on 
location.  In  London,  the  theatre  set  in  which 
the  ballet  is  played  is  effective  and  so  is  the 
ballet  itself.  Supporting  members  of  the  cast 
are  all  good,  the  English  society  recruit  Pene- 
lope Dudley  Ward  picturing  Fenella  excellently 
and  the  two  Sangers  being  well  played'  by  Hugh 
Sinclair  and  Griffi,th  Jones.  The  celebrated 
Irene  Vanbrugh  adds  a  delightful  comedy  touch 
as  Lady  McClean. 

It  is  a  picture  to  see,  if  only  as  an  example 
of  what  England  can  do.  If  its  appeal  is  limited 
in  certain  quarters  it  will  be  a  limitation  due  to 
high  artistic  merit. — Allan,  London 

Produced  by  Herbert  Wilcox  for  British  &  Domin- 
ions and  distributed  by  United  Artists.  From  the 
play  by  Margaret  Kennedy.  Screen  play  by  Margaret 
Kennedy  and  Carl  Zuckmayer.  Directed  by  Dr.  Paul 
Czinner.  Camera:  studio,  Georges  Perinal,  location 
Sepp  Allgeier.  Music  composed  by  William  Walton. 
Running  time,  80  mins.  "A." 

CAST 

Gemma   Jones  .Elisabeth  Bergner 

Sebastian  Sanger   Hugh  Sinclair 

Fenella  McClean  Penelope  Dudley  Ward 

Caryl  Sanger  Griffith  Jones 

Heinrich   Lyn  Harding 

Sir  Ivor  McClean  Leon  Quartermaine 

Lady  McClean  Irene  Vanbrugh 

Bolero 

( Metropolis-Tapernoux  ) 
Interesting 

An  interesting  subject,  this  is  a  pictorial  ac- 
companiment to  Ravel's  famous  musical  com- 
position, "Bolero,"  and  is  of  high  quality,  both 
in  the  symphonic  rendition  of  the  music  and 
the  performances  of  the  players.  Entirely  with- 
out dialogue,  the  story  is  told  in  many  episodes 
of  the  gypsy  girl  who  dances  for  her  gypsy 
lover,  then  leaves  him  to  dance  for  wealthier 
men.  He  passes  the  years  in  sorrow  in  search 
of  her,  finally  finding  her,  still  young  and 
beautiful,  in  a  cabaret.  He  seizes  her,  and  the 
mask  she  has  long  worn  falls  from  her  face. 
Class  audiences  should  be  especially  apprecia- 
tive.— Running  time,  14  minutes. 


Telephone  Blues 

(Universal) 
Song  and  Dance 

The  singing  Tic-Toe  girl  trio  tie  together  the 
vaudeville  picture  to  a  degree,  with  their  plugs 
as  switchboard  operators.  The  three  Dodge 
Brothers  do  some  lively  clogging,  Henry  Scott 
in  mittens  plays  the  piano,  Olga  Baclanova  sings 
while  the  Mentonette  girls  present  a  Russian 
dance,  and  there's  Murray  Lane  with  his  Har- 
moniacs.  The  Tic-Toe  girls  sing  a  Priscilla 
song  in  costume.  The  clogging  and  harmonica 
acts  carry  the  production. — Running  time,  19 
minutes. 


Medbury  in  Hollywood 

(  Columbia) 
Fair 

John  P.  Medbury,  in  this  number  of  his 
"Laughing  with  Medbury"  series,  takes  his 
screen  audience  to  Hollywood,  there  to  see  that 
which  makes  up  the  town  itself,  rather  than 
the  motion  picture  aspects  of  the  city,  Mr. 
Medbury's  continuous  attempts  at  humor  rather 
too  often  slip  into  the  classification  of  the  pun, 
and  rather  too  often  are  not  especially  funny — 
as  is  the  way  with  punning.  There  are  a  few 
laughs,  however.  In  general,  only  a  fair  sub- 
ject,— Running  time,  10  minutes. 


Flying  Oil 

(  Educational ) 
Amusing 

When  the  peddler  comes  around  with  a  magic 
flying  oil  which  permits  the  one  touched  by  it 
to  fly  at  will,  the  result  is  a  rather  amusing 
cartoon  efi^ort,  of  the  Terry-Toons  series.  The 
animated  animals  take  to  the  air,  and  the  angry 
farmer  refuses  to  buy  until  the  cat  pours  oil  on 
him.  He  goes  up  like  a  rocket,  explodes  and 
comes  down  with  his  clothes,  via  parachute. 
A  fairly  amusing  number. — Running  time,  six 
minutes. 


The  Old  Cannp  Ground 

(Educational) 
Tuneful 

A  tuneful  number  in  the  Song  Hit  series, 
which  features  vocal  renditions  of  various  sing- 
ing groups,  this  is  set  in  a  Union  army  camp 
during  the  Civil  War.  Southern  prisoners  are 
brought  in  and  they  and  the  Union  soldiers  vie 
with  each  other  in  offering  popular  songs  of 
the  North  and  South  of  that  day,  including 
"Tenting  on  the  Old  Camp  Ground."  It  is 
an  entertaining  subject. — Running  time,  nine 
minutes. 


In  the  Spotlight 

(Vitaphone) 
Good 

The  dancing  of  the  nimble-footed  Hal  Le- 
Roy, elongated  stepper,  and  that  of  Dorothy 
Lee,  small  and  attractive,  are  the  bright  spots 
in  this  subject.  Miss  Lee,  daughter  of  a  shoe 
manufacturer,  returns  from  abroad,  sees  LeRoy, 
shy  deckhand,  dancing,  and  invites  him  to  the 
advertising  show.  There  she  makes  him  over- 
come his  shyness,  and  appear  with  her  in  the 
floor  show  of  her  father's  company.  The  two 
dance  in  expert  fashion,  against  an  ensemble 
background,  the  subject  being  for  the  most  part 
tuneful  and  entertaining. — Running  time,  20 
minutes. 


Hold  That  Shark 

(Columbia) 
Action 

There  is  real  action,  and  plenty  of  it  in  this 
number  of  the  World  of  Sport  series.  Pictured 
are  the  hardy  fishermen  of  the  eastern  coast, 
who  indulge  in  a  little  "quiet"  shark  fishing 
during  their  off  moments.  They  pursue  the 
big  killers  of  the  ocean  in  a  small  boat,  are 
swamped  twice,  but  finally  land  their  catch — 
and  a  big  one — after  a  lively  battle.  There  is 
plenty  of  punch  in  the  subject. — Running  time, 
10  minutes.  : 


We  Aim  to  Please  / 

(Paramount)  I 

Good  i 

This  rates  about  standard  with  the  others 
in  the  popular  Popeye  the  Sailor  series  of  car- 
toons. This  time  Popeye  and  Olive  Oyl  open  a 
restaurant,  and  their  first  "customers"  are  two 
neighboring  chiselers,  including  Popeye's  peren- 
nial enemy.  When  he  begins  to  get  rough  after 
refusing  to  pay  his  check,  Popeye  takes  his 
spinach  and  the  rest  is  easy.  It  is  an  enter- 
taining cartoon. — Running  time, :  7'  minutes. 


Gumshoes 

(  Columbia) 
Fair 

This  can  be  considered  only  fair  comedy,  as 
Monte  Collins  and  Tom  Kennedy,  as  a  pair  of 
weak-kneed  and  frightened  hotel  detectives,  are 
berated  by  the  manager  and  set  out  through 
the  corridors  in  search  of  the  perpetrator  of  a 
number  of  jewel  robberies.  The  thief  turns  out 
to  be  a  trained  gorilla,  which  pursues  the  de- 
tectives through  rooms,  into  closets  and  out  on 
a  flagpole  overhanging  the  street,  in  true,  and 
fairly  amusing  comedy  style. — Running  time, 
20  minutes. 


Guess  Stars 

(Vitaphone) 
Good 

The  three  Radio  Ramblers,  expert  imitators 
of  personalities  prominent  on  the  air,  are  at 
their  entertaining  best  in  this  amusing  subject. 
Three  radio  repair  men,  they  are  called  to  a 
gangster's  home  to  fix  the  radio,  and  he  insists 
(with  a  gun)  on  hearing  Chevalier,  Pov,rell, 
Vallee,  RubinofT,  Cantor  and  others.  The  boys 
oblige,  in  excellent  simulation,  and  finally 
frighten  their  host  by  a  siren  call  and  police 
broadcast. — Running  time,  10  minutes. 


YOU  NEVER 

MET  A  

GAL  LIKE  , 
MARIETTA  /" 


nd 


WEEK 


(Watch  it  Build!) 


WEEK-END  BUSINESS  OF  SECOND  WEEK 
BEATS  OPENING  WEEK-END!  A  PLEASURE! 


Dayton 
Toledo 
Columbus 
St*  Louis 


Atlanta 
Indianapolis 
New  York 
Wilmington 
Baltimore 


Philadelphia 
New  Orleans 
Harrisburg 
Providence 


Kansas  City  Portland  Reading 

And  the  List  of  2nd  Week  Hold-Overs  is  growing! 


TAKE  A  TIP!    HOLD  EXIRA  TIME  FOR 

FYTPA  ''MAII€^MTY  MAPICTTA'"  DDO^ICWr^l 


40 


MOTION    PICTURE  HERALD 


April    20,  1935 


OX  OFFICE 
CHAMPIONS 
FOR  MARCH 


(I)  Roberta:  Producer,  Pandro  S.  Barman.  Directed  by  William 
A.  Seiter.  Screen  play  by  Jane  Murfin,  Sam  Mintz  and  Allan 
Scott.  Additional  dialogue  by  Glenn  Tryon.  Music  by  Jerome 
Kern.  Books  and  lyrics  by  Otto  Harbach.  Additional  lyrics  by 
Dorothy  Fields  and  Jimmy  McHugh.  Musical  director,  Max 
Steiner.  Production  associate,  Zion  Myers.  From  play  "Roberta." 
Cast:  Irene  Dunne,  Fred  Astaire,  Ginger  Rogers,  Randolph 
Scott,  Helen  Westley,  Claire  Dodd,  Victor  VarconI,  Luis 
Alberni,  Ferdinand  Munier,  Torben  Meyer,  Adrian  Rosley,  Bodil 
Rosing.    Released  March  8,  1935. 


(2)  Ruggles  of  Red  Gap:  Produced  by  Arthur  Hornblow,  Jr. 
Directed  by  Leo  McCarey.  Original,  Harry  Leon  Wilson. 
Screen  play,  Walter  DeLeon  and  Harlan  Thompson.  Adapta- 
tion, Humphrey  Pearson.  Music  by  Ralph  Rainger.  Lyrics  by 
Sam  Coslow.  Sound,  P.  G.  Wisdom.  Film  editor,  Edward 
Dmytryk.  Art  directors,  Hans  Dreier  and  Robert  Odell.  Photo- 
graphed by  Alfred  Gilks.  Cast:  Charles  Laughton,  Mary 
Boland,  Charlie  Ruggles,  Zasu  Pitts,  Roland  Young,  Leila 
Hyams,  Lucien  Littlefield.   Released  March  8,  1935. 


(3)  The  Little  Colonel:  Produced  by  B.  G.  DeSylva.  Directed 
by  David  Butler.  Screen  play  and  adaptation  by  William 
Conselman.  Based  on  the  story,  "The  Little  Colonel,"  by 
Annie  Fellows  Johnson.  Photographed  by  Arthur  Miller.  Color 
photography  by  William  Skall.  Sound,  S.  C.  Chapman.  Color 
director,  Natalie  Kalmus.  Art  director,  William  Darling.  Music 
adaptation,  Cyril  J.  Mockridge.  Costumes  by  William  Lam- 
bert. Musical  director,  Arthur  Lange.  Cast:  Shirley  Temple, 
Lionel  Barrymore,  Evelyn  Venable,  John  Lodge,  Sidney 
Blackmer,  Alden  Chase.   Released  February  22,  1935. 


ROBERTA 


RKO  Radio 


THE  SCARLET  PIMPERNEL       United  Artists 


(5)  Folies  Bergere:  Producer,  Darryl  F.  Zanuck.  Directed  by 
Roy  Del  Ruth.  Associate  producers,  William  Goetz,  Raymond 
Griffith.  Based  on  a  play  by  Rudolph  Lother  and  Hans  Adier. 
Screen  play  by  Bess  Meredyth  and  Hal  Long.  Photographed 
by  Barney  McGill.  Sound,  Vinton  Vernon,  Roger  Heman. 
Musical  director,  Alfred  Newman.  Film  editors,  Allen  McNeil, 
Sherman  Todd.  Art  director,  Richard  Day.  Costumes  de- 
signed by  Omar  Klam.  Assistant  director,  Fred  Fox.  Musical 
numbers  created  by  Dave  Gould.  Song  numbers  by  Jack 
Meskill  and  Jack  Stern,  Burton  Lane  and  Harold  Adamson, 
Christine  and  Willemegz.  Cast:  Maurice  Chevalier,  Ann 
Sothern,  Merle  Oberon,  Eric  Blore,  Ferdinand  Munier,  Walter 
Byron,  Lumsden  Hare,  Robert  Grieg,  Ferdinand  Gottschalk, 
Halliwell  Hobbes,  Georges  Renevant,  Philip  Dare,  Frank 
McGlynn,  Sr.,  Barbara  Leonard.   Released  February  2,  1935. 


(4)  The  Scarlet  Pimpernel:  Produced  by  London  Films.  Directed 
by  Harold  Young.  Camera,  Harold  Rosson.  Sound,  A.  W. 
Watklns.  Settings,  Vincent  Korda.  Novel  by  the  Baroness  Orczy. 
Adaptation,  dialogue,  etc.,  by  Lajos  Biros,  Sam  Berman,  Robert 
Sherwood  and  Arthur  Wimperis.  Cast:  Leslie  Howard,  Merle 
Oberon,  Raymond  Massey,  Nigel  Bruce,  Bramwell  Fletcher,  An- 
thony Bushell,  Joan  Gardner,  Walter  Rllla,  Mabel  Terry-Lewis, 
O.  B.  Clarence,  Ernest  Milton,  Edmund  Breon,  Melville  Cooper, 
Gib  McLaughlin,  Moreland  Graham,  John  Turnbull,  Gertrude 
Musgrove,  Allan  Jeayes.  Released  February  15,  1935. 


(6)  The  Whole  Town's  Talking:  Directed  by  John  Ford.  Story 
by  W.  R.  Burnett.  Screen  play  by  Jo  Swerling,  Robert  Riskin. 
Assistant  director,  Wilbur  McGaugh.  Cameraman,  Joseph 
August.  Sound  engineer,  Glenn  Rominger.  Film  editor,  Viola 
Lawrence.  Cast:  Edward  G.  Robinson,  Jean  Arthur,  Arthur 
Hohl,  Arthur  Byron,  Wallace  Ford,  Donald  Meek,  Paul  Harvey, 
Ed  Brophy,  Etienne  Girardot,  James  Donlan,  Robert  Emmet+ 
O'Connor,  J.  Farrell  MacDonald.   Released  February  2,  1935. 


April    20,  1935 


MOTION    PICTURE  HERALD 


41 


RUGGLES  OF  RED  GAP  Paramount 


FOLIES  BERGERE  United  Artists 


WEST  POINT  OF  THE  AIR  MGM 


(6)  West  Point  of  the  Air:  Produced  by  Monta  Bell.  Directed 
by  Richard  Rosson.  Original  story  by  John  Monk  Saunders. 
Screen  play  by  Frank  Wead  and  Arthur  J.  Beckhard.  Photo- 
graphed by  Clyde  De  Vinna.  Aerial  photography  by  Charles 
A.  Marshall  and  Elmer  Dyer.  Cast:  Wallace  Beery,  Robert 
Young,  Maureen  O'Sullivan,  Lewis  Stone,  Janries  Sleason, 
Rosalind  Russell,  Russell  Hardie,  Henry  Wadsworth,  Robert 
Livingston,  Robert  Taylor.   Released  March  22,  1935. 


THE  LITTLE  COLONEL  Fox 


SEQUOIA  MGM 


(6)  Sequoia:  Produced  by  John  W.  Considine,  Jr.  Directed 
by  Chester  M.  Franklin.  Screen  play  by  Ann  Cunningham, 
Sam  Armstrong  and  Carey  Wilson.  Based  on  the  novel, 
"Malibu,"  by  Vance  Hoyt.  Musical  score  by  Herbert  Stothart. 
Recording  director,  Douglas  Shearer.  Photographed  by 
Chester  A.  Lyons.  Film  editor,  Charles  Hochberg.  Cast: 
Jean  Parker,  Russell  Hardie,  Samuel  S.  Hinds,  Paul  Hurst, 
Ben  Hall,  Willie  Fung.   Released  February  I,  1935. 


MOTION    PICTURE  HERALD 


April    20,  1935 


NEWSREELS  ACl  TO 

STRENGTHEN  UNITS 


Sir  Malcolm  Campbell  Heads 
British  Movietone;  "Peace" 
Sought;  Butterfield  at  Pathe 

The  motion  picture  newsreel  both  here 
and  abroad,  was  the  subject  this  week  of 
considerable  news  prominence,  as  follows : 

1.  Prevailing  newsreel  competition  in 
England  became  more  acute  with  the 
strengthening  of  British  Movietone  under 
the  new  leadership  of  Sir  Malcolm  Camp- 
bell, and  the  sailing  to  London  of  A.  J. 
Richard,  Paramount  newsreel  chief  in  the 
United  States,  to  "tighten  up"  that  com- 
pany's British  newsreel  division. 

2.  A  newsreel  "peace  conference"  was 
proposed  in  London. 

3.  Allyn  Butterfield  resigned  as  an  edi- 
torial member  of  Hearst  Metrotone  to  join 
Pathe  News  in  an  executive  capacity. 

4.  Union  newsreel  cameramen  continued 
deadlocked  with  newsreel  managements  in 
negotiations  to  interpret  working  hour  pro- 
visions of  the  code. 

Sir  Malcolm  Campbell,  English  sportsman 
and  holder  of  the  world's  automobile  speed 
record,  this  week  accepted  the  editorship  of 
British  Movietone  News,  English  affiliate  of 
Fox  Movietone  News'  international  newsreel 
organization.  He  will  also  be  chief  news  com- 
mentator. 

Expansion  of  the  British  organization,  reflect- 
ing the  prevailing  acute  newsreel  competition  in 
England,  was  effected  at  the  same  time,  when 
the  management  in  London  departmentalized  the 
reel  with  special  commentators  for  all  subjects, 
which  is  identical  with  the  construction  of  the 
American  reel,  produced  in  New  York  by  Tru- 
man Talley.  Added  to  the  British  staff  in  the 
expansion  were  Tom  Webster,  London  Daily 
Mail  cartoonist ;  G.  Ward  Price,  war  corre- 
spondent and  political  commentator ;  Captain  R. 
C.  Lyle,  British  Broadcasting  Company  racing 
authority;  Guy  Nickall,  noted  oarsman  and 
sports  observer,  and  Beryl  de  Queron,  who  will 
narrate  on  women's  subjects. 

Gerald  Sanger,  who  has  been  editing  the 
British  newsreel  for  five  years,  becomes  pro- 
ducer. Sir  Malcolm's  new  post  is  analogous  to 
that  occupied  in  the  United  States  by  Laurence 
Stallings  as  editor  and  Lowell  Thomas  as  chief 
commentator,  while  Mr.  Sanger's  position  as 
producer  compares  with  that  of  Mr.  Talley. 
Mr.  Sanger  was  in  New  York  two  months  ago 
studying  Mr.  Talley's  setup. 

Appointment  of  Sir  Malcolm,  Mr.  Talley 
pointed  out,  is  in  line  with  the  policy  adopted 
one  year  ago  by  Fox  Movietone  News  of  de- 
partmentalizing the  subject,  which  resulted  at 
the  time  in  the  obtaining  of  Mr.  Stallings  and 
Mr.  Thomas  by  Movietone  here. 

Sir  Malcolm  will  be  released  temporarily  to 
attempt  new  speed  records  on  the  automobile 
track.  Mr.  Stallings  has  a  like  contract  with 
Movietone,  having  recently  been  released  to 
write  in  Hollywood.  The  first  release  in  Lon- 
don under  the  new  setup  will  be  on  April  25th. 

British  Movietone  News,  first  sound  newsreel 
outside  the  United  States,  was  established  in 
1929  by  Mr.  Talley,  on  behalf  of  the  Fox  in- 
terests, in  association  with  the  wealthy  Harms- 
worth-Northcliffe  newspaper  and  political  inter- 
ests in  England. 

Fox  Film's  interest  in  British  Movietone,  which 
it  controls,  is  held  through  Fox  Film,  Ltd., 


London,  a  Fox  Film  subsidiary.  The  minority 
control  and  actual  management  is  in  the  hands 
of  Hon.  Esmond  Harmsworth,  Member  of  Par- 
liament, who  is  a  son  of  Lord  Rothermere, 
owner  of  the  powerful  Northcliffe  Press  and 
London's  Daily  Mail. 

Paramount  News  Plans 

To  Strengthen  London  Unit 

That  Paramount  News  has  in  mind  a 
strengthening  of  its  newsreel  organization  in 
England  was  learned  over  the  weekend  when 
A.  J.  Richard',  editor,  sailed  from  New  York 
to  "tighten  up"  the  structure  abroad. 

"Peace"  Conference  Proposed 
As  Grand  National  Sequel 

Motion  picture  newsreel  managements  in 
London  last  week  admitted  the  necessity  of 
holding  a  "peace"  conference  to  eliminate  the 
notoriety  and  difficulties  which  have  been  at- 
tached to  the  acute  competition.  The  move 
came  after  a  run-in  at  the  Grand  National 
Steeplechase,  three  week^  ago  at  Aintree,  be- 
tween forces  of  Gaumont-British  News  and 
British  Movietone,  which  held  exclusive  filming 
rights  to  the  race,  and  the  British  newsreel 
affiliates  of  Pathe,  Paramount  and  Universal, 
which  "poached"  the  event.  It  is  customary  in 
England  to  award  newsreel  rights  to  the  highest 
bidder. 

"The  whole  trade  is  fed  up  with  the  newsreel 
dispute  and  'competition',"  said  an  editorial 
week  in  London's  Daily  Film  Renter.  He  re- 
ported that  Jeffrey  Bernerd,  Gaumont  British 
executive,  on  behalf  of  his  company  and  British 
Movietone,  had  proposed  a  conference  "so  that 
peace  can  be  proclaimed." 

At  a  meeting  of  newsreel  chiefs  at  London 
six  months  ago,  Gaumont-British  and  British 
Movietone  were  understood  to  have  declared 
their  willingness  to  join  with  the  other  three 
reels  in  a  pooling  of  rights,  if  a  schedule  of 
charges  proportioned  among  the  companies  were 
agreed  upon.  While  Paramount  is  said  to  have 
agreed,  Pathe  and  Universal  were  declared  to 
have  refused. 

Newsreel  competition  "is  a  very  good  thing." 
observed  the  Daily  Film  Renter,  "but  when  it 
reaches  the  point  that  free  (fist)  fights  take 
place  and  thuggery  enters — well,  somebody  is 
going  to  get  hurt." 

It  has  been  reported  variously  that  some  of 
the  "poaching"  newsreel  cameramen  at  the 
Grand  National  were  injured  in  a  melee  that 
followed  their  attempts  to  steal  race  pictures. 

The  trade  in  London,  newsreels  included, 
holds  the  opinion  that  the  payment  of  prices  out 
of  all  proportion  for  exclusive  rights  to  film 
public  events,  and  which  can,  and  always  are, 
pirated  by  the  others,  "can  lead  nowhere." 

Butterfield  Joins  Pathe 
In  Executive  Capacity 

Allyn  Butterfield  resigned  abruptly  this  week 
from  Hearst  Metrotone's  editorial  board  and 
from  the  post  of  director  of  sound  control  in 
recording,  to  join  Courtland  Smith  at  Pathe 
News,  where  he  will  serve  in  an  executive 
capacity.  His  immediate  job  will  be  the  han- 
dling of  the  new  Pathe  News  radio  program 
sponsored  by  the  Bromo-Seltzer  headache  pow- 
der interests. 

Mr.  Butterfield,  who  is  accredited  with  creat- 
ing the  Giant  TravelType  Crane  for  filming, 
started  in  production  in  1915,  as  a  Vitagraph 
actor,  and  for  the  next  eight  years  was  identi- 
fied with  one  or  another  of  the  large  companies, 
editing  features  and  serials.  Turning  to  news- 
reels  in  1923,  Mr.  Butterfield  joined  Inter- 
national Newsreel's  editing  staff,  and  when  Carl 
Laemmle  started  Universal  Newsreel  again  in 


1929,  he  became  associate  editor,  subsequently 
taking  complete  charge,  resigning  last  year  to 
join  Hearst  Metrotone  in  New  York. 

While  with  Universal  Newsreel,  he  conceived 
and  produced  several  short  subject  series,  in- 
cluding "Stranger  Than  Fiction,"  "Going  Places 
with  Lowell  Thomas,"  and  "World's  Greatest 
Newsreel  Thrills."  In  1933  he  prepared!  ma- 
terial for  Universal's  feature,  "The  Fighting 
President." 

Unions  and  Newsreels  Deadlocked 
On  Working  Conditions  Issue 

The  meeting  between  representatives  of  the 
newsreel  cameramen's  union  and  newsreel  com- 
pany heads  over  working  conditions  for  the 
cameramen  and  the  failure  of  the  Code  to 
provide  an  increase  in  employment,  continued 
during  the  week,  apparently  to  little  avail. 
Deputy  Administrator  William  P.  Farnsworth 
met  with  the  heads  of  the  companies  late  last 
week  to  effect  a  settlement  and  report  had  it 
that  he  told  them  that  unless  they  came  to  a 
conclusion  immediately,  the  NRA  will  settle 
the  matter. 

Under  provisions  of  the  film  code,  newsreel 
cameramen  are  not  permitted  to  work  more 
than  320  hours  in  eight  weeks,  or  40  hours 
weekly,  but  the  code  stipulates  that  these  hours 
are  to  be  computed  from  the  time  such  em- 
ployees leave  their  base  of  operation  with  their 
equipment  until  the  time  of  their  return,  or  are 
required  to  remain  in  a  designated  place. 

The  clause  states  further  that  "contacting  and 
planning  shall  not  be  computed  as  working 
hours,"  which,  according  to  O.  V.  Johnson, 
business  manager  of  Local  644,  New  York, 
of  the  International  Photographers  of  the  Mo- 
tion Picture  Industry  and  the  lATSE,  means 
in  effect  that  a  cameraman  may  sit  in  the  news- 
reel  office  for  four  hours  awaiting  an  assign- 
ment which  lasts  only  two  hours  and  then  be 
credited  with  but  two  hours'  work. 

The  committee  which  has  been  meeting  on 
the  situation  consists,  in  addition  to  Mr.  John- 
son, of  William  H.  Strafford,  business  man- 
ager of  Local  666,  Chicago;  Lou  Krouse  of  the 
lATSE ;  A.  J.  Richard,  Paramount  News ; 
Jack  Connolly,  Pathe  News,  and  William  P. 
Montague,  Paramount.  Last  week  Charles  E. 
Ford  of  Universal  and  M.  D.  Clofine  of  Hearst 
Metrotone,  also  participated. 


Berlin  Opens  Film 
Congress  April 25 

Arrangements  have  been  completed  for 
the  International  Film  Congress,  which  will 
be  held  in  Berlin  from  April  25  to  May  1. 
It  is  the  first  such  congress  since  the  meet- 
ing in  Paris  in  1926. 

Believing  any  international  congress  futile, 
the  Motion  Picture  Producers  and  Distribu- 
tors of  America  will  not  participate.  As  far 
as  is  known,  no  American  companies  have 
accepted  invitations. 

Numerous  committees,  which  will  touch 
upon  virtually  all  phases  of  motion  picture 
activity,  will  deliberate  at  intervals  through- 
out the  session.  These  committees  will  be 
appointed  on  the  second  day  of  the  congress, 
their  final  meetings  to  be  held  on  April  30. 

On  April  29  will  be  held  the  International 
Exhibitors'  Congress  simultaneously  with 
the  annual  general  meeting  of  the  German 
Exhibitors'  Association.  Sessions  end  May  1. 


George  Ridgwell  Dies 

George  Ridgwell,  associated  with  Vita- 
graph  as  a  script  writer  years  ago,  and  the 
director  of  a  series  of  pictures  for  Stoll  in 
London  12  years  ago,  died  in  London  last 
week 


44  MOTION    PICTURE    HERALD  April    20.    19  3  5 

THE  HOLLYWOOD  SCENE 


IT'S  HOME,  SWEET  HOME  TO  STUDIO  WORKERS 

bv  VICTOR  M  SHAPIRO  Hollywood  looks  to  producing  abroad 

^  '  DE  MILLE  makes  SPECTACLE  OF  A  SPECTACLE 

Hollywood  Correspondent  EIGHT  FILMS  FINISHED;  EIGHT  GO  INTO  WORK 


HOLLYWOOD'S  studio  workers,  rank 
and  file,  have  stopped  making  mental 
reservations,  for  Flordia,  Carolina, 
Jersey,  Delaware,  Arizona  or  New  Mexico. 

They  have  even  stopped  making  train  res- 
ervations. Time  tables  have  been  put  away, 
and  their  lots  at  "Escrow  Gables"  and 
"Mortgage  Manor"  have  been  hoisted  in 
price. 

Hollywood  again  is  proceeding  on  the 
even  tenor  of  its  way.  Even  the  basses  and 
coloraturas  are  proceeding  that  way. 

According  to  statistics,  studio  workers 
own  about  $320,000,000  worth  of  real 
estate  in  California,  exclusive  of  personal 
property,  which  ownership  sonnehow  roots 
the  colony  in  the  California  clay. 

On  the  basis  of  accurate  computation,  an 
expert  on  facts  and  figures  stated,  there 
could  not  be  enough  corner  lots  and  choice 
plots  to  go  around,  wherever  and  whenever 
the  colony  moved.  If  also  the  old  "land 
rush"  method  were  decided  upon  to  allocate 
lots,  the  engineers  of  the  moving  project, 
less  fleet  of  foot  than  the  Hollywood  cow- 
boys and  cowgirls,  might  be  crushed  in 
the  rush. 

So  as  against  Florida,  Carolina,  Jersey  or 
Nome,  Hollywood,  dear  Hollywood,  is  still 
Home,  Sweet  Home. 

V 

Another  De  Mille  Gesture 

Cecil  B.  De  Mille,  dean  producer  of  screen 
spectacle,  pulled  another  one  out  of  his  bot- 
tomless bag  this  week  at  the  Paramount 
Studios,  for  the  benefit  of  the  press  crowd 
as  well  as  for  the  financial  benefit  of  one 
thousand  Hollywood  extras  and  studio 
workers. 

Always  the  master  showman,  Mr.  De  Mille 
managed  to  make  the  filming  of  a  gigantic 
battle  scene  in  his  current  epic,  "The  Cru- 
sades," reflect  more  glamour  than  the  biggest 
Hollywood  premiere. 

From  a  high  perch  surveying  his  large 
set  made  up  of  castle  and  moat,  a  35-ton 
siege  tower  and  catapult,  medieval  imple- 
ments of  war,  De  Mille  quietly  but  effi- 
ciently gave  his  instructions  over  a  public 
address  system.  Ten  or  twelve  assistants 
darted  through  the  crowd  of  warriors  be- 
low, carrying  out  instructions,  and  they 
seemed  more  excited  than  De  Mille. 

Completing  an  impressive  scene,  in  the  back- 
ground there  played  a  wax  recording  of  an 
army  of  voices  singing  a  war  march,  augment- 
ing the  action. 

Hollywood  in  London 

Hollywood  is  wondering  if  the  larger  studios 
will  take  more  seriously  the  matter  of  produc- 
ing abroad.  Until  this  year,  American  pictures 
made  in  foreign  lands,  particularly  those  of 
England,  were  considered  largely  as  something 
to  satisfy  quota  requirements  there. 


Overnight  came  developments  which 
tend  to  show  that  domestic  release  of 
films  produced  in  England  by  U.  S.  com- 
panies may  be  close  at  hand. 

The  first  straw  to  show  the  trend  was  the 
statement  by  Irving  Asher  of  Warner  Brothers, 
before  leaving  for  London,  that  the  company 
would  build  a  new  sound  stage  at  its  Tedding- 
ton  plant,  and  make  big  features,  one  of  the 
first  probably  to  star  Al  Jolson  and  Ruby 
Keeler.  Close  on  the  Asher  announcement  came 
a  statement  from  Louis  B.  Mayer  that  MGM 
was  contemplating  increased  production  in 
Britain,  and  that  details  are  now  being  worked 
out  by  Arthur  Loew,  chief  executive  of  the  for- 
eign department.  Immediately  after  this,  Carl 
Laemmle  said  that  N.  L.  Manheim,  head  of  his 
foreign  organization,  had  been  summoned  to 
the  studio  for  the  first  time  in  three  years,  in- 
dicating that  Universal,  too,  probably  has  some- 
thing up  its  sleeve. 

V 

Before  leaving  Hollywood,  Mr.  Balcon  ap- 
pointed Larry  Darmour  to  act  as  talent  scout 
and  production  contact  with  writers,  directors 
and  technical  men,  on  behalf  of  Gaumont  Brit- 
ish. The  arrangement  in  no  way  will  inter- 
fere with  Mr.  Darmour's  own  production  plans. 

British  International  announced  appointment 
of  William  Mooring  to  act  as  production  con- 
tact for  BIP  in  Hollywood. 

V 

News  Flashes 

The  Academy  of  Motion  Picture  Arts  and 
Sciences  dismissed  the  Nils  Asther-Universal 
Studio  contract  argument,  the  conciliation  com- 
mittee bowing  out  in  favor  of  a  one-picture 
deal  settlement  between  the  combatants.  .  .  . 
Paramount  Properties,  Inc.,  owners  of  Para- 
mount theatre  and  studio  properties,  authorized 
submission  of  a  reorganization  plan  to  bond- 
holders and  creditors  at  a  hearing  before  Fed- 
eral Judge  Charles  G.  Briggle.  .  .  .  Nicholas 
Schenck  and  Myron  Selznik  joined  the  host  of 
Hollywood  executives  trekking  east  last  week. 
Both  went  out  on  the  same  train,  but  on  dif- 
ferent business  After  days  spent  in 

selecting  a  dress  list  from  among  Hollywood 
extras.  Central  Casting  has  thrown  it  out  and 
hereafter  extra  talent  will  be  judged  on  merit 
alone.  The  decision  followed  a  show  of  jealousy 
and  ill  feeling  among  the  registered  folk. 

V 

Eight  Productions  Start 

Eight  new  productions  succeeded  the  eight 
that  were  completed  during  the  week.  Fox, 
with  two,  was  the  only  company  starting  more 
than  one  picture ;  Universal  with  three,  was 
the  only  studio  to  complete  more  than  one. 

At  the  Western  Avenue  plant,  "Ginger,"  a 
romantic  drama  which  Louis  Seller  is  direct- 
ing, was  put  in  work.  Walter  King  and  Kath- 
erine  Alexander  are  starred ;  the  support  fea- 
tures O.  P.  Heggie,  Jackie  Searl,  Jane  Withers. 
At  the  Westwood  studio,  "Charlie  Chan  in 
Egypt,"  in  the  Oriental  detective  series,  got  un- 
der way.  Warner  Gland  is  again  in  the  title 
role.  Pat  Patterson,  Charles  Locher,  Jameson 
Thomas,  Rita  Cansino,  Stepin  Fetchit  and  Ar- 
thur Stone  are  among  those  who  will  be  seen 
in  support.   Louis  King  is  directing. 

Columbia    started    "Unknown    Woman,"  a 


drama  directed  by  Al  Rogel.  The  cast  includes 
Richard  Cromwell,  Marion  Marsh,  George  Mc- 
Kay, Nana  Bryant,  Henry  Armetta,  Ben  Tag- 
gert  and  Nellie  V.  Walker. 

Paramount  started  shooting  "Federal  Dick." 
The  personnel  includes  Fred  MacMurray,  Lynne 
Overman.  David  Holt,  Arthur  Aylesworth, 
Frank  Sherman,  under  Ralph  Murphy's  direc- 
tion. 

"Top  Hat,"  a  colorful  musical,  started  at 
Radio.  Fred  Astaire  and  Ginger  Rogers  again 
are  co-starred.  Support  includes  Edward  Ever- 
ett Horton.  Helene  Broderick,  Erik  Rhodes, 
Eric  Blore.    Mark  Sandrich  is  director. 

While  two  months  of  atmospheric  and  back- 
ground shooting  has  been  done  on  "Mutiny  on 
the  Bounty"  in  the  South  Seas,  active  stage 
shooting  began  at  MGM.  Charles  Laughton, 
Clark  Gable,  Robert  Montgomery  head  the  large 
cast,  among  them  William  Stelling,  Dudley 
Digges,  Granville  Bates.  Frank  Lloyd  is  di- 
recting. 

Work  began  on  "Night  Cargo"  at  Peerless, 
with  Lloyd  Hughes,  Jacqueline  Wells,  Walter 
Miller,  Carlotta  Monte,  Lloyd  Whitlock,  George 
Rogers. 

Mascot  started  "Headline  Woman,"  a  topical 
modern  drama.  Roger  Pryor  and  Heather  An- 
gel are  the  lead  players,  directed  by  William 
Nigh.  Support  lists  Jack  LaRue,  Franklyn 
Pangborn,  Wheeler  Oakman. 

Universal  finished  active  shooting  on  "The 
Raven."  Suggested  by  the  famous  Edgar  Allen 
Poe  poem,  the  cast  will  present  Karloff,  Bela 
Lugosi,  Irene  Ware,  Lester  Matthews,  Colin 
Clive,  Elsa  Lancaster,  O.  P.  Heggie,  Inez 
Courtney,  Spencer  Charters,  Maidel  Turner, 
Arthur  Hoyt,  Ian  Wolfe.  Lewis  Freidlander 
directed.  Also  completed  was  "Border  Bri- 
gands," a  Buck  Jones  western,  which  features 
Lona  Andre  and  Fred  Kohler.  Nick  Grinde 
directed.  The  third  finished  picture,  "China- 
town Squad,"  formerly  "Frisco  Lady,"  features 
Lyle  Talbot  and  Valerie  Hobson,  with  Hugh 
McConnell,  Henry  Armetta,  Clay  Clement, 
Ruthelma  Stevens,  Arthur  Hoyt,  Andy  Devine, 
Bradley  Page  and  Fred  Warren  in  support. 
Murray  Roth  directed. 

Another  "G  Man"  Film 

Reliance  completed  "Let  'Em  Have  It,"  a 
Department  of  Justice  picture.  The  Edward 
Small  production  was  directed  by  Sam  Wood. 
The  lengthy  cast  includes  Richard  Arlen,  Vir- 
ginia Bruce,  Alice  Brady,  Bruce  Cabot. 

Fox  transferred  "Man  Proposes"  to  the  cut- 
ting rooms.  James  Dunn,  Mae  Clarke,  Neil 
Hamilton,  Sidney  Toler,  Warren  Hymer,  Stan- 
ley Fields,  Raymond  Hatton,  Jack  LaRue, 
Madge  Bellamy,  Frank  Melton,  Arthur 
Treacher,  Robert  Gleckler,  Dorothy  Christy 
and  DeWitt  Jennings  will  be  seen.  William 
Seiter  directed. 

At  Radio,  "Hooray  for  Love,"  comedy  ro- 
mance with  music  and  dancing,  was  finished. 
It  presents  Ann  Sothern,  Gene  Raymond,  Pert 
Kelton,  Maria  Gambarelli,  Thurston  Hall,  Bill 
Robinson,  Jeni  LeGon  and  Lionel  Stander.  Wal- 
ter Lang  directed. 

Representing  the  independents,  Criterion  Pic- 
tures finished  "Rustlers'  Paradise."  Harry 
Carey  is  starred.  Theodore  Lorsch,  Roger  Wil- 
liams, Ed  Cobb,  Charles  Wittaker,  Gertrude 
Messinger,  Carmen  Bailey  and  Chuck  Morri- 
son are  in  the  cast.  Harry  Eraser  directed.  Ex- 
celsior completed  "Hell  Breaks  Loose,"  in 
which  Guinn  Williams,  Sally  Blaine,  Robert 
Homans,  James  Bush  and  Raymond  Walker 
will  be  seen. 


HE  GETS 

FOUR 
STARS! 


rhe  addition  of  won- 
derful natural  color 
:o  his  de  luxe  travel 
pictures  has  met  with 
enthusiastic  re- 
sponse by  exhibitors 
md  audiences,  Fitz- 
patrick  Traveltalks 
are  featured  in  thea- 
tre advertising  and 
get  critical  acclaim 
by  all  film  reviewers. 
Be  sure  that  your 
theatre  is  in«tep  with 
the  latest  and  great- 
est in  travel  films. 


THEY  GET  FOUR' STARS! 

HOLLAND  in  Tulip  Time 
SWITZERLAMD— The  Beau- 
tiftiL 

ZION  —  Canyon  of  Colour 
IRELAND— The  Emerald  Isle 
ZEELAND— The  Hidden  Par- 
adise 

RAINBOW  CANYON 
COLORFUL  GUATEMALA 
— and  others  to  come 


I 


FITZPATRICK 
TRAVELTALKS 


IN  TECHNICOLOR 

The  Pride  of  M-Q-M 


MOTION    PICTURE  HERALD 


April    20,  1935 


THEATRE  RECEIPTS 


The  total  of  theatre  receipts  for  the  calendar  week  ended  April  13,  1935,  from 
I  I  I  theatres  in  I  8  major  cities  of  the  country,  reached  $956,506,  a  decrease  of  $47,68  I 
from  the  total  for  the  preceding  calendar  week,  ended  April  6,  when  I  10  theatres  in  18 
major  cities  aggregated  $  1 ,004, 1 87. 

(Copyright,  1935:   Reproduction  of  material  from  this  department  without  credit  to  Motion  Picture  Herald  expressly  forbidden) 


Theatres 

Boston 

Boston    3,246  2Sc-50c 

Fenway    1,382  30c-S0c 

Keith's  Memorial  2,907  2Sc-6Sc 

Loew'»  State  ...  3,537  25c-SSc 

Metropolitan  ....  4,332  3Sc-6Sc 

Paramount    1,793  25c-S0c 


Buffalo 

Buffalo                   3,500  30c-55c 

Century                  3.000  2Sc 

Great  Lakes  ....  3,000  2Sc-40c 

Hippodrome             2,100  25c-40c 

Lafayette                3,300  2Sc 

Chicago 

Apollo                    1,400  2Sc-S0c 

Chicago                  4,000  25c-68c 

Garrick                     900  25c-40c 

Oriental                  3,940  2Sc-40c 

Palace                   2,509  25c-S0c 

Roosevelt               1,591  25c- 50c 

State-Lake             2,776  20c-35c 

United  Artists...  1,700  30c-60c 

Cleveland 

Allen                      3,300  25c-35c 


Current  Week 


Previous  Week 


Picture 


Gross 


Picture 


Gross 


"Roberta"   (Radio)    15,000      "Princess    O'Hara"    (Univ.)   9,000 


"McFadden's  Flats"  (Para.)  and..  3,500 
"The  Florentine  Dagger"  (F.N.) 

"The  Scarlet  Pimpernel"  (U.A.)..  13,000 

"Naughty  Marietta"  (MGM)   13,000 

"George  White's  1935  Scandals"..  22,000 
(Fox) 

"McFadden's  Flats"  (Para.)  and..  6,000 
"The  Florentine  Dagger"  (F.  N.) 


"Gold  Diggers  of  1935"  (F.  N.)  and  5,000 
"Behind  the  Evidence"  (Col.) 


"Roberta"   (Radio)    16,000 

(3rd  week) 
"Vanessa:  Her  Love  Story"   10,000 

(MGM)  and  "Casino  Murder  Case" 

(MGM) 

"Private    Worlds"    (Para.)   41,000 

"Gold  Diggers  of  1935"  (F.N.)  and  8,000 
"Behind  the  Evidence"  (Col.) 


"Private  Worlds"  (Para.)    15,000      "Gold  Diggers  of  1935"  (F.N.).. 


"The  Right  to  Live"  (W.B.)  and  4,600 
"Father  Brown,  Detective"  (Para.) 


'Laddie"  Radio)  and   6,500 

"$10  Raise"  (Fox) 


'Naughty  Marietta"  (MGM). 


10,200 


"It  Happened  in  New  York"   5,300 

(Univ.)  and  "Little  Friend" 
(GB  Pictures) 


"Evergreen"  (GB  Pictures)    4,000 

(5  days) 

"Mississippi"    (Para.)    30,000 

"Life  Begins  at  40"  (Fox)    3,000 

"Carnival"  (Col.)    17,000 

"Roberta"   (Radio)    24,000 

(3rd  week) 

"Traveling  Saleslady"  (F.  N.)....  10,000 


"The  County  Chairman"  (Fox) . 


'Vanessa:   Her  Love  Story" 
(MGM) 


12,000 


'Great  Hotel  Murder"  (Fox). 
(6  days) 


'Love  in  Bloom"  (Para.)  and  

'Rocky  Mountain  Mystery"  (Para.) 


14,800 
4,900 


"Roberta"   (Radio)    9,200 

(2nd  week) 

"The  Wedding  Night"  (U.  A.)....  8,003 


"The  Best  Man  Wins"  (Col.)  and 
"Among  the  Missing"  (Col.) 


6,700 


"Gold  Diggers  of  1935"  (F.  N.)... 

"West  Point  of  the  Air"  (MGM). 

"Let's  Live  Tonight"  (Col.)  

"The  Winning  Ticket"  (MGM)... 

"Roberta"  (Radio)  

(2nd  week) 
"The  Whole  Town's  Talking"... 

(Col.) 

"Death  Flies  East"  (Col.)  


10,000      "Folies  Bergere"  (U.  A.). 
(10  days) 


6,000 
30,000 

3,000 
17,000 
27,000 

9,000 


12,000 


13,000 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1194.) 
(Dates  are  1934  unices  otherwiaa  specified.) 


High  12-29  "West  of  Pecos"  

Low  2-2-35  "One  Eliciting  Adventure".. 
High  1-6  "Lady  Killer"  ) 

and  "Girl  Without  a  Room''  J 
Low  3-9-35  "One  More  Spring"  and  ) 
"Lottery  Lover"  j 

High  3-23-35  "Roberta"  

Low  1-19-35  "Evergreen"   

High  4-7  "Riptide"   

Low  3-9-35  "Whole  Town's  Talking"  ) 
and  "Society  Doctor"  ( 

High  4-6-35  "Private  Worlds"  

Low  1-19-35  "The  County  Chairman".... 
High  1-6  "Lady  Killer"  ) 

and  ''Girl  Without  a  Room"  J 
Low  3-23-35  "Love  in  Bloom"  and  I 
"Car  99"  ( 


High  1-6  "Design  for  Living"  

Low  12-29  "Music  in  the  Air"  

High  4-21  "The  Lost  Patrol"  and  ) 

"Three  on  a  Honeymoon"  f 
Low  12-29  "I  Am  a  Thief"  and  I 

"Side  Streets"  f 

High  9-29  "Belle  of  the  Nineties"  

Low  12-22  "Gentlemen  Are  Bom"  and  ) 

"Marie  Galante"  J 
High  5-19  "The  House  of  Rothschild".. 
Low  7-28  "Here  Comes  the  Navy  


High  3-10  "It  Happened  One  Night"  ) 

and  "Before  Midnight"  ( 

Low  11-17  "Jane  Eyre"  and  \ 

"Young  and  Beautiful"  f 


23,000 
8.500 

12,000 

2,500 
30,000 

7,000 
22.000 

9,000 
41,000 
21.000 

12,000 

4,000 


26,000 
5.000 

8.100 

4,000 
18,800 

3,800 
18,000 
4,800 


16,700 
4,200 


High  9-8  "The  Cat's  Paw"   16,000 

Low  11-24  "The  Captain  Hates  the  Sea"  5,000 

High  8-11  "She  Loves  Me  Not"   66.000 

Low  5-26  "Thirty  Day  Princess"   19,000 

High  2-23-35  "Baboona"   8,500 

Low  4-13-35  "Life  Begins  at  40"   3,000 

High  1-5-35  "Big  Hearted  Herbert"....  25,000 

Low  6-16  "Registered  Nurse   12,000 

High  3-30-35  "Roberta"   30,000 

Low  12-1  "Kentucky  Kernels"   8,000 

High  1-5-35  "Forsaking  All  Others"....  27,000 

Low  8-18  "Paris  Interlude"   6,000 

High  9-8  "The  Most  Precious  Thing  in 

Life"    19,000 

Low   5-2-35   "Helldorado"    11,000 

High  5-5  "House  of  Rothschild"   30.000 

Low  4-13-35  "Vanessa:  Her  Love  Story"  10,000 


3,000      "Roberta"  (Radio) 
(2nd  week) 


5,100      High  10-27  "Six-Day  Bike  Rider"   7,000 

Low  12-15  "Silver  Streak"    1,400 


Circle    1,875  15c-30c 

Hippodrome   3,800  30c-42c 

RKO  Palace  ....  3,100  30c-60c 

State    3.400  30c-42c 

Stillman    1,900  25c-35c 


"It  Happened  One  Night"  (Col.). 

(2nd  week -revival) 
"George  White's  1935  Scandals". 

(Fox) 

"Gold  Diggers  of  1935"  (F.  N.)... 
"The  Wedding  Night"  (U.  A.)... 
"Casino  Murder  Case"  (MGM)... 


4,000 
6,500 
16,000 
11,500 
3.400 


"It  Happened  One  Night"  (Col.)..  6,100 

(1st  week-revival) 

"Life  Begins  at  40"  (Fox)   7,100 

(2nd  week) 

"Transient    Lady"    Univ.)   39,000 


"Mississippi"  (Para.) 


8,900 


"Rumba"   (Para.)    4,000 


High  3-16-35  "Roberta"   23,000 

Low  3-17  "Journal  of  a  Crime"   2,900 

High  4-6-35  "Transient  Lady",   39,000 

Low  5-19  "Where  Sinners  Meet"   4.000 

High  1-12-35  "Forsaking  All  Others"..  28,000 

Low  12-29  "Private  Life  of  Don  Juan"..  3,500 

High  9-15  "Chained"   10.000 

Low  1-12-35  "Our  Daily  Bread"   2,000 


Denver 

Aladdin    1.500  25c-S0c 

Broadway    1,500  2Sc-40c 


"Gold  Diggers  of  1935"  F.  N.)....  5,000 

"Mills  of  the  Gods"  (Col.)  and....  1,500 
"Men  of  the  Night"  (Col.) 


"The  Great  Hotel  Murder"  (Fox)  2,000 
"Life  Begins  at  40"  (Fox)   3,000 


High  5-5  "House  of  Rothschild"   9.000 

Low  8-11  "I  Give  My  Love''   1.300 


Denham                  1,500  2Sc-50c 

Denver                   2,500  25c -50c 

Orpheum                 2,600  25c-40c 

Paramount              2.000  25c-50c 


"Mississippi"   (Para.)    7,500       "Car  99"   (Para.)    5,500      High  9-29  "Belle  of  the  Nineties". 


'West  Point  of  the  Air"  (MGM)  5,500 

"The  Little  Minister"   (Radio)....  4,500 

"Vanessa:   Her  Love  Story"   4,000 

(MGM) 


"The  Wedding  Night"  (U.  A.)....  6,000 

"Roberta"  (Radio)    6,000 

(2nd  week) 

"The    Casino   Murder   Case"   4,000 

(MGM) 


16,500 

Low  4-7  "She  Made  Her  Bed"   800 

High  1-13  "Roman  Scandals"    17.500 

Low  9-29  "British  Agent"   4.000 

High  2-17  "Hi  Nellie"    19,500 

Low  12-29  "Hat,  Coat  and  Glove"   1,000 

High  1-13  "Dinner  at  Eight"   5.5O0 

Low  6-9  "Uncertain  Lady"   400 


Hollywood 

Chinese    2.500  30c-55c 

Pantages    3,000  2Sc-40c 

W.  B.  Hollywood  3,000  25c-6Sc 


"Life  Begins  at  40"  (Fox)   8,500 

(6  days) 

"Mister  Dynamite"  (Univ.)  and..  2,500 
"Great  God  Gold"  (Monogram) 

"Laddie"  (Radio)    5,700 

(6  days) 


(U.  A.)   8,875 


"Folies  Bergere" 
(6  days) 


'Broken  Melody"  (Olympic)  and 
"Mystery  Man"  (Monogram) 


"Traveling  Saleslady' 
(6  days) 


(F.  N.). 


2,90) 


8,600 


High  4-14  "House  of  Rothschild"   25.171 

Low  12-29  "Music  in  the  Air"   4.292 

High  12-8  "Imitation  of  Life"   12.200 

Low  3-3  "Fugitive  Lovers"  and  } 

"The  Poor  Rich"  ]  1,500 

High  9-8  "Dames"    25.000 

Low  4-13-35  "Laddie"    5,700 


someone 


drop  a  pin 


9 


^9 


An  exhibitor  said  to  us: 

^^M}'  audience  was  spellbound. 
Their  attention  was  galvanized 
hy  the  drama  of  that  2 -reel  sub- 
jecL  You  could  hear  a  pin  drop 
during  the  screening  of  ^Buried 
Loot/  Vm  looking  forward  to 
the  entire  ^Crime  Doesn^t  Pay 
Series^  next  season.^ ^ 


WE^RE  GETTING  COMPLIMENTS  FOR  "BURIED  LOOT"! 

A  new  dramatic  idea  in  short  subjects  that  has  captivated  audiences.  Play 
''Buried  Loot"  now  and  we'll  guarantee  your  patrons  will  ask  for  more! 
Leave  the  rest  to  M-G-M  !  Next  season's  tallest  shorts! 


48 


MOTION    PICTURE  HERALD 


April    20,  1935 


fTHCATKE  CCCEIPTS—CCNT'Dl 


Theatres 


Current  Week 


Previous  Week 


Indianapolis 

Apollo    1.100  2Sc-«c 

Orde    2,800  2Sc-40c 

Indiana    3.133  3Sc-«)c 

Lyric    2.000  25c-«)c 

Palace    3.000  2Sc-«>c 

Kansas  City 

Mainstreet    3,100  25c -40c 

Midland   4.000  15c-40c 

Newman    1.800  25c-40c 

Tower    2.200  25c 

Uptown    2.000  2SC-40C 

Los  Angeles 

Filmarte    800  40c -50c 

Four  Star    900  40c-55c 

Loew'i  State         2.416  30c-5Sc 

Paramount    3.596  30c-5Sc 

RKO    2,700  25c-65c 

United  Artisti...  2.100  25c-55c 

W.  B.  Downtown  3.400  25c-40c 

Minneapolis 

Alvin   1,486  15c-30c 

Century    1,650  2Sc-«)c 

Lyric    1.238  20c-25c 

Palace    900  lSc-25c 

RKO  Orpheum...  2,900  25c-40c 

State    2.300  25c-«lc 

Time    300  20c-25c 

World    400  25c -55e 

Montreal 

Capitol    2.547  25c-60c 

His  Majesty's   ..  1,700  J5c-50c 

Imperial    1.914  25c-4()c 

Loew's    3.115  .Wc-fiOc 

Palace    2,600  30c-65c 

Princess   2.272  30c-65c 

New  York 

A§tor    1,012  25c-75c 

Capitol    4,700  35c-$1.6S 

Mayfair    2,300  35c-6Sc 

Palace   2,500  25c-75c 

Paramount    3,700  35c-99c 

Rialto    2,200  2Sc-65c 

Rivoli    2,200  40c-99c 

«KO  Music  Hall  5,94S  35c-$1.65 

Roccy    6,200  2Sc-55c 

Strand    3,000  25c-55c 


Picture 


"Life   Begins  at  40"  (Fox)  

'The  Whole   Town's  Talking" 
(Col.) 


Gross  Picture 


7,500      "Gold  Diggers  o{  1935"  (F.  N.). 

(2nd  week) 
3.500      "Roberta"  (Radio)   


'Mississippi"  (Para.)    9.000      "McFadden's  Flats"  (Para.). 


"George  White's  1935  Scandals".. 
(Fox) 

"Naughty    Marietta"  (MGM)  


8.500 
6.750 

•Gold  Diggers  of  1935"  (F.  N.)....  9,000 
(8%  days) 

'Naughty    Marietta"    (MGM)   14.500 

'Rocky  Mountain  Mystery"    3.500 

(Para.) 

"Let's   Live   Tonight"  (Col.).... 


'Life  Begins  at  40"  (Fox). 


6.600 
8,400 


•Chapayev"   (Amkino)    1,600 

(2nd  week) 

'Scarlet  rimpernel"  (U.  A.)   5.300 

(6  days-3rd  week)  (30c-55c) 

'Life  Begins  at  40"   (Fox)   12.100 

(6  d.iys) 

"Mississippi"    (Para.)    15.500 

(2n(l  week) 

"Laddie"  (Radio)    6.100 

(6  <lavs) 

"Times  Square  Lady"  (MGM)  and  3.oC0 
"McFadden's  Flats  (Para.)   (6  days) 

"The   Florentine   Dagger"    (W.B.)  5,600 

and  "Dog  of  Flanders"  (Radio)  (6  days) 


"It  Happened  In  New  York"   4A00 

(Univ.) 

'After  Office   Hours"    (MGM)....  4.500 


'Car  99"  (Para.)    1.500 

■Take   the   Stand"   (Liberty)   2.000 

'Gold  Diggers  of  1935"  (F.  N.)....  6,501 

'Folies  Bergere"  (U.  A.)   6.000 

1.000 
600 


■Redhead"  (Monogram)   

(4  days) 

'Crimson    Romance"  (Mascot).... 
(3  davs) 

'The   Scarlet  Pimpernel"   (U.  A.) 
(ivd  week) 


;.ooo 


"Ruggles  of  Red  Gap"  (Para.)  and  7,000 

(2nd  week) 
'Car  99"  (Para.) 

•The  Unfinished  Symphony"   6,000 

(GB  Pictures) 

•Baboona"    (Fox)    and   4.00!) 

'Great  Hotel  Murder"  (Fox)  (20c-34c) 

"The  Good  Fairy"  (Univ.)  and....  10.000 
"A  Notorious  Gentleman"  (Univ.) 

"The   Little  Colonel"    (Fox)   11.000 

"The  Wedding  Night"  (U.  A.)  and  8,000 
"AH  the  King's  Horses"  (Para.) 


"It  Happened  One  Night"  (Col.)..  4,800 

(3rd  week- revival) 

"West  Point  of  the  Air"  (MGM)  24,000 

'The  Man  Who  Knew  Too  Much"  6,400 

(GB  Pictures)   (3rd  week) 

'Roberta"   (Radio)    9,000 

(2nd  week) 

"Private  M^orlds"  (Para.)    19.000 

(2nd  week) 

"Ruggles  of  Red  Gap"  (Para.)....  12,000 

(2nd  week) 

"Brewster's  Millions"   (U.  A.)   13,400 

"Life  Begins  at  40"  (Fox)   58,000 

"It  Happened  in  New  York"   19,500 

(Univ.) 

"The  Case  of  the  Curious  Bride"  10,656 


"Traveling  Saleslady"  (F.  N.).. 
'Casino  Murder  Case"  (MGM). 


"Living  on  Velvet"  (F.  N.)  

(6^  days) 
'Casino  Murder   Case"  (MGM) 

'Mississippi"  (Para.)   

(2nd  week) 
'It  Happened  In  New  York"  

(Univ.) 

'George  White's  1935  Scandals". 

(Fox)    (9  days) 


"Chapayev"  (Amkino)   

(1st  week) 
"The  Scarlet  Pimpernel"  (U.A.). 

(6  days-2nd  week) 
"Folies  Bergere"  (U.  A.)  

(6  days) 

"Mississippi"  Para.)   

(1st  week) 
"Traveling  Saleslady"  (F.  N.)... 

(6  days) 

"Car  99"  (Para.)  and  

"$10  Raise"  (Fox) 
(6  days) 

"Roberta"  (Radio)   

(6  days) 


Gross 


2,000 
2,500 


10,000 


11,000 


2,750 


4.500 
7,900 
6,600 
7,800 
5,900 


2,750 


5,500 


7,300 
23,000 

'  7,600 
3,200 


9,600 


"Sequoia"   (MGM)    4.2O0 


"Under    Pressure"  (Fox)  

"Mutiny  Ahead"  (Majestic)  

"The  Woman  in  Red"  (F.  N.). 

"Mississippi"  (Para.)   

"Mills  of  the  Gods"  (Col.)  


"The  Scarlet  Pimpernel"  (U.A.). 
(2nd  week) 


1,500 
2,000 
6.500 
6,500 
1,500 


3,000 


"Ruggles  of  Red  Gap"  (Para.)  and  11,000 

(1st  week) 
"Rumba"  (Para.) 


'Stormy  Waters"    3,000 

"Devil  Dogs  of  the  Air"  (W.  B.)  8,500 
and  "Babbitt"  (F.  N.) 

"Gold  Diggers  of  1935"  (F.  N.)..  10,000 

(2Sc-65c) 


'Let's  Live  Tonight"  (Col.)  and.. 
'The  Best  Man  Wins"  (Col.) 


7,000 


"It  Happened  One  Night"  (Col.)..  7,300 

(2nd  week -revival) 

"Naughty  Marietta"  (MGM)   27,000 

(2nd  week) 

"The  Man  Who  Knew  Too  Much"  8,000 

(GB  Pictures)  (2nd  week) 

"Roberta"   (Radio)    12,000 

(1st  week) 

"Private    Worlds"    (Para.)   34,000 

(1st  week) 

"Ruggles  of  Red  Gap"  .(Para.)....  15,500 
(1st  week) 

"The  Wedding  Night"  (U.  A.)....  12,623 
(3rd  week) 

"The  Little  Colonel"  (Fox)    58,000 

(2nd  week) 

"I'll  Love  You  Always"  (Col.)   19,000 

"Traveling  Saleslady"  (F.  N.)....  12,189 


High  and  Low  Gross 

(Tabulation  covers  period  (ram  January.  UM.) 
(Dates  are  1934  unless  otherwiie  spedfiad.) 


High  4-13-35  "Life  Begins  at  40"  

Low  2-9-35  "Baboona"  

High  12-15  "Lady  By  Choice"  

Low  1-19-35  "The  President  Vanishes"  ) 
and  "Enter  Madame"  { 


High  3-2-35  "Woman  in  Red". 
Low  1-12-35  "Uttle  Women"... 


High  4-6-35  "Traveling  Saleslady"... 
Low  7-28  "Half  a  Sinner"  and 

"Embarrassing  Moments" 
High  2-3  "Sons  of  the  Desert"  

Low  4-6-35  "Casino  Murder  Case". 


7,500 
2,000 
8.500 

2.000 

12.000 
1,500 

11,000 

2.000 
12.500 

2,750 


High  6-23  "Glamour"   23.000 

Low  1-12-35  "I  Sell  Anything"   2,000 

High  4-7  "Riptide"    21,400 

Low  12-22  "Private  Life  of  Don  Juan"  4,000 

High  9-29  "Belle  of  the  Nineties"   14.000 

Low  4-13-35  "Rocky  Mountain  Mystery''  3,500 

High  1-12-35  "Broadway  Bill"   14,000 

Low  5-5  "Let's  Fall  in  Love"   4.000 

High  10-27  "Judge  Priest"   9;2O0 

Low  1-27  "Good  Bye  Again"   1.700 


High  4-14  "Moon  Over  Morocco". 

Low  6-30  "Island  of  Doom"  

High  3-3  "Devil  Tiger"  

Low  12-15  "Have  a  Heart"  

High  4-7  "Riptide"   

Low  12-29  "Music  in  the  Air"... 

High  9-1  "Now  and  Forever"  

Low  12-22  "One  Hour  Late"  

High   3-16-35  "Roberta"  

Low  1-27  "Let's  Fall  in  Love"... 

High  1-20  "I'm  No  Angel"  

Low  5-12  "Sorrell  and  Son"  


High  9-8  "Dames"   

L.OW  12-29  "White  Lies"  and 

"The  Last  Wilderness" 


7,600 
160 

7jm 

2.500 
28.500 

4,206 
29,998 
13,500 
16^000 

1,800 
13.000 

2,500 

20,000 
4,900 


High  10-20  "Barretts  of  Wimpole 

Street"   

Low  3-16-35  "Rumba"   

High  3-16-35  "Baboona"   

Low  1-27  "Jimmy  and  Sally"  

High  1-5-35  "Romance  in  the  Rain"... 

Low  4-13-35  "Take  the  Stand"  

High  3-23-35  "Roberta"  ..'  '  

Low  8-25  "The  Lady  is  Willing"  

High  8-18  "She  Loves  Me  Not"  

I^w  7-28  "Here  Comes  the  Navy"  

High  10-20  "Girl  of  the  Limberlost" . . . 
Low   12-8  "Cimarron"   


High  4-14  "Private  Life  of  Henry  VUI" 

Low  3-23-35  "Narcotic"  


6,500 

4,000 
2,000 
500 
3.000 
2,000 
7,000 
2.700 
7,000 
5.000 
3.500 
1,000 


4,000 

2,000 


High  2-24  •'Queen  Christina"   13.500 

Low  12-22  "Great  Expectations"  and  ) 

"Wake  Up  and  Dream"      1  3.500 

High  4-13-35  "Unfinished  Symphony"...  6,000 

Low6-2  "All  Quiet  on  the  Western  Front"  3.000 
High  6-23  "Wine,  Women  and  Song"  ) 

and  "Pride  of  the  Legion"  i  6,500 

Low  3-3  "Fanny"    1,500 

High  12-8  "Six  Day  Bike  Rider"   14.500 

Low  7-21  "Fog  Over  Frisco"  and  ) 

"Affairs  of  a  Gentleman"     )  4.500 

High  12-1  "The  Merry  Widow"   14,000 

Low  7-21  "Shoot  the  Works"  and  1 

"Friday  the  13th"              (  6,000 
High  1-5-35  "Kid  Millions"  and  ( 

"Fugitive  Lady"             J  10,500 
Low  8-4  "House  of  Rothschild"  and  I 

"Most  Precious  Thing  in  Life"  (  4,500 


High  3-31  "House  of  Rothschild"   23,600 

Low  2-23-35  "Little  Men"   6,000 

High  10-6  "Barretts  of  Wimpole  Street"  65,860 

Low  12-29  "The  Band  Plays  On"   4,500 

High  1-27  "Sixteen  Fathoms  Deep"   15,300 

Low  6-2  "Unknown  Soldier  Speaks"....  1,250 

High  7-21  "Of  Human  Bondage"   16,200 

Low  12-22  "Babbitt"    6,500 

High  8-25  "Qeopatra"    72,000 

Low  8-11  "Elmer  and  Elsie"   10,500 

High  4-7  "The  Lost  Patrol"   32,800 

Low  5-12  "Success  at  Any  Price"   7,700 

High  11-17  "Kid  Millions"   51.000 

Low  4-13-35  "Brewster's  Millions"   13,400 

High  1-5-35  "The  Little  Minister"   110,000 

Low  1-19-35  "Evergreen"   52,000 

High  12-1  "Imitation  of  Life"   44,000 

Low  6-30  "Affairs  of  a  Gentleman"   13,700 

High  3-10  "Wonder  Bar"   43,863 

Low  1-20  "Easy  to  Love"   9,271 


In  Gay  Paree  we  stopped  the  show, 
Wowed  'em  in  London,  doncha  know. 
But  we  heard  you  call  and  we're  on  our  way 
Back  to  the  merry  old  U.  S.  A.,  , 
For  it's  very  plain  from  all  reports 
That  you  want  some  more  of  our 

VITAPHONE  SHORTS 

THE  YACHT  CLUB  BOYS 

famous  lyrical  lunatics,  signed  for  a  new  series  to  augment  the  amazing  star  list  that  makes 

Vitaphone  supreme  in  Shorts — 

SHEMP  HOWARD  AL  SHEAN  DOROTHY  DARE 

ALLEN  JENKINS  EL  BRENDEL  RUTH  ETTING 

FIFI  D'ORSAY  WINIFRED  SHAW  GUS  EDWARDS 

MORTON  DOWNEY  HUGH  HERBERT  GEORGIE  PRICE 

BOB  HOPE  BORRAH  MlNEVITCH  DIZZY  &  DAFFY  DEAN 

POLLY  MORAN  DONALD  NOVIS  FRANK  PARKER 


50 


MOTION    PICTURE  HERALD 


April    2  0,     19  3  5 


t THEATRE  RECEIPTS— CONT'D] 


Theatres 


Current  Week 


Previous  Week 


Oklahoma  City 

Capitol    1.200  10c-41c 

Criterion    1,700  10c -55c 

Liberty    1,500  lOc-Joc 

Midwest    1.500  10c-56c 

Omaha 

Brandeis    1,200  25c-40c 

Omaha    2,200  25c-40c 

Orpheum    3,000  25c-*)c 

Paramount    2,800  25c-40c 

Philadelphia 

Aldine    1,200  35c-5Sc 

Arcadia    600  2Sc-50c 

Boyd    2,400  3Sc-55c 

Earle    2,000  25c-55c 

Fox    3,000  40c-65c 

Karlton    1,000  25c-40c 

Keith's    2,000  30c-SOc 

Stanley    3,700  3Sc-S5c 

Stanton    1,700  30c-50c 

Portland,  Ore. 

Blue  Mouse    7tf1  15c-25c 

Broadway    1,912  25c-40c 

Mayfair    1,700  2Sc-40c 

Orpheum    1,700  25c-40c 

Paramount    3,008  2Sc-40c 

United  Artists...    945  2Sc-40c 

San  Francisco 

Fox    4,600  lSc-40c 

Golden    Gate         2,800  2Sc-40c 

Orpheum    3.000  lSc-40c 

Paramount    2,670  25c-40c 

St.  Francis    1,400  ISc-SSc 

United  Artists...  1,200  15c-5Sc 

Warfield    2,700  2Sc-6Sc 

Seattle 

Blue  Mouse    950  2Sc-55c 

Vifth  Avenue  ...  2,500  2Sc-S5c 

Liberty    1,800  lSc-50c 

Music  Box    950  2Sc-55c 

Orpheum    2,450  25c-50c 

Paramount    3,050  2SC-35C 


Pic:ture 


Gross 


"Vanessa:    Her  Love  Story"   2,500 

(MGM) 

"Mississippi"   (Para.)    6,600 

"Under  Pressure"   (Fox)    2,200 

(4  days) 

"Two   Alone"    (Radio)   500 

(3  days) 

"The   Whole  Town's  Talking"....  3,000 
(Col.) 

"Laddie"    (Radio)   4,300 

"Murder  on  a  Honeymoon"  (Radio) 

"The  Wedding  Night"  (U.  A.)....  4,250 

"Folies  Bergere"  (U.  A.)  and....  7,100 
"Shadow  of  Doubt"  (MGM) 

"It  Happened  in  New  York"   7,500 

(Univ.)  (3  days) 

"McFadden's  Flats"  (Para.)  and  2,200 
"Our  Daily  Bread"  (U.  A.) 

(4  days)  (2Sc-35c) 


■Thunder  in  the  East"  (U.  A.)..  8,C00 
(6  days) 

'Ruggles  of  Red  Gap"  (Para.)....  3,400 
(6  days) 

'Private   Worlds"   (Para.)   8,000 

(2nd  week-5  days) 

'It  Happened  in  New  York"   15,000 

(Univ.)  (6  days) 

'It's  a  Small  World"   (Fox)   14,500 

(6  days) 

'Imitation  of  Life"   (Univ.)   3,300 

(6  days-revival)  (25c-50c) 

'Roberta"   (Radio)    5,800 

(9  days) 

'Mississippi"   (Para.)    15,000 

(6  davs) 

'Lost   City"    (Regal   Pictures)   7,500 

(6  days) 


"Night  Life  of  the  Gods"  (Univ.)  1,700 
and  "It  Happened  in  New  York"  (Univ.) 
■While  the  Patient  Slept"  (F.N.)  5,000 


"Rocky  Mountain  Mystery"  (Para.)  2,500 
and  "Maybe  It's  Love"  (F.N.) 

"Grand  Old  Girl"  (Radio)   6,500 

■■George  White's  1935  Scandals"...  9,000 
(Fox) 


"Naughty   Marietta"    (MGM)   7,000 

(2r.d  week) 


"Hold  'Em  Yale"  (Para.)  and....  8,500 
"Men  of  the  Night"  (Col.) 

"The  Night  Is  Young"  (MGM)..  11,500 

"Princess  O'Hara"  (Univ.)  and...  7,500 
"Hoosier  Schoolmaster"  (Monogram) 

"Traveling  Saleslady"  (F.  N.)  and  11^00 

"$10  Raise"  (Fox)  : 

"Ruggles  of  Red  Gap"  (Para.)...  7,000 
(2nd  week) 

"The    Wedding  Night"   (U.   A.)..  10,500 

(2nd  week) 

■'Private  Worlds"    (Para.)   21,500 


Picture 


Gross 

1,600 
5,500 
2,000 


"Times  Square  Lady"  (MGM)  

"West  Point  of  the  Air"  (MGM) 

"While  the  Patient  Slept"  (F.  N.) 
(4  days) 

"We're  Rich  Again"  (Radio)   1,600 

(3  days) 

"Gold  Diggers  of  1935"  (F.  N.)....  4,000 


"Living  on  Velvet"  (F.  N.)  and..  3,500 
"While  the  Patient  Slept"  (F.  N.) 

"Mississippi"   (Para.)    6,200 

"Life  Begins  at  40"  (Fox)  and....  9,500 
"Mystery  Woman"  (Fox) 

"Love  in  Bloom"  (Para.)    5,500 

(3  days) 

"The  Scarlet  Pimpernel"  (U.  A.)  2,000 
and  "Mills  of  the  Gods"  (Col.) 
(4  days)  (2Sc-35c) 


"The  Wedding  Night"   (U.  A.)..  5,800 

(6  days-3rd  week) 

"All  the  King's  Horses"   (Para.)  2,000 

(6  days) 

"Private  Worlds"   (Para.)   15,500 

(1st  week-6  days) 

"Love  in  Bloom"  (Para.)   15,000 

(6  days)  (25c-50c) 

"$10  Raise"    (Fox)    13,500 

(6  days) 

"Transient  Lady"  (Univ.)   2,400 

(6  days) 

"Gold  Diggers  of  1935"  (F.  N.)....  3,700 
(6  days) 

"West  Point  of  the  Air"  (MGM)..  16,000 
(9  days) 

"Casino   Murder   Case"    (MGM)..  6,000 
(6  days) 


''Traveling  Saleslady"  (F.  N.)  and 
"Casino  Murder  Case"  (MGM) 

"The  Best  Man  Wins"  (Col.)  and 
"Carnival"  (C^l.) 


'Princess  O'Hara"  (Univ.). 
'Baboona"  (Fox)   


"Naughty  Marietta"  (MGM). 
(1st  week) 


4,800 


3,000 


5,000 
7,500 


8,500 


"It   Happened  in   New   York"   7,500 

(Univ.)  and  "I'll  Love  You  Always" 
(Col.) 

"Roberta"  (Radio)    '  8,500 

(4th  week) 

"Unwelcome    Stranger"  (Col.)  

"Let's  Live  Tonight"  (Col.) 


6,000 
9,500 


"Gold  Diggers  of  1935"  (F.  N.)  . 
(2nd  week) 


"Ruggles  of  Red  Gap"   (Para.)..  8,500 
(1st  week) 

"The  Wedding  Night"  (U.  A.)...  9,000 
(1st  week) 

"West  Point  of  the  Air"  (MGM)..  23,500 


(U. 


A.)   3,100 

8,700 


"Folies  Bergere' 
(2nd  week) 
"West  Point  of  the  Air"  (MGM) 
(8  days) 

I'White  Lies"   (Col.)  and   2,700 

"Happy  Landing"  (Monogram)  (10c-35c) 

"Roberta"  (Radio)    4,150 

(5th  week) 

'Traveling  Saleslady"  (F.  N.)....  5,700      "Grand  Old   Girl"   (Radio)   5,000 


"Folies   Bergere"   (U.  A.)   4,100 

(8  days-lst  week) 

"Ruggles  of  Red  Gap"  (Para.)....  6,400 

(6  days-2nd  week) 

"The  Crimson  Trail"  (Univ.)  and  3,700 
"Behind  the  Evidence"  (Col.) 

"Roberta"  (Radio)    4,300 

(4th  week) 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  luiless  otherwise  specified.) 


High  1-6  "Going  Hollywood"   4,100 

Low  9-8  "You  Belong  to  Me"   800 

High  1-27  "Dinner  at  Eight"   9,000 

Low  10-13  "Madame  Du  Barry"   3,000 

High  4-6-35  "While  the  Patient  Slept"  ) 

and  "We're  Rich  Again"      J  4.100 

Low  3-23-35  "The  Winning  Ticket"....  400 

High  12-29  "Bright  Eyes"   9,540 

Low  5-26  "Merry  Wives  of  Reno"   2,000 


High  1-12-35  "The  Little  Minister"   9,108 

Low  2-16-35  "Babbitt"  and  ] 

"Murder  in  the  aouds"   J  3,000 


High  3-10  "Easy  to  Love"   17.250 

Low  12-29  "Babes  in  Toyland"  and  ) 

"Home  on  the  Range          )  5,000 

High  2-16-35  "The  Secret  Bride"   13,200 

Low  2-24  "Six  of  a  Kind"  and  ) 

"Good  Dames"                     1  5,250 


High  5-5  "House  of  Rothschild"   23,000 

Low  6-9  "Sorrell  and  Son"   4,000 

High  1-6  "Duck  Soup"   6JO0 

Low  1-27  "Women  In  His  Life"   400 

Hign  1-6  "Little  Women"   30.000 

Low  2-23-35  "The  Night  Is  Young"....  6,500 
(5  days) 

High  4-7  "Harold  Teen"   40,000 

Low  7-21  "Cockeyed  Cavaliers"   11,000 

High  12-29  "Bright  Eyes"   28,500 

Low  7-28  "She  Was  a  Lady"   7,000 

High  11-3  "One  Night  of  Love"   8.500 

Low  11-24  "Wednesday's  Child"   2.200 

High  3-3  "Carolina"    8.000 

Low  1-5-35  "Sweet  Adeline"   1,500 

High  1-5-35  "Broadway  Bill"   22,000 

Low  12-29  "Behold  My  Wife"   7,500 

High  3-31  "The  Lost  Patrol"   9.000 

Low  1-5-35  "Man  Who  Reclaimed  His 

Head"    2.000 


High  4-7  "Wonder  Bar"   

Low  7-14  "The  Circus  Clown"  and  ) 
"I  Give  My  Love"  J 

High  3-2-35  "The  Little  Colonel"  

Low  1-19-35  "Behold  My  Wife"  and  f 
"Defense  Rests"  ( 

High  12-1  "Kentucky  Kernels"  

Low  11-10  "Wednesday's  Child"  

High  3-24  "David  Harum"  and  ) 
"Once  to  Every  Woman  J 
Low  6-30  "Now  I'll  Tell"  and  ) 
"Springtime  for  Henry"  ) 

High  4-28  "House  of  Rothschild"  

Low  8-4  "Paris  Interlude"  


and 


High  3-3  "Son  of  Kong"  

Low  8-18  "Sin  of  Nora  Moran" 

"Along  Came  Sally"  } 

High  3-16-35  "Roberta"  

Low  7-7  "Cockeyed  Cavaliers"  

High  6-9  "Sing  and  Like  It"  

Low  6-30  "Affairs  of  a  Gentleman"  ) 

and  "Orders  is  Orders"  } 

High  9-29  "Belle  of  the  Nineties"  

Low  1-20  "Four  Girls  in  a  Boat"  and  I 

"Fugitive  Lovers"  ) 
High  1-19-35  "The  County  Chairman".. 
Low  4-14  "Registered  Nurse"  and  ) 

"Murder  in  Trinidad"  ) 

High  1-6  "Roman  Scandals"  

Low  3-9  "Private  Life  of  Don  Juan'*  

High  12-29  "Bright  Eyes"  

Low  3-31  "Gambling  Lady"  


High  2-17  "Roman  Scandals"  

Low  7-7  "Tomorrow's  Children"  

High  4-14  "Riptide"  

Low  3-24  "Fashions  of  1934"  

High  2-16-35  "Broadway  Bill"  (2d  week) 
Low  4-13-35  "White  Lies"  and  ) 
"Happy  Landing"  ) 
High  4-14  "Spitfire" 


Low  1-26-35 


His 


'Vanessa:  Her  Love  Story'' 
(MGM) 


5,200 


'Car  99"   (Para.)    and   5,200 

'The  Iron  Duke"  (GB  Pictures) 


"Man  Who  Reclaimed 

Head"   

High  12-1  "Kentucky  Kernels"  

Low  4-21  "Two  Alone"  and  } 
"I  Believed  in  You"  ] 

High  3-23-35  "Shadow  of  Doubt"  

Low  12-8  "Peck's  Bad  Boy"  and  1 
"Menace"  ( 


13.000 

3.900 
4.000 

1.600 
8,000 
3,500 

12,000 

4.000 
9.800 
3.700 


14.000 

4.500 

23.000 
10.200 
19.500 

5,000 
19,000 

8,000 
11,000 

3,500 
15.000 

4.000 
29,000 
15.500 


7.500 
2,550 
12.750 
3.500 
7.100 

2,700 
6,500 

2,850 
8,400 

3.750 

8,700 

3.300 


COLIN  CLIVE 

VALERIE  HOBfON 

EISA  LANCHESTER  •  UNA  O'CONNOR 
0.  P.  HEGGIE  •  ERNEST  THESIGER 
Directed  by  James  Vy^hale 


52 


MOTION    PICTURE  HERALD 


April    2  0,     19  3  5 


TRAVELERS 


DISTRIBUTORS  OPPOSE 
20%  CANCELLATIONS 


Kuykendall  Answers  That  Wid- 
ened Viewpoint  Will  Come 
Out   of   Revision   of  Code 

Expressions  on  the  weekend  from  New 
York  distributing  headquarters  indicating 
that  the  large  companies  are  decidedly  set 
against  increasing  the  prevalent  10  per  cent 
cancellation  privilege  accorded  exhibitors, 
was  followed  on  Monday  by  a  challenge  from 
Ed  Kuykendall  as  president  of  the  Motion 
Picture  Theatre  Owners  of  America  to  a 
fight  for  20  per  cent  cancellation,  "with  no 
entanglements  or  strings"  attached  to  the 
contractual  right. 

"The  MPTOA  are  definitely  on  record 
as  standing  for  certain  reforms  and  will 
continue  to  fight  for  them,"  Mr.  Kuyken- 
dall said,  "and  we  believe  that  one  of  the 
essentials  towards  a  better  understanding 
and  friendly  relation  between  the  theatre 
owner  and  the  distributor,  and  one  that 
would  do  more  than  any  other  thing  to 
counteract  outside  meddling  with  our  in- 
dustry, would  be  a  sane  and  reasonable 
cancellation  clause  in  contracts  of  about 
20  per  cent,  with  no  entanglements  or 
strings. 

"The  exhibitors  would  continue  to  play 
the  same  number  of  pictures  each  year  that 
they  are  now  playing;  therefore,  the  same 
number  of  pictures  would  have  to  be  bought, 
and  it  is  my  belief  that  any  distributor  who 
opposes  this  cancellation  is  merely  dimming 
his  own  right." 

Fear  Cost  Up  to  $3,000,000 

Regardless,  investigation  at  distributors' 
home  offices  along  Broadway  disclosed  that 
no  increase  in  cancellation  above  the  present 
10  per  cent  will  be  granted  by  distributors, 
who  are  resolved  that  nothing  but  legislation 
or  court  orders  would  change  their  stand. 
Too,  they  indicated  that  any  attempt  by  the 
exhibitors  to  obtain  higher  cancellation 
privileges  through  a  redrafted  code  would 
be  as  vigorously  opposed. 

Holding  that  any  such  increase  would  cost 
them  $1,000,000  to  $3,000,000  a  year,  distrib- 
utors feel  that  exhibitors  would  take  advan- 
tage of  the  increase  in  cancelling  out  pic- 
tures of  low  gross  potentialities,  and  would 
not  apply  it  to  the  elimination  of  pictures 
on  moral  or  other  grounds.  They  do  not 
agree  with  exhibitor  opinion  that  higher 
cancellation  percentages  would  prove  an  in- 
centive to  producers  to  better  production, 
pointing  out  that  no  producer  deliberately 
sets  out  to  make  an  inferior  product. 

Furthermore,  distributors  in  New  York 
feel  that  exhibitors  would  not  pay  any  more 
for  pictures  under  a  15  or  20  per  cent  can- 
cellation clause  and  therefore  the  distribu- 
tors would  not  be  compensated  in  any  way 
for  the  unplayed  product.  Nor  would  play- 
ing time  be  increased  on  good  pictures,  this 
because  such  product  now  receives  as  much 
playing  time  as  it  rates. 

Distributors  also  believe  that  not  all  com- 
panies would  voluntarily  adopt  the  increase. 


so  that  those  which  do  not  grant  an  ex- 
tended cancellation  would  have  an  advantage 
by  placing  the  others  in  a  position  to  force 
more  playing  time  for  their  product  at  the 
expense  of  the  companies  whose  product  is 
cancelled. 

Predicts  Code  Revision 

Reporting  on  its  campaign  to  obtain  bene- 
fits for  exhibitors  by  means  of  code  revisions, 
the  MPTOA  said : 

"Our  organization  at  its  recent  national 
convention  in  New  Orleans  worked  out  plans 
for  a  special  committee  to  meet  with  the 
Administrator  Sol  Rosenblatt,  and  with  the 
Code  Authority  to  discuss  with  them  and 
recommend  to  them  certain  changes  and 
revisions  in  the  code.  This  committee  will 
not  be  radical,  but  will  be  composed  of  gen- 
tlemen who  understand  the  mechanics  of  this 
business  based  upon  many  years  experience 
as  exhibrtors.  No  one  can  truthfully  say, 
however,  that  the  code  has  not  been  bene- 
ficial to  the  little  independent  exhibitor,  even 
in  its  present  form." 

"We  are  making  considerable  progress  in 
our  efforts  to  so  amend  the  United  States 
copyright  laws  that  they  will  be  fair  and 
equitable  to  all  concerned  and  no  one  organ- 
ization can  arbitrarily  price-fix  and  dominate 
us  in  the  orderly  process  of  our  business," 
Mr.  Kuykendall  added.  "The  theatres  will 
be  advised  in  the  near  future  as  to  just  what 
they  will  be  expected  to  do  along  this  line 
for  their  common  good." 

Meanwhile  the  Government  was  proceed- 
ing with  preparations  for  its  case  against 
American  Society  of  Composers,  Authors 
and  Publishers  to  obtain  relief  through  the 
breaking  down  of  the  society's  licensing 
structure  for  music  reproduction  privileges. 


SHORT  PRODUCT 
PLAYING  BROADWAY 


Week  of  April  13 


ASTOR 

The  Gloom  Chasers  Columbia 

MAYFAIR 

Two  Little  Lambs  Universal 

MUSIC  HALL 

Old  New  York  RKO  Radio 

Dumbbell  Letters  No.  16...  RKO  Radio 

PARAMOUNT 

Hyp-Nut-Tist,  The  Paramount 

Screen  Souvenirs  No.  19.  ..  Paramount 

Springs  and  Strains  Paramount 

Hold  That  Shark  Columbia 

RIALTO 

Screen  Snapshots  No.  5.  .  .  .  Columbia 
Hold  That  Shark  Columbia 

ROXY 

Mr.  Widget   Educational 

Tortoise  and  the  Hare  United  Artists 

STRAND 

What,  No  Men?  Vitaphone 


Reg  Wilson,  GB  sales  representative,  was  in 

the  South  with  Walter  Price. 
RouBEN  Mamoulian  is  due  in  New  York  after 

directing  "Becky  Sharp"  in  Hollywood  for 

Pioneer  Pictures. 
George  Raft,  Paramount  player,  arrived  in 

New  York  from  Hollywood. 
George  White  returned  to  New  York  after 

completing  "Scandals"  for  Fox. 
Al  DuBiN  and  Harry  Warren,  Warner  song 

writers,  returned  to  Broadway  from  Burbank. 
Ruth  Chatterton  sailed  for  Europe. 
Julius  Steger  of  Fox  Film  left  for  Europe. 
Brian  Aherne,  player,   returned  to  MGM's 

Coast  studio  from  New  York  and  London. 
Henry   Hollison,   British   player,  left  New 

York  to  join  Universal  in  California. 
Darryl  Zanuck  arrived  in  New  York  from 

Hollywood. 

George  W.  Weeks,  GB  sales  manager,  was 
touring  the  Midwest. 

Hal  Roach  left  Culver  City  for  Indiana  and 
thence  to  New  York  for  Metro  conferences. 

Paul  Muni  will  fly  from  New  York  to  Hous- 
ton for  the  opening  of  "Black  Fury"  May  3. 

A.  K.  Mills  of  March  of  Time  was  touring 
the  South,  out  of  New  York. 

Percy  H.  Johnston,  Paramount  board  member, 
returned  to  New  York  from  the  Coast. 

.A.LBERT  Warner,  Gradwell  Sears  and  A.  W. 
Smith.  Warner  executives,  flew  to  the  studio 
from  New  York. 

Walter  Eberhardt,  Erpi  publicist,  was  in 
New  England  working  on  a  campaign. 

Ben  Piazza  returned  to  the  Paramount  Holly- 
wood studio  from  a  New  York  talent  hunt. 

Phillip  Moeller  returned  to  the  Broadway 
stage  after  directing  "Break  of  Hearts"  in 
Hollywood  for  Radio. 

James  R.  Grainger,  Universal  sales  manager, 
returned  to  New  York  from  the  Coast. 

N.  L.  Manheim,  Universal's  foreign  manager, 
left  New  York  for  the  Coast. 

Herman  Shumlin,  Broadway  stage  producer, 
left  for  Hollywood  to  confer  with  Lillian 
Hellman  about  a  new  play. 

Anita  Kurtin  left  New  York  to  enter  motion 
picture  acting  for  MGM  on  the  Coast. 

Charles  Garrett,  RKO  Havana  representa- 
tive, returned  from  a  New  York  visit. 

Gus  Schaefer,  Paramount's  general  manager 
in  Europe,  returns  from  New  York  this  week. 

Frank  Melford,  formerly  George  O'Brien's 
production  manager,  is  due  in  New  York 
from  Hollywood. 

S.  Barret  McCormick,  Radio's  home  office 
advertising  director,  returned  from  Holly- 
wood to  New  York. 

Arthur  Poole,  treasurer  of  Pathe,  returned  to 
New  York  from  the  Coast. 

.Sailing  for  Europe  on  the  He  de  France  were : 
Albert  Richard,  Paramount  newsreel  edi- 
tor in  New  York;  C.  A.  Cochrane,  English 
director ;  Marcel  De  Sano,  Metro's  French 
producer. 

M.  E.  Statler  sailed  for  Bermuda. 

Jules   Levy,   RKO   sales   executive,    was  in 

Canada,  from  New  York. 
William  Goetz  sails  Saturday  for  Europe  to 

arrange   for   a   talent   interchange  between 

United  Artists  and  London  Films  and  20th 

Century. 

Norman  H.  Moray,  Vitaphone  executive,  re- 
turned to  New  York  from  a  tour  of  the  com- 
pany's branches. 

Vera  and  Nathan  Gordon  are  vacationing  in 
New  York. 

Gladys  Swarthout.  Metropolitan  Opera  star, 
arrived  at  the  Paramount  studios  in  Holly- 
wood. 

Michael  Balcon,  GB  production  head,  re- 
turned to  New  York  from  Hollywood  en 
route  to  England. 

Nicholas  M.  Schenck  returned  to  New  York 
from  the  Coast. 

James  Finlayson,  arrived  in  New  York  from 
London,  en  route  to  the  Hal  Roach  studios 
in  Hollywood. 


54 


MOTION    PICTURE  HERALD 


April    20,  1935 


THE  I^ELEASE  CHART 


II 


Productions  are  listed  according  to  the  names  of  distributors  in  order  that  the  exhibitor  may  have  a  short-cut  towards  sucn 
information  as  he  may  need,  as  well  as  information  on  pictures  that  are  coming.  Features  now  in  work  or  completed  for  release 
later  than  the  date  of  this  issue  are  listed  under  "Coming  Attractions."  Running  times  are  those  supplied  by  the  companies. 
Asterisk  indicates  running  time  as  made  known  by  West  Coast  studio  before  announcement  by  home  ofRce  in  New  York.  Varia- 
tions also  may  be  due  to  local  censorship  deletions.  Dates  are  1934,  unless  otherwise  specified.  Letter  In  parentheses  after 
title  denotes  audience  classification  of  production:  (A)  Adult,  (G)  General.  Numerals  following  audience  classification  are  pro- 
duction numbers. 


AMBASSADOR  PICTURES 


Features 

Title 

Flfhtlnt  Tr««p*r.  The  

Nerthtrn  Fnntltr  (G) . . . 
■•d  Blotd  (f  C«mi«.... 
Wildcrnn*  Mall  (0)  


Runnlni  TIma 

Star  Rei.  Date      MInutas  Reviewed 

..Kerinit  Maynard- Barbara  Werth.  .Ka*.  15  

. .Kermit  Maynard-EIeanor  Hunt.. .Feb.  l,'35... 

. .Kermit  Maynard   Apr.  M.'SS... 

..Kermit  Maynard-Fred   Katalar....Mar.  I3,'3S... 


Cominff  Attractions 

Hit  FIfhtlni  Blaad   Kermit  Maynard 

Sandy  of  th«  Mauntad  Kermit  Maynard 

Timber  War   Kermit  Maynard 

Trallt  ef  the  Wild  Kermit  Maynard 


.July 
.Se»t 
.May 
.Aui. 


I,'35... 
I2.'35... 
27.'35. . . 

«.'3S... 


CHESTERFIELD 


Features 

Title 


Star 


Curtain  Falla,  Tka  (A)  Henrietta  Cratman   Oct. 

Green  Eyas  (G)   Cliarlet  Starrett-Shlrley  aray....Jan« 

Staet  In  tbe  Dark,  A  Charles  Starrett-Marlen  Shilllni. .  Feb. 

Seas  af  Stael  C.  Starrstt  -  Polly  Ann  Yauni..Dee. 

World  Accuses,  The  (G)  Dickie  Moera  •  Russall  Haftan -.  .Nov. 

Coming  Attractions 

Clrsunstantlal  Evldanea   Chick  Chandler-Shlrlay  Gray  

6\rl  Who  Cane  Back  

'lavalness  C.O.D  


Runnlni  Tine 
Rel.  Date     Minutes  Reviewed 


I. 
IS.... 
I5.'3S. 
15.... 
12.... 


COLUMBIA 


Features 
Title 

Atainst  the  Law  (A)  

Behind  tbe  EvideBca  (G).. 
Bast  Man  Wlas,  Tka  (G). 


Bayand  the  Im  (G>. 
Braadway  Bill  <G)... 


Star 

...John  Mack  Brawn-Sally  BlaM.. 
...Neman  Faster-Shalla  Maaaara. 
...J.  Heit-Flerenco  RIca-E.  Lawa. 

...Tim  McCoy-Shirley  Grey  

. .  .Warner  Baxter-Mynia  Lay  

J.  Durante  •  Lea  Traey  •  Sally 

Carnival  (G)    Eilers  -  Flereaca  Rica  

Death  Flies  Kaat  (G)  Florence  Rice-Canrad  Naial  

Elaht  Bells   Ann  Sothem-Ralah  Ballaoy  

(See  "In  the  Cuttlaf  Room."  Feb.  23.'35.) 

Fufitlve  Lady  (G)  Neil  Hamiltaa-Flerenca  Rtoa... 

I'll  Fix  It  Jack  Helt-Mona  Barria...„  

I'll  Love  You  Always  (6)  Nancy  Carrall-Goorio  Murvliy... 

In  Spite  of  Danger  (G)  Marian  Marsb-Wallasa  Fard.... 

Jealousy  (0)   Naacy  Carroll-Donald  Caak  

Lady  by  Chaise  (G>  Carole  Lombard  -  May  Rafcsan  - 

Walter  Connolly- Raiar  Pryar. 

..Tim  McCoy-Billio  Seward  

..Lilian  Hanroy-Talllo  Caralnatl. 

..Bruce  Cabet-Judlth  Alloa   

..May  Rebson  -  Victor  Jery  •  Fay 

Wray   

..Tim  McCey-Shella  Maaaara  

Ravenie  Rider   Tim  McCey-Blllle  Seward  

(See  "Alias  John  Law"  "In  the  Cutting  Room."  Doc.  8 

Square  Shootor  (6)   Tim  McCoy   

Swell  Head   Wallace  Ford-Barbara  Kent  

That's  Gratitude  (A)  Frank  Craven-Shella  Manaars. . . 

Westerner.  The   Tim  McCoy-Marian  ShIIIIni  

«hite   Lies  (A)  Victor  Jory-Fay  Wray   

Whole  Town's  Talklni,  The  (a).Edw.  G.  Robinson-Jean  Arthur... 

Coming  Attractions 

After  the  Dance  Nancy  Carroll -George  Murphy..., 

Air  Hawks   ....Ralph  Bellamy-Tala  BIrall  

(See  "Air  Fury"  "In  the  Cutting  Room,"  Mar.  30,'35.) 

Awakening  of  Jim  Burke  Florence  Rice-Jack  Holt  

Black  Room  Mystery  Boris  Karioff   

Call  to  Arms  Wlllard  Mack-Ben  Lyen-Shlala 

Mannors-Wera  Eniels   

n  the  Cuttlni  Room,"  Nov.  3.) 


Running  Time 
Rel.  Date      MInuta*  Reviewed 

.Oet.   25  61.... Dae.  I 

.Jan.   20,*S5  57. Fob.  2,'35 

.Jan.     5,'35  SB.  Jan.  5,'3S 

.July  20    57  Dae.  20 

.Dk.    27  •I05....N«V.  10 


.Fab.  I0,'S5.... 

.Fab.  2*.'S5.... 

.Apr.  Il,'35... 

Oet.  n  

.Oct  15  

Mar.  20,'35... 

Mar.  8.'3S... 

.Nov.  20  


,75.  Feb. 
•65.  Mar. 


23,'35 


..68. Mar.  IS,'H 
..69....  Nov.  17 
..68.  Apr.  6.'35 
.56.  Apr.  I3.'35 
..60  Dae.  19 


Law  Beyond  the  Rania.. 
Let's  Live  Taaifht  <a>.. 
Men  ef  the  NIaht  (G).. 
Mills  of  the  Gods  (G).. 

Preseett  Kid 


.Oet. 
Fab. 
Mar. 
Nov. 

Doe. 
Nov. 
Mar. 

> 

Jan. 
Apr. 
Oct. 
Dee. 
Nov. 
Feb. 


IS  'OS.... Get.  • 

I5.'85    58  

I/S5  68. Mar.  2S.'8t 

26  58....  Dae.  I 


IS  67. Jan. 

8  56  

I8,'S5  57  


I8.'SS 


21  ,'35  57.  Mar.  9.'3S 

8,'35  

6  64....Nav.  17 

10  

27    74.  Jan.  S,'S9 

22,'35....*93.Jan.  26,'35 


Apr.  30.'38. 


Apr.  I8.'8S.. 


.Apr. 
Apr. 


2S,'3S. 

27.'35. 


Apr.  20.'35. 


(See 
China  Roars 

Depths  Below  

Feather  In  Her  Hat,  A  Ruth  Chatterton   

Flahting  Shadows  Tim  McCoy-Geneva  Mitchell  

Frisco  Fury   lack  Holt   

Qeerolana   Ann  Sothern   

Olrl  Friend,  The  Lupe  Velez-Jack  Haley   

Grand  Exit   

If  You  Could  Only  Cook  Claudetto  Colbert   

Justice  of  the   Range  Tim  MeCoy-Billie  Seward  

Lady  Beware   

Love  Me  Forever  Grace  Moore  -  Leo  Carrllle  ■ 

Robert  Allen   

Maid  ef  Honor  

Men   of  the   Hour  Richard  Cromwell-Blllle  Seward. 

(See  "In  the  Cutting  Ro»m,"  Apr.    13, '35.) 
Party  Wire   Jean  Arthur- Victor  Jery  

(See  "In  the  Cutting  Room."  Apr.  6.'35.) 

Sure  Fire    Gene   Raymond-Ann  Sothem.... 

Unknown  Woman    Marian  Marsh-Richard  Cromwell. 

Unwelcome  Stranger   Jack  Holt-Mona  Barrio   

(See  "Girapy"   "In  the  Cutting   Room,"  Mar.  2,'SS.) 

DU  WORLD  PICTURES 

Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Blue  Light  5029   Leni  Riefenstahl   Oet.    15  90  

Camilla   Y.  Printemps-Plerre  Fresnay  Apr.  I5,'35  

Cranauebllle   5038  Dee.  15  

Girl  In  the  Case  5005   Jimmy  Savo-Eddle  Lambert- 
Dorothy  Darling   60  

Kaeha.  Lubl  Szanula  5041.... (Polish)   Nov.     I  72  

L'Agonlo  des  Algles  (A)  5032. Pierre  Renoir   Dec.     1  80.... Dot.  8 

Man  Who  Changed  His  Nam«, 

Tha  (A)  5036   .Lyn  Harding   65.... Oet.  27 

Marie  5043   Annabella   Jan.     I,'35  67  

Old  Bill  5038   .Anatole  France  story  Feb.    lO.'SS  70  

Vlaaaasa  Lava  Song  Maria  Jerltza   72  

World  In  Revolt   Graham  McNamee   Mar.  I,'35  

Coming  Attractions 

Dream  of  My  People  Cantor  Rosenblatt   June  1  


FIRST  DIVISION 


.57.  Mar.  9.'35 


*58.Mar.  I6.'35 


(Releases  Monogram,  Liberty,  Chesterfleid  and  Invincible  pictures  In  certain  territories.) 

F eatures  Running  TIma 

Title  sur  Dist'r         Rel.  Date      Minutes  Rovlewsd 

Convention   Girl  Rose  Hobart    Oct.  31  

Flirtation   Jeannette  Loff- 

Ben  Alexander  Nov.  9  

Hei  Tiki  (G)   (All  Native  Cast) ...  Principal   Feb. 

Little  Damozel   Anna  Neagle  Dee. 

Return  of  Chandu  Maria  Aiba- 

Bola  Lugosi  Principal   Oct 

Sunset  Range  (G)   Hoot  Gibson- 
Mary  Doran   May 

White  Heat   Virginia  Cherrill  


I,'35.  86. Fob. 


9.'S5 


l,'S5...S5.Mar.  9,'SS 
 Oct.  I 


FIRST  NATIONAL 


.67.... Oct. 
.67....  Dee. 
.68  


.63.  Mar.  30,'35 


Features 

Title  Star 

Babbitt  (G)  869  Aline  MacMahen-Guy  KIbboe... 

Case  of  the  Curious  Bride  879.  Warren  William   

Flirtation  Walk  (G)  752  Dick  Powell  -  Ruby  Keeler-Pat 

O'Brien   

Gentlemen  Are  Bom  (G)  872.  .Franchot  Tone-Jean  Mulr  

Go  Into  Your  Dance  (6)  853.. Al  Jolson-Ruby  Koeler  

Geld  Diggers  of  I93S  (G)  851. Dick  Powell-Gloria  Stuart  

Happiness  Ahead  (G)  854  Dick  Peweli-J.  Hutchinson  

Living  On  Velvet  859  (G)  Kay  Francis  -  Geergo  Brent  • 

Warren  William  

Maybe  It's  Love  (G)  876  Gloria  Stuart-Ross  Alexander... 

Murder  in  the  Clouds  (G)  877.Lyle  Talbet-Ann  Dvorak   

Rod  Hot  Tiros  (G)  878  Lyio  Talbot-Mary  Aster   

Six  Day  Bike  Rider  (6  )  884.. Joe  E.  Brown-Maxins  Doyle  

Traveling  Saleslady  (G)  870... Joan  Blondell   

While  tha  Patient  Slept  (G)  874Aline  MacMakon-Guy  KIbbeo. .. 
Woman  in  Red,  The  (G)  863.. B.  Stanwyck-Gene  Raymond  


Rel. 
Doe. 
Apr. 

Des. 

Nov. 
Apr. 
Mar. 

.Oct. 


Running  Time 
Date     MInutas  Reviewed 

8  VS...  Nov.  17 

I3.'35  68. Apr.  I3,'35 


Mar. 
Jan. 
.Dee. 
Feb. 
Oct. 
Apr. 
Mar. 
Fab. 


I  

17  

20,'85. . 
I6,'3S.. 

27  

2,'35.. 
12,'K.. 

IS  

2,'SS.. 
20  

8,  '35. . 

9,  'S5.. 


...97.... Nov.  18 
,.•75.... Oct.  20 
...97. Mar.  23,'35 
...95. Mar.  23.'Sa 
...86.... Sept.  22 

..80. Mar.  I8.'3S 
...62.... Nov.  24 
...61. Jan.  5.'85 
..66.  Mar.  9,'S5 
..69. ...Nov.  18 
...63. Apr.  ■.'» 
.61. Mar.  •,**• 


I6,'35  58.  Mar.  30,'35 


I8,'35. 
4,'35! 


Coming  Attractions 

Alibi  Ike   Joe  E.  Brown   

(See  "In  the  Cutting  Room,"  Apr.  6,'35.) 

Black  Fury  (G)  Paul  Muni-Karen  Merloy  May 

Captain  Blood   Robert  Oonat-Jean  Mulr  

G  Men,  The  James  Cagney- Margaret  Lindsay.. May 

(See  "In  the  Cutting  Room,"  Agr.  I3,'3S.) 
Girl  From  Tenth  Avenue,  The..Bette  Davis-Ian  Hunter  

(See  "Men  en  Her  Mind"  "In  tbe  Cutting  Room,"  Mar.  30,'35.) 
In  Callante  858   Dolores  Del  RIa-Pat  O'Brien  May  25,'35. 

(See  "In  the  Cutting  Room."  Feb.  2.'35.) 
Mary  Jane's  Pa  875  Aline  MacMahen-Guy  Kibboo. . .  .Apr.  27,'35. 

(Sea  "Wanderlust"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Napoleon   Edw.  G.  Roblnsen-Bstts  Davis  

Singer  sf  Naplea  Enrico  Caruso,  Jr  


*90.Apr.  6,'3S 


FOX  FILMS 


Features 

Title  Star 

Baboena  (G>  530  Mr.  &  Mrs.  Martin  Johnson... 

Bright  Eves  (G)  524  Shirley  Temple- James  Dunn... 

Charlie  Chan  In  Paris  (G)  526.  Warner  Oland   

Ceunty  Chairman,  The  (G)  525,  Will  Rogers   

First  World  War,  Tha  (A)  519  

Gambling  (A)  512   George  M.  Cohan   

George  White's  1935  Scandals 

(A)  534   Alice  Faye- James  Duan  

Great  Hotel  Murder  (G)  532.. Edmund  Lowo-Vlctor  MsLaglen. 

Holldorado  (G)  522  Richard  Arlen-Madga  Evans  

Hall  In  the  Heavens  (A)  517.. Warner  Baxter-C.  Mantenegra. . , 

It's  a  Small  World  (A)  536. .  .Spencer  Tracy-Wendy  Barrio  

Life  Begins  at  40  (G)  533. ...Will  Rogers   

Llliom   (A)   Charles  Boyer   

Little  Colonel  (G)  531  Shirley  Temple-L.  Barrymora..- 

Lottery  Lover  (G)  523  "Pat"  Paterson-Low  Ayres 

Music  In  tha  Air  (G)  513  Gloria  Swanson  -  John  Boles  • 

Douglass  Montgomery  

Mystery  Woman  (0)  515  Mona  Barrle-Gllbart  Roland  

One  Mora  Spring  (6)  529  Janet  Gaynor-Wamer  Baxter  

Peck's  Bad  Boy  (0)  516  Jackie  Cooper-Thomas  Melgban- 

iPni!  7"'"' .  '      '   Dorothy  Petersea-Jackle  Searl. 
Spring  Tonic  S3S  Lew  Ayres-Claira  Travar  

(See  "Man  Eating  Tiger"  "In  the  Cutting  Room,"  Mar. 

SiO  Raise  (G)  537  Edward  Everett  Herton  

Under  Pressure  521  Edmund  Lowo-Vlctor  McLaglan. . 

(Reviewed  under  the  title  "Man  Leek") 

When  a  Man's  a  Man  (G)  S27.  George  O'Brien   

White  Parade,  The  (G)  518... John  Boles-Lorotta  Young  


Running  Time 

Rel.  Date      Minutes  Reviewed 

.Feb.     S.'SS  72.  Jan.  26,'9i 

.Doe.    28   83.      n»i  tm 

.Jan.    25,'35  70. Jan.  5.'3S 

.Jan.    ll.'SS  78....  Doe.  B 

.Nov.    23  78....N»v.  IT 

.Nov.     3  80. ...Dee.  II 


,Mar.  29.'35. 

.Mar.  8,'35. 

.Dae.  21.... 

.  Nov.  9. . . . 

.Apr.  I2,'35. 

Mar.  22.'S5. 

,Mar.  I6,'35. 

Feb.  22.'S5. 

.Jan.  4,'3S. 

.Dee.  7  

Jan.  I8,'S5. 

Fab.  IS,'35.. 


,.83.  Apr.  6,'35 
.70. Feb.  2S.'S8 
..74. ...Dee.  II 
.80. ...Nov.  a 
.71. Apr.  6,'35 
.79. Mar.  23,'35 

.90. Mar.   

.80.  Fab. 
.82.  Fab. 


23,'35 
18,'SS 
9.'W 


Dec. 


Oct.  19.... 

Apr.  I9,'3S. 
9,'35.) 

Apr.  5.'35. 

Feb.  i,'35. 


.81.. 
.6<t  ' 

.87. Feb. 


.69  Sept.  8 

.58  


9.'35 


.70.  Mar. 
.69. Jan. 


23,'35 
I9,'35 


Feb. 
Nov. 


I5.'35. 

16.... 


.66.  Mar.  2,'35 
.83.... Oct.  27 


Coming  Attractions 

Argentina   Alice  Faye-Gilbert  Roland  

Black  Sheep   Edmund  Lowe-Claire  Trevor  June 

Charlie  Chan  in  Egypt  Warner  Oiand-"Pat"  Paterson.  .  .June 

Cowboy  Millionaire  538  George    O'Brien  May 

Dante's  Inferno   Claire  Trevor-Alice  Faye  

(See  "In  the  Cuttino  Room,"  Mar.  2,'35.) 
Daring  Young  Man,  The  528...  James  Dunn-Mae  Clarke  May 

(See  "Man  Proposes"  "In  the  Cutting  Room,"  Apr.  6,'35.) 

Farmer  Takes  a  Wife,  The  Janet  Gaynor- Henry  Fonda  

Doubting  Thomas  542  Will  Rogers   May 

(See  "In  the  Cutting  Room,"  Mar.  30, '35.) 

Ginger   Jackie  Searie-Jane  Withers  

In  Old  Kentucky  Will  Rogers   

Ladies  Love  Danger  540  Gilbert  Roland-Mona  BarrI*  .Apr. 

(See  "Secret  Lives"  "in  the  Cutting  Room."  Mar.  30, '35.) 

Orchids  To  You  Jean  Muir   June 

Our  Little  Girl  539  Shirley  Temple   May 

(See  "In  the  Cutting  Room,"  Apr.  6.'35.) 

Redheads  on  Parade  John   Boles-Dixie  Lee  

Under  the  Pampas  Moon  541 ..  Warner  Baxter-KettI  Galllan  ..May 
Work  of  Art  Lew  Ayres-Ciaire  Trevor  June 


7,'35. 
I4,'35. 
I0,'35. 


i7,'35. 
3I,''35'. 


26,'35. 

21, '35. 
3.'35. 


24.'35. 
28,'35. 


TyEY  COM 


FOR  YOUR 

1935-11936 

BOX  ©FFDCi 
UNIVIRSAL 


I  f 7 


From  Parker  Morell's  nationally  adver^ 
tised  best-seller... the  life  and  times 
of  Diamond  Jim  Brady! 

with  EDWARD  ARNOLD 
EAM  ARTHUR  ^  BJNNIE  BARNES 

n  EDMUND  GRAINGER  PRODUCTION 


o 
o 
o 


THE  HUNCHBACK  OF  NOTRE  D 
"THE  HANGOVER  MURDERS 
"DIAMOND  JIM" 


WATCH  FOR  THE  OTHERS 


56 


MOTION    PICTURE  HERALD 


April    2  0,     19  3  5 


ITHC  RELEASE  CtiACT"C€NT'D) 


GB  PICTURES 


Rel. 

.Oct. 

.  Dee. 

.Dae. 

.ian. 

.Fab. 

.Nov 


Features 

Title  Star 

Chu  Chin  Chow  (G)  3401  Anna  May  Wsng-Georga  Robey 

Evensong  (A)  3406  Evelyn  Laye  

Evergreen    (A)    3405  Jessie   Matthews-Sonnia  Hal*. 

Iron  Duiie.  The  (G)  3407  George  Arliss   

Jack  Ahoy  (G)  3404  Jack  Hulbert   

Little  Friend  (A)  3403  Nova  Pilbeam-IHatheton  Lang. 

Lover  Divine  3410   1«arta   Eggerth   Mar. 

(Reviewed   under  the  title  "Unfinished  Symphony") 

Loves  of  a  Dictator  (A)  Clive  Brook-Madeleine  Carroll ..  .Apr. 

Man  Who  Knew  Toe  Much,  The 

(G)  3415   Peter  Lorra-Nova  Pllbeam  Apr. 

Man  of  Aran  (A)  3413  Robert  Flaherty   Dte. 

My  Heart  Is  Calling  (G)  3409.  Jan  Kiepura   May 

My  Song  for  You  3414  Jan  Kiepura    June 

Pswar  (A)   3402  Conrad  Veldt-Banlta  Hume  Nov. 

Princess  Charming  3408  Evelyn  Laye-Henry  Wlleoxen  Jan. 

INVINCIBLE  PICTURES 

[Distributed  through  Chesterfield] 


Running  Time 
Date      Minutes  Reviewed 

IS   95  Sept.  21 

15  82  Na«.  8 

31  98  June  23 

■35  90....  Dae.  22 

8,'35  70.  Feb.  I8,'35 

18  88.... Oat.  M 

30,'35...  Oet  II 

l,'35  95.  Feb.  II.'SJ 

I5,'35         80  Dee.  2t 

 77      Oet.  27 

l,'35  90.  Fab.  2,'35 

i,'35  Nev.  19 

I   103.... Oet  II 

'35  81  


Features 

Title  Star 

Ghost   Walks,   The  John  Miljan-June  Collyer  Dee. 

One  In  a  Million  (G)  Dorothy  Wilson-C.  SUrratt  Sept, 

Port  of  Lost  Dreams  (G)  Wm.  Boyd-Lola  Lane   .Oct. 

Public  Opinion   Lois  Wilson-Shirley  Grey  Mar. 

Symphony  for  Living  Evelyn  Brent-AI  Shean  Jan. 

Coming  Attractions 

Death  from  a  Distance  Russell   Hopton-Lola  Lane  

Room  and  Board   


Running  Time 


Rel.  Date      Minutes  Reviewed 

I  

IS  66....Na«. 

IS  68  Nav. 

I5,'3S  66  

20.'3J  75  


14 

t4 


LIBERTY  PICTURES 


Running  Time 
Rel.  Date      Minutes  Reviewed 
.Oct.     8  70  July  21 


Features 

Title  Star 
No  Ransom  (A)  1004  Leila  Hyams-Philllps  Holnet 

Once   to    Every   Bachelor    (A)  _  „  i), 

1005  Marian  Nixon-Nell  Hamilton. .  -  pee.   „  „•.,.  %  •« 

School  For  Girls  (A)  1007  Sidney  Fpx-Paul  Kelly  Feb.    19.  35  73.M«j.  9,35 

sweepstake  Annie  (G)  Marian  Nixon-Tom  Brown  Mar.     5,35  81. Feb.   23,  « 

Two  Heads  on  a  Pillow  (A)   

1006   Neil  Harallton-Mlrlam  Jordan. ..  .Oct. 

When  strangers  Meat  1002. ...  Richard  Cromweil-Arllna  Judge.  .  .July 
Without  Children  1008  M.  Churchill-Bruce  Cabot  Apr. 

Coming  Attractions   

DIzry  Dames   M.  Rambeau-Florino  McKlnney  . .  May 

I'll  Bet  You   H.  B.  Warner-Onslow  Stevens  

Old  Homestead,  The   Mary  Carlisle-Lawrence  Gray  


2.... 
20.... 
15,'35. 

I, '35. 


.71 . 
.74. 


..Oet. 


13 


MAJESTIC 

Vt>nttirp<t  Running  Time 

Title  star  Rel.  Date      Minutes  Reviewed 

Night  Alarm   (G)   505  Bruce  Cabot-Judlth  Allan-H.  B.    (New  York) 

Warner  -  Fuzzy  Knight  Dee.  15  ■•• 

Perfect  Clue,  The  (G)  512  David  Manners-Dorothy  LIbalre. .Mar.  10.35 

She  Had  to  Choose  (G)  504. ..Larry  "Buster"  Crabba  -  Isabel 

Jewell  -  Sally  Blane  Sept.  14... 


.65.. 
•63.. 


.65. 


..Sept.  22 
..Ota.  I 

:.Aua.  II 


Coming  Attractions  ... 

Motive  for  Revenge  (G)  Donald  Cook-Irene  Kervey...   65. Mar.  30,35 

Mutiny  Ahead   Neil  Hamilton- Kathleen  Burke    

(See  "In  the  Cutting  Room."  Jan.  26.'35.) 


MASCOT  PICTURES 


Features 

Title  Star 
Behind  the  Green  Lights  (Q).. Norman   Foster- Judith  Allen. 


Marines  Are  ComVng.'  fhe William  Haines-Armlda 


Running  Time 


Coming  Attractions 


METRO-GOLDNATfN-MAYER 


Rel.  Date 

Minutes 

Mar.  ll.'35. 

...  .70. r 

Oet.      1 . . . . 

....67.. 

.Nov.  15.... 

...63. 

.Dec.  14.... 

....72. 

June  13  

..  68. 

; Nov.  "26'.!!'. 

76; 

.Sept.  2.... 

..  .68.. 

..May  l,'35, 

.  .Oct.  6 
..Nov.  24 
. .  Dee.  22 


.  Daa. 
.8a»L 


11 
■ 


21 . 
21 . 


4. '35    84. 

I$.'SS  84. 


I8,'35. 


28. 
14. 


Features 

Title  Star 

After  Office  Hours  (G)  C.   Bennett-Clark  Gable  Feb. 

Babes  in  Toyland  (G)  Laurel  and  Hardy-C.  Henry  Nov. 

Baby  Face  Harrington  (G)  Charles  Butterworth  ....  ....Apr. 

Barretts  of  Wimpole  Street  (A). Norma  Shearer-Charles  Laugh- 

ton-FredrIc   March   Sept. 

Band  Plays  On,  The  (G)  Robt.  Young-Betty  Furness  Dec. 

Biography  of  a  Bachelor 
Girl  (A)   R.  Montgomery-Ann  Harding. ..  .Jan. 

Casino  Murder  Case  Paul  Lukas   Mar. 

(See   "In   the   Cutting   Room,"    Feb.  I6,'35.) 

David  Copperfleld  (G)   Frank  Lawton  -  Freddie  Bar- 
tholomew -  W.  C.    Fields  -  L. 
Barrymore-Edna  M.   Oliver. ..  .Jan. 

Evelyn  Prentice   (A)  William  Powell-Myrna  Ley  Nov. 

Forsaking  All  Others  (A)  Joan  Crawford  -  Clark  Gable  - 

Robert  Montgomery   Dee. 

Gay  Bride,  The   (A)  Carole  Lombard-Chester  Morris.  ..  Dee. 

Have  a  Heart  (G)   Jean  Parker  -  James  Dunn  • 

Stuart  Erwin  -  Una  Merkel.. 

Merry  Widow,  The  (A)   Maurice  Chevaller-J.  MacOonald 

Naughty  Marietta  (G)   J.  MacDonaid-Nelson  Eddy  

Night  is  Young,  The  (G)  Ramon  Novorro- Evelyn  Laye... 

One  New  York  Night  Franchot  Tone-Una   Merkel  Apr. 

(Sea  "Mystery  In  Room  309"  "In  the  Cutting  Room,"  Mar. 

Painted  Veil,  The  (A)  Greta  Garbo-Herbert  Marshall- 

Georoe  Brent   Nov. 

Reckless  (A)   Jean  Harlow-Wm.  Powell   Apr. 

Sequoia  (Q)   Jean  Parker-Russell  Hardla  Feb. 

Shadow  of  Doubt  (6)   RIcardo  Cortez- Virginia  Bruca...Feb. 

Society  Doctor   Chester  Morrls-V.   Bruce  Jan. 

(Reviewed  under  the  title  "Only  8  Hours") 

Times  Square  Lady  (G)  Robert  Taylor- Virginia  Bruce  Mar. 

Vanessa:  Her  Love  Story  (A). .Helen  Haves-Rohert  Montgomery.  .Mar. 

West  Point  of  the  Air  (G)  Wallace  Beery-Robert  Young  Mar. 

What  Every  Woman  Knows  (G) .  Helen  Hayes-Brian  Aherne  Oct. 

WIeked  Woman  (A)   Mady  Christians-Chas.  Bickford  . .  Dee. 

Winning  Ticket,  The  (0)  Leo  Carrllio-L.  Fazenda  Feb. 

Coming  Attractions 

Age  of  Iiidlscratlan  May  Robson-Madge  Evant  May     3, '35. 

(See  "In  the  Cutting  Room,"  Mar.  30,'35.) 

Anna  Karenlna   Greta  Garbo-Fredrlc  March  

China  Seas   Wallace  Beery-Clark  Gable  

Flame  Within,  The  Ann   Harding-Herbert   Marshall .. May  17.35. 

Garden  of  Allah,  The  Joan  Crawford   


Running  Time 
Rel.  Date      Minutes  Reviewed 
22,'35...    73.  Feb.  IS.'SS 
30      ...    7q       Nev.  24 
12,'35  63  .  Mar.  30,'35 


III. 
85. 


..Aug.  4 
.  .Det.  2* 

..Oea.  2« 


.133.  Jan.  I9,'35 
.80  Nev.  3 


84. 
R2 


.  Daa. 
.Nov. 


t 

17 


.Sept. 
Nov. 
.Mar. 
.Jan. 


7  

2  

29.'S5... 
Il.'35. . . 

5.'35  

6.'35.) 

23  

I9,'35  

I, '35  


82  Oct.  27 

100  Sept.  8 

106.  Mar.  2.'SS 

«'  Dee.  29 

..71  


15, '35  75.  Feb 

25,'35  68.  Jan. 


86.  ..Nov.  10 
99. Apr.    13, '35 

72  Nov.  17 

9,'S5 
12,'35 


8,'35  69.  Mar. 


I, '35. 
22.'35. 
19.... 

7.... 

8,'35. 


2,'35 
23,'35 
I6,'25 


77.  Feb. 
•Rfl.Mar. 
.92... Oct.  13 
.74....  Dee.  I 
.70.  Jan.  I9.'35 


Running  Time 

Title  Star  Rel.  Date       Minutes  Reviewoii 

Mark  ot  the  Vampire  (A)  L.   Barrymore-Bela  Lugosi  Apr.    26,'35  60. Apr.  6,'35 

Masquerade   William   Powell-Myrna  Loy  

Mutiny  on  the  Bounty  Clark   Gable-Cnarles  Laughtan- 

Robert  Montgomery   

Murder  In  the  Fleet  Robert   Taylor-Jean  Parker  

No   More  Ladles  Joan  Crawford   May   31, '35  

Public  Hero  No.  i  Chester  Morris-Jean  Arthur  May   24, '35  

(See  "In  the  Cutting  Room,"  Mar.  30, '35.) 

Typee   IViala,  Lotus  Long  

Vagabond  Lady   Robert  Young-Evelyn  Venable. . . .  May  I0,'35  

(See  "In  the  Cutting  Room,"   Mar.   16, '35.) 


MONOGRAM  PICTURES  CORPORATION 


Features 

Title 

Flirting  With  Danger  (G)  3023 
Girl   of  the  Limberlost  (G) 

3001   

Girl  0'  My  Dreams  (Q)  3015. 

Great  God  Gold  (A)   

Happy  Landing  (G)  3029  

Lawless  Frontier  (G)  3035  

Lost  in  the  Stratosphere  (G) 

3020   

Million  Dollar  Baby  (G)  

Monte  Carlo  Nights  (A)  2024.. 
Mysterious    Mr.    Wong,  The 

(A)  3022   

'Neath  Arizona  Sklat  (G)  3032 

Nut  Farm,  The  (G)  

Rainbow  Valley  (G)  

Reckless  Romeos  (G)  3019.... 

Redhead   (A)  3012  

Sing  Sing  NIghti  (A)  

Star  Packer,  The  2041  

Successful  Failure,  A  (G)  3024 


Texas  Terror   

Tomorrow's  Youth  3021 . 


Running  Time 

Star  Rel.  Date  Minutes  Reviewed 
Robert  Armstrong-Marion  Bums..  Dec.     I   70  Nov.  17 


Marian  Marsh-Ralph  Morgan  Oct.     15   86. 

Mary  Carllsle-Creighton  Ckaney..Nov.  17     ...  85. 

Sidney  Blackmer-Gloria  Shea  Apr.  IS.'SS...  .72. 

Ray  Walker-Jacqueline  Wells  Sept.     I  63. 

John  Wayne-Sheila  Terry  Nov.    22    54. 


Trail  Beyond,  The  (G)  3031 
Women  Must  Dress  (G)  


June  Collyer-Wllllam  Cagney 
Arllne  Judge  •  Ray  Walker  • 

Jimmy  Fay   Jan. 

Mary  Brian-John  Darrow  May 

Bela  Lugosl-Wallace  Ford  Jan. 

John  Wayne-Sbeila  Terry  Dee. 

Wallace  Ford   Mar. 

John   Wayne-Lucille   Brown  Mar. 

Robt.  Armstrong-Wm.  Cagney  

Bruce  Cabot-Grace  Bradley  Nov. 

Conway  Tearle-Mary  Doran  Dee. 

John  Wayne-Verna  Hlliia  July 

Wm.   Collier,  St.  -  Lucille 

Gieason   Oct. 

Jehn  Wayne   Fab. 

Dickie  Moore  -  Martha  Slaepar  - 

John  Miljan-Gloria  Shea  Sept. 

John  Wayne-Verna  Hlllle  Oct. 

Minna  Gombell-Gavin  Gordon  Fab. 


Nov.    15  .64. 


I5,'35...  65 
20  82 


. .  .Sapt.  I 
...Nn.  II 
Mar.  9.'3S 
...Aoi.  4 
Fab.  2.'ll 

...Oet.  n 

...  Dm.  M 


2S,'35...  68. 

S   52 

2S.'35...  6S. 
15/35  52. 


Ju.  Il,'ll 
..D«a.  II 
Fab.  •.'H 
Mar.  II,'U 


I.. 
IS.. 
30.. 


76. 
60. 
.54 


...SaiL  a 
Fab.  t.'M 


IS   62.... Oct. 

I,'3S  51  


IS   .83. 

22  55. 

I. '35...  .77. 


...Sa»t  n 
Jan.  21,'U 


Coming  Attractions 

Cheers  of  the  Crowd  

Dawn   Rider,  The  John  Wayne-Marion  Burns   

Desert  Trail   John  Wayne-Mary  Kornman  Apr.   22.'35  54  

(See  "In  the  Cutting  Room,"  Feb.  23, '35.) 

Healer.  The  Ralph  Bellamy- Karen  Morlay  

(See  "In  the  Cutting   Room,"  Ajr.   13, '35.) 

Honeymoon  Limited  Neil   Hamilton-Irene  Hervey    

Hoosier  Scholmaster,  The  (G)  .Charlotte  Henry-Norman  Foster.. May    i5,'35  '75. Apr.    13, '35 

Keeper  ot  the  Bees,  The  Neil   Hamilton-Betty  Furness  

Mystery  Man  (G)  Robert  Armstrong   Apr.   2S,'3S...  .62. Fab.  11,'SI 

Paradise  Ranch   John   Wayne-Marion  Burns  

PARAMOUNT 

Features 

Title 

All  the  King's  Horses  (G)  3430. 

Behold  My  Wife  (A)  3419  

Car  99   (G)  3432  

College  Rhythm  (G)  3417  

Enter  Madame  (A)  3414  

Father  Brown,  Detective  (G) 
3420   


Four  Hours  To  Kill  (A)  6574 
Gilded  Lily,  The  (G)  3426  .  . 
Here  Is  My  Heart  (G)  3423.. 

Hold  'Em  Yale  (G)  5666  

Home  on  the  Range  (G)  3421. 

It's  a  Gift  (G)  3418  

LImehouse  Blues  (A)  3415  

Lives  of  a  Bengal  Lancer  (G) 

3427   

Love  in  Bloom  (G)  3434  

Mississinpi  (G)  3433  

Mrs.  Wiggs  of  the  Cabbage 

Patch   (G)  3407   


One  Hour  Late  (G)  3422  

President  Vanishes  (G)  3416., 

Private  Worlds  (A)  3435  

Pursuit  of  Happiness,  The 

(A)  3409   

Rocky  Mountain  Mystery  3428 
(See  "Vanishing  Pioneer" 
Ruggles  of  Red  Gap  (G)  3431, 


Rumba  (A)  3429  

Wings  In  the  Dark  (G)  3424. 


Star 

Mary  Ellis-Carl  Brisson  Feb. 

Sylvia  Sidney-Gene  Raymond  Dec. 

Fred  MacMurray-Ann  Sheridan. .. Mar. 

Joe  Penner-Lanny  Ross  Nov. 

Eiissa  Landl-Cary  Grant  Jan. 

Walter  Connolly-Paul  Lukas- 

Gertrude  Michael   Dee. 

Richard  Barthelmess   Apr. 

0.  Colbert-Fred  MacMurray  Jan. 

BIng  Crosby-Kitty  Carlisle  Dec. 

Patricia  Ellis-Cesar  Romero  Apr. 

iackie  Coogan-Randolph  Scott. ...  Dec. 

W.  C.  Fields-Baby  LeRoy  Nov. 

George  Raft-Jean  Parker  Nov. 

Gary  Cooper- Franchot  Tone  Jan. 

Joe   Morrison-Dixie  Lee  Mar. 

Bing  Crosby-Joan  Bennett  Mar. 

Pauline  Lord  -  W.  C.  Fields  - 
Zasu  Pitts  -  Kant  Taylor  - 
Evelyn  Venable   Oct. 

Joe  Morrison-Helen  Twelvetrees . .  Dee. 

Arthur  Byron-Janet  Beeeher  Jan. 

.C.  Colbert-J.  Bennett-C.  Boyer..Apr. 

Francis  Lederer-Joan  Bennett. ...  Nov. 

R.  Scott-Chas.  "Chic"  Sale  Feb. 

"In  the  Cutting  Room,"  Nov.  10.) 
Charles  Laughton-Mary-Boland- 

Charles  Ruggles-Zazu  Pitts  Mar. 

.George  Raft-Carole  Lombard  Feb. 

Cary  Grant-Myrna  Loy  Feb. 


Running  TIma 
Rel.  Date      Minutes  Reviewed 
22,'35...  *85.Fab.  23.'3S 


7. 
I, '35.. 

23  

4, '35.. 


79.  Feb.  2S.'S5 
•75  Feb.  IS.'SS 
•83  ...No*.  10 
83 ... .  Nav.  I 


21  .  . 
I9,'35. 
25.'33. 
25 

I2,'35. 
21  ..  . 
30  ... 


I8.'35 
I  5, '35 
22,'35. 


19  

14  

II. '35. 
I9.'35. 

16.  . 
8.'35. 


•'!5....Daa.  I 
•70.  Apr.  6,'35 
DO.  Jan.  S.'SS 
'6    . .  Dae.  t 
•65.  Mar.  30.'35 
3  Mar.  2,'M 
68...  Nov.  24 
66  . . .  Dec.  22 

HA  Jan.  5.'35 
•77  Mar.  9.'35 
•80.  Mar.  2,'J5 


73  ...Aug.  23 
.75.... Dee.  I 
83.     Nov.  24 

•84. Mar.  16.'35 


.72. 

.63. 


.Sept. 


8.'35. 
I5,'35. 
I, '35. 


•90  Feb.  I8.'l.'> 
•70.  Feb.  2,'35 
.75.  Jan.  II.'SS 


Coming  Attractions 

College  Scandal   Ariine  Judge-Kent  Taylor  

Crusades.  The    Loretta  Young- Henry  Wllcoxon  

(See  "In  the  Cutting  Room."  Mar.  30, '35.) 
Devil  Is  a  Woman,  The  (A) . . .  Marlene   Dietrich-Cesar  Romero. .May     3.'35..    'SO  Mar.  2,35 
7167 

Glass  Key,  The   Georgp   Raft   Mav    31. '35  

(See  "in  the  Cutting  Room,"  Mar.  30,'35.) 
Coin'  to  Town  Mae  West    Mav  17,35   

(See  "How  Am  I  Doin'?"  "In  the  Cutting  Room,"  Feb.  23. '35.) 

McFartrten's  Flats  (G)  Betty  Furness- Richard  Cromwell    Apr.    22,  35....  67  Mar.  9.15 

Men   Without   Names  Fred  MacMurray   

Milky  Way.  The  Harold  Lloyd-Adolphe  Menjou    

Once  In  a  Blue  Moon  3425  I.  Savo-Mlchael  Dalmatoff  May  10,35  

Paris   In   Spring  Tulllo  Carminatl-Mary  Ellis  

(See   "In  the  Ciittino  Room.*^  Feb.  23. '35.)  .         .  ,„ 

People  Will  Talk   (G)   59ll...Chas.  Ruggles-Mary  Boland  May    24,35         68. Apr.  6,35 

S'-oundrel.  The   Noel  Coward-Julie  Haydon  Apr.    26,  35  

So  Red  the  Rose  Margaret  Sullavan-Fred  Stone- 
Pauline   Lord   ;..  

Stolen    Harmony   Georoe    Raft-Ben    Bernie  Apr.    26.  35  

(See  "In  the  Cutting  Room,"  Feb.  2,'35.) 

PRINCIPAL 

Features  Running  TIma 

Title  Star  Rel   Date      Minutes  Bavlewed 

Little  Damozel  722   Anna  Neaqle-James  Ronnie    ....June    II   39   

Peek's  Bad  Boy  (G)  Jackie  Coooer-Thomas  Melqhan- 

510  Dorothy  Peterson -Jackie  SearL.Oct.     19  69  Sept.  8 

Return  of   Chandu,  The                                                            ^  ^  . 

300-312    Bela  Luqosl-Maria  Alba  Oet.      I  65  


\n  +he  Sjpnnq  +lie  public's 
fancy  I'c^Uly  hms  +o  louqliS 

And  there's  laughter  aplenty. ..as  nine  super 
laugh-makers  mix  it  up  .  .  .  with  a  tiger 
on  the  loose,  a  honeymoon  on  the 
rocks,  a  troubadour  off  his  nut! 


Tome 


Produced  by  Robert  T.  Kane 

Directed  by  Clyde  Bruckman.  Screen 
play  by  Patterson  McNutt  and 
H.  W.  Hanemann.  From  the  play 
"Man  Eating  Tiger"  by  Ben  Hecht 
and  Rose  Caylor. 


LEW  AYRES  •  CLAIRE  TREVOR 
WALTER  KING 

ZASU  PITTS  •  JACK  HALEY 

TALA  BIRELL  •  SIEGFRIED  RUMANN 
MITCHELL  &  DURANT 


0^ 


58 


MOTION    PICTURE  HERALD 


April    20,  1935 


CTHE  RELEASE  CHART—CONT'D) 


RKO  RADIO  PICTURES 

Features 

Titu  Star 
AIM  •!  arM  «•«••  (8)  507.  Ann.  8hlrl.y.T.i.  Brjjj 


..JupM  Bariw-HtiM  Wntlty... 
..Malvyn  Deuilai-Vlrilnia  Brma- 

Caand  Natal   ■■■■ 

..Frankia  Thamai-Halaa  Parrlih. 
..Ana  Hardint-Frank  Martu... 

..Frad  Aitalra-Qlaiar  Rater*  

..Adrlanna  Anat-Ralah  Ballaaiy. 
..May  RebtsB-Hala  Haalltan.... 
.  Eddia  Qulllan-Batty  Furaau... 


Captala  H«n1a«M  (B).^-- 
Daataraai  Camar  (A)  SH.. 

Dai  af  Flaadart  (G)  

Eaahantad  A»rll,  Tfca  (A).- 
Bay  Dliaraaa,  TIm  (•)  SOS. 

aitalatta   

Graad  Old  Girl  (G)  Sit.... 

Gridlraa  Flaali  (G)  811  ""•V"".":,T'r'"o'».'.-  

Laddia  (6)   J»h»  Baal-Glarla  Stuart  

LliMalat  Strlkaa  TvUa  (G) 


Runnint  Tl«a 
Rel.  Data      MInutat  Ravlawed 

..Ha».  2S  

..Mar.    I.'SS  72.Fafc.  II.'M 


St7   

LIttIa  MiRlttar  (B)  SI2...... 

■iirdar  aa  a  Haaayaaa*  (G). 
Paatle'a  Eaaay   

Rad  Marnlaa  515 


Baa  Lyan-Pert  Kalta*  

Katbarlna  HapburaOalNi  Baal.. 
Edna  May  Ollvar-J.  Glaaioa.. 
Prattan  Fattar-Malvyn  Oautlai. 
Stan  Duna-Ratia  Taaaiay. 


(Sia  '"SlrVaf  ■  Yha  Itlaiida/""  ln"tha  'cittlBi  R^wj. 

(fl)   Ir«ne  Dunn*  -  Frad  Analra  ■ 

Gintar  Raiar*   

Rananta  la  Manhattaa  <«)  6li.  FrantU  Ladew-Glntar  Rajert. 
Sllvar  Straak.  Tka  <G)  SIS....  Sally  Blana-Chartaa  Stagatt... 

Star  of  Midnltht  (G>   ...Wllllaai  Pawell-Glntar  Ratart 

W%  al "hi  P«aa  (G)  511....  Rlahard  Dlx-Miirth.  8laa»ar. . 
Waman  In  tka  Dark  (G)  Fay  Wr«y-Ral»h  Ballany  


Coming  Attraetioiu 


..Oct. 
..Mar. 
..Fab. 
..Oet. 
. .  Fab. 
..Jan. 
..Oat 
.  .Apr. 

..Daa. 
..Da*. 
..Fab. 
..Mar. 
Da*. 


Sept.  21.) 


5.... 
22.'35.. 

I, '35. 

It  

I5.'35. 
I8.'35. 
2t  

S.'35.. 

7  

28.... 
22.'SS. 

I5.'3S.. 
14.... 


.Mar. 

.Jan. 
.Dec. 
.A»r. 
.Jan. 
.Nnv. 


•.'85.. 

Il.'35.. 

21  

I9,'3S.. 

4/35.. 

9  


...67.  Jan.  lt.'S» 
•72.  Mar.  L'SB 

..•78  Daa.  IB 

.•  107.... Oat.  IS 

:::72!jan.""ii'i5 

.    84  Ian.  ta.'SS 

,  691/2-Mar.  9,'35 

...88.  Mar.  2.'S5 
..MO....  Daa.  21 
.  7^1/t.Fab. 

,  . .70  

.  ..OS  


l05>/.Fak.  m.'u 
..78....  Dae.  1 
.72.  Daa.  • 
.90. Apr.  6,'35 
..«9.Jatt.  5,-35 
..70  Da*.  8 


B*eky  Shart    Miriam  Haiklat   

(See  "In  the  Cuttint  Ream,"  Mar.  9,'35.) 
Braak^  Haarti  K.  Hetbum-Charla*  Bayar  

(See  "In  the  Cutting  Reeiii,"  Apr.  6,'35.) 

Chasing  Yesterday  (G)   V " " c-iil^   *' 

Haeray  far  Lava  Gene  Raymand-Ann  Satnam  

(See  "In  the  Cutting  Room,"  Apr.  I3,'35.) 
lafaraiar,  Tb*   v.  McLaglen-Maraot  Grahame  

(See  "In  the  Cutting  Reem."  Mar.  I6,'35.j 
Nitwits,  The   Wheeler  and  Waelsey  

(See  "In  the  Cuttint  Ream.'"  Mar.  30,'35.) 

Peacemalter,  The   Richard  Dix-Margot  Grahame   

Sht   Helen  Gahafan-Randolpb  Seatt. 

Strangers  All  (G)   May  Rebsen  • 

Top  Hat   Fred  Astaire-Ginger  Rogers... 

Village  Tale   Randelph  Scott-Kay  Jahntan... 

(S*e  "In  the  Cuttint  Roam,"  Mar.  2,'35.) 


I0,'35  *B0.Apr.  6,'35 


.  .Apr. 
.'.May 


26,'35. 
"  3,' 35! 


•70.  Mar.  30,'35 


STATE  RIGHTS 

Features 

TItta 

Are  Yau  ■  MatanT  (A)... 

Calllnt  All  Cart  (G)  

Cawboy  Hallday  (G)..  . 
Cyclone  Ranger,  The  (G). 

Daalan  In  Death  (A)  

LIf*  In  tha  Conga  (G)  

Last  City,  The  (G)  

Layaltlet   

Man  at  Caurata  (G)  

Norah  O'Neala   

Maryjka   

Sangen  Till  Heine  (G)... 

TIeket  to  a  Crima  (G)  

War  Is  a  Racket  (A).... 
Wsman  Cendamned   


Star 

Sonnie  Hale   

Jack  LaRua  

Big  Boy  Williams. 

.  Bill  Cody   


Dltt'r 

..M.  J.  Kandal  , 

..Empire  Fllma  Jan 

..Syndicate   J«n 

..Spectrum  Pictures 


RunnI 
Rel.  Date  M 
0*t.  M 


.Wm.  Boyd  •  Claudia 

Dell   

.Basil  Rathbana 

[testar  Mathsws 

.Ina  Benlta   

.Martin  Osman... 
.talph  Graves  ... 

[ciaudlaDeli";;; 


.Topical  Film* 
.Kln*matrada  ... 

Ratal  Pleturae. . 
..Harold  Autan  .. 
..Eureka   

; !  PrinelpaV  Fl'lia  " 
. . Scandinavian  . . . 

.. Syndicate   

..Eureka  Prad.  ... 
. .Marcy  Picture*.. 


..De«. 
..Nov. 

..Feb. 
..Oet. 
..Nov. 
..Oct. 
..Dee. 

. .  bee. 
..Dae. 
..Apr. 


25.'S5. 
I.'SS. 

■  IS.'.'.'.' 
28.... 

14,'SS. 

24.. 
12.. 
24.. 
I.. 

'is'.'. 

8.. 

4.. 


nt  Time 

Inutas  Reviewed 
..85....N*v.  3 
..87.  Jan.  28.'S5 
..57.  Jan.  ZS.'SS 
..60. Apr.  6.'35 

..68  Daa.  22 

..60  Da*.  18 

..74.  Mar.  t/SS 
..74.... Nov.  S 
,  ..95....Na*.  14 

..66  Nov.  S 

,..65  Daa.  IS 

..75. Mar.  I6,'35 

...67  Da*.  18 

.  .68....D**.  28 
.  ..68  


UNITED  ARTISTS 

Features 

Title 

Cllve  af  India  (G)  

Felles  Bertero  (G)  

Kid  Mllliom  (G)  

Last  Gentleman.  Th*  (G)  

MIthty  Barnum,  The  (0)  

Private  Life  of  Don  Juan,  Tha. 

Runaway  Quean   

Scarlet  Pimpernel,  The  (G)  

Transatlantic  Merry-Ge-Round 
(A)   

in- 

Wedding  Night,  The  (G)  

We  Live  Again  (A)  


Star 

Ronald  Colman-Loretta  Young.. 
Maurice  Chevaller-Morle  Oberon 
Eddie   Cantor  -  Ann   Sothem  • 

Ethel  Merman   

George  ArlTss   

Wallace  Beery  •  Adelpho  Men- 

Jou- Janet  Beaeher-V.  Bruce..  . 
Douglas  Fairbanks.  Sr.  •  Merle 

Oberon   

Anna  Neagle-Femand  Graavey. . 
Leslie  Howard-Merle  Oberon  

Gene   Raymond-Nancy  Carroll- 
Sydney  Howard-Jack  Benny... 

Anna  Sten-Gary  Cooper  

Anna  Sten-Fredric  March  


Running  Time 
Rel.  Date      Minutes  Reviewed 
Jan.  25,'3S....;8p.Jail.  2;,;j9 
.Feb.   22.'35....*85.Fob.  23,'8'' 


♦92.. 
.72.. 


.Oat  O 

..mm  ■• 


.»l05....Dat 


.Dee.  28.... 
.Sept  21  

.Dae.  25.... 


.Nov.  30  

.Dec.  21  

.Feb.   IS.'SS  aS.Jaa.  28,'35 


Nov.     >  92.... HM.  ir 

Mar.    8,'SS  •90.Fab.  23,'35 

Nov.    18  •83...  .Sept  28 


Coming  Attraetiona 

Brewster's  Millions  (G)  Jack  Buehanan-LIII  Damlta  May 

Call  af  the  Wild,  The  C.  Gable-Loretta  Young  May 

(Se«  "In  the  Cutting  Room."  Mar.  2.'SS.) 

Cardinal  Richelieu  (G)   George  Arliss  ..:  Apr. 

Congo  Raid   Leslie  Banks  -  Paul  Robeson  - 

Nina  Mae  MacKlnney  

Les  Miserables  (G)  Fredric  March-C.  Laughten  Apr. 

Let  'Em  Have  it  Richard  Arlen-Virginia  Bruce..  

Nell  Gwyn  (AJ  Anna  Neagie-Cedric  Hardwicke  

''hunder  In  the  East  Charles  Boyer-Merle  Oberon  May  I3,'35. 

(Reviewed  under  the  title  "The  Battle") 


20,'SS... 
8.'U... 

28,'35... 


2 1, '35. 


.78.  Apr.  I3,'35 


•80.  Mar.  30,'35 


'I  OS.  A  or.  6,'35 

.  .75.  j'uly  r4','85 
..75  Dee.  I 


UNIVERSAL 


Fmturea 

Title  Star  Rel. 

CImton  Trail,  The  (G)  8083.. Buck  Jones   Feb. 

Cirt  of  Gab  (G)  8030  Edmund  Lowe  -  Gloria  Stuart- 

Alice  White   Sept. 

Seed  Fairy,  The  (G)  8003  Margaret  Sullavan-H.   Marshall .. Feb. 

Great  Expectations  (G)  8029  .  Henry  Huli-Jane  Wyatt-Phllllps 

Holmes   Oct. 

Imitation  of  Life  (G)  7003.    .Ciaudette  Colbert-W.  William  Nov. 

It  Happened  in  New  York  (G) 

8023   Lyie  Talbot-Heather  Angel  .Mar. 

I've  Been  Around  (A)  8025  Chester  Morris   Dec. 

Man  Who  Reclaimed  Hit  Head 

(G)  8028   Claude  Rains-Joan  Bennett  Dec. 

Mystery  of  Edwin  Dreed  (G)  8024Claude  Rains-Heather  Angel  Feb. 

Night  Life  of  the  Gods  (G) 

SflOR  Alsin  Mowbrav   Mar. 

Netarloui  Gentleman.  A  8032 .. Charles  Blekford-Helen  Vinson. .  .Jan. 
One  Exciting  Adventure  (G) 

8027   Binnle   Barnes-Nell   Hamilton... Oet 


Running  Time 
Date      Minutes  Reviewed 
I8,'35  58. Mar.  IS.'SS 

24  '71. ...Soft  la 

i8,'3S  98.  Feb.  •.'SS 

22  102. ...Oet  M 

28  11 1....  Da*.  I 

I8.'35  66. Apr.  i3,'35 

31  •75. ...Da*.  2t 

24  •SO. ...Daa.  • 

4.'S5  87.  Mar.  30,'35 

ll.'35  '75.  Jan.  I2,'35 

2l.'35....*75.Jan.  ia,'35 

15  *73....0et  8 


Title  Star 

Princes*  O'Hara  (G)  8013  Jean  Parker-Cbetlar  Marrit — 

Renduvous  at  Midnight  8031.. Ralph  Bellamy   

(See  "In  the  Culling  Room."  Nov.  17.) 
Secret  of  the  Chateau  (G)  SOSl. Claire  Dedd-Clark  William*.. 

Stone  of  Silver  Creek  8084.... Buck  Jones-Noel  Francis  

Straight   fr*m   the   Heart  (A> 

8036   Mary  Aster-Roger  Pry*r-Baby 

Jane   

Strange  Wives  (G)  8020  June  Claywerth-R*8*r  Pry*r.. 

Rocky  Rhodes  (GJ  8001  Buck  Jenet-Shella  Terry  

There's  Always  Tomarraw  (A) 
8035   


Runnint  Time 
Rel.  Date      Minute*  Reviewed 
Apr.     I.'SS.. ..-80. Mar.  30.'SS 
.Feb.  ll.'ia  


.Dec.  S  ..  aa 
.Apr.   I5.'3S  62. 


.Sept.  I* 


Transient  Lady  (G)  80ia. 
Wake  Up  and  Dream  (G)  8021 .  Rust  Calumbo 
When  a  Mao  Sees  Red  (G)  8082.Buek  Jeae*  . 


Frank  Martan-Elliabath  Yatiaf 
Loi*  Wllion-Blnnia  Barn**... 

Gene  Raymend-Hanry  Hull  

June  Knitht... 


.Jan.    I4.'SS...  *68  Fob.  It.'SS 

.Da*.    10   75  . .  Dm.  a 

.S*pt  24    60  ... O**.  a 


.Sept.  10  87       Nav.  17 

.Mar.    4.'S8  72. Mar.  2S.'SS 

.0*t      1  78....0*t  N 

.N*v.    12  OO.Jaa.  2S.'Sa 


Coming  Attractions 


Alias  Mary  Dow  8011  Sally  Eilars-Ray  Milland  

(See  "in  the  Cutting  Room,"  Ayr.  I3,'35.) 
Bride  af  Fnuikan*t*ln  80U9..  dwIs  Karloll   

(See  "In  the  Cuttlna  Ream."  Fab.  IE.'35.) 
Chinatown  Squad  8017  Lyie  Talbot-Valeria  Hobsan.... 

(See  "In  the  Cutting  Room,"  Apr.  I3,'3S.) 

Diamond   Jim  Edward  Arnold-Binnle  Barnes.. 

Mister  Dynamite  (G)  8012  Edmund  Lawe-Esther  Ralston.. 

Raven,  The  8016   .  Karioff-Bela  LutatI   

(See  "in  the  Cutting  Room,"  Apr.  I3.'3S.) 

Sint  Me  a  Lave  Sent  8026  

Werewolf  of  London  8015  Henry  Hull   

(See  "In  the  Cuttint  Room,"  Mar.  30,'3S.) 


WARNER  BROS. 

Features 

Title 

Bordertown  (A)  806  

Church  Meuea  881  

Devi)  Dots  of  tha  Air  (6)  816. 

Firebird.  Tha  (A)  825  

Florentine  Datter.  Tha  828  

(See  "In  the  Cuttint  Room, 

I  Am  a  Thief  (G)  826  

NItht  at  the  RItz,  A  823  

(See  "KInt  of  the  RItz." 

Ritht  to  Live  (A)  828  

St  Louis  Kid,  Th*  (G)  817  .. 

(Reviewed  under  the  title, 

S*cret  Brid*.  Th*  (G)  811  

Sweet  Adeline  (G)  802  

Sweet  Music  (G)  805  

White  Coekatao  (G)  827  


.May  20,'35  

.Apr.  22.'3S  

.May  6.'35  


.Apr.  22.'35....*65.Apr. 
May  I6.'3S  


6.'35 


.Apr.   29.'35  75. 


Star  Rel. 

Paul  Munl-Betta  Davit  Jan. 

Laura  La  Planta  Dae. 

James  Catney-Pat  O'Brien  Fab. 

Verraa  Teasdale-Rlearda  Cortoz..Nov. 
Donald  Woods -Martaret  Lindsay.  .Mar. 
,"  Jan.  26, '35) 

Mary  Aster- Ricardo  Cortez  Nov. 

William  Garaan-Patricia  Elli*...Mar. 
"In  tha  Cutint  Raam."  Jan.  26,  35) 

Georte  Brent-J.  Hutchinson  Jan. 

James  Catnay   Nev. 

"A  Perfect  Waek-End") 

B.  SUnwyek- Warren  William  Do*. 

Ir*ne  Dunne-Donald  Woods  Do*. 

Rudy  Vallee-Ann  Dverak  Fab. 

Jean  Muir-Ricardo  Cortez  Jan. 


Runnint  Time 

Date      Minute*  R*vl*«*d 

5.'35          90.  Feb.  2.'S5 

IS  

9.'35  86.  Feb.  t.'SS 

8  '75.... Oet  IS 

S0.'35    69  

24.   84. ...Nav.  17 

23.'3S  62  

26.-35         66. Feb.  2S.'S5 

10  67.... Oet  28 

22    64.F*b.  a.'9S 

29  •82  Dm.  is 

23,-35         95.  Mar.  t.'SS 

19,-35          70. Jan.  IS.'SS 


Coming  Attractions 

Broadway  Gendellar   

Dinky 


Dick  Powell-Joan  Blondeli.. 
..Jackie  Cooper- Mary  Astor... 


(See  "In  the  Cutting  Room,"  Apr.  I3.'35.) 


 May    ll,'35. . 


Front  Page  Woman... 

Goose  and  tha  Gander  

(See  "In  the  Cutting 
Green  Cat 


...Bette  Davis-George  Brent  

...Kay  Franeis-Georgo  Brent  

Room."  Mar.  9,'3S.) 

...Betta  Davit   

Halreut   Georga  Brent-Jean  Mulr  

Irish  In  Us.  Tha  James  Catney-Pat  O'Brien  

Living  Up  To  Lizzie  Aline  MacMahoa   

Midsummer  Night'*  Dream  All  Star   

M*n«y  Man   Edw.  G.  Roblnson-Bette  Davis. 

Oil  for  the  Lamps  of  China  867.  J.   Hutchinson-Pat  O'Brien  

(See  "In  the  Cutting   Room."   Mar.  30. '35.) 

Page  Mis*  Glary  Marlon  Davies-Dick  Powell  

Present  from  Margate.  A  Kay  Francls-lan  Hunter  

Stranded   Kay  Franels-Geo.  Brent  

We're  in  the  Money  Guy  KIbbee-Zasu  Pitts  

(See  "Crashing  Society,"  "in  the  Cutting  Room,"  Apr. 

OTHER  PRODUCT  (FOREIGN) 


I3,'35.) 


Features 

Title  Star 

Abdul  the  Damned  (A)... Nils  Asther... 

Bella  Donna  (A;  Mary  Ellis  .. 

Broken  Melody.  Tha  John  Garrick- 

Marle  Oberon 

Chapayev  (AT   

Cornflower   

(Hungarian  Dlalaaua) 
Czar  Wantc  ta  Slaap  (A) 

Dandy  Dick  (G)   

Death  at  Broadeastlna 

Houoa   

Dirty  Work  (G)  


.  -  Irene  Agal  . 

..M.  Yanshin 
..Will  Hay  .. 


DIsl'r 

. .  .Gaumont-British. 
. . .  Gaumont-Brltlth  

...Olympic  Pictures.  .Oct. 

. ..Amkin*   Jan. 

. ..Danubia  Pictures.  .Jan. 


Runnint  Time 
Rel   Date      Minutes  Revi«w«« 


.95. Apr. 
85. J. 


I3.'35 
5. '85 


. ..Amklna   

...Assoc.  British. 


. .  Dec. 


30  68..    Dm.  I 

I2.'35.  .95. Jan.  2a,'8S 

I  I.'SS... 80  

8....  88. ...Dm.  22 
 70. Mar.  I6.'3a 


Ian  Hunter   ABFD  Britlth  OO.Jaa.  iC'll 

  .  .  Ralph  Lynn   Gaumont-Brltlth   80. Jan.  2f,'SS 

Forbidden  Tarrltary.  Tha.  Gregory  Ratoff   Gauraont-Britlsh  87  Nav.  t4 

Doetor't  Orders   Leslie  Fuller   British  Int'l   75. Jan.  S,'U 

Everything  for  tha  Women. Tiber  Von   Halmay. Danubia  Pictures- .Oct    10  84  

(Hungarian  Dlalagua) 

Father  Knows  Best  Bzoke  Szakall  Danubia  Pictures.  .Jan.    I8.'S5.  ..80  

(Hungarian  DIalogua) 

House  of  Graad   V.  Gardin   Amklna   Aug.    II  74  

In  a  Monastery  Garden  (A). John  Stuart  R  &.  S  Mar.   12. '35..  .77. Mar. 

it's  a  Bet  (G)  Gene  Gerrard- 

Helen   Chandler. .  .British  Int'l  80. Mar. 

La  Crise  Est'  Finle  (G).. .Albert  Prejean  European   Films.. .Mar.   i2,'35. .  .81 . Mar. 

Lady  In  Danter  (A)  Tom  Walls   Gaumont-Brltlsh  63  Dee.  29 

Lorna  Doone  (G)  John  Loder   ABFD   British  80. Feb.  2.'3S 

Madame  Bovary  (A)  Pierre  Reneir   John   Taparneux. . .Nov.    17....  100  Dm.  8 

Marionettes   L.  Leonldeff   Amkino   May     5  83  

Miracles   V.  Gardin   Amkino   Oet     IS  68  

Morals  of  Marcus,  The  (G).Lupe  Velez- 

lan  Hunter   Gaumont-British  75. Apr. 

OhI   Daddy   (G)  Leslie  Hensen   Gaumont-British  75. Mar. 

Old  Curiosity  Shop  Elaine  Benson   Assoe.  British  85. Feb. 

One  Night   Ingert  Bluggren   Scandinavian   SO.  Fob. 

Phantom  Light,  The  (G). .Gordon  Harker   Gaumont-Brltlsh  75. Feb. 

Radio  Parade  af  I9S5  Will  Hay  -  Helen 

Chandler   Assoc.  British   .65. Jan. 

Rakoczi  March   Paul  Javor   Danubia  Pictures ..  Nov.    12  89  

Rakeczy  Marsch   

(Hungarian  Dialogue)      Gustav  Froehlleh- 

(German   dialogue)         Camilla   Horn   Danubia  Pictures.. Mar.     I.'35.  ..82  

Shepherdess'  Sweetheart  ..(Greek  Feature)   ...Frank  Norton  ....Feb.  I7,'35..II8  

Soviet  Russia  Today  (G)  Amkino   Mar.    3,'35...  .67.Mar.  IS.'SS 

Such  Is  Life  (Greek  Feature)   ...Frank  Norton  ....Jan.  I9,'35..II9  

Strictly  illegal   (G)  Leslie  Fuller   Gaumont-British  70. Mar.  I6.'35 

Ta  GalazIa  Keria  (Greek  Feature)   ...Frank  Norton  ....Oct    IS  85  

Ten  Minute  Alibi  (A)  Phillips  Holmes   ...British  Lion  80. Feb.  a.'SS 

Three  Songs  About  Lonin  Amkino   Nov.     8  64  No*.  17 

They  Are  Looking  Up  (G).  Cicely  Courtneidge  .Gaumont-Brltlsh  100. Feb.  a.'SS 

Triumph  of  Sherlock  Hoimet 

The  (A)   Arthur  Wentner   Gaumont-Brltlsh  87.  Mar.  9,'35 

Victor  and  Victoria  (G)...Renate  Mueller   Ufa   Jan.    26.'35. . .84.Fab.  2.'S5 

Wandering  Jew.  The  (A).. Conrad    Veldt  Olympic  Pictures  83. Jan.  IS.'SS 


30,'35 

I6.'35 

30,'3'i 


I3,'35 

2.'SS 
8.'SS 

a.'SS 

IX.'SS 


vK.t         ^  \^•' 
^^^^^^  ""the*  ::; 


Do  what  the  greatest 
theatre  in  the  West 
did  at  the  World 
Premiere  of  "8  Bells"! 
Send  attendance 
figures  soaring 
with  Columbia's 
newest  star!  She's 
got  what  it  takes 
to  bring  'em  in 
and  send  'em  out 
raving!  Get  be- 
hind this  box- 
office  belle  with 
everything 
you've  got ! 


60 


MOTION    PICTURE  HERALD 


April    20,  1935 


(THE  RELEASE  CHACT— CCNT'D) 


SHORT 
riLMS 

[All  dates  are  1934  unless 
otherwise  stated"] 

CELEBRITY  PROD'TIONS 


Title 

COMICOLOR  CARTOONS 

Juk  and  the  Beanstalk  

Tha  Little  Red  Hen  

The  Brave  Tin  Soldier  

Putt  In  BMt*  

The  Queen  if  Heart*.... 

Aladdin   

The  Headiest  Horseman.. 

The  Valiant  Tailor  

Don  Quixot*   

Jack  Frost  

Little  Black  Sambo  

Bremen  Town  Musicians. 

Old  M#ther  Hubbard  

Mary's  Little  Lamb  


Ral.  Date  MIn. 

Jan.    2  8.... 

Feb.  16  7  

Apr.    7  7  

May  17  1  rl.. 

June  25  7  

Aug.  10  7  

I  I  rl . . 

29  1  rl.. 

28  S.... 

24  8.... 

«.'SS..I  ri.. 
S,'35..l  rl.. 
3,'3S..I  ri.. 
I,'35..l  ri.. 


Oct. 
Oct. 
Nov. 
Dec. 
Feb. 
Mar. 
Apr. 
May 


COLUMBIA 

Title                                 Otit  MIn. 
BROADWAY  COMEDIES 
Gum  Shoes   Mar.  1,35.21  

HU*BridS' Sweet   Mar.  I5,'35.20. . . . 

Harry  Langden  „ 
His  Old  Flame  Jan.  25.'35.»». . . . 

Charlie  Murray 
Horse  Collars   Jan.  10/35.20.... 

(3  Stooges)  . 
Cm  a  Father  Feb.  7,'35.20.... 

Andy  Clyde  „ 
In  the  Dog  House  Dim.    I  20  

Andy  Clyde 

Leather   Necker,  The  

Harry  Langdon 
Old  Sawbones   Apr.  II,  35. ZD  

Andy  Clyde  „ 
One  Too  Many  Dee.  28.... 20.... 

Leon  Errol  „  .„ 

Perfectly  Mismated   Nov.  29.... 20.... 

Leon  Errol  „  ,_. 

Pop  Goes  the  Easel  Mar.  29,'35.20. . . . 

(3  Stooges)  »n -is  lai/ 

Restless  Knights   Feb.  20,  35. l8'/i . . 

(3  Stooges)  „      o«  m 

Shivers   D".  24.... 28.... 

Harry  Langdon  _  .  «« 
Three  Little  Pigskins  Dee.  8....a8  

{3  Stooges) 

Uncivil  Warriors   

(3  Stooges) 

COLOR  RHAPSODIES 
1934-35 

A  Cat,  a  Bell  and  Meuse  

Babes  at  Sea  Dec.  12  7.... 

Holiday  Land   Nov.    9. ....7  

Make  Believe  Revue,  The.  .  Mar. 22.'3B. .7  

Shoemaker  and  the  Elves... Jan.  20.'39..8  

KRAZY  KAT  KART00N8 

4.  Birdman   Feb.  I.'SS../  

5.  Hotcha  Melody   Mar.  15.'35. .7... . 

6.  King's  Jester   ^  

7.  Garden  Gaities   

8.  Peace  Conference,  The  

LAUGHING  WITH 

MEDBURY   

"34-35  „  „ 

Among  the  Caceons  Nov.    9  18  

At  a  County  Fair  Dee.    7....  18  

Medbury  in  Hollywood  Jan.  II,'35.I8  

In  the  Old  Days  Mar.  22,' 35. 1 8  

LIFE'S  LAST  LAUGHS 
1934-35 

No.    2—  Oct.    12. ...10.... 

No.    3 —  Nov.    9  18  

Na.  4 —  Dec.  12  18.... 

No.    5—  Jan.  4,'35.I8.... 

No.  6 —  Feb.    I, '35. 18  

SCRAPPY  CARTOONS 

1 934-35 

Gloom  Chasers,  Tha  Jan.  I8,'35..7  

Happy  Butterfly   Deo.  20  7  

Caneert  Kid   Nov.    2  7.... 

Gold  Getters   Mar.  I,'35..7  

Graduation  Exercises   Apr.  I2,'35..7.... 

SCREEN  SNAPSHOTS 

Na.    1—  Sept.29....l8"/j., 

No.    2—  Oct.  26....I0^. 

No.    3—  Nov.  23  lO'/S. 

Na.  4 —  Dec.  21  lO'/j., 

No.  5 —  Jan.  I8,'35.I0  

Na.    6—  Feb.  22,'35.I0... 

No.    7  ...Mar.  I5,'35.  lO'/s. 

Na.   8—  Apr.  I2,'35.I0... 

SPICE  OF  LIFE 
1934.35 

Na.    2—  Sept.29  10... 

Na.    3—  Doe.  13  10... 

No.  4 —  Dec.  31  10... 

Ne.    5—  Jan.  20,'35.I0... 

No.   8—  Mar.  I,'3S.I0... 

WORLD  OF  SPORT 

(1934-35) 

Air  Thrills   Mar.  I,'35.I0... 

Flying  Pigskins  Nov.    9....  10... 

Hold   That   Shark  Mar.  29,'35. 10. .. 

Good  Golfers  Start  Young. .  .Sept. 20  10... 

Pardon  My  Grip  Feb.    I. '35. 10... 

Polo    Thrills   Oct.   12  10... 

Thrill  Flashes   Dec.  12  10... 

When  Men  Flfht  Jan.    4, '35. 10... 


DU  WORLD  PICTURES 


Rel.  Date 


MIn. 


Title 

QUEST   OF  PERFECT 
WOMAN  SERIES 
(TOM  TERRIS) 

1.  Veiled  Dancer  of  Eloued.JuIy  15  18.. 

2.  Vampire  of  Marrakesh. ..Aug    I  9.. 


Title  Ral.  Data  MIn. 

SEMI-FEATURES 
AND  SHORTS 

Bride  of  Samoa  Mar.    I  26  

Chump   Nov.    I  15  

Frankie  and  Johnny  Oct.     I  8  

Charles  Laughten 

Mire  Unga   Aug.  15  9  

Prisoner   Sept.  15  18  

Retribution  of  Clyde  Bar- 
row and  Bonnie  Parker ...  July  10  20  

Stars  In  the  Making  Oct.     I  17  

Frank  Albertson 

Swerd  of  the  Arab  Sept.  15. . .  .28. . . . 

Duncan  Renaldo 
Yokel  Dog  M  .kos  Good  Sept.  1  18  

EDUCATIONAL 

[Distributed  through  Pox  Pilms] 


Ral.  Data 


MIn. 


..22.... 
..20.... 
.21. 


14... 


18. 

18. 


....21.... 

 IB.... 

2  IS  

l,'35.2l.... 


12. 


19. 


Title 
BING  CROSBY 
SPECIALS 

1 —  I  Surrender  Dear  Aug.  3.. 

2 —  One    More    Cbanca  Aug.  31.. 

3—  Billboard    Girl   Oct.  5.. 

4 —  Dream    House   Sept.  28  19  

CORONET  COMEDIES 

An  Ear  for  Music  Mar.  8,'35.I8  

Easy  Money   Feb.   8,'35.I8  . 

Grooms  In  Glooms  May  I0,'35.  .2  rls. 

Rural    Romaos   Nov.  16  20  

Seoond   Hand   Husband  Oct.  26  1 

Super-Stupid   Sept 

Two  Lame  Ducks..  Nov.  30. 

FROLICS  OF  YffUTH 

Boosting  Dad    Doe.  21 

Campus  Hoofer,  Tha  Nov,  * 

Educating  Papa   Nov. 

Little  Big  Top,  The  Feb. 

MARRIAGE  WOWS 

SERIES 

Domestle  Bllss-Ters   Oct. 

Dumb  Luck   Jan.  18. '35. 17.. 

How  Am  I  Doing?  Jan.  4,'35.20  

MUSICAL  COMEDIES 

Big  Business    Dee.    7  19  

Girl  from  Paradise,  Tha.... Nov.  23.... 21.... 
Good  Luck— Best  Wishes. .  Aug.  24. .  .  .21 ... . 

Hail    Brother   Mar.  22,'35. 19. . . . 

Nifty  Nurses    Oct.   19.... 20.... 

She's  My  Lilly    Sept.  7.... 22.... 

SONG    HIT  STORIES 

Bounding  Main,  Tha   Nov.  16. ...10.... 

Fireman's  Day  Off   Apr.  I2,'35. .  1  rl . 

Gay  Old  Days  Jan.  4.'35.I0  

House  Where  I  Was  Born, 

The    Oct.  26  10  

Mountain   Melody   .Aug.  31  10... 

Old  Camp  Ground,  The         Mar.  I5.'35..9  . 

Song  Plugger    Jan.  IB,  35.. 9... 

Time  on  Their  Hands          Sept.  14. . . .  1 1 . . . 

Way  Down  Yonder   Dec.    7  II... 

STAR  PERSONALITY 

COMEDIES 

A    Nose   for    No<!rs   Apr.  •5.'35. 17 . . . 

Dame  Shy   May  31, '35..  2  rls 

Hayseed  Romance    Mar.  I5.'35.20  . 

Mr.  Widget    Jan.  25,'35.2I  .. 

Object   Not   Matrimony....  Mar.   I. '35. 18... 

One. Run  Elmer   Feb.  22,'35. 19. . 

Only  the  Brave  Apr.  I9,'35..2rls 

palooka  From  Paducah  Jan.  Il.'35.20. 

Tars  and  Stripes  .May  3.'35..2rls 

TERRY-TOONS 

Blaek  Sheep,  The   Oct.    5  8... 

Bull  Fight,  Tha   Feb.  8.'35..6... 

Dog  Show,  Tha   Dec.  28  6... 

Fireman  Save  My  Child..  .  Feb.  22,'35.  .6. . . 

First  Snow,  Tha   Jan.  Il,'35..6... 

Five   Puplats   Apr.  I9.'35.  .6. . . 

Flying  Oil   Apr.   5. '35  . 6... 

Hot  Sands   Nov.    2  6... 

lack's  Shack   Nov.  30  6... 

Jail  Birds   Sept.  21  6... 

Magle  Fish,  The  Oct.   19  6... 

Mice  In  Council  Aug.  24  8... 

Modem  Red  Riding  Head, 

A   ...May  I7,'35..l  rl. 

Moth  and  tha  Spider,  The  . Mar.  8,'35..lrl. 

Old  Dog  Tray  Mar.  21, '35.  .6. . . 

Opera   Night  May  31.'35..l  rl. 

Peg  Leg  Pete,  tha  Pirate.. May    3,'35..l  rl. 

Sauth  Pela  er  Bust  Dec.  14  8... 

Tom  Tom  the  Piper's  Son.  Nov.  16  6... 

What  A  Night  Jan.  25,'35..8... 

Nhy  Mules  Leave  Home  Sept.  7  6... 

TREASURE  CHEST 

Chums   Mar.  I,'35..9... 

Harlem  Harmony   Dec.  21  10... 

Hollywood  Mevia  Parade, 

The   Nev.    2  8... 

Taming  the  Wild  Apr.  26.'35. .  1  rl. 

Then  Came  the  Yawn  Aug.  10  8... 

Your  Stars  for  1935  Oct.    19  II... 

YOUNG  Romance 

Moon  Over  Manhattan  Feb.  I5,'35.I7... 

Three  Cheers  for  Love  Dee.  14. ...19... 

FIRST  DIVISION 

MARCH   OF  TIME 

No.  1   Feb.  1,'35  

No.  2   Mar.  B,'35  

No.  3   Apr.  I9,'35  

MUSICAL  MOODS 

(Technicolor) 

In  a  Monastery  Garden  Oct.    2  7.. 

Mexican   Idyll   Oct.  16  

By  the  Waters  of 

MInnetonka   

Hymn  to  the  Sun  

Les  Preludes   

October  Day   9... 

Italian  Caprice   8. . . 

Voices  of  Spring  

Irish  Melody   8... 

Countryside   Melodies  May  4.'35..8... 

Mediterranean  Songs   7... 

Barcarolle   8... 

In  a  Mountain  Pass  

FIngal's  Cave   Nov.  13  

(Black  «,  White) 

Waltz  In  A  Flat  Major  v  

Dance  of  the  Hours  Dec.  15  

Air  for  the  G  String  Nov.  3  

Llebestraum   

6  THRILLING  JOURNEYS 

Old  Faithful  Speaks   8. . 

Realm  of  Ghosts   


Title  Rtl.  Data  MIn, 

Deep  Sea  Harvest  

Ride  Along  Dude  

City  of  Proud  Memories  

Craters  of  the  Moon  

FOX  FILMS 

Title  Ral.  Data  MIn. 

ADVENTURES  OF  THE 

NEWSREEL  CAMERAMAN 

Casting   tor   Luck  10  

Man's  Mania  for  Spaed  10  

Marching  With  Selenco  9  

On  Foreign  Service   9  

Tracking  the  Explorers  10  

MAGIC  CARPET 

SERIES 

The  Coast  of  Catalonia  

Crossroads  of  the  World  9  

Genava-By-The-Laka   10.... 

MOVIE  TINTYPE  SERIES 
The  Heart  ef  Valaska  Mar.   9  18  

MASTER  ART  PRODUCTS 

Title  Ral.  Data  MIn. 

HUMAN  SIDE  OF  (Varlabia) 
THE  NEWS 
(EDWIN   C.  HILL) 

1.  Roosevelt  Family  In 

America   II.... 

2.  A  Visit  to  Wast  Paint  10  

3.  Carrie  Jacobs  Bond  9.... 

MELODY  MAKERS 

Fields   and    McHugh  8  

ORGANLOGUES 
What's  In  a  Name  8  

RAIN  SONGS 
Irving  Kaufman-Law  White  

SPECIAL 

Take  a  Letter  Please  

Eddie  Stanley- 
Evelyn  San 

METRO-GOLDNAnrN- 


TItIa 


Ral.  Data 


MIn. 


MAYER 


MIn. 


Title  Ral.  Data 

ALL-STAR  COMEDIES 

Caretaker's  Daughter   Mar.  10  10  

Movie  Daze   19  

Mrs.  Barnacle  Bill  Apr.  21  20.... 

CRIME  DOESN'T  PAY 
No.  1— Buried  Loot  IS  

CHARLEY  CHASE 

Chases  of  Pimple  Straat  Dee.  22.... 20  

Fate's   Fathead   Nov.  17  18  

I'll  Take  Vanilla   May    5. ...19.... 

It  Happened  One  Day  July    7  19  

Okay  Toots   17  

Something  Simple   Sept.  8  18  

You  Said  a  Hatful  Oct.   13  19  

IRVIN   S.  COBB 

Ballad  of  Paducah  Jail  Oct.  20  19.... 

Nosed  Out   Sept.  15  18  

Speaking  of  Relations  18.... 

You  Brings  tha  Ducks  Nov.  24  16.... 

FITZPATRICK 

TRAVEL  TALKS 

Africa,  Land  of  Contrast  8.... 

Citadels  of  the 

Mediterranean   I  rl. . 

Colorful  Guatemala   9.... 

Colorful  Ports  of  Call  Jan.  IS  8  

Cruising  In  the  South  Seat  I  rl.. 

Glimpses  of  Erin  I  rl. . 

Holland  In  Tulip  Tlma  Sept.  15  8  

Ireland,  Tha  Emerald  l8la..Daa,    8  8  

Rainbow  Canyon   Fab,   2. '35.. 8  

Switzerland,  Tha  Beautiful. Get.  IS  t  

Zaeland,  Tha  Hidden 

Paradise   Jan.  S,'S6..7  

ZIon,  Canyon  of  Color  Nev.  10  8  

GOOFY  MOVIES 


No. 
No. 
No. 
Na. 
Na. 
No. 


.May  B. 


...... 

.8.... 

 I  ri.. 

.Savt  8. ...10.... 

.Oet.    8  8.... 

Nov.    3  10  

 10.... 


No.  10   

HAPPY  HARMONIES 
(Harman-lsing) 

2—  Old  Pioneer   Sept.  29  8.... 

3—  A   Tala  ef  the  Vienna 

Woods   Oet  27  8  

4 —  Bosco's  Parlor  Praakt.  ..Nov.  24  8.... 

5 —  Toyland   Broadcast   Dae.  22  8.... 

6 —  Hey,  Hey,  Fever  Jan.  9,'35..9  

7—  When  the  Cat's  Away... Fab.  18/35.. 8  

8—  The  Lost  Chick  10  

9 —  Calico    Dragon  8  

LAUREL  &  HARDY 

Fixer-Uppers   21.... 

Going  Bye-Bye   21  

Live   Ghosts   21.... 

Them  Thar  Hills   2  rtt. 

Tit  for  Tat   Jan.  8,'3S.2e  

MUSICAL  COMEDIES 

Musle  In  Your  Hair  June    2  17  

Roamin'  Vandals   Apr.  28.... IS.,.. 

MUSICAL    REVUES  , 

Gentlemen  of   Polish  2rU. 

Grandfather's  Clock   Oet  27  17  

Gypsy  Night   18  

Star  Night  at  tha  Caeeanut 

Grove   Dae.  I....2I  

What  Price  Jazz?  18  

ODDITIES 

Dartmouth   Days   Na».  17....  1 1  

Donkey  Baseball   8.... 

Motorcycle  Cossacks   Jan.  12/35.. 9  

Little    Feller   May  28  8  

Little   People   1 1  

Old  Shop   Juna  23  9  

PIchlannI   Troupe   Sept  22  9  

Pro    Football   9  

Rugby   Doe.  15  10.... 

Strikes  and  Spares   Oct.  20  8.... 

Taking  Care  of   Baby  Aug.  25  9  

Trick    Golf   Mar.  24  8  

Windy   II  

OUR  GANG 

Anniversary  Trouble   18  

Beginner's  Luck   19  

Mama's  LIttIa  Pirate  Nov.    3  18  

Shrimps  for  a  Day  21.... 


Wash-aa  Iron-aa   Sept  28....  17  

TOOD-KELLY 

Bum  Voyage   Dee.  IS.... 28  

Done  In  Oil  Nav.  10  18  

Maid  In  Hollywood  May  19  20  

Misses  Stooge,  Tha  19.... 

One  Horsa  Farmers  Sept.  I. ...18.... 

Opened   by  Mistake  Oct    8....  18.... 

Sing,  Sister,  Slngl  21  

Three  Chumps  Ahead  2  rit. 

Tin  Man,  The  18.,,. 

Treasure   Blues   19.,.. 

WILLIE  WHOPPER 

Cave  Man  7.... 

Good  Scout   7.... 

Insultln'  the  Sultan  Apr.  14  8.... 

Jungle  Jitters   7.... 

Raslin'  Round   

Reducing  Creme   May  19  

Robin  Hood,  Jr  Mar.  10  

(Color) 

Viva  Willie   7  


MONOGRAM 

PORT  0'  CALL  SERIES 

10.  Dravidian  Glamour   Sept.  I  10. 

11.  Adventure    Isle   Oct.  I. ...10. 

12.  Queen  of  the  Indies  Nov.  I. ...ID. 

13.  A  Mediterranean  Mecca.  Dee.  I  18. 


PARAMOUNT 


Ral.  Data 


28. 
3.... 
.  I.'35. 


8,'35.I0. 


5. ...It. 


Title 

BETTY  BOOP 

CARTOONS 

Baby  Bo  Good  Jan.  I8,'35. 

Betty  Boop's  Life  Guard... July  13  

Betty  Boop's  Life  Pal  Sept.  21  

Betty  Boop's  Prize  Show. ..Oct  19.... 

Betty  Boop's  Trial  Juna  15  

Stop  That  Noise  Mar.  I5,'35. 

Swat  the  Fly  Apr.  I9,'35. 

Taking  the   Blame  Feb.  I5,'35. 

Keep  in  Style  Nov.  16.... 

There's  Something  About  a 

Soldier   Aug.  17  

When  My  Ship  Comes  In... Dec.  21  

COLOR  CLASSICS 
An  Elephant  Never  Fartets  Dec.  28.. 

Little  Dutch   Mill   Oct 

poor  Cinderella   Aug. 

Song  of  the  Birds  Mar. 

HEADLINERS 
Feminine  Rhythm   Feb. 

Ina  Ray  Hutten  and  Her 

Melodears 
Club  Continental   Oct 

Leon  Belasce  &  Orchestra 

George  GIvet -Vivian  Janis 

Grace  Barry 
Hark  Ye.   Hark  Mar.  22,'35 

Ben   Bernie-Graca  Barry 
Hollywood  Rhythm   Nov.  16  

Gordon  and   Revel  -  Lyda 

Robert!  -  Jack  Oakle-Nor- 

man  Taurog-LeRoy  Prlnz- 

Edith  and  Bill  Wllshira 
Ladies  That  Play  Daa.  7..., 

Phil    Spitalny    and  His 

Mutleal  Ladles 

Melody  Magic  Apr.  12. '35 

Johnny  Green  and  His  Or- 
chestra   

Million  Dollar  Notes  F«b.  8,'35 

Red  Nichols  and  his  World 

Famous  Pennies 
Radio  Announcer's  Review.  .Sept.  14. . 
Rhythm  on  the  Roof  Oct  28.. 

Anson  Weeks  &.  Orthattra 
Sang  Writers  of  tha  Gay 

Nineties   Mar. 

Pat  Rooney 
Yacht  Club  Bays  Garden 

Party   Dos. 

PARAMOUNT  PICTORIAL 

(NEW  SERIES) 
No.  4— Tub  Boat  Ahoy— Hat. Nov. 

Dog — Mabel  Wayne 
Na.  5 — Rose  of  Bulgaria — .Dae. 

0.  Seglow — Conay  Island 
Na.  6— Twilight  Malady  —.Jan. 

Pets    from    tha  Wild- 
Howard  Chandler  Christy 
Ne.  7 — Queen  ef  tha  Waters. Feb. 

— Billy  Blue  Gum — Merl- 

cano 

Mo.  8 — Aubrey  Rainier — Old...^  

Madeira — Rube  Goldberg, 

World  Famous  Humarist. 

No.    9—   Mar.  29,'35, 

No.  10 —   Apr.  2S,'35, 

PARAMOUNT  VARIETIES 

No.    7—   Feb.    I, '35. 

No.    8—   Mar.   I, '35, 

No.    9—   Mar.  29,'35. 

Baby  Blues  Oct.  5.... 

(Technicolor) 

Coo-Coo  News   Jan.  25,'35, 

Jungle  Antics   Fob.  22,'35, 

Madhouse  Movies  No.  I. ...Aug.  24  

Manhattan  Rhythm   May  3,'35. 

Monkey  Shines   Nov.  16... 

Mavia  Sideshow   Jan.  II.'SS 

Nerve  of  Soma  Women,  Tha. Nov.  2... 

Old  Kentucky  Hounds  Sept.  7... 

Screen  Souvenirs  No.  I  Sept.  21... 

Screen  Souvenirs  No.  2  Nov.  30.... 

Screen  Souvenirs  No.  3  Feb.   8. '35 

Screen  Souvenirs  No.  4  Apr.  19, '35 

Shorty  on  the  Farm  Apr.  5,'35 

Superstition  of  tha  Black 

Cat   Aug.  10... 

Superstition  of  the  Rabbit's 

Foot   Mar.  8,'35 

Superstition  of  Threa  on 

a  Match   Oct  19... 

Superstition  of  Walking 

Under  a  Ladder  Dot.  28... 

POPEYE  THE  SAILOR 

A  Dream  Walking  Sept  28... 

Axe  Me  Another  Aug.  24... 

Bo  Kind  to  "Aminals"  Feb.  22,'35 

Beware  of  Barnacia  Bill... Jan.  25,'35 
Dance  Contest   Nov.  23  


Mia. 


It. 


.11.... 


10.... 
II.... 


I. '35. 


28... 


4,'3S. 


I, '35. 


It.... 
It.... 

It;... 
10.... 

10.... 

.1  ri.. 


10. 


10.. 

10.. 
10.. 
.8.. 
10.. 
18.. 
II.. 
10.. 
10.. 
10.. 
10.. 
18., 


MAYFAIR,  N.Y.  THE  MAN  WHO  KNEW  TOO  MUCH 


9f 


BOOKED  SOLID 
RKO  METROPOLITAN 
CIRCUIT  


62 


MOTION    PICTURE  HERALD 


April    20,  1935 


(THE  RELEASE  CHA.CT--CCNT'D) 


TIH*  R*l-  Ottt  Mtn. 

Hyp-Nut-Tlst.  The  Apr.  26,'35  

Pleased  to  Meet  Chal  Mar.  22,'35..7  

Shiver  Me  Timber*  July  27  7  

ShMln'  Hestei   June    I  7  

Streno  to  the  FInleh  June  29  7... 

Twe  Alarm  Fire  Oct.  26  7  

We  Aim  to  Please  Dee.  28  7  

PARAMOUNT  SOUND 
NEWS 
Two  Editions  Waekly 
GRANTLAND  RICE 
SPORTLIGHTS 
(NEW  SERIES) 

N*.  3— Water    Rodeo  Sept.  28....  10.... 

No.  4— Keeping   Tina  Oct.  26  II  

No.  5— Saddle    Champs  Nov.  30  II  

No.  6— A  Sportllght  Cock- 
tail  Dee.  28  10  

No.  7— King  of  tho  Ever- 
glades  Jan.  25/35.10  

No.  8— Feline   Athletee  Feb.  22.'35. 10  

No.  9 — Sporting  Sounds  ...  .Mar.  22,'35  

No.  10— Nerve  Control  Apr.  I9.'35  

TWO  REEL  COMEDIES 
Making  the  Rounds  July    6  21  

Pallette-Catlen 
Nt«   Dealers,   The  Apr.    6  20.... 

Pillette-Catlatt 
Neva  Hounds   June    I  20  

Pallatte-Catlatt 
No  More  Bridges   Mar.  16. ...21  

Leon  Errol 

Oil's  Well   May  4.... 22.... 

Chic  Sale 

Old  Bugler,  The  Jan.    5  20  

Chic  Sale 

Petting  Preferred   Apr.  27....  10  

Pleased  to  Meet  Chal  Mar.  22,'35  

Sporting  Sounds   Mar.  22,'35  

Up  and  Down  Mar.  2.'35.2I  

Franklyn  Pangbern 


PRINCIPAL 

Title  Ral. 

Death  Day   Apr. 

Glory  of  the  Kill  May 

Newslaugh — No.  2  Dm. 

Wondors  of  th*  Tropin  Dec. 

CONFLICTS  OF 

NATURE  SERIES 
Circle  of  Lite  af  the  Ant 

Lion,   Tha  Fab. 

Farmer's  Friend   Oct. 

From  Cocoon  to  Buttorfly..  .Jan. 
Har  Majesty  tha  Quaan  Bee. Dec. 

Insect  Clowns   Mar. 

Queen  of  tha  Underwarld...Dec. 


Date 

10... 
23... 
20,'33 
I3,'33 


14... 

II... 
10... 
I,'33 

4... 
6.'33 


Min. 
17.... 

28.... 

...... 

32.... 


.7.... 

.7.... 
.7.... 

.6  

..7.... 
.7.... 


RKO  RADIO  PICTURES 


Title  Rel.  Date 

BLONDE  and  RED 

HEAD  SERIES 

Dancing  Mllllonaira   Dec. 

Hunger  Pains   Feb. 

Ocean  Swells   Oct. 

Pickled   Peppers   June 

Rough  Necking   Apr. 

Wig  Wag   Apr. 

CHICK  CHANDLER 

COMEDIES 

Big  Mouthpiece   Nov. 

Harsa  Heir   Feb. 

Raised  and  Called  Mar. 

Unlucky  Strike   Aug. 

CLARK  &  McCULLOUSH 

SERIES 

Alibi  Bye  Bya  June 

Bedlam  of  Beard*  Apr. 

Everything's  Ducky   Oct. 

Flying  Down  to  Zero  Apr. 

In  a  Pig's  Eya  Dee. 

in  the  Devil  Dog  Hausa  Feb. 

Oder  Id  tho  Court  Aug. 

DUMBBELL  LETTERS 

No.   7   Doe.  21.... 

N*.    8   Jan.  4,'35. 

No.    9   Jan.  I8,'35. 

N*.  10    •■-h.  I,'35. 

No.  II    Feb.  15, '35. 

No.  12   Mar.  I,'35. 

No.  13   Mar.  15, '35. 

No.  14   Mar.  29, '35. 

No.  15   Apr.  12, '35. 

No.  16   Apr.  26,'35. 

No.  17   May  10. '35. 


14..., 
22.'35, 
12.... 

7. '35. 
27... 

12. '35. 


S... 

I, '35 
22,'35 
31... 


I4,'3S 

13.... 

19.... 

I9,'3S. 

28.... 
2..., 
2.... 


Min. 


19.... 
17'/,.. 
21.... 

l9'/2.. 
20. . . . 

191/2.. 


20... 
IB'/,.. 
20.... 
20'/,.. 


21'/,. 
18... 
21... 
19... 
20'/,. 
21... 
21'/,. 


.S... 
.5'/,. 
.5... 
.5... 

.5... 
.5... 
.5... 

.5. .  . 
.5.  .  . 
.4.  .  . 
.41/2 


EASY  ACES 

Little  New  New  York  

Pharaohland   Feb.  22.'35 .  .9  

Topnotchers   Apr.  I9,'35.M  

FOUR  STAR 
COMEDIES 

Fixing  the  Stew  Nov.    2  ... 20.... 

Hit  and  Rum  Apr.  26,'35. 19. . . . 

How  to   Break  90 
at  Croquet   Jan.  4,'35.I5  

HEADLINER  SERIES 
(1934-35) 

No.  1 — Songs  of  the  Collepes. Oct.    5  IS  

N*.  2 — Ferry  Go  Round  ...Nov.  23    20  

No.  3— This   Band   Ago  Jan.  25,'35.2|i/2 . . 

N*.  4 — Simp  Phoney  Concert. Mar.  I5,'35.2I  

EDGAR  KENNEDY 

COMEDIES 

Brie-a-Brac   Jan.  I8,'35.I9  

Love  on  a  Ladder  Sept.  7  20'/,. . 

Poisoned  Ivory   Nov.  16  21  

Sock  Me  to  Sleep  May  I7,'35  

South  Seasickness   Mar.  29.'35.20i/2 . . 

Wrong  Direction   Nov.  16  21.... 

MUSICALS 

Everybody  Likes  Muilc  Mar.   9  19'/,.. 

Henry  the  Apa  Jan.  26  2rl8. 

Bert  Lahr 


Min. 

21'/,.. 
21'/,.. 


.20.... 
.18'/,.. 
.20.... 

.21.... 


TItl*  Rel.  Data 

If  This  isn't  Love  Sept  28... 

Spirit  of  1976   Feb.  I5,'35 

MUSICOMEDIES  SERIES 

CRuth  Etting) 

An  Old  Spanish  Onion  Mar.  I, '35 

Bandits  and  Ballads  Dec.  7... 

Southern   Style   Sept.  14... 

Ticket  Or  Leav*  It  May  26.'35 

PATHE  NEWS 
Released  twice  a  week 

PATHE  REVIEWS  (1933-1934) 
Released  once  a  month 

PATHE  TOPICS 
Released  seven  times  a  year 

RAINBOW 

PARADE  CARTOONS 

Foxy  Terrier.  The  May  31, '35  

Japanese  Lantern   Mar.  8.'35..8... 

Parrotvllie  Old  Folk*  Jan.  25,'35..7... 

Picnic  Panic   May    3, '35  

Spinning  Mice   Apr.   5, '35  

Sunshine  Maker*,  The  Jan.  1 1, '35.. 8... 

SOGLOW'S   "THE  KING" 
CARTOONS 

Cactus  King   June   8  1  rl. 

SPECIALS 

Century  of  Progress  Juno  15  22... 

A    Day   with   the  Dionne 

Quintuplets   Dec.  28  1 1 '/a  . 

Grand  National  Irish 

Sweekstake*  Race,  1 934... Apr.    2  10... 

La  Cucaracha   Aug.  31  20'/,. 

Steffi  Duna-DoB  Alvarado 

(Technicolor) 

TODDLE  TALE 

CARTOONS 
A  Little  Bird  Told  Ma  Sept.  7  

VAGABOND  ADVENTURE 

SERIES 

Eyes  on   Russia   Aug.   9  II... 

Fakeers  of  the  East  Dec.    7  18'/,. 

Isle  of  Spice   Jan.  II.'35.I0'/,. 

Jamaica   May  I7,'35.  .9'/2 . 

Red  Republic   Sept.  21  10... 

Roumania   

STATE  RIGHTS 

CARTOON  EXHIBITORS 

Of  All  Things  4.. 

CENTRAL 

Child  of  Mother  India  30... 

Hindu   Holiday   9... 

MARY  WARNER 
Olympic  Winter  Sports 

Capital   8... 

METROPOLITAN  LIFE 
Once  Upon  a  Time  10... 


UNITED  ARTISTS 


Title 

MICKEY  MOUSE 


Rel.  Data 


MIn. 


'35.. 7. 
•35.... 


9.  Tha  Dognappers   Nov.  10 

10.  Two-Gun  Mickey   Dec.  25 

11.  Mickey's  Man  Friday. .  .  Jan.  17, 

12.  Band  Concert   Feb.  23, 

(Color) 

13.  Mickey's  Service  Station. Mar.  I5,'35..9 

14.  Mickey's  Kangaroo  

15.  Mickey's  Garden   

(Color) 
SILLY  SYMPHONIES 

7.  The  Flying  Mouse  July  12  7 

8.  Peculiar  Penguin*   Sept.  6  8 

9.  Goddess  of   Spring  Nov.  I  

10.  The  Golden  Touch  Mar.  21, '35.  .8 


UNIVERSAL 

Title  Rel. 

CARTUNE  CLASSICS 
No.    I— Jolly  Little  Elves... Oct. 
No.   2 — Toyland    Premiere. .  Dec. 
No.    3 — Candyland   Apr, 

GOING  PLACES 

with  LOWELL  THOMAS 

N«.    3   Nov. 

No.   4   Dee. 

No.    5   Dec. 

No.    6   Jan. 

No.    7   Feb. 

No.    8   Mar. 

No.    9    May 

OSWALD  CARTOONS 

Do  a  Good  Deed   Mar. 

Elmer  The  Great  Dane.... Apr. 

Hill    Billy   Feb. 

Robinson  Crusoe  Isle  Jan. 

Sky  Larks   Oct. 

Spring  in  the  Park  Nov. 

Two  Little  Lambs  Mar. 

STRANGER  THAN 

FICTION  SERIES 

No.    2— Novelty   Sept. 

No.    3 — Novelty   Oct. 

No.  A — Novelty   Nov. 

No.    5— Novelty   Dec. 

No.    6 — Novelty   Jan. 

No.    7 — Novelty   Mar. 

No.  8 — Novelty   Apr. 

No.    9 — Novelty   Apr. 

No.  10 — Novelty   May 

UNIVERSAL  COMEDIES 
At  the  Mike  Oct. 

(Mentone  No.  3-A) 
Brlna  'Em  Back  a  Lie. ...Apr. 

(Van  Ronkel  No.  3) 
Demi  Tasse   Oct. 

(Doane  Musical  No.  I) 
Desert    Harmonies  Apr. 

(Mentone  No.  12-A) 
Doln'  the  Town   Jan. 

(Mentone  No.  9-A) 

Father  Knows  Best  Feb. 

Sterling  Holloway 


Date 


MIn. 


I... 
10... 

22,'35 


rl  . . 


5  1  rl. 

3  1  rl. 

31  1  rl. 

I4,'35..9... 
I8,'35..9... 
25,'35.M... 
6, '35  . 1  rl. 


25,'35 
29,'35. 
I, '35 
7.'35 

22... 
12... 

1 1, '35 


24 ... . 

22... 
26.... 

17... 
28,'35. 

4.'35. 

I, '35. 
22.'35, 
20. '35. 

10.... 
24,'35. 

3. ... 
10, '35. 
30,'35. 
20,35 


.7... 
.1  rl. 
.9... 
.9... 
.8... 
.7... 
.8'/, . 


10.... 
.9.... 
.9.... 
.9.... 
.8.... 
.8.... 
10.... 
10.... 
.  I  rl .  . 

20.... 
.2  ris. 
.2  rl*. 
.2  rl*. 
18.... 
.2  ris 


Title                           Rel.  Date  MIn. 

Henry's  Social  Splash  Dec.  19  21  

Henry  Armetta 

Here's  the  Gang  May  8,'35..2rls. 

(Mentone  No.  13-A) 

Hollywood  Trouble   Jan.    9, '35. 20  

Just  We  Two  Aug.   8... .19  

Knickerbocker  Knights   Dec.  12  20  

Mentone 

Meet  the  Professor   Feb.  I3,'35.I9  

(Mentone  No.  lO-A) 

Oh!  What  a  Business  Nov.  26  2  ris. 

(Mentone  No.  5-A) 

Old  Age  Pension  Mar.  27,'35.  .2  ris. 

Henry  Armetta 

Revue  a  la  Carte  Jan.  I6,'35.I7  

Tom  Patricola 

(Mentone  No.  8) 
Sterling's  Rival  Romeo  Nov.  14  2  ris. 

Sterling  Holloway 
Telephone   Blues   Mar.  I3,'35.I9  

(Mentone  No.   1 1 -A) 
rid  Bits   Oct.   24  2  rl*. 

(Doane  Musical  No.  2) 
Well,  By  George  Oct.  31  20  

(Mentone  No.  4-A) 

George  Price 
Whole  Show,  The  Dec.  26  20  

(Mentone  No.  7-A) 

James  Barton 

World's  Fair  and  Warmer.  .Oct.   17  22  

Would  You  Be  WilMns?  May  22, '35.  .2  ris. 

(Van  Ronkel  No.  4) 


VITAPHONE  SHORTS 

Title  Rel.  Oat*  MIn. 

BIG  V  COMEDIES 

1934-35 

All  Sealed  Up  Sept.  15  10  

Ben  Blue 

Get  Rich  Quick  Apr.  20,'35.  .2  rl*. 

Alien  Jenkins 
His  First  Flame  Mar.  9, '35. 19  

Shemp  Howard 

Daphne  Pollard 
Oh  Sailor  Behave  Sept.29  17  

El  Brendei 

Old  Grey  Mayor,  The  Apr.   6, '35. 19  

Bob  Hope 

Smoked  Hams   Oct.  20  18  

Shemp  Howard 

Daphne  Pollard 
So  You  Won't  T-T-T-Talk..Nov.    3.. ..20.... 

Roscoe  Ates 

Out  of  Order  Nov.  17  19  

Ben  Blue 

Vacation  Daze   2  ris. 

Jenkins  &  Donnelly 
Dizzy  and  Daffy  Dec.  15  19  

Dizzy  and  Daffy  Dean 
Once  Over  Lightly  Jan.  I2,'3S.20  

Roscoe  Ates 

Radio  Scout  Jan.  26.'35.I9  

El  Brendei 

Why  Pay  Rent?  May  4,'35..2rls. 

Roscoe  Ates-Shemp  Howard 


BROADWAY  BREVITIES 

1934-35 

Syncopated  City   Sept.   I.... 20.... 

Hal  LeRoy-Oerothy  Dare 
Paree,  Parae   Sept.  8  SI.... 

Dorothy  Stona-Bob  Hap* 
Good  Morning  Eve  Sept.  22  IB  

Leon  Errol 

(Technicolor) 
No  Contest   Oct.    6  21  

Ruth  Etting 
Off  tha  Beat  Oct.   18  20.... 

Morton  Downey 
The  Flame  Song  Oct.  27  IB  

Bernice  Claire- 

J.  Harold  Murray 
Gem  of  the  Ocean  Nov.  19  20  

Jeanne  Aubert 
Gypsy  Sweetheart   Mar.  30,'35.20  

Winifred  Shaw- 
Phil  Regan 

Hear  Yel  Hear  Yel  Dec.  22  2  rl*. 

Vera  Van  and  the 

Yacht  Club  Boys 
See,  See,  Senorita  Jan.  I2','3S..2  ris. 

Tito  Gulzar  Armlda 
What,  No  Menr  Jan.  5,'35.2I  

El  Brendei -Phil  Regan 

(Technicolor) 
Soft  Drinks  &  Sweet  Music. Dee.    8  20  

George  Price-Sylvia  Froos 
Show  Kids   Jan.  5,'35.20.... 

Maglin  Kiddles 

Tad  Alexander 
Radio  Silly   Jan.    9,'35..2  ris. 

Cross  II  Dunn 
Cherchez  La  Femme  Feb.   2,'35..2  ris. 

Jeanne  Aubert 
in  the  Spotlight  Feb.  22.'35.20 . . . . 

Hal  LeRoy  &  Dorothy  Lea 
Mr.  4   Mrs.  Melody  Mar.  I6.'35.20.... 

Ilfimay  Bailey — Lee  Sim* 
Shoestring   Follle*  Feb.  16, '35. 21  

Eddie  Peabody 
Singing  Silhouette,  The. ..  .Apr.   6, '35. 20  

Olga  Bacianova 
Castle  of  Dreams,  The  Apr.   6, '35. 20  

Morton  Downey 
Cure  It  With  Music  Apr.  i3,'35..2  ris. 

Fifl  D'Orsay 
In  This  Corner  Apr.  27,'35..2  ris. 

Roscoe  Ails 

Main  Street  Follies  May  1 1, '35  .2  ris. 

Hal  Le  Roy 


LOONEY  TUNES 
(1934-1935) 

No.    I — Buddy's  Adventures   Iri.. 

Mo.    2— Buddy  the  Dentist  Irl.. 

No.  3 — Buddy  of  the 
Legion   7  ... 


Rel.  Data 


MIn. 


I  ri.. 
,7.... 
I  rl.. 
I  ri . . 


6. ...10. 


3.. 


10... 
10... 


10.... 
10.... 


10.... 
.1  rl.. 


10.... 
.1  rl.. 


.7.... 
I  ri.. 


7.,.. 
I  rl.. 
.  I  ri . . 


Title 

No.  4 — Buddy's  Theatre... 
No.  5 — Buddy's   Pony  Ex- 
press   

No.  6 — Buddy  in  Africa  

No.  7— Buddy's  Lost  World  

No.  8 — Buddy's  Bug  Hunt  

MELODY  MASTERS 

1934-1935 
Mirrors   Sept 

Freddy  Rich  &  Orchestra 
Phil  Spitainy  and  HI* 

Musical  Queens   Oct. 

Richard  Himber  and  HI* 

Orchestra   Nov. 

Don  Redman  and  His  Band.  Dee.  29  

Will  Osborne  and  His  Or- 
chestra  Dec.  I  

A  &  P  Gypsies  Jan.  26,'35. 

Harry  Horlick 

Charlie  Davis  and  Band  Feb.  16,'35. 

Rimac's  Rhumba  Orchestra. Apr.  I3,'35. 
Barney  Rapp  and  Hi*  New 

Englander*   Mar.  16, '35. 

Freddy    Martin    and  HI* 

Orchestra   May  ll,'35. 

MERRIE  MELODIES 

1934-35  (In  Color) 

No.  4 — Country  Boy   

No.    5—1  Haven't  Got  ■  Hat  

No.  6 — Along  Flirtation 

Walk   

No.  7 — My  Green  Fedora  

No.  8 — Into  Your  Dance  

SEE  AMERICA  FIRST 

E.  M.  NEWMAN 

No.    1— Pilorlm  Day*   Oct.  27.... 

No.    2 — Boston  Tea  Party. .Nov.  17  

No.  3 — Hail  Columbia   Dec.  8.... 

No.  4 — Remembar  th* 

Alamo   Dec.  20  

No.    5— Trail  af  tha  49er*..Jan.  I9,'35. 

N*.   6— Dixieland   Feb.  9.'35. 

No.  7 — Blue  and  th*  Gray. Mar.  2,'35. 
No.  8 — The  Mormon  Trail. Mar.  23,'35. 
No.  9— Westward  Baund  . .  Apr.  I3,'35. 
N*.  10 — Remember  the 

Maine   May  4,'3S. 

PEPPER  POT 

1934-35 

Radio  Reel  No.  I  Sept.  15..., 

Mr.  and  Mrs.  Jesse  Crawford  .Sept. 29. .. . 

Vaudeville  Reel  No.  I  Oct.  13.... 

Movie  Memories   Oct.  27..,, 

Songs  That  Live  Nov.  10  

Gus  Edwards 
Two  Boobs  in  ■  Balloon. ..  May  5,'35. 

Edgar  Bergen 

Good  Badminton   Nov.  24.... 

Stuffy's  Errand  of  Mercy... Dee.  15... 
Listening  In   Dee.  8  

Radio  Reel  No.  2 

Vaudeville  Real  No.  2  Dec.  29..., 

Harry  Von  Tllzar   Jan.  5.'35 

Chas.  Ahearn   Jan.  IB.'SS 

A  Trip  Thru  a  Hellyweed 

Studio   Feb.  2,'35. 

We  Do  Our  Part  Feb.  B.'SS. 

Radio  Reel  No.  3 

Vaudeville  Reel  No.  3  Feb.  I6,'35. 

Guess  Stars   Mar.22,'38 

Radio  Rambler* 

Billy  Hill   Mar.  le.'SS 

Eggs  Marks  th*  Spot  Mar.  3D,'35 

Radio  Reel  No.  4 
soma  Bridge  Work  Apr.  i3,'35. 

Easy  Aces 

Vaudeville  Reel  Na.  4  Apr.  27,'3S. 

Movieland  Revue   May  1 1, '35 

SERI/ILS 


12  Episodes  Each  Unless  Otharvl**  Spe*iA*d 
Title  Ral.  Date  Mia. 

FIRST  DIVISION 

Young  Eagles   July    I  2  ri*. 

Boy  Scouts 


II... 
II... 
10... 

10... 
10... 
10... 
10... 
10... 
.1  ri. 

.1  ri. 


.S.. 
.B.. 
II.. 
.8.. 
.S.. 


.  I  rl . . 

.1  ri.. 
.B.... 
10... 

10.... 
10.... 
10.... 

.a.... 

.1  ri.. 

.Iri.. 
10.... 


II.. 
10.. 


.1  ri. 

.1  rl. 


MASCOT 


Burn  'Em  Up  Barna*  June  IS  2ri*. 

Jack  Mulhali-Leia  Lane-  (aaah) 

Frankie  Darro 
Lost  Jungle,  Tha  June  13  2  ri*. 

Clyde  Beatty  «Mli) 
Law  of  the  Wild  Sept.  5  2  ri*. 

Rex,  Rin  Tin  Tin,  Jr.  (aaeh) 

Ben  Turpin,  Bob  Custer 
Mystery  Mountain   Dec.    3  2  rtt. 

Ken  Maynard-Verna  Hltlle  ((Mb) 
Phantom  Empire   Feb.  23,'35.  .2  ri*. 

Gene  Autry-Frankia  Darro  (aaeh) 


PRINCIPAL 


Chandu  on  tha  Magic  Island  

Bela  Lugosl-Maria  Alba 

Return  of  Chandu,  The  Oct.  I  

Bela  Lugosl-Maria  Alba  (Seven-reel  faatm 
followed  by  eight 
two-reel  aplsed**) 


UNIVERSAL 


Call  of  the  Savage  Apr.  I5,'35.20  

Noah  Beery,  Jr.  (each) 
Red  Rider,  The  July  16  20  

Buck  Junes  (each) 

(15  episodes) 
Rustler's  of  Red  Dog  Jan.  2I,'3S.20  

John  Mack  Brown  (each) 
Tallspin  Tommy   Oct.  29  20  

Maurice  Murphy-  (Mth? 

Noah  Beery,  Jr. 
Vanishfng  Shadow,  The  Apr.  28  20  

Onslow  Stevens -A  da  I  nee  (each) 


April    2  0,     19  3  5 


MOTION    PICTURE  HERALD 


63 


BRITISH  RENTERS  HOLD 
TO  BOOKING  DEAL  BAN 


BRITAIN  REMITS  TAX 
ON  LOW-PRICE  SEATS 

chancellor  of  the  Exchequer  Cham- 
berlain remitted  the  entertainment 
tax  on  theatres  charging  up  to  six- 
pence, in  his  budget  speech  Monday. 
Small  exhibitors  were  jubilant  at  the 
news.  Their  hopes,  dashed  for  some 
time  despite  active  efforts  to  relieve 
their  situation,  had  been  revived  by 
reports  that  the  budget  message  would 
shou'  the  country's  finances  in  an  im- 
proved condition. 


Photophone  Sells  Recorder 
And  23  New  Reproducers 

Jack  Flanagan,  president  of  Tri-State 
Motion  Picture  Company,  industrial  produc- 
ing organization  of  Cleveland,  has  completed 
a  license  arrangement  with  RCA  Victor 
whereby  his  company  will  record  with 
Photophone  High  Fidelity.  The  Tri-State 
Company  has  taken  over  a  larger  building 
which  now  is  being  soundproofed  and 
equipped  with  sound  stages. 

New  High  Fidelity  reproducing  equip- 
ment is  to  replace  old  apparatus  in  23  de- 
luxe RKO  theatres  throughout  the  coun- 
try, according  to  Edwin  M.  Hartley,  man- 
ager of  the  Photophone  department. 

Named  Paramount  Producer 

Lewis  E.  Gensler  has  been  named  an  as- 
sociate producer  at  Paramount. 


Ruling  Against  Gaumont-Union- 
Hyams  Plan  Warns  Exhibitors 
Group  Against  Similar  Move 

by  BRUCE  ALLAN 
London  Correspondent 

The  Kinematograph  Renters  Society 
scored  a  very  big  victory  in  forcing"  aban- 
donment of  the  booking  arrangement  be- 
tween Gaumont-British  and  the  Union  and 
Hyams  theatre  groups.  In  conflict  with  the 
most  powerful  circuit  in  the  countr}',  it  has 
established  a  precedent  which  is  scarcely 
likely  to  be  challenged  effectively  by  smaller 
interests.  Notably  it  has  issued  an  indirect 
but  very  plain  warning  to  the  Cinematograph 
Exhibitors  Association  that  any  attempt  to 
establish  a  cooperative  booking  organization 
will  put  distributors  on  a  war  footing. 

It  was  difiicult  to  see  how,  in  a  straight 
fight,  the  KRS,  with  its  control  of  film  sup- 
plies, could  fail  to  win,  but  there  was  just  a 
possibility  that  the  other  side  might  suc- 
ceed by  a  flank  move.  Unquestionably,  the 
first  steps  in  an  action  for  conspiracy  were 
taken  by  one  of  the  theatre  groups  and  cer- 
tain of  the  threatened  renting  concerns  were 
a  little  nervous  about  their  position,  how- 
ever confident  the  KRS  as  such  was  about 


the  legal  position.  That  the  action  went  no 
further  suggests  that  the  KRS  had  some 
legal  advice,  too. 

V 

Setting  on  with  Color 

Evidence  of  the  seriousness  of  the  British 
eft'ort  in  the  color  field  is  to  be  found  in  the 
news  that  Ilford,  Ltd.,  big  manufacturers  of 
raw  film,  have  bought  majority  control  of 
Spicer-Dufay  (British),  Ltd.,  which  in  its 
turn  controls  the  Dufaycolor  process,  used 
in  ABP's  "Radio  Parade." 

Ilford's  issued  capital  is  more  than 
^6,000,000,  which  means  that  Dufaycolor 
will  be  developed  on  any  scale  made  neces- 
.sary  by  its  success  with  producers.  Large 
factory  extensions  already  are  planned,  and 
Mr.  T.  Thorne  Baker,  the  technical  adviser 
of  the  company  is  to  visit  New  York  in  the 
near  future  to  discuss  cooperation  at  the 
laboratory  end  with  Dufaycolor,  Inc.,  of 
America. 

V 

Oscar  Deutsch  has  declared  he  has  no  inten- 
tion of  permitting  the  Odeon  circuit  to  "go 
out  of  British  hands."  The  declaration  is  re- 
garded as  relating  to  reports  that  Odeon  the- 
atres were  to  form  the  nucleus  of  a  British  cir- 
cuit with  which  United  Artists  would  be  closely 
associated.  The  circuit  now  numbers  50  theatres 
and  is  expected  to  total  100  by  the  end  of  the 
year. 


THE  MARCH  OF  TIME  is  no  mild,  after-the-fact  moving  picture,  but  the 
re-creation  on  the  screen  of  the  crux  of  the  world's  news! 
A  new  kind  of  pictorial  journalism,  packed  with  the  liveliest  sort  of 
audience  reaction.  The  kind  that  brings  your  audience  back  month 
after  month  to  see  each  new  issue! 

MARCH  OF  TIME  for  April  is  backed  by  an  unusually  large  adver- 
tising campaign  in  newspapers,  national  magazines,  billboards  and  radio 
— more  backing,  in  fact,  than  is  given  many  a  Hollywood  feature. 

A  lot  of  box-office  will  accrue  to  theatres  showing  THE  MARCH  OF 
TIME.  Will  yours  be  one  ?  A  fair  national  price  policy  has  been  worked 
out  for  every  size  city,  town  and  theatre.  If  you  want  the  details,  write 
MARCH  OF  TIME  DISTRIBUTORS,  R.K.O.  BUILDING,N.Y.CITY. 

A  First  Divisiotj  release 


THE  MARCH  OF  TIME 


HE  BOOK 
THEY  ALL  US 


1935-36  Edition  Now  in  Preparation-$3.00 


66 


MOTION    PICTURE  HERALD 


April    20,  1935 


la  J.  C.  JcNNNs-tiis  CoLrm  M 


Concordia,  Kan. 

Dear  Herald: 

Tomorrow  is  Sunday  and  we  have  been 
writing  this  colyum  on  Sunday  for  nigh  onto 
ten  years,  but  tomorrow  we  will  have  one 
foot  on  the  gas  pedal  and  both  hands  on 
the  steering  wheel  and  it  looks  like  it  would 
be  out  of  the  question  for  us  to  pound  this 
typewriter,  so  we  are  going  to  try  and  do 
it  tonight.  We  have  driven  all  day  in  rain 
and,  while  we  don't  like  to  do  it,  yet  Kansas 
needs  to  be  wet  up  and  she  has  got  a  good 
soaking  today. 

Yesterday  we  came  through  Alvarado, 
Texas,  and  we  stopped  to  see  our  old  friend 
Charley  Cooper,  who  operates  the  Alvarado 
theatre,  and  when  we  called  he  was  just 
starting  for  Arlington  Downs,  if  you  know 
what  that  is.  Arlington  Downs  is  located 
at  Arlington,  Texas,  about  halfway  between 
Ft.  Worth  and  Dallas,  and  it  is  where  the 
boys  go  to  bet  their  change  on  the  wrong 
horse  and  depend  upon  their  uncle  to  take 
them  home.  Arlington  Downs  sounds  bet- 
ter than  Derby  and  that's  why  they  say 
Downs ;  that  is,  we  presume  it  is.  Charlie 
wanted  us  to  go  with  him  but  we  couldn't. 
The  fact  is  (but  we  didn't  tell  him  so)  that 
if  we  had  our  choice  between  seeing  a  plug 
boss  race  and  listening  to  a  love  song 
crooner,  we'd  choose  the  seven-year  itch. 
We  realize  that  we  are  just  one  out  of  fifty 
million  who  are  built  that  way,  and  we  realize 
that  "Fifty  Million  Frenchmen  Can't  Be 
Wrong,"  or  words  to  that  effect,  therefore 
we  consider  our  self  the  black  sheep  of  the 
flock. 

But  what  we'd  like  to  do  would  be  to  take 
Charlie  of  Alvarado  and  Zimmermann  of 
San  Marcos,  Bob  Smith  of  Mission,  Shine 
Mason  of  McAUen,  King  of  Harlengen, 
and  Brady  of  San  Benito,  and  go  down  to 
Smith's  cabin  on  red  fish  bay  for  a  couple 
of  weeks  to  pull  out  tarpon  and  red  fish. 
Wouldn't  that  be  sumtin',  Gertie? 

V 

A  few  days  ago  an  Oklahoma  daily  car- 
ried a  picture  of  the  first  tree  planted  in 
that  "shelterbelt"  that  they  are  going  to 
plant  in  Oklahoma  to  bring  rain.  The  tree 
was  a  scrub  pine  about  two  feet  tall  and 
surrounding  it  were  the  governor  and 
other  state  dignitaries,  and  several  gov- 
ernment employees  with  shovels,  ready  to 
do  battle  for  humanity  at  so  much  per. 
The  tree  must  have  brought  rain  all  right, 
for  last  night  we  saw  lightning  and  heavy 
rain  clouds  over  western  Oklahoma,  and, 
since  it  has  rained  all  day  here  in  Kansas, 
it  is  quite  likely  that  the  boys  have  started 
planting  trees  up  here,  but  we  hope  we 
get  home  before  they  start  planting  In 
Nebraska,  for  we  left  our  rubber  boots 
and  raincoat  up  home. 

V 

Yesterday  we  saw  a  man  pay  thirty  cents 
a  pound  for  pork  chops.  Gosh,  we'd  like  to 
see  the  hog  they  got  those  chops  ofif  of;  he 
must  have  been  a  whizzer,  and  we'd  like  to 
see  the  farmer  who  raised  him.  We'll 
betcha  that  farmer  was  glad  that  they  killed 


five  million  pigs  "to  raise  the  price  of  pork" 
when  he  sold  that  hog  for  three  dollars  a 
hundred.  We  learned  that  the  cotton  far- 
mer down  South  is  not  nearly  as  enthusias- 
tic over  plowing  up  his  cotton  "to  raise  the 
price  of  cotton,"  as  the  boys  are  in  Wash- 
ington. 

V 

The  News  Gets  Out 

We  stopped  in  Marlow  to  see  Miller,  who 
runs  the  Marlow  theatre,  but  he  had  gone 
to  Oklahoma  City.  We  stopped  at  Rush 
Springs  to  see  the  boy  there  but  he  went 
to  Wichita  to  see  his  boy,  who  is  in  the  hos- 
pital. We  called  at  several  places  along  the 
route  but  found  the  boys  had  left  town ;  they 
must  have  heard  that  we  were  coming.  It 
beats  all  how  the  news  does  leak  out  that 
wav. 

V 

Last  night  they  turned  on  the  radio  and 
we  heard  a  fellow  singing  a  cowboy  song, 
the  words  of  which  were  written  by  a  high 
school  girl  in  Ypsilanti,  Mich.,  who  never 
saw  a  cowboy,  and  the  music  was  a  sound 
reproduction  of  a  man  filing  a  cross-cut  saw. 
Then  a  jazz  orchestra  started  playing  "Mon- 
light  After  Sundown"  and  a  crooner  broke 
out  with  "Love's  Young  Dream,"  and  the 
mules  broke  out  of  the  corral  and  we  had 
to  go  out  and  help  chase  'em  back.  Doggone 
the  luck,  anyhow. 

V 

But  speaking  about  good  wheat.  If  you 
want  to  see  good  wheat-fields  you  should  go 
to  northwest  Oklahoma  and  southern  Kan- 
sas. We  have  seen  a  lot  of  wheat  in  our  time 
but  nothing  that  looked  any  better  than  in 
these  sections.  Our  guess  is  that  business 
will  soon  start  picking  up  at  the  theatres 
down  there.  We  hope  so. 

V 

On  the  Road  Home 

It  rained  all  day  yesterday  and  about  all 
night  last  night  and  the  wind  came  from 
the  north  and  is  howling  this  morning  like 
a  scared  wolf,  and  it  is  cold,  too,  but  we 
have  to  get  on  the  road  home,  so  we  will 
have  to  cut  this  short  and  trust  to  Providence 
(and  the  sheriff)  to  deal  kindly  with  all  of 
us.  But  speaking  of  the  sheriff  we  hope 
you  have  got  that  guy  trained  as  well  as  we 
have. 

JVhen  the  sheriff  comes  to  your  place 

To  satisfy  sonne  judge's  whim, 
You  should  look  him  right  square  in  the  face 

And  kick  the  stuff  in'  out  of  him. 

We  tried  that  once  but  it  didn't  work  so 
well. 

COLONEL  J.  C.  JENKINS, 
The  HERALD'S  Vagabond  Colyumnist 


Circuit  Managers  Meet 

Managers  of  the  theatres  of  the  Mercy 
circuit  in  central  Washington  met  last  week 
at  the  Liberty  theatre,  Pasco,  Wash. 
Among  those  in  attendance  were  Frederick 
Mercy,  Frederick  Mercy,  Jr.,  Arch  Bartho- 
let,  S.  G.  Turner,  H.  A.  Gillespie,  Arch 
MacArthur,  Jack  Wright,  Carl  Jones,  Don 
Cisger,  Milt  Wright. 


Second  Slate  Offered  Ampa 
By  Second  Nominating  Group 

A  second  nominating  group  of  the  Asso- 
ciated Motion  Picture  Advertisers  unex- 
pectedly announced  Wednesday  another  set 
of  candidates  to  succeed  the  William  R. 
Ferguson  administration^  as  follows :  For 
president,  Bruce  Gallup,  advertising  director 
of  Columbia;  vice-president,  Gordon  S. 
White,  advertising  director  of  Educa- 
tional ;  treasurer,  Herbert  S.  Berg,  pub- 
licist of  United  Artists;  secretary,  Edwai'd 
McNamee,  of  National  Screen  Service. 

For  the  board  of  directors:  William  R. 
Ferguson,  exploitation  head  of  MGM ;  Paul 
B.  Benjamin,  retiring  treasurer,  of  Na- 
tional Screen ;  Al  Gottlieb,  Marvin  Kirsch, 
and  Mel  Hymann. 

John  C.  Flinn,  secretary  of  the  Code  Au- 
thority, was  nominated  for  a  three-year 
trusteeship ;  Hal  Horne,  advertising  director 
of  United  Artists,  was  named  to  continue 
as  counselor  to  the  National  Chamber  of 
Commerce,  and  the  following  were  selected 
as  auditors:  Paul  Gulick,  Universal;  Ed- 
ward Finney,  Republic  Pictures,  and  Vin- 
cent Trotta,  Paramount. 

The  second  norninating  group  consists  of 
Irving  Goodfield,  Ralph  Lund,  James  P. 
Cunningham,  Irwin  Zellner,  Herbert  Berg 
and  Bert  McKenzie. 

Elections  will  be  held  on  Thursday,  April 
25,  at  a  special  meeting  at  the  Motion  Pic- 
ture Club  in  the  Bond  Building,  New  York. 


Indian  Screen  Magazine 
Issues  Annual  for  1935 

The  Moving  Picture  Monthly,  leading  mo- 
tion picture  publication  of  India,  published 
at  Bombay,  recently  issued  its  1935  Annual 
edition,  the  third,  under  the  direction  of  R. 
K.  Rele,  editor  of  the  publication.  The  An- 
nual, containing  considerable  effective  illus- 
tration of  the  stars  of  the  Indian  motion 
picture,  opens  with  a  brief  but  comprehen- 
sive review  of  motion  picture  activity  in 
India  since  Febryary,  1931,  when  the  first 
domestic  talking  films  appeared  in  the  coun- 
try. 

There  are  included  in  the  Annual  articles 
by  Irene  Nicholson,  London  critic;  Max 
Factor,  Hollywood  makeup  man ;  others  on 
various  phases  of  screen  work  in  India  by 
leading  personalities;  on  visual  education, 
by  Dr.  H.  L.  Kooser  of  Iowa  State  College; 
on  television,  with  technical  consideration, 
a  showman's  page,  and  listings  and  infor- 
mation on  current  and  future  releases. 


Ray  Lewis  Hits  Coast 
Tax  Legislation  in  Address 

Ray  Lewis,  editor  and  publisher  of  The 
Canadian  Motion  Picture  Digest,  struck 
at  the  proposed  California  state  tax  legis- 
lation directed  against  the  motion  picture 
industry  in  an  address  recently  before  1,000 
men  and  women  at  the  El  Portal  theatre  in 
North  Hollywood,  during  a  recent  visit. 
She  urged  that  the  "ax"  be  taken  out  of 
taxes. 


April    2  0,     19  3  5 


MOTION    PICTURE  HERALD 


67 


TECHN€L€eiCAL 


iiiiiiiii 


The  BLUEBOOK  Schoo 


By  F.  H.  RICHARDSON 


BLUEBOOK  SCHOOL  QUESTION  NO.  262  (one  of  special  group  of  questions  on  sound  that  began  with 
Question  No.  261). — (A)  What  routine  is  followed  before  opening  of  the  show  each  day  by  the  conscientious 
projectionist  who  handles  sound  equipment?  (B)  May  sound  failures  result  fronn  blown  power  fuses?  Name  one 
good  safety  precaution  which  can  be  taken  in  the  projection  room  of  every  theatre  to  insure  a  minimum  loss 
of  time  in  locating  and  correcting  the  cause  of  failure  of  this  kind.  (C)  Many  motion  picture  projectors  are 
equipped  with  induction  drive  motors  controlled  by  centrifugal  starting  switches.  In  case  such  a  motor  hums, 
but  fails  to  start,  what  emergency  action  may  usually  be  taken  to  get  it  started? 


Answer  to  Question  No.  256 


Question  No.  256  was  this:  (A)  Just 
zvhat  is  the  effect  on  light  denxind  of  an 
increase  in  size  of  the  picture?  (B)  Name 
the  various  ways  in  which  abnormal  in- 
crease in  picture  size  decreases  the  beauty 
of  the  screen  image.  (C)  Name  other  effects 
of  abnormal  picture  size.  (D)  Compare  a 
smcill  and  a  very  large  screen  image. 

R.  and  K.  Wells  answer  Section  A  thus: 
"If  the  illumination  is  to  remain  unchanged 
(at  the  same  reflective  candle-power),  then 
the  light  must  be  increased  exactly  in  the 
same  proportion  as  the  surface  to  be  il- 
luminated is  increased.  For  example,  if 
one  square  foot  is  being  illuminated  at  10 
candle-power  of  reflected  light,  and  the  sur- 
face be  increased  to  two  square  feet,  then 
naturally  if  the  reflected  CP.  is  to  remain 
the  same,  the  light  reaching  or  illuminating 
the  two-foot  screen  must  be  exactly  double 
that  reaching  the  one  foot  one. 

"Light  demand  therefore  is  exactly  in  pro- 
portion to  the  increase  or  decrease  in  sur- 
face to  be  illuminated.  For  example,  if 
120  square  feet  of  screen  surface  be  en- 
larged to,  say,  180  square  feet,  then  the 
light  demand  (reflecting  power  of  the  two 
surfaces  being  equal)  would  be  as  120  is  to 
180,  which  would  call  for  50  per  cent  addi- 
tional light." 

(B)  Dale  Danielson  answers  thus:  "The 
magnification  of  all  film  defects  becomes 
more  pronounced,  and  therefore  more  visi- 
ble as  screen  image  dimensions  are  in- 
creased. Movement  of  the  film,  either  ver- 
tical or  lateral,  is  exaggerated.  Visibility 
of  graininess  is  increased.  Very  often  the 
huge  screen  image  appears  grainy,  whereas 
the  smaller  one  projected  from  the  same 
films  does  not.  There  also  is  the  possibility 
of  the  large  picture  being  out  of  harmony 
with  its  surroundings.  Definition  in  secur- 
ing focal  sharpness  is  increased." 

I  believe  this  last  is  not  very  well  put. 
What  Brother  Danielson  means,  I  think,  is 
that  the  large  picture  will  not  seem  as  sharp 
in  definition  as  would  a  smaller  one,  es- 
peciallv  to  those  down  front,  but  that  is 


something  over  which  the  projectionist  has 
no  control.  However,  I  am  not  certain 
about  this. 

"Assuming  projection  distance  to  he  the 
same  for  small  and  large  picture,  the  shorter 
focal  length  lens  necessary  for  the  larger 
picture  makes  it  more  difficult,  and  in  ex- 
treme cases  impossible,  to  secure  maximum 
sharpness  in  focus  all  over  a  large  screen. 
This  is  because  the  curvature  of  field  is  in- 
creased, which  means  that  the  difference  in 
distance  between  lens  and  screen  center  and 
sides  is  increased.  The  huge,  massive-ap- 
pearing screen  usually  will  not  have  as 
pleasing  an  appearance  and  harmony  with 
surroundings  as  will  the  smaller  one,  which 
same,  with  exceptions,  applies  equally  to 
various  objects  in  the  picture  itself." 

That  last  remark  is  true,  though  not,  I 
believe  for  the  reasons  Danielson  has  in 
mind.  They  will  not  have  the  same  beauty 
because  of  increased  general  coarseness  in 
appearance,  which  involves  too  great  mag- 
nification of  the  photographic  emulsion, 
which  produces  tendency  to  more  or  less 
graininess,  as  well  as  probable  decrease  in 
illumination  and  other  things. 


F.H.RICHARDSON'S  NEW 
BLUE  BOOK  OF 

PROJECTION 

A  new  edition  of  this  famous 
book  is  now  on  the  press.  Pro- 
jection, sound  reproduction  and 
trouble-shooting  all  in  one  compact,  handy  vol- 
ume of  700  pages,  including  153  illustrations 
of  hook-ups,  wiring  diagrams  and  schematics. 

Experts  consider  it  the  most  up-to-date  and  practical 
projection  manual  on  the  market.  Contains  an  extremely 
simple  index  system  for  instant  use  in  emergency  break- 
downs. A  book  that  should  be  part  of  every  projection 
room  in  the  country.  Order  early  and  get  an  original 
author's  autographed  copy. 


QOIGLEY  BOOKSHOP 


1790  Broadway 


New  York 


$5 


(C)  T.  Van  Vaulkenburg  wins  on  this 
one,  though  Danielson  is  a  very  close  sec- 
ond. He  says,  "Increased  eye-strain  for 
those  in  the  front  portion  of  the  auditorium, 
as  well  as  for  those  in  extreme  side  seats, 
increased  distortion  from  side  front  seats 
because  of  increased  side  view  of  part  of 
picture  fartherest  from  them ;  increase  in 
cost  of  screen :  increased  cost  of  cleaning 
screen  . or  replacing  it  when  its  tmie  of  use- 
fulness has  passed ;  increased  cost  for  elec- 
tric current ;  increased  carbon  consumption 
cost ;  increased  damage  to  film  because  of 
greater  heat  at  spot  (I  suppose  lighting  of 
large  picture  is  to  be  equal,  so  far  as  pos- 
sible, to  that  of  the  smaller  one)  ;  increase 
in  projection  angle  distortion." 

(D)  Dale  Danielson  says,  "Viewed  from 
the  standpoint  of  honest  comparison,  there 
is  hardly  anything  that  favors  the  huge 
screen  image.  First,  to  maintain  proper 
viewing  conditions  the  distance  from  front 
seats  to  screen  must  be  increased  at  least 
one  foot,  three  inches  for  each  added  foot 
of  screen  width.  Second,  screen  widening 
increases  side-view  angles.  Third,  light  de- 
mand increases  rapidly.  Fourth,  increased 
screen  cost,  and  cost  of  everything  pertain- 
ing to  it.  Fifth,  increased  difficulty  (Im- 
possibility.— F.  H.  R.)  in  getting  an  ap- 
parently sharp  focus  in  the  large  picture. 
.Si.xth,  increase  in  distortion  in  large  picture. 
Seventh,  all  photographic  or  film  defects 
more  visible  in  large  picture.  Eight,  in- 
creased necessity  for  depth  of  focus  in  lens. 
Ninth,  large  screen  image  better  for  rear 
seats  when  viewing  distance  is  abnormally 
long.  Tenth,  modern  architecture  with  its 
large,  unbroken  areas,  harmonizes  well  with 
large  screen  (But  this  cannot  hold  in  any 
e.xcept  large  theatres. — F.  H.  R.)  Eleventh, 
there  is  a  modern  tendency  toward  larger 
screen  images.  Twelfth,  available  space  is 
often  the  deciding  factor.  Thirteenth,  with 
long  viewing  distance  the  small  screen 
image  must  be  illuminated  so  brightly  for 
the  rear  seats  that  it  is  too  bright  for  those 
nearer  to  it." 


THREE  OF  A  KIND 


''YOU   CAN   GO  TO  TOWN  WITH 
THE    HOOSIER  SCHOOLMASTER'' 


— The  Film  Daily 


Vivid  ^„  An  all  family  attraction." 

  — Motion  Picture  Herald 


NORMAN 

FOSTER 

and 

CHARLOTTE 

HENRY 


Ui-¥^i   » 


Directed  by  Lewis"  D.  Collins 
From  ihe  novel 
by  Edward  Eggleston 
Screenplay  by  Charles  Logue 


"Genuine  and  pleasing  entertainment . . ." 

— Showmen's  Trade  Review 


"mil, 


I 


'3?  stars... Fine  quality...excellent  performance." 

■ — Screen  Book 


'Unusually  good  entertainment..." 

— Mofion  Picture;  Daily 


April20,l935  MOTIONPICTUREHERALD  69 

WHAT  THE  I^ICTLCE 
DID  E€C  HE 


Chesterfield 

CURTAIN  FALLS,  THE:  Henrietta  Crosman— Ran 
it  once,  then  put  it  in  the  can.  Enough  said.— Harold 
C.  Allison,  Baldwin  Theatre,  Baldwin,  Mich.  Small 
town  patronage. 

WORLD  ACCUSES,  THE:  Russell  Hopton,  Dickie 
Moore,  Cora  Sue  Collins — Cora  Sue  Collins  got  the 
laughs.  A  fair  family  picture.  Played  March  26.— 
Harold  C.  Allison,  Baldwin  Theatre,  Baldwin,  Mich. 
Small  town  patronage. 


Columbia 

AMONG  THE  MISSING:  Richard  Cromwell— Aver- 
age program  picture  that  drew  above  average  business 
on  "Bargain  Night."  Running  time,  67  minutes. 
Played  April  2.— H.  M.  Johnson,  Avon  Theatre,  Avon 
Park,  Fla.    General  patronage. 

BEST  MAN  WINS,  THE:  Jack  Holt,  Edmund 
Lowe — Not  so  hot  story  of  two  divers.  Underwater 
shots  absorb  most  of  the  story,  and  weak  ending. 
O.  K.  for  a  weekend.— John  A.  Milligan,  Broadway 
Theatre,  Schuylerville,  N.  Y.    Small  town  patronage. 

BLIND  DATE:  Ann  Sothern— Nice  little  program 
picture  that  pleased  the  "Bargain  Night"  crowd. 
Business  average.  Running  time,  72  minutes.  Played 
March  12.— H.  M.  Johnson,  Avon  Theatre,  Avon  Park, 
Fla.    General  patronage. 

CARNIVAL:  Jimmy  Durante,  Lee  Tracy,  Sally 
Eilers — An  honest  effort  was  made  here.  Cast  and 
production  okay.  Everything  working  right  up  to 
expectations.  We  tried  hard  to  put  it  over  with 
special  advertising  but  failed  to  lift  it  above  average 
business  at  box-office.  Would  say  it  is  good  but  they 
got  to  be  better  than  good. — W.  H.  Brenner,  Cozy 
Theatre,  Winchester,  Ind.    General  patronage. 

CARNIVAL:  Jimmy  Durante,  Lee  Tracy,  Sally 
Eilers — Just  average  and  nothing  to  get  excited  about. 
Durante's  humor  keeps  picture  alive.  Durante  much 
better  because  he  gets  away  from  the  "noise"  which 
he  made  in  previous  pictures.  Lee  Tracy  doing  a 
fadeout  here.  Played  Friday  and  Saturday.— John 
A.  Milligan,  Broadway  Theatre,  Schuylerville,  N.  Y. 
Small  town  patronage. 

DEFENSE  RESTS,  THE:  Jack  Holt,  Jean  Arthur 
— An  above-the-average  program  picture  and  pleased 
those  who  came.  Business  below  average.  No  draw. 
Running  time,  70  minutes.  Played  March  20-21.— H. 
M.  Johnson,  Avon  Theatre,  Avon  Park,  Fla.  General 
patronage. 

HELL  BENT  FOR  LOVE:  Tim  McCoy— Very  good 
action  picture  that  pleased  the  Saturday  crowd._  Busi- 
ness aljout  average.  Running  time,  60  minutes. 
Played  March  23. — H.  M.  Johnson,  Avon  Theatre, 
Avon  Park,  Fla.    General  patronage. 

HELL  CAT,  THE:  Ann  Sothern,  Robert  Armstrong 
— Just  a  program  picture  that  pleased  the  Bargain 
Night  crowd.  Business  about  average.  Running 
time,  69  minutes.  Played  March  S.— H.  M.  Johnson, 
Avon  Theatre,  Avon  Park,  Fla.    General  patronage. 

UVDY  BY  CHOICE:  Carole  Lombard,  May  Rob- 
son,  Roger  Pryor,  Walter  Connolly — May  Robson  al- 
ways pleases  here  100  per  cent  and  with  Walter  Con- 
nolly in  the  cast  it  is  a  knockout.  Plenty  good  for 
any  day.  Played  March  26. — Chas.  S.  Edwards, 
Queen  Theatre,  Pilot  Point,  Texas.  General  patron- 
age. 

ONE  NIGHT  OF  LOVE:  Grace  Moore-We  had 
been  besieged  with  requests  for  this  picture  from 
patrons  for  months.  Reports  in  this  department  from 
all  the  small  towns  were  bad  but  with  all  these  re- 
quests for  it  we  took  a  chance.  I  am  glad  to  say 
that  it  did  above  average  business  and  pleased  90 
per  cent  of  the  people  who  came  to  see  it.  Gave  it 
extra  advertising  of  the  proper  kind.  I'm  glad  we 
played  it.  Running  time,  82  minutes.  Played  March 
31-April  1. — H.  M.  Johnson,  Avon  Theatre,  Avon 
Park,  Fla.    General  patronage. 


First  National 

BABBITT:  Guy  Kibbee,  Aline  MacMahon— Very 
good  comedy  but  not  as  good  as  "Big  Hearted  Her- 
bert." Business  off.  Played  March  20. — Henry 
Sparks,  Grand  Theatre,  Cooper,  Texas.  Small  town 
and  rural  patronage. 

BIG  HEARTED  HERBERT:  Aline  MacMahon,  Guy 
Kibbee,  Patricia  Ellis — Good  Sunday  business  on  this 
very  entertaining  comedy  drama. — Roy  W.  Adams, 
Mason  Theatre.,  Mason,  Mich.    Small  town  patronage. 


N  this,  the  exhibitors'  own  de- 
partment, the  theatremen  of  the 
nation  serve  one  another  with 
information  on  the  box  ofRce  per- 
formance of  product  for  their  mu- 
tual benefit.  It  is  a  service  of  the 
exhibitor  for  the  exhibitor.  Address 
all  communications  to — 

What  the  Picture  Did  for  Me 

MOTION  PICTURE  HERALD 
1790  Broadway,  New  York 


GENTLEMEN  ARE  BORN:  Franchot  Tone,  Jean 
Muir — This  is  a  good  picture.  Should  please  any- 
where. Characters  all  fit  into  their  roles  perfectly. 
The  story  is  clever.  Far  above  average  program  pic- 
ture. Played  March  21-22. — Henry  Sparks,  Grand 
Theatre,  Cooper,  Texas.  Small  town  and  rural  pat- 
ronage. 

MURDER  IN  THE  CLOUDS:  Lyle  Talbot,  Ann 
Dvorak — One  of  the  best  thrills  we  have  run.  Pleased 
our  Saturday  patrons  and  business  above  average. 
Played  March  23. — Henry  Sparks,  Grand  Theatre, 
Cooper,  Texas.     Small  town  and  rural  patronage. 


Fox 


BABOONA:  Mr.  and  Mrs.  Martin  Johnson— Just 
a  picture  that  Fox  made  me  play.  I  can't  see  why 
they  have  to  pan  that  stuff  off  on  an  honest  exhibi- 
tor. I  have  about  made  up  my  mind  it  is  impossible 
to  be  honest  and  in  the  show  business  both.  Played 
March  12.— Chas.  S.  Edwards,  Queen  Theatre,  Pilot 
Point,  Texas.    General  patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn— Fox 
product  certainly  pleases  here.  I  would  feel  as  though 
I  were  cheating  my  friends  if  I  didn't  have  this  won- 
derful girl  to  show  them.  Many  comments  that  it  was 
good  entertainment.  Played  April  6-7. — Harold  C. 
Allison,  Baldwin  Theatre,  Baldwin,  Mich.  Small  town 
patronage. 

BRIGHT  EYES:  Shirley  Temple— Shirley  Temple 
draws  better  than  any  other  star.  This  picture 
brought  out  the  best  crowd  of  the  year.  A  perfect 
picture  for  any  theatre.  Played  March  30.— George 
Lodge,  Green  Lantern  Theatre,  Claymont,  Del.  Small 
town  patronage. 

BRIGHT  EYES:  Shirley  Temple,  James  Dunn— 
Everybody  has  written  this  as  good,  and  I  say  it  is 
extra  fine.  But  "Baby  Take  a  Bow"  was  her  best. 
And  James  Dunn  was  made  for  her  to  make  her  pic- 
tures perfect.  I  do  hope  to  live  to  see  this  little  star 
in  pictures  till  her  head  grows  gray.  Running  time, 
85  minutes.— Walter  Odom  &  Sons,  Dixie  Theatre, 
Durant,  Miss.    General  patronage. 

DUDE  RANGER:  George  O'Brien— If  it  hadn't  been 
that  two  inches  of  snow  fell  just  before  show  time 
this  would  have  been  a  wonderful  draw.  Did  well 
the  second  night.  Played  March  27-28.— Harold  C. 
Allison,  Baldwin  Theatre,  Baldwin,  Mich.  Small  town 
patronage. 

HELLDORADO:  Richard  Arlen,  Madge  Evans, 
Ralph  Bellamy— Will  please  Saturday  nite  or  western 
crowd.  Good  programmer.  Running  time,  74  minutes. 
G.  Carey,  Strand  Theatre,  Paris,  Ark.  Family  patron- 
age. 

JUDGE  PRIEST:  Will  Rogers,  Rochelle  Hudson. 
Tom  Brown,  Anita  Louise — Nice  Saturday  business;  a 
perfect  picture  from  the  viewpoint  of  my  people.— 
Roy  W.  Adams,  Mason  Theatre,  Mason,  Mich.  Small 
town  patronage. 

LOTTERY  LOVER:  "Pat"  Paterson,  Lew  Ayres— 
This  is  one  good  picture  and  will  please  all  you  can 
get  to  see  it.  Running  time.  85  minutes. — Walter 
Odom  &  Sons,  Dixie  Theatre,  Durant,  Miss.  General 
patronage. 

MR.  SKITCH:  Will  Rogers.  Zasu  Pitts,  Rochelle 
Hudson,  Charles  Starrett— Good  Saturday  business  on 
this  old  picture,  but  the  Rogers  fans  complained  that 
the  story  and  role  were  very  weak  for  their  favorite 
star.— Roy  W.  Adams,  Mason  Theatre,  Mason,  Mich. 
Small  town  patronage. 


WHITE  PARADE.  THE:  John  Boles,  Loretta 
Young — Well,  most  everybody  seemed  to  know  what 
this  picture  would  be  like,  and  sure  enough,  it  turned 
out  to  be  what  they  expected,  a  hospital-nurse  pic- 
ture. But  it  is  mighty,  mighty  good.  Play  it  and 
like  it  for  it  is  O.  K.  Running  time,  9  reels.  Played 
March  25-26.— Walter  Odom  &  Sons,  DLxie  Theatre, 
Durant,  Miss.    General  patronage. 


GB  Pictures 


CHU  CHIN  CHOW:  Anna  May  Wong,  John  Gar- 
rick — This  is  one  fine  picture  that  I  couldn't  get  them 
in  to  see.  Some  that  came  didn't  like  it  and  others 
did,  but  a  flop  at  the  box  office.  Sound  not  up  to  the 
standard  of  other  productions.  Running  time,  90  min- 
utes. Played  March  22-23.— Chas.  S.  Edwards,  Queen 
Theatre,  Pilot  Point,  Texas.    General  patronage. 

IRON  DUKE,  THE:  George  Arliss,  Gladys  Cooper 
— Another  period  picture  that  took  a  grand  nosedive 
at  the  box  office.  The  only  two  British  pictures  I 
have  had  have  been  impossible  to  sell,  though  they 
are  all  good.  I  believe  that  they  will  be  box  office 
when  they  are  better  known.  Running  time.  93  min- 
utes. Played  March  29-30.— Chas.  S.  Edwards,  Queen 
Theatre,  Pilot  Point,  Texas.    General  patronage,' 


Mascot 


LITTLE  MEN:  Ralph  Morgan,  Erin  O'Brien-Moore, 
Junior  Durkin,  Cora  Sue  Collins,  Frankie  Darro, 
Dickie  Moore — This  is  a  good  production  of  this  old 
childhood  classic,  with  a  fine  cast,  but  it  is  not  the 
big  drawing  attraction  that  you  may  expect. — Roy 
W.  Adams,  Mason  Theatre,  Mason,  Mich.  Small  town 
patronage. 

MARINES  ARE  COMING,  THE:  William  Haines— 
A  dandy  little  picture  with  plenty  of  pep  and  spice. 
It  has  no  selling  angles  but  there  are  now  so  many 
like  that.  It  will  please.  Played  March  26-27.— Henry 
Sparks,  Grand  Theater,  Cooper,  Texas.  Small  town 
and  rural  patronage. 


MGM 

AFTER  OFFICE  HOURS:  Constance  Bennett,  Clark 
Gable — ^Very  good.  Customers  all  enjoyed  this  and 
the  box  office  statement  was  slightly  better  than  aver- 
age. Played  March  23.— B.  Hollenbeck,  Rose  Theatre, 
Sumas,  Wash.    Small  town  patronage. 

AFTER  OFFICE  HOURS:  Clark  Gable,  Constance 
Bennett — O.  K.  Should  get  the  women.  Good  story 
and  plenty  of  humor. — John  A.  Milligan,  Broadway 
Theatre,  Schuylerville,  N.  Y.    Small  town  patronage. 

BABES  IN  TOYLAND:  Laurel  and  Hardy— Report- 
ing this  picture  is  rather  hard.  Personally  I  liked 
the  picture  but  there  were  a  lot  of  people  who  did  not. 
It  failed  to  draw.  Did  the  poorest  Sunday-Monday 
business  in  months.  This  too  in  face  of  the  fact  that 
it  was  sold  through  the  schools.  Running  time,  79 
minutes.  Played  March  17-18. — H.  M.  Johnson,  Avon 
Theatre,  Avon  Park,  Fla.    General  patronage. 

NIGHT  IS  YOUNG,  THE:  Ramon  Novarro— A  very 
nice  picture  that  pleased  and  drew  slightly  above 
the  average.  Excellent  music.  Running  time,  82  min- 
utes. Played  March  29. — H.  M.  Johnson,  Avon  Thea- 
tre, Avon  Park,  Fla.    General  patronage. 

OPERATOR  13:  Marion  Davies,  Gary  Cooper— An 
e.xcellent  picture.  We  played  it  very  late,  but  it  did 
average  business  and  pleased  100  per  cent.  Running 
time,  86  minutes.  Played  March  15. — H.  M.  Johnson, 
Avon  Theatre,  Avon  Park,  Fla.    General  patronage. 

PAINTED  VEIL,  THE:  Greta  Garbo,  Herbert  Mar- 
shall, George  Brent — Just  a  program  offering  but  at 
that  it  is  a  decided  improvement  over  some  of  the 
preceding  Garbos.  Did  better  than  average  business. 
Played  April  3. — B.  Hollenbeck,  Rose  Theatre,  Sumas, 
Wash.    Small  town  patronage. 

PAINTEU5  VEIL,  THE:  Greta  Garbo— One  of  those 
pictures  that  a  few  people  call  great  and  the  rest  of 
the  public  dislikes.  Did  average  business  but  didn't 
please  more  than  25  per  cent  of  those  who  saw  it. 
Personally  I  thought  it  was  too  slowly  paced.  At 
times  the  action  moved  along  and  held  the  interest, 
only  to  start  lagging  again.  Running  time,  86  min- 
utes. Played  March  6-7. — H.  M.  Johnson,  Avon  The- 
atre, Avon  Park,  Fla.    General  patronage. 

TOMORROWS  YOUTH:  John  Miljan,  Martha 
Sleeper,  Dickie  Moore — Nice  little  programmer  that 
pleased  most  of  the  "Bargain  Night"  crowd.  Run- 


70 


MOTION    PICTURE  HERALD 


April    20,  1935 


ning  time,  63  minutes.  Played  March  19. — H.  M, 
Johnson,  Avon  Theatre,  Avon  Park,  Fla.  General 
patronage. 


Monogram 

FLIRTING  WITH  DANGER:  Robert  Armstrong, 
Marion  Burns — Got  the  laughs.  Good  entertainment. 
—Harold  C.  Allison,  Baldwin  Theatre,  Baldwin,  Mich. 
Small  town  patronage. 

GIRL  OF  THE  LIMBERLOST:  Louise  Dresser, 
Ralph  Morgan.  Marian  Marsh — Played  this  one  late 
but  to  extra  heavy  weekend  business.  Comment  was 
spotted,  but  majority  liked  it,  and  it  clicked  at  the 
B.  O.  So  why  say  more.  Running  time,  86  minutes. 
Played  March  22.— Roy  C.  Irvine,  Ritz  Theatre,  Ritz- 
ville.   Wash.     General  patronage. 

MAN  FROM  UTAH,  THE:  John  Wayne— A  west- 
ern that  goes  right  to  bat  in  the  start  and  never  lets 
up  until  finished.  John  Wayne  is  one  of  the  best 
liked  western  stars  and  I  see  no  good  reason  why 
he  will  not  keep  right  on  drawing  them  in.  Showed 
it  last  two  days  of  the  week  to  capacity  business. — 
W.  H.  Brenner,  Cozy  Theatre,  Winchester,  Ind.  Gen- 
eral patronage. 

'NEATH  ARIZONA  SKIES:  John  Wayne— An 
above-the-average  western  picture  that  pleased.  Drew 
about  average  business  for  Saturday.  Running  time, 
55  minutes.  Played  April  6. — H.  M.  Johnson,  Avon 
Theatre,   Avon   Park,   Fla.     General  patronage. 

REDHEAD:  Bruce  Cabot,  Grace  Bradley— Average 
program  picture  that  satisfied  those  who  came  to  see 
it.  However,  it  has  no  particular  drawing  power. 
The  title  doesn't  mean  a  thing  and  there  are  no 
names  to  speak  of  in  the  cast.  Played  to  poorest  mid- 
week business  for  some  months.  Played  March  27. — 
B.  Hollenbeck,  Rose  Theatre.  Sunias,  Wash.  Small 
town  patronage. 

SING  SING  NIGHTS:  Conway  Tearle,  Mary  Doran 
— Some  liked  it  and  some  didn't.  In  other  words, 
nothing  above  average.  Played  April  3-4. — Harold  C. 
Allison,  Baldwin  Theatre,  Baldwin,  Mich.  Small  town 
patronage. 


Paramount 


ALL  OF  ME:  Fredric  March — Just  an  average  pro- 
gram picture.  Not  up  to  March's  standard.  Played 
March  23. — Henry  Sparks,  Grand  Thetare,  Cooper, 
Texas.    Small  town  and  rural  patronage. 

BEHOLD  MY  WIFE:  Gene  Raymond,  Sylvia  Sid- 
ney— What  a  nice  little  picture  and  what  a  team 
Gene  and  Sylvia  make.  Sylvia  sure  portrays  the  In- 
dian girl  to  perfection  and  Gene  was  better  than  usual. 
.Our  audience  liked  it  100  per  cent  and  business  was 
satisfactory.  If  we  could  only  say  this  of  more  of 
the  pictures.  Played  March  31-April  1. — Henry  Sparks, 
Grand  Theatre,  Cooper,  Texas.  Small  town  and  rural 
patronage. 

CAR  99:  Fred  MacMurray,  Ann  Sheridan— Tied  up 
with  the  Boy  Scouts  and  broke  house  records.  I 
don't  go  much  for  a  lot  of  the  press  sheet  stuff  but 
you  can  make  no  mistake  by  working  with  the  local 
Ford  dealer  on  this  one.  If  you  have  a  house  in 
Michigan,  by  all  means  get  the  bills  put  out  by  the 
Exhibitors  Printing  Service,  Cass  Ave.,  Detroit,  on 
this  action  picture  of  Michigan  State  Police.  Played 
March  30-April  1.— Harold  C.  Allison,  Baldwin  The- 
atre,   Baldwin,    Mich.     Small    town  patronage. 

COLLEGE  RHYTHM:  Joe  Penner,  Jack  Oakie, 
Lanny  Ross,  Lyda  Robcrti,  Helen  Mack,  Mary  Briar 
— The  rest  of  the  world  likes  Joe  Penner  better  than 
I  do,  it  must  be,  as  this  did  a  nice  Sunday  busi- 
ness.— Roy  W.  Adams,  Mason  Theatre,  Mason,  Mich. 
Small  town  patronage. 

COLLEGE  RHYTHM:  Joe  Penner,  Lanny  Ross- 
Don't  think  there  has  been  an  adverse  criticism  on 
this  in  the  columns  of  "What  the  Picture  Did  For 
Me."  It's  just  another  of  those  pictures  that  happen 
along  all  too  seldom  that  will  draw  them  in  and 
please  them  after  they  get  in.  Played  March  24-25. 
— Henry  Sparks,  Grand  Theatre,  Cooper,  Texas.  Small 
town  and  rural  patronage. 

ENTER  MADAME:  Elissa  Landi,  Gary  Grant- 
Played  to  average  business  but  didn't  please  the  ma- 
jority. Not  the  type  for  small  towns.  Running  time, 
83  minutes.  Played  March  22. — H.  M.  Johnson.  Avon 
Theatre,  Avon  Park,  Fla.  General  and  small  town 
patronage. 

GILDED  LILY,  THE:  Claudette  Colbert,  Fred  Mac- 
Murray — A  little  better  than  average  picture.  Most 
patrons  pleased.  My  nomination  for  the  Academy 
award  for  box-office  titles  would  be  "The  Gilded 
Lily"  and  "The  Good  Fairy."— John  A,  Milligan, 
Broadway  Theatre,  Schuylerville,  N.  Y.  Small  town 
patronage. 

IT'S  A  GIFT:  W.  C.  Fields — I  have  so  many  pat- 
rons that  don't  like  Fields.  Had  hard  sledding  trying  to 
sell  this  picture  but  those  that  I  did  get  out  admitted 
that  they  got  their  money's  worth.  Personally,  I 
consider  it  a  very  clever  comedy  Played  April  2-3. 
— Henry  Sparks,  Grand  Theatre,  Cooper,  Texas.  Small 
town  and  rural  patronage. 

LIMEHOUSE  BLUES:   George  Raft,  Jean  Parker 


— Here  is  a  honey  for  those  houses  that  require  mys- 
tery and  action  pictures  for  weekend.  Used  it  last 
part  of  week,  three  days,  to  better  than  average 
business.  This  is  possibly  the  best  picture  of  its  kind 
ever  made. — W.  H.  Brenner,  Cozy  Theatre,  Win- 
chester, Ind.     General  patronage. 

LIMEHOUSE  BLUES:  George  Raft,  Jean  Parker 
—Originally  had  this  booked  for  a  Sunday-Monday 
but  changed  to  Saturday  and  made  no  mistake  in  doing 
this  as  it  is  only  average  entertainment.  Seems  to 
me  they  could  have  looked  Hollywood  over  and  not 
found  a  star  that  seemed  more  out  of  place  than 
sweet  and  demure  little  Jean  Parker  in  the  role  of 
tough  gal  and  pickpocket.  Jean,  don't  take  any  more 
of  this  kind  of  roles  as  your  admirers  don't  like  you 
in  them.  Played  March  30. — Henry  Sparks,  Grand 
Theatre,  Cooper,  Texas.  Small  town  and  rural  pat- 
ronage. 

LIVES  OF  A  BENGAL  LANCER:  Gary  Cooper, 
Franchot  Tone,  Richard  Cromwell,  Sir  Guy  Standing 
— Very  good.  Mostly  a  man's  picture.  Just  one 
woman  and  she  has  a  minor  role.  Did  better  than 
average  business  here.  Played  March  30. — B.  Hol- 
lenbeck, Rose  Theatre,  Sumas,  Wash.  Small  town 
patronage. 

LIVES  OF  A  BENGAL  LANCER:  Gary  Cooper, 
Franchot  Tone — What  a  picture!  Pleased  100  per 
cent  and  got  above  average  business.  One  of  those 
pictures  that  makes  you  proud  to  greet  the  patrons 
when  they  come  out  of  the  theatre.  Worth  the  best 
spot  in  anybody's  theatre.  Running  time,  89  minutes. 
Played  March  10-11.— H.  M.  Johnson,  Avon  Theatre, 
-Vvon  Park,  Fla.    General  patronage. 

MENACE:  Gertrude  Michael,  Paul  Cavanagh,  Hen- 
rietta Crosman,  John  Lodge — 'This  is  a  fairly  enter- 
taining murder  mystery  melodrama  that  pleased  a 
fair  crowd. — Roy  W.  Adams,  Mason  Theatre,  Mason, 
Mich.     Small  town  patronage. 

NOW  AND  FOREVER:  Shirley  Temple,  Gary 
Cooper — A  very  fine  picture.  Some  exhibitors  have 
complained  that  this  picture  would  hurt  Shirley.  I 
don't  see  it  that  way. — Sammie  Jackson.  Jackson 
Theatre,   Flomoton,   Ala.     Small   town  patronage. 

READY  FOR  LOVE:  Ida  Lupino,  Richard  Arlen— 
An  overdrawn  satire  on  the  small  town's  supposed 
yen  for  scandal-mongering.  The  title  has  no  connec- 
tion with  the  story. — Roy  W.  Adams,  Mason  Theatre, 
Mason,  Mich.    Small  town  patronage. 

RUGGLES  OF  RED  GAP:  Charles  Laughton,  Mary 
Boland,  Charles  Ruggles,  Zasu  Pitts — A  picture  brim 
full  of  entertainment.  It  brought  in  the  paying  cus- 
tomers and  they  were  pleased  so  what  more  could  I 
ask?  Played  March  23-24.— Harold  C.  Allison,  Bald- 
win Theatre,  Baldwin,  Mich.    Small  town  patronage. 

RUMBA:  George  Raft,  Carole  Lombard— A  lot  of 
gab,  and  a  big  lot  of  Rumba.  Some  parts  of  this 
big  world  may  love  it,  but  for  me,  I  got  enough. 
Running  time,  9  reels. — Walter  Odom  &  Sons,  Dixie 
Theatre,  Durant,  Miss.    General  patronage. 

WAGON  WHEELS:  Randolph  Scott,  Gail  Patrick 
— Good  western.  Good  Saturday  business. — Roy  W. 
Adams,  Mason  Theatre,  Mason,  Mich.  Small  town 
patronage. 

WINGS  IN  THE  DARK:  Myrna  Loy,  Gary  Grant 
-  Don't  know  what  there  is  to  an  air  picture,  but  my 
patrons  eat  'em  up.  Changed  policy  recently  and 
running  weekend  three  days.  "Wings"  was_  the  first 
and  heaviest  gross  since  I  purchased  house  six  months 
ago.  Can  recommend  "Wings  in  the  Dark"  for  almost 
any  spot,  but  preferably  for  the  Saturday  regulars. 
Running  time,  75  minutes.  Played  March  ^-30. — 
Roy  C.  Irvine,  Ritz  Theatre,  Ritzville,  Wash.  General 
patronage. 

WINGS  IN  THE  DARK:  Gary  Grant,  Myrna  Loy— 
Nice  picture  that  should  have  done  more  business 
than  it  did.  Pleased  most  all  who  saw  it.  Business 
below  average.  Running  time,  75  minutes.  Played 
March  24-25. — H.  M,  Johnson,  Avon  Theatre,  Avon 
Park,  Fla.     General  patronage. 


RKO  Radio 


ANNE  OF  GREEN  GABLES:  Anne  Shirley,  Tom 
Brown — A  nice  picture  that  failed  to  gross  film  rental. 
No  fault  of  the  picture,  as  no  picture  of  the  period 
or  costume  type  will  gross  film  rental,  and  for  me  it 
is  just  a  pain  in  the  neck.  Running  time,  80  minutes. 
Played  February  22-23. — Chas.  S.  E.dwards.  Queen 
Theatre,  Pilot  Point,  Texas.    General  patronage. 

ANNE  OF  GREEN  GABLES:  Anne  Shirley,  Tom 
Brown — An  excellent  picture  that  will  get  business 
if  properly  sold.  Tied  up  with  local  PTA  and  enjoyed 
above  average  business  and  got  a  lot  of  favorable 
comments  on  it.  Pleased  the  classes  and  the  masses. 
Running  time,  78  minutes.  Played  March  13-14'. — H. 
M.  Johnson,  Avon  Theatre,  Avon  Park,  Fla.  General 
patronage. 

CAPTAIN  HURRICANE:  James  Barton,  Helen 
Westley,  Helen  Mack — I  opened  with  this  on  Friday 
night  to  a  small  crowd;  and  on  Saturday  night  I 
stayed  open  1  hour  without  one  adult  patron  coming 
to  the  box  office.  I  had  two  kids  in  the  theatre,  and 
gave  them  their  money  and  closed  up  for  the  night. 
Figure  that  out.  Better  see  this  one  at  your  neigh- 
bor's. Played  March  15-16. — Chas.  S.  Edwards,  Queen 
Theatre,  Pilot  Point,  Texas.    General  patronage. 


COCKEYED  CAVALIERS:  Wheeler  &  Woolsey— 
My  folks  like  Wheeler  and  Woolsey  and  this  is  the 
wildest  one  they  ever  made.  I  would  say  if  you 
have  not  already  shown  it,  hurry  right  into  the  ex- 
change and  get  your  copy  of  this  uproarious  farce 
and  give  it  to  your  patrons  full  force.  Good  box  of- 
fice attraction  for  me  and  wonderful  entertainment  for 
the  paying  customers.— W.  H.  Brenner,  Cozy  Theatre, 
Winchester,  Ind.     General  patronage. 

DOG  OF  FLANDERS,  A:  Frankie  Thomas,  O.  P. 
Heggie— One  of  the  finest  I  have  ever  had  in  my 
house,  but  not  worth  one  tinker's  dam  at  the  box 
office.  Classics  are  going  to  force  me  out  of  business 
if  they  don't  quit  making  them.  I  don't  think  that 
there  can  be  any  possibility  of  a  doubt  that  everyone 
that  sees  this  splendid  production  will  like  it.  but  it 
IS  next  to  impossible  to  sell  it.  They  look  over  the 
advertising  and  go  off  hunting  something  else  to 
do.  If  things  don't  change,  I  think  I  will  hire  a 
preacher  to  run  my  business  and  get  in  something 
else.  Running  time,  68  minutes.  Played  April  5-6.— 
Chas.  S.  Edwards,  Queen  Theatre,  Pilot  Point,  Texas. 
General  patronage. 

ENCHANTED  APRIL:  Ann  Harding— The  worst 
picture  we  have  played  this  season.  If  you  play  this 
one  it  might  be  well  to  hide  in  the  office  after  the 
first  reel  has  been  run  as  they'll  tell  you  what  they 
think  of  it  in  no  uncertain  terms.  Some  told  me  they 
would  never  come  again.  Running  time,  78  minutes. 
Played  March  9.— H.  M.  Johnson,  Avon  "Theatre,  Avon 
Park,  Fla.    General  patronage. 

GAY  DIVORCEE,  THE:  Fred  Astaire,  Ginger 
Rogers,  Alice  Brady,  Edward  Everett  Horton— A  good 
musical  comedy;  business  not  so  hot.  It  is  worthy 
of  note  that  Ginger  Rogers  wears  full  length  gowns 
throughout  this  picture,  and  is  infinitely  more  charm- 
ing and  alluringly  feminine  than  she  would  have  been 
in  the  various  stages  of  semi-nudity  that  are  usually 
considered  essential  for  this  type  of  show. — Roy  W. 
Adams,  Ma  son  Theatre,  Mason,  Mich.  Small  town 
patronage. 

GAY  DIVORCEE,  THE:  Fred  Astaire.  Ginger 
Rogers,  Alice  Brady,  Edward  Everett  Horton— A 
wonderful  picture;  one  of  the  best,  if  not  the  very  best, 
we  have  shown  during  the  year.  Drew  people  who 
had  never  before  been  in  the  theatre.  Playd  April 
6. — George  Lodge,  Green  Lantern  Theatre,  Claymont, 
Del.    Small  town  patronage. 

GIGOLETTE:  Adrienne  Ames,  Ralph  Bellamy— Nice 
little  program  picture  that  pleased.  Nothing  to  talk 
about,  but  acceptable.  Running  time,  70  minutes. 
Played  February  19. — Chas,  S,  Edwards,  Queen  Thea- 
tre, Pilot  Point,  Texas.    General  patronage. 

HAT,  COAT  AND  GLOVE:  Ricardo  Cortez,  Bar- 
bara Robbins,  John  Beal — Last  two  reels  were  good 
and  made  this  a  passable  picture.  I  would  have 
classed  it  as  a  poor  entertainment,  and  only  the  last 
two  reels  made  it  fair  entertainment.  Played  March 
16. — George  Lodge,  Green  Lantern  Theatre,  Claymont, 
Del.     Small  town  patronage. 

LIFE  OF  VERGIE  WINTERS,  THE:  Ann  Hard- 
ing, John  Boles — A  wonderful  picture  of  its  type. 
Very  fine  work  by  cast. — Sammie  Jackson,  Jackson 
Theatre,   Flomoton,   Ala.     Small   town  patronage. 

LITTLE  MINISTER,  THE:  Katharine  Hepburn, 
John  Beal — Here  is  a  picture  that  is  splendidly  pro- 
ducted  and  wonderfully  acted.  We  ran  into  two  nights 
of  bad  competition  from  local  home  talent  affairs 
that  hurt  us  but  yet  did  average  business.  Pleased 
80  per  cent.  Running  time,  110  minutes.  Played  March 
27-28.— H.  M.  Johnson.  Avon  Theatre,  Avon  Park, 
Fla.    General  patronage. 

MURDER  ON  A  HONEYMOON:  Edna  May  Oliver. 
James  Gleason,  Lola  Lane — This  one  pleased  the  fans 
though  it  is  just  a  program  picture.  Running  time, 
75  minutes.  Played  March  8-9.— Chas.  S.  Edwards, 
Queen  Theatre,  Pilot  Point,  Texas.   General  patronage. 

MURDER  ON  THE  BLACKBOARD:  Edna  May 
Oliver,  James  Gleason,  Bruce  Cabot,  Gertrude  Mich- 
ael— Murder  mystery  drama,  with  enough  comedy  to 
make  it  entertaining, — Roy  W.  Adams,  Mason  Thea- 
tre.  Mason,   Mich.    Small  town  patronage. 

ROMANCE  IN  MANHATTAN:  Ginger  Rogers, 
Francis  Lederer — A  grand  little  program  picture  that 
pleased  100  per  cent.  Drew  average  business  and  left 
a  good  taste  in  the  mouths  of  the  patrons.  Played 
April  5. — H.  M.  Johnson,  Avon  Theatre,  Avon  Park, 
Fla.    General  patronage. 

ROMANCE  IN  MANHATTAN:  Francis  Lederer, 
Ginger  Rogers — Ginger  Rogers  good  as  she  is  in  all 
her  pictures,  Lederer  excellent  in  his  role  but  my 
folks  don't  like  him.  One  picture  that  I  would  have 
done  more  business  with  had  I  not  run  the  trailer. 
Patrons  just  didn't  like  Lederer's  general  appearance. 
Played  March  17-18.— Henry  Sparks,  Grand  Theatre, 
Cooper,  Texas.    Small  town  and  rural  patronage, 

WEDNESDAY'S  CHILD:  Karen  Morley,  Edward 
Arnold — Well  made  program  picture  that  did  average 
"Bargain  Night"  business.  Running  time,  68  minutes. 
Played  March  26.— H,  M.  Johnson,  Avon  Theatre, 
Avon  Park,  Fla.    General  patronage. 

WE'RE  RICH  AGAIN:  Marian  Nixon,  Joan  Marsh, 
Gloria  Shea,  Reginald  Denny,  Buster  Crabbe — This 
seemed  to  please  the  customers. — Roy  W.  Adams, 
Mason  Theatre,  Mason,  Mich.    Small  town  patronage. 


April    2  0,     19  3  5 


United  Artists 

BLOOD  MONEY:  George  Bancroft,  Frances  Dee, 
Judith  Anderson,  Blossom  Seeley — Small  business  on  a 
tough  midweek  date  with  this  one.  It  is  a  powerful 
and  well  made  melodrama. — Roy  W.  Adams,  Mason 
Theatre,  Mason,  Mich.    Small  town  patronage. 

BULLDOG  DRUMMOND  STRIKES  BACK:  Ron- 
ald Colman,  Loretta  Young,  Warner  Oland,  Charles 
Butterworth,  Una  Merkel — Murder  mystery  with 
plenty  of  comedy,  good  Saturday  bill.  It  did  fair  busi- 
ness.—Roy  W.  Adams,  Mason  Theatre,  Mason,  Mich. 
Small  town  patronage. 

COUNT  OF  MONTE  CRISTO,  THE:  Robert  Donat. 
Elissa  Landi— I  couldn't  get  them  out  to  see  this,  but 
I  still  think  it's  a  very  good  picture.  Some  of  the 
Dumas  readers,  however,  complained  that  the  pro- 
ducers had  taken  a  lot  of  liberties  with  the  original 
story.— Roy  W.  Adams,  Mason  TheatVe,  Mason,  Mich. 
Small  town  patronage. 

KID  MILLIONS:  Eddie  Cantor,  Ann  Sothern,  Ethel 
Merman.  Block  and  Sully — Saved  by  the  magnificent 
color  sequence.  My  personal  opinion :  just  give  any  star 
enough  radio  rope  and  .he  will  hang  himself  with  the 
motion  picture  fans.  Played  to  above  average  Sunday 
business  but  the  poorest  Monday  night  in  months. 
Running  time,  91  minutes.  Played  March  31. — Roy  C. 
Irvine,  Ritz  Theatre,  Ritzville,  Wash.  General  pat- 
ronage. 

ROMAN  SCANDALS:  Eddie  Cantor,  Ruth  Etting, 
Gloria  Stuart,  David  Manners — This  pleased  the  Sat- 
urday crowd  100  per  cent,  but  did  not  draw  as  well 
as  I  expected. — Roy  W.  Adams,  Mason  Theatre,  Ma- 
son, Mich.    Small  town  patronage. 

WE  LIVE  AGAIN:  Fredric  March,  Anna  Sten— 
Excellent  picture  that  drew  average  business.  Pleased 
all  and  created  goodwill  in  addition.  Running  time, 
83  minutes.  Played  April  3-4. — H.  M.  Johnson,  Avon 
Theatre,  Avon  Park,  Fla.    General  patronage. 

Universal 

GIFT  OF  GAB:  Edmund  Lowe,  Gloria  Stuart,  Ruth 
Etting,  Phil  Baker,  Alexander  Woollcott,  Ethel 
Waters,  Helen  Vinson,  Paul  Lukas,  Binnie  Barnes- 
Wise-cracking  comedy  that  amused  a  small  audience. 
— Roy  W.  Adams,  Mason  Theatre,  Mason,  Mich.  Small 
town  patronage. 

IMITATION  OF  LIFE:  Claudette  Colbert,  Warren 
William,  Ned  Sparks,  Louise  Beavers,  Rochelle  Hud- 
son— Sorry  I  couldn't  get  them  in  on  this  picture;  I 
consider  it  the  year's  top  for  entertainment.  Louise 
Beavers,  the  colored  player,  has  what  is  really  the 
principal  role,  and  makes  it  stand  out  by  a  fine, 
natural  and  restrained  performance.  That  isn't  taking 
any  credit  away  from  Colbert,  who  is  perfect  in  the 
most  pleasing  and  sympathetic  role  she  has  ever  been 
seen  in  on  my  screen.  All  the  other  players  are  very 
good  also,  especially  the  girl  who  plays  Louise  Bea- 
vers' daughter. — Roy  W.  Adams,  Mason  Theatre,  Ma- 
son, Mich.   Small  town  patronage. 

IMITATION  OF  LIFE:  Claudette  Colbert.  Warren 
William,  Ned  Sparks,  Louise  Beavers — A  splendid  pic- 
ture that  drew  only  favorable  comments.  Played  to 
average  Sunday  business.  Running  time.  111  minutes. 
Played  March  24-25.— Roy  C.  Irvine,  Ritz  Theatre, 
Ritzville,  Wash.    General  patronage. 

IMITATION  OF  LIFE:  Claudette  Colbert,  Warren 
William,  Louise  Beavers — A  wonderful  production. 
Wish  I  could  get  another  like  it.  An  excellent  pic- 
ture. Louise  Beavers  very  good. — Sammie  Jackson, 
Jackson  Theatre.  Flomoton,  Ala.  Small  town  patron- 
age. 

I'VE  BEEN  AROUND:  Chester  Morris.  Rochelle 
Hudson — Just  so-so;  business  accordingly. — Roy  W. 
Adams,  Mason  Theatre,  Mason,  Mich.  Small  town 
patronage. 

MAN    WHO    RECLAIMED    HIS   HEAD,  THE: 

Claude  Rains,  Joan  Bennett,  Lionel  Atwill — This  didn't 
do  much  business,  but  aroused  considerable  comment 
as  being  a  powerful  and  unsual  picture. — Roy  W. 
Adams,  Mason  Theatre,  Mason,  Mich.  Small  town 
patronage. 

MAN    WHO    RECLAIMED    HIS   HEAD,  THE: 

Claude  Rains,  Joan  Bennett — A  good  picture  but  failed 
to  satisfy  my  Friday-Saturday  crowd. — Sammie  Jack- 
son, Jackson  Theatre,  Flomoton,  Ala.  Small  town 
patronage. 

STRAWBERRY  ROAN:  Ken  Maynard.  Ruth  Hall, 
William  Desmond — Best  western  we  have  had  for  many 
a  day.  It  had  everything  any  one  could  ask  for  in  a 
picture  of  this  kind.  It  had  a  great  deal  of  applause. 
Played  March  23. — George  Lodge,  Green  Lantern 
Theatre,  Claymont,  Del.    Small  town  patronage. 

WHEN  A  MAN  SEES  RED:  Buck  Jones,  Peggy 
Campbell — Average  western,  fair  Saturday  business. — 
Roy  W.  Adams,  Mason  Theatre,  Mason,  Mich.  Small 
town  patronage. 

Warner 

BORDERTO'WN:  Paul  Muni.  Bette  Davis— Well 
made  and  finely  acted  picture.  Rather  heavy  drama. 
Not  enough  romance  and  too  much  church  didn't  help 
it  any,  although  it  is  a  good  picture. — John  A.  Mil- 
ligan.  Broadway  Theatre,  Schuylerville.  N.  Y.  Small 
town  patronage. 


MOTION    PICTURE  HERALD 


SWEET  ADELINE:  Irene  Dunne— Here  is  one  I'll 
admit  I  liardly  know  how  to  report.  Would  say  it 
pleased  about  50  per  cent  and  that  50  per  cent  was 
the  middle  aged  and  older.  On  down  the  other  way, 
they  didn't  care  for  it.  Business  far  below  average. 
Played  March  28-29.— Henry  Sparks,  Grand  Theatre, 
Cooper,  Texas.   Small  town  and  rural  patronage. 

Willis  Kent 

BRAND  OF  HATE:  Bob  Steele— A  good  western 
that  pleased  the  Saturday  night  crowd.  Running  time, 
57  minutes.  Played  March  16.— H.  M.  Johnson,  Avon 
Theatre,  Avon  Park,  Fla.  General  and  small  town 
patronage. 

FIGHTING  THRU:  Reb  Russell-Average  Western 
that  pleased  the  Saturday  crowd.  Did  above  average 
business.  Running  time,  55  minutes.  Played  March 
30.— H.  M.  Johnson,  Avon  Theatre,  Avon  Park,  Fla. 
Small  town  and  general  patronage. 

Short  Features 
Columbia 

BABES  AT  SEA:  Color  Rhapsodies  Series — Another 
very  fine  colored  cartoon.  Pleased  all  and  entitled  to 
your  good  playing  time.— C.  M.  Niles,  Niles  Theatre, 
Anamosa,  Iowa.    General  patronage. 

BACK  TO  THE  SOIL:  Broadway  Comedies— One 
of  the  best  two-reel  comedies  we've  run  in  some  time. 
It  had  the  house  laughing  from  start  to  finish.  Run- 
ning time,  two  reels.— H.  M.  Johnson,  Avon  Theatre, 
Avon  Park,  Fla.    General  and  small  town  patronage. 

Educational 

HOLLAND  DAYS:  Terry-Toons— Very  good.  Liked 
by  everybody.  Fair  print.  Recording  good.  Running 
time,  seven  minutes.— Albert  Hefferan,  Owl  Theatre, 
Grand  Rapids,  Mich.    Special  patronage. 

MOON  OVER  MANHATTAN:  Young  Romance- 
Very  drab  two-reeler.  Sylvia  Froos  manages  to  sing 
one  and  one-half  songs.  I  didn't  hear  a  single  laugh 
or  "murmur  of  approbation."  Oh,  well,  next  year's 
a  new  year,— John  A.  Milligan,  Broadway  Theatre, 
Schuylerville,  N.  Y.    Small  town  patronage. 

ONE-RUN  ELMER:  Star  Personality  Comedies- 
Above  average  Educational  comedy.  Mostly  baseball, 
so  play  accordingly. — John  A.  Milligan,  Schuylerville, 
N.  Y.    Small  town  patronage. 

TIME  ON  THEIR  HANDS:  Song  Hit  Stories  Series 
— A  fine  one-reel  musical.  Good  any  day  and  these 
are  scarce.— C.  L.  Niles,  Niles  Theatre,  Anamosa, 
Iowa.    General  patronage. 

MGM 

ATTENTION,  SUCKERS!:  Oddities— Created  more 
comment  around  here  than  any  short  we've  run  in 
some  time.  ^  In  fact,  all  of  these  MGM  Oddities  are 
good.  Running  time,  one  reel. — H.  M.  Johnson,  Avon 
Theatre,  Avon  Park  Fla.  General  and  small  town 
patronage. 

BALLAD  OF  PADUCAH  JAIL:  Irvin  S.  Cobb- 
Cobb  is  as  good  an  actor  as  some  Hollywood  stars 
are  writers.  Nuf  said.— B.  HoUenbeck,  Rose  Theatre, 
Sumas,  Wash.    Small  town  patronage. 

CHASES  OF  PIMPLE  STREET:  Charley  Chase— A 
good  slapstick  Saturday  comedy.— C.  L.  Niles,  Niles 
Theatre,  Anamosa,  Iowa.    General  patronage. 

DISCONTENTED  CANARY,  THE:  Happy  Har- 
monies— Excellent  color  cartoon.  One  of  the  best  I 
have  had  the  pleasure  of  running.  Running  time,  one 
reel.— H.  M.  Johnson,  Avon  Theatre,  Avon  Park,  Fla. 
General  and  small  own  patronage. 

FIXER-UPPERS:  Laurel  and  Hardy— Okay  Laurel 
and  Hardy.  Better  than  "Tit  for  Tat."— John  A.  Mil- 
ligan, Broadway  Theatre,  Schuylerville,  N.  Y. 

FIXER-UPPERS:  Laurel  and  Hardy— A  fine  Laurel 
and  Hardy  comedy.— C.  L:  Niles,  Niles  Theatre,  Ana- 
mosa. Iowa.    General  patronage. 

GOOFY  MOVIES:  No.  10— At  last  a  real  good 
Goofy  Movie.  Don't  pass  this  one.— C.  L.  Niles,  Niles 
Theatre,  Anamosa,  Iowa.   General  patronage. 

HOLLAND  IN  TULIP  TIME:  FitzPatrick  Travel 
Talks  Series— Excellent.— B.  Hollenbeck,  Rose  Theatre, 
Sumas,   Wash.    Small  town  patronage. 

HOLLAND  IN  TULIP  TIME:  FitzPatrick  Travel 
Talks— Excellent  travelogue  reel  in  color.  Running 
time,  one  reel. — H.  M.  Johnson.  Avon  Theatre,  Avon 
Park,  Fla.    General  and  small  town  patronage. 

IRVIN  S.  COBB  COMEDIES:  Very  popular  here. 
Hope  that  there  will  be  more  soon.  Running  time, 
two  reels.— H.  M.  Johnson,  Avon  Theatre,  Avon  Park, 
Fla.    General  and  small  town  patronage. 

LOST  CHICK,  THE:  Happy  Harmonies  Series— One 
of  the  best  colored  cartoons  of  the  year.  Give  it  pre- 
ferred time.— C.  L.  Niles,  Nile  Theatre,  Anamosa, 
Iowa.    General  patronage. 

SHIMPS  FOR  A  DAY:    Our  Gang— A  very  good 


71 


Gang  comedy.  Had  may  compliments  on  this. — C.  L. 
Niles,  Niles  Theatre,  Anamosa,  Iowa.  General  patron- 
age. 

SING,  SISTER,  SING!:  Todd-Kelly— Rather  weak 
Todd-Kelly,  but  they  did  the  best  they  would  wirti 
what  they  had. — John  A.  Milligan,  Broadway  'rheatre, 
Schuylerville,  N.  Y.    Small  town  patronage. 

TIN  MAN,  THE:  Todd-Kelly— Above  average  Todd- 
Kelly.  Plenty  of  laughs. — John  A.  Milligan,  Broadway 
Theatre,  Schuylerville,  N.  Y.   Small  town  patronage. 

TIT  FOR  TAT:  Laurel  and  Hardy— Laurel  and 
Hardy  comedy.  Just  fair  but  got  by.— C.  L.  Niles, 
Niles  Theatre,  Anamosa,  Iowa.    General  patronage. 

TREASURE  BLUES:  Todd-Kelly— These  Todd- 
Kelly  comedies  are  in  a  class  by  themselves.  Our 
people  like  them. — C.  L.  Niles,  Niles  Theatre,  Ana- 
mosa, Iowa.   General  patronage. 

YOU  BRING  THE  DUCKS:  Irvin  S.  Cobb— Every- 
body enjoyed  this  Cobb  comedy.    Should  be  played  six 

(Continued  on  followiiui  page) 


PICK-UP 
DELIVERY 
DEPENDABILITY 

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as  your  elbow.  A  telephone  call  is  all  that 
is  required  to  enlist  the  extra  fast,  extra 
safe  Railway  Express  service.  If  you  are 
within  our  wide  vehicle  zone,  a  courteous 
Railway  Express  driver  will  call  at  your 
very  door  and  give  you  a  receipt  for 
your  shipments. 

Your  shipments  are  whisked  away  on 
fast  passenger  trains  with  Railway  Ex- 
press guarding  the  shipments  every  min- 
ute of  their  swift  journey.  At  destination 
they  are  delivered  direct  to  consignee  by 
another  Railway  Express  driver  who  will 
take  a  receipt,  proving  safe,  sure  delivery. 

Railway  Express  service  is  extra  safe 
and  extra  dependable  because  your  ship- 
ments are  in  the  hands  of  one  organiza- 
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you  have  anything  to  ship  merely  tele- 
phone the  nearest  Railway  Express  office. 

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72 


MOTION    PICTURE  HERALD 


April    20,  1935 


weeks  apart  and  then  are  a  novelty. — C.  L.  Niles, 
Niles  Theatre,  Anamosa,  Iowa.   General  patronage. 


Paramount 

BEWARE  OF  BARNACLE  BILL:  Popeye  The 
Sailor — A  good  cartoon. — Roy  W.  Adams,  Mason  Thea- 
tre, Mason,  Mich.    Small  town  patronage. 

BEWARE  OF  BARNACLE  BILL:  Popeye  The 
Sailor — One  of  the  best  of  the  Popeyes.  Enough  said. 
— C.  L.  Niles,  Niles  Theatre,  Anamosa,  Iowa.  General 
patronage. 

COO-COO  NEWS:  Paramount  Varieties  Series— Not 
so  hot. — Roy  W.  Adams,  Mason  Theatre,  Mason, 
Mich.    Small  town  patronage. 

KING  OF  THE  EVERGLADES:  Grantland  Rice 
Sportlights  (New  Series) — A  panther  hunt  in  Florida. 
O.  K.  for  a  filler.— 0.  L.  Niles.  Niles  Theatre,  Ana- 
mosa, Iowa.    General  patronage. 

NE:RVE  of  some  women,  THE:  Paramount 
Varieties — A  good  athletic  filler. — C.  L.  Niles,  Niles 
Theatre,  Anamosa,  Iowa.    General  patronage. 

PARAMOUNT  PICTORIAL  (New  Series):  No.  4— 
As  usual  in  a  class  by  themselves  for  a  filler. — C.  L. 
Niles.  Niles  Theatre,  Anamosa,  Iowa.  General  pat- 
ronage. 

POPEYE  THE  SAILOR  CARTOONS:  One  of  the 

most  popular  cartoons  distributed  today.  There's  a 
big  hand  from  old  and  young  alike  when  a  Popeye 
comes  on  the  screen.  Running  time,  one  reel. — H.  M. 
Johnson,  Avon  Theatre,  Avon  Park,  Fla.  General  and 
small  town  patronage. 

SONG  OF  THE  BIRDS:  Color  Classic  Series— A 
very  excellent  colored  cartoon.  Old  as  well  as  young 
wili  enjoj-  it.  Protect  the  birds  is  the  story.  Good 
for  your  best  days. — C.  L.  Niles,  Niles  Theatre,  Ana- 
mosa, Iowa.   General  patronage. 


RKO  Radio 


DUMBBELL  LETTERS:  Not  very  funny.— Roy  W. 
Adams,  Mason  Theatre,  Mason,  Mich.  Small  town 
patronage. 

EVERYTHING'S  DUCKY:  Clark  &  McCullough 
Series — Too  bad  somebody  does  not  take  this  pair  and 
make  some  real  comedies.  This  will  get  by  on  Satur- 
day.— C.  L.  Niles,  Niles  Theatre,  Anamosa,  Iowa. 
General  patronage. 

JAPANESE  LANTERNS:  A  very  nice  colored  car- 
toon. Different. — C.  L.  Niles,  Niles  Theatre,  Anamosa, 
Iowa.    General  patronage. 

LOVE  AND  HISSES:  Clark  &  McCullough  Series 
— Almost  funny  in  spots. — Roy  W.  Adams.  Mason 
Theatre,  Mason  City.    Small  town  patronage. 

PARROTVILLE  OLD  FOLKS:  Rainbow  Parade 
Cartoons  Series — These  parrot  cartoons,  although  col- 
ored, are  just  not  there.  Our  patrons  do  not  care  for 
them. — C.  L.  Niles,  Niles  Theatre,  Anamosa,  Iowa. 
General  patronage. 

PATHE  TOPICS:  No.  3— A  very  excellent  reel  and 
as  good  as  Paramount  Pictorials.  'Nuf  sed. — C.  L. 
Niles,  Niles  Theatre,  Anamosa,  Iowa.  General  patron- 
age. 


United  Artists 

BIG  BAD  WOLF,  THE:  Silly  Symphonies  Series— 
as  good  entertainment  as  "Three  Little  Pigs"  but 
not  so  big  a  drawing  card. — Roy  W.  Adams,  Mason 
Theatre,  Mason,  Mich.    Small  town  patronage. 

FUNNY  LITTLE  BUNNIES:  Silly  Symphony  Ser- 


Between 

NEW  YORK,  CHICAGO 
LOS  ANGELES 


Latest  Night  Departures— 
also  Daylight  Scenic  Flight 


3-mile-a-niinute  twin-engined  transports. 
Quiet,  spacious  cabins.  Stewardess  service. 

UNITED  AIR  LINES 


ies — Beautiful  color  cartoon  and  very  pleasing  to  the 
children. — Roy  W.  Adams,  Mason  Theatre,  Mason 
City.    Small  town  patronage. 

GRASSHOPPER    AND    THE  ANT,   THE:  Silly 

Symphony  Series — A  very  entertaining  cartoon.— Roy 
\V.  Adams,  Mason  Theatre,  Mason,  Mich.   Small  town 

patronage. 

MICKEY'S  SERVICE  STATION:  Mickey  Mouse— 
O.  K.  as  usual.  Not  outstanding,  but  average. — C.  L. 
Xiles,  Niles  Theatre,  Anamosa,  Iowa.  General  patron- 
age. 

Universal 

FATHER  KNOWS  BEST:  Sterling  HoUoway— The 
customers  seemed  to  find  this  funny. — Roy  W.  Adams, 
Mason  Theatre,  Mason,  Mich.    Small  town  patronage. 

PLEASING  GRANDPA:  Sterling  Holloway— Gosh, 
this  is  terrible! — Roy  W.  Adams,  Mason  Theatre,  Ma- 
son, Mich.    Small  town  patronage. 


Vitaphone 


HARRY  VON  TILZER:  Pepper  Pot— Very  clever 
one-reeler.  Running  time,  one  reel. — Henry  Sparks, 
Grand  Theatxe,  Cooper,  Texas.  Small  town  and  rural 
patronage. 

HEAR  YE!  HEAR  YE!:  Vera  Van  and  the  Yacht 
Club  Boys — Entertaining  musical  short. — Roy  W. 
Adams,  Mason  Theatre,  Mason,  Mich.  Small  town 
patronage. 

MYSTERIOUS  KISS,  THE:  Jeanne  Aubert— Just  a 
musical;  will  get  by. — C.  L.  Niles,  Niles  Theatre,  Ana- 
mosa, Iowa.    General  patronage. 

SEE,  SEE,  SELNORITA:  Broadway  Brevities- 
Weak  two-reeler  with  another  impossible  story  even 
for  a  comedy. — John  A.  Milligan,  Broadway  Theatre, 
Schuylerville,  N.  Y.    Small  town  patronage. 

SONGS  THAT  LIVE:  Pepper  Pot— A  good  short. 
Everybody  enjoyed  the  old  time  songs.  Running  time, 
one  reel. — Henry  Sparks,  Grand  Theatre,  Cooper, 
Texas.    Small  town  and  rural  patronage. 

MGM 

WASH-EE  IRON-EE:  Our  Gang— Very  good  com- 
edy that  pleased.  Running  time,  two  reels. — H.  M. 
Johnson,  Avon  Theatre,  Avon  Park,  Fla.  General  and 
small  town  patronage. 

Serial 
Universal 

TAILSPIN  TOMMY:  Maurice  Murphy.  Patricia 
Farr,  Noah  Beery,  Jr. — On  the  sixth  episode  this  is 
holding  up  well. — Ray  W.  Adams,  Mason  Theatre, 
Mason,   City.    Small  town  patronage. 


Miscellaneous 


TRAVEL  PROGRAM:  Cunard  White  Star  Line— 
We  planned  a  program  of  all  travel  picture  in  sound. 
It  sure  went  over  with  a  well  received  patronage.  We 
obtained  the  films  from  a  steamship  company  and 
they  were  free  of  charge.  Films  on  Norway,  Sweden, 
Russia,  India.  England,  Iceland.  Australia.  Cuba, 
Mexico,  etc.  We  also  had  some  pictures  of  the  large 
ocean  liners  and  showing  how  they  ran  and  how  one 
had  to  be  loaded  for  a  trip.  We  tied  up  with  the 
local  travel  office,  the  Michigan  Trust  Travel  Office 
of  this  city,  and  they  gave  us  material  to  hand  out 
at  the  door.  Believe  me  it  was  a  success.  You  see 
everybody  who  was  interested  in  traveling  caine,  as  it 
is  spring  and  nearly  every  one  is  interested  in  doing 
something  this  summer.  The  entire  picture  only  cost  us 
the  price  of  one  cartoon  comedy.  It  was  all  profit. 
They  pay  the  postage  one  way.  Express  was  only 
$1.38  on  all  shipments.  We  fixed  up  our  theatre  to 
look  like  the  inside  of  a  ship  and  the  travel  office 
loaned  us  pictures  of  huge  steamers  and  trains,  air- 
planes, etc.  Posters  and  everything  pertaining  to 
travel.  I  never  saw  such  a  crowd  in  a  long  time. 
They  just  kept  coming.  We  also  tied  up  with  the 
local  Junior  college,  and  the  Economic,  Geography  and 
History  classes  came.  Someone  better  try  this  pro- 
gram; you  can't  lose.  I  have  posters  and  exhibits 
which  I  will  gladly  lend  if  anyone  will  pay  postage  on 
them  for  a  travel  picture.  Record  crowd.  Running 
time.  120  minutes.  Played  Apr.  4-6.— Albert  Helieran, 
Owl  Theatre,  Grand  Rapids,  Mich.   Special  patronage. 


Young  Joins  Distributor 

Leo  Young  has  resigned  as  press  repre- 
sentative for  Fred  E.  Lieberman  to  join 
American  Film  Exchanges  in  Boston  in  a 
similar  capacity. 


McCormick  with  Agency 

John  McCormick,  former  First  National 
producer,  has  joined  the  A.  &  S.  Lyons 
agency  in  an  executive  capacity,  with  head- 
quarters on  the  Coast. 


THEATRE  NEWS 


Charles  A.  Somma  and  Walter  J.  Coulter 
have  received  local  approval  for  their  plans  to 
construct  a  new  theatre  in  Highland  Park,  Va., 
suburb  of  Richmond.  The  building  will  cost 
about  $60,000. 

Maybrook  Amusement  Corporation,  New 
York,  has  filed  plans  for  the  construction  of  a 
new  theatre  in  the  Bronx,  to  cost  §30,000.  Wil- 
liam J.  Hohauser  is  the  architect. 

Warner  has  purchased  from  the  Griffing  es- 
tate the  Empress  theatre,  in  Danbury,  Conn. 
It  is  understood  the  property  is  to  be  converted 
into  stores. 

Springer  &  Cocalis,  New  York  circuit,  has 
taken  over  the  Century  theatre  in  Brooklyn, 
planning  to  reopen  it  as  a  1,700-seat  house  in 
May  after  remodeling. 

Joe  Barcelona,  operating  the  Tivoli  and  one 
other  house  in  Baton  Rouge,  La.,  plans  two  new 
houses.  One  will  cater  only  to  colored  people ; 
the  other,  for  whites,  will  replace  the  People's, 
which  is  scheduled  to  close. 

Robb  &  Rowley,  Texas  circuit,  and  indepen- 
dents are  opening  new  theatres  in  the  Dallas 
territory.  The  circuit  has  opened  the  new  Rex 
at  San  Angelo,  and  has  acquired  the  Iris  and 
Lyric  at  Terrell.  O.  K.  Theatres  Circuit  has 
taken  over  the  Palace  at  Pecos.  S.  M.  May 
has  acquired  the  Strand  at  Honey  Grove  from 
J.  J.  Brown.  The  towns  of  Franklin  and  Har- 
gill  have  theatres  for  the  first  time.  Lee  Palmer 
has  opened  the  Robertson  at  Franklin  and  Syd- 
ney C.  Lockland  has  opened  the  Hargill  at  Har- 
gill. 

Oscar  Lehr  has  disposed  of  his  holdings  in 
the  Southern  Amusement  Company,  operators 
of  the  Peerless  and  Shenandoah  theatres  in  St. 
Louis.  His  former  partner,  Sam  Komm,  will 
continue  operation. 

Ross  Labach  plans  a  new  theatre  in  Se- 
gauche,  Colo.,  in  the  Denver  territory.  The 
town  has  been  without  a  theatre  for  three 
years.  Fred  Lind,  owner  of  other  Colorado 
houses,  plans  another  at  Rofle,  Colo. 

The  Warner  circuit  plans  two  new  houses, 
the  Bromley,  1,000-seat  theatre  in  Philadelphia, 
and  the  Beverly,  with  1,500  seats,  being  erected 
in  Chicago.  Both  houses  are  expected  to  be 
opened  by  June. 

A  new  theatre  in  Trenton,  Ohio,  the  first  to 
be  erected  in  the  area  in  several  years,  is  un- 
der construction  by  C.  O.  Dearth. 

Harry  Brandt,  New  York  circuit  operator, 
has  opened  the  renovated  Tudor,  at  Third  ave- 
nue and  42nd  street,  with  Larry  Robiczek  as 
manager. 

Construction  of  a  new  auditorium  is  planned 
bv  the  city  of  Frankfort,  Mich.,  at  a  cost  of 
$30,000. 

J.  H.  Cooper  Enterprises  plans  a  new  $90,000 
theatre  at  Colorado  Springs,  Colo.,  on  the  site 
of  the  old  Rialto,  now  being  razed.  Seating 
1,200,  the  house  will  be  ready  about  July  1. 

The  Morse  &  Rothenbrg  circuit  has  taken 
over  the  Capitol  at  Elizabeth,  N.  J.,  dark  for 
several  years.  Louis  Simon  has  been  named 
manager,  and  the  theatre  has  undergone  com- 
plete renovation. 

Comerford-Publix  plans  construction  of  a 
new  theatre  at  Wilkes  Barre,  Pa.,  to  replace 
the  old  Hazle  Street  playhouse,  built  25  years 
ago.  The  cost  is  estimated  at  $125,000,  the 
theatre  to  seat  1,200. 

Interests  from  Ponca  City,  Okla.,  are  re- 
ported to  be  planning  a  new  theatre  at  An- 
thony, Kan. 

Mortimer  and  Schiell,  who  operate  the  St. 
Maurice  theatre  in  New  Orleans,  have  taken 
over  the  Bell,  also  in  the  city,  which  has  been 
operated  for  more  than  20  years  by  Airs.  Wil- 
liam Jonqua. 


April    20,  1935 


MOTION    PICTURE  HERALD 


73 


MANAGERS 


ROUND  TARLE  CL 

international  association  of  showmen  meeting  weekly 
in  MOTION  PICTURE  HERALD  for  mutual  aid  and  progress 


OP. 


DOORMAN  INTO  MANAGER 

The  blame  cannot  be  placed  squarely  upon  the  shoulders  of 
either,  but  the  fact  remains  that  too  many  exhibitors  regard 
the  manager  as  much  less  than  a  vital  force  in  operation. 

Not  so  long  ago  the  theatre  manager,  as  a  class,  tallied 
more  or  less  with  Webster's  definition:  "one  who  manages, 
one  who  has  control  of  a  business."   But  not  today. 

That  the  theatreman  is  held  in  low  estate  is  no  revelation 
and  the  causes  are  not  difficult  to  find.  We  give  you  one 
selected  from  the  trade  items  on  our  desk. 

A  doorman  in  a  western  theatre  has  just  been  jumped  to 
the  position  of  manager  and  this  observation  is  given  with 
no  reflection  upon  the  abilities  of  the  many  tophole  showmen 
who  have  worked  themselves  up  from  the  ranks. 

But  these  men  spent  long  years  of  patient  toil  in  learning 
their  trade.  Step  by  step  they  inched  up  the  ladder,  fighting 
to  the  top  by  sheer  guts  and  ability,  often  aided  by  a  sympa- 
thetic hand  from  far  seeing  superiors.  In  no  instance  were 
they  projected  from  the  doorman's  job  to  what  was  then  re- 
garded as  the  all-important  post  of  manager. 

Once  upon  a  time  tTie  business  of  theatre  managing  was 
considered  an  honored  profession,  a  tightly  held  guild  to  which 
a  comparative  few  would  dare  aspire.  Doortending  was  an 
Important  step  to  membership,  but  only  one  of  a  score  on 
the  path  to  the  goal.  Unfortunately  such  arduous  apprentice- 
ship is  evidently  no  longer  held  necessary,  which  may  be  a 
tipoff  on  what's  wrong  with  the  theatre. 

To  too  many  untutored  minds  in  showbusiness  the  words 
doorman  and  manager  are  synonymous. 

V  V  V 
THE  MOVIE  MOVES  UP 

The^progress  of  what  educators  hopefully  term  "visual  edu- 
cation" Is  undoubtedly  receiving  impetus  from  the  coopera- 
tion between  schools  and  theatres  made  possible  by  the  qual- 
ity of  product  now  forthcoming  from  the  studios.  As  an  in- 
stance. Manager  Fred  Souttar,  of  the  Lincoln  Theatre,  Belle- 
ville, III.,  writes  as  follows  on  his  "Copperfleld"  tieup: 

"Students  were  advised  they  could  see  the  picture  and  write 
an  essay  instead  of  reading  the  book,  which  is  required." 

V  V  V 

After  15  years  of  operation,  the  Regent  Theatre  In  Kansas 
City  faced  for  the  first  time  by  opposition  has  begun  to  use 
newspaper  advertising.  Well,  If  any  more  competition  crops 
up,  wouldn't  be  at  all  surprised  to  learn  the  Dublnsky  boys 
have  started  reading  the  Round  Table. 


MOHAMMED  DID  IT 

Is  ballyhoo  out  of  place  in  the  small  town?  Is  flash  advertising 
ineffective  in  these  spots?  Yes,  says  Hal  Lee,  of  Bath,  N.  Y. 
(pop.  4,015).  But  not  so  positive  is  Frank  Goldquist,  of  Savanna, 
III.  (pop.  5,000).  Both  boys  explain  themselves  in  detail  on  a 
following  page. 

According  to  Lee,  the  farm  trade  being  quite  flat  does  not 
come  Into  town  as  often  and  thus  there  are  not  sufficient 
crowds  on  the  streets  to  make  bally  and  flash  worthwhile. 
Goldquist  admits  to  high  speed  exploitation,  but  only  on  fea- 
tures strong  enough  to  stand  longer  runs. 

The  problem  of  what  to  bally  and  when  in  a  small  town 
operation  with  three  or  more  changes  a  week  is  not  easy  to 
solve.  But  we  are  not  so  sure  that  the  flash  and  bally  may 
safely  be  stuck  away  in  storage  until  wheat  picks  up. 

Basically,  both  Lee  and  Goldquist  proceed  along  sound  lines 
in  going  after  the  non-visiting  ruralites  with  conventional  but 
nonetheless  effective  newspaper,  program  and  poster  advertis- 
ing, plus  variations  now  and  then  on  the  bigger  attractions. 

But  these  questions  naturally  arise — would  the  grosses  be 
tilted  were  pyrotechnics  and  drum-beating  also  employed  from 
time  to  time?  Does  not  the  ruralite  go  for  the  circus  parade 
as  eagerly,  if  not  more  so,  than  his  sophisticated  city  neigh- 
bor? Would  not  an  interest-arousing  stunt  or  contest  react  as 
profitably  before  a  crowd  of  corn-growers  as  a  group  of  bond 
salesmen? 

The  fact  that  farmers  do  not  come  to  town  as  frequently 
does  not  detract  from  the  essential  value  of  bally.  Conditions 
may  have  changed  but  even  these  can  be  coped  with  by  the 
agile-minded  showman  with  a  gag  that  carries  the  sock. 

After  all,  Mohammed  went  to  the  mountain. 

V    V  V 

V\/HAT,  INDEED? 

Let  New  York  newspapers  rant,  excited  city  officials  sneer, 
indignant  letter  writers  protest.  Let  alarmed  citizens  raise 
voice  agin'  it.  What  do  they  know? 

It's  nothing  new  to  showbusiness.  Ingenious  theatremen 
have  been  doing  It  for  years — putting  together  presentable 
fronts,  set  pieces  and  what  have  you,  with  nothing  but  their 
fingernails,  a  hammer,  used  compoboard  and  left  over  paint. 

What's  wrong  with  "boon-doggling"? 


74  MOTIONPICTUREHERALD 

SHOWMEN'S     LOBBY  LAFFS 


M.    C;     The    next    on    our    annateur    opportunity    show     is   Willy    Schultz,    the    Female  Innpersonator! 


Warners  Do  It  Again 

The  lobby  radio  gag  started  by  Charley 
Einfeld,  Warner"s  ad  chief,  at  the  New 
York  Strand  on  "Gold  Diggers"  was  con- 
tinued the  opening  day  of  "Curious  Bride." 
Patrons  filing  out  after  the  first  morning 
show  were  asked  to  stop  at  microphone  and 
broadcast  their  opinions  of  the  picture.  Cash 
prizes  were  given  for  the  best  voices,  studio 
officials  at  station  acting  as  judges. 

Make  193  5  Your  Award  Year 


ANIMAL  TRAINERS?  Jack  Lykes  holds  cub 
tiger  for  approval  of  Milt  Harris  after 
Cleveland  Zoo  "animules"  were  guested  at 
screening     of     "Sequoia"     at    the  State. 


Merchant  Cooperates  With 
Patterson  on  "Talking" 

Securing  the  cooperation  of  soft  drink  dis- 
tributor in  Middletown,  Ohio,  Roy  Patterson 
at  the  Gordon  Theatre  on  his  "Town's  Talk- 
ing" date  had  the  letters  "T-T"  lettered  on 
the  inside  of  35  bottle  caps,  with  guest  tickets 
to  lucky  purchasers.  Merchant  mentioned 
stunt  in  all  advertising  and  stores  using 
product  carried  window  cards  plugging  date. 

In  exchange  for  plug  of  chocolate  drink 
featured  by  dairy  at  theatre  kid  club  meet- 
ing concern  paid  for  imprinting  milk  bottle 
caps  and  bannered  trucks  with  theatre  copy. 

Roy  promoted  double  truck  co-op  page 
center  of  each  carrying  large  cut  of  Robin- 
son with  theatre  copy.  All  merchants  ads 
contained  "Town's  Talking"  catch  line. 

Make  193  5  Your  Award  Year 

McBride  Aviates  Syracuse 
With  "West  Point"  Helmets 

The  younger  set  of  Syracuse  went  sky  con- 
scious for  Eddie  McBride  at  Loew's  State 
on  "West  Point  of  the  Air"  by  wearing  the 
imprinted  aviator  helmets  Ed  distributed  at 
schools.  Department  store  cooperated  with 
imprinted  gliders  to  children  visiting  store 
and  girls  on  street  corners  during  rush  hours 
handed  out  envelopes  containing  aviator 
lucky  charms  and  other  novelties. 


April    20,  1935 

Promotes  Colonelcy 
on  ''Little  ColoneV 

Probably  the  most  significant  thing  in 
Manager  Bill  Reilly's  "Little  Colonel" 
campaign  that  won  the  Quigley  March 
Silver  was  that  for  the  first  time  locally,  an 
advertiser  hit  the  front  pages  with  a  stunt. 
And  the  stunt  was  an  authentic  Kentucky 
Colonelcy  that  Bill  promoted  from  the  Gov- 
ernor, given  to  the  winner  of  a  Shirley  Tem- 
ple contest  held  on  the  stage  of  the  theatre. 

Once  this  was  put  across,  Reilly  adver- 
tised for  "Temples"  between  the  ages  of 
four  and  seven.  Over  75  were  brought  to 
the  theatre  and  Bill  states  that  twice  that 
number  phoned  from  spots  as  far  as  40  miles 
away.  Finally  15  were  selected  and  re- 
hearsed in  two  scenes  from  the  picture — one 
showing  Shirley  receiving  her  commission 
as  colonel  of  the  regiment  and  the  other  the 
chess  scene  with  Barrymore.  Winner  was 
decided  by  audience  applause. 

Merchants  Donate  Prizes 

Other  prizes  were  promoted  such  as  spring 
outfit  to  the  winner  and  runners-up,  bank 
accounts,  free  photos,  term  passes  to  the 
theatre,  etc.  And  not  only  the  two  local  pa- 
pers, but  those  in  nearby  towns  gave  the 
contest  columns  on  columns  of  buildup,  in- 
cluding plenty  of  page  one.  Bill  also  pro- 
moted transportation  to  the  state  capital  for 
the  winning  child  and  her  mother  to  receive 
the  Colonelcy  in  person  from  the  Governor. 

There  were  other  angles  to  the  campaign, 
of  course.  Such  as  a  children's  style  show 
on  the  stage  sponsored  by  local  store  selling 
Temple  dresses,  and  heavily  advertised.  Bill 
also  put  out  a  juvenile  street  bally  with 
eight  of  the  children  in  costume  wearing 
signs  calling  attention  to  show  and  contest. 

American  Legion  post  paraded  to  theatre 
opening  night  and  stage  ceremonies  that  in- 
cluded an  Honorary  Colonelcy  from  the  post 
to  Shirley.  Co-op  pages,  colored  dancer  bal- 
ly on  the  street  doing  Bill  Robinson  taps, 
active  tieins  with  local  and  nearby  school 
superintendents,  rubber  stamping  on  bags  in 
leading  markets  also  clicked.  And  for  a  top- 
per on  the  campaign  the  schoolmates  of  the 
contest  winner  threw  a  party  for  the  young- 
ster and  Bill  was  invited  to  attend. 

He  sure  rated  an  invite. 

Make  193  5  Your  Award  Year 

Patchen's  Novelty  Herald 

E.  A.  Patchen,  Stuart  Theatre,  Lincoln, 
Neb.,  distributed  telephone  call  heralds  with 
copy  "Don't  let  the  title  fool  you,  'The  Good 
Fairy'  is  a  swell  comedy."  Printer's  ad  at 
bottom  paid  entire  cost. 

Make  193  5  Your  Award  Year 


One  of  Bill  Reilly's  Con/a/  Pos/ers 


April    20,  1935 


MANAGERS'    ROUND  TABLE 


75 


Puts  Over  '^Dickens 
Day'' on  Copperfield 

In  1842,  Charles  Dickens  visited  Belle- 
ville, 111.  He  spent  the  night  at  a  local  hotel 
located  on  the  exact  spot  where  now  stands 
the  Lincoln  Theatre,  and  thus  it  came  about 
that  ^lanager  Fred  C.  Souttar  won  the 
March  Quiglev  Bronze  on  "David  Copper- 
field." 

Fred's  idea  was  that  in  conjunction  with 
the  opening  of  the  picture  the  city  should 
sponsor  a  "Dickens  Day."  The  suggestion 
brought  immediate  enthusiasm/  the  Mayor 
proclaiming  the  celebration.  Letters  to  the 
papers  and  personal  messages  further  favor- 
ed the  event,  all  topped  with  an  especially 
written  editorial  by  Nick  Perrin,  famed  his- 
torian, running  nearly  two  columns  in  lead- 
ing sheet. 

Day  ahead,  an  elaborate  pageant  was 
staged  reenacting  the  arrival  of  Dickens.  Old 
time  bus  was  promoted  and  characters  as 
shown  in  accompanying  photo  took  the  parts 
of  the  author,  his  wife  and  bus  driver.  Fol- 
lowing was  an  auto  with  loud  speaker  plug- 
ging picture,  next  in  line,  a  modern  bus 
carrying  copy  comparing  transportation  be- 
tween Belleville  and  St.  Louis  in  the  time  of 
Dickens  and  today.  Police  escort  led  the 
parade.  Bus  was  used  during  the  day  for 
bally  with  Dickens  characters  appearing 
round  town. 

Other  exploitations  were  applied  also,  such 
as  two  different  serials,  private  screenings 
for  school  heads  who  cooperated  with  class 
announcements  and  encouragement  of  student 
bodies  in  essay  contests.  How  well  this  last 
went  over  is  proved  by  Fred's  statement 
that  pupils  were  allowed  to  write  an  essay  on 
the  picture  for  credits  instead  of  the  book 
which  was  required  reading. 

Kite  flying  contests,  "Copperfield"  hair 
styles  in  annual  hair  dressers'  show,  various 
selected  windows,  lobby  trunk-key  stunt  with 
local  store,  four-column  cut  of  Madge  Evans 
reading  local  paper  and  plugging  special 
sales  day  were  among  Souttar's  additional 
highlights  that  rounded  out  his  cleverly  exe- 
cuted campaign. 

Make  193  J  Your  Award  Year  i 

Kids  Sell  Tickets 

Through  tieup  with  public  schools,  Roy 
Adams,  Mason  Theatre,  Mason,  Mich.,  got 
junior  classes  to  sponsor  "Great  Expecta- 
tions" by  offering  a  percentage  of  ticket 
sales  made  by  students.  Letters  were  mailed 
to  all  teachers  asking  them  to  plug  both  the 
picture  and  encourage  the  children,  in  the 
ticket  sale. 

Make  193  5  Your  Award  Year 


"Charles  Dickens"  Visits  Fred  Souttar 


HEADLINERS  FOR  MARCH 


FKED  C.  SOUTTAK  WILLIAM  J.  REILLY 

Kentucky  joins  Illinois  in  celebrating  the  March  winnings  of  the  Quigley  Awards  as 
Managers  Wm.  J.  Reilly  and  Fred  C.  Souttar  take  down  the  Silver  and  Bronze  Plaques. 
Reilly  did  the  job  at  the  Kentucky,  in  Henderson,  Ky.,  on  Fox's  "Little  Colonel,"  and 
Souttar  nabbed  the  Bronze  on  MGM's  "David  Copperfield."  Details  of  their  campaigns 
are  carried  in  columns  to  left. 


One  Born  Every  Minute, 
Agrees  Rhodes 

R.  W.  Rhodes,  New  Weller  Theatre, 
Zanesville,  Ohio,  set  up  a  tent  smack  in 
front  of  the  court  house  for  "Barnum"  with 
spieler  and  all  the  fixin's,  including  a  wash 
tub  filled  with  water  and  sign  reading, 
"Step  up  and  see  the  invisible  fish."  When 
the  curious  looked  in  tub  the  bottom  was 
painted  with  "see"  copy  and  Rhodes  reports 
there  were  plenty  of  stoppers. 

Huge  cutouts  of  Jenny  Lind,  Menjou  and 
Barnum  were  placed  on  marque  and  tieup 
with  confectioner  brought  distribution  of 
imprinted  paper  bags  containing"  lollypops 
with  copy  "There's  a  sucker  born  every 
minute,  but  not  one  like  this  one,  etc." 

Oil  painting  of  Virginia  Bruce  as  Jenny 
Lind  was  displayed  in  lobby  and  papers 
carried  stories  on  the  portrait. 

Make  193  5  Your  Award  Year 

Crites  Features  Essay 
Contest  on  "Lancers" 

Arlie  Crites,  assisted  by  Tom  Schmidt, 
publicist  at  the  Rig  Theatre,  Borger,  Texas 
put  on  an  essay  contest  for  "Bengal  Lanc- 
ers," offering  25  pairs  of  tickets  to  students 
submitting  best  answer  to  "Who  are  the 
Bengal  Lancers."  Winning  names  were 
posted  in  lobby. 

Window  displays  were  made  of  small 
cardboard  forts  with  three  sheet  cutouts  and 
laundry  used  imprinted  shirt  boards.  All 
trash  baskets  in  postoffices  were  lettered  and 
for  street  bally  man  was  dressed  as  lancer 
riding  bannered  horse.  Uniform  was  made 
from  used  red  velvet  drapes  and  later  worn 
by  doorman  as  additional  atmosphere. 


Moss  Uses  Personals 
Column  for  "Anne" 

Dick  Moss  at  the  Egyptian  Theatre  in 
Long  Beach,  Cal.,  used  the  personals  col- 
umn to  advertise  "Anne  of  Green  Gables." 
Copy  read,  "Mothers,  fathers,  sons  and 
daughters,  don't  miss  seeing  the  great  fam- 
ily shov.\"  Another  stunt  employed  was  the 
distribution  of  the  usherette  card  with  pic- 
ture plug. 

Dick  tied  up  with  Boy  Scouts  and  Camp- 
fire  Girls,  admitting  all  members  at  special 
rate,  bulletin  recommending  date  mailed  to 
all  members  by  Scout  Executive.  Group  of 
children  from  County  Welfare  were  invited 
to  special  show  and  personal  guarantee  by 
management  was  used  in  lobby  easel. 

Make  193  5  Your  Atvard  Year 


PLEASE  FORWARD 
CHANGE  OF  ADDRESS 

The  Herald  is  not  at  fault  when 
issues  do  not  reach  subscribers.  There 
is  much  too  much  of  managers  writ- 
ing in  for  back  copies  complaining 
that  their  subscriptions  are  not  being 
properly  serviced. 

This  is  due  only  to  managers  neg- 
lecting to  fortuard  immediately 
changes  of  address.  It  is  therefore 
requested  that  this  matter  be  taken 
care  of  so  there  will  be  no  miss- 
outs. 


76 


MOTION    PICTU  RE  HERALD 


April    20,  1935 


Saunders  Employs  Hack 
For  "Ruggles"  Bally 

Matt  Saunders,  Poli  Theatre,  Bridgeport, 
Conn.,  used  some  interesting  street  ballys  on 
"Ruggles  of  Red  Gap,"  one  of  which  was 
a  horse  and  buggy  with  male  occupant 
dressed  in  checkered  suit,  handle  bar  mus- 
tache and  bowler,  horses  adorned  with  thea- 
tre banners.  Second  bally  was  performing 
dog  carrying  theatre  card  which  promenaded 
on  its  hind  legs. 

Matt  also  promoted  three  column  classi- 
fied ad  with  cut  of  Laughton  and  Eburne  in 
old  time  carriage,  tieup  copy  reading  "one 
thing  that  hasn't  changed  since  the  Gay  90's 
is  our  ability  to  get  results  for  advertisers, 
etc.,  etc."  Mouthpiece  telephone  cards  with 
theatre  number  were  planted  with  instruc- 
tions to  call  that  number  for  information 
on  the  grandest  comedy  of  the  year. 

Make  19  J  5  Your  Award  Year 

Settles  Down  at  Theatre 
For  "Ruggles"  Opening 

Two  days  ahead  of  "Ruggles  of  Red  Gap" 
Wally  Allen,  Keeney,  Elmira,  N.  Y.,  seated 
a  man  in  front  of  theatre  at  a  table  reading 
magazine  with  copy  on  sign  "am  waiting 
to  buy  my  ticket  to,  etc.,  etc."  Man  was 
served  meals  and  on  opening  day  dressed  as 
sandwich  man  he  circulated  about  town  dis- 
tributing heralds. 

Wally  also  used  the  upside  down  trailer, 
with  apologies  copy  from  operators  to  the 
effect  that  excitement  due  to  the  booking 
had  caused  the  mistake  in  projection.  Novel- 
ties in  the  form  of  shares  of  "laughing 
stock  of  America"  were  also  used. 

Make  193  J  Your  Award  Year 

Night  Club  Puts  On 
"Folies  Bergere"  Nite 

One  of  the  highlights  of  John  Hesse's 
"Folies  Bergere"  campaign  at  the  Roger 
Sherman  in  New  Haven  was  a  tieup  with 
local  night  club  which  sponsored  a  "Folies 
Night,"  decorating  entire  place  (see  photo) 
with  Chevalier  cutouts,  lobby  cards  and  men- 
tioned stunt  in  their  ads.  Members  of  club 
orchestra  wore  straw  hats  and  plugged  hits 
from  picture. 

Beauty  parlor  got  out  co-op  ad  and  used 
assortment  of  stills  in  window  display.  Chain 
store  cooperated  by  designating  two  days  as 
"Folies  Bergere  Days"  and  gave  autograph- 
ed star  stills. 

Make  193  5  Your  Award  Year 

Voice  and  Screen 
Contests  Aid  Grosses 

Vogel  Gettier,  Electric  Theatre,  Spring- 
field, Mo.  tied  in  with  auto  dealer  for  par- 
ade of  cars  headed  by  motorcycle  police  to 
act  as  escort  for  Metro's  traveling  Sound 
Studio.  Hookin  with  daily  further  plugged 
local  opportunity  contest  offering  voice  and 
screen  tests  on  stage,  with  possibility  of 
work  in  Metro  stock  company,  or  in  the 
case  of  children,  roles  in  Our  Gang  Comedy 
unit. 

"Blossomtime  Revue"  was  put  on  in  co- 
operation with  dance  studios,  screen  and 
voice  contest  winners  appearing.  This  was 
particularly  pertinent  as  William  Benedict, 
Springfield  boy,  who  crashed  Hollywood  is 
the  screen  attraction. 

A  stunt  that  went  over  big  for  Gettier  was 


Westfall's  Animated  Lobby  Dsplay 


Hesse's  "Folies"  Nite  Club  Tieup 


Ericksen's  "Lancer"  Street  Bally 


a  help  wanted  ad  calling  for  amateur  talent 
for  giant  vod-vil  show,  such  as  singers, 
dancers,  musicians,  old  time  fiddlers  and 
Hillbilly  acts.  Show  ran  three  days  during 
which  elimination  was  in  progress,  and  win- 
ners on  following  day  were  selected  by  au- 
dience applause.  Cash  awards  and  radio 
dates  were  the  inducements. 


Powell  Ties  Up  Merchants 
Association  for  "Red  Gap" 

William  T.  Powell,  Paramount  Theatre, 
Newport,  R.  I.,  effected  a  smart  tieup  with 
local  grocers'  association  on  "Ruggles  of 
Red  Gap,"  in  which  80  stores  comprising 
the  membership  distributed  blanks  for  con- 
test in  which  entrants  were  to  give  three 
reasons  why  it  was  important  to  shop  in  their 
home  town.  Ten  promoted  grand  prizes  were 
displayed  in  lobby. 

Another  stunt  the  association  went  for 
was  placing  lucky  slips  under  various  chairs 
in  theatre.  At  a  given  time,  Powell  asked 
patrons  to  look  under  seats  and  all  those 
finding  slips  presented  them  to  grocers  listed 
on  herald  and  received  a  gift  of  that  day's 
"Special."  All  advertising  was  paid  for  by 
association  and  Bill  ran  screen  trailer  on  the 
tieup. 

Make  19 is  Your  Award  Year 

Schools  Tie  In  With 
Alper  on  "Copperfield" 

Preceding  Murray  Alper's  showing  of 
"David  Copperfield"  at  the  Commodore  in 
Brooklyn  copies  of  boys'  magazine  with  pic- 
ture ad  were  promoted  and  distributed  at 
matinee.  Announcements  were  made  in 
school  auditoriums  recommending  picture 
and  window  cards  were  placed  in  libraries. 

On  "Devil  Dogs,"  Murray  rigged  up  an 
attractive  display  (see  photo)  with  member 
of  Junior  Naval  Militia  in  constant  attend- 
ance during  run  of  picture. 

Make  193  5  Yaitr  Award  Year 

Westfall  Uses  Animation 

Manager  F.  M.  Westfall,  Haven  Theatre, 
Olean,  N.  Y.,  forwards  us  this  photo  of  ani- 
mated display  turned  out  by  artist  John 
McAuliffe  for  parade  of  hits.  Wheel  was 
driven  by  one-quarter  h.p.  electric  motor 
geared  to  turn  slowly.  Background  was 
painted  two  shades  of  yellow,  sprinkled 
with  silver  metallics  with  the  front  of  mask 
painted  a  dark  blue  and  cutout  letters  in  red. 
Make  193  5  Your  Award  Year 

Salmon  Holds  "Sequoia" 
Screening  for  Locals 

From  District  Manager  Monty  Salmon, 
Skouras  Philadelphia  Theatres  comes  a 
"Sequoia"  campaign  at  the  Tower  Theatre 
on  which  Messrs.  Dougherty,  Knoblauch 
and  Fishman  assisted.  Special  screening 
was  held  for  educational  bodies  and  clergy- 
men, who  were  asked  to  endorse  the  picture. 

Lobby  was  decorated  with  log  cabin  con- 
taining stuffed  birds  and  animals  in  addi- 
tion to  large  cutouts.  Boy  Scout  officials 
voluntarily  issued  letter  to  all  members  of 
their  organization  recommending  the  at- 
traction and  radio  stations  also  cooperated. 
Make  193  5  Your  Award  Year 

"Lancer"  Bally  Float 
Makes  Oslo  Air  Show 

The  occasion  of  a  Norwegian  air  demon- 
stration at  Lake  Oieren,  outside  of  Oslo, 
was  seized  upon  by  E.  Ericksen,  Paramount 
manager  in  that  spot,  to  send  out  a  float  on 
"Lancer"  for  the  date  at  the  Cirkus  The- 
atre, managed  by  Kris  Amot.  Truck  also 
made  the  city,  accompaning  photo  showing 
it  with  Royal  Castle  in  background. 

Other  tieups  included  window  in  promi- 
nent tobacconist  shop  with  pipe  stills  of 
Cooper  and  Tone  plus  action  shots  from  the 
picture  for  additional  publicity. 


April    20,  1935 


MANAGERS'    ROUND  TABLE 


77 


Hart  Stages  Kite  Flying 
Contest  for  "Devil  Dogs" 

A  novelty  stunt  put  over  by  Ed  Hart, 
Strand,  Plainfield,  N.  J.,  was  meet  at  local 
golf  club  for  boys  invited  to  enter  kite-flying 
contest  in  connection  v^'ith  "Devil  Dogs  of 
the  Air."  Theatre  supplied  kites.  Letters 
were  mailed  to  principals  of  all  schools  ask- 
ing that  announcements  of  event  be  placed 
on  bulletin  boards. 

Two  other  contests  were  engineered  by 
Ed,  one  for  model  planes  and  the  other  a 
series  of  scenes  from  previous  pictures  run 
in  newspaper  with  tickets  awarded  those 
supplying  correct  titles.  Well  known  flyer 
circled  city  dropping  heralds,  made  appear- 
ance at  theatre  to  lecture  on  aviation  and 
present  awards  to  winners  of  model  contest. 

Make  193  S  Your  Award  Year 

Gould  Dresses  His  Front 

S.  W.  Gould,  Cameraphone  Theatre,  Pitts- 
burgh, Pa.,  dressed  his  front  (see  photo)  for 
"Forsaking  All  Others"  with  six  large  heads 
of  stars  atop  marquee.  Three  sheet  mats 
with  handpainted  heads  were  mounted  and 
placed  at  either  side  of  box  office.  Beauty 
parlor  tied  in,  featuring  Crawford  hair- 
dress  and  distributing  heralds  with  theatre 
ad. 

Make  193  5  Yotir  Award  Year 

Spencer  Broadcasts 
Irish  Songs  for  "Aran" 

Broadcast  featuring  Irish  folk  songs 
was  part  of  C.  T.  Spencer's  "Man  of  Aran" 
campaign  at  the  Tivoli  in  Hamilton,  Ont., 
Canada,  with  Bert  Brown,  theatre  doorman 
and  vocalist  at  the  radio  station,  doing  the 
honors. 

Accompanying  photo  shows  special  front 
with  life  size  cutouts  of  stars  and  title  in 
relief,  with  large  sign  playing  up  lact  that 
picture  was  chosen  as  best  of  1934  by  board 
of  reviews. 

Make  193  5  Your  Award  Year 

Merchant  Cooperates  on 
"Ruggles"  Guess  Test 

Local  department  store  tied  in  with  Ever- 
ett Steinbuch  and  Milt  Harris  at  Loew's 
State,  Cleveland,  on  "Ruggles  of  Red  Gap," 
store  offering  prizes  of  merchandise  to  those 
correctly  naming  last  three  starring  Laugh- 
ton  pictures  and  outstanding  features  in 
each.  Theatre  also  offered  guest  tickets. 

Another  store  devoted  window  display  to 
"Ruggles"  hat,  duplicating  one  worn  by 
Mary  Boland  in  the  picture  and  distributing 
autographed  photos  of  the  star.  Men's 
clothing  shop  featured  window  of  new  fash- 
ions as  compared  with  those  worn  in  "Rug- 
gles." 

Make  193  5  Your  Award  Year 

McManus  Stages  Plane 
Contest  on  "West  Point" 

Cooperating  with  department  store,  Johnny 
McManus,  Loew's  Midland  Theatre,,  Kan- 
sas City,  Mo.,  put  on  a  miniature  airplane 
and  glider  contest  for  "West  Point  of  the 
Air."  One  week  ahead,  aviation  editor  of 
local  daily  broke  with  special  story  on  con- 
test. .  Various  prizes  were  promoted,  one 
being  allowance  by  air  training  school  on 
ground  school  course.  Grand  prize  was  cup 
supposedly  from  Wallace  Beery  with  small 
plane  mounted  atop  and  winner's  name  en- 
graved.  Various  stores  came  in  for  prizes, 


Charninsky  and  His  Police  Force 


Gould's  Cutouts  Atop  Miirqiice 


Spencer's  New  "Aran"  Front 


all  of  which  were  displayed. 

Announcements  were  made  over  radio, 
atmospheric  panels  with  planes  in  back- 
ground and  large  cutouts  were  used  for  lobby 
displays  and  through  cooperation  of  major 
in  charge  of  reserve  officers'  flying  corps 
bulletins  were  posted  urging  all  members  to 
attend. 


Louie's  At  It  Again; 
This  Tinne  He's  a  Cop 

Louie  Charninsky,  Capitol  Theatre,  Dal- 
las, Texas,  took  exception  to  our  caution 
that  he'd  better  look  to  his  costume  laurels 
and  forwards  the  accompanying  photo  of 
himself  and  staff  dressed  for  "Car  99."  That's 
Louie  as  the  chief  of  police.  Police  officials 
and  policemen  were  invited  to  special  screen- 
ing. 

Incidentally,  Louie  is  proud  of  the  fact  that 
his  staff  recently  copped  cash  prizes  in  con- 
nection with  a  "Sequoia"  contest  put  on 
by  the  Interstate  Circuit  for  employees. 

Make  193  5  Your  Award  Year 

Levy  Runs  Contests 
In  House  Programs 

From  W.  Levy,  Cameo  Cinema,  Durban, 
South  Africa,  comes  a  stunt  that  could  be 
used  here  to  excellent  advantage  in  the  form 
of  program  contests,  one  for  children  and 
the  other  adults.  Back  cover  is  called  the 
children's  page  and  is  devoted  to  jokes,  items 
of  interest  to  the  younger  set,  and  the  con- 
test— to  write  a  brief  letter  on  what  they 
would  do  if  they  had  $5  to  spend  and  where 
they  would  spend  it,  mentioning  only  adver- 
tisers in  the  programs.  Prizes  of  fifty  cents 
each  are  offered  for  best  letters ;  each  week 
winning  letters  are  published  in  program. 

Adults'  contest  consists  of  tieup  with  mer- 
chants advertised  in  program  who  offer  mer- 
chandise prizes  to  those  submitting  best  con- 
structive suggestions  for  improvement  of 
program,  theatre,  shows,  etc.  Four  prizes 
are  awarded  weekly  and  these  names  are  also 
published. 

Levy  goes  in  for  street  ballys,  too,  as  can 
be  seen  from  the  accompanying  photo  where 
the  house  staff  was  dressed  in  Oriental  cos- 
tumes for  "Tiger  Bay,"  man  with  pigtails 
was  used  to  parade  around  town. 

Make  193  5  Yoitr  Award  Year 

Levey's  Program  Contest 

William  A.  Levey,  Strand  Theatre,  White 
Plains,  N.  Y.,  uses  the  back  of  his  program 
for  a  title  writing  contest,  offering  tickets 
to  those  submitting  the  best  running  sen- 
tences with  names  of  recent  pictures  shown 
at  his  house. 

Make  193  5  Your  Award  Year 

In  Which  Bill  and  Mac 
Do  a  Little  Promotin' 

Billings  Booth,  now  operating  the  Palace, 
Jamestown,  N.  Y.,  with  his  co-partner,  Wal- 
ter M.  McDowell,  for  Ralph  Crabill,  figured 
that  a  bit  of  promotion  was  due  what  with 
the  Spring  coming  on  and  all  that.  So  Bill 
and  Mac  promoted  themselves  a  couple  of 
those  Kentucky  Colonel  commissions  for 
Crabill  and  the  local  Mayor. 

Then  they  promoted  the  Rotary  Club  to 
hold  their  weekly  lunch  on  the  theatre  mez- 
zanine, and  for  a  change  promoted  the 
hotel  to  supply  the  feed  at  the  usual  rates. 
The  Masonic  Temple  was  next  promoted  for 
tables  and  the  RKO  exchange  for  a  print  of 
"Roberta,"  after  which  the  commissions 
were  sprung  on  Ralph  and  Hizzoner. 

Just  to  be  different  then,  the  boys  pro- 
moted the  photographer  for  a  shot  of  the 
doins',  had  the  picture  taken  up  against  a 
"Roberta"  set  piece,  and  promoted  the  dailies 
to  run  a  three-column  cut  of  same. 

Crabill  is  a  Rotarian,  Booth  a  Kiwanian, 
Mac  a  Lion — put  them  all  together  and 
they're  a  gang  of  promotin'  curly  wolves. 


78 


MOTION    PICTURE  HERALD 


April    20,  1935 


I  TALKED  WITH  DEERINC 

Type  of  Exploitation  in  Any  Town 
Determined  by  Tempo  of  Ads  Used 
By  Merchants,  L.  H.  Keene  Is  Told 

by  FRANCIS  R.  DEERING 

Manager,  Loew's,  State,  Memphis,  Tenn. 


Anyone  in  the  employ  of  a  major  theatre 
circuit,  which  depends  largely  on  the  in- 
genuity and  aggressiveness  of  its  individual 
manpower  for  successful  operation,  has  an 
opportunity  to  harvest  a  wealth  of  knowl- 
edge for  profitable  theatre  operation — first 
through  the  reflected  knowledge  of  his  su- 
periors, department  heads  skilled  through 
years  of  training  in  their  particular  field  and 
second  through  actual  experience  in  varied 
assignments  which  most  circuit  managers 
are  privileged  to  fill. 

To  me,  one  of  the  most  important  and 
possibly  the  most  interesting  lesson  I  have 
learned  in  the  few  young  and  inexperienced 
years  I  have  been  with  Loew's,  is  the  fact 
that  an  operation  in  one  locality  may  be  a 
success  while  a  similar  manner  of  operation 
in  another  city  may  be  a  total  failure.  This 
applies  to  nearly  every  phase  and  depart- 
ment of  the  theatre — exploitation,  advertis- 
ing, booking,  personnel  and  operation. 

Application  of  Principles  Vary 

Of  course  there  are  certain  basic  princi- 
ples that  should  be  adhered  to  in  all  in- 
stances. A  manager  should  try  to  make  him- 
self and  his  theatre  a  vital  part  of  the  com- 
munity, his  house  staff  should  be  well 
trained,  courteous  and  efficient,  and  his  the- 
atre should  be  well  maintained  and  kept  spic 
and  span,  no  matter  where  the  theatre  is 
located.  It  is  the  application  of  these  basic 
principles  wherein  the  variations  ensue. 

In  certain  sections,  particularly  the  metro- 
politan cities  of  the  North,  a  distinguished 
front  on  the  part  of  the  house  staff  (execu- 
tives in  tuxedo,  ushers  at  strict  attention 
with  clicking  of  heels  and  formal  saluta- 
tions) seems  to  be  most  impressive. 

On  the  other  hand,  in  some  of  our  south- 
ern cities  where  good-fellowship  plays  a  big 
part  in  every  day  business,  the  cold,  rigid, 
formal  atmosphere  of  the  northern  metropo- 
lis has  no  place.  Instead,  patrons  expect  a 
cheery  sort  of  greeting,  a  handshake  from 
the  manager  and  human  beings  instead  of 
drilled  automatons  for  ushers. 

It  is  in  exploitation  and  advertising,  how- 
ever, that  we  see  the  greatest  necessity  for 
making  our  manner  of  operation  suit  the 
locality  in  which  the  theatre  is  situated.  In 
one  town  it  is  possible  to  walk  into  a  pros- 
pective "tie-up  customer's"  office  with  a 
burst  of  enthusiasm,  exclaiming  "boy,  oh 
boy,  have  I  got  a  great  idea,  or  have  I  got 
a  great  idea?" — high  pressure  the  man  to 
death  and  walk  out  with  a  stunt  in  the  bag. 
In  another  town  the  same  line  of  chatter 
might  be  the  very  thing  that  would  spoil  a 
merchant's  or  newspaper  man's  respect  for 
the  theatre  man  who  used  it. 

Some  towns  are  inherently  enthusiastic, 
both  in  merchandising  and  in  public  spirit, 
while  others  are  conservative  and  slow- 
moving  and  each  must  be  handled  accord- 
ingly. On  one  assignment,  it  was  very  dis- 
couraging to  go  out  and  try  to  "sell"  an  idea 
only  to  be  met  with  an  answer  something 
like  this :  "Well,  we've  been  in  business  for 
a  long  time.    My  father  never  did  things 


like  that  and  neither  did  my  grandfather— 
and  while  you've  got  a  good  idea  and  it 
might  help  me,  I  don't  think  we'd  better  try 
it" — and  so  on,  until  by  being  neighborly 
and  patient  for  a  length  of  time  it  was  possi- 
ble finally  to  secure  a  "co-op  ad"  or  some- 
thing similar  purely  through  friendship. 
Then  when  that  merchant  or  newspaper  saw 
that  the  theatre  tie-up  was  beneficial  it  was 
smooth  sailing  from  then  on. 

In  one  particular  instance  it  took  two 
years  of  constant  but  friendly  "nagging" 
with  the  hardboiled  advertising  manager  of 
a  large  department  store  to  secure  his  co- 
operation. When  the  first  tie-up  proved  to 
be  highly  successful  we  became  first-class 
buddies  and  hardly  a  week  went  by  that  we 
weren't  plotting  something  new  to  stimulate 
business. 

I  have  discovered,  too,  that  the  spirit  of  a 
town  is  reflected  in  the  advertising  copy  used 
by  department  stores,  grocery  stores,  drug 
firms  and  the  like.  Whenever  you  see  a 
newspaper  chock  full  of  large  ad  spreads 
carrying  sensational  copy — whether  it  refers 
to  baked  beans  or  fur  coats  or  high  chairs 
for  the  baby — you  can  bet  your  last  year's 
straw  hat  that  that  particular  town  will  re- 
spond to  high  pressure  salesmanship  and 
ballyhoo.  If,  on  the  other  hand,  you  find 
ad  layouts  that  are  dignified  and  conserva- 
tive, you'll  probably  discover  that  this  town 
is  no  place  to  try  to  bust  a  blood  vessel  in 
exploitation. 

So  much  for  regional  differences.  Now 
then,  I  should  like,  with  your  permission, 
although  I'm  somewhat  of  a  novice  at  this 
managerial  game  and  hardly  capable  of  writ- 
ing a  book  on  "How  to  Become  a  Theatre 
Manager  in  Ten  Easy  Lessons,"  to  point 
out  some  other  interesting  observations  I 
have  made. 

Working  Knowledge  Necessary 

Every  theatre  manager  should  have  a 
working  knowledge  of  every  department 
from  box-office  to  booth.  Many  of  us  have 
had  the  good  fortune  of  starting  right  at 
the  bottom  and  learning  first  hand  the  basic 
fundamentals  of  service,  but  not  all  of  us 
have  operated  picture  machines  and  cooling 
plants  or  served  as  stage  hands  or  mainte- 
nance men.  We  can  read  and  ask  questions 
in  order  that  we  may  talk  intelligently  on 
matters  concerning  any  department. 

A  cashier  expects  us  to  know  how  a  ticket 
machine  works,  an  usher  has  more  respect 
for  us  if  we  can  direct  patrons  with  as  much 
snap  and  intelligence  as  he  can,  a  stage  hand 
should  never  guess  that  we  don't  know  that 
you  can't  hang  an  apron  on  a  stage  or  press 
a  pair  of  pants  with  a  gridiron. 

How  embarrassing  it  must  have  been  for 
the  manager  who,  when  his  divisional  boss 
inquired  about  the  piano  in  front  of  the  box- 
office,  replied,  "Well,  the  booking  and  cue 
sheet  said  the  act  worked  with  piano  in 
street."  Cashier,  usher,  cleaner,  operator, 
poster  artists,  engineer  or  stage — they  all 
look  to  us  as  "boss"  and  as  such  we  ought 
to  be  acquainted  with  every  individual  job. 


Quigley  Awards 
Information  ♦  ♦  ♦ 


A  QUIGLEY  AWARD,  to  be  known 
as  a  "Quigley  Silver",  will  be  pre- 
sented each  month  during  1935  for 
the  campaign  selected  as  best  by 
the  Judges  from  all  those  submitted 
to  Managers'  Round  Table  Club  on 
any  single  picture  played  between 
the  first  and  last  days  of  that 
month.  .  .  . 

V 

A  QUIGLEY  AWARD,  to  be  known 
as  a  "Quigley  Bronze",  will  be  pre- 
sented each  month  during  1935  for 
the  campaign  selected  as  second 
best  by  the  Judges  from  all  those 
submitted  to  Managers'  Round  Table 
Club  on  any  single  picture  played 
between  the  first  and  last  days  of 
that  month.  .  .  . 

V 

THE  QUIGLEY  GRAND  AWARD 
will  be  presented  at  the  end  of  1935 
to  the  winner  whose  campaign  Is 
selected  by  the  judges  as  the  most 
meritorious  of  all  those  awarded  the 
monthly  plaques  during  1935. 

V 

THE  QUIGLEY  SECOND  GRAND 
AWARD  will  be  presented  at  the 
end  of  1935  to  the  winner  whose 
campaign  Is  selected  by  the  judges 
as  the  second  best  of  all  those 
awarded  the  monthly  plaques  during 
1935. 

V 

THEATREMEN  everywhere  In  the 
world  are  eligible.  Campaigns  may 
be  on  domestic  or  foreign  product 
from  major  or  Independent  produc- 
ers. Entries  from  foreign  lands  are 
especially  Invited  and  will  be  ac- 
cepted for  consideration  during  the 
month  they  are  received.  .  .  . 

V 

VISUAL  EVIDENCE  must  accompany 
every  entry,  such  as  tear  sheets,  pho- 
tos, heralds,  etc.,  etc.  This  ruling  must 
be  obeyed.  .  .  . 

V 

EQUAL  CONSIDERATION  will  be 
given  every  campaign.  Theatremen 
with  small  budgets  will  receive  the 
same  break.  Remember — "It's  what 
you  do,  not  how  much  you  spend." 

V 

CAMPAIGNS  should  be  forwarded 
as  soon  as  possible.  They  may  be 
mailed  after  the  last  day  of  the 
month  on  pictures  that  have  played 
during  the  month.  This  Includes  at- 
tractions played  on  last  days  of  month 
and  first  days  of  following.  .  .  . 

V 

ENTRIES  should  be  mailed  to: 

Quigley  Awards  Committee 
1790  Broadway     -     -     New  York 


April    20,  1935 


School  Boys  Constructing  Planes 

What  the  Boys  Are  Doing 
On  "Devil  Dogs  of  the  Air" 

Julius  Lamm,  Uptown  Theatre,  in  Cleve- 
land, effected  a  smart  tieup  with  high  schools 
for  "Devil  Dogs"  with  boys  in  manual  train- 
ing classes  constructing"  planes  (see  photo) 
which  were  entered  in  contest  for  promoted 
prizes  and  displayed  in  lobby. 

Special  kid  matinee  was  held  at  which 
judging  took  place  and  two  birdmen  gave 
children  talk  on  aviation.  Special  heralds 
were  distributed  in  school  rooms  by  mer- 
chant whose  paid  back  ad  took  care  of 
printing  cost  and  lobby  was  decorated  with 
motor  head,  including  propeller  promoted 
from  local  airport. 

In  Horicon,  Wis. 

I.  J.  Craite  at  the  Pastime  Theatre  offered 
prizes  to  children  coming  closest  to  guessing 
correct  number  of  pounds  of  Oats  displayed 
in  store  window.  Sets  of  glider  planes  were 
given  out  at  special  matinee  and  airplane 
cutouts  were  distributed  to  schools. 

Down  Fulton,  Ky. 

Burgess  Waltmon  at  the  Orpheum  secured 
cooperation  of  superintendent  of  schools, 
who  made  announcements  at  combined  as- 
semblage of  all  schools  recommending  pic- 
ture. One  sheet  display  was  placed  at  en- 
trance of  all  schools  and  in  gyms  during 
basketball  games.  Bannered  plane  flew  over 
city,  several  outstanding  windows  were  se- 
cured and  tack  cards  placed  on  telephone 
poles  in  city  and  surrounding  towns. 

Finishing  in  Boston 

With  Phil  De  Petro  at  the  Modern  ex- 
tending invitation  to  captains  and  command- 
ers of  the  Junior  Birdmen  to  attend  in  body, 
newspaper  tied  in  with  questions  and 
answers  column  on  aviation,  each  day  carry- 
ing theatre  and  picture  plug.  Blow  up  of 
Brisbane's  editorial  on  the  picture  was  used 
as  part  of  lobby  display  and  for  street  bally 
large  sugar  barrel  painted  red  was  planted 
on  busy  intersection  with  copy  "do  not 
feed."  When  the  curious  looked  in  the  bar- 
rel further  copy  directed  them  to  the  theatre. 

Make  193  5  Your  Award  Year 

Attention,  Doctors 

Dick  Wright,  district  manager,  Warners' 
Theatres  in  Cleveland,  gets  out  an  attrac- 
tive little  green  four-page  leaflet  mailed  to 
physicians.  Front  cover  copy  reads,  "At 
your  service,"  inside  contains  message  from 
management  recomtnending  doctors  relax 
at  the  theatre  with  knowledge  that  they  can 
be  reached  there  by  phone  at  a  moment's 
notice.  Back  page  carries  current  and  com- 
ing attractions. 


MANAGERS'    ROUND  TABLE 


It  would  be  unfair  to  comment  on  differ- 
ences in  publicity  methods  between  England 
and  America  and  comment  in  a  derogatory 
sense.  Frankly,  I  think  that  most  of  the 
lads  who  purvey  publicity  on  behalf  of  their 
English  bosses  do  a  darned  good  job  of  it. 
True,  they  find  it  difficult  to  understand 
American  methods  or  ideas ;  they  cannot 
appreciate  our  brash  exploitation.  But  they 
have  different  media  to  work  with — and, 
most  important  of  all,  a  mental  reaction  on 
the  part  of  the  British  public  that  is,  at 
times,  the  direct  antithesis  of  our  Great 
American  Moviegoer's  allegedly  child-like 
■mind. 

But  in  England  your  newspapers  are  all- 
powerful  as  publicity  media.  Your  fan 
magazines  are  negligible,  as  compared  to 
our  powerful  fan  publications  here.  And 
your  general  magazines,  with  but  few  minor 
(or  major)  exceptions  are  of  little  value. 
So  film  producers  and  exhibitors  find  it 
necessary  to  stress  newspaper  publicity  in 
a  country  where  the  cinema,  up  until  a  com- 
paratively short  time  ago,  rated  as  an  en- 
tertainment force  on  a  par  with  the  lowest 
of  low  sports  and  beneath  the  dignity  of  edi- 
torial recognizance. 

However,  matters  have  changed  now. 
England  is  cinema  conscious  and  the  result 
is  that  more  and  more  motion  picture  news 
finds  it  way  into  the  columns  of  British 
newspapers.  And  such  earnest  press-agents 
as  Robb  Lawson  of  United  Artists ;  Frank 
Tilley  of  RKO-Radio ;  Hugh  Findley  of 
Gaumont-British  and  Jimmy  Hutchinson  of 
British  International  have  been  responsible, 
in  great  measure,  for  this  change  of  heart. 

These  men  more  than  get  their  measure  of 
space.  But  if  they  don't  go  for  ideas  that 
are  of  the  typically-brash  American  type, 
it's  because  they  know  that  such  ideas  are 
contrary  to  policy.  It's  not  because  they 
don't  recognize  the  value  of  new  ideas.  But 
Englishmen  have  a  habit  of  thinking  things 
over — and  many  a  good  idea  becomes  sopho- 
moric  when  looked  at  in  the  clear  light  of 
day. 

Britons  Ace  Space-Grabbers 

But  if  it  comes  to  space,  I'd  like  to  find 
any  press-agent  rivaling  the  lineage  secured 
by  Lawson  on  behalf  of  Eddie  Cantor  when 
that  pop-eyed  individual  stirred  England 
following  his  week  in  London.  And  Hutch- 
inson, campaigning  for  "Forgotten  Men," 
pulled  some  clever  publicity  angles  that 
reaped  plenty  of  space  before  that  flicker 
opened  for  a  London  run. 

I  just  want  to  emphasize  one  thing :  The 
average  good  English  press-agent  is  good 
at  his  job — no  matter  how  he  and  his  meth- 
ods might  strike  us  over  here.  But  English 
producers  should  realize  that  even  if  British 
publicity  methods  achieve  their  purpose  in 
England,  that  doesn't  prove  their  worth  in 
this  country. 

British  studio  ^publicity,  as  a  rule,  is 
valueless  here.  Ask  any  press-agent  who 
has  been  compelled  to  turn  some  of  that 
tripe  into  understandable  copy.  And  ask 
any  editor.    I  know  whereof  I  speak.  Be- 


79 


cause  I  have  handled  such  picture  publicity. 

If  British  producers  are  giving  serious 
thought  to  the  American  market,  then  they 
should  study  that  market  from  a  publicity 
angle,  as  well  as  from  its  distribution  possi- 
bilities. I  have  discussed  this  time  and 
again  with  such  men  as  Michael  Bal- 
con,  of  Gaumont-British ;  with  Arthur 
Dent  of  British  International ;  with  Her- 
bert Wilcox  of  British-and-Dominion. 
They  all  agree  with  me — and  yet  little  has 
been  done  about  it.  Perhaps  because,  like 
many  other  producers,  the  publicity  depart- 
ment always  is  given  last  consideration  or, 
perhaps,  because  they  have  been  immersed 
in  other  and,  for  the  time  being,  more  im- 
portant matters.  But  the  fact  remains, 
though,  that  publicity  and  advertising  are 
as  vital  to  the  ultimate  financial  success  of 
a  picture  as  the  picture  itself  or  the  sales 
force  that  is  selling  it.  Because  publicity  is 
the  one  direct  contact,  other  than  the  ex- 
hibitor, between  producer  and  public. 

Publicity  Requires  Study 

In  time,  you'll  find  British  production  hit- 
ting a  high  level.  Alexander  Korda  helped 
pave  the  way — and  the  other  companies 
aren't  far  behind.  But  to  accomplish  really 
important  results,  the  film  companies  in 
England  will  have  to  make  use  of  the  talents 
of  American  publicists  who,  however,  are 
not  only  advertising  men  or  stunt  press- 
agents,  but  public  relations  counsellors  in 
every  sense  of  the  word.  And  I  mean  by 
that  gentlemen  who  are  prepared  to  go  to 
England,  study  the  situation  there,  sit  in 
on  production  as  well  as  publicity  methods 
and  then  plan  campaigns  that  will  make  it 
easier  for  the  publicist  here — and  the  edi- 
tor at  any  American  desk. 

In  other  words,  press-agents  who  turn 
out  publicity  copy  that  will  not  be  patterned 
after  the  English  copy  but  will  find  quick 
acceptance  here.  Also,  they  will  have  to  be 
advertising  experts  who  can  sit  down  and, 
in  addition  to  publicity  copy,  rough  out  a 
few  ideas  that  will  make  it  easier  for  the 
American  publicist. 

Make  193  5   Your  Award  Year 


TRAIN  PREVUE.  They've  done  it  on  planes 
and  here  is  a  shot  of  first  train  screening 
on  "Whole  Town's  Talking"  as  arranged  in 
Chicago    by    Jack    Thomas    of  Columbia. 


CRITICAL  SLANT  AT  ENGLAND 

English  Publicists  Do  Good  Job, 
Says  New  York  Film  Critic;  Sets 
Down  Some  Overseas  Impressions 

by  AL  SHERMAN 


80 


MOTION    PICTURE  HERALD 


April    20,  1935 


'BALLYHOO  IS  OUT  IN  SMALL  TOWN' 


—HAROLD  C.  LEE,  BABCOCK  THEATRE,  BATH,  N.  Y. 


SAYS  TIEUPS  NO  HELP 
IN  THE  LESSER  SPOTS 

Dear  Mike: 

Although  I  have  not  been  so  active  as  a 
Club  Member  for  some  time,  I  have  not 
missed  reading  the  Club  pages  each  week. 
There  was  a  time  when  many  of  the  boys, 
including  myself,  sent  in  their  campaigns, 
but  they  have  been  missing  for  the  past 
year  or  two,  not  because  we  are  "regusted" 
with  the  Club  or  that  the  Club  has  slipped, 
but  because  it  has  got  to  a  point  in  the 
smaller  towns  where  we  have  got  to  get 
them  in  with  something  besides  tieups  and 
ballyhoos.  Possibly  I  am  wrong  about  the 
other  boys,  but  in  my  situation  I  am  right. 

In  the  larger  towns  with  a  large  transient 
trade  it  is  necessary  to  ballyhoo  and  flash  the 
attractions,  but  in  the  small  town  this  is  out, 
more  so  today  than  in  the  past,  due  to  the 
fact  that  people  from  the  rural  territory 
do  not  come  in  as  often.  What  we  must  do 
now  is  to  get  out  into  the  nearby  towns  and 
rural  districts  every  week. 
Covers  Town  and  Country 

To  get  our  attractions  before  these  people 
I  consider  the  billboard,  window  cards,  pro- 
gram and  newspaper  the  best  mediums.  I 
have  a  large  outside  territory  covering  ten 
small  towns  which  we  bill  each  week  with 
3  sheets  and  cards.  Also  have  a  direct  mail- 
ing list  covering  every  R  F  D  route  and 
call  boxes  in  these  towns.  This  demands 
around  3,000  programs.  Some  of  these 
towns  are  near  other  theatres  who  also 
bill  in  the  territory  but  not  as  extensively  as 
we  do.  In  the  summer  we  have  a  nearby 
lake  that  draws  a  large  tourist  trade.  This 
we  also  go  after  with  the  mailing  list,  and 
for  the  past  two  seasons  have  enjoyed  good 
returns  from  the  lake  region. 

Now  you  might  ask  what  about  the  peo- 
ple in  your  town.  This  is  not  neglected. 
We  also  cover  the  town  with  programs  and 
cards  placed  in  the  important  stores  and 
shops.  Along  with  the  marquee,  lobby,  trail- 
ers and  three  weekly  newspapers  I  am  sure 
people  in  Bath  and  vicinity  are  well  in- 
formed each  week  on  what  we  are  playing. 

I  don't  mean  to  say  that  I  pass  up  pro- 
Makc  193  5  Your  Award  Year 


WANTS  MORE  DISCUSSION 
ON  THEATRE  OPERATION 

There  also  are  other  things  of  value 
outside  of  exploitation  that  appear  in 
the  pages,  says  Hal  Lee,  who  believes 
"there  could  be  plenty  more  of  it", 
and  invites  other  small  town  man- 
agers to  join  up  and  enter  in  these  dis- 
cussions.  Gents,  take  the  floor. 

—A-MIKE 


moting  as  good  a  window  display  that  can 
be  arranged  on  certain  pictures,  but  what ' 
I'm  getting  at  is,  tieups  of  the  type  we  small 
fellows  arrange  would  be  of  no  value  to  the 
larger  theatres.  However,  there  are  many 
things  in  theatre  operation  that  are  of  value 
to  use  outside  of  exploitation  appearing  in 
the  Club  pages  and  I  believe  there  could  be 
plenty  more  of  it.  Come  on,  some  of 
you  small  town  managers,  join  the  Club 
and  let's  hear  what  you  have  to  say  about 
the  small  town  theatre  operation. — Harold 
C.  Lee,  Manager  Babcock  Theatre, 
Bath,  N.  Y. 


BRONZE  FRONT.  Norvell  Yantis,  artist, 
Newman  Theatre,  Kansas  City,  Mo.,  created 
this  attractive  "Sweet  Music"  front,  made 
of  bronze  corrugated  paper. 


FEELS  LENGTH  OF  RUN 
DETERMINES  THE  BALLY 

Dear  Mike: 

"...  I  used  to  be  a  firm  believer  in  ex- 
ploitation and  I  still  am  as  far  as  the 
longer  runs  are  concerned.  But  where  we 
play  three  shows  a  week,  none  of  them  run- 
ning more  than  three  days,  it  is  not  such 
a  good  plan  to  exploit  many  of  them  above 
the  others.  For  a  town  the  size  of  Savanna, 
five  thousand,  we  are  playing  better  than 
the  average  programs.  Every  Sunday  sees 
a  big  picture  starting  a  three-day  run  and 
we  play  them  just  as  soon  as  possible. 

We  have  a  campaign  back  of  every  one, 
confining  ourselves  mostly  to  poster  adver- 
tising. We  have  four  one  sheets,  a  three 
sheet,  a  six  sheet  and  a  24  sheet  on  all  of 
these  in  Savanna.  The  six  and  24  sheets 
are  lighted,  working  night  as  well  as  day. 
In  addition  to  the  lobby  display  at  the  Web 
we  use  the  lobby  of  the  other  theatre  we 
control  for  Web  displays.  This  house  has 
not  been  open  for  some  time.  We  have 
poster  panels  in  four  towns  within  a  radius 
of  20  miles  and  these  are  posted  every 
week  with  three  one  sheets  on  our  shows. 
In  two  other  towns  we  have  insert  cards. 
In  the  spring  we  will  probably  put  up  two 
more  poster  panels  in  towns  that  have  just 
been  opened  to  us  by  a  new  bridge. 

I  observe  some  towns  larger  than  Savanna 
do  not  use  newspaper  advertising  every 
night.  We  considered  this  policy  some  time 
ago,  but  decided  it  is  better  to  be  consistent 
about  this  and  have  an  ad  in  every  night. 
We  also  have  an  ad  in  the  county  seat 
weekly  paper,  ten  miles  away.  This  not  only 
takes  care  of  that  locality,  but  covers  the 
country  population  very  well.  My  ads  are 
not  large,  but  in  preparing  them  I  always 
try  to  place  myself  in  the  place  of  those  I 


want  to  reach  with  the  idea  of  how  I  would 
react  if  I  were  the  reader. 

We  have  a  small  but  live  mailing  list, 
everyone  on  it  being  someone  who  has  actu- 
ally requested  cards  be  sent  them.  These 
are  to  those  outside  of  Savanna  who  do  not 
see  a  newspaper.  We  simply  have  the  week's 
program  printed  up  on  a  postcard  and  get 
them  in  the  mails  so  everyone  will  have 
theirs  by  Saturday  morning. 

Occasionally  we  get  out  tack  cards  and 
heralds  or  rotos.  I  find  the  best  method 
of  circulating  the  latter  are  through  the 
Sunday  papers.  The  distributors  do  this 
everywhere,  but  if  this  can  be  done  it  means 
the  stuff  will  get  right  into  the  homes. 

We  believe  we  accomplish  more  in  doing 
this  way  than  in  an  occasional  spasmodic 
campaign.  Our  accessory  bills  are  high, 
especially  that  we  find  buying  of  poster  ex- 
changes is  poor  economy.  We  tried  that 
for  a  while,  but  it  did  not  work  out,  as  they 
were  seldom  able  to  supply  our  needs. 

While,  we  try  to  keep  our  front  neat  and 
well  supplied  with  frames  and  attractive 
material  we  realize  in  a  small  town  there 
is  little  transient  patronage  and  much  spent 
on  the  front  is  wasted.  We  keep  our  lamps 
trimmed  and  burning,  making  frequent  in- 
spections. Just  as  soon  as  a  light  burns  out 
a  fresh  one  replaces  it.  When  too  many  be- 
gin to  go  we  replace  them  all  with  new 
lights. 

Is  "Uncle  Webbie"  on  Radio? 

On  our  screen  we  use  Advance  trailer, 
keeping  a  week  ahead  on  all  coming  attrac- 
tions. We  did  use  scene  trailers  for  a  while 
but  found  them  too  long  and  tiresome  where 
three  are  on  all  the  time.  We  do  not  use 
slides  of  any  description.  For  special  an- 
nouncements "Uncle  Webbie,"  as  the  kids 
call  me,  goes  on  the  air  with  our  public  ad- 
dress system. 

This  "note"  has  become  longer  than  in- 
tended at  the  outset.  Different  localities 
react  differently,  of  course,  and  it  seems 
that  this  is  a  very  good  reason  for  man- 
agers being  left  in  a  town  and  not  shifted 
around  too  much. — Frank  C.  Goldquist, 
Manager,  Web  Theatre,  Savanna,  III. 

Make  193  5  Your  Auard  Year 


ASTAIRE  FAN  CLUB.  Members  of  the  first 
chapter  of  the  Fred  Astaire  Club  in  Jersey 
City  were  invited  to  the  Stanley  "Roberta" 
opening  by  Bob  Deitch  and  Hal  Widenhorn. 


April    2  0,     19  3  5 


MOTION    PICTURE  HERALD 


81 


DCCDLCTICNS  IN  >V€Cr 


TITLE 
CHARLES  CHAPUN 

Chaplin  Prod.  No.  5 
COLUMBIA 

"Love  Me  Forever" 

"After  the  Dance" 
"Unknown  Woman" 

FOX 

"Redheads  on  Parade" 
"Charlie  Chan  in  Egypt" 

"The  Farmer  Takes  a  Wife" 

"In  Old  Kentucky" 
INVINCIBLE 

"Death  from  a  Distance" 

METRO-GOLD  WYN-MAYER 
"China  Seas" 

"Anna  Karenina" 

"Mutiny  on  the  Bounty" 
"Murder  in  the  Fleet" 
"Masquerade" 

MONOGRAM 

"Paradise  Canyon" 

PARAMOUNT 

"College  Scandal" 

"Men  Without  Names" 

PEERLESS 

"Night  Cargo" 

RELIANCE 

"Let  'Em  Have  It" 

RKO  RADIO 

"She" 

"The  Peacemaker" 

"Top  Hat" 
UNIVERSAL 

"Alias  Mary  Dow" 


"Diamond  Jim" 

WARNER  BROS.- 
FIRST  NATIONAL 

"Stranded" 


"Page  Miss  Glory" 
"Alibi  Ike" 


WRITER    AND  DIRECTOR 


Original  screen  play,  Charles  Chaplin.  Director: 
Charles  Chaplin. 


Screen  play,  Jo  Swerling,  Sidney  Buchman. 
Director:  Victor  Schertzinger. 

Original  Harrison  Jacobson.  Screen  play,  Harold 
Shumate.     Director:   Leo  Bulgakov. 

Original,  Scott  Darling.  Screen  play,  Albert 
DeMond,  Fred  Niblo,  Jr.    Director:  Al  Rogell. 


Story,  Gertrude  Purcell,  Jay  Gorney,  Don  Hart- 
man.  Screen  play,  Don  Hartman,  Rian  James. 
Director:    Norman  McLeod. 

Based  on  the  character  "Charhe  Chan"  created 
by  Earl  Derr  Biggers.  Original  screen  play, 
Robert  Ellis,  Helen  Logan.  Director:  Louis 
King. 

From  the  play,  Frank  B.  Elser,  Marc  Connelly. 
Based  on  novel  "Rome  Haul"  by  Walter  D. 
Edmonds.    Scree,-  play,  Edwin  Burke. 

Adaptation,  Sam  Hellmaji,  Gladys  Lehman.  Di- 
rector:   Geo.  Marshall. 


Original    screen    play,    John    Kraft.  Director: 
Frank  Strayer. 


Novel,  Crosbie  Garstin,  Adaptation,  Julea  Furth- 
man.    EHrector:    Tay  Gamett. 

From  the  novel  by  Tolstoy.    Director:  Clarence 
Brown. 


Novel,  Charles  Nordhoff,  James  Norman  Hall. 
Adaptation,  Jules  Furthman.  Talbot  Jennings. 
Director:    Frank  Lloyd. 

Original,  Edward  Sedgwick.    Adaptation,  Corn- 
mander   Frank   Wead,   Joseph   Sherman.  Di- 
rector :    Edward  Sedgwick. 
Director:    Robert  Z.  Leonard. 


Story,  Burl  R.  Tuttle.  Screen  play,  Lindsley 
Parsons,  Robert  N.  Bradbury.  Director:  Carl 
Pierson. 


Original,  Beulah  Marie  Dix,  Bertram  Milhauser. 

Screen     play.     Marguerite     Roberts,  Charles 

Brackett,  Frank  Partos.  Director:  Elliott 
Nugent. 

Original,   James  Remington   McCarthy.  Screen 

play.  Dale  Van  Every,  B.  Harrison  Orkow. 
Director:  Ralph  Murphy. 


Original,  C.  C.  Cheddon.    Screen  play,  Sherman 
Lowe.    Director:  Charles  Hutchison. 


Story,   Joseph    Moncure   March,    Elmer  Harris. 
Director:  Sam  Wood. 


Novel,  Sir  Rider  Haggard.  Screen  play,  Ruth 
Rose.  Directors:  Irving  Pichel  and  L.  C. 
Holden. 

Original  screen  play,  Dudley  Nichols.  Director: 
Charles  Vidor. 

Screen  play,  Dwight  Taylor,  Allan  Scott.  Di- 
rector :    Mark  Sandrich. 


Original  screen  play  "Dark  Crossing,"  Wm.  A. 
Johnston,  Forrest  Halsey.  Adaptation,  Gladys 
Unger.  Continuity,  Rose  Franken.  Director: 
Kurt  Neumann. 

Novel  and  short  story.  Park  Morell.  Adaptation, 
Doris  Malloy,  Harry  Clork.  Screen  play, 
Preston  Sturges.    Director:    Edw.  Sutherland. 


Based  on  story.  Frank  Wead,  Ferdinand  Reyher. 

Screen  play,  Delmer,  Delmer  Daves.  Additional 
dialogue,  Carl  Erickson.  Director:  Frank 
Borzage. 

From  the  play,  Joseph  Schrunk,  Philip  Dunning. 
Screen  play,  Delmar  Daves,  Robert  Lord.  Di- 
rector Mervyn  LeRoy. 

Original  story.  Ring  Lardner.  Screen  play,  Wm. 
Wister  Haines.  Dialogue  Director:  Gene 
Lewis.    Director:  Ray  Enright. 


CAST 


Charles   Chaplin,   Paulette   Goddard,   Carter  DeHaven, 
Henry  Bergman,  Chester  Conklin. 


Grace  Moore,  Leo  Carrillo,  Robert  Allen,  Michael 
Barlett,  Spring  Byington,  Luis  Alberni,  Douglas 
Dumbrille. 

Nancy  Carroll,  George  Murphy,  Victor  Kilian,  Robert 

Middlemass,  Thelma  Todd. 
Marian  Marsh,  Richard  Cromwell. 


John  Boles,  Dixie  Lee,  Jack  Haley,  Raymond  Walburn, 
A'an  Dinehart,  Herman  Bing,  Wm.  Austin,  Wilbur 
Mack,  Patsy  O'Connot. 

Warner  Oland,  "Pat"  Paterson,  Charles  Locher,  Walter 
King,  Rita  Cansino,  Stepin  Fetchit. 


Janet  Gaynor,  Henry  Fonda,  Slim  Summerville,  Jane 
Withers,  Charles  Bickford,  Roger  Imhof,  Nick  Foran. 
Andy  Devine,  Margaret  Hamilton,  John  Qualen,  Frank 
Melton. 

Will  Rogers,  Louise  Henry,  Russell  Hardie,  Bill  Robin- 
son, Dorothy  Wilson,  Bill  Benedict. 


Russell  Hopton,  Lola  Lane,  Geo.  Marion,  Sr.,  Lee  Kohl- 
mar,  Robert  Fraser,  Lew  Kelly,  Wheeler  Oakman, 
John  St.  Polis. 


Wallace    Beery,    Clark    Gable,    Jean    Harlow,  Dudley 

Digges,  Lewis  Stone,  Robert  Benchley,  Rosalind 
Russell,   Lillian  Bond. 

Greta  Garbo,  Fredric  March,  Basil  Rathbone.  Maureen 
O'Sullivan,  Freddie  Bartholmew,  May  Robson,  Regi- 
nald Denny,  Reginald  Owen,  Phoebe  Foster,  Constance 
Collier,  Cora  Sue  Collins. 

Charles  Laughton,  Clark  Gable,  Robert  Montgomery. 


Robert  Taylor,  Jean  Parker,  Ted  Healy,  Nat  Pendleton, 
Donald  Cook,  Mary  Doran. 

WiUiam  Powell,  Myrna  Loy,  Mady  Christians,  Vir- 
ginia Bruce,  Frank  Morgan,  Henry  Travers,  Reginald 
Owen,  Lucille  Watson. 


John   Wayne,   Marion   Burns,   Yakima   Canutt,  Denny 
Meadows. 


Arline  Judge,  Kent  Taylor,  Benny  Baker,  Douglas 
Blackley,  Wendy  Barrie,  Wm.  Frawley,  Wm.  Benedict, 
Joyce  Compton,  Mary  Nash. 

Fred  MacMurray,  Lynne  Overman,  David  Holt,  Arthur 
Aylesworth,  Frank  Sherman. 


Lloyd  Hughes,  Jacqueline  Wells,  Walter  Miller,  Carlotta 
Monte,  Lloyd  Whitlock,  Geo.  Regas. 


Richard  Arlen,  Virginia  Bruce,  Alice  Brady,  Bruce 
Cabot,  Eric  Linden,  Joyce  Compton,  Harvey  Stephens, 
J.  Farrell  MacDonald,  Bodil  Rosing,  Robert  Emmett 
O'Connor,   Wesley  Barry. 

Randolph  Scott,  Helen  Gahagan,  Helen  Mack,  Nigel 
Bruce,  Gustav  Von  Seyffertitz,  Nobel  Johnson. 

Richard  Dix,  Preston  Foster,  Margot  Grahame,  Willv 
Best,  Don  Rowan,  Joe  Sauers,  Ray  Mayer,  Hattie 
McDaniels. 

Fred  Astaire,  Gingers  Rogers,  Edward  Everett  Horton. 
Helen  Broderick,  Erik  Rhodes,  Eric  Blore. 


S:illy  Filers,  Henry  O'Neil,  Ray  Milland,  Lola  Lane, 
Chic  Chandler,  Katharine  Alexander. 


Edward  Arnold,  Binnie  Barnes.  Jean  Arthur,  George 
Sidney,  Eric  Blore,  Robert  McWade,  Charles  Sellon. 
Spencer  Charters. 

Kay  Francis,  George  Brent,  Patricia  Ellis,  Barton  Mac- 
Lane,  Donald  Woods,  Mae  Busch.  Frankie  Darro. 

Marion  Davies,  Dick  Powell,  Pat  O'Brien,  Mary  Astor. 
Frank  McHugh,  Patsy  Kelly,  Wm.  Gargan,  Berton 
Churchill. 

Joe  E.  Brown,  Olivia  de  Haviland,  Eddie  Schubert, 
Ruth  Donnelly,  Joseph  King,  Roscoe  Karns,  Wm. 
Frawley,  Paul  Harvey. 


STAGE  OF 
PRODUCTION 

Shooting 


Shooting 

Shooting 
Shooting 

Shooting 
Shooting 

Shooting 

Shooting 

Shooting 

Shooting 
Shooting 

Shooting 
Shooting 
Shooting 

Shooting 

Shooting 
Shooting 

Shooting 

Shooting 

Shooting 
Shooting 
Shooting 

Shooting 

Shooting 

Shooting 

Shooting 
Shooting 


82 


MOTION    PICTURE  HERALD 


April    20,  1935 


CLASSiriEE) 
ADVERTISING 


the  great 
national  medium 
for  showmen 


Ten  cents  per  word,  money-order  or  check  with  copy.  Count  initials,  box  nunnber  and  address.  Minimum  insertion, 
$1.    Four  insertions  for  the  price  of  three.    Contract  rates  on  application.    No  borders  or  cuts.    Forms  close 
Mondays  at  5  P.M.  Publisher  reserves  right  to  reject  any  copy.  Address  correspondence,  copy  and  checks  to 
MOTION  PICTURE  HERALD,  Classified  Dept.,  1790  Broadway.  New  York  City 


DSEID  ECUIE^AiENT 


WISE  EXHIBITORS  KNOW  WHERE  TO  BUY 
those  good  guaranteed  rebuilt  Simplex  and  Powers 
projectors,  reflector  lamps,  rectifiers,  Mazda  equip- 
ment, sound  accessories,  parts,  supplies.  Quality  bar- 
gains always.  Free  catalog.  Play  safe  with  MONARCH 
THEATRE  SUPPLY  CO.,  Memphis,  Tenn.  Estab- 
lished 25  years. 

UNUSUAL  BARGAINS  IN  USED  OPERA 
chairs,  sound  equipment,  moving  picture  machines, 
screens,  spotlights,  stereopticons,  etc.  Projection 
machines  repaired.  Catalog  H  free.  MOVIE  SUPPLY 
COMPANY,    Ltd.,   844  So.    Wabash   Ave.,  Chicago. 

A  REAL  BARGAIN  ON  HIGHGRADE  PROJEC- 
tion  lenses.  Cash  or  trade.  BOX  537,  MOTION 
PICTURE  HERALD,  407  So.  Dearborn  St.,  Chicago, 
111. 

l.OOO  FULL  UPHOLSTERED  CHAIRS.  KIND 
sound  engineers  recommend,  refinished  like  new. 
JOHN  BLUM,  722  Springfield  Ave.,   Newark,  N.  J. 

BARGAINS  RECONDITIONED  ARCTIC  NU-AIR. 
Supreme,  American  Blowers,  noiseless  drives,  hydraulic 
variable  speed  pulleys.  New  air  washers.  Catalog 
mailed.  SOUTHERN  FAN  CO.,  11  Elliott,  Atlanta, 
Ga. 

"ONE  MORE  SPRING"  BRINGS  OUR  ANNUAL 
house  cleaning  sale — Powers  6A  heads,  $22.50;  sound- 
heads from  $19.75;  acme  portable  projectors,  $25.00; 
Hertner  generators  from  $74.75;  chairs,  from  75c; 
Wright  DeCoster  speakers.  $12.95;  Peerless  Hi-lo  arcs, 
$89.50;  lenses,  from  $4.95;  faders,  $3.75;  Simplex  inter- 
mittents  from  $10.00;  Mazda  lamphouses  from  $27.75; 
Superior  heads  rebuilt.  $125.00;  Motiograph  Deluxe 
projectors,  $59.50;  optional  systems  from  $6.00;  arc 
rheostats  from  $6.75;  rear  shutters.  $39.50;  ask  for 
list.    S.  O.  S.,  1600  Broadway,  New  York. 


NOV  ECUIPMENT 


SPECIAL  MAIN  DRIVE  GEAR  FOR  SIMPLEX, 
RCA  or  Western,  $2.75  for  April  only.  Otder  your 
supply  now.  MODERN  THEATRE  EQUIPMENT 
CORP.,   133   Meadow   St.,    New   Haven,  Conn. 

BABY  SPOT  WITH  AUTOMATIC  COLOR 
wheel,  complete  $12.50.  An  effect  display  unit  for 
every  theatre.  Send  for  our  sanitary  supply  list. 
CROWN,    311    West    44th    St.,    New  York. 


PCSITICNS  WANTED 


SOUND  PROJECTIONIST  —  EXPERIENCED, 
unmarried,  young,  will  go  anywhere.  BOX  517, 
MOTION  PICTURE  HERALD. 


ECUIB3MENT 
EXCHANGE 


SPOT  YOU  CASH— WE  PAY  "SPOT"  FOR  USED 
equipment,  trades  taken,  bargain  galore.  S.  O.  S., 
16P"  Broadway,  New  York. 


GENEI^AL 
EQUII^yHENT 


PHILADELPHIA  ASSOCIATION  CHOOSES  SOS 
— Cinemaphone  Wide  Fidelity  from  $179.70  complete! 
Soundheads,  from  $59.50;  unified  control  amplifiers 
from  $39.50  .  Trades  taken.  Free  trial.  S.  O.  S., 
1600  Broadway.  New  York. 


BARGAINS!— POWERS  MECHANISMS,  MOTOR 
generator.  Parts.  TROUT  THEATRE  EQUIPMENT, 
Enid,  Okla. 


MUDDY  LIGHT?  BRIGHTEN  YOUR  PICTURE 
— new  reflector  arc  lamps  or  rectifiers,  $49.50.  Con- 
vert your  present  lamps  to  Suprex.  Cut  current 
costs.     S.  O.  S.,  1600  Broadway,  New  York. 

MORELITE  DELUXE  LOW  LAMPS  REBUILT, 
$125  pair;  15  ampere  Forest  rectifiers,  $4S  each  new. 
Pair  rebuilt,  $80  with  bulbs.  CROWN,  311  West 
44th  St.,  New  York. 

"IN  VIEW  OF  SPLENDID  RESULTS"  WRITES 
Casellas,  Teatro  LTtuado,  Puerto  Rico,  "Decided  to 
order  another."  Cinemaphone  will  please  you,  too. 
S.  O.  S..  1600  Broadway,  New  York. 


■REPRESENTATIVES 
WANTED 


SALESMAN  WITH  CAR,  EXPERIENCED  SELL- 
ing  to  theatres.  Must  be  able  to  invest  $75,  actual 
cost  of  demonstrators  and  selling  equipment.  Liberal 
commissions  and  big  opportunity  for  hustlers.  A 
modern  necessity;  highly  endorsed  by  leading  ex- 
hibitors.   HARRY  K.  LUCAS,  Charlotte,  N.  C. 


WANTED  TC  DDT 


WANT  TO  BUY— WANT  TO  SELL?  THOU- 
sands  of  theatre  owners  will  see  this  advertisement, 
just  as  you  are.  Motion  Picture  Herald's  Classified 
Advertising  Section  gets  results!  If  you  have  any- 
thing to  sell — or  want  to  buy — new  or  used — contact 
them  through  these  classified  columns  which  gives 
von  the  greatest  coverage  at  minimum  cost.  Write, 
wire  or  phone  MOTION  PICTURE  HERALD,  1790 
Broadway,  New  York  City. 


ORDER  NOW!  RICHARDSON'S  NEW  BLUE 
Book  of  Projection — 6th  edition,  complete  in  one  vol- 
ume, more  than  600  pages,  over  lOO  illustrations.  Full 
text  on  projection  and  sound  combined  with  trouble- 
shooter.  $5.00.  Mr.  Richardson  will  autograph  the 
first  two  hundred  copies  ordered.  QUIGLEY  BOOK- 
SHOP,  1790  Broadway,   New  York. 


10,000  SHORT,  PRECISE  BIOGRAPHIES  OF  Mo- 
tion picture  personalities — thousands  of  pertinent  facts 
about  every  phase  of  the  motion  picture  industry — the 
book  to  have  at  your  hand  every  minute  of  the  day — 
Motion  Picture  Almanac,  the  industry's  book  of  facts. 
1935-36  edition  now  in  preparation.  Order  your  copy 
early.  $3.00.  QUIGLEY  PUBLISHING  CO.,  1790 
Broadway,  New  York  City. 


SGDND  ECUIDMENT 


NEW  AND  USED  SOUND  EQUIPMENT— 
Phototone  sound  heads  for  Simplex  one  pair  gear 
driven  $70;  one  pair  chain  driven  $100;  one  pair  latest 
model  $125;  one  pair  for  Powers  gear  driven  $70;  two 
PAM19  amplifiers  $15  each;  four  Webster  six  tube 
amplifiers  $16  each;  one  double  channel  AC  Radiart 
$75;  one  late  model  double  channel  AC  Webster  $130; 
two  TA3  single  channel  AC  amplifiers  $90  each;  one 
new  pattern  Radiart  amplifier  $80;  twelve  PAM16 
amplifiers  new  $12  each;  five  Wright  DeCoster 
speakers,  slightly  used,  $15  each;  one  Racon  horn 
unit  and  field  supply  Al  condition  $24.  PLATTER 
SOUND  PRODUCTS  CORP.,  North  Vernon,  Ind. 


PRINTING  SERVICE 


100  WINDOW  CARDS,  14  x  22,  3  COLORS,  $3.75; 
no  C.O.D.     BERLIN  PRINT,  Berlin,  Md. 


THEATRES  WANTED 


LEASE,  OPTION  TO  BUY,  500  TO  800  SEATS. 
BOX  539,  MOTION  PICTURE  HERALD. 


WANT  TO  BUY  OR  LEASE  THEATRE  IN 
Texas,  Colorado  or  Arizona  state.  BOX  538, 
MOTION  PICTURE  HERALD. 


WANTED  THEATRE,  2,000  TOWN,  MINNESOTA 
or  Wisconsin.  Write  particulars.  BOX  468,  James- 
town, N.  D. 


TRAINING  SCIiCCLS 


LEARN  MODERN  THEATRE  MANAGEMENT. 
Catalog  free.  THEATRE  MANAGERS  INSTITUTE, 
315  Washington  St.,  Elmira,  New  York. 


THEATRES 


FIREPROOF  BUILDING  CONTAINING  TWO 
stores,  three  offices,  loft,  large  ballroom  and  6B8-seat 
fully  equipped  theatre  on  lot  50  x  200,  seventy  niiles 
from  New  York.  ,Best  ballroom  within  twelve  miles, 
covering  a  population  60,000.  Only  theatre  in  town, 
population  7,000.  Nearest  theatre  to  12,000  people. 
Nearest  competition  four  miles  away.  Will  sell  land, 
building  and  equipment  which  cost  me  $175,000.00,  not 
including  RCA,  for  $150,000.00.  Terms,  not  less  than 
$25,000.00  cash.  Balance  can  remain  on  mortgages. 
Rare  opportunity  for  man  understanding  dance  and 
picture  game.  Positively  not  interested  in  trades  or 
manager  propositions.  E.  H.  ROLSTON,  Seymour, 
Conn. 


FOR  RENT  THEATRE,  EQUIPPED,  600  SEATS. 
A.  G.  ABBOTT,  Grand  Island,  Nebr. 


Cameramen  s 

INSPIRATION 


/CAMERAMEN  long  ago  decided 
^""^^  that  Eastman  Super  Sensitive  ''Pan" 
is  fit  company  on  any  flight  of  genius.  And 
results  vindicate  their  judgment.  For  four 
years  in  succession  the  great  bulk  of  the 
really  inspired  motion  pictures  have  been 
photographed  on  this  superlative  film. 
Eastman  Kodak  Company,  Rochester,  N.  Y. 
(J.  L.  Brulatour,  Inc.,  Distributors,  New 
York,  Chicago,  Hollywood.) 


EASTMAN  Super  Sensitive 
Panchromatic  Negative 


vIOTION  PICTURE 


Exhibitors  Fay  Almost 
Million  in  Music  Tax 

Theatres  Contribute  Close  to  One-third  of 
Highest  Royalties  of  Composers'  Society, 
Collected  on  25  Per  Cent  Overhead 

Courts  and  Government 
Join  'Bank  Night'  Fight 

State  Legislatures  Consider  Bills  to  Bar 
Practice,  with  Exhibitor  Opinion  Divided; 
"Carrie  Nation"  Attacks  Policy     »  » 

18,000  Cancellations 
Under  Code  10  9^  Clause 

Rosenblatt  and  Johnson  Answer  Inde- 
pendents Before  Senate  Comnnittee; 
Agree  That  Revision  of  Code  is  Needed 


01  110  NO  A  Entered  as  second-class  matter,  January  12,  1931,  at  the  Post  Office,  at  New  York,  N.  Y.,  under  the  act  of  March  3,  1879.  Pub-  APR  77  j  C'^^F, 
v^u.   I  I  7,  MV^.  T  IVeekly  by  Quigtey  Pubtuhing  Co..  Inc..  at  1790  Broadway.  Nne  York.  Subscription,  $3.00  a  year.  Single  copies.  25  cenU.  >x.  *  '  ,    i  '  . 


NATIONWIDE 
HOOK-UP! 


FINAL 


FINAL 


Vol.  1. 


Warner  Bros.'  Studio,  Hollywood,  Calif. 


No.  1. 


G-MEN 


WIN 
U.S. 


CRIME  WAR 


^^^^^^^^^^^^^^^ 


GANGSTER'S  WIFE  TIPS  G-MEN  in 

breath-taking  nation-wide  search  for  un- 
derworld's most  notorious  kidnappers. 


UNCLE  SAM'S  SECRET  AGENTS  RUB  OUT 
LAST  OF  MOBSTERS  in  first  dramatization  of 
amazing  exploits  of  fearless  Federal  Men.  "Grand 
tribute  to  Dept.  of  Justice,"  says  Louella  Parsons. 


!  ^^^^ 


I  


"PUBLIC  ENEMY"  BECOMES  SOLDIER  OF 

THE  LAW  as  Jimmy  Cagney  leads  the  "G-Men" 
on  greatest  man-hunt  in  history  in  the  bullet- 
streaked  story  of  Gangdom's  Waterloo  —  the 
screen's  greatest  novelty  of  the  last  5  years! 


GATS  BLAZE  ON  THE  MID-WESTERN  FRONT  as  cameras 
show  gangland's  last  stand  in  northwest  woods  hideout,  the 
hunt  for  the  Central  Station  killers,  and  unrevealed  details  of 
other  headline  cases  I 


Lead  the  Field! -Play  Warners'  G-MEN  Next  Week! 


A  First  National  Picture 


CRITICS  BAHLE  OVER  G-MEN ! 


Vic  Shapiro  in  Motion  Picture  Daily  s^ys  the  i   in  G  -  Men'  'means  plenty  of  G's  for  showmen !  " 


Jimmy  Starr  of  L.  A.  Herald-Express  says  "the  I    in  G-Men'  stands  for  guts 


Sidney  Skolsky,  famed  columnist,  says  the  I    in  G-Men'  stands  for  great! 


Bob  Coons  of  the  Associated  Press  says  the  I    in  G-Men'  stands  for  'grand' 


. .  BUT  THEY  ALL  AGREE  THAT 


With  Ann  Dvorak,  Margaret 
Lindsay,  Robert  Armstrong,  in 
huge  cast.  Directed  by  Wm. 
Keighley.  A  First  National  Picture, 


J  I 


M  Y 


Starring 


c 


IF  YOU  GET  IT 
FROM  WARNER  BROS. 
YOU  GET  IT  FIRST 


."is  the  fastest  moving,  most  exciting  picture  in 
years.'* — Leicester  Wagner  of  United  Press 

."faster  than  a  machine  gun— a  thriller  that  will 
be  hard  to  top  — an  undoubted  winner  — 
watch  it  go  at  the  box  office!"— i/arr/jon 
Carroll  of  King  Features  Syndicate 

."a  grand  tribute  to  the  Department  of  Justice." 

—Louella  Parsons 

."tops  in  cinema  excitement— as  thrilling  as  to- 
morrow's headlines."  Simmy  Starr 

."I  don't  see  what  there  is  left  for  any  other 
company  to  make  in  the  line  of  *G-Men* 
stories.  It's  all  in  this  picture." 

—Douglas  Churchill  of  N.  Y.  Times 


the  greatest  vote  of  confidence  this 
company  has  had  in  its  history! 


YOU,  TOO,  CAN  FORGE  AHEAD  WITH 


MOTION  PICTURE  HERALD 


Vol.  119.  No.  4 

OP 

April  27.  1935 

ADVERTISING  FILM 

NVASION  of  the  amusement  screen  by  advertising  films, 
and  advertising  in  films,  is  arousing  the  Motion  Picture  Pro- 
ducers and  Distributors  of  America  to  the  stage  where 
official  announcement  of  "much  concern"  is  made. 

There  have  been  advertising  films  variously  and  sporadically 
shown  on  the  theatre  screen  since  that  screen  began  In  1896. 
There  have  been  invasions  of  the  amusement  pictures  by  ad- 
vertising plants,  occasionally,  sporadically,  ever  since  the  first 
one-reelers  were  made.  Once  upon  a  time  the  cameramen 
for  an  honored  newsreel  carried  signs  for  Mecca  cigarettes  in 
their  camera  case  and  got  a  dollar  from  the  producers  of  the 
reel  every  time  they  were  able  to  tack  a  sign  Into  the  back- 
ground of  a  news  event.  What  the  producers  got  Is  not  In 
the  record.  That  was  along  ago.  Nothing  very  important  to 
the  destiny  of  the  screen  as  a  whole  ever  resulted.  Subse- 
quently highly  organized  plans  for  screen  advertising,  the  now 
faded  Publlx  project,  were  tried,  and  nothing  happened. 

The  current  pressures  In  the  same  direction  take  their  In- 
spiration from  the  fact  of  extensively  sponsored  radio  pro- 
grams, from  the  enterprise  of  advertising  agents,  courageous 
gentry  who  would  be  happy  to  put  a  twenty-four  sheet  on 
the  Washington  Monument  If  they  could  get  at  it. 

The  motion  picture  exhibitors  have  unanimously  resented 
movements  calculated  to  sell  their  screen  time  out  from  under 
them.  In  the  guise  of  amusement  production.  The  exhibitors 
differ  considerably  on  the  policy  of  selling  time  on  their  screens 
themselves.  Information  gleaned  by  The  Herald  indicates  that 
a  surprising  number  of  screens  are  now  and  have  been  for 
a  considerable  time  available  for  the  delivery  of  advertising 
messages. 

The  decision,  and  ultimately  a  decision  will  have  to  be 
made,  will  not  come  from  the  motion  picture  Industry  but 
from  Its  customers,  the  box  office  public. 

Current  radio  programs,  as  good  or  as  poor  as  they  are, 
may  be  taken  as  an  index  of  the  level  of  quality  and  appeal 
that  may  be  expected  of  an  amusement  medium  to  which  the 
sponsor  and  his  copywriters  dictate. 

The  motion  picture  has  grown  great  by  being  the  best  show 
In  the  world.   Will  sponsored  interludes  help  the  show? 


AAA 


HERRING 


A NUMBER  of  persons  whose  profession  Is  hell  raising  on 
the  margins  of  the  motion  picture  industry  are,  as 
vociferously  as  possible  with  their  access  to  printers' 
Ink,  seeking  to  drag  herring  across  the  trail  of  self-seeking 
promotional  programs  of  certain  figures  who  want  to  jimmy 


their  way  into  the  amusement  business  by  legislation  rather 
than  by  enterprise.  Embarrassed  most  obviously,  the  hell- 
raisers  ignore  documentary  facts  and  seek  to  charge  the 
editor  of  the  Herald  with  being  the  catspaw  of  special 
interests. 

In  this  Instance  there  is  but  one  question:  Is  there  or  is 
there  not  a  definite,  declared  program  on  the  part  of  a 
clique  and  clan  to  use  the  Pettenglll  bill,  to  use  Influence  with 
the  National  Congress  of  Parents  and  Teachers,  to  use  any 
and  all  expedients,  to  set  up  a  nationwide  motion  picture 
activity  In  competition  with  the  existing  exhibition  branch 
of  the  industry? 

The  answer  is:  Yes. 

The  evidence,  the  proof,  is  available  in  the  pages  of 
Motion  Picture  Herald  of  March  30  and  April  13. 

The  merits  of  the  Pettenglll  bill,  as  a  document  on  its  own, 
or  the  preponderance  of  opinion  and  purpose  in  the  mem- 
bership of  the  Congress  of  Parents  and  Teachers,  and  the 
opinions  which  marginal  agitators  profess  to  hold  about  the 
editor  of  this  page  and  publication,  are  entirely  irrelevant. 

The  facts  stand — and  that  is  what  the  shouting  Is  about. 

AAA 

THE  TELEVISION  SPECTER 

PUBLICITY  pother  and  bungling  In  Great  Britain,  mislead- 
ing the  public  there  about  the  practical  immediate  to- 
morrow of  television,  substantially  promising  delivery  at 
once,  within  a  few  weeks,  has  knocked  the  radio  set  business 
over  there  Into  a  seventy  per  cent  decline,  meanwhile  sending 
some  tremors  through  the  motion  picture  as  well.  In  haste  now 
efforts  are  being  made  to  promulgate  the  facts  and  repair 
the  damage. 

It  seems  that  presently  the  British  Broadcasting  Corporation 
will  have  one  television  station  serving  a  twenty-five  mile  circle 
In  the  London  area — and  that  will  be  all  until  the  end  of  1936, 
and  maybe  longer.  Adequate  sets  to  receive  the  programs 
will  cost  about  $300.  The  product  will  be  television  pictures 
as  we  have  seen  them,  no  better. 

Meanwhile  periodically,  founded  on  hopes,  waves  of  tele- 
vision excitement  are  set  in  motion  In  the  United  States.  We 
are  about  due  for  a  new  one.  These  waves  emanate  from 
persons  who  attained  position  and  fortune  by  a  prior  scientific 
miracle  and  who  would  now  like  to  have  a  new  one,  who  very 
much  need  a  new  one.  Their  necessity  has  been  trying,  des- 
perately, to  mother  an  Invention  now  for  some  years.  It  Is 
not  yet. 

From  time  to  time  these  pages  record  what  Is  going  on  In 
television.  Th  ere  is  no  revolution  for  the  amusement  world  in 
sight. 


MOTION  PICTURE  HERALD  MARTIN  QUIGLEY,  Editor-in-Chief  and  Publisher 

*  J '!l^*lo'^?'"^^'nl,-^i!'''j'*°'"'^  Herald,  founded  1915;  Motion  Picture  News,  founded  1913;  Moving  Picture  World,  founded  1907;  Motography,  founded  1909;  The  Film  Index, 
founded  ITO.  Published  every  Thursday  by  Quigley  Publishing  Company,  1790  Broadway,  New  York  City.  Telephone  Circle  7-3100.  Cable  address  "Quigpubco,  New  York." 
Martm  Vuigley  Editor-in-Chief  and  Publisher;  Colvin  Brown,  Vice-President  and  General  Manager;  Terry  Ramsaye,  Editor;  Ernest  A.  Rovelstad,  Managing  Editor;  Chicago 
Bureau  407  South  Dearborn  Street,  Edwin  S.  Clifford,  manager;  Hollywood  Bureau,  Postal  Union  Life  Building.  Victor  M.  Shapiro,  manager;  London  Bureau  Remo  House  310 
Kegent  weet,  London  W  I,  Bruce  Allan,  cable  Quigpubco  London;  Berlin  Bureau,  Berlin-Templehof.  Kaiserin-Augustastrasse  28,  Joachim  K.  Rutenberg  representative;  Paris 
Bureau,  19  Rue  de  la  Cour-des-Noues,  Pans  20e,  France,  Pierre  Autre,  representative,  cable  Autre-Lacifral-20  Paris;  Rome  Bureau,  Viale  Gorizia,  Rome  Italy  Vittorlo  Malpassuti 
representative,  Italcable,  Malpassuti,  Rome;  Sydney  Bureau,  600  George  Street,  Sydney,  Australia,  Cliff  Holt,  representative;  Mexico  City  Bureau,  Apartado  269  Mexico  City 
Mexico  James  Lockhart  representative;  Prague  Bureau,  Na  Slupi  8,  Prague  II,  Czechoslovakia,  Harry  Knopf,  representative;  Cape  Town  Bureau,  10  St.  George's  Villas  Green 
Point,  Cape  I  own.  South  Africa,  H.  Hanson,  representative;  Budapest  Bureau,  3,  Kaplar  -u,  Budapest.  Hungary.  Endre  Hevesi,  re|»resentative;  Buenos  Aires  Bureau  Cuenca  52 
Buenos  Aires,  Argentina  N.  Bruski,  representative.  Member  Audit  Bureau  of  Circulations.  AM  contents  copyright  1935  by  Quigley  Publishing  Company.  Address  all  corre- 
spondence to  the  New  York  Office.  Better  Theatres,  devoted  to  the  construction,  equipment  and  operation  of  theatres,  is  published  every  fourth  week  as  section  2  of  Motioi 
Picture  Herald.      Other  Quigley  Publications:  Motion  Picture  Daily,  the  Motion  Picture  Mmanac,  published  annually   and  the  Chlcagoan. 


8 


MOTION    PICTU  RE  HERALD 


April    2  7,     19  3  5 


THIS  WEEK  - 


OP 


FILMS  AT  LAST 

Back  in  1920  campaigning  began  to  per- 
nnit  the  erection  of  a  film  theatre  in  Win- 
chester, Mass.,  a  wealthy  community.  Only 
last  week  was  the  object  accomplished, 
when  the  citizenry  voted  2,475  to  1,717.  It 
finally  required  a  parade  of  youngsters 
with  banners  and  a  house-to-house  plea  to 
put  the  idea  across.  ... 

PROMOTION! 

Judson  Stevens,  for  16  years  a  book- 
keeper in  the  accounting  department  of 
Walter  Wanger's  production  unit  on  the 
Coast,  which  produces  for  Paramount  re- 
lease, quit  his  job  last  week,  assumed  the 
assistant  director's   post  on  "Shanghai." 

OSWALD'S  BIRTHDAY 

Easter  Sunday,  Oswald  celebrated  his 
ninth  birthday.  Oswald,  who  Is  Universal's 
cartoon  character,  and  a  rabbit,  comes  of 
distinguished  parentage,  for  his  father  is 
none  other  than  Walt  Disney,  whose  other 
child,  Mickey  Mouse,  has  done  well  for 
himself.  Walter  Lantz,  with  a  staff  of  51 
on  the  Coast,  presides  over  the  destiny  of 
Universal's  "Lucky  Rabbit."  .  .  . 

MANAGERS  LAUDED 

Theatre  managers  of  Birmingham,  Ala., 
were  praised  at  a  recent  meeting  of  the 
local  Better  Films  Council  for  their  success- 
ful efforts  in  bringing  improved  motion  pic- 
tures to  the  city.  At  the  meeting,  when  the 
laudatory  resolution  was  passed,  the  Rever- 
end J.  R.  hlobbs,  chief  speaker,  urged  more 
vigorous  censorship  for  motion  pictures.  .  .  . 

FRED  ERIC 

In  the  theatre  since  youth,  noted  for  his 
Shakespearian  roles,  Fred  Eric  died  last 
week  at  his  New  York  home,  at  the  age  of 
61.  He  supported  Julia  Marlowe  In  his  first 
appearance,  made  his  last  in  1932,  as  Booth 
in  the  play,  "If  Booth  Had  Missed."  He 
played  with  most  of  the  leading  performers 
of  an  earlier  day,  operated  his  own  reper- 
tory company,  and  played  In  Shakespeare 
Innumerable  times.  .  .  . 

"BLACK  FURY"  PASSED 

First  National's  "Black  Fury,"  starring 
Paul  Muni,  and  picturing  strike  conditions 
in  the  Pennsylvania  coal  fields,  last  week 
was  passed  by  the  Chicago  censor,  which 
previously  had  banned  it  in  entirety.  Mayor 
Edward  Kelly  swung  the  decision.  The 
Maryland  censor  also  passed  the  film  re- 
cently, after  having  delayed  exhibition.  .  .  . 

VAUDEVILLE 

For  the  first  time  in  years  vaudeville 
played  simultaneously  at  two  Memphis 
first  run  theatres,  when  Paul  Ash  headed 
the  bill  at  the  Orpheum  and  Larry  Rich 
topped  the  program  at  Loew's  State.  .  .  . 


B  &  K  PROFIT 

Balaban  &  Katz,  Chicago  circuit,  has 
reported  net  profit  of  $425,447  for  the 
year  ended  December  29,  the  best  report 
since  1931.  The  circuit  is  a  Paramount 
Publlx  affiliate.  Profit  for  1933  was  $95,- 
191.  The  balance  sheet  as  of  December 
29  last  showed  current  assets  of  $815,779 
and  current  liabilities  of  $1,310,164.  Elmer 
C.  Upton,  secretary-treasurer,  was  elected 
a  director,  succeeding  E.  Paul  Phillips, 
others  being  reelected.  .  .  . 

CAST  OF  BIRDS 

Already  having  penetrated  15  states, 
traveled  3,000  miles  and  planning  to  cover 
the  country  before  the  year  is  out,  is  the 
Cornell  Ornithological  Expedition  of  the 
Museum  of  Natural  History,  headed  by 
Professor  Arthur  A.  Allen  of  Cornell.  With 
color  film  cameras  and  latest  sound  record- 
ing apparatus,  the  expedition  Is  compiling 
virtually  an  audible  cyclopedia  of  Ameri- 
can bird  life  in  1935.  .  .  . 

AMAZING  PRICE 

The  play  in  search  of  a  studio  purchaser 
at  the  moment  in  England,  according  to 
the  Associated  Press,  is  "St.  Joan,"  for 
the  film  rights  of  which  its  author,  the 
bearded  and  biting  George  Bernard  Shaw, 
asks  a  mere  $250,000.  He  actually  believes 
he  will  get  it,  says  the  AP.  .  .  . 


In  This  Issue 


Exhibitors  pay  close  to  million  dollars  in 

music  license  fees  Page  9 

Perspective  sound  goes  into  action  at 

the  studio  Page  I  I 

Legislatures,  courts,  press  and  Govern- 
ment enter  "Bank  Nights"  fight  Page  13 

18,000  cancellations  made  under  10  per 
cent  clause  in  code  Page  17 

Zanuck  proposes  producers  cut  programs 

in  half  to  checkmate  double  featuring      Page  28 


FEATURES 

Editorial 

The  Camera  Reports 
The  Hollywood  Scene 
J.  C.  Jenkins — hlis  Colyum 
In  the  Cutting  Room 
Asides  and  Interludes 

DEPARTMENTS 

What  the  Picture  Did  for  Me 
Showmen's  Reviews 
Managers'  Round  Table 
Technological 

Short  Features  on  Broadway 
Chicago  News  Notes 
The  Release  Chart 
Box  Office  Receipts 
Classified  Advertising 


Page  7 
Page  15 
Page  47 
Page  56 
Page  42 
Page  29 


Page  57 
Page  48 
Page  65 
Page  39 
Page  56 
Page  64 
Page  73 
Page  61 
Page  78 


CIRCUIT  DIVIDEND 

Famous  Players  Canadian,  Dominion  cir- 
cuit with  headquarters  In  Montreal,  has 
declared  a  dividend  of  50  cents  per  share, 
payable  April  27  to  stockholders  of  record 
April  24.  The  last  previous  dividend,  also 
of  50  cents,  was  paid  in  June,  1932.  .  .  . 

"MUZZIE"— AGED  70 

Players,  writers,  directors,  executives,  to 
the  number  of  200,  gathered  on  the  MSM 
lot  last  week  to  honor  May  Robson,  cele- 
brating her  70th  birthday  and  her  52nd 
year  as  an  actress.  At  her  home,  "Muz- 
zle," as  she  is  known  In  Hollywood,  com- 
pletely belled  her  years  by  holding  open 
house  for  hosts  of  friends.  .  .  . 

PUBLICITY  STILL  RADIOED 

From  the  studio  of  Hal  Roach,  MSM 
short  subject  producer  in  Hollywood,  was 
transmitted  by  telephoto  a  publicity  still 
of  the  reunion  of  Stan  Laurel  and  Oliver 
Hardy,  comedians.  It  was  sent  to  Roach 
representatives  in  London  and  Paris  for 
newspapers  in  European  cities.  .  .  . 

V^ORLDLINESS 

The  transformation  of  Buenos  Aires,  Ar- 
gentina, from  a  provincial  city  to  a  world 
capital  was  evident  this  year  on  Good  Fri- 
day. The  usual  custom  of  an  air  of  mourn- 
ing, and  the  showing  only  of  Passion  Play 
films  at  the  theatres,  gave  way  to  a  wide 
variety  of  pictures,  only  one  house  showing 
a  religious  film,  and  wide  open  cafes  and 
tearooms,  where  bands  blared.  .  .  . 

PETTENGILL  SUPPORT 

The  Louisiana  Parent-Teacher  Associa- 
tion, meeting  In  convention  at  Alexandria 
last  week,  urged  control  of  the  booking 
of  motion  pictures,  selectivity  as  an  ex- 
hibitor privilege  and  censorship  at  the 
point  of  production,  which  in  part  is  the 
current  Pettenglll  bill  before  Congress. 
Mrs.  Robblns  Gilman  of  Minneapolis  con- 
ducted a  conference  on  films.  .  .  . 

SOVIET  FILMS 

For  showing  in  their  Clay  International 
theatre,  San  Francisco,  Herbert  Roesner 
and  Charles  Pincus  have  bought  12  Russian- 
produced  films,  the  largest  group  of  Soviet 
product  ever  taken  at  one  time  in  the  city. 
Consecutive  weekly  showings  will  begin 
May  4,  the  films  booked  from  Amkino, 
American  distributing  arm  of  the  state  con- 
trolled Soviet  film  industry.  .  .  . 

VARIETY  CLUB 

Omaha's  Variety  Club  is  actually  under 
way,  with  final  organization  plans  presented 
last  week  by  a  committee  including  Evert 
R.  Cummings,  John  J.  Glllin,  Jr.,  Harry 
Shumow,  Roy  Miller.  James  Rogers  has 
been  named  temporary  treasurer.  .  .  . 


April    27,  1935 


MOTION    PICTURE  HERALD 


9 


MUSIC  TAX  NEAR  MILLION 
PAID  BY  THEATRES  IN  YEAR 


Composers'  Society  Members 
Share  Largest  Royalties  in 
Its  History,  on  Lowest  Over- 
head, 25  Per  Cent  of  Gross 

The  motion  picture  theatres  of  the  United 
States  in  1934  contributed  close  to  $1,000,- 
000  to  the  coffers  of  the  American  Society 
of  Composers,  Authors  and  Publishers  in 
the  form  of  royalty  license  fees  for  public 
performance  of  the  Society's  copyrighted 
music.  This  represents'  almost  one-third  of 
the  Society's  total  income  from  license  pay- 
ments for  the  year,  the  organization's  gross 
license  fees  in  1934  having  been  "in  excess 
of"  $3,375,000  from  domestic  sources. 

On  the  conservative  basis  of  12,500 
theatres  actually  operating  at  the  end  of 
1934 — these  houses  having  an  estimated 
total  seating  capacity  of  8,348,901 — the 
amount  paid  to  the  Society  would  have 
been  $834,890  at  the  former  flat  rate  of 
10  cents  a  seat,  but  the  total  unquestion- 
ably was  considerably  higher  because  on 
Oct.  I,  1934,  the  scale  went  into  effect 
and  all  full-time  theatres  of  more  than 
800  seats  whose  agreements  with  the  So- 
ciety had  then  expired  were  required  to 
pay  from  50  to  100  per  cent  more. 

In  addition  to  its  collections  from  the  ex- 
hibition branch  of  the  film  industry,  the 
Society  realized  an  appreciable  amount  in 
gross  license  fees  from  the  radio  broadcast- 
ing industry — an  amount  probably  compar- 
able with  and  possibly  greater  than  that  con- 
tributed by  the  theatres.  The  radio  broad- 
casters, too,  are  paying  appreciably  higher 
fees  to  AS  CAP  than  they  did  two  and  one- 
half  years  ago,  now  making  payments  on  a 
percentage  against  net  receipts  from  the  sale 
of  broadcast  time,  in  addition  to  payment  of 
a  flat  sustaining  fee  for  broadcasting  of 
copyrighted  musical  works. 

The  remainder  of  the  collections  came 
from  night  clubs,  hotels,  music  and  dance 
halls,  and  other  sources  in  which  music  is 
performed  publicly  for  profit. 

Only  25  Per  Cent  Overhead 

The  $3,375,000  gross  collection  of  the 
American  Society  for  1934  was  the  largest 
in  the  organization's  history  and  was  ac- 
complished on  a  25  per  cent  overhead,  the 
lowest  ever  recorded.  In  previous  recent 
years  the  Society's  overhead  has  run  as  high 
as  50  and  60  per  cent.  These  facts  were 
made  known  at  the  annual  meeting  of  the 
organization  at  the  Ritz-Carlton  hotel  in 
New  York  early  this  month — a  meeting 
marked  by  accusations  against  the  film  in- 
dustry and  a  wholesale  dispute  over  a  pro- 
posal that  the  Society's  board  of  directors 
be  elected  by  the  membership  at  large  in- 
stead of  being  self-perpetuated. 

This  week  E.  Claude  Mills,  general  mana- 
ger of  the  Society,  refused  to  divulge  the 
breakdown  of  collection  sources  for  1934, 
nor  would  he  estimate  what  proportion  of 


HOTEL  RESERVED  FOR 
CANADIAN  INQUIRY 

Detailed  statements  of  royalties  col- 
lected and  disposed  of,  the  right  to 
levy  such  tolls,  and  stibstantiation  of 
title  to  more  than  2,000,000  musical 
compositions,  are  being  ordered  by 
the  Canadian  Government  in  its  in- 
vestigation into  the  activities  of  the 
Canadian  Performing  Rights  Society, 
collection  agency  in  the  Dominion 
for  royalties  on  copyrighted  music, 
for  the  American  Society  of  Com- 
posers, Aiithors  and  Publishers. 

The  inquiry  opened  Wednesday. 
With  every  branch  of  the  entertain- 
ment industries  affected  and  legal 
counsel  arrayed  by  every  classification 
and  branch,  it  was  decided  to  set  apart 
a  section  of  a  Toronto  hotel  for  the 
hearing,  as  it  was  believed  no  court- 
room in  the  city  would  be  large 
enough  to  accommodate  representa- 
tives of  the  film,  theatre  and  radio  in- 
dustries, as  well  as  those  appearing  for 
hotels,  restaurants,  dance  halls  and 
night  clubs,  all  of  whom  are  filing 
complaints  against  the  Society. 


the  organization's  income  had  been  derived 
from  motion  picture  theatres,  radio  and 
other  sources. 

"It  might  be  beneficial  to  us  to  publicize 
the  way  this  money  is  split  up,"  Mr.  Mills 
said,  "but  as  yet  there  has  been  no  policy 
adopted  by  the  board  which  would  permit 
me  to  reveal  it.  Understand,  this  is  strictly 
a  non-profit  organization  and  I  can  see  no 
reason  why  the  publication  of  the  way  this 
sum  was  derived  would  serve  any  particular 
purpose.  However,  we  certainly  have 
nothing  to  hide." 

Largest  Royalty  Distributed 

Mr.  Mills  did  say  that  the  Society's  mem- 
bers last  week  divided  among  themselves 
their  largest  purse.  Royalties  distributed 
for  the  first  quarter  of  1935  approximated 
$760,000,  representing  an  increase  of  nearly 
10  per  cent  over  the  first  three  months  of 
1934. 

"So  far  as  I  know,  collections  are  made 
in  exactly  the  same  manner  as  in  any  other 
business,"  he  said.  "Statements  are  ren- 
dered and  bills  are  paid  by  mail.  We  most 
certainly  do  not  have  an  army  of  bill  col- 
lectors pounding  the  sidewalk." 

The  American  Society  has  been  in  the 
line  of  fire  ever  since  sound  pictures  came 
into  existence  and  exhibitors  rebelled  against 
paying  a  "seat  tax"  for  reproduction  privi- 
leges. This  feeling  was  aggravated  by  real- 
ization that,  in  film  rentals,  they  also  were 
paying  "score  charges"  of  producer-distribu- 
tors, who  also  were  being  assessed  by  the 


Exhibitors  Contribute  Almost 
One  -  third  of  $3,375,000 
Receipts  from  License  Fees. 
Under  New  Seat  Tax  Scale 

Music  Publishers'  Protective  Association  for 
the  recording  rights  to  copyrighted  music. 
The  Protective  Association  is  an  afiflliate  of 
ASCAP. 

Originally  the  Society  imposed  a  straight 
tax  of  10  cents  a  seat  annually  from  all  thea- 
tres for  the  reproduction  privilege,  but  last 
year  the  industry's  exhibition  branch 
brought  matters  to  a  head  when  it  threatened 
to  sue  on  antitrust  charges,  following  an- 
nouncement of  heavy  increases  in  license 
fees  scaled  according  to  the  size  of  theatres. 
In  addition,  exhibitors  threatened  cancella- 
tion of  all  existing  agreements. 

Government  Suit  Pending 

Mr.  Mills  at  that  time  said  that  exhibitors 
legally  could  not  cancel  their  contracts,  and 
that  if  they  did  and  subsequently  infringed 
upon  any  of  the  organization's  6,000,000 
copyrighted  musical  numbers,  the  Society 
would  sue — "and  collect." 

Mr.  Mills  belittled  the  possibility  of  ex- 
hibitors getting  Congressional  action  to  have 
the  copyright  laws  revised  to  regulate  or 
dissolve  the  Society,  and  pointed  out  that  the 
copyright  law  under  which  the  45,000  mem- 
bers of  ASCAP  are  protected  has  been  up- 
held in  practically  every  nation. 

However,  less  than  three  weeks  there- 
after, the  Government  filed  a  suit  charg- 
ing monopoly  of  popular  music  and  sought 
dissolution  of  all  existing  license  fee  agree- 
ments for  royalty  payments  made  to  the 
Society  by  users  of  music — broadcasters, 
film  theatres,  producers  and  others. 

In  addition,  the  Government  asked  re- 
straining orders  to  prevent  the  organization 
and  its  affiliated  enterprises  from  entering 
into  new  agreements  or  renewing  old  ones 
for  the  public  performance  of  music  on  a 
royalty  basis  unless  such  contracts  and  roy- 
alties were  determined  by  genuine  competi- 
tion among  copyright  owners. 

Says  Fees  Would  Be  Higher 

Mr.  Mills'  unofficial  answer  to  the  Gov- 
ernment's action  was  that  if  dissolution  were 
ordered,  the  commercial  users  of  music 
would  have  to  pay  more,  should  they  be  re- 
quired to  deal  individually  with  hundreds 
of  music  copyright  owners. 

The  Government  in  its  action  also  named 
as  defendants  the  Music  Publishers'  Protec- 
tive Association  (said  to  control  75  per  cent 
of  the  nation's  copyrighted  music),  and 
Music  Dealers'  Service,  Inc.,  (reputedly  in 
control  of  most  of  the  popular  sheet  music). 
In  addition,  some  130  publishers  and  pub- 
lishing companies  belonging  to  the  Society 
were  named. 

The  three  organizations,  the  Government 

{Continued  on  following  page) 


10 


MOTION    PICTURE  HERALD 


April    27,  1935 


FILMS,  RADIO  PAY  MOST  MUSIC  TAX 


(Continued  from  preceding  pane) 

charged,  by  interlocking  directorates  and  by 
agreements,  have  been  allied  since  1932  in  a 
conspiracy  to  monopolize  the  music  business 
in  violation  of  the  Sherman  antitrust  law. 

Further,  by  means  of  this  combination, 
the  Government  charged,  "competition  be- 
tween copyright  owners  in  the  sale  of  li- 
censes to  public  performers  of  copyrighted 
musical  composition  has  been  eliminated  and 
there  has  been  created  a  pool  or  consolida- 
tion of  individual  copyright  monopolies  in 
the  Society  by  virtue  of  which  the  Society 
has  the  power  to  dictate  the  manner"  in 
which  radio  broadcasting  stations,  motion 
picture  theatres  and  other  commercial  copy- 
righted music  users  may  operate  in  this 
connection. 

Exhibitors  Formed  Committee 

Following  the  Government's  action,  ex- 
hibitors organized  the  Exhibitors'  National 
Emergency  Committee,  representing  8,000 
theatres,  to  carry  on  the  fight  against  the 
proposed  increase  in  seat  taxes,  which  ran 
as  high  as  1,000  per  cent  over  the  then  ex- 
isting tax  of  10  cents  a  seat  annually.  The 
committee  indicated  that  unless  the  Gov- 
ernment brought  its  action  to  trial  without 
delay  it  would  file  a  similar  suit  at  once. 
The  8,000  theatres  represented  by  the  com- 
mittee pledged  a  minimum  of  "a-penny-a- 
seat"  for  a  trial  fund. 

Early  in  October,  however,  the  legal 
sub-committee  of  the  Exhibitors'  National 
Emergency  Committee  decided,  upon  assur- 
ances from  Washington  that  the  Govern- 
ment would  amend  its  antitrust  suit  to  cover 
all  exhibitor  complaints  against  the  Society 
and  that  the  suit  would  be  brought  to  trial 
before  Nov.  1,  1934,  to  refrain  from  initiat- 
ing any  official  independent  action,  at  least 
until  the  Government's  suit  had  been  tried. 

Shortly  after  the  increased  rates  had  be- 
come effective  on  October  1  the  Society  got 
together  with  the  exhibitor  committee  to  re- 
adjust the  new  scale. 

The  scale  which  was  to  have  gone  into 
effect  on  October  1,  on  a  graduated  basis, 
would  have  levied  on  a  first-run  2,000-seat 
theatre  an  annual  license  charge  of  $1,275, 
as  against  the  previous  royalty  of  $200  paid 
on  the  flat  rate  of  10  cents  a  seat. 

New  Agreement  Reached 

Finally,  after  weeks  of  argument,  the 
groups  came  to  an  agreement  on  a  modified 
schedule,  which  was  made  retroactive  to  Oct. 
1,  1934.  That  scale,  currently  in  effect,  is 
as  follows : 

Per 
Seat 

Theatres  seating  less  than  800  and  op- 
erating less  than  three  days  a  week.  5c. 

Theatres  seating  800  or  less  and  oper- 
ating more  than  three  days  weekly.  lOc. 

Theatres  seating  between  801  and 
1,599   15c. 

(Or  $120.15  for  the  smallest  and  $239.85  for 
the  largest  theatre  in  this  group,  represent- 
ing a  50  per  cent  increase  over  the  old  rate.) 

Theatres  seating  1 ,600  and  more  20c. 

(Eguivalent  to   $320  for  the   smallest  and 
$1,100  for  the  5,500-seat  theatre.) 

The  middle  of  November  the  Society  filed  its 
answer    to   the    Government's    antitrust  suit, 


CULBERTSON  TELLS 
ADVERTISERS  HOW 

Ely  Culbertson,  bridge  expert,  who 
at  one  time  made  a  series  of  film 
shorts  on  bridge,  offered  some  con- 
structive criticism  on  advertising  dur- 
ing an  address  before  the  Advertising 
Club  in  New  York  last  week.  Deny- 
ing that  his  recent  man-and-wife  150- 
rubber  bridge  match  with  Mr.  and 
Mrs.  P.  Hal  Sims  was  a  publicity 
stunt,  Mr.  Cidbertson  said  he  had 
never  used  a  publicity  "stunt,"  which 
he  called  "the  best  way  of  earning  the 
contempt  of  the  mass  mind." 

"The  basic  technique  in  influencing' 
the  mass  mind,"  said  Mr.  Culbertson, 
"is  sincerity.  The  crowd  mind  is  sus- 
picious, and  while  it  admits  exaggera- 
tions, there  must  be  a  kernel  of  truth. 
The  ignorance  of  the  true  principles 
and  technique  of  the  crowd  mind  is 
costing  advertisers  hundreds  of  mil- 
lions of  dollars  yearly." 


denying  it  had  created  a  monopoly  in  the  music 
field  or  ever  had  so  attempted.  The  brief  cited 
the  music  tax  compromise  agreed  upon  between 
itself  and  the  Exhibitors'  National  Emergency 
Committee  as  an  example  of  the  "amicable 
system  of  collective  bargaining  through  which 
the  organization's  music  tax  schedules  are  es- 
tablished." The  answer  also  said  the  exhibitor 
committee  was  "entirely  pleased"  with  the  com- 
promise. However,  both  the  Motion  Picture 
Theatre  Owners  of  America  and  Allied  States 
Association  of  Motion  Picture  Exhibitors  are 
still  opposing  the  seat  tax  schedules  and  several 
local  exhibitor  units  in  the  field  have  threat- 
ened action  to  enjoin  collection  of  the  music  tax 
until  the  Government's  anti-trust  suit  has  been 
decided. 

May  Delay  Government  Trial 

Trial  of  the  Government's  suit  still  is  pend- 
ing, and  may  be  put  over  until  next  autumn  on 
the  grounds  that  the  Society's  answer  was  im- 
proper and  irrelevant.  Federal  Judge  Knox  in 
New  York  this  month  indicated  such  delay  and 
announced  he  had  directed  a  substantial  part 
of  the  Society's  answer  stricken  out. 

At  the  Society's  annual  meeting  in  New 
York,  Walter  Fisher,  music  publisher,  pro- 
posed that  the  board  be  elected  by  the  member- 
ship at  large  instead  of  being  self-perpetuating. 
Billy  Rose,  producer  of  musical  shows,  charged 
that  Mr.  Fisher's  suggestion  was  a  move  backed 
by  motion  picture  interests  owning  music 
houses  to  seek  control  not  only  of  the  director- 
ate but  of  the  Society  itself.  Mr.  Rose  said 
that  certain  motion  picture-owned  publishing 
companies  were  in  favor  of  the  move  and  that 
62  writers  in  Hollywood  representing  the  Song 
Writers'  Protective  Association  had  voted  in 
favor  of  elections  by  the  membership.  All  of 
these  writers,  Mr.  Rose  pointed  out,  were 
working  and  writing  for  motion  picture  studios. 

Mr.  Fisher's  motion  was  defeated  by  375  to 
8,  but  Mr.  Rose's  attack  had  repercussions  last 
week  from  Hollywood  when  Jerome  Kern, 
composer,  wired'  his  resignation  from  the  board. 
He  later  explained  his  resignation  was  prompt- 
ed by  his  inability  to  attend  director  meetings 
more  than  half  the  time. 

Radio's  royalty  contribution  to  the  Society 


prior  to  1933  had  amounted  to  about  $960,000 
annually  on  a  flat  sustaining  basis.  Near  the 
close  of  1932,  the  Society  served  notice  on  the 
broadcasters  that,  unless  they  substantially  in- 
creased royalty  payments,  all  copyrighted  mate- 
rial belonging  to  ASCAP  would  be  withdrawn 
from  radio  channels.  The  Society  had  decided 
that  performing  rights  via  broadcasting  were 
the  "only  real  value  left"  to  popular  copy- 
righted numbers.  Such  royalties  as  on  sales 
of  sheet  music  and  records  had  shown  sharp 
depreciation. 

Negotiations  were  launched  accordingly  be- 
tween the  Society  and  the  broadcasters,  the 
Society  demanding  5  per  cent  of  the  $60,000,000 
to  $75,000,000  grossed  annually  from  the  spon- 
sors of  commercial  programs. 

Fee  Plus  Percentage  of  Time  Net 

The  controversy  ended  when  the  National 
Association  of  Broadcasters  approved  an  agree- 
ment which  provided  for  continued  payment  of 
the  combined  sustaining  fee  of  $960,000,  plus  3 
per  cent  of  the  net  income  from  the  sale  of 
broadcasting  time  for  the  first  year ;  to  be 
raised  to  4  per  cent  for  the  second  year,  and 
to  5  per  cent  for  the  third  year.  At  the  time 
it  was  reported  that  the  National  Broadcasting 
Company  and  the  Columbia  Broadcasting  Sys- 
tem had  signed  the  agreement  which  automati- 
cally would  have  increased  royalty  payments 
from  the  broadcasters  alone  to  $3,000,000  for 
1933;  $4,000,000  for  1934,  and  $5,000,000  for 
1935. 

This  week,  however,  Mr.  Mills  told  the 
Herald  that  those  rates  were  agreed  upon  "in 
formula  only,"  and  that  the  Society  had  not 
dealt  collectively  with  the  broadcasting  indus- 
try but  had  signed  agreements  with  individual 
stations. 

"Our  agreements  were  based  upon  that 
formula,"  Mr.  Mills  said  Tuesday,  "but  it  pro- 
vided for  substantially  reduced  sustaining  fees 
applied  differently  to  individual  stations.  I 
should  say  the  amount  of  this  reduction,  spread 
over  the  whole  field,  would  be  about  $200,000. 
Then,  in  addition,  the  stations  agreed  to  pay  a 
percentage  of  3  per  cent  for  the  first  year,  4 
per  cent  for  the  second  and  5  per  cent  for  the 
third,  against  the  net  receipts  from  the  sale  of 
broadcast  time." 

NBC  chalked  up  gross  income  of  $28,062,885 
from  sales  of  broadcast  time  in  1934,  Columbia 
$14,825,845. 


Six  Tri-Ergon  Suits  End 

Six  additional  American  Tri-Ergon  pat- 
ent infringement  suits  were  withdrawn  in 
New  York  Tuesday  under  leave  granted  by 
Federal  Judge  William  Bondy  as  the  result 
of  the  supreme  court  ruling  holding  Tri- 
Ergon  patents  invalid.  The  actions  with- 
drawn were  those  against  Columbia,  MGM, 
Universal,  20th  Century,  Reliance  and  Du- 
Art  Film  Laboratory. 


Franklin  Seeking  15  Theatres 

Harold  B.  Franklin  this  week  was  re- 
ported from  Hollywood  to  be  negotiating  for 
15  theatres  in  southern  California.  Mr. 
Franklin  recently  announced  his  return  to 
exhibition  with  establishment  of  Standard 
Theatres,  Inc. 


Comerford  Convalescing 

M.  E.  Comerford,  head  of  the  Comerford 
Circuit  of  Pennsylvania,  who  has  been  ill 
at  the  Emergency  hospital  in  Washington, 
D.  C,  since  February  22,  this  week  was  able 
to  leave  his  bed. 


April    27,  1935 


MOTION    PICTURE  HERALD 


II 


PERSPECTIVE  SOUND  RECORDING 

GOES  INTO  ACTION  AT  STUDIOS 


Method  Blending  Two  Sound 
Tracks  Ainns  to  Vary  Tonal 
Quality  of  Close-ups;  Also 
Medium    and    Long  Shots 

"Perspective  sound,"  the  latest  develop- 
ment in  the  refining  process  of  recording,  is 
about  to  make  its  appearance  in  Hollywood's 
studios.  The  method  is  being  utilized  for 
the  first  time  in  Columbia's  forthcoming 
Grace  Moore  picture,  "Love  Me  Forever." 

"Perspective  sound"  has  been  developed 
by  J.  P.  Maxfield,  staff  engineer  of  Electrical 
Research  Products,  Inc.,  and  purports  to 
bring  a  new  dimensional  quality  to  sound 
pictures,  which,  in  the  end,  also  promises 
to  help  solve  many  of  the  motion  picture 
exhibitor's  projection  problems. 

Operation  of  the  new  method  of 
recording  involves  two  microphones  and 
two  tracks  to  be  used  on  every  foot 
of  film.  In  a  scene  where  two  actors  are 
speaking,  one  in  the  foreground,  the  other 
farther  off,  the  two  tracks  will  be  blended 
so  that  audiences  will  hear  the  foreground 
actor  talk  louder  than  the  one  in  the  rear, 
this  by  virtue  of  distance  perspective,  now 
to  be  translated  into  "perspective  sound." 

The  device,  it  is  said,  will  admit  of  a 
material  difference  in  tonal  quality  as  among 
closeups,  mediums  and  long  shots. 

On  Film  Itself 

Rise  and  fall  of  sound,  together  with  the  new 
perspective  quality,  hereafter  will  be  on  the 
film  itself,  leaving  the  projectionist  free  to  dis- 
pense with  his  fader. 

Columbia  was  the  first  studio  to  experiment 
with  Erpi's  "hill  and  dale"  sound  recording 
principle  by  which  "One  Night  of  Love"  was 
produced,  and  it  is  again  the  experimental  lab- 
oratory for  the  electric  company's  newest  re- 
cording development. 

"Perspective  sound"  first  was  discussed  be- 
fore the  industry  late  in  February  by  Mr.  Max- 
field  through  a  paper  read  before  the  Academy 
of  Motion  Picture  Arts  and  Sciences  in  Holly- 
wood. At  the  time  Mr.  Maxfield  based  his  ex- 
planation of  the  new  method  upon  specific  con- 
trol of  the  acoustics  of  pickup. 

It  has  been  known  for  a  long  time,  he  ex- 
plained to  the  Academy's  technical  branch,  that 
in  different  studio  sets  or  in  different  rooms  the 
microphone  distance  varied  even  though  the 
resulting  effect  desired  remained  the  same  from 
room  to  room. 

It  was  believed,  therefore,  that  the  correlation 
between  the  acoustic  properties  of  the  space 
and  the  proper  placement  of  the  microphone  could 
be  determined.  This  was  achieved  and  a  form- 
ula finally  was  arrived  at  connecting  the  "live- 
ness"  of  the  recording  or  pickup  with  the  mi- 
crophone distance  and  the  acoustic  properties 
of  the  room  in  which  the  sound  was  being 
picked  up. 

During  the  past  two  years,  Mr.  Maxfield 
said,  intensive  experimental  recordings  have 
been  made,  by  Erpi  engineers,  of  various  types 
of  sound,  including  speech,  solo  singing,  solo 
violin,  small  orchestra,  and  large  symphony  or- 
chestras, but  the  first  reliable  data  came  from 
experiments  carried  out  with  the  cooperation 
of  Leopold  Stokowski  and  the  Philadelphia 
Symphony.  Records  were  made  under  varying 
conditions  of  "liveness,"  and  these  records  then 
were  played  to  various  juries  consisting  of  en- 


gineers, musical  groups  and  persons  having  no 
technical  knowledge  of  sound. 

Mr.   Maxfield  explained  "liveness"   by  the 
following  formula: 
1000  T2  D2 

L  =  

V 

h — is  "liveness." 
1000 — is  a  constant. 

T — stands  for  the  time  of  reverberation  of  the 
room. 

V — represents  the  number  of  cubic  feet  of  air 
there  is  in  the  room,  or  space  under  considera- 
tion, and 

D — stands  for  the  distance  between  the  source 
of  sound  and  the  ear.  or  the  microphone. 

From  the  results  of  the  votes  obtained,  three 
conclusions  were  drawn : 

1.  That  engineers  in  general  prefer  a 
lower  range  of  "liveness"  than  do  the 
musicians  and  the  lay  public. 

2.  That  the  range  of  "liveliness"  accept- 
able to  any  one  person  Is  quite  large. 

3.  That  the  average  range  accepted  by 
the  musicians  and  lay  public  overlaps  the 
range  accepted  by  the  engineers. 

This  is  shown  schematically  in  Figure  1, 
where  the  group  marked  "E"  represents  the 
range  acceptable  to  engineers  and  the  curve 
marked  "P"  and  "M"  represents  the  range  ac- 
ceptable to  the  public  and  musicians.  In  this 
connection,  it  was  pointed  out  that  these  curves 
are  typical  only  and  that  to  a  certain  extent 
the  "liveness"  which  is  acceptable  depends  upon 
the  correlation  of  the  sound  with  the  picture. 

"This  all  leads  to  a  consideration  of  a  factor 
connected  with  'liveness',"  Mr.  Maxfield  told 
the  Academy.  "That  is,  the  greater  the  'live- 
ness' the  further  the  apparent  source  of  sound 
is  from  the  listener.  For  instance,  if  a  voice 
was  recorded  with  a  liveness  lying  in  the  re- 
gion near  'A,'  Figure  1,  it  would  be  judged  on 
reproduction  as  a  good  closeup  voice ;  if,  on 
the  other  hand,  the  same  voice  had  been  re- 
corded with  a  'liveness'  in  the  region  of  'B,' 
Figure  1,  it  would  be  judged  as  coming  from  a 
point  15  or  20  feet  back  of  the  screen.  In  other 
words,  by  the  proper  control  of  'liveness'  in 
recording  it  is  possible  to  introduce  a  definite 
fore  and  aft  perspective  into  the  sound  to  cor- 
relate with  the  existing  perspective." 

The  range  of  "liveness"  which  the  various 
juries  in  Mr.  Maxfield's  experiments  chose  for 
various  types  of  sound  sources  are  presented  in 
the  following  table,  the  ranges  given  referring 
to  the  range  of  the  overlap  region  of  Figure  1. 
The  lower  figures  in  the  table  correspond  to 
the  approximately  medium  closeup  where  a  pic- 


ture accompanies  the  sound,  while  the  higher 
figures  correspond  approximately  to  a  medium 
long  shot.  When  extreme  closeups  are  desired, 
a  "liveness"  of  approximately  one-half  the 
lower  figure  will  be  found  suitable,  while  for 
the  extreme  long  shot  values  twice  as  high 
as  the  larger  figure  will  not  be  too  great.  The 


table  follows : 

Piano  solo    4  —  8 

Symphony  orchestra    5  — 10 

Small  orchestra    3  —  6 

Violin,  cello,  etc   I '/z —  3 

Solo  singing   6  —  1.2 

Speech   2  —  .4 


The  effect  of  recording  too  close,  Mr.  Max- 
field explained,  results  in  a  tone  quality  which 
tends  to  sound  "thin"  and  "edgy"  and  lacks 
what  the  musicians  call  the  firmness  and  round- 
ness so  highly  desired  in  good  music.  This 
disagreeable  effect  can,  and  frequently  is,  partly 
cured  by  modifying  the  frequency  characteristic 
of  the  reproduced  sound  in  such  a  manner  as 
to  decrease  the  intensity  of  the  harmonics  which 
are  responsible  for  the  timbre,  or  quality. 

Mr.  Maxfield  pointed  out  that  in  the  foregoing 
table  it  will  be  noticed  that  for  the  types  of 
sound  listed  the  extreme  range  is  from  0.2  to 
10;  that  is,  about  50  to  1. 

"Fortunately,"  he  said,  "this  extreme  range 
seldom  occurs  in  any  one  scene  and  therefore 
does  not  introduce  the  difficulties  which  might 
be  expected  at  first.  For  instance,  a  voice 
accompanied  by  a  full  symphony  orchestra  is 
not  difficult  to  record  on  a  good  scoring  stage. 
If,  however,  the  voice  in  various  parts  of  the 
song  is  to  be  first  in  a  long  shot,  then  closeup, 
then  semi-closeup,  and  so  on,  it  is  either  neces- 
sary to  know  how  the  picture  will  be  shot  be- 
fore the  scoring  is  done  or  to  find  some  means 
of  changing  the  liveness  of  the  voice  recording 
after  the  records  have  been  made  and  the  pic- 
ture has  been  cut." 

In  actual  picture  production  it  frequently  is 
customary  to  pre-score  musical  scenes  and  it  is 
therefore  necessary  to  make  recordings  in  such 
a  manner  that  the  perspective  can  be  adjusted 
in  the  dubbing  process  after  the  picture  has  been 
cut.  Perspective  sound  accomplishes  this  re- 
sult, the  technique  consisting  simply  of  making 
two  simultaneous  records  on  separate  channels. 

"The  first  of  these  recordings  should  be  made 
with  a  low  enough  'liveness'  factor  to  be  suit- 
able for  an  extreme  closeup,  while  the  second 
record  should  be  recorded  with  such  a  'live- 
ness' factor  that  it  is  suitable  for  an  extreme 
long  shot,"  Mr.  Maxfield  explained.  "With 
these  two  records  available  at  the  time  the  dub- 

{Contivucd  on   folJoiving  pope) 


12 


MOTION    PICTURE  HERALD 


April    27,  1935 


RISE  AND  FALL  OF  SOUND  ON  THE  FILM 


FIGURE  2. 

MAX.  MUSIC  LEVEL 

SYSTEM  OVERLOAD  LEVEL  ^ 

 B'»    ,  ^  

CO 
CO 


ZD 
O 


\ 


SYSTEM  NOISE  LEVEL 


(^Continued  from  prccedinn  page) 

bing  takes  place,  it  is  possible  to  obtain  any 
desired  'liveness'  between  the  two  values  origi- 
nally recorded  by  the  simple  expedient  of  mix- 
ing the  two  tracks  in  the  proper  proportions. 

"The  value  of  this  technique  cannot  be  too 
heavily  stressed,  since  it  allows  to  the  director 
complete  freedom  in  the  taking  and  cutting  of 
the  picture  without  reference  to  the  perspective 
which  was  originally  recorded  at  the  time  the 
pre-scoring  was  done.  The  director's  use  of 
this  freedom  in  no  way  detracts  from  the  ulti- 
mate illusion  produced  in  the  theatre  since  the 
dubbing  process  enables  the  sound  to  be  ad- 
justed to  the  picture  as  the  director  or  cutter 
has  finally  arranged  it." 

Mr.  Maxfield  then  told  his  audience  about  the 
newest  developments  in  volume  or  loudness 
range  experimentation,  explaining  that  while 
the  volume  range  necessary  for  reproduction 
of  a  symphony  orchestra  is  somewhere  in  the 
neighborhood  of  70  to  80  decibels,  existing  com- 
mercial equipment,  unfortunately,  has  a  consid- 
erably smaller  range  and  it  is  therefore  neces- 
sary to  compress  the  volume  range  in  the  re- 
cording process. 

Lowered  Emotional  Effect 

Musicians,  he  explained,  consistently  have 
complained  that  this  compression  of  volume 
range  greatly  lowers  the  emotional  value  of 
music  reproduction.  A  study  was  made  to  de- 
termine whether  or  not  a  method  of  volume 
compression  could  be  found  which  would  do  a 
minimum  of  damage  to  the  emotional  reaction 
of  the  audience  to  the  reproduction. 

The  older  and  more  common  method  of 
compression  where  a  crescendo  was  involved 
was  to  wait  until  the  volume  approached  the 
overload  and  then,  by  use  of  the  control  dial,  to 
hold  it  down  within  safe  limits,  Mr.  Maxfield 
said.  A  reference  to  Figure  2  makes  this  clear. 
The  dotted  line  in  the  Figure  represents  the 
lowest  level  which  can  be  reproduced  without 
serious  disturbance  from  background  noise. 
The  full  line  labeled  'Overload  Level"  repre- 
sents the  loudest  sound  that  can  be  reproduced 
without  an  overload  of  equipment.  The  full 
line  labeled  "Maximum  Music  Level"  repre- 
sents the  level  which  would  have  to  be  repro- 
duced if  no  change  in  the  control  dial  were 
made  during  the  playing  of  the  crescendo  illus- 
trated in  the  Figure.  The  full  line  "A"  repre- 
sents the  loudness  plotted  against  time  for  the 
actual  crescendo  as  played  by  the  orchestra. 
The  line  "B,"  which  for  a  considerable  portion 
of  its  distance  coincides  with  the  line  "h," 
shows  the  older  method  of  volume  control.  The 
line  "C,"  which  also  coincides  for  a  small  por- 
tion of  its  distance  with  the  line  "A,"  repre- 
sents the  recorded  volume  with  the  new  method 
of  control. 

Procedure  in  Experiments 

The  procedure  in  the  case  of  the  experiments 
leading  to  this  new  method  were  as  follows : 

During  a  concert  the  volume  was  controlled 
in  the  manner  shown  by  line  "B"  and  a  musi- 
cal score  of  the  selection  was  marked  to  show, 
first,  the  measure  at  which  the  change  must  be 
completed  in  order  to  avoid  overload  and,  sec- 
ond, the  amount  of  compression  required  to 
avoid  overload.  This  marked  score  was  taken 
to  Mr.  Stokowski  and  he  indicated  on  the 
score  the  measure  at  which  the  compression 
should  take  place  and  the  amount  of  compres- 
sion that  should  take  place  during  these  meas- 
ures. During  a  subsequent  broadcast  the  mixer 
merely  followed  Mr.  Stokowski's  markings  on 
the  score. 

After  the  Philadelphia  Symphony's  broadcast- 
ing season,  a  study  was  made  of  the  volume 


TIME 

control  as  finally  used  and  among  other  results 
one  of  special  importance  was  discovered. 
This  was  that  practically  none,  or  at  most  very 
little,  of  the  decrease  in  volume  during  the 
crescendo  was  made  while  the  orchestra  itself 
was  increasing  in  loudness.  Reference  again 
to  Figure  2  indicates  that  the  crescendo  there 
depicted  rises,  then  drops  a  bit,  rises  again, 
drops  a  second  time  and  then  takes  its  final 
burst  to  the  top.  This  type  of  rise,  Mr.  Max- 
field said,  was  present  in  more  than  half  of  the 
large  crescendos  which  took  place  during  the 
broadcasts. 

Figure  2  also  shows  that  the  volume  was  de- 
creased, for  the  most  part,  during  the  interval 
when  the  crescendo  was  temporarily  decreas- 
ing in  loudness  and,  further,  that  the  amount 
had  been  completed  prior  to  the  last  rise. 

"This  means  that  in  spite  of  the  fact 
that  the  range  had  been  compressed,  a 
compensating  factor  of  Increased  contrast 
between  the  rise  and  fall  during  the  cres- 
cendo had  also  been  increased  and  tended 
to  offset  to  a  large  extent  the  loss  in 
volume  range,"  Mr.  Maxfield  said. 

He  then  explained  that  the  method  of  lower- 
ing a  diminuendo  was  exactly  similar,  only 
reversed  in  direction.  Most  of  the  volume  con- 
trol necessary  to  lift  the  softest  passage  out  of 
the  background  noise  was  accomplished  in  the 
early  part  of  the  diminuendo  and  usually  was 
accomplished  during  the  time  that  the  orchestra 
itself  was  increasing  in  loudness. 

Better  Than  Band  Played  It 

"During  the  early  work  which  led  to  these 
later  experiments  one  amusing,  and  also  in- 
structive, situation  arose,"  he  said.  "In  this 
case  a  musical  short  was  being  pre-scored.  The 
orchestra  in  use  was  small  and  its  volume  range 
did  not  exceed  the  range  of  the  equipment  then 
available.  It  was  therefore  possible  to  make 
the  recording  without  compressing  at  all.  How- 
ever, the  orchestra  leader  permitted  his  orches- 
tra to  reach  their  maximum  volume  at  the  place 
in  the  crescendo  which  corresponds  to  the  point 
'M'  in  Figure  2  so  that  the  orchestra  had  no 
reserve  left  for  the  final  burst.  Three  takes 
were  made  under  these  conditions,  the  first  two 
being  made  with  no  operation  of  the  mixer 
dial.  On  the  last  take,  as  an  experiment,  the 
orchestra  reduced  the  volume  six  decibels  dur- 
ing the  early  part  of  the  crescendo  and  in- 
creased  it  back  again  at  the  time  the  final 


burst  should  have  occurred.  When  the  orches- 
tra leader  heard  this  third  take  he  remarked, 
'That  is  funny.  That  is  better  than  the  band 
played  it.'  " 

It  appears  from  Mr.  Maxfield's  explanation 
of  the  function  and  method  involved  in  "per- 
spective sound,"  that  the  sound  engineering  of 
the  future,  as  specifically  applied  to  motion 
pictures,  will  be  carried  out  along  two  main 
lines  of  attack.  The  first  is  the  further  im- 
provement of  equipment,  both  to  make  it  more 
reliable  and  simpler  and  also  to  make  it  cover 
a  wider  volume  and  frequency  range. 

The  second  line,  it  appears,  will  consist  of 
a  new  type  of  engineering,  possibly  a  study  of 
the  best  methods  of  using  the  available  equip- 
ment in  order  to  reproduce  in  the  theatre  the 
emotional  result  which  the  writers,  actors  and 
directors  intend  to  effect  there. 

It  was  pointed  out  that  two  major  beneficial 
results  to  sound  pictures  will  result  from  such 
a  technique :  first,  the  time  saved  during  pro- 
duction to  make  the  necessary  adjustment : 
second,  average  better  quality  of  sound  and 
better  illusion  obtained  without  any  increased 
effort  or  expense. 

RKO  and  M  &  S  Dispute 
Ends;  Decision  Delayed 

The  long  drawn  out  arbitration  proceed- 
ings involving  RKO's  method  of  operating 
New  York's  Hollywood  and  Apollo  the- 
atres, leased  from  M.  &  S.  Circuit,  and 
which  M.  &  S.  challenged,  came  to  an  end 
last  week,  but  no  decision  is  expected  from 
the  board  of  three  arbitrators  for  a  month. 

The  proceedings  were  begun  in  February 
with  Max  D.  Steuer  as  counsel  for  M.  &  S., 
and  Bruce  Bromley  of  Cravath,  de  Gers- 
dorff,  Swaine  &  Wood,  representing  RKO. 
Mr.  Steuer  relinquished  any  claim  to  money 
damages  last  week,  but  sought,  thereafter, 
to  require  future  compliance  with  the  leases 
which  he  alleges  were  breached  by  RKO 
in  reputedly  failing  to  play  all  of  the  prod- 
uct day  and  date  in  the  Hollywood  and 
Apollo  which  is  played  in  other  RKO  houses. 

Mr.  Steuer  sought  to  prove  that  this  was 
not  done  because  of  an  agreement  by  which 
Loew's  released  certain  of  its  product  to 
RKO  houses  not  in  competition  with  Loew's 
houses.  The  Hollywood  and  Apollo  com- 
pete with  Loew's  Avenue  B  and  Delancey. 


April    27,  193b 


MOTION    PICTURE  HERALD 


13 


COURTS,  LEGISLATURE,  PRESS  AND 
GOVERNMENT  IN  'BANK  NIGHT  FIGHT 


Florida  Senate  and  House  Con- 
sider Bill  Outlawing  Plan;  Ho- 
mer Cummings  at  Washing- 
ton Enters  Los  Angeles  Dispute 

The  "Bank  Night"  cash  prize  award  em- 
ployed by  hundreds  of  theatre  owners  is 
rapidly  becoming  the  subject  of  nationwide 
heated  controversy,  with  its  exhibitor  users 
arranged  on  one  side,  against  enforcement 
agencies  of  the  motion  picture  code,  states' 
attorneys  general,  legislatures,  newspapers, 
and  even  federal  courts. 

The  most  widely  used  copyrighted  "Bank 
Night"  plan  is  generally  declared  by  Local 
Grievance  Boards  to  be  in  violation  of  the 
code.  Section  1,  Part  3,  Article  V-E,  which 
prohibits  lotteries.  The  Code  Authority, 
since  November  1st,  has  upheld  the  Griev-. 
ance  Boards  in  appeals  taken  by  exhibitor 
users  in  some  58  cases.  Regardless,  the 
practice  continues  and  the  fight  for  and 
against  the  right  to  its  use  grows  daily. 

The  Florida  senate  this  week  was  con- 
sidering a  bill  to  outlaw  the  systenn.  The 
house  has  a  sinnilar  proposal.  The  legisla- 
ture would  acconnplish  the  purpose  by  a 
prohibitive  tax,  inasmuch  as  Attorney  Gen- 
eral Cary  Landis,  some  weeks  ago,  de- 
clared that  "Bank  Nights"  did  not  violate 
state  lottery  laws.  Other  state  attorneys 
general  have  ruled  otherwise. 

The  fight  in  Florida  became  more  intense  as 
the  Tampa  Tribune,  a  leading  Florida  news,- 
paper,  editorially  attacked  the  practice,  under 
the  caption :  "Stop  This  Racket,"  and  said : 

"  'Bank  Night,'  which  has  been  running  in 
theatres  since  September,  has  become  a  public 
nuisance,  a  community  evil.  It  blocks  streets, 
congests  traffic,  disturbs  everybody  with 
'sound  wagon'  ballyhoo,  keeps  thousands  of 
citizens  in  a  continuous  stew  of  expectancy  and 
disappointment.  Essentially,  it  is  as  much  of 
a  lottery  as  'bolita'  or  'Cuba.'  The  'lucky  num- 
ber' is  drawn  from  a  box ;  no  element  of  skill 
enters  into  the  winning ;  simply  'gambling 
chance,'  with  an  enormous  percentage  against 
the  individual  'player.'  The  Postoffice  Depart- 
ment has  declared  it  a  lottery,  will  bar  from 
the  mails  any  newspaper  printing  and  adver- 
tising in  reference  to  it.  That  should  deter- 
mine its  legal  standing." 

Exhibitors  Report  Benefits 

Exhibitor  users  have  reported  benefits  to 
their  box  office,  although  it  has  not  been  deter- 
mined whether  the  actual  monetary  benefits 
overbalance  the  money  paid  to  the  copyright 
owners  of  the  plan  for  its  use. 

In  Jacksonville,  Fla.,  a  typical  situation, 
"Bank  Night"  crowds  have  become  so  enormous 
that  the  overflow  crowd  of  patron  registrants 
have  to  be  taken  care  of  at  four  additional 
theatres. 

Awards  are  said  to  have  ranged  up  to  $1,000 
on  a  single  drawing. 

The  code  machinery,  the  federal  courts  and 
the  Department  of  Justice  are  linked  together 
in  Los  Angeles  in  a  struggle  over  the  legality 
of  "Bank  Nights." 

The  Los  Angeles  Grievance  Board,  failing 
to  halt  the  practice  at  the  Oxnard  theatres  and 
at  the  San  Gabriel,  in  that  territory,  brought 
the  code  violator  to  court.  Federal  Judge  Mc- 
Cormick  ruled  that  motion  picture  exhibition 


is  intrastate  commerce,  and,  therefore,  is  out- 
side NRA  jurisdiction.  The  Grievance  Board 
has  been  given  20  days  within  which  to  file  an 
answer. 

The  Department  of  Justice  entered  the  fight 
at  this  point.  Attorney  General  Homer  Cum- 
mings at  Washington,  having  wired  instruc- 
tions to  Assistant  Attorney  General  M.  Pier- 
son  Hall  at  Los  Angeles  to  file  an  answer  on 
behalf  of  the  Grievance  Board. 

Exhibitors  in  Missouri  operating  "Bank 
Night"  and  similar  devices  lay  themselves  wide 
open  to  criminal  prosecution  under  the  state 
lottery  laws,  according  to  state  officials  who 
base  their  assertion  on  an  opinion  by  the  state's 
attorney  general. 

In  the  opinion,  given  to  State  Senator  J.  G. 
McDowell,  it  was  stated  that  a  "Bank  Night" 
constitutes  "a  lottery  in  violation  of  the  crim- 
inal laws  in  this  state."  Senator  McDowell, 
outlining  the  plan  to  the  attorney  general, 
mentioned  that  it  was  permitted  in  two  adjoin- 
ing states,  Iowa  and  Kansas,  under  state  stat- 
utes (but  not  under  the  code),  and  asked,  since 
the  participant  is  not  required  to  buy  an  ad- 
mission to  a  theatre  for  an  opportunity  to  win 
the  cash  prize,  whether  the  "Bank  Night"  falls 
within  the  lottery  law,  "or  is  a  legitimate  ad- 
vertising plan." 

The  opinion  from  the  attorney  general's  of- 
fice recalled  that  the  state  law  was  passed  in 
pursuance  to  a  mandate  against  lotteries  and 
gift  enterprises  contained  in  the  Missouri  con- 
stitution. Numerous  court  decisions  were  cited 
to  show  that  it  is  immaterial  that  participants 
do  not  have  to  buy  an  admission  ticket. 

"An  examination  of  the  Missouri  statute 
involved,"  stated  the  opinion,  "will  reveal 
that  it  is  much  broader  than  the  penal 
codes  of  California,  Colorado  and  Ala- 
bama, in  that  the  Missouri  statute  makes 
it  a  criminal  offense  to  establish  a  lottery 
or  gift  enterprise  unfettered  by  any  def- 
initions or  limitations  as  to  essential  ele- 
ments of  a  lottery." 

Referring  to  the  particular  copyrighted 
"Bank  Night"  plan  involved  in  the  nationwide 
dispute,  the  Missouri  attorney  general's  opinion 
continued :  "It  is  apparent  that  the  holder  of 
a  prize-winning  number  must  go  to  the  theatre, 
at  the  proper  time,  and  wait  outside  for  the 
time  of  the  drawing  so  as  to  be  available  in  the 
event  he  holds  the  lucky  number.  If  the  ticket 
holder  traveled  100  miles  in  order  to  be  pres- 
ent in  front  of  the  theatre  for  the  drawing,  no 
one  would  question  but  that  his  long  journey 
was  sufficient  consideration  for  the  prize  offered 
by  the  theatre. 

"Under  such  conditions,  the  necessity  of  his 
going  to  the  theatre  is  sufficient  consideration. 
It  is  immaterial  as  to  how  much  consideration 
he  pays,  whether  it  be  one  cent  or  $100,  or 
whether  he  travels  across  the  street  or  100 
miles  in  order  to  be  present  at  the  drawing;  in 
the  final  analysis,  he  is  giving  consideration  for 
the  chance  to  win  a  prize." 

Along  other  fronts  in  the  same  territory  the 
warfare  broke  out  among  exhibitors  themselves. 

A  New  "Carrie  Nation" 

In  Kansas  some  years  ago  a  crusader  named 
Carrie  Nation  sprang  from  the  prairie  soil  to 
lead  a  fiery  assault  on  the  saloon.  Now  there's 
a  new  crusader  in  Kansas  City  and  she's  being 
compared  to  hatchet-wielding  Carrie,  only  her 
efforts  are  directed  toward  smashing  ''Bank 
Nights." 

The  modern  crusader  is  Mrs.  Abe  Baier,  who 
owns  and  operates  the  Lindbergh  theatre.  She 


Kansas  City  "Carrie  Nation" 
Asks  Warrants;  Missouri  Of- 
ficial Rules  Plan  Illegal;  Code 
Boards  Get  Connplaints 

believes  "Bank  Nights"  and  premiums  are  a 
bad  commercial  influence  and  unfair  competi- 
tion. Unlike  berserk  Carrie's,  her  methods  are 
entirely  peaceful  even  if  forceful. 

Last  fall  Mrs.  Baier  waged  a  campaign 
against  "Bank  Nights"  and  as  the  result  the 
local  Grievance  Board,  supported  by  the  Code 
Authority,  drove  them  from  the  city  after  a 
tussle  with  a  couple  of  persistent  exhibitors. 
With  resumption  of  the  practice  at  two  theatres 
recently,  Mrs.  Baier  sniffed  the  smoke  of  bat- 
tle again  and  once  more  plunged  into  the  fray, 
this  time  declaring  a  "war  to  the  finish." 

Postponements  Irk  "Carrie" 

Armed  with  an  opinion  from  the  office  of  the 
attorney  general  of  Missouri  to  the  effect  that 
"Bank  Nights,"  "Cash  Nights"  and  similar  de- 
vices are  lotteries,  Mrs.  Baier  is  seeking  prose- 
cution of  "Bank  Night"  distributors  and  ex- 
hibitors. When  she  applied  for  warrants,  Mis- 
souri's Jackson  county  prosecutor  suggested 
it  would  be  only  fair  if  she  agreed  to  a  prelim- 
inary hearing  for  the  alleged  violators.  When 
the  scheduled  hearing  was  postponed  a  week 
and  then  set  over  for  another  week  Mrs. 
Baier  voiced  her  suspicions  that  one  of  the  ex- 
hibitors, Rube  Finkelstein  of  the  Belmont,  "had 
a  drag"  with  the  politicians. 

Prior  to  the  second  postponement,  "Bank 
Night"  proponents  warned  her,  Mrs.  Baier 
said,  that  she'd  "better  be  careful  what  she 
tells  the  prosecutor,"  whereupon  she  retorted : 
"I'm  a  lady  and  always  careful." 

Her  complaints  against  Mr.  Finkelstein  and 
F.  L.  Scovill  of  the  Prospect  were  dismissed 
by  the  Grievance  Board,  which  agreed  with 
counsel  for  tlie  "Bank  Night"  group  that  the 
distance  between  those  theatres  and  Mrs. 
Baier's  Lindbergh  theatre  and  the  price  varia- 
tions between  respondent  and  complainant 
houses  precluded  any  element  of  competition. 
But  Mrs.  Baier  insists  that  when  a  theatre 
sends  its  ballyhoo  truck  into  other  neighbor- 
hoods to  advertise  "Bank  Night"  it  is  a  plain 
case  of  unfair  competition,  and  she  is  telling 
her  story  in  an  appeal  to  the  Code  Authority. 

"Bank  Nights"  are  spreading  eastward  at  a 
rapid  pace.  They  have  invaded  Connecticut 
and  are  gaining  more  ground  elsewhere  in  New 
England. 

Dozens  of  complaints  have  been  made  by 
competitors  against  theatre  users.  Local  Boards 
in  the  field  being  swamped  with  cases,  which 
eventually  are  brought  to  the  Code  Authority 
in  New  York  on  appeal. 

However,  the  "Bank  Night"  complaints 
are  being  concentrated  in  only  14  of  the 
32  field  boards.  These  territories  include 
Kansas  City,  Los  Angeles,  Milwaukee,  Dal- 
las, Chicago,  Atlanta,  San  Francisco, 
Omaha,  Des  Moines,  Oklahoma  City, 
Denver,  Seattle,  Indianapolis  and  Min- 
neapolis. 

New  York,  like  Chicago  and  Kansas  City  is 
fast  becoming  a  center  for  premium  giveaways. 
Independent  owners  this  week  were  reported 
considering  joint  voluntary  action  to  vote  out 
the  premium  practice.  Under  the  code  pre- 
miums may  be  outlawed  if  75  per  cent  of  the 
owners  sign  an  agreement  to  that  effect. 


14 


MOTION    PICTURE  HERALD 


April    27,  1935 


ATTACKS  FABIAN  PLAN 
ON  FOX  METROPOLITAN 


Counsel  for  Schenck  Charges ' 
Bid  Not  Made  in  Good  Faith; 
Kent    Favors    Schenck  Plan 

BULLETIN 

The  bidding  for  rights  +o  reorganize 
Fox  Metropolitan  Playhouses  took  a  sud- 
den turn  late  Wednesday  when  Keith-Albee- 
Orpheum,  under  an  agreement  reached 
between  Herbert  Bayard  Swope,  board 
chairman,  and  Joseph  M.  Schenck,  was  in- 
jected as  a  participant  in  the  Schenck- 
Weisman  plan.  The  arrangement  would  elim- 
inate Fox  Metropolitan  as  a  competitive 
bidder  for  product  against  KAO. 

The  plan  of  reorganization  for  Fox  Met- 
ropolitan Playhouses,  submitted  to  the  fed- 
eral court  in  New  York  by  Si  Fabian,  oper- 
ator of  the  Fox  Brooklyn,  was  attacked  by 
Isidor  Kresel,  counsel  for  Joseph  M.  Schenck 
and  Milton  C.  Weisman,  who  have  submitted 
a  joint  reorganization  bid,  last  week  when 
Mr.  Kresel  asserted  before  Federal  Judge 
Julian  W.  Mack  the  bid  had  not  been  made 
in  good  faith  and  that  it  was  presented  "for 
an  ulterior  motive."  For  this  reason,  Mr. 
Kresel  said,  the  Fabian  plan  should  not  be 
considered  by  the  court  as  a  basis  for  com- 
parison with  the  Schenck-Weisman  plan. 

Sidney  R.  Kent,  president  of  Fox  Films, 
testifying  Tuesday,  expressed  favor  for  the 
Schenck-Weisman  plan  and  continuance  of 
Skouras-Randforce  as  operators,  against  any 
plan  of  reorganization  submitted  by  Loew's, 
RKO  or  Mr.  Fabian. 

Mr.  Kresel  said  Mr.  Fabian  "was  tied  up 
with  Max  Horwitz,"  a  member  of  the  Fox 
Metropolitan  bondholders'  committee  and  a 
partner  in  Hallgarten  &  Company,  and  had 
developed  trading  in  securities  of  Fox  Met- 
ropolitan by  members  of  the  bondholders' 
committee  during  his  service  as  advisor 
to  the  Fox  Metropolitan  receiver.  William 
M.  Greve,  of  the  bondholders'  committee, 
also  traded  in  the  securities. 

In  disclosing  the  securities  trading 
among  Mr.  Fabian,  Mr.  Horwitz  and 
Mr.  Greve,  Mr.  Kresel  placed  critics  of 
the  Schenck-Fox  Theatres  plan  on  the  de- 
fensive rather  than,  as  had  been  antici- 
pated, being  himself  placed  in  the  posi- 
tion of  defending  that  plan  against  pro- 
ponents of  the  Fabian  plan. 

It  was  revealed  that  Mr.  Horwitz  had  bought 
$44,000  face  amount  of  Fox  Metropolitan  notes 
at  prices  ranging  from  $6.25  to  $11.75,  from 
March  to  October,  1932,  and  later  had  sold 
$31,000  face  amount  of  notes  at  $13.25  and 
$10,000  face  amount  at  $21.75,  for  a  profit  of 
$2,768.  Mr.  Horwitz  retained  $3,000  face 
amount  of  the  notes.  The  trading  was  done 
through  Hallgarten  &  Company  in  Mr.  Hor- 
witz's  own  name. 

Joint  Trading  Account  Revealed 

Another  Hallgarten  account,  known  simply 
as  "No  158,"  was  identified  by  Frederick  Pizor, 
a  Hallgarten  partner  and  former  head  of  the 
company's  statistical  department,  as  a  joint  ac- 
count maintained  by  Mr.  Fabian,  Air.  Greve  and 
Hallgarten  &  Company  for  trading  in  Fox 
Metropolitan  notes,  this  account  buying  a  total 


:   $358,000   face  amount   of  the  notes,  with 
each  of  the  three  principals  participating  equally 
with  $119,500  face  amount  of  notes. 

Mr.  Horwitz,  questioned  by  Mr.  Kresel  on 
the  witness  stand,  said  that  when  the  joint  ac- 
count was  opened  Mr.  Fabian  was  "the  highest 
paid  employee  in  the  Fox  Metropolitan  re- 
ceivership," drawing  $1,000  a  week,  and  that 
he  had  access  to  all  of  the  company's  books  and 
records.  Mr.  Horwitz  said  he  had  traded  in 
securities  of  Fox  Metropolitan  because  he  "be- 
lieved in  the  future  of  Fox  Metropolitan  and, 
consequently,  bought  at  prices  ranging  from 
$6  to  $16"  Fox  Metropolitan  notes  that  his 
company,  Hallgarten,  "had  originally  sold  to 
the  public  at  $100." 

Judge  Mack  said  that  all  records  pertaining 
to  trading  in  the  Fox  Metropolitan  notes  and  to 
the  activities  of  the  bondholders'  committee  were 
"of  very  vital  concern  and  would  be  open  to 
the  fullest  investigation."  Mr.  Fabian  was  ex- 
cused from  taking  the  stand. 

Rinzler  Recalled  to  Testify 

Sam  Rinzler,  one  of  the  circuit's  operators, 
was  recalled  to  the  stand  to  give  additional 
testimony  as  to  operating  costs  and  charges. 

George  Skouras,  another  of  the  circuit's 
operators,  testified  that  while  grosses  for 
the  houses  operated  by  him  for  Fox 
Metropolitan  had  declined  from  $8,086,000 
in  1932  to  $6,300,000  last  year,  they  had 
been  able  to  show  an  average  profit  of 
about  $25,000  annually  since  assuming 
operation  in  1931.  Mr.  Skouras  said  that 
Fox  Metropolitan  "could  not  survive  with- 
out the  Fox  Film  franchise,"  a  view  up- 
held by  Mr.  Rinzler.  The  Fabian  proposal 
would  do  away  with  the  franchise. 

Under  questioning  by  Mr.  Kresel,  Monday, 
Mr  Greve  said  he  had  bought  and  sold  about 
$280,000  of  the  per  cent  bonds.  He  said  he 
had  opened  a  trading  account  through  Isaac 
Roshalskyj  an  investor,  in  which  he  bought 
$170,000  of  the  bonds.  He  added  that  he  also 
bought  $10,000  of  the  bonds  for  his  brother, 
John  W.  Greve ;  $18,000  for  a  friend,  Joseph  W. 
Brown,  and  $50,000  through  a  corporation  he 
controlled. 

Mr.  Skouras  on  Monday  testified  that  Mr. 
Schenck  had  offered  a  block  of  stock  in  the 
new  Fox  Metropolitan  company  proposed  un- 
der the  plan  to  Skouras  Brothers.  Mr.  Skouras 
said  the  proposal  had  been  discussed  by  Mr. 
Schenck,  his  brother,  Spyros  Skouras,  and  the 
late  Richard  Hoyt  of  Hayden,  Stone  &  Com- 
pany, but  had  not  been  resumed  since  the  re- 
cent death  of  Mr.  Hoyt. 

Mr.  Kent  testified  that  he  considered  the  Fox 
Metropolitan  film  deal  a  poor  one  for  Fox  Film 
from  a  financial  standpoint,  that  he  regarded 
the  Skouras  and'  Randforce  operation  in  a  favor- 
able light,  and  that  Fox  Film  would  endeavor 
to  cancel  the  product  franchise  if  Loew's,  RKO 
or  the  Fabian  interests  became  operators. 

Mr.  Kent's  expression  was  the  most  favorable 
to  date  for  the  Schenck-Weisman  bid  for  reor- 
ganization. He  pointed  out  that  Mr.  Schenck 
had  no  conflicting  theatre  interests  which  might 
receive  preferential  treatment  to  the  detriment 
of  Fox  Metropolitan.  He  said  he  considered 
RKO  a  good  operator  "as  far  as  its  own  proper- 
ties were  concerned,"  but  that  he  "would  want 
to  be  out  of  Fo.x  Metropolitan  if  RKO  came  in." 
Fabian  he  called  "a  good,  average  operator,  but 
for  these  properties  not  as  good  as  the  present 
operators." 

Mr.  Kent  testified'  that  he  had  refused  to 


agree  to  assign  the  Fox  film  franchise  to  any 
of  the  sponsors  of  the  reorganization  plans. 

Sees  Value  In  Schenck  Association 

He  testified  that  Fox  Film  had  told  the  Fox 
Metropolitan  bondholders'  committee,  which 
drafted  a  reorganization  plan  of  its  own  last 
fall,  that  Fox  Film  would  not  agree  to  an  as- 
signment of  the  franchise  unless  it  was  given 
the  right  to  approve  any  proposed  new  operator 
of  Fox  Metropolitan. 

Mr.  Kent  also  testified  that  he  believed  Mr. 
Schenck's  association  with  the  new  company  to 
be  "of  tremendous  value"  to  it.  "Moreover,  his 
position  in  the  industry  makes  him  a  person  who 
must  be  listened  to  and  his  acquaintances  include 
every  one  in  the  ind'ustry  who  must  be  bargained 
with  in  the  operation  of  Fox  Metropolitan." 

Mr.  Kent  was  followed  on  the  stand  by 
William  Greve,  member  of  the  Fox  Metropoli- 
tan bondholders'  committee,  whose  trading  in 
the  notes  of  the  company  was  disclosed  at  earlier 
hearings.  It  was  also  disclosed  that  Mr.  Greve's 
Prudence  Company  had  financed  Fabian's  the- 
atre acquisitions  at  Albany,  Schenectady  and 
Syracuse,  and  that  Greve,  as  a  trustee  of  Allied 
Owners  Corporation,  had  voted  in  favor  of  the 
sale  of  the  Brooklyn  Paramount  Building  to 
Fabian  recently.  Mr.  Greve  denied,  however, 
that  he  favored  the  Fabian  reorganization  pro- 
posal. 

When  Fox  Metropolitan  is  removed  from 
bankruptcy,  or  shortly  thereafter,  plans  will  be 
filed  for  reorganizing  Fox  Theatres'  units  in 
Detroit,  San  Francisco  and  St.  Louis  under 
Section  77-B  of  the  bankruptcy  laws,  Mr.  Weis- 
man said  last  week.  Such  a  plan  now  is  being 
formulated  and  is  expected  to  be  filed  in  federal 
court,  New  York,  in  about  a  fortnight,  Mr. 
Weisman  said. 

In  Kansas  City  this  week,  sale  of  Fox  Rocky 
Mountain  and  Fox  Midland  to  National  Thea- 
tres in  bankruptcy  court  for  total  bids  of 
$1,580,000,  plus  unpaid  expenses  of  the  bank- 
ruptcy administration,  estimated  at  $70,000,  was 
halted  by  an  unexpected  suit  filed  by  General 
Theatres  Equipment  bondholders,  who  obtained 
an  order  from  Federal  Judge  Albert  L.  Reeves 
enjoining  proceedings. 

Lee  H.  Hamlin,  Jacob  Smith  and'  William 
Snowier,  all  of  Kansas  City,  filed  the  petition 
setting  forth  they  hold  General  Theatres  deben- 
tures aggregating  $89,000  and  attacking  the 
scheduled  sale  of  the  theatres  as  one  of  a  series 
of  manipulations  by  the  Chase  Bank  to  gain 
control  of  Wesco  and  its  subsidiaries  to  the  ex- 
clusion of  General  Theatres  bondholders. 

The  court  set  a  hearing  Thursday  on  National 
Theatres'  offer  of  $1,580,000. 


H.  M.  Warner  Sees 
Better  Conditions 

A  very  real  improvement  in  general  con- 
ditions is  being  reflected  in  increased  at- 
tendance, H.  M.  Warner,  president  of  War- 
ner Bros.,  said  Wednesday. 

"On  the  strength  of  the  greatly  improved 
business  conditions  of  the  past  few  months 
we  are  reopening  the  Warner  theatre  in 
New  York  which  has  been  closed  for  about 
two  years  and  it  is  probable  we  shall  reopen 
the  Hollywood  very  shortly,"  Mr.  Warner 
said. 

The  Warner,  the  theatre  in  which  "The 
Jazz  Singer"  began  the  era  of  talking  pic- 
tures, will  reopen  May  2  with  "G  Men." 

Residents  Rebel 
On  Theatre  Plans 

Residents  of  East  79th  Street  in  New 
York's  East  Side  residential  district  this 
week  appeared  before  Commissioner  of 
Licenses  Paul  Moss  to  protest  against  the 
application  of  Henry  ]\Iandel  to  operate  a 
motion  picture  theatre  on  the  southeast  cor- 
ner of  Madison  Avenue  and  East  79th  St. 


April    27.  1935 


MOTION    PICTURE  HERALD 


15 


OP 


THE  CAMERA  REPORTS 


THE  LIVING  RECORD.  Of  the  Byrd  expedition  to 
Antarctica.  Shown  examining  some  of  the  130,000 
feet  of  pictures  brought  to  Hollywood  are  John 
L.  Herrmann,  Paramount  cameraman,  who  took 
them;  Ernst  Lubitsch,  who  will  edit  them;  and  Carl 
O.  Petersen,  radio  expert. 


FESTIVE  FUN.  Strange  Interlude  at 
V\/arners'  party  for  Al  Jolson  in  New 
York,  celebrating  impending  premiere 
of  his  "Go  Into  Your  Dance."  Princi- 
pals: Messrs.  Jolson,  E.  Cantor  and  J. 
Durante.  Ringside  spectator:  Mr. 
Sam  Morris,  Warner  executive. 


AT  NEW  YORK  RECEPTION.  In  honor  of  Darryl  Zanuck,  vice  president  of  20th  Century 
In  charge  of  production,  and  also  celebrating  the  second  birthday  anniversary  of  that  com- 
pany. From  left  to  right:  Joseph  Schenck,  president  of  20th  Century;  Mr.  Zanuck;  W.  G. 
Van  Schmus,  managing  director  of  Radio  City  Music  Hall;  Nate  Spingold,  Columbia  ex- 
ecutive- and  Jack  Cohn,  treasurer  of  Columbia.    (Story  on  page  28.) 


CHOSEN.  From  10,000  entrants  In 
New  York  area  in  screen  talent  hunt  con- 
ducted by  Loew's  and  MGM.  She  is 
Anita  Kurtin,  shown  as  she  began  her 
trip  to  Hollywood. 


16 


MOTION    PICTURE  HERALD 


April    27,  1935 


ACTRESS.  Cinema  kind.  Amid  the  myriad 
gadgets  of  narration's  modern  technique. 
Portrayed  In  an  extemporaneous  camera 
study  of  Bette  Davis,  a  leading  Warner  player. 


TO  MAKE  SERIES.  (Below)  Jerry  Fairbanks, 
with  two  of  his  aids,  Miss  Gladys  McVey  Lit- 
tle and  William  B.  Meier,  at  the  Bausch  & 
Lomb  Optical  Company  plant  in  Rochester, 
N.  Y.,  where  he  will  film  sequences  for  a  new 
group  of  popular  science  pictures  In  co-opera- 
tion with  the  laboratories  of  the  Bausch  & 
Lomb  Company. 


REMINDER.  Of  May  12.  Don't  know? 
Hence  this  reminder  of  Mother's  Day  which 
Universal  has  pleasantly  contrived  with  Mar- 
garet Mann,  famous  among  screen  mothers, 
as  your  favorite  heroine  and  three  Universal 
stock  players — Mary  Wallace,  Phyllis  Brooks 
and  Clark  Williams — as  two  daughters  and  a 
son  come  home,  remembering. 


LONG  IN  FILM  FIELD.  (Left)  Ray  Gallagher, 
member  of  Herald's  advertising  staff,  who  has 
completed  25  years  In  film  business.  He 
joined  Vltagraph  In  1910. 


DIRECTOR.  With  appropriate  symbollzatlon 
of  the  crafts  which  have  made  his  art,  a  new 
portrait  of  Frank  Borzage,  Warner  director. 
"Stranded"  is  his  current  production.  It  co- 
stars  Kay  Francis  and  George  Brent. 


April    27,  1935 


MOTION    PICTURE  HERALD 


17 


18,000  FILM  CANCELLATIONS  UNDER 
10%  CLAUSE  CITED  AS  CODE  BENEFIT 


Rosenblatt  and  Johnson  Answer 
Myers  Before  Senate  Com- 
mittee; Point  to  Aid  Given 
independents  by  the  Boards 

by  FRANCIS  L  BURT 

Washington  Bureau  of  the  Herald 

Charges  made  two  weeks  ago  by  repre- 
sentatives of  independent  exhibitors  before 
the  Senate  finance  committee  at  Washing- 
ton that  the  motion  picture  code  was  operat- 
ing adversely  to  the  independent  theatre  has 
brought  down  upon  the  critics  the  wrath  of 
the  code's  two  staunchest  defenders — Hugh 
S.  Johnson,  former  Recovery  Administra- 
tor, and  Sol  A.  Rosenblatt,  compliance 
director,  who  cited  as  one  benefit  18,000 
cancellation  of  pictures  under  the  code's  10 
per  cent  cancellation  clause. 

Answers  Myers'  Attack 

Appearing  before  the  Senate  committee  as 
it  concluded  its  hearings  on  the  NRA,  Gen- 
eral Johnson  denominated  the  code  a  "real 
experiment  in  industrial  self-government." 
Mr.  Rosenblatt's  defense  was  contained  in  a 
brief  in  which  he  answered  individually  the 
charges  made  at  the  hearing  by  Abram  F. 
Myers,  general  counsel  of  Allied  States 
Association  of  Motion  Picture  Exhibitors, 
and  Melvin  Albert,  of  the  Independent  The- 
atre Owners  Association  of  New  York. 

Both  Mr.  Johnson  and  Mr.  Rosenblatt 
emphasized  the  fact  that  9,116  exhibitors 
have  signed  the  code  and  340  others  have 
taken  its  benefits  without  signing,  out  of 
their  estimated  total  of  10,143  houses  in 
operation,  as  evidence  in  support  of  their 
contention  that  there  is  little  antagonism 
in  the  exhibition  branch. 

Need  for  revision  of  the  code  was  admitted  by 
General  Johnson,  who  told  the  committee,  how- 
ever, of  his  understanding  that  changes  would 
be  considered  as  soon  as  the  legislation  extend- 
ing the  Recovery  Act  was  adopted.  Mr.  Rosen- 
blatt, along  the  same  line,  challenged  Mr. 
Myers'  statement  that  revision  can  be  obtained 
only  through  the  Code  Authority.  He  submitted 
copies  of  NRA  office  orders  to  show  that  an 
individual  interested  in  a  code  may  suggest 
changes. 

"When  a  Code  Authority  composed  of  such 
divergent  elements  as  this  one,  with  the  inter- 
ests of  affiliated  and  independent,  big  and  small 
producers,  distributors  and  exhibitors,  buyers 
and  sellers,  can  cast  approximately  94  per  cent 
of  its  votes  on  a  divergent  subject  unanimously, 
I  should  say  that  the  code  had  worked  pretty 
well."  General  Johnson  asserted,  reading  from 
an  88-page  statement. 

1,019  Decisions  Unanimous 

Mr.  Rosenblatt  declared  that  of  a  total  of 
1,091  votes  taken  by  the  Authority  since  it  was 
created  in  December,  1933,  to  the  end  of  this 
February,  1,019  decisions  were  unanimous.  "Of 
the  total  votes  cast,  93.9  per  cent  were  unani- 
mous ;  that  is,  by  the  action  of  all  the  members 
of  the  Code  Authority,  including  those  desig- 
nated by  Mr.  Myers  as  representative  of  the 
independent  exhibitor's  interest." 

The  motion  picture  code,  General  Johnson 


told  the  committee,  was  one  of  the  most  difficult 
to  work  out  which  the  NRA  encountered. 

"There  has  never  been  a  representative  trade 
association  embracing  the  three  economic  divi- 
sions of  this  industry,"  he  said.  "It  would  have 
been  a  comparatively  easy  thing  for  NRA  to 
have  secured  a  separate  code  for  producers,  a 
separate  code  for  distributors  and  a  separate 
code  for  exhibitors.  But  under  three  codes, 
NRA  could  never  have  given  even  the  slightest 
bit  of  relief  to  the  independent  exhibitors." 

Because  the  three  branches  were  thus  tied 
together  under  one  agreement,  he  said,  the  ex- 
hibitors "have  been  given  rights  and  privileges 
which  they  never  could  have  achieved  except 
by  a  change  in  our  copyright  laws  or  by  a  sta- 
tute regulating  the  transportation  of  film  in  in- 
terstate commerce." 

Neither  the  film  code  nor  any  other  was 
written  by  "Big  Business,"  General  Johnson 
said. 

As  evidence  of  the  aids  granted  small 
business  men  by  the  film  code,  he  declared 
that  approximately  18,000  cancellations 
have  thus  far  been  made  under  this  provi- 
sion. The  clearance  provisions,  and  the  pro- 
hibition against  overbuying  films,  he  said, 
afforded  the  independent  exhibitor  relief 
"which  he  could  not  have  secured  in  any 
court  in  the  land  or  under  any  statutes 
written  in  any  of  the  statute  books." 

Both  pointed  out  that  every  labor  organization 
in  the  industry  signed  the  code,  thus  replying 
to  charges  by  Mr.  Albert  that  labor  was  an- 
tagonistic. 

Mr.  Johnson  called  the  Darrow  Board  a 
"political  wailing  wall."  Mr.  Rosenblatt  chal- 
lenged statements  by  Lowell  Mason,  who  had 
been  the  board's  counsel,  that  the  standard  con- 
tract form  is  in  violation  of  the  Paramount  de- 
cision of  the  supreme  court,  and  asserted  that 
the  only  criticism  was  that  it  is  not  strict 
enough  in  compelling  the  exclusive  use  of  the 
standard  form. 

"The  Darrow  board,"  General  Johnson 
charged,  "recommended  Communism." 

"There  was  not  one  fair  hearing  before  it," 
he  complained.  "They  disregarded  NIRA, 
packed  the  record  with  framed  testimony,  dis- 
regarded every  judicial  rule  of  fairness  known 
to  man,  solicited  and  accepted  unsupported  state- 
ments, restricted  or  ignored  testimony  unfavor- 
able to  their  purposes,  hazed  witnesses  on  that 
side,  insulted  NRA  officials,  and  for  this  spent 
$50,000  of  government  money." 

The  former  NRA  head  emphasized  the  volun- 
tary character  of  the  financing  of  the  code. 

Denies  Burkan  Drafted  Code 

Nathan  Burkan  had  no  more  to  do  with  the 
drafting  of  the  final  code  "than  did  any  of  the 
pages  of  the  Senate,"  Mr.  Rosenblatt  said.  "Mr. 
Myers'  statement  that  the  code  was  signed  in 
secret  is  not  correct." 

"The  Myers  statement  that  it  is  impossible 
for  exhibitors  to  get  relief  before  the  code 
boards  is  not  borne  out  by  the  facts,"  he  de- 
clared. "Relief  has  been  granted  to  exhibitors 
in  75  per  cent  of  cases  tried.  Out  of  1,020  cases 
tried  by  local  grievance  boards,  771  cases 
brought  relief  to  exhibitors.  In  only  24  per 
cent  of  cases,  or  in  237  complaints,  was  relief 
denied.  In  205  of  the  cases  appeal  was  taken 
to  the  Code  Authority  and  in  85  per  cent  of  the 
appeals  the  local  board  was  sustained ;  in  30 
cases,  or  15  per  cent,  the  local  board's  decision 
was  reversed. 

"Until  the  code  was  achieved  there  was  no 
such  thing  as  relief  for  clearance  and  zoning 


Agree  That  Code  Needs  Revi- 
sion; Deny  "Big  Business" 
Wrote  Code,  Declare  All 
Labor  Units  Signed  Measure 

problems  generally.  The  clearance  and  zoning 
boards  are  in  operation  to  pass  wholly  upon 
those  questions.  In  the  first  289  cases  brought 
to  these  boards,  relief  has  been  granted  to  172 
exhibitors,  59  per  cent  of  the  complaints  filed. 
Appeals  were  taken  to  the  Code  Authority  in 
78  of  these  cases.  Eighteen  per  cent  of  the  ap- 
peals heard  were  reversed  and  sent  back  to  the 
zoning  boards;  judgment  was  affirmed  in  82  per 
ce.nt  of  the  appeals." 

"Mr.  Albert  stated  that  the  code  provides 
'that  no  exhibitor  may  complain  that  a  dis- 
tributor has  given  advantage  to  a  theatre  oper- 
ated by  a  distributor.'  There  is  a  fair  sample 
of  the  worth  of  Mr.  Albert's  testimony,"  said 
Mr.  Rosenblatt.  "The  code  provides  nothing  of 
the  kind  and  such  is  not  the  fact. 

"The  code  does  provide  that  a  local  griev- 
ance board  shall  not  have  jurisdiction  to  hear 
any  complaint  based  upon  the  fact  that  a  distri- 
butor has  licensed  the  motion  pictures  distri- 
buted by  it  for  exhibition  at  its  own  theatres." 

Other  Code  Developments 

The  industry  was  unconcerned  over  the  ap- 
parent jeopardizing  of  the  NRA  itself,  when 
in  Washington  12  of  the  21  members  of  the 
Senate  finance  committee  were  said  to  be  op- 
posed to  extension  of  the  act,  and  Administra- 
tion opponents  appeared  to  have  gained  a  posi- 
tion to  block  continuance. 

On  the  other  hand,  possibilities  that  the  film 
code  might  be  stripped  of  provisions  applicable 
to  producers  and  exhibitors  and  left  with 
clauses  only  involving  distribution  were  seen 
by  Washington  observers  as  a  result  of  the 
Denver  decision  holding  exhibition  to  be  intra- 
state comrnerce. 

Mr.  Rosenblatt  now  has  a  salary  of  about 
$8,000,  it  was  shown  in  the  official  register  of 
the  Civil  Service  Commission  at  Washington. 
He  is  the  tenth  highest  paid  man  in  the  Recov- 
ery Administration. 

The  motion  picture  Code  Authority  spent 
$24,252  in  March,  leaving  a  balance  of  $23,571. 
Receipts  included  $6,333  from  exhibitors,  $350 
from  producers  and  distributors,  and  $243  from 
other  sources. 

Code  Involved  in  Two  Suits 

Judge  Charles  Dewey,  in  United  States  dis- 
trict court,  Des  Moines,  denied  a  petition 
brought  by  Central  States  Theatres  against  the 
Des  Moines  Grievance  Board,  to  restrain  from 
enforcing  a  cease  and  desist  order  issued  by 
the  board  asking  exchanges  to  cut  off  his  film 
supply  for  a  code  violation. 

Decision  in  the  case  of  the  Liberty  theatre, 
Fort  Worth,  Texas,  attacking  the  film  code's 
validity,  was  withheld  by  federal  judge  James 
Wilson,  who  instructed  attorneys  to  file  briefs 
within  10  days. 

The  legal  committee  of  the  Code  Authority 
was  studying  the  growing  practice  of  exhibit- 
ing pictures  in  colleges,  to  determine  whether 
it  is  unfair  competition  to  regular  theatres. 

Ohio  industrial  codes,  provided  for  under  the 
Recovery  Act,  are  unconstitutional  and  invalid. 
Judge  Stanley  Struble  ruled'  in  common  pleas 
court  in  Cincinnati. 


Byron  Douglas  Dies 

Byron  Douglas,  veteran  actor,  died  in 
New  York  on  Sunday  at  the  Beekman 
Street  Hospital.  He  was  70  years  old. 


18 


MOTION    PICTURE  HERALD 


April    27,  1935 


Reorganization  of 
Pathe  to  Proceed 
On  Original  Plan 

The  financial  reorganization  and  general 
program  of  Pathe  Exchange,  Inc.,  disturbed 
last  week  by  the  unexpected  resignation  of 
Stuart  W.  Webb  as  president  and  director 
of  the  organization,  this  week  reached  equi- 
librium. 

Among  other  things  of  importance  to 
Pathe's  future,  it  was  said  by  Frank  F. 
Kolbe,  the  new  Pathe  president,  that  the  re- 
organization as  planned  by  Mr.  Webb  and 
the  directorate  would  unquestionably  go 
through  as  contemplated.  There  are,  how- 
ever, several  matters  which  must  be  straight- 
ened out  by  the  new  executive  and  directors 
of  the  company,  foremost  of  which  is  the 
matter  of  financing  for  First  Division  and 
other  independent  producers. 

To  date  there  has  been  no  policy  with  re- 
spect to  such  financing  adopted  by  Mr.  Kolbe 
and  his  officers,  and  with  special  regard  to  the 
financing  of  First  Division  it  is  pointed  out  that 
until  that  company  has  decided  among  its  own 
directors  upon  specific  plans  for  the  next  season 
Pathe  cannot  act. 

Deny  Laboratory  Sale  Report 

Reports  this  week  that  Consolidated  Film  In- 
dustries, Herbert  J.  Yates,  president,  was  ne- 
gotiating for  the  Pathe  laboratory  at  Bound 
Brook,  N.  J.,  were  flatly  denied  Wednesday  by 
Arthur  B.  Poole,  Pathe  vice-president  under 
the  Webb  regime  and  also  under  the  new  ar- 
rangement. 

The  new  official  setup  of  Pathe  Exchange, 
Inc. — which  will  in  all  probability  change  its 
name  to  Pathe,  Inc.,  dropping  "Exchange" — is 
Frank  J.  Kolbe,  a  partner  in  Young  &  Kolbe, 
investment  brokers,  president ;  Robert  W.  At- 
kins, of  Proctor  and  Paine,  also  investment 
brokers,  executive  vice-president,  a  new  post ; 
Arthur  A.  Poole,  vice-president  and  treasurer ; 
Ellen  U.  Keough,  secretary. 

In  the  background  as  an  important  financial 
figure  is  Robert  Young,  Mr.  Kolbe's  partner, 
who  has  had  much  to  do  with  the  financial 
policies  of  Pathe.  Mr.  Young  was  educated  at 
Culver  Military  Academy  and  the  University 
of  Virginia.  He  was  associated  for  a  number 
of  years  with  the  E.  I.  DuPont  de  Nemours 
Co.,  later  going  to  the  Allied  Chemicals  Com- 
pany in  an  executive  capacity,  then  joining 
General  Motors.  In  1932,  with  Mr.  Kolbe,  he 
organized  Young  &  Kolbe. 

Frank  F.  Kolbe  attended  the  University  of 
Michigan.  Following  his  graduation  he  became 
an  instructor  in  accounting,  economics  and 
financing  and  at  the  outbreak  of  the  War  joined 
the  War  Credits  Board.  When  the  United 
States  entered  the  War,  Mr.  Kolbe  was  trans- 
ferred to  student  training  camps,  where  he 
served  from  1918  to  1919.  From  1919  to  1928 
he  was  assistant  treasurer  of  General  Motors 
and  in  1932  he  and  Mr.  Young  went  into  the  in- 
vestment business  together. 

First  Division  to  Discuss  Program 

Robert  W.  Atkins,  the  new  Pathe  executive 
vice-president,  is  a  native  Bostonian.  He  en- 
tered his  father's  sugar  business,  E.  Atkins  & 
Son,  after  graduation  from  Harvard.  Later  he 
formed  the  Punta  AUegra  Sugar  Co.,  and  sub- 
sequently was  associated  with  Hayden,  Stone  & 
Co.,  bankers,  and  finally  with  his  present  firm. 
Proctor  &  Paine,  investment  brokers. 

The  regular  monthly  meeting  of  Pathe's 
directorate  was  held  on  Tuesday  in  New  York, 
and  was  described  as  routine. 

The  board  of  directors  includes  Mr.  Atkins, 


Mr.  Kolbe,  Paul  Fuller,  Jr.,  of  Coudert  Bros. ; 
Henry  J.  Guild,  Brightwater  Paper  Co. ;  EUery 
W.  Mann,  Zonite  Products,  Inc. ;  George  S. 
Montgomery,  Jr.,  Coudert  Bros. ;  Arthur  B. 
Poole,  Pathe  Exchange ;  Arthur  Sewall,  2nd, 
McClave  &  Co. ;  Charles  A.  Stone,  Chas.  A. 
Stone  &  Co. ;  Theodore  C.  Streibert,  Station 
WOR;  Charles  B.  Wiggin,  Pearl  Assurance 
Co.,  Ltd. ;  Arthur  W.  Miller,  manager  Pathe 
Laboratory  at  Bound  Brook. 

First  Division  Productions  will  begin  discus- 
sions of  production  plans  next  week.  Nicholas 
S.  Ludington,  president,  who  has  been  in  New 
York  for  the  past  three  weeks,  planned  to  leave 
New  York  on  Friday  by  plane  for  the  Coast 
and  to  return  next  week.  He  and  the  First 
Division  Board,  including  John  A.  Curtis,  Wil- 
liam M.  L.  Fiske,  III,  will  then  decide  on  the 
new  season  program.  Dario  Faralla  last  week 
resigned  as  a  director  and  treasurer  of  First 
Division  Exchanges. 


Plans  Set  for  Annual 
Fund  Drive  of  N.V.A. 

Named  general  chairman  of  the  First 
Annual  Actors  Day  Benefit  for  the  N.V.A. 
Fund,  Major  Leslie  E.  Thompson,  RKO 
Theatres  executive,  has  selected  committees 
and  sponsoring  groups  to  aid  the  drive.  The 
fund  requires  $250,000  annually.  This  year 
donations  will  not  be  requested  from  theatre 
audiences,  as  in  the  past,  but  midnight  bene- 
fit stage  shows  will  be  given  in  key  cities. 
Distributors'  representatives  met  with  Major 
Thompson  this  week  to  map  plans  for  co- 
operation. 

National  Screen  Service  will  handle  dis- 
tribution of  a  trailer  which  is  being  made 
gratis  by  Eddie  Cantor,  and  which  will  be 
shown  in  about  4,000  theatres.  The  benefit 
performances  will  be  held  on  May  20,  10 
per  cent  of  the  gross  going  to  the  N.V.A. 
Radio  stars  will  urge  attendance. 

Coast  Publicity 
Staffs  Changed 

Publicity  departments  of  several  Holly- 
wood studios  this  week  had  changes  in  per- 
sonnel. At  Paramount,  Bill  Thomas  becomes 
executive  assistant  to  Bill  Pine,  now  studio 
advertising  and  publicity  director,  with  Tom 
Baily  retaining  the  title  of  publicity  man- 
ager. Mr.  Pine's  department  will  handle 
publicity  for  Walter  Wangle  Productions. 

Herbert  Moulton  was  appointed  Para- 
mount studio  advertising  head,  Mr.  Pine's 
former  post. 

Jeanette  Rex  on  Tuesday  resigned  as  pub- 
licity director  for  Sol  Lesser.  Her  suc- 
cessor was  not  named. 


Plans  New  Session 
on  Newsreel  Hours 

Deputy  Administrator  William  P.  Farns- 
worth  will  confer  with  newsreel  executives 
within  the  next  week  to  discuss  further  the 
working  schedules  for  newsreel  cameramen. 

Mr.  Farnsworth  already  has  held  meetings 
with  Lou  Krouse  of  the  lATSE,  O.  V.  Rich- 
ards of  the  local  news  cameramen's  union 
and  others  in  an  attempt  to  effect  an  equita- 
ble plan  whereby  working  hours  will  be 
definitely  outlined  under  the  code. 


"Time"  Drops  Bit  on  Long 

The  sequence  in  the  current  "March  of 
Time"  release  which  concerns  Huey  Long, 
Louisiana  Senator,  has  been  deleted  in  New 
Orleans.  The  unofficial  reason  for  the  dele- 
tion was  the  influence  wielded  by  Long. 


Roosevelt  Names 
IV dker  to  Head 
Relief  Projects 

Frank  C.  Walker  on  Tuesday  was  named 
by  President  Roosevelt  as  head  of  the  Ad- 
ministration's new  $4,800,000,000  campaign 
to  end  unemployment. 

Mr.  Walker,  who  is  widely  known  in  mo- 
tion pictures  through  his  association  with 
his  uncle,  M.  E.  Comerford,  in  the  operation 
of  the  Comerford  theatre  circuit,  also  re- 
placed Donald  R.  Richberg  as  director  of 
the  National  Emergency  Council.  Mr.  Rich- 
berg will  concentrate  on  the  NRA. 

President  Roosevelt  placed  Mr.  Walker 
in  charge  of  a  new  agency,  the  Division  of 
Applications  and  Information,  which  will 
pass  on  the  merit  of  all  work  projects  to  be 
sponsored  by  the  Administration  to  alleviate 
unemployment. 

Press  dispatches  from  Washington  said 
that  Mr.  Walker,  as  head  of  the  new  di- 
vision, will  virtually  be  "czar"  of  the  huge 
work  relief  fund,  inasmuch  as  only  those 
projects  that  he  approves  will  be  passed  on 
to  the  Allotment  Board,  of  which  Mr. 
Roosevelt  is  chairman. 

Mr.  Walker,  a  close  friend  of  the  Presi- 
dent and  his  adviser  during  the  campaign  of 
1932,  was  treasurer  of  the  Democratic  Na- 
tional Committee.  He  served  for  a  time 
previously  as  director  of  the  Emergency 
Council,  established  by  Mr.  Roosevelt  after 
his  inauguration. 

Born  at  Plymouth,  Pa.,  and  matriculating 
at  Spokane  University  and  Notre  Dame,  Mr. 
Walker  served  as  district  attorney  at  Butte, 
Mont.,  where  he  also  practiced  law  with  his 
brother,  Senator  T.  J.  Walker.  He  has  been 
associated  with  the  Comerford  theatre  in- 
terests since  1924. 

Golding  Joins  Fabian, 
RKO  Shifts  Managers 

Lou  Golding  has  resigned  as  manager  of 
Proctor's,  RKO  Newark  house,  to  become 
division  manager  for  Si  Fabian,  handling 
operation  of  upstate  New  York  houses  re- 
cently acquired  by  the  independent  circuit 
operator.  RKO,  as  a  result,  has  shifted  sev- 
eral managers.  Robert  Ungerfeld  has  moved 
from  the  Franklin,  Bronx,  to  Proctor's, 
with  Mike  Edelstein  succeeding  to  the  man- 
agement of  the  Franklin.  Murray  Lafa- 
yette has  been  transferred  from  the  Alham- 
bra  to  the  Apollo,  formerly  in  charge  of  Mr. 
Edelstein  and  Frank  Howard  has  been  made 
manager  of  the  Alhambra. 

Goldnnan  Circuit  Gains 
In  Pennsylvania  Area 

William  Goldman,  former  zone  manager 
for  Warner  Theatres  in  eastern  Pennsyl- 
vania, is  taking  an  increasingly  important 
place  in  exhibition  in  that  territory.  With 
six  houses  set  for  his  new  circuit  and  four 
others  planned,  Mr.  Goldman  has  become  a 
competitor  of  Stanley  Warner,  which  dom- 
inates the  area.  He  has  taken  over  the 
Strand  and  Victor  in  Pottstown  from  War- 
ner. Operating  the  Hippodrome  there,  he  has 
control  of  that  city.  With  four  theatres  in 
Philadelphia,  Mr.  Goldman  plans  to  enter 
the  Pittsburgh  territory. 


A  WOMAN  all  women 
will  want  to  see  •  .  •  • 

—a  Dietrich  who  will  prove  a  revelation  to  the  fans.   Fascinating  . , 
vivid  ...  a  Dietrich  ever-to-be-remembered.   Women  will  thrill  at  her 
story,  her  role,  her  acting,  her  gorgeous  costumes.  Here's  what  mold- 
ers  of  public  opinion  say  of  Miss  Dietrich  and  "The  Devil  Is  a  Woman": 

N.Y.  AMERICAN  (Alice  Hughes)  —  "Never  a  more  lavish  fiesta  of  beautiful  clothes. ..fascinations 
no  woman  can  resist." 

SCREENLAND  (Delight  Evans) — "Dietrich  at  her  most  devastating  I  Gorgeous  costumes!  Stun- 
ningly spectacular  .  .  .  excitingly  exotic." 

LILY  DACHE  (Noted  Designer) — "Clothes  perfectly  magnificent ...  Dietrich  superb,  perfectly 
exquisite." 

NEW  YORKER  (Beatrice  Mathieu) — "Her  finest  American  picture  .  .  .  theme  as  moving  as 
'Of  Human  Bondage'." 

VANITY  FAIR  (Helen  Van  Norden)  — "Does  first  real  acting  since  'Morocco'." 

WOMAN'S  WEAR — "Most  elaborately  conceived  costumes  seen  on  the  screen." 

MOTION  PICTURE— "Dietrich  never  more  beautiful." 


I  f 


i  t 


PARAMOUNT  PICTURE 


A  WOMAN  all  men 
will  rave  about  •  •  •  • 

—a  new  Dietrich  to  capture  the  hearts  of  men  and  fire  their  imagina- 
tions! The  siren  of  "Blue  Angel". .  .the  innocent  of  "Song  of  Songs". . . 
the  temptress  of  "Morocco". . .  the  adventuress  of  "Dishonored". .  .  the 
alluring  deceiver  of  "Shanghai  Express"— all  these  go  to  make  up 
the  Dietrich  of  "The  Devil  Is  a  Woman."  More  comments  from  those 
who  influence  mass  opinion: 

KING  FEATURES  (Pare  Lorenz) — "Besi  looking  picture  that  has  come  out  this  year ...  and  the 
best  picture  Marlene  has  had  since  'Morocco'." 

HARPER'S  BAZAAR  (Baron  Huene)— "Marvelous!  Photography  better  than  anything  I  ever  saw." 

MOTION  PICTURE — "Remains  the  most  glamorous  woman  to  invade  the  sense  of  men." 

SCREENLAND — "Not  the  languid  lady  of  previous  pictures ...  but  a  loving,  breathing  woman." 

HOLLYWOOD  MAGAZINE — "Glamor,  allure,  beauty  and  mystery.  No  one  like  her.  Sensitively 
super-feminine." 


MOVIE  CLASSIC  — "Dietrich  never  more  beautiful." 


'Three  loves  have  I, 
the  fools!" 


Come  share  my  lips  and 
I'll  break  your  hearf!" 


'For  every  kiss  /  gave 
you  I  had  a  laugh 
vfiih  another  man!" 


"I  know  twenty  ways  to  say  '/  love 
you' — and  they're  all  alluring  lies!" 


it's  the 


best      show       in  town! 


iMARLElk  DIETRICH 

"THE  DEVIL  IS  A  WOMAN 

LIONEL    ATWILL   •    CESAR  ROMERO 

A  Paramount  Picture  directed  by  JOSEF  VON  STERNBERG 


April    27,  1935 


MOTION    PICTU  RE  HERALD 


23 


Films  Get  Share  of  STAGE  NOW  THREAT  TO 
Australian  Trade    SUNDAY  FILMS  IN  N.  Y. 

By  CLIFF  HOLT 


Sydney  Correspondent 

Taking  the  stock  market  as  a  guide,  the 
motion  picture  business  showed  no  improve- 
ment during  1934;  in  fact,  there  is  a  slight 
reduction  in  combined  share  values  as  com- 
pared with  a  year  ago.  In  January,  1934, 
one  share  in  each  of  the  principal  com- 
panies would  have  cost  £5/17/8.  Today  the 
same  parcel  would  cost  £5/15/9. 

Motion  picture  business  in  this  country 
did  not  break  any  records  during  1934,  but 
in  comparison  with  other  branches  of  com- 
merce, it  got  its  share. 

V 

New  Monogram  Distributor 

Monogram  product  will  go  through  Aus- 
tralia and  New  Zealand  under  the  aegis  of 
Film  Distributors,  Ltd.,  newly  formed  with 
a  capitalization  of  £20,000  ($100,000).  Re- 
lease begins  at  once.  Physical  distribution 
will  be  handled  by  British  Empire  Films, 
which  distributes  the  British  International 
product. 

Film  Distributors,  Ltd.,  has  a  five-year 
franchise  on  the  Monogram  output.  Under 
the  conditions  of  the  franchise  any  or  all 
of  the  first  year's  group,  amounting  to 
about  80,  may  be  rejected  if  considered  un- 
suitable. 

Monogram  promised  to  become  active  on 
the  Australian  market  nearly  twelve  months 
ago,  on  the  arrival  of  Max  Ehrenreich  and 
Al  Aronson  from  New  York.  They  an- 
nounced that  the  capital  of  the  already 
formed  Monogram  Pictures,  Ltd.,  would  be 
increased  £100,000,  and  that  the  company 
would  engage  in  distribution  and  produc- 
tion. Certain  expected  financial  backing 
did  not  materialize,  however,  and  the  foun- 
dations of  the  organization  crumbled.  Mr. 
Aronson  returned  to  New  York,  and  the 
Australian  executives  appointed  by  him  and 
Mr.  Ehrenreich  withdrew. 

Behind  the  new  company  are  Mr.  Ehren- 
reich, who  will  fill  the  capacity  of  managing 
director;  J.  J.  Mulligan,  Harry  L.  Ward 
(secretary),  K.  W.  Asprey  and  Alexis  Al- 
bert. Mr.  Mulligan  is  a  prominent  Sydney 
solicitor.  Mr.  Asprey  is  a  director  of  Gen- 
eral Theatres  Corporation  and  Greater 
TTnion  Theatres :  Alexis  Albert  is  the  son  of 
Frank  Albert,  music  publisher,  real  estate 
owner  and  investor,  and  one  of  Australia's 
wealthiest  men. 

"Stingaree"  Barred 

Although  free  for  exhibition  in  all  other 
states,  RKO  Radio's  "Stingaree"  has  been 
banned  in  N.S.W.  under  the  law  prohibit- 
ing bushranger  stories  on  the  screen.  The 
Commonwealth  censors  approved  the  pic- 
ture, but  despite  protestations  by  the  Motion 
Picture  Distributors  Association  and  Ralph 
Doyle,  chief  of  RKO  here,  the  police  de- 
partment stepped  in  and  cut  RKO  out  of 
about  25  per  cent  of  its  revenue-earning  pos- 
sibilities in  Australia.  Some  time  ago  an 
Australian  bushranger  story — "When  the 
Kellys  Rode" — was  outed  in  New  South 
Wales  though  its  release  in  other  parts  of 
the  Commonwealth  was  permitted. 


Governor  Signs  Bills  for  Legit- 
imate Shows  on  Sabbath; 
Equity    Withholds  Sanction 

Providing  a  serious  competitive  threat  to 
the  established  motion  picture  theatres  of 
New  York  city  and  state,  Governor  Herbert 
H.  Lehman  Tuesday  night  signed  the  two 
bills  sponsored  by  Senator  Julius  S.  Berg 
permitting  dramatic  and  musical  productions 
of  the  legitimate  theatre  to  be  performed  on 
Sundays  where  permitted  by  local  ordi- 
nances. 

This  is  the  first  time  in  the  history  of 
New  York  state  that  Sunday  showings  of 
legitimate  productions  have  been  per- 
mitted, although  several  attempts  have 
been  made  in  the  past  ten  years,  only  to 
meet  defeat  as  a  result  of  the  strong 
lobbying  by  Actors'  Equity  Association. 

Motion  picture  showings  on  Sundays  have 
been  permitted  for  about  15  years,  a  bill  to  per- 
mit them  and  other  entertainments  and  sports 
on  the  Sabbath  having  been  pushed  through  the 
legislature  by  James  J.  Walker  when  he  was 
at  the  height  of  his  state  senatorial  career. 

Governor  Lehman's  signature  to  the  two 
Berg  bills  does  not  necessarily  mean  that  Sun- 
day shows  in  legitimate  theatres  in  New  York 
and  other  situations  are  now  assured,  because 
Equity  has  not  yet  decided  whether  it  will  per- 
mit its  members  to  work  on  the  Sabbath.  In- 
asmuch as  Equity  has  a  completely  closed  shop 
in  the  legitimate  talent  field,  much  will  depend 
upon  the  vote  of  the  Equity  Council. 

Two  Bills  Are  Amendments 

The  governor's  action,  however,  does  mean 
that  the  legitimate  theatre  is  now  on  a  plane 
of  competitive  equality  with  motion  picture  the- 
atres, vaudeville  and  burlesque,  which  are  per- 
mitted to  function  after  2  P.  M.  Sundays. 

The  two  bills  are  in  the  form  of  amendments 
to  the  penal  and  labor  laws  and  in  signing  them 
the  Governor  issued  a  memorandum  in  which 
he  wrote : 

"Under  the  existing  law  motion  picture  ex- 
hibitions are  allowed  in  any  city,  town  or  vil- 
lage after  2  o'clock  on  Sunday  afternoon  where 
authorized  by  the  legislative  body  of  such  city, 
town  or  village.  Baseball,  football,  hockey,  out- 
door sports,  vaudeville,  vocal  and  musical  en- 
tertainments have  similarly  been  permitted  for 
years." 

Provides  for  Local  Option 

Referring  to  the  measure  amending  the  penal 
law,  Governor  Lehman  wrote : 

"This  bill  amends  the  law  so  as  to  treat  legiti- 
mate theatre  productions  exactly  the  same  as 
motion  picture  exhibitions.  The  bill  contains 
no  mandatory  feature ;  each  community  is  given 
the  power  to  decide  for  itself  whether  there 
shall  be  motion  picture  exhibitions  and  legiti- 
mate theatre  productions  on  Sunday  evenings." 

Governor  Lehman's  memorandum  also  pointed 
out  the  most  important  provision  of  either  of 
the  two  bills,  which  stipulates  that  no  com- 
munity, in  determining  whether  or  not  such  per- 
formances are  to  be  allowed,  can  violate  the 
provisions  of  the  labor  law  requiring  that  em- 
ployees be  given  one  day's  rest  in  every  seven. 

"I  have  simultaneously  approved  another 
measure  which  supplements  this  bill,"  Governor 
Lehman  wrote.  "It  amends  the  labor  law  by 
specifically  providing  that  every  employer  put- 


ting on  legitimate  theatre  productions  shall  give 
all  employees,  including  all  actors  and  per- 
formers in  the  cast,  at  least  24  consecutive  hours 
of  rest  in  each  calendar  week." 

The  bills  point  out  that  in  communities 
where  Sunday  shows  are  not  now  per- 
mitted the  fact  that  the  Berg  bills  have 
become  law  does  not  permit  producers  or 
managers  to  show  in  those  communities 
unless  the  governing  bodies  of  those  com- 
munities adopt  laws  permitting  such  Sun- 
day activity. 

The  only  organized  opposition  to  the  Berg 
legislation  was  provided  by  Equity  and  the 
Lord's  Day  Alliance,  the  actors'  opposition  be- 
ing led  by  Frank  Gillmore,  Equity  president; 
Florence  Reed,  Madge  Kennedy,  and  Selena 
Royle.  Among  those  in  favor  of  the  bills  were 
William  A.  Brady,  veteran  manager,  and  Dr. 
Henry  Moskowitz,  head  of  the  League  of  New 
York  Theatres.  Representatives  of  organized 
labor  also  appeared  at  Albany  in  behalf  of  the 
bills. 

The  Equity  Council,  which  is  now  the  last 
obstacle  of  any  importance  to  Sunday  perform- 
ances on  the  legitimate  stage,  will  discuss  the 
matter  at  it  next  meeting  on  Tuesday  in  its 
New  York  headquarters. 

Expect  National  Referendum 

It  is  expected  the  Council  will  recommend  a 
national  referendum  by  mail  among  Equity's 
membership.  In  that  case  their  decision  would 
not  be  known  before  the  end  of  July  or  August 
and,  in  any  event,  because  few  of  New  York's 
legitimate  theatres  have  adequate  cooling  sys- 
tems it  is  considered  doubtful  if  Sunday  per- 
formances would  commence  before  September. 

Assuming  that  Equity  does  disapprove  -of 
Sunday  performances,  all  actors,  including  those 
who  want  to  play  on  the  Sabbath,  would  be 
bound  by  the  vote.  There  have  been  many  re- 
ports of  "revolt"  among  some  Equity  members, 
details  of  some  of  which  appear  on  page  46  of 
this  issue.  Paul  Dullzell,  Equity  secretary,  said 
Tuesday  that  any  such  members  who  "rebel" 
against  the  Council's  rule  will  face  immediate 
loss  of  membership. 

Members  of  the  League  of  New  York  The- 
atres, comprised  chiefly  of  managers,  already 
have  discussed  plans  for  Sunday  shows.  One 
is  to  have  spectacles  which  could  be  produced 
in  large  theatres  allowing  lower  admission 
prices,  regarded  as  a  necessity. 

The  consensus  of  Broadway  opinion  is  that 
the  majority  of  musical  comedies  would  take 
advantage  of  Sunday  night  performances  if  they 
receive  Equity's  approval,  and  take  Mondays 
off.  Dramatic  productions  probably  would  con- 
tinue according  to  current  custom. 

U.  A.  Handles  Eastern 
Publicity  for  Goldwyn 

Samuel  Goldwyn  has  dropped  his  eastern 
publicity  office,  all  publicity  for  Goldwyn 
Productions,  which  releases  through  United 
Artists,  being  handled  by  that  company's 
publicity  department,  directed  by  Hal  Home. 
That  arrangement  is  in  force  with  20th 
Century,  Reliance  and  London  Films,  also 
releasing  through  United  Artists. 

George  Daws,  who  had  been  in  charge 
of  eastern  publicity  for  Goldwyn,  is  han- 
dling special  promotional  work  on  the  Mic- 
key Mouse  Disney  cartoons.  Hal  Sloane 
continues  in  charge  of  exploitation  and  pub- 
licity for  Walt  Disney  productions. 


24 

Coast  Exhibitors 
IVin  Zoning  Fight 

Independent  theatre  men  of  southern  Cali- 
fornia won  their  fight  against  recommenda- 
tions of  Fox  West  Coast  for  changes  in  the 
Los  Angeles  clearance  and  zoning  schedules, 
proposed  by  the  local  board,  when  the  Code 
Authority  adopted  only  one  of  FWC's  rec- 
ommendations. This  means  the  Los  Angeles 
schedule  is  the  first  in  the  country  to  receive 
the  Code  Authority's  approval. 

Previous  decisions  had  declared  Warners' 
Forum  and  the  Fox  Uptown  to  be  non-com- 
petitive and  placed  them  in  different  zones. 
The  Code  Authority  on  Tuesday  reversed 
the  ruling  and  put  both  houses  in  one  zone. 

The  Code  Authority  adopted  the  Los  An- 
geles board's  recommendation  that  Harry 
Arthur's  Balboa  be  placed  in  a  separate  zone 
outside  of  Los  Angeles  in  order  that  it  may 
day-and-date  with  other  Los  Angeles  houses 
charging  40  cents  admission.  Los  Angeles 
has  twelve  40-cent  houses. 

Executives  of  FWC  contested  the  Code 
Authority's  verdict  in  the  matter  of  the  Bal- 
boa, claiming  this  house  holds  the  key  to  all 
admissions  in  Los  Angeles. 

It  is  understood  FWC  may  file  an  appeal 
with  the  NRA  at  Washington,  William  T. 
Powers,  FWC  attorney,  asking  William  P. 
Farnsworth,  Deputy  Administrator,  on 
Tuesday  to  see  that  quick  action  is  given  the 
appeal  in  the  event  it  is  taken. 

FWC's  request  for  a  clearance  of  14  days 
between  houses  charging  five  cents  also  was 
turned  down  by  the  Code  Authority  in  favor 
of  the  local  board's  price  schedule,  the  sched- 
ule providing  for  from  10  to  11  days  be- 
tween five-cent  houses  after  downtown  first 
run. 

For  houses  charging  40  cents,  clearance  is 
21  days ;  35  cents,  31  days ;  30  cents,  42  days ; 
25  cents,  56  days;  20  cents,  77  days;  15 
cents,  119  days;  10  cents,  182  days;  five 
cents,  365  days. 

The  Code  Authority  also  passed  a  resolu- 
tion that  the  Los  Angeles  schedule  be  put 
into  effect  not  later  than  May  15  and  it  is 
considered  likely  the  local  board  will  make 
May  9  the  effective  date. 

Independent  Supply 
Men  to  Meet  in  Chicago 

The  annual  convention  of  the  Independent 
Theatre  Supply  Dealers'  Association  will  be 
held  at  the  Edgewater  Beach  hotel  in  Chi- 
cago June  15  to  18,  inclusive.  Inter-organ- 
ization policy  will  be  discussed  and  officers 
elected.  In  addition,  a  campaign  for  adver- 
tising and  promotional  publicity  will  be  con- 
sidered. 

J.  E.  Robin,  president,  said  more  than  35 
manufacturers  are  expected  to  have  exhibi- 
tions. 


Stage  History  Reviewed 
at  Picture  Club  Forum 

Forty  years  of  theatrical  history  were 
spanned,  in  a  light  vein,  on  Tuesday  at  the 
regular  weekly  forum  of  the  New  York 
Motion  Picture  Club,  by  Daniel  Frohman, 
pioneer  stage  producer;  Joe  Laurie,  come- 
dian ;  Dave  Genaro,  "Cakewalk"  dance  crea- 
tor; and  Lizzie  Wilson,  Joe  Howard,  Mike 
Bernard,  Jim  Thornton,  Tom  Ward,  and 
Vesta  Victoria,  who  made  "Waiting  at  the 
Church"  famous. 


MOTION    PICTURE  HERALD 


Acme 


VERNA  LONG 

"M/si  Typical  Consumer,"  as  selected  hi 
New  York  last  week  by  the  National 
Alliance  of  Art  and  Industry,  spends,  her- 
self, only  one  per  cent  of  her  yearly  salary 
on  motion  pictures,  although,  being  "Miss 
Typical,"  and  single,  the  National  Alliance 
assumes  she  has  at  least  two  "boy  friends" 
who  spend  considerable  in  entertaining  her 
at  the  motion  picture  theatre,  and  else- 
where. 

Selected  as  "Miss  Typical  Consumer"  was 
Verna  Long,  21,  of  New  York,  on  the 
occasion  of  an  exposition  conducted  by 
the  Alliance  to  focus  attention  upon  the 
needs  of  the  average  man  and  to  demon- 
strate modern  industry's  solution  of  his 
practical,  artistic  and  social  requirements. 
Miss  Long  was  selected  to  typify  the  typi- 
cal consumer  because  women  spend  85  per- 
cent of  the  family  budget. 

The  young  lady  represents  the  largest 
single  group  of  women,  that  between  20 
and  25  years  of  age.  She  is  five  feet,  six 
inches  tall,  weighs  123  pounds,  has  brown 
hair,  hazel  eyes  and  a  fair  complexion,  and 
is  employed  as  a  combination  model  and 
salesgirl  at  R.  H.  Macy's  New  York  depart- 
ment store. 

National  Alliance  officials  said  she  earns 
an  average  income,  some  $1,300  a  year,  be- 
longs to  a  typical  family,  is  of  average 
weight  and  height,  is  unmarried  and  is  of 
typical  appearance. 

Her  expenditures  and  budget  are  as  fol- 
lows, on  a  yearly  basis:  Wardrobe,  $25  5  ; 
rent,  $240;  food  at  home,  $208;  lunches 
and  carfare,  $149;  physicians  and  dentists, 
$52;  vacation,  $50;  hairdressing,  $3  5; 
cigarettes,  $20;  motion  pictures  {admis- 
sions purchased  by  herself),  $15;  miscel- 
laneous amusements,  $5;  savings,  $52; 
miscellaneous,  $219 — total,  $1,300. 


Exhibitor  Groups  Meeting 

Members  of  Allied  of  New  Jersey  and 
the  Independent  Exhibitors'  Protective  As- 
sociation of  Eastern  Pennsylvania,  Southern 
New  Jersey  and  Delaware  were  scheduled 
to  hold  a  joint  meeting  in  Philadelphia  this 
week  to  discuss  topics  of  mutual  interest. 


April    2  7,     19  3  5 

Pettengill  Measure 
Due  to  Be  ''Shelved ' 

The  Pettengill  anti-block  booking  meas- 
ure, which  has  received  the  vigorous  sup- 
port of  Allied  States  Association  of  Motion 
Picture  Exhibitors  and  various  reform 
groups,  is  expected  to  be  "shelved"  at  the 
current  session  of  Congress,  due  to  the  pres- 
sure of  more  important  legislation.  That 
was  indicated  in  Washington  this  week  by 
Congressman  Pettengill  himself,  who  said  he 
had  "no  idea"  when  his  bill  would  be  heard 
by  the  House  commerce  committee. 

In  various  state  legislatures  anti-film  leg- 
islation was  notably  absent  from  the  calen- 
dars. In  only  a  few  state  legislatures  was 
adverse  film  legislation  introduced. 

In  Alabama,  under  a  general  sales  tax  of 
five  per  cent,  the  film  industry  faces  taxation 
when  the  legislature  reconvenes  April  30. 
Representative  John  C.  Coleman  said  this 
week  he  will  introduce  such  a  bill. 

The  only  developments  in  the  California 
legislature  at  Sacramento  were  the  killing  in 
the  Assembly  of  the  Democratic  30-hour 
week  bill,  and  passage  of  a  bill  raising  cor- 
poration taxes  from  two  to  four  per  cent  of 
net  income. 

With  the  opening  of  the  third  week  of 
Florida's  legislature,  the  sales  tax  previously 
advocated  and  then  dropped  was  reintro- 
duced and  would  place  a  straight  three  per 
cent  tax  on  every  transaction  with  the  ex- 
ception of  the  sale  of  gasoline.  Theatre 
tickets,  according  to  tentative  plans,  would 
be  assessed  at  the  rate  of  one  cent  on  each 
ten-cent  ticket  and  two  cents  on  each  ticket 
of  40  cents  and  over.  A  bill  to  outlaw  bank 
nights  was  introduced  last  week,  its  purpose 
to  place  such  a  high  license  fee  on  theatres 
indulging  in  the  practice  that  the  plan  could 
not  be  successfully  operated.  In  towns  of 
5,000  or  less  the  license  fee  would  be  $50 
for  each  drawing,  up  to  a  fee  of  $500  for 
each  drawing  in  towns  of  100,000  and  up. 

The  ten  per  cent  admission  tax  bill  was 
defeated  in  the  Iowa  legislature  at  Des 
Moines  last  week. 

Having  passed  the  Minnesota  House,  in- 
dications now  are  that  the  Senate  will  con- 
cur on  a  three  per  cent  sales  tax  measure 
which  applies  to  motion  picture  admissions 
as  well  as  to  other  commodities.  Admis- 
sions up  to  11  cents  would  be  exempt;  11  to 
34  cents,  one  cent  tax;  35  to  64  cents,  two 
cents;  65  cents  to  $1,  three  cents. 

Sponsors  of  Sunday  shows  in  Pennsyl- 
vania this  week  were  optimistic  over  the 
news  that  the  legislature  was  taking  up  six 
different  bills  in  its  law  and  order  committee 
to  permit  Sunday  films  by  local  option. 

The  Nebraska  legislature  killed  a  two  per 
cent  sales  tax  measure  which  sought  to  put 
a  levy  on  theatre  admissions. 

In  Wisconsin  the  Carow  bill,  which  would 
place  a  four  per  cent  tax  on  the  gross  re- 
ceipts of  theatres,  was  assailed  by  exhibitors 
from  all  over  the  state  at  a  committee  meet- 
ing in  Madison. 


Senate  Reconsiders 
Copyright  Convention 

The  Senate  at  Washington  last  week  re- 
considered its  earlier  vote  ratifying  the 
copyright  convention,  and  returned  the  in- 
ternational treaty  to  the  calendar  pending 
action  on  the  copyright  bill  which  is  ex- 
pected to  be  introduced  soon. 


April 


27,    I  935 


MOTION    PICTURE  HERALD 


25 


SALOMON  THE  CANDID 

March  of  Time  Engages  High- 
priest  of  Candid  Still  Camera- 
men for  Motion  Picttire  Work 


Cameraman  Candidly  Says  "Ouch! 


Arbitration  of 
New  York  Labor 
Dispute  Dropped 

Abandonment  of  a  concilation  move  to  re- 
adjust operators'  wage  scales  under  the 
motion  picture  code,  and  charges  by  union 
projectionists  in  Kansas  City  that  the  Na- 
tional Labor  Board  is  prejudiced  in  favor 
of  the  American  Federation  of  Labor,  were 
the  principal  developments  of  the  week  in 
theatre  union  circles,  as  picketing  growing 
out  of  disputes  continued  along  several 
fronts. 

The  International  Alliance  of  Theatrical 
Stage  Employees  in  New  York,  the  National 
Recovery  Administration,  through  Sol  Ros- 
enblatt, compliance  director ;  the  Independent 
Theatre  Owners  Association  and  two  inde- 
pendent unions.  Allied  Motion  Picture  Op- 
erators and  Empire  State  Operators,  had 
been  conducting  salary  readjustment  discus- 
sions for  weeks  and  these  abruptly  were 
abandoned  over  the  weekend,  to  await  Con- 
gressional disposition  of  the  NRA  itself.  Mr. 
Rosenblatt  was  said  to  have  so  decided. 

The  dispute  in  Kansas  City  which  caused 
the  Independent  Motion  Picture  Operators 
Union  to  attack  the  National  Labor  Board 
came  when  the  board  upheld  findings  of  its 
regional  labor  board  that  E.  S.  Young  did 
not  violate  Section  7-A  of  the  code  in  dis- 
missing an  independent  union  member  from 
his  Central  theatre  because  of  his  union 
affiliation.  Mr.  Young  is  said  to  have  ad- 
mitted violation,  and  the  case  was  considered 
a  pivotal  one  in  clarifying  the  rights  of  ex- 
hibitors and  operators  under  Section  7-A. 

Musicians'  Local  No.  802  was  preparing 
to  picket  all  theatres  in  New  York  not  em- 
ploying musicians.  A  general  theatre  strike 
of  all  crafts  was  threatened. 

Both  independent  unions  and  lATSE 
branches  in  the  New  York  area  were  con- 
ducting a  city-wide  picketing  campaign  for 
jurisdiction,  better  wages  and/or  shorter 
hours.  Detectives  were  watching  theatres 
for  violence,  and  it  was  said  some  175  ar- 
rests had  been  made  in  the  fight. 


The  motion  picture  is  extending  itself  to 
embrace  the  "candid"  camera  technique  of 
the  still  photographer  who  snaps  unawares 
the  world  bigwigs  and  newspaper  head- 
liners.  March  of  Time  has  engaged  in 
Paris  Dr.  Erich  Salomon,  highpriest  of 
candid  still  cameramen,  to  lead  the  way. 

Since  much  of  Dr.  Salomon's  widely 
known  success  in  snapping  headliners  in 
off-guard  moments  depends  on  his  silent, 
unobtrusive  equipment  and  manner,  he  has 
hesitated  to  attempt  motion  picture  work. 
However,  March  of  Time  arranged  to  supply 
him  with  a  silent,  almost  unnoticeably  small 
high-speed  motion  picture  camera  made 
according  to  his  specifications,  and  negoti- 
ations were  concluded  last  week  in  France 
for  his  services. 

Lawyer,  Banker  to  Photographer 

With  his  Leica  camera,  no  larger  than  a 
man's  hand,  he  has  snapped  leading  foreign 
statesmen,  royalty,  news  personalities.  In 
Paris,  with  Richard  de  Rochemont,  March 
of  Time  representative  on  the  Continent, 
Dr.  Salomon  visited  the  many  factories  of 
motion  picture  cameras,  selected  a  Leblay 
which  will  be  made  to  his  order  with  silent 
gears,  extra  lenses,  special  timing  attach- 
ments. As  soon  as  the  equipment  is  ready 
he  will  devote  a  month  to  experimental  work. 
He  says  he  knows  nothing  about  taking 
motion  pictures  and  wants  to  learn,  in  his 
own  way,  before  starting  on  assignments. 

He  learns  quickly.  Six  years  ago  he 
wasn't  interested  in  photography,  not  even 
as  an  amateur.  Onetime  lawyer,  banker,  in 
1928,  at  the  age  of  42,  he  was  connected 
with  the  publishing  firm  of  Ullstein.  Hear- 
ing what  Dr.  Paul  Wolff  and  others  were 
doing  with  the  diminutive  Leica  camera, 
he  became  interested,  decided  to  try  his 
liand  at  snapping  unposed  pictures  of  news 
events.  By  assuring  the  president  of  a 
Berlin  court  he  would  not  use  flashlights, 
would  cause  no  commotion,  he  got  per- 
mission to  take  pictures  of  a  murder  trial. 
These  were  published  in  Ullstein's  Berliner 
Illustrirte  Zeitung,  caused  a  sensation.  That 
started  him  on  his  candid-camera  career. 

"Secretaries,  Table  and  Salomon" 

Distinguished-looking,  master  of  seven 
languages,  keenly  interested  in  politics.  Dr. 
Salomon  has  access  to  high  official  circles 
closed  to  the  regular  cameramen.  Briand, 
France's  former  foreign  minister,  has  said, 
"There  are  just  three  things  necessary  for 
a  League  of  Nations  conference:  a  few 
Foreign  Secretaries,  a  table  and  Salomon." 

Once  when  Briand,  Germany's  Strese- 
mann,  and  England's  MacDonald  were  leav- 
ing Paris,  Dr.  Salomon  boarded  the  train 
to  bid  them  goodby.  As  the  train  was  about 
to  pull  out  of  the  station,  Dr.  Salomon 
turned  to  go,  caught  his  coat  on  the  handle 
of  a  compartment  door.  In  trying  to  free 
it,  the  straps  of  his  camera  became  tangled. 
As  the  departing  whistle  blew,  the  guard 
of  the  private  diplomatic  car  came  to  his 
rescue,  told  him  not  to  bother,  ride  on  with 
the  party.  Some  of  his  best  shots  of  travel- 
ing diplomats  were  taken  on  that  trip.^ 

Prized   possessions  in  his  portfolio  are 


self-portraits  of  himself  with  unsuspecting 
subjects.  In  April,  1929,  he  called  on  Sir 
Austen  Chamberlain,  casually  placed  his 
camera,  with  a  self -timing  shutier  set  for 
action,  on  a  bookcase.  As  he  leaned  over 
Sir  Austen's  shoulder  to  show  hmi  samples 
of  his  photographs,  the  shutter  clicked  and 
he  and  the  minister  were  registered  on  the 
same  negative.  Several  years  later  he  took 
the  same  kind  of  self-portrait  of  himself 
with  William  Randolph  Hearst. 

Particularly  notable  are  his  pictures  of 
notables  at  international  conferences — pic- 
tures of  German  and  French  ministers  at 
a  Hague  conference,  in  earnest  argument 
at  eleven  o'clock  in  the  morning;  pictures 
of  these  same  ministers,  sagging  in  chairs, 
eyes  heavy,  ties  undone,  table  littered  with 
papers,  cigar  and  cigaret  stubs,  at  one  in 
the  morning. 

Under  the  auspices  of  Fortune  magazine, 
Thne  Magazine  affiliate,  Dr.  Salomon  came 
to  America  in  1931,  went  to  Washington 
with  Premier  Laval,  took  the  famous  picture 
of  the  Hoover-Laval  conference  first  pub- 
lished in  Time.  For  Fortune  he  has  recorded 
a  secret  session  of  the  ways  and  means 
committee,  official  Washington  at  formal 
dinners,  senators,  generals,  Washington 
widows  at  the  Bachelors'  Cotillion,  the  first 
pictures  ever  taken  of  the  United  States 
supreme  court  in  session. 

Chinese  Raise  Fees 
For  Film  Censorship 

Foreign-made  pictures  submitted  to  the 
film  censorship  board  of  China  are  subject 
to  an  examination  fee  of  $20  per  500  meters, 
a  sharp  increase,  under  a  revision  of  the 
Film  Censorship  Law  passed  recently  by  the 
Legislative  Yuan  at  Nanking.  Any  film 
less  than  500  meters  will  be  subject  to  the 
$20  fee.  If  a  film  is  re-submitted,  the  fee 
is  doubled.  No  examination  fee  is  to  be 
charged  for  Chinese-made  pictures,  although 
a  nominal  charge  is  to  be  made  for  any 
expense  incurred  by  the  board  in  examina- 
tion. Recently  Dr.  Alfred  Sze,  Chinese 
minister  to  Washington,  protested  to  the 
State  Department  against  the  restrictions  im- 
posed on  the  importation  of  Chinese  eggs 
to  the  United  States. 

The  Central  Film  Censorship  Committee 
at  Nanking  has  petitioned  the  Executive 
Yuan,  urging  that  pictures  passed  by  the 
committee  should  not  be  subject  to  further 
examination  by  local  authorities. 


Trans-Lux  Net  Profit 

For  Year  Equals  $180,637 

Trans-Lux  Daylight  Screen  Corporation 
and  subsidiaries  has  reported  a  net  profit 
of  $180,637  for  the  year  ended  December 
31,  1934,  and  Trans-Lux  Movies  Corpora- 
tion, film  subsidiary,  reported  a  net  loss  of 
$51,159.  according  to  the  annual  statement. 
The  1934  net  profit  compares  with  a  net 
profit  of  $114,926  in  1933. 

The  film  subsidiary  showed  an  operating 
profit  of  $2,998  before  deductions  for  depre- 
ciation and  amortization  and  administrative 
and  general  expenses. 


Something^^Welhan  a 
great  motion  picture  ...  a 
new  emotional  experience 
in  the  theatre . . .  with  d^ 
maticimpact  that  jars  i 
the  traditions  of  the  scr$ 


.■'\<--:>i:J.-v'^' 


^  PR^E  D  I  C  T  IO  M 

JeKO-RADIO  is  GONVINCEg 
EvfeR%CRITIC  m  AMERICA  WiIl 
PLaBe  IT  <il^  liTS  LIST^ipF  THE 


UCTION 


^1 


VICTOR  McLAGLEN 

PRESTON  FOSTER 
M ARGOT  GRAHAME 

Widlace  Ford    •    Una  O'Connor 

FROM  THE  STORY  BY  LIAI^>0'FLAHERTY. 
LIFF  REID,  ASSOCIATE  PRODUCER. 


K  O  -  R  A  D  I  O  PICT 


28 


MOTION    PICTURE  HERALD 


April    27,  1935 


ZANUCK  WOULD  HALVE 
PRODUCT  TO  END  DUALS 


20th  Century  Production  Head 
Also  Suggests  Shutdown 
For  Month  to  Better  Quality 

Darryl  Francis  Zanuck — the  youthful  pro- 
ducer of  "The  Tlouse  of  Rothschild,"  "Car- 
dinal Richelieu,"  "Les  Miserables"  and 
others — flew  into  New  York  from  Holly- 
wood last  week  and  set  about  telling  the  in- 
dustry how  to  settle  some  of  the  vexations 
now  rampant  in  both  production  and  exhibi- 
tion. Two  of  the  20th  Century  Pictures 
vice-president's  more  pointed  recommenda- 
tions were : 

1.  Close  all  major  studios  for  one  month 
to  "starve"  the  public  and  the  theatres  as 
a  solution  of  the  double  feature  problem. 

2.  Cut  major  company  production  pro- 
grams in  half  in  order  to  concentrate  solely 
upon  Class  "A"  product. 

Closing  the  studios  for  one  month  and 
starving  the  public  for  film  entertainment 
would,  Mr.  Zanuck  believes,  strike  a  power- 
ful blow  at  double  features  and  improve  the 
quality  of  pictures  generally.  In  addition,  a 
production  holiday  would  be  a  benefit  to  pro- 
ducers, he  said,  because  it  would  offer  them 
time  to  concentrate  on  the  study  of  more 
suitable  story  material. 

Sees  Improved  Quality 

His  second  recommendation — that  involv- 
ing the  cutting  of  production  programs  in 
half — was  offered  at  a  general  press  recep- 
tion in  the  United  Artists'  home  office. 

If,  he  observed,  every  major  company 
in  the  business  would  cut  its  production 
schedule  in  half  and  concentrate  on  Class 
"A"  pictures,  the  result  would  be  not  only 
generally  improved  quality  of  output  but 
would  do  much  toward  solution  of  the  dual 
billing  problem. 

"This  business  of  turning  pictures  out 
for  five  cents  a  dozen,  allotting  $100,000 
for  this  one,  $150,000  for  the  next  and 
$250,000  for  that  one  and  stopping  when 
the  money  is  spent  is  the  bunk.  It  can't  be 
done,"  he  declared. 

Doesn't  Blame  Exhibitors  for  Duals 

"To  make  it  worse,  every  picture  is  ad- 
vertised the  same  way — as  the  'biggest  and 
best.'  What's  the  answer?  If  a  man  hap- 
pens to  see  three  of  these  'B'  pictures  in 
a  row  he  gets  disgusted  and  stays  home  to 
listen  to  the  radio.  The  only  way  he  can  tell 
when  a  good  one  comes  along  is  by  word  of 
mouth  advertising." 

Mr.  Zanuck  emphatically  stated  that  he 
didn't  much  blame  exhibitors  for  double 
billing  because  "some  of  the  stuff  they  have 
to  show  isn't  worth  a  quarter  for  two  of 
them." 

Pointing  to  20th  Century's  concentration 
on  Class  "A"  product,  he  said :  "We  have 
no  budget.  If  the  idea  is  good  and  we  have 
faith  in  it,  we  keep  at  it  until  it's  finished, 
whether  it  costs  $400,000,  $500,000  or  a 
million.  And  we  don't  try  to  chop  it  down 
to  7,000  feet  if  it  holds  up  naturally  at  a 
greater  length." 

"Personally,"  said  Mr.  Zanuck,  "I'm  in 


favor  of  the  longer  ones  if  they're  good. 
Exhibitors  won't  dual  them ;  they'll  stick 
in  a  newsreel  and  a  couple  of  shorts  " 

Mr.  Zanuck  said,  however,  that  the  sys- 
tem of  concentrating  solely  on  the  big  pic- 
tures is  the  biggest  risk  any  producer  can 
take. 

"W^e  can  go  broke  or  make  a  fortune 
quicker  than  any  other  concern.  We  have 
no  theatre  commitments  to  absorb  the  weak 
ones.  They  all  stand  or  fall  on  their  indi- 
vidual merits." 

The  Legion  of  Decency  has  been  an  in- 
fluence of  great  importance  to  the  indus- 
try, Mr.  Zanuck  observed,  and  to  back  up 
his  contention  he  pointed  out  that  there 
have  been  more  "great"  pictures  turned 
out  in  the  past  six  months  than  in  any 
other  similar  period  in  the  industry's  his- 
tory. 

Mr.  Zanuck  arrived  in  New  York  in  time 
to  witness  the  world  premieres  of  his  "Car- 
dinal Richelieu"  at  the  Radio  City  Music 
Hall,  and  "Les  Miserables"  at  the  United 
Artists'  Rivoli.  He  plans  to  leave  the  end 
of  this  week  for  an  Alaskan  shooting  expe- 
dition, before  returning  to  work  on  next 
season's  schedule. 

Farley  Rescinds 
Blanket  Delivery 

United  States  postal  order  No.  6338, 
which  developed  into  a  controversial  issue 
immediately  it  became  effective,  and  which 
was  found  an  unusual  opportunity  for  the 
theatres  of  the  country  in  their  exploitation 
of  product,  was  rescinded  last  week  by  Post- 
master General  James  A.  Farley,  effective 
July  1,  1935. 

The  order  provided  that  local  postmasters 
were  required  to  supply  on  request  informa- 
tion relative  to  the  number  of  boxes  served 
by  their  branches,  after  which  an  advertiser 
could  deliver  to  the  post  office  the  required 
number  of  third  class  pieces,  addressed 
merely  to  "householder"  or  "patron"  and  the 
post  office  would  insure  delivery  to  each  mail 
box.  The  rate  was  three-quarters  of  a  cent 
per  ounce,  with  a  minimum  of  two  ounces. 
Theatres  became  extensive  users  of  the  new 
service  in  direct  mail  selling  to  prospective 
patrons. 

The  order  was  issued  on  October  12, 
1934,  and  newspapers  were  among  the  lead- 
ers in  registering  protest,  claiming  that  the 
order  put  the  Post  Office  Department  in  the 
position  of  fostering  one  type  of  advertising 
in  preference  to  others. 

Mr.  Farley's  official  explanation  for  re- 
scinding the  order  said  that  "after  continu- 
ing this  test  for  six  months  the  department 
has  concluded  that  the  revenue  derived  from 
this  source  is  not  sufficient  to  justify  its  con- 
tinuance." Thomas  Quinn  Beesley,  execu- 
tive director  of  the  National  Council  of 
Business  Mail  Users,  protested  the  rescind- 
ing of  the  order  and  questioned  the  reason 
officially  given  by  Mr.  Farley. 


''yld '  Pictures  Hurt^ 
Says  MPPDA 

The  motion  picture  theatre  screen  is  not 
the  proper  place  for  advertising  reels,  the 
Motion  Picture  Producers  and  Distributors 
of  America  declared  this  week,  and  action 
will  be  taken  to  discourage  their  theatrical 
use.  This  was  decided  Monday  in  New 
York  at  a  continuance  of  the  annual  di- 
rectors' meeting,  when  the  following  resolu- 
tion was  adopted : 

"Much  concern  is  felt  over  the  reports 
that  various  projects  are  now  underway 
aimed  at  injecting  advertising  films  into 
entertainment  progratns,  and  the  association 
will  conduct  a  study  of  the  matter.  A  re- 
port and  recommendations  will  be  presented 
at  a  later  date. 

"The  motion  picture  theatre  is  and 
should  be  reserved  exclusively  for  entertdin- 
ment.  The  motion  picture  theatre  screen  is 
not  a  proper  medium  for  advertising, 
whether  this  be  by  direct  presentation  of 
outright  advertising  films,  or  by  some  in- 
direct effort  to  present  advertising  films 
under  the  guise  of  entertainment." 

That  the  use  of  sponsored  advertising 
reels  has  been  growing  in  theatrical  exhibi- 
tion is  generally  known.  Remembering  the 
nationwide  protest  leveled  at  the  industry  by 
press  and  public  against  the  practice  as  in- 
dulged in  some  three  years  ago,  the  large 
companies  apparently  intend  to  prevent  a  re- 
currence. The  public  complained  that  it  was 
paying  admission  to  witness  entertainment, 
not  advertising  "blurbs";  the  press  charged 
unfair  competition  on  the  grounds  that 
money  was  being  diverted  by  national  ad- 
vertisers from  advertising  in  the  press  to 
the  screen.. 

Too,  distributors  realize  that  screening 
time  given  to  advertising  films  ordinarily 
would  be  devoted  by  exhibitors  to  regular 
theatrical  releases,  thus  reducing  rental 
revenue. 

Some  of  the  large  companies  themselves 
participated  in  the  production  and  exhibition 
of  sponsored  reels  three  years  ago,  but  this 
time  production  is  in  the  hands  of  the  so- 
called  non-theatrical  or  advertising  film  pro- 
ducer, who  solicits  theatres  for  screen  time 
on  behalf  of  national  advertisers,  giving  the 
film  free  of  rental  charge,  and,  in  many 
cases,  paying  the  exhibitor  for  showing  it. 

The  Hays  directors  discussed  the  legisla- 
tive situation  in  California,  but  no  action 
was  taken  at  the  meeting.  They  also  un- 
animously adopted  a  resolution  in  recogni- 
tion of  the  work  of  Louis  Lumiere,  French 
scientist,  on  the  occasion  of  the  fortieth  an- 
niversary of  the  motion  picture  in  France. 


Better  Grosses  Seen 
In  Tax  Collections 

Improvement  in  theatre  grosses  was  indi- 
cated in  the  report  of  the  Internal  Revenue 
Bureau  at  W ashington  on  admission  tax  col- 
lections during  March.  The  total,  $1,283,595. 
compares  with  a  total  of  $1,267,375  for 
March,  1934.  For  the  first  nine  months 
of  the  fiscal  year  collections  amounted  to 
$11,666,261,  a  gain  of  $783,893  over  the  total 
for  the  same  period  of  the  previous  year, 
when  the  aggregate  was  $10,882,368. 


April    27,  1935 


MOTION    PICTURE  HERALD 


29 


A$IDE§  &  INTEI^LIJDE§ 


By  JAMES  CUNNINGHAM 


A FRIEND  OF  LOU  SOBOL'S  brings 
back  fresh  from  Hollywood  the  very 
true  story  about  a  smart  stock  racketeer  who 
has  always  had  a  soft  spot  for  his  daddy. 
Every  week  he  used  to  send  the  old  gent  a 
check  for  $50,  and  his  pop  would  protest,  on 
the  grounds  that  "I  don't  like  to  take  char- 
ity from  anyone — not  even  my  son.  I  wish 
L  could  work  instead."  The  stocketeer  con- 
tinued, however,  and  each  week  the  old 
.nan  would  write  begging  him  to  see  if  he 
wouldn't  locate  work  for  him  out  there  in- 
stead— he  didn't  want  to  have  to  depend  on 
his  son.  So  the  stock  salesman  conceived  a 
polite  fiction.  His  father  is  a  costume  de- 
signer. He  wrote  him  and  told  him  that 
one  of  the  studios  was  interested  in  new 
designs.  Send  him  some  samples.  Imme- 
diately a  new  lease  of  life  began  for  the  old 
fellow.  He  worked  feverishly  day  and  night 
on  designs  and  shipped  them  to  his  son. 

"They're  marvelous,"  the  son  wrote  back. 
"Metro-Goldwyn  is  crazy  about  them. 
They're  paying  you  $75  to  start.  Here's  your 
first  check."  The  fiction  kept  up  until,  one 
day,  the  son  told  one  of  the  executives  of  a 
leading  studio  how  he  was  kidding  his 
old  man.  The  executive  asked  to  see  the 
designs,  liked  them  and  took  them  down  to 
the  studio.  The  result  was  that  the  old  man 
was  hired  on  the  spot,  sent  for  and  is  now 
drawing  a  weekly  salary  of  $225. 


On  the  farm  it's  ham  and  eggs.  In  the  studios 
it's  ham  and  egos. 


Warner  Baxter  is  said  never  to  haive  tasted 
fruit  in  any  form.  The  smell  of  an  apple,  for 
instance,  is  supposed  to  make  him  call  for  smell- 
ing salts.  "I  wonder  how  he  stood  some  of  the 
lemons  he  made  early  in  his  career,"  speculates 
Jack  Moffitt  of  the  Kansas  City  Star. 

V 

Paramount  has  a  "charm  school"  at  the  stu- 
dio in  Hollywood.  Operated  by  Zecel  Sylvonia, 
former  Ziegfeld  Follies  girl,  it  is  a  branch  of 
the  studio's  drama  school  and  was  inaugurated 
solely  for  the  edification  of  Paramount's  up- 
and-comin'  stock  players. 

Fraulein  Sylvonia,  of  fine  German  stock,  in- 
structs classes  daily  in  the  art  of  social  charm — 
teaching  histrionic  proteges  to  balance  peas  on 
their  knives ;  walk  properly  without  skipping 
or  clogging ;  sit  down  easily  without  raising 
dust  from  the  old  family  sofa. 

The  "charm  school"  has  been  in  operation  for 
over  a  year  and — according  to  the  company — 
has  succeeded  in  lifting  young  thespians  into 
a  higher  social  stratum — that  is,  if  you  can 
judge  by  outward  appearances. 


Al  Kaufman  and  Ralph  Kohn,  formerly  of 
Paramount  Pictures,  in  reminiscent  mood,  so 
Vic  Shapiro  writes  us,  were  harking  back 
to  a  sideline  project  once  planned  by  Adolph 
Zukor,  then  president  of  the  Famous  Play- 
ers, which  preceded  Mr.  Zukor's  present 
Paramount  company.  Kaufman  and  Kohn 
were  to  be  partners,  the  trio  having  consid- 
ered embarking  in  the  chicken-and-egg  busi- 
ness, to  be  established  at  Mr.  Zukor's  farm 
near  New  City,  New  York.  The  ranch,  on 
the  side  of  the  road,  was  to  be  a  showplace. 
Chickens  were  to  be  all  white.  Coops  were 
to  be  extra  spotless,  too,  with  bright  green 
roofs. 

When  it  came  to  picking  a  name  for  the 
ranch,  Al  Kaufman  suggested  "Famous 
Layers  Chicken  and  Egg  Corporation." 


DIRECTOR  WILLIAM  KEIGHLEY  on 
the  Warner  lot  in  Burbank  finished  "The 
G  Men,"  about  the  United  States  Secret  Ser- 
vice, and  sat  down  in  his  chair  in  relief.  There 
had  been  considerable  excitement  and  fighting 
and  shooting  and  roughhouse.  He  looked 
around  the  set,  representing  a  kitchen  of  a 
Wisconsin  summer  resort.  It  was  a  shambles, 
piles  of  broken  dishes,  bullet-riddled  cans  of 
foodstuffs,  shattered  bottles  of  catsup  and  uten- 
sils turned  into  veritable  sieves  by  machine-gun 
fire,  littered  the  floor.  The  windows  were  pane- 
less,  the  glass  shot  out  by  the  same  weapons 
that  ripped  the  shelves. 

Keighley  was  tired,  and  at  the  moment  he 
needed  quiet.  Barton  MacLane  and  Russell 
Hopton,  playing  the  roles  of  gangsters,  had 
been  crouching  uuder  the  cottage  kitchen  sink 
while  George  Daly  and  Fred  Davis,  Warners' 
machine-gun  experts,  sent  a  hail  of  lead  over 
their  heads.  Jimmy  Cagney,  Bob  Armstrong 
and  the  rest  of  the  "G-Men"  had  just  staged  a 
realistic  fighting  attack  in  capturing  the  resort. 

There  was  a  free-for-all  fight  between  Cag- 
ney and  Edward  Pawley,  another  "gangster." 
They  had  battered  each  other  around,  tossed 
each  other  across  tables,  and  literally  incapaci- 
tated themselves  while  the  cameras  whirred. 

On  another  stage  Armstrong  and  MacLane 
banged  away  at  each  other,  shooting  through  a 
closed  doorway,  and  using  real  bullets  because 
blanks  won't  tear  holes  in  wood. 

Cagney  came  out  of  the  fight  with  a  sprained 
finger,  sustained  in  a  jiu  jitsu  bout;  Russell 
Hopton's  right  leg  was  injured  when  he  backed 
into  the  "getaway"  car  while  a  bank  holdup 
was  being  filmed ;  Lloyd  Nolan  was  knocked 
unconscious  when  Edward  Pawley  brought  his 
manacled  wrists  down  upon  his  head ;  Frank 
Evans,  an  assistant  cameraman,  was  wounded 
by  a  bullet  in  the  leg. 

Keighley  was  tired,  very  tired,  when  he 
turned  to  a  newspaper  and  read  a  headline : 
"United  States  Attorney  General  Cummings 
says  the  current  crop  of  pictures  dealing  with 
the  deeds  of  the  Department  of  Justice  are  too 
sissified." 

V 

Down  in  Birmingham,  Alabama,  it  has 
been  the  custom  for  juries  tied  up  over  night 
on  court  cases  to  break  up  the  monotony  by 
going  to  the  theatre.  Recently  Arthur  Garner, 
Seventh  Day  Adventist  preacher,  and  mem- 
ber of  the  jury  of  Criminal  Court,  agreed 
to  attend  with  the  other  eleven  jurors  on 
the  sarne  panel,  on  condition  that  they  listen 
to  a  Bible  reading  and  sermon  delivered  by 
him  later  in  the  evening. 

With  this  agreement.  Mack  Johnson, 
bailiff,  took  the  jurors  to  the  movies,  where 
Minister  Garner  blindfolded  himself  and  sat 
in  a  special  chair  with  his  back  to  the  screen 
so  he  would  see  none  of  the  show.  Then  the 
jurors  returned  to  their  quarters  at  the  Mol- 
ton  Hotel  and  listened  to  Gamer's  Bible 
reading  and  sermon. 

V 

Press  dispatches  from  Hollywood  tell  us  that 
Mae  West's  newly  decorated  apartment  suite 
includes  a  full-length  mirror  placed  in  the  ceil- 
ing directly  above  her  head.  There  are  mirrors 
in  every  door,  on  every  zmll,  on  every  coffee 
table  and  tabouret,  so  that  wherever  she  turns 
the  effect  is  to  create  an  army  of  buxom  Mae 
Wests. 

Only  one  picture,  a  portrait  of  herself,  hangs 
in  the  whole  suite.  It's  an  heroic  nude,  they 
say. 

V 

"Meet  James  'Schnozzola'  Durante,"  sug- 
gested Hal  Home,  as  he  introduced  us.  "He's 
the  only  person  alive  today  who  can  smoke  a 
cigar  in  the  rain  and  keep  it  dry  without  an 
umbrella." 


THERE'S  ALMOST  AS  MUCH  color 
and  human  interest  in  the  everyday  per- 
formances of  Erpi's  service  men  in  the  field 
as  in  the  routine  of  their  parent  American 
Telephone's  linemen.  Both  are  Johnny-on- 
the-spot  when  it  comes  to  emergencies. 

Typical  is  the  incident  of  Erpi's  front  line 
activity  following  an  SOS  call  from  an  ex- 
hibitor in  Tennessee  who  telephoned  the 
Memphis  office  for  a  service  man  to  repair 
his  equipment  in  order  to  continue  a  show. 
Complete  breakdowns,  so  frequent  in  the  old 
days,  when  the  end  of  every  reel  brought  a 
stop  for  a  changeover,  are  rare  in  this  era. 
Anyway,  the  nearest  service  man  was  on  the 
road  at  the  moment  riding  his  car  to  the 
town  of  Boga  Loosa,  and  the  Erpi  people 
at  Memphis  set  out  to  locate  him.  "They  tele- 
phoned the  Bogo  Loosa  police  chief,  ex- 
plained the  situation  to  him,  and,  appealing 
to  his  community  spirit  by  telling  him  the 
town's  theatre  would  be  without  movies  un- 
less the  trouble-shooter  was  stopped  on  the 
road,  enlisted  the  cooperation  of  the  whole 
department.  They  stationed  a  squadron  of 
coppers  on  the  road  to  watch  the  license 
plates,  and  after  a  wait,  stopped  the  re- 
pairer, who  was  dazed  and  amazed  when 
they  led  him  to  the  theatre,  sirens  screech- 
ing as  they  sped  down  the  main  street. 
V 

Sixty-three  happy  American  mothers  have 
within  two  years  named  their  baby  daughters 
after  Kay  Francis.  Mrs.  R.  E.  Tyre,  of  Port- 
land, Oregon,  one  of  the  "Kay  Francis"  moth- 
ers, has  even  gone  so  far  in  expressing  her 
admiration  for  the  Warner  star  as  to  organise 
the  babes  into  the  "Kay  Francis  Baby  Club,"  no 
dues,  no  club  paper,  but  plenty  of  white  tri- 
cornered  cloth  and  safety  pins.  She  got  the 
names  of  the  other  61  from  Kay  Francis,  their 
mothers  having  told  the  star  in  the  mail  about 
the  adoption  of  the  name.  What  the  mothers  do 
not  know  is  that  the  lady  of  the  movies  who  so 
inspired  them  to  name  their  daughters  Kay 
Francis  this  and  Kay  Francis  that  is  really 
not  Kay  Francis.  She's  Katherine  Gibbs. 
V 

When  Producer  Walter  Wanger  moved  into 
Erpi's  General  Service  Studios  out  Hollywood 
way,  he  installed  two  yellow  cats  to  take  care 
of  the  mouse  situation.  Now  there  are  50  cats 
by  conservative  estimate,  but  not  conservative 
multiplication. 

V 

Young  Joseph  Coughlin,  of  our  general 
information  department,  was  flabbergasted 
last  Saturday  morning  when  a  person  who 
said  he  was  calling  on  behalf  of  some  psychic 
society  with  an  uncatchable  name,  requested 
a  photograph  of  one  Louis  Sarnoff,  a  direc- 
tor of  old  flicker  days.  They  said  the  so- 
ciety had  come  into  contact  with  the  spirit 
of  the  late  Mr.  Sarnoff  and  needed  the  pic- 
ture to  see  what  he  looked  like  and  furnish 
final  identification  and  verification. 

V 

We  may  see  a  flock  of  jailbirds  fly  to  these 
shores  from  foreign  lands  when  they  get  a  look 
at  Fox's  "Daring  Young  Man,"  crime  film,  com- 
ing up.  It  will  show  a  jail  with  a  radio  in 
every  cell,  and  curtains  and  pillows,  poker 
games  going  full  blast,  gangsters  feeding 
pigeons  as  they  give  orders  over  their  private 
jail  telephones  to  henchmen  on  the  outside  to 
have  some  annoying  competitor  "rubbed  out," 
and  the  inmates  "going  ashore"  whenever  they 
feel  inclined  to  perpetrate  a  new  robbery  or  two. 
V 

Bill  Robinson,  renowned  colored  tap 
dancer,  now  working  at  Movietone  City,  in 
California,  for  Fox,  collects  bricks  taken 
from  old  Keith-Orpheum  theatres  that  have 
been  torn  down. 


30 


MOTION    PICTURE  HERALD 


April    2  7.    19  3  5 


FEWER  TWO-REELERS  IN 
1935-36  DUE  TO  DUALS 


Major  Companies  May  Elim- 
inate Two  -  Reelers,  Holding 
Duals  Cannot  Support  Them 

Executive  staffs  during  the  week  were 
actively  shaping  1935-36  programs  and  de- 
ciding on  convention  arrangements  and  sales 
policies.  They  concluded  wholesale  pur- 
chases of  story  properties  and  talent,  and 
held  discussions  pointing  toward  consider- 
able reduction,  even  complete  elimination,  of 
two- reel  subjects,  concentrating  on  singles. 

Following  Paramount's  decision  of  one 
week  ago  to  abandon  the  two-reeler  in  favor 
of  singles,  until  the  prevailing  double  fea- 
ture trend  subsides,  Columbia,  Metro,  Radio 
and  Universal  gave  consideration  to  a  sim- 
ilar solution  of  the  double  feature  problem 
as  it  affects  short  subject  sales.  Programs 
containing  two  features,  a  newsreel  and 
trailer  cannot  support  two-reelers,  it  is  held. 

The  following  developments  were  reported 
during  the  week : 

Coleman 

Robert  B.  Coleman,  at  Atlantic  Studios,  Pitts- 
burgh, was  completing  a  series  of  12  travel- 
ogues and  educational  one-reelers,  to  be  re- 
leased as  "Encyclopedia  of  the  Screen." 

Columbia 

Chicago  and  June  appears  to  be  Colum- 
bia's choice  of  the  place  and  date  for  the  an- 
nual sales  convention,  where  field  sales  repre- 
sentatives will  be  told  about  a  new  series  of 
four  Peter  B.  Kyne  western  features,  which 
increases  the  western  output  from  eight  to  12, 
Ken  Maynard  appearing  in  the  larger  group. 
Whether  the  acquisitions  will  cause  an  exten- 
sion of  the  annual  feature  program  from  the 
usual  48  to  52,  had  not  been  determined.  It  is 
expected  Columbia  will  follow  the  trend  of 
reducing,  even  eliminating  two-reel  short  sub- 
jects in  favor  of  single  reels  only.  Harry 
Langdon  was  signed  this  week  as  the  star  of 
a  new  short  series,  the  comedian  having  fin- 
ished a  series  for  1934-35  some  weeks  ago. 

Criterion 

David  Strong's  Criterion  Films  will  dis- 
tribute in  this  country  a  series  of  shorts,  en- 
titled "In  Quest  of  the  Perfect  Woman,"  pro- 
duced in  north  Africa  by  Tom  Terriss  for 
Hammer  Pictures,  Inc.  The  first  three  releases 
are :  "The  Veiled  Dancer  of  Eloued,"  "Vampire 
of  Marrakesh,"  "North  of  Sahara." 

Du  World 

Vlademar  Bell  sold  distribution  rights  of  the 
Feodor  Chaliapin  feature,  "Don  Quixote,"  to 
Du  World  Pictures. 

First  Division 

Exhibitors  in  Kansas  City  will  deal  next  sea- 
son with  Midwest  Film  Distributors,  of  that 
city,  in  purchasing  "March  of  Time,"  the  in- 
dependent exchange  having  acquired  the  fran- 
chise this  week.  Omaha  and  Des  Moines  ac- 
counts will  also  be  serviced  by  Midwest. 

First  Division's  Cincinnati  branch  has  been 
merged  with  Majestic  exchange,  and  will  be 
in  charge  of  Lee  L.  Goldberg.  Maurice  Chase 
will  be  financially  interested  with  Fred  Levy 
and  Mr.  Goldberg,  both  of  whom  also  own 
Big  Feature  Rights,  Louisville. 

Fox 

Chicago  was  definitely  selected  as  the  loca- 
tion for  the  sales  convention  of  Fox,  which  will 


screen  for  delegates  the  first  four  1935-36  spe- 
cials :  Janet  Gaynor's  "The  Farmer  Takes  a 
Wife,"  Will  Rogers  in  "Old  Kentucky," 
"Dante's  Inferno"  and  "Redheads  on  Parade." 

Buster  West  and  Tom  Patricola  were  in 
New  York  preparing  to  start  work  in  1935-36 
Educational  comedies  for  Fox  release. 

GB  Pictures 

GB  Pictures  will  hold  regional  sales  conven- 
tions, starting  late  in  May,  each  lasting  four 
days,  the  first  to  feature  announcements  of 
sales  staff  additions  and  a  successor  to  L.  J. 
Schlaifer,  sales  executive,  resigned. 

Walter  Huston  is  the  latest  Hollywood  star 
to  be  acquired  for  Gaumont  British  pictures 
made  in  England,  sailing  upon  the  conclusion  of 
the  road  tour  of  "Dodsworth."  Mr.  Huston  will 
make  "Rhodes,"  based  on  the  life  of  Cecil 
Rhodes,  socalled  "Empire  builder."  The  com- 
pany will  produce  "David  Livingstone"  in  con- 
junction with  James  A.  Fitzpatrick,  and  may 
make  others  based  on  lives  of  other  explorers. 

Guaranteed 

Clifton  Hurst  Productions  disposed  of  Ameri- 
can distribution  rights  to  "Norah  O'Neale," 
produced  in  Ireland,  to  Guaranteed  Pictures, 
which  also  acquired  this  week,  from  Ambassa- 
dor, all  foreign  rights  to  the  eight  Kermit  May- 
nard westerns  now  being  made  in  Hollywood. 

Hoffberg 

Foreign  rights  were  acquired  by  J.  H.  Hoff- 
berg, from  Willis  Kent,  to  "Outlaw  Rule"  and 
"Range  Warfare,"  featuring  Bob  Russell,  and 
"Circle  of  Death,"  with  Monte  Montana. 

Liberty 

M.  H.  Hoffman's  Liberty  Pictures  completed 
its  12  1934-35  features  and  immediately  started 
production  of  "Hollywood  Hotel,"  first  of  12  for 
next  year.  Production  budget  will  be  increased. 

The  company,  through  J.  H.  Hoffberg,  for- 
eign distributor,  opened  a  Liberty  exchange  in 
Buenos  Aires  to  serve  Argentina,  Uruguay, 
Paraguay  and  Chile,  with  Jack  Lustberg  in 
charge,  Natalio  Gutman,  formerly  with  Col- 
umbia in  Argentina,  as  sales  manager  and 
Enrique  Friedlander  handling  publicity.  This 
is  the  first  step  to  establish  direct  distribution 
for  Liberty  in  South  America. 

Melbert 

"Fish  from  Hell,"  three-reel  novelty,  will  be 
distributed  internationally  by  Melbert  Pictures, 
which  this  week  sold  Philadelphia  and  Washing- 
ton rights  to  Murray  Beier's  Preferred  Pic- 
tures. 

Metro-Goldwyn-Mayer 

Leaning  toward  single-reelers  and  elimination 
or  reduction  of  two-reelers,  MGM  executives 
this  week  were  considering  a  reconstruction  of 
the  short  subject  program  for  1935-36.  Prin- 
cipally effected  would  be  Hal  Roach's  two-reel 
"Our  Gang"  comedies,  and  Mr.  Roach  was  in 
conference  with  Fred  Quimby,  short  subject 
sales  head  at  the  New  York  office. 

William  Anthony  McGuire,  playwright  and 
film  executive,  will  produce  1935-36  features  for 
MGM,  which  has  also  signed  William  Wellman 
and  Edward  Sloman  to  the  directors'  staff.  "The 
Hands  of  Orlac,"  French  novel  by  Maurice 
Renard,  will  be  a  release  next  season. 

Paramount 

"Rich  Man's  Son"  will  be  the  first  to  be  pro- 
duced by  Paramount  and  a  new  unit  headed  by 
B.  P.  Fineman,  who  returns  to  the  studio's  ex- 
ecutive staff  after  five  years. 

Max   Fleischer's  former   series   of  "Screen 


Songs"  will  be  added  to  the  new  season's  sched- 
ule, having  been  dropped  a  year  ago. 

Radio 

RKO,  like  Columbia,  MGM  and  Universal, 
is  considering  substituting  one-reelers  for  two- 
reel  subjects  next  season. 

Republic 

W.  Ray  Johnston  was  progressing  with  the 
organization  of  his  new  Republic  Pictures,  na- 
tional distributor,  reporting  the  following  de- 
velopment : 

New  York  and  Philadelphia  franchises  were 
acquired  by  Herman  Gluckman,  head  of  Capitol 
and  Majestic  exchanges,  who  was  appointed  to 
Republic's  advisory  committee  of  exchange 
owners.  Mr.  Gluckman  will  distribute  in  both 
cities  under  the  exchange  name  of  the  new 
company,  handling  that  product  exclusively. 

Republic  Pictures  Corporation  of  New  Eng- 
land has  been  formed  in  Massachusetts  with 
Herman  Rifkin  president.  William  G.  Under- 
wood and  Claude  Ezell  of  Dallas  acquired  the 
Republic  rights  in  that  territory,  and  formed 
Republic  Pictures  Corporation  of  Texas. 

Edward  A.  Golden,  general  sales  manager, 
was  in  Toronto,  discussing  Canadian  distribu- 
tion with  Oscar  Hanson,  president  of  Empire 
Films,  Ltd.,  distributor  of  Mr.  Johnston's  Mon- 
ogram product  in  the  Dominion. 

In  Hollywood,  new  talent  and  story  material 
was  purchased  by  Trem  Carr,  production  head. 
Purchased  were  :  "Manhunters,"  Norman  Hall's 
Liberty  Magazine  story ;  "Women  with  a  Past," 
by  Frederick  and  Fanny  Hatton ;  "The  Big 
Show,"  by  Dorothy  Reid;  "The  Gentleman 
from  Louisiana,"  by  Tristram  Tupper ;  "The 
Deer  Slayer,"  by  James  Fennimore  Cooper; 
"The  Spanish  Cape  Mystery,"  by  Ellery 
Queen,"  and  "Dancing  Feet,"  by  Robert  Eden. 

Republic  will  produce  in  the  East,  making 
at  least  one,  "Manhattan  Merry-Go-Round," 
in  New  York,  at  the  Bronx  Biograph  studios. 
Mr.  Carr  appointed  Mrs.  Wallace  Reid  story 
editor,  and  assigned  Sada  Cowan  to  the  scenario 
of  "Forbidden  Heaven,"  and  William  Jefferson 
to  write  the  "Two  Black  Sheep"  script. 

William  Murphy  joined  the  home  office  pub- 
licity staff,  directed  by  Edward  Finney. 

Rowland 

William  Rowland  plans  production  of  a  fea- 
ture series  of  musicals  at  Biograph's  Bronx 
studio,  but  has  yet  to  arrange  distribution. 

United  Artists 

Distribution  rights  were  acquired  by  United 
Artists,  from  Guaranteed  Pictures,  to  eight  Bob 
Steele  westerns,  for  Latin  American,  Mexico 
and  West  Indies. 

Samuel  Goldwyn's  first  1935-36  production  to 
star  Merle  Oberon,  and  her  second  for  the  com- 
pany, will  be  Richard  Doddridge  Blackmore's 
"Lorna  Doone." 

Harry  M.  Goetz,  for  years  treasurer  of  Con- 
solidated Film  Industries,  will  serve  no  longer 
on  Consolidated's  board,  resigning  to  concen- 
trate on  production  for  Reliance  Pictures,  re- 
leased through  United  Artists. 

Universal 

Universal  is  another  of  the  large  companies 
considering  elimination  of  two-reel  subjects 
next  season,  to  concentrate  on  one-reelers. 

The  company's  convention,  originally  set  for 
May  25,  at  the  Stevens  Hotel,  Chicago,  has  been 
set  back  to  June  1  to  3. 

Six  Spanish  talkers  will  be  made  in  this  coun- 
try next  season  by  Universal  for  distribution 
abroad,  and  none  will  be  duplicates  of  the 
American  program.  Plans  for  actual  production 
in  Europe  will  be  set  following  conferences  in 
New  York  and  abroad  with  company  officials 
and  N.  L.  Manheim,  foreign  head. 

Warner 

Sales  effort  for  this  season  will  be  concluded 
and  the  new  season's  selling  campaign  started 
during  a  five-week  sales  drive  which  will  get 
under  way  immediately  at  the  Warner  New 
York  and  field  distribution  offices. 


April    2  7,  1935 


MOTION    PICTURE  HERALD 


31 


The  chart,  based  on  Motion  Picture  Herald's  tabulation  of  box  office  grosses, 
indicates  the  trend  of  business  in  each  of  three  eastern  key  cities  during  the 
eleven  weeks'  period  from  February  2  to  April  13,  1935.  The  gross  for  the  first 
week  of  this  period  in  each  city  is  taken  as  100  per  cent  for  that  city. 

ITALY  AQS  ON  NEW 
IMPORT  RESTRiaiON 


Hear  IVitnesses  in 
General  Talking 
Suit  against  Erpi 

The  anti-trust  trial  of  General  Talking 
Pictures  Corporation  and  Duovac  Radio 
Corporation  against  Electrical  Research 
Products,  Inc.,  Western  Electric  and  Amer- 
ican Telephone  and  Telegraph  Company, 
which  are  charged  with  having  built  up  a 
monopoly  in  the  sound  business  through  a 
series  of  contracts  with  exhibitors,  finally 
opened  on  Monday  before  Judge  John  P. 
Nields  in  the  United  States  District  Court 
in  Wilmington.  The  trial  is  expected  to  last 
about  two  weeks. 

These  restrictive  agreements  are  the  basis 
of  complaint : 

A  "tying"  agreement  in  the  licenses  or  leases 
of  Erpi  to  exhibitors  whereby  exhibitors  agree  to 
purchase  from  Erpi  all  repair  and  replacement 
parts  for  the  reproducing  apparatus  and  equip- 
ment leased  by  Erpi. 

The  exclusive  agreements  in  the  contractual  let- 
ters accompanying  the  leases  of  Erpi  to  producers 
whereby  producers  agree  to  distribute  films  pro- 
duced on  the  producing  apparatus  only  to  exhib- 
itors supplied  with  Erpi  reproducing  apparatus  and 
equipments. 

it  is  also  charged  that  the  exclusive  agreements 
in  the  contractual  letters  require  producers  to  re- 
frain from  distributing  talking  motion  pictures  to 
theatre  exhibitors  who  have  not  acquired  reproduc- 
ing equipment  from  Erpi. 

Stanley  Company  of  America,  one  of  the 
original  co-plaintiffs,  has  settled  its  grievances 
with  the  defendants.  Duovac  is  no  longer  active. 

Before  the  trial  opened,  the  defendants  amend- 
ed their  answer  to  the  charges  by  including  the 
statement  that  Duovac,  since  the  case  was  in- 
stituted, has  gone  into  bankruptcy  and  is  no 
longer  an  active  company  and  hence  is  not  en- 
titled to  any  injunctive  relief. 

To  this,  Samuel  E.  Darby,  of  New  York, 
leading  counsel  for  the  plaintiff,  said  that  had 
the  "vice  not  existed,  Duovac  might  still  be  in 
the  business,"  of  manufacturing  electrical  de- 
vices including  vacuum  tubes  and  photo  electric 
cells. 

The  first  days  of  the  trial  were  spent  en- 
tirely by  both  sides  outlining  their  cases.  Mr. 
Darby  and  Mr.  Ephraim,  of  New  York,  and 
former  Federal  Judge  Hugh  M.  Morris,  of 
Wilmington,  are  attorneys  for  the  plaintiffs; 
George  F.  Hurd,  C.  M.  Bracelen  and  John  H. 
Ray,  of  New  York,  and  Arthur  Logan  of 
Marvel,  Morford,  Ward  and  Logan,  of  Wil- 
mington, are  acting  for  the  defendants. 

Witnesses  for  the  plaintiffs  Tuesday  were  E. 
M.  Loew  of  Boston ;  Edward  Levy,  counsel  for 
the  MPTOA ;  Charles  W.  Picquet,  president  of 
the  MPTOA  of  North  and  South  Carolina; 
Harry  Pearlman,  Pliiladelphia.  Testifying 
Wednesday  were  George  E.  Quigley  (by  deposi- 
tion), vice-president  and  general  manager,  Vita- 
phone,  and  John  Miller  of  Brunswick  Radio 
Corp.,  also  a  Warner  subsidiary,  and  others. 

General  Talking  Pictures,  Duovac  Radio  and 
Stanley  Company  of  America  appeared  in  Uni- 
ted States  district  court  in  Wilmington  in  1932 
charging  Erpi,  Western  Electric  and  AT&T 
with  controlling  90  per  cent  of  the  sound  in- 
dustry, and  asked  Judge  Nields  to  issue  a  pre- 
liminary injunction  enjoining  the  defendants 
from  enforcing  their  cross-licensing  agreements. 

Judge  Nields  handed  down  preliminary  in- 
junctions restraining  Erpi  from  enforcing  or 
attempting  to  enforce  provisions  by  which  cer- 
tain producers  were  obligated  to  distribute  only 
to  exhibitors  supplied  with  Erpi  reproducers. 

The  decrees  also  freed  Stanley  Company, 
Duovac  and  General  Talking  Pictures  from 
"tying"  agreements  with  Erpi  whereby  Erpi 
supplied  all  replacement  parts  for  theatres  op- 
erated by  the  plaintiffs. 


Expect  American  Firms  Will  Be 
PermiHed  to  Introduce  Only 
Slightly  Fewer  Films  in  1935 

by  ViTTORIO  MALPASSUTI 

Rome  Correspondeni 

The  Italian  Government  has  passed  a  bill 
which  establishes  an  annual  fund  of  ten 
million  lires  for  a  period  of  five  years  for 
support  of  the  Italian  film  producers.  The 
aim  is  twofold,  to  obtain  a  better  class  of 
Italian  pictures  and  to  enlarge  the  field  of 
production. 

This  is  not  what  might  be  called  State 
production,  as  in  the  case  of  Russia,  where 
the  state  finances  production.  In  Italy  the 
state  only  lends  money  to  producers  and 
under  certain  guaranties.  It  is  a  bank  credit 
service  such  as  that  given  by  the  Bank  of 
Cinematographic  Credit  in  Berlin. 

At  the  same  time  another  decree  was 
passed  to  restrict  importation  into  Italy  of 
film,  together  with  other  goods,  this  In 
order  to  avoid  as  far  as  possible  the  ex- 
portation of  gold  from  Italy.  The  decree 
is  positive,  but  American  and  foreign  Im- 
porters into  Italy,  on  making  a  special 
demand  at  the  Finance  Office,  would  be 
granted  permission  to  Import. 

The  decree  was  made  effective  as  of  April 
1.  At  this  writing  no  importation  permits 
have  been  granted,  but  it  is  generally  be- 
lieved that  American  corn.panies  will  be 
allowed  to  introduce  into  Italy  for  the 
1935-36  season  a  number  of  pictures  which 
will  be  only  slightly  less  than  the  total  in- 
troduced for  1934-35. 

[The  previous  law,  which  had  reduced  by 
one-fourth  the  legal  importation  of  com- 
modities and  had  applied  to  the  motion  pic- 
ture industry  as  well  as  other  goods,  ex- 
pired April   1.    American   companies  this 


week  were  awaiting  word  of  publication  of 
the  new  decree,  which  would  make  it  law. — 
Ed.] 

Quite  a  few  pictures  are  now  going  into 
production  in  Italy.  A  feature  on  the  Italian 
Navy,  "Carene  di  Acciaio,"  Maenti  Film, 
will  be  directed  by  Alessandro  Blasetti.  An- 
other will  be  "Love,"  an  ICI  production 
directed  by  Carlo  Lodovico  Bragaglia.  The 
third  is  "Passaporto  Rosso"  ("Red  Pass- 
port"), Tirreria  Film,  dealing  with  an  epi- 
sode of  Italian  emigration  and  directed  by 
Guido  Brignone.  "Lohengrin,"  E.  Ventura, 
with  scenario  by  Aldo  Debenedetti,  will  be 
followed  by  "Automobile  di  tutti"  ("Every- 
one's Auto"),  Novello  Film,  scenario  by 
Zavattini,  and  directed  by  Mario  Camerini. 
"Scarpe  al  sole,"  a  picture  of  the  Alps  and 
Alpine  soldiers,  scenario  by  Paolo  Monelli 
and  direction  by  Mr.  Elter,  will  be  made  by 
ICI.  Consorzio  VIS  will  produce  two  pic- 
tures under  the  direction  of  Giovacchino 
Forzano. 


GB  Plans  Story 
Department  Here 

As  further  evidence  of  its  inte\ition  to 
gain  a  firm  corner  in  the  American  mar- 
ket for  its  product,  GB  Pictures  is  planning 
the  establishment  of  a  story  department  as 
an  adjunct  to  the  company's  New  York 
headquarters  to  acquire  plays  produced  in 
New  York  and  books  by  American  authors 
whose  themes  are  definitely  American.  This 
was  revealed  by  Michael  E.  Balcon,  execu- 
tive production  head,  last  week  in  New 
York  prior  to  his  departure  for  England. 

The  next  immediate  step  in  GB's  pene- 
tration of  world  markets  with  its  own  dis- 
tribution system  will  be  taken  in  the  opening 
of  exchanges  throughout  South  America. 


•  •  • 


BANG!  LOS  ANGELES 

'BRIDE  OF  FRANKENSTEIN 
BROKE  ALL  RECORDS!  TWO 
HUNDRED  DOLLARS  BETTER 
THAN  IMITATION  OF  LIFE  FIRST 
DAY  AND  SEVEN  HUNDRED  BET- 
TER THE  SECOND  r'...A/exanc/er  Pantages 


I 


DP« 


LOH© 

On*C€l 


Ji 


Hal  He. 


UNIVERSALIS 


THE  BRIDE  OF 


G  ITS  RECORDS  ! 
RAZY  WITH  JOY! 

 :  \  -  ■  1  ■  ■ 


BANG!  PORTLAND 

BRIDE  OF  FRANKENSTEIN 
OPENING  ORPHEUM  GOOD 
FRIDAY  TO  POSITIVE  SENSA- 
TIONAL BUSINESS!  CONTINUED 
LINES  ALL  DAY!  NEW  HOUSE 

RECORDS!  ". . .  Albert  Sasso,  Manager 


st^^^llooPtH- 


FRANKENSTEIN^ 


34 


MOTION    PICTURE  HERALD 


April    27,  1935 


DAYLIGHT  SAVING  IN 
263  MORE  TOWNS 


Observance  Starting  Sunday  in 
794  Communities  Shows  Gains 
in  South;  Plants  Change  Clocks 

Daylight  saving  time  becomes  effective 
Sunday  at  2  a.  m.  in  794  communities  in  13 
states  and  Canada,  an  increase  of  263  places 
since  last  year.  Long  an  exhibitor  complaint, 
because  it  lengthens  the  period  for  outdoor 
activities  in  daylight,  thereby  shortening  the 
evening  indoors,  the  practice  as  effected  by 
local  ordinance  shovi^s  this  situation : 


Num 

ber  of 

Communities 

Net 

State 

1934 

1935  Change 

Connecticut   

33 

33 

3 

8 

+  5 

0 

1 

+  1 

0 

3 

+  3 

21 

90 

+  69 

19 

14 

—  5 

36 

59 

+  23 

Mississippi   

0 

1 

+  1 

20 

23 

+  3 

60 

118 

+  58 

New  York   

204 

276 

+  72 

Pennsylvania   

72 

93 

+  21 

Vermont   

1 

2 

+  1 

62 

73 

+  11 

TOTALS   

531 

794 

+263 

In  hundreds  of 

communities 

exhibitors 

have  been  leaders 

in  the 

fight 

to  prevent 

return  of  daylight  saving. 

Daylight  saving  observance  will  be  more 
general  this  year  in  the  rural  districts  where 
hitherto  opposition  has  been  keenest,  and 
there  will  be  a  marked  extension  by  indus- 
trial plants  in  communities  which  do  not 
officially  recognize  advanced  summer  time, 
according  to  the  returns  in  a  survey  of  day- 
light saving  by  the  Merchants'  Association 
of  New  York.  One  factor  cited  was  the 
shortening  of  working  hours  under  the 
NRA. 

More  than  300  communities  in  New  York 
State  alone  will  observe  daylight  saving 
time,  including  places  where  industrial  plants 
will  observe  the  summer  hours  though  the 
town  itself  adheres  to  standard  time. 

Inroads  in  South 

For  the  first  time  this  year  daylight  sav- 
ing has  made  inroads  on  the  South.  It  is  to 
be  observed  this  year  at  Atlanta,  and  at 
Jackson,  Miss.,  with  the  prospect  that  the 
influence  of  these  cities  will  have  the  prac- 
tical effect  of  forcing  observance  in  sur- 
rounding towns. 

Three  states  will  go  on  daylight  saving 
in  their  entirety.  These  are  New  Jersey, 
Rhode  Island  and  Massachusetts.  Three 
states,  Connecticut,  Maine  and  New  Hamp- 
shire, continue  in  effect  laws  making  illegal 
the  public  display  of  daylight  saving  time. 
Nevertheless,  daylight  saving  will  be  ob- 
served in  the  industrial  cities  and  towns  of 
both  Connecticut  and  Maine  and  in  the  prin- 
cipal industrial  cities  of  New  Hampshire  as 
well  as  in  many  of  the  resort  sections  of 
these  three  states. 

Observance  in  Canada  will  be  about  the 
same  as  last  year.  From  the  Far  West 
comes  word  that  the  towns  of  Burke,  Kel- 


logg and  Wallace  of  Idaho  have  all  officially 
adopted  the  new  time. 

Daylight  saving  also  will  be  observed  in 
Great  Britain,  Northern  Ireland,  France, 
Belgium,  The  Netherlands  and  Portugal. 

Industrial  Schedules  Change 

In  Rochester,  N.  Y.,  where  a  referendum 
resulted  in  a  small  majority  in  favor  of 
standard  time,  many  industrial  concerns 
alter  their  schedules  so  as  to  give  employes 
daylight  saving  schedules. 

Practically  every  community  in  Michigan 
now  follows  eastern  standard  time  the  year 
'round. 

Due  to  demands  for  daylight  saving  in 
cities,  towns  and  villages  outside  the  eastern 
time  zone,  all  of  Ohio  was  put  on  eastern 
standard  time,  effective  April  3,  1927,  by 
order  of  the  Interstate  Commerce  Commis- 
sion. 

AMP  A  to  Hold 
Election^  Dinner 

G.  Bruce  Gallup,  advertising  director  of 
Columbia  Pictures,  will  be  inducted  into  the 
presidency  of  the  Associated  Motion  Picture 
Advertisers,  at  the  annual  "Naked  Truth" 
banquet  on  Saturday  evening,  at  the  Hotel 
Astor  in  New  York. 

Although  the  annual  election  to  succeed 
the  present  administration  headed  by  Wil- 
liam R.  Ferguson,  MGM,  and  Paul  Ben- 
jamin, National  Screen  Service,  will  not  be 
held  until  this  Thursday,  Mr.  Gallup  was 
assured  of  the  post,  being  the  lone  candidate 
in  a  field  which  is  crowded  with  candidates 
for  the  other  offices,  two  nominating  condi- 
dates  having  selected  slates. 

At  the  "Naked  Truth"  affair,  Ruth  Etting 
will  make  her  announced  last  public  ap- 
pearance, having  decided  a  few  days  ago  to 
retire  from  theatricals.  Another  feature 
will  be  the  appearance  of  Arthur  (Bugs) 
Baer  with  a  galaxy  of  brother  cartoofiists 
who  will  swoop  down  on  the  diners  and  rip 
off  caricatures  of  the  folk  in  action  eating. 
Too,  William  Doriani,  European  tenor  and 
star  of  the  La  Scala  Opera,  Milan,  will  be 
seen  and  heard  for  the  first  time  in  New 
York. 


Allied  Owners  Hearing  Postponed 

Postponement  of  a  hearing  for  confirma- 
tion of  a  reorganization  plan  for  Allied 
Owners  Corporation,  theatre  holding  cor- 
poration, was  announced  Saturday  in  Brook- 
lyn, New  York,  federal  court,  until  May 
3rd,  in  order  to  obtain  a  verification  of 
creditors'  assents. 


Correction 

In  Motion  Picture  Herald  issue  of 
April  6  a  news  item  stated  that  David  A. 
Ambuter,  head  of  the  Ambuter  Film  Lab- 
oratory, Boston,  had  entered  into  an  asso- 
ciation with  William  Wool  and  George  Sell- 
man.  Mr.  Ambuter  continues  in  individual 
operation  of  the  laboratory. 


Four  Cities  Acting 
on  Double  Billing 

The  fate  of  voluntary  and  highly  contro- 
versial city-wide  prohibitions  by  exhibitors 
against  double  featuring  hangs  in  the  bal- 
ance in  four  of  the  largest  markets — New 
York,  Los  Angeles,  Cleveland  and  Kansas 
City. 

Exhibitors  in  Cleveland,  representing  cir- 
cuits and  the  Cleveland  Motion  Picture  Exhi- 
bitors Association,  were  still  attempting  to 
arrive  at  an  agreement  acceptable  to  both. 

Efforts  of  Kansas  City  owners  to  effect 
a  plan  whereby  a  committee  of  exhibitors 
and  distributors  would  designate  certain  pic- 
tures that  could  be  dualed,  prohibiting  the 
double  featuring  of  better  class  product,  were 
halted  by  W.  D.  Fulton,  operating  five  su- 
burban theatres. 

In  New  York  lack  of  interest  appears  to 
have  killed  the  plan  of  Harry  Brandt,  inde- 
pendent circuit  owner,  and  his  Independent 
Theatre  Owners  Association,  to  bring  both 
independent  and  circuit  owners,  and  distri- 
butors together  for  a  conference  with  the 
view  of  banning  double  bills. 

Harry  Vinnicoff  and  Ben  Berinstein  re- 
turned from  Code  Authority  conferences  in 
New  York  to  their  Los  Angeles  theatre 
headquarters  to  start  immediately  another 
move  to  establish  a  double  bill  ban  there. 

Richards  Heads 
Paramount  Units 

E.  V.  Richards  last  week  was  elected 
president  of  the  Paramount  Publix  reor- 
ganized subsidiary  companies,  Saenger  The- 
atres and  Saenger  Realty  Company,  both 
with  headquarters  in  New  Orleans.  Other 
officers  of  both  companies  are  Y.  Frank 
Freeman,  vice-president;  N.  L.  Carter,  sec- 
retary, and  Walter  B.  Cokell,  treasurer. 

The  other  development  in  the  Paramount 
reorganization  during  the  week  was  the 
filing  of  a  complaint  against  A.  C.  Blumen- 
thal  in  the  supreme  court  in  New  York 
by  Charles  D.  Hilles  and  Eugene  W. 
Leake,  former  Paramount  trustees,  in  an 
attempt  to  recover  $36,000  and  interest  since 
September  29,  1932,  Blumenthal  being 
charged  with  obtaining  unfair  preference  in 
the  redemption  of  his  twenty-year  5j4  per 
cent  debentures  of  Paramount  Publix. 

The  petition  of  the  Paramount  trustees 
to  have  the  American  Tri-Ergon  patent  in- 
fringement claim  against  it  expunged  was 
approved  Monday  in  New  York  by  Special 
Master  John  E.  Joyce  in  a  report  to  Fed- 
eral Judge  Alfred  C.  Coxe. 

Atlas  Corporation,  large  investment  com- 
pany headed  by  Floyd  L.  Odium,  a  director- 
elect  of  Paramount  Publix,  submitted  to  the 
board  an  offer  to  underwrite  alone  the  entire 
$6,500,000  of  new  Paramount  stock  sub- 
scription warrants.  The  bid,  asking  a  fee  of 
$64,000,  was  accepted. 

May  15  was  selected  for  the  stockholders' 
meeting  at  which  one  director  will  resign 
and  eight  will  be  formally  elected,  as  fol- 
lows :  Stephen  Callaghan,  Robert  Cassatt, 
H.  A.  Fortington,  William  Gray,  Jr.,  John 
D.  Hertz,  Floyd  Odium,  Charles  A.  Rich- 
ardson and  George  J.  Schaefer.  Dr.  Julius 
Klein  will  resign. 


April    27.    1935  MOTION    PICTURE  HERALD 


35 


BIG  CHANGES  COMING  IN  BRITISH 
THEATRES;  INDEPENDENTS  WARY 


Agreement  Between  Odeon  and 
County  and  United  Artists 
Awaits  Schenck  Action;  New 
Booking    "Co-op"  Forming 

By  BRUCE  ALLAN 

London  Correspondent 

The  stories  of  a  merger  of  the  Odeon  and 
County  Cinemas  circuits,  and  of  an  agree- 
ment between  these  groups  and  United  Art- 
ists, have  been  "denied"  in  terms  which 
amount  to  a  substantial  corroboration  of  the 
main  facts.  Describing  published  announce- 
ments as  premature,  principals  of  the  two 
groups  say  that  an  agreement  is  being  con- 
sidered and  that  its  final  form  awaits  Joseph 
M.  Schenck's  arrival  in  London. 

It  is  generally  believed  here  that  a 
fusion  of  the  two  connpanies  is  planned, 
with  UA  probably  taking  a  substantial 
financial  interest,  and  certainly  entering 
Into  definite  contracts  for  product.  To  fol- 
low. It  is  stated,  is  a  big  public  issue  of 
capital.  The  addition  to  the  new  board  of 
Reginald  Bromhead,  lately  nnanaging  di- 
rector of  Gaumont-Britlsh  is  rumored  but 
not  confirmed.  The  new  money  is  to  be 
used  to  bring  Odeon-County  rapidly  to 
the  status  of  a  major  circuit,  with  from 
150  to  250  modern  theatres. 

Whatever  the  final  form  of  the  merger, 
the  get-together  of  these  two  theatre  groups 
is  of  great  importance  in  itself  and  a  sig- 
nificant indication  of  the  shifting  and  sifting 
of  interests  at  present  in  progress  in  the 
British  field.  Both  economic  and  tactical 
factors  have  indicated  a  serious  attempt  to 
oppose  Gaumont-British  domination  in  the 
theatre  field  and  the  attempts  of  that  com- 
pany, temporarily  checked  but  probably  not 
abandoned,  to  control  the  booking  situation ; 
a  County-Odeon-UA  tieup  has  definitely  that 
aspect. 

Odeon  to  be  lOO-Theatre  Circuit 

The  present  strength  of  the  groups,  both  of 
which  are  expanding  rapidly,  is  considerable. 
Odeon  has  SO  theatres  and  County  more  than 
30;  in  both  cases  their  strength  lies  in  the 
South  and  West  and  with  particularly  good 
representation,  actual  or  planned,  in  London 
neighborhoods  and  Coast  resorts.  Odeon  has 
three  Birmingham  theatres.  Its  current  build- 
ing plans  are  for  50  more  theatres,  doubling 
its  strength. 

Oscar  Deutsch  of  Odeon  and  Charles  J. 
Donada  of  County,  indicated  as  joint  managing 
directors  of  a  fused  enterprise,  have  both  come 
into  prominence  within  the  last  few  years.  Mr. 
Deutsch,  a  Birmingham  metal  merchant,  after 
buying  theatres  in  a  small  way,  financed  the 
BTH  sound  system  and  then  started  the  Odeon 
circuit  on  ultra  modern  lines,  with  finance 
drawn,  it  is  generally  believed,  from  the  wealthy 
Halifax  Building  Society.  Donada,  a  Swiss, 
was  an  executive  of  Paramount,  London,  from 
1913  to  1932.  County  Cinemas,  Ltd.,  estab- 
lished in  1927,  has  a  capital  of  £125,000  and  its 
financial  adviser  is  J.  Amery-Parkes,  a  lawyer 
representing  big  city  interests. 

Concurrent  news  that  the  Maxwell  company, 


Associated  British  Pictures,  had  taken  over  an- 
other group  of  theatres,  including  three  London 
"supers"  controlled  by  H.  A.  Yapp,  emphasizes 
the  speed  with  which  the  trade  is  re-grouping 
on  the  basis  of  bigger  circuit  combinations.  It 
also  explains  the  steadily  growing  fears  of  the 
rapidly  diminishing  independents  and  the  per- 
sistence of  the  hope,  among  these  "small  men," 
that  some  time,  somehow,  it  will  be  possible  to 
form  a  combination  with  the  bargaining  power 
of  a  circuit. 

Rowson  PDC  Board  Chairman 

Simon  Rowson,  formerly  joint  managing 
director  of  Ideal  Films,  Ltd.,  which  was 
absorbed  recently  by  Gaumont  British,  has 
been  elected  chairman  of  the  board  of 
directors  of  Producers'  Distributing  Cor- 
poration, and  is  sharing  the  managing 
directorship  with  Reginald  Smith.  It  is 
understood  PDC  plans  to  increase  its  capi- 
talization and  extend  its  producing  and  dis- 
tributing activity. 

Cooperating  on  Booking 

Although  Will  Evans,  straight  from  his 
achievements  for  Provincial  Cinematograph 
Theatres,  failed  to  negotiate  a  single  booking 
through  an  earlier  Film  Industries  Cooperative 
Society,  and  in  the  face  of  further  recent  evi- 
dence of  distributor  strength  in  the  defeat  of 
the  GB-Union-Hyams  booking  deal,  theatre 
men  are,  it  is  said,  enrolling  by  the  hundreds 
in  a  new  cooperative  organization  which,  in  its 
own  words,  aims  to  "act  in  behalf  of  indepen- 
dent exhibitors  in  their  dealing  with  manufac- 
turers and  renters  and  .  .  .  undertake  bookings 
for  its  members." 

It  is  significant  that  a  small  trade  paper  an- 
nouncement of  this  new  body  brought  more  than 
250  letters  from  exhibitors  anxious  to  join.  It 
is  perhaps  even  more  significant  that,  though  a 
committee  of  six  has  been  appointed,  it  is  stated 
that  "for  obvious  reasons  it  would  be  inad- 
visable to  divulge  their  names."  Fear  of  dis- 
tributor reprisals  is  understandable,  but  for 
how  long  will  it  be  practicable  to  maintain  this 
secret  society  basis  for  an  organization  which 
plans  to  deal  with  the  Kinematograph  Theatres 
Society  on  equal  terms? 

Just  what  the  Cinematograph  Exhibitors  As- 
sociation will  do  about  this  new  body  is  an- 
other point.  Manchester,  where  it  originated, 
has  always  been  a  "left  wing"  hub  in  exhibitor 
politics,  but  undoubtedly  there  is  much  in  its 
policy  to  appeal  to  that  section  of  exhibitors, 
in  all  parts  of  the  country,  which  thinks  that 
CEA  general  policy  is  too  often  aff^ected  by 
respect  for  or  fear  of  the  circuits.  By  definitely 
excluding  the  circuits  from  membership  the 
new  body  will  definitely  appeal  to  the  small 
man.  What  it  will  be  able  to  achieve  for  him 
is  another  matter. 

4,994  Theatres 

A  total  of  4,994  cinema  theatres  in  the  United 
Kingdom  and  Ireland  is  shown  by  the  latest 
survey  completed  by  Western  Electric,  which 
usually  gets  ahead  of  official  statistics.  There 
are  4,637  active  sound  theatres  and  one  some- 
how manages  to  keep  going  with  silent  films  ; 
356  are  closed. 

The  detailed  figures,  showing  the  position  at 
April  1  this  year,  are : 


Sound  Silent  Closed 

England  3,549  I  173 

Scotland  514  0  68 

Wales  340  0  52 

Ireland  234  0  63 


Although  many  new  "supers,"  representing  a 


Western  Electric  Survey  Shows 
4.994  Theatres  in  the  United 
Kingdom  and  Ireland;  356 
Closed;   One  Silent  House 

net  gain  in  seating  capacity,  have  been  erected 
in  the  period,  the  figures  show  a  reduction  of 
199  theatres  since  Western  Electric's  1930 
survey. 

Biggest  British  House  Planned 

H&G  Kinemas,  Ltd.,  is  to  proceed  with  erec- 
tion of  the  new  "super"  at  Kilburn,  London, 
which  was  announced  when  the  H&G-GB  book- 
ing deal  was  broached.  The  capacity  then  stated 
was  4,700,  and  the  intention  to  make  the  theatre 
the  biggest  in  the  United  Kingdom  persists. 
The  brothers  Syd  and  Phil  Hyams  and  A.  J. 
Gale  are  directors  of  H&G  (Kilburn),  Ltd., 
which  has  a  capital  of  £30,000.  The  original 
estimate  of  the  cost  of  the  house  was  i350,000. 

Paramount  in  Birmingham 

Paramount  will  extend  its  British  circuit  by 
building  a  "super"  on  part  of  the  King  Ed- 
ward's School  site  in  Birmingham  if  a  deal  for 
the  sale  of  the  complete  site  to  other  interests, 
for  £2,000,000,  goes  through.  Verity  &  Beverley, 
Paramount  architects  here,  will  submit  plans  to 
the  Entertainments  Committee  on  May  20. 

Film  Suggested  by  King 

John  Maxwell  of  ABP  revealed  at  a  press 
lunch  that  "Royal  Cavalcade"  was  made  as  the 
result  of  a  suggestion  from  King  George  him- 
self, who  thought  it  desirable  that  such  a  film 
be  shown  in  the  capitals  of  the  British  Empire 
in  Jubilee  Week.  This  will  be  achieved  by  the 
use  of  air  transport. 

A  preliminary  plan  for  joint  production  of  a 
Jubilee  film,  by  the  British  industry  as  a  whole, 
was  found  impracticable,  said  Mr.  Maxwell. 

Mr.  Maxwell  also  announced  that  a  gala  per- 
formance would  be  held  at  the  Regal  on  May 
3,  from  which  it  is  hoped  to  obtain  £50,000  for 
the  King  George  Jubilee  Fund.  ABP  will  give 
£25,000  and  hopes  to  arrange  for  first-night 
receipts  in  all  parts  of  the  Empire  to  go  to  the 
fund. 

Wells  Film  Progresses 

H.  G.  Wells  has  been  putting  in  a  lot  of  time 
on  the  set  at  Worton  Hall,  where  London 
Film  Productions  is  now  for  the  first  time 
using  the  specially  erected  new  floor,  the  larg- 
est in  England,  made  necessary  by  the  demands 
of  "Whither  Mankind?"  Five  cameras  are  be- 
ing used  on  the  current  setting,  which  repre- 
sents a  West  End  street  on  the  eve  of  a  "next 
war"  air  raid.  Georges  Perinal  is  controlling 
lighting  and  Robert  Krasker  has  charge  of  the 
cameras.  W.  Cameron  Menzies  is  directing  five 
versions  of  "Whither  Mankind" — in  English, 
German,  French,  Spanish  and  Italian.  Leslie 
Banks,  Raymond  Massey  and  Ralph  Richard- 
son have  the  three  leading  male  roles. 

It  is  planned  to  hold  the  premiere  at  the 
8,000-seat  Albert  Hall  in  London,  donating  the 
proceeds  to  the  Prince  of  Wales'  Jubilee  Fund. 

Stars  at  Elstree 

Crete  Natzler  started  work  for  BIP's  "I  Lost 
My  Heart  in  Heidelberg,"  which  is  being  di- 
rected by  Otto  Kanturek,  cameraman  of  "Blos- 
som Time"  and  "Abdul  the  Damned."  Richard 
Tauber  has  arrived  for  his  part  in  the  as  yet 
untitled  Paul  Stein  picture.  Stein  directed  Tau- 
ber in  "Blossom  Time,"  which  has  just  been 
declared  the  best  British  picture  of  1934  in  the 
annual  Film  W eekly  patron  vote. 


3b 


MOTION    PICTU  RE  HERALD 


April    27,  1935 


ALLIED  SETS  NATIONAL    Mtlhrd  Pi^ebk 

CONVENTION  PROGRAM   Director,  rVmer, 

Dies  on  the  Coast 


Gathering  at  Atlanta  Opens 
May  21;  Set  Four-point  Pro- 
gram  of   Exhibitor  Business 

Pointing  out  that  "weatlier  conditions  in 
mid-May  are  usually  ideal,  balmy  and  not 
too  hot,  flowers  will  be  in  bloom,  birds  will 
be  tweet-tweeting  and  conditions  perfect  for 
a  never-to-be-forgotten  spring  vacation," 
Allied  States  Association  of  Motion  Picture 
Exhibitors  this  week  sent  to  the  membership 
the  suggestion  that  all  hands  turn  out  on 
May  21,  at  Atlanta,  for  the  annual  con- 
vention. The  program  was  announced  as 
follows : 

Monday,  May  20: 

7 :00  p.  m.  Informal   reception   for  national 
officers  (refreshments ) . 
Tuesday,  May  21 : 

9 :00  a.  m.  Registrations — Piedmont  Hotel. 
9 :30  a.  m.  Golf     tournament — East  Lake 
Country    Club.    Bobby  Jones, 
director. 

3 :00  or  4.00  p.  m.  Directors'  meeting — Pied- 
mont Hotel. 

4 :00  p.  m.  Ladies'  tea  at  Governor's  Man- 
sion. * 

9 :00  p.  m.  Informal    dance    including  old- 
fashioned    barn    dance — Peach 
Tree  Gardens. 
Wednesday,  May  22: 

10 :00  a.  m.  Continuation  of  golf  tournament, 
if  necessary. 

1 :00  p.  m.  Bridge  luncheon  for  ladies — Pied- 
mont Driving  Club. 

1 :00  p.  m.  Luncheon,  delegates  and  visit- 
ors— Atlanta  Athletic  Club. 

2 :00  p.  m.  Business  session — Atlanta  Ath- 
letic Club. 

8:00  p.m.  "Heaven     Bound,"     play,  Big 
Bethel    Negro    Choir — Atlanta 
Athletic  Club. 
Thursday,  May  23 : 

9:30  p.m.  Sightseeing  tour  of  city. 
12  :00  noon.  Barbecue — Stone  Mountain. 
2  :00  p.  m.  Business    session — Atlanta  Ath- 
letic Club. 

8  :00  p.  m.  Banquet-dinner  dance — East  Lake 
Country  Club. 

The  Allied  bulletin  notes  the  following 
chief  topics  to  be  discussed : 

"I.  By  the  time  the  meeting  Is  held 
the  NRA  situation  will  have  crystallized 
and  it  will  be  timely  for  the  exhibitors  to 
muster  their  influence  and  strength  in  be- 
half of  a  fair  code — or  none. 

"2.  Hearings  will  have  been  held  on 
the  Pettengill  bill  and  the  time  will  be  ripe 
for  the  independent  exhibitors,  assembled 
in  great  numbers,  to  dispel  the  smoke 
screens  that  have  been  laid  by  Hays  propa- 
gandists and  bare  the  facts  in  reference 
to  block  booking. 

"3.  The  sales  policies  and  product  of 
the  various  producing  companies  will  come 
up  for  analysis  and  discussion  and  intelli- 
gent exhibitors  will  gather  information 
which  will  prove  of  the  greatest  value  in 
negotiating  their  product  requirements  for 
next  year. 

"4.  The  exhibitors  will  be  confronted 
with  the  serious  situation  that  has  arisen 
in  Chicago,  and  which  may  spread,  In- 


volving the  action  of  Loew's  in  obtaining 
options  on  properties  and  threatening  to 
build  theatres  as  a  part  of  a  campaign 
to  make  exhibitors  buy  Metro  pictures  on 
onerous  percentage  contracts  not  forced 
on  the  exhibitors  in  that  territory  by  any 
other  producer. 

"In  Minneapolis  last  week  the  exhibitors 
of  the  Northwest  unanimously  resolved  that 
if  Loew's  acquired  or  built  a  single  theatre 
in  pursuance  of  that  campaign  they  would 
recommend  to  the  convention  at  Atlanta 
a  nationwide  boycott  of  Metro  pictures." 

Committees  were  appointed  late  last  week 
to  have  charge  of  the  convention,  which  will 
be  held  at  the  Piedmont  Hotel,  instead  of  at 
the  Robert  Fulton,  as  originally  announced. 
These  committees  follow : 

Convention  and  Tourist  Bureau 
Mrs.  Betty  Peeler,  240  Spring  Street,  N.  W., 
Atlanta. 
Badges  and  Registration 
W.  G.  Browning,  chairman,  American  The- 
atre, Atlanta. 
Banquet  and  Entertainment  (luncheon  and 
bridge) 

Mrs.  Fay  Ellis,  chairman  No.  4,  Westley 
Avenue,  Atlanta. 
Distinguished  Guests 
Ike  Katz,  chairman,  Dexter  Theatre,  Mont- 
gomery, Ala. 
Exhibits 

Ike  Katz,  chairman,  Montgomery,  Ala. 
Finance  and  Program 

-  N.  H.  Waters,  chairman,  2026  Fourth  Ave- 
nue, Birmingham. 
A.  Jules  Benedic,  vice-chairman,  162  Walton 
Street,  N.  W.,  Atlanta. 
General  Chairman 

Sam   Borisky,   527  Market   Street,  Chatta- 
nooga, Tenn. 
N.  H.  Waters,  vice-chairman,  2026  Fourth 
Avenue,  Birmingham. 
Golf 

John  Mangham,  Jr.,  co-chairman,  162  Wal- 
ton Street,  Atlanta. 

A.  C.  Bromberg,  co-chairman,  162  Walton 
Street,  Atlanta. 
Hotels  and  Housing 

Frank  H.  Dowler,  Jr.,  chairman,  423  High 
Street,  Chattanooga,  Tenn. 

W.  W.  Anderson,  co-chairman,  131  Walton 
Street,  Atlanta. 
Meeting  Hall 

Louis  Bach,  chairman,  Alpha  Theatre,  At- 
lanta. 

Printing  and  Decorations 
M.   M.  Osman,  chairman.   Strand  Theatre, 

Covington,  Ga. 
Dukehart  Printing  Co.,  Atlanta. 

Publicity 

Ted  Toddy,   chairman,   131   Walton  Street, 
Atlanta. 
Railroad  and  Bus  Fare 
A.    Jules    Benedic,    chairman,    162  Walton 
Street,  Atlanta. 
Refreshments 

Frank    Roach,    chairman.    Bijou  Theatre, 
Knoxville,  Tenn. 
Sightseeing 
Charles  Lester,  chairman,  141  Walton  Street, 
Atlanta. 
Special  Screening 
S.  H.  Borisky,  chairman,  527  Market  Street, 
Chattanooga,  Tenn. 
Tran  sportation 
A.  B.  Abercrombie,  chairman,  care  Constitu- 
tion Bus  Company,  Atlanta. 


Millard  Webb,  42,  well  known  Coast  di- 
rector, died  in  Hollywood  last  week  of 
an  intestinal  disease  after  an  illness  of  nine 
months.  He  was  taken  ill  on  his  return 
from  Europe,  where  he  had  directed  three 
pictures. 

"Gentlemen  of  the  Press,"  one  of  the 
first  popular  films  about  newspapermen,  was 
one  of  his  better  known  pictures.  He  wrote 
the  screen  play  with  Agatha  Pratt  Mye, 
English  newspaperwoman.  He  also  directed 
"The  Sea  Beast,"  starring  John  Barrymore ; 
"Naughty  But  Nice,"  with  Colleen  Moore, 
and  many  others. 

Mr.  Webb  was  born  in  Clay  Center,  Kan., 
and  attended  the  Nevada  School  of  Mining 
and  Engineering.  He  started  his  successful 
screen  career  in  1915  as  an  extra  player 
in  one  of  D.  W.  Griffith's  companies. 

Surviving  are  his  wife,  the  former  Mary 
Eaton  of  the  Ziegfeld  Follies ;  a  daughter, 
Barbara  Jane  Webb,  his  parents,  Mr.  and 
Mrs.  W.  T.  Webb  and  two  sisters  and  a 
brother,  all  of  Los  Angeles. 


Studios  to  Move 

As  the  country's  newspapers  started  to 
treat  less  spaciously  the  story  of  Holly- 
wood's threat  to  move  studios  from  Holly- 
wood if  the  state  legislature  passed  its 
proposed  excessive  taxation  program,  New 
Jersey  added  its  bid  to  the  producers  to  move 
to  its  shores. 

Governor  Merriam  in  California,  ap- 
peared, however,  to  be  losing  his  control 
over  the  tax  proposals,  as  sentiment  veered 
toward  a  gross  transaction  tax  instead  of 
the  personal  income,  admission,  sales  and 
other  so-called  nuisance  proposals  that  start- 
ed the  trouble. 

Mayor  Frank  Hague,  of  Jersey  City, 
Democratic  leader  of  the  state,  was  in 
Hollywood  conferring  with  Harry  Cohn, 
Winfield  Sheehan,  Irving  Thalberg,  Henry 
Herzbrun,  Fred  Beetson,  Pat  Casey  and 
Louis  B.  Mayer.  Another  meeting  was  set 
for  New  York  with  Harry  Warner,  Nich- 
olas Schenck  and  Adolph  Zukor. 

Mayor  Hague  is  said  to  have  told  the 
large  producers,  all  of  whom  were  repre- 
sented except  Warner,  that  they  could 
"write  their  own  ticket."  The  producers 
engaged  John  Milton  as  their  attorney  and 
representative.  Mr.  Milton  is  a  close  asso- 
ciate of  Mayor  Hague,  and  is  a  former 
Jersey  City  corporation  counsel. 

E.  A.  Schiller,  a  vice-president  of  Loew's, 
Inc..  while  visiting  New  Orleans  from  New 
York,  said :  "The  film  industry  could  move 
out  of  California  so  quick  it  would  make 
Upton  Sinclair's  head  swim ;  and  it  will  do 
it  if  his  men  in  the  legislature  make  it 
impossible  by  taxation  for  the  industry  to 
do  business."  He  said  that  New  York  and 
Florida  have  been  most  prominently  men- 
tioned as  possible  locations  for  a  transplant- 
ed production  center. 


PABTr  WIRE  CLICKS 


■I 


Hollywood 
Reporter 


ml 


m 


ml 


JEAN  ARTHUR  •  VICTOR  JORY 


From  the  novel  by  Bruce  Manning 
Screen  play  by  Ethel  Hill  and  John  Howard  Lawson 

Directed  by  Erie  Kenton 


m  T$  JO  you7. 

BUT  QBAVY  AT  THE  BOX'^OIFFICE  / 


UNCIVIL  WARRIORS 


COLUMBIA  SHORTS' 

Two-reel  comedies 
World  of  Sports 
Life's  Last  Laughs 

produced  by  C.  S.  Clancy 


SCRAPPY 

produced  by  Charles  B.  Mintz 
KRAZY  KAT 

produced  by  Charles  8.  Mintz 

LAUGHING  WITH  MEOBURY 
produced  by  Walter  f utter  — 
written  and  spoken  by  John 
P.  Medburr 


COLOR  RHAPSODIES 
produced  by  Charles  B.  Mintz 

SCREEN  SNAPSHOTS 
reported  by  Harriet  Parsons 

THE  SPICE  OF  LIFE 
produced  by  Mentone  Produc- 
tions, Inc.,  in  cooperation  with 
Literary  Digest 


TWO  LAUGHTEREEL& 

with  Moe  Howard  •  Jerry  Howard 
and  Larry  Fine  j 
A    COLUMBIA  COMEDl 


i 


April    27,  1935 


MOTION    PICTURE  HERALD 


39 


TECtiNCLOeiCAL 


iiiiniiiiniiiii 


The  BLUEBOOK  School 

By  F.  H.  RICHARDSON 

BLUEBOOK  SCHOOL  QUESTION  NO.  263  (one  of  special  group  of  questions  on  sound).— (A)  What  should 
the  projectionist  do  in  case  of  loss  of  sound  during  a  show?  (B)  A  badly  worn  or  eccentric  intermittent 
sprocket  will  usually  cause  film  damage  and  picture  jump  or  weave.  What  is  the  usual  effect  of  a  similar 
condition  with  respect  to  the  sound  sprocket?  (C)  Why  is  it  highly  undesirable  for  sound  from  the  projection 
room  monitor  to  reach  the  auditorium,  and  what  should  be  done  to  prevent  it  from  doing  so?  (D)  What  new 
burdens  has  sound  put  on  the  projectionist  with  respect  to  the  care  and  operation  of  equipment? 


Answer  to  Question  No.  257 


Bluehook  School  Question  No.  257  ivas: 
{A)  What,  in  your  opinion,  constitutes  the 
best  projection  room  location  from  all  points 
of  view?  (B)  What,  in  your  opinion, 
should  be  the  limit  of  location  of  projection 
room  above  the  screen,  and  why?  (C) 
How  would  you  proceed  to  measure  the  pro- 
jection angle  in  your  own  case? 

The  following  made  acceptable  answers : 
C.  Rau  and  S.  Evans;  G.  E.  Doe;  D.  Dan- 
ielson ;  H.  Edwards ;  R.  J.  Arntson ;  C.  Old- 
ham; K.  Arrington;  A  F.  Sprafke;  L.  Ci- 
mikoski;  T.  J.  Wentworth;  G.  Thompson; 
T.  Van  Baulkenburg;  H.  Pitchkey  and  C. 
Mellinger;  R.  Geddings  and  L.  Grant;  Bill 
Doe;  P.  H.  Kay;  D.  Goldberg  and  L. 
Hutch;  S.  Johnson  and  E.  Hodson;  J. 
Lansing  and  R.  D.  Oberleigh;  S.  Spooner 
and  B.  H.  Thaller;  D.  Bennett;  F.  Harlow 
and  G.  Harrison:  D.  Stellegos  and  G. 
Wayne;  L  M.  Goss  and  T.  Danielson;  L. 
M.  and  C.  B.  Traxler;  R.  and  K.  Wells;  H. 
Hughes  and  E.  Mantol ;  D.  Lally  and  F. 
Ferguson;  T.  H.  Bernard  and  C.  Holly; 
R.  G.  Crews  and  T.  T.  Davidson;  S.  C. 
Hollenbeck  and  R.  B.  Maxwell;  B.  L. 
Thomas';  S.  L.  Parker;  B.  R.  Danielson; 

F.  L.  Savior  and  G.  N.  Guidotti;  H.  B. 
Singleton;  B.  N.  Somers;  T.  Turk;  A.  Rich- 
ardson, N.  L.  Haynes  and  D.  T.  Bennett; 
T.  N.  Rogers  and  G.  B.  Randall;  F.  T. 
James ;  N.  K.  Hendries  and  B.  L.  Jackson ; 

G.  B.  Lantree  and  R.  Davis ;  H.  H.  Wylie ; 
M.  L.  Daniels;  D.  L.  Sinklow;  D.  L.  Hub- 
bard, J.  R.  Sanborne,  H.  Munier  and  T.  L. 
Frazier ;  P.  L.  Nathan. 

I  have  selected  the  reply  of  G.  E.  Doe  to 
Section  A.  He  says,  "I  believe  this  is  a 
question  to  which  no  fixed  answer  can  reas- 
onably be  made.  Too  much  depends  upon 
the  general  plan  of  the  theatre.  According 
to  my  view,  the  best  location  is  one  that 
will:  (1)  Provide  a  minimum  of  projection 
angle  consistent  with  no  otherwise  seriously 
objectionable  features,  the  angle,  under  no 
conditions,  to  exceed  15  degrees  from  hori- 
zontal. (2)  Such  position  as  will  keep  the 
projection  distance  within  limits'  that  will 
not  require  the  use  of  projection  lenses  of 
less  than  five-inch  E.F.,  or  more  than  seven- 


inch  E.F.  (I  would  say  not  less  than  4.5- 
inch  E.F.,  minimum,  as  very  satisfactory  re- 
sults may  be  had  with  4.5  lenses. — F.  H.  R.) 
(3)  A  location  that  will  not  displace  high 
price  seats,  interfere  with  audience  view,  or 
necessitate  unreasonably  high  cost  in  install- 
ing, fireproofing  and  ventilating  the  room. 

"In  general,  this  usually  means  back  of 
the  rear  auditorium  wall,  above  the  balcony, 
if  any,  but  as  low  down  as  conditions  will 
permit.  Too  often  the  room  is  placed  high 
up  without  the  slightest  necessity  for  so 
doing.  The  main  floor,  while  theoretically 
best,  usually  really  is  not,  for  several 
reasons.  Such  locations  have  been  very 
largely  abandoned.  Above  a  second  bal- 
bony,  or  any  location  that  causes  in  excess 
of  a  15-degree  projection  angle,  is  bad.  In 
many  cases  it  is  carried  to  a  degree  that  is 
outrageous.  Very  often  the  rear  of  the  first 
balcony  offers,  all  things  considered,  the 
best  location." 

(B)  I  believe  Danielson  gives  us  a  short, 
comprehensive  answer.  He  says,  "This 
would  be  governed  by  the  projection  dis- 
tance, since,  other  things  being  equal,  the 
longer  the  projection  distance,  the  less  the 
angle  of  projection,  which  in  no  case  should 


F.H.RICHARDSON'S  NEW 
BLUE  BOOK  OF 

PROJECTION 


A  new  edHion  of  this  famous 
book  is  now  on  the  press.  Pro- 
jection, sound  reproduction  and 
frouble-shooting  all  in  one  compacf-,  handy  vol- 
ume ol  700  pages,  including  153  illusfrations 
of  hook-ups,  wiring  diagrams  and  schematics. 

Experts  consider  it  tlie  most  up-to-date  and  practical 
projection  manual  on  the  marlcet.  Contains  an  extremely 
simple  index  system  for  instant  use  in  emergency  brealt- 
downs.  A  boal<  that  should  be  part  of  every  projection 
room  in  the  country.  Order  early  and  get  an  original 
author's  autographed  copy. 


QUIGLEY  BOOKSHOP 


1 790  Broadway 


New  York 


«5 


be  more  than  enough  to  increase  (through 
distortion)  the  height  of  the  screen  image 
by  more  than  five  per  cent." 

(C)  There  were  some  rather  astonishing 
answers  to  this  one.  The  matter  is  not  very 
complicated.  Obtain  a  board,  say,  4  to  5 
feet  long,  and  a  spirit  level.  Test  the  level 
by  reversing  ends  to  see  if  it  registers  the 
same  both  ways.  Locate  the  board  in  posi- 
tion beside  the  lamphouse  and  mechanism 
and  level  it  exactly.  Now,  by  any  con- 
venient means,  determine  height  of  center  of 
light  source  and  center  of  front  end  of  pro- 
jection lens  above  the  top  of  the  board. 

Lay  all  this  out  on  paper,  or  on  a  table 
top,  the  latter  by  means  of  threads  stretched 
on  pins  thrust  into  the  table  top.  Keeping 
the  relation  of  the  two  lines  unchanged  as 
to  angle,  raise  the  board-top  or  "horizontal" 
line  until  it  joins  the  angle  line,  whereupon 
you  may  determine  the  angle  of  the  two 
lines  either  by  calculation  or  by  means  of  a 
protractor,  which  latter  may  be  obtained  for 
a  few  cents  from  any  dealer  in  artists'  sup- 
plies, or  from  almost  any  good  stationery  or 
department  store.  To  use  the  protractor, 
just  lay  the  center  mark  on  its  flat  side,  and 
the  "90"  figure  on  the  scale  on  the  horizontal 
line,  the  flat  side  center  mark  exactly  where 
the  two  lines  join. 

EASTERN  SMPE 
SECTION  MEETS 

The  East  Coast  Section  of  the  Society  of 
Motion  Picture  Engineers  played  to  an  over- 
flowing house  at  its  last  meeting,  when  E.  I. 
Sponable  of  the  Fox  organization  read  an 
illustrated  paper  in  one  of  the  large  screen- 
ing rooms  at  the  Fox  main  office  building 
in  New  York  City.  His  subject  was  the 
gradual  improvement  in  sound  from  the 
earliest  days  until  the  present.  Certainly  he 
dealt  with  the  matter  in  masterly  style.  We 
were  privileged  to  examine  some  of  the  very 
early  equipments,  among  them  one  of  the 
first  practical  sound  cameras.  Also,  a  very 
large  number  of  slides  were  shown,  in  which 
early  equipment  details  and  processes  were 
illustrated,  and  to  top  it  all  off  several  genu- 
ine old-time  film  recordings  of  sound  were 
reproduced. 


WILLHfTdR 
TO00.00 
FIRST  WEEK 

AT  RADIO  CITY  MUSIC  HALL 


AND  STAY  OVER  FOR  SECOND 

SAYS  ^^lETY  OF 
DARRYL  ZANUCK'S  TRIUMPH 


^f^^ull       cjlJeasJ  ilru  UNITED  ARTISTS 


ICHELIEU 


M  a  1 1 1  It  n 


MAUREEN  O'SULLIVAN 
EDWARD  ARNOLD  •  FRANCIS  LISTER 
DOUGLASS  DUMBRILLE  •  CESAR  ROMERO 

Directed  by  Rowland  V.  Lee 


42 


MOTION    PICTURE  HERALD 


April    2  7,     19  3  5 


THE  CUTTING  ROOM 


Advance  outlines  of  productions  neafing 
completion  as  seen  by  Gus  McCarthy  of 
Motion  Picture  Herald's  Hollywood  Bureau 


LET  'EM  HAVE  IT 

Reliance 

As  the  production  cycle  based  upon  the  ex- 
ploits of  Department  of  Justice  men  becomes  a 
picture  entertainment  reality,  intense  efforts  are 
being  made  to  insure  that  each  is  absolutely  dif- 
ferent than  the  other.  In  this  feature,  all  that 
is  theatrically  commercial  in  portraying  the  ad- 
ventures, hazards,  sacrifice  and  heroism  of  the 
operatives  is  preserved,  while  the  substantiating 
dramatic  and  romantic  story  is  one  fully  taking 
advantage  of  all  acknowledged  entertainment 
essentials. 

Authenticity  is  assured  in  all  phases  reflect- 
ing the  straight  functions  of  the  D.  J.  men 
through  the  technical  direction  of  Don  Wilke, 
who,  together  with  his  father,  was  connected 
with  the  Department  for  many  years.  The  origi- 
nal story  is  by  Joseph  Moncure  March  and 
Elmer  Harris,  with  added  dialogue  by  Al  Boas- 
berg.  Direction  is  by  Sam  Wood,  whose  latest 
credit  is  "The  Cat's  Paw." 

There  being  much  topically  based  exploita- 
tion opportunity  in  the  story  of  the  men  who 
dedicate  their  lives  to  the  service  of  the  coun- 
try in  the  warfare  on  crime,  the  lengthy  cast 
also  contains  many  names  which  in  themselves 
are  fully  able  to  whet  patrons'  appetites.  In  the 
production,  Richard  Arlen  is  the  prototype  of  all 
heroic  G  men  as  Bruce  Cabot  is  the  composite 
headline  criminal.  Romantic  love  interest  cen- 
ters about  Arlen  and  Virginia  Bruce,  whose 
brother,  Eric  Linden,  a  rookie  operative,  sacri- 
fices his  life  to  round  up  the  public  enernies. 
Various  characters,  who  step  out  of  recent  head- 
lines as  defenders,  friends  and  enemies  of  the 
law,  include  Alice  Brady,  Harvey  Stephens, 
Joyce  Cmpton,  Gordon  Jones,  J.  Farrell  Mac- 
Donald,  Bodil  Rosing,  R.  E.  O'Connor,  Hale 
Hamilton,  Dorothy  Appleby,  Matthew  Betz, 
Paul  Fix,  Matty  Fain,  Christian  Rub,  Wesley 
Barry,  Clarence  Wilson,  Sidney  Brace  and 
nearly  a  score  of  others. 

As  Edward  Small,  who  made  "Count  of 
Monte  Cristo,"  is  also  the  producer  of  the 
picture,  there  is  an  added  guarantee  of  the 
production's  exploitation  and  entertainment 
quality. 


UNDER  THE  PAMPAS  MOON 

Fox 

This  is  a  gay,  romantic,  action-packed  story 
of  an  Argentine  gaucho  (cowboy)  who  has  a 
way  with  women  that  is  the  envy  of  all  men. 
It  returns  Warner  Baxter  to  the  atmospheric 
"Cisco  Kid"  character  in  which  he  won  high 
popularity.  A  singing,  dancing  devil-may-care 
pampas  buckaroo,  he  falls  in  love  with  an  angel 
who  dropped  from  the  skies  via  an  airplane 
crash,  to  follow  her  to  Buenos  Aires  and  against 
a  colorful  background  of  exciting  adventure  and 
conflicting  emotions  win  her  heart. 

The  story  is  an  original  by  Gordon  Morris, 
brother  of  the  actor  Chester.  Screen  play  and 
adaptation  are  by  Ernest  Pascal  and  Bradley 
King.  Direction  is  by  James  Tinling.  Song 
numbers  were  composed  by  Lew  Pollack,  Paul 
Webster  and  Walter  Samuels.  Baxter  and 
Ketti  Gallian  each  sing  one ;  the  third  is  a  riding 
song  of  the  gauchos.  Pollack  is  remembered  for 
his  "Diane"  of  "Seventh  Heaven"  and  he  and 
Webster  wrote  "Two  Cigarettes  in  the  Dark." 

Ketti  Gallian,  who  made  her  screen  debut  in 
"Marie  Galante,"  shares  the  lead  with  Baxter. 
In  a  specialty  number  Titi  Guizar,  noted  broad- 


cast favorite,  makes  his  first  screen  appearance. 
Veloz  and  Yolanda,  famous  stage  and  night 
club  dancers,  will  introduce  the  Cobra  Tango  in 
the  Buenos  Aires  cafe  scenes  where  Rita  Can- 
sino,  another  well  known  dancer,  will  be  seen 
in  a  sensational  number. 

As  the  production  vividly  pictures  the  novel 
and  alluring  color  of  its  locale,  equally  thrHling 
insight  is  given  of  the  romantic  and  adven- 
turous gaucho  life. 

There  is  definite  showmanship  value  to  the 
subject  matter,  and  the  supporting  personalities, 
in  addition  to  those  mentioned,  also  have  com- 
mercial merit.  To  be  seen  among  the  players 
are  John  Miljan,  J.  Carrol  Naish,  Jack  La  Rue. 


FROM  READERS 

ON  PROGRAM  OF 
PARENTS-TEACHERS 

Motion  Picture  Herald's  presenta- 
tio?i  {in  the  issue  of  March  }Oth)  of 
the  announced  program  of  the  Na- 
tional Congress  of  Parents  and  Teach- 
ers in  connection  with  the  Pettengill 
bill,  now  before  Congress,  continues  to 
prompt  expressions  from  individuals 
directly  ivithin  the  industry  and  those 
indirectly  connected  with  it. 
I  see  no  reason  why  the  public  should  be 
so  interested  in  the  motion  picture  business. 
However,  I  believe  there  is  no  immediate 
danger  of  churches,  schools  or  other  organi- 
zations becoming  customers,  on  account  of 
financial  conditions.    Our  churches  here  are 
in  no  position  to  go  into  the  motion  picture 
business,  and  I  believe  you  will  find  the 
same  conditions  existing  in  all  communities. 

No  church,  school,  organization  could  af- 
ford to  buy  films  at  their  present  prices,  and 
none  of  the  producers  are  going  to  reduce 
their  prices,  or  give  special  concessions  to 
these  people. — Mrs.  David  Ross,  President, 
National  Indorsers  of  Photoplays,  437  East 
v38th  Street,  Indianapolis,  Ind. 


"GOVERNMENT  HASN'T 
GONE  NUTS  YET" 

I  just  cannot  get  excited  about  her  (Mrs. 
A.  Raymond  Klock's)  statement,  because  I 
don't  believe  the  Government  has  gone  nuts 
yet. 

Of  course  churches,  charity  hospitals  and 
all  non-tax  and  volunteer  labor,  plus  prison 
labor,  could  compete  with  theatre  invest- 
ments, banks,  railroads  or  anything  else  in 
the  way  of  taxpaying  business,  but  so  far  the 
Government  has  failed  to  give  any  of  these 
institutions  a  death  grip  upon  business,  and 
I  am  sure  in  this  case  it  will  get  the  usual 
treatment. — -E.  V.  Richards,  Saenger  The- 
atres, Inc.,  Tudor  Theatre  Building,  New 
Orleans,  La. 


NO  MORE  LADIES 
MGM 

Cast  names  dictate  the  practical  showmanship 
which  most  likely  will  be  generally  adapted  in 
selling  this  production.  The  feature  is  Joan 
Crawford,  Robert  Montgomery  and  Franchot 
Tone  in  what,  contrary  to  natural  expectations, 
is  an  unsophisticated  romance  drama  with  com- 
edy. As  this  trio  is  supported  by  Charlie  Rug- 
gles,  Edna  May  Oliver,  Reginald  Denny  and 
Gail  Patrick,  the  locales  being  Park  Avenue, 
glamorous  New  York  night  clubs,  swanky  Long 
Island  country  homes  and  clubs  and  Palm  Beach 
hotels  and  resorts,  it's  the  story  of  a  modern 
girl  who,  to  forget  her  past,  marries  a  lovable 
rascal  who  is  equally  anxious  to  be  rid  of  the 
menace  of  any  pretty  face.  Then  to  the  tune 
of  many  surprising  situations  the  playboy  falls 
back  into  his  old  ways.  His  wife,  loving  him, 
does  likewise  and  in  the  end  outwits  him  in 
sequences  full  of  comedy. 

Based  on  a  stage  play  by  A.  E.  Thomas,  the 
feature  is  being  produced  by  Irving  Thalberg. 
It  was  adapted  to  the  screen  by  Rachel 
Crothers,  Donald  Ogden  Stewart  and  Horace 
Jackson  and  directed  by  Edward  H.  Griffith. 
Patrons  know  what  to  expect  of  Miss  Crawford 
and  Montgomery  when  their  work  is  recalled 
in  such  pictures  as  "Our  Blushing  BrideSj" 
"Letty  Lynton"  and  "Forsaking  All  Others." 
The  writing  and  directing  credits  further  em- 
phasize this  quality  when  it  is  remembered  that 
they  were  associated  with  such  entertainment  as 
"Let  Us  Be  Gay,"  "Holiday,"  "When  Ladies 
Meet,"  "Animal  Kingdom,"  "Dinner  at  Eight" 
and  "Barretts  of  Wimpole  Street." 

The  title  being  significant  of  the  breezy  mod- 
ern story  trend  and  the  cast  names  a  dominant 
commercial  factor,  production  backgrounds  and 
costumings  being  of  the  expected  class,  show- 
manship which  readapts  all  that  has  been  used 
in  connection  with  similar  pictures  featuring  the 
same  lead  personalities  should  be  plenty  efficient 
in  arousing  public  interest. 


KEEPER  OF  THE  BEES 

Monogram 

With  several  alterations  promising  to  add  to 
its  human  interest  dramatic  value,  this  produc- 
tion is  a  modernized  adaptation  of  one  of  Jean 
Stratton  Porter's  best  known  books.  "Girl  of 
the  Limberlost"  and  "Laddie"  already  having 
revived  an  interest  in  the  Porter  novels  and 
their  entertainment  values,  story  content  of  this 
is  potentially  promising  of  a  brand  of  exploita- 
tion that  should  accentuate  the  pulling  power 
of  the  author's  name. 

The  screen  play  is  by  Adele  Buffington,  who 
not  only  is  credited  with  many  successful  origi- 
nals and  adaptations  but  worked  with  Mrs. 
Porter  prior  to  her  death  and  consequently  has 
a  keener  understanding  of  what  the  author  was 
trying  to  do  than  one  who  did  not  enjoy  the 
association.    Christy  Cabanne  is  directing. 

Essentially  the  story  is  a  whimsical  drama. 
It  deals  with  a  war  shattered  man  who,  believ- 
ing that  he  is  living  on  borrowed  time,  comes 
to  a  little  idyllic  seaside  village.  There  he  be- 
comes associated  with  a  kindly  old  character, 
the  Bee  Master,  and  his  child  protege.  Little 
Scout,  through  whose  kindness  he  finds  a  new 
will  to  live.  Romance,  that  takes  a  pecularly 
modern  twist,  is  inserted  via  the  medium  of 
Molly,  whom  the  man  marries  for  a  reason  he 


April    2  7,     19  3  5 


MOTION    PICTURE  HERALD 


43 


PICTURES  IN  THE  CUTTING  ROOM 


only  vaguely  can  understand.  The  human  in- 
terest of  the  theme  is  made  more  potent  when 
the  women  who  bears  his  name  dies,  only  to 
have  the  girl  who  caused  him  to  pause  at  the 
village  return  to  marry  him. 

The  cast  has  Neil  Hamilton  and  Betty  Fur- 
ness  in  the  lead  roles,  with  the  veteran  actor 
Hobart  Bosworth  as  the  Bee  Master  and  Edith 
Fellows  as  Little  Scout.  Emma  Dunn,  now  in 
"White's  Scandals,"  is  Aunt  Margaret  and 
Helen  Jerome  Eddy  will  be  seen  as  Shorty. 


THE  FLAME  WITHIN 

MGM 

This  is  a  story  of  dynamic  love  conflict.  The 
significance  readily  read  into  the  title  graphical- 
ly indicates  the  intensity  with  which  it  burns. 
Essentially  a  seriously  toned  and  sophisticated 
problem  theme,  it  is  also  human  to  such  an  ex- 
tent that  there  is  potentially  an  equal  appeal 
for  both  class  and  mass  patronage. 

A  word  as  to  author,  director  and  player 
credits  as  well  as  the  gist  of  the  story  content 
should  establish  the  character  of  showmanship 
necessary  to  sell  it.  Story  and  direction  are  by 
Edmund  Goulding,  who  made  "Rip  Tide."  The 
main  action  centers  about  five  principals.  These 
are  Ann  Harding;  Herbert  Marshall,  recently 
in  "The  Painted  Veil"  and  "The  Good  Fairy"  j 
Maureen  O'Sullivan,  last  seen  in  "Copperfield" 
and  "West  Point  of  the  Air" ;  Louis  Hayward, 
a  newcomer  who  seems  to  have  the  personality 
and  talents  of  which  future  screen  stars  are 
made,  and  Henry  Stephenson.  Others  in  the 
cast  are  Margaret  Seddon,  George  Hassell,  Eily 
Malyon  and  Claudelle  Kaye. 

Modernly  premised,  the  theme  concentrates 
on  a  dramatic  exposition  of  the  most  elemental 
romantic  emotions.  Ann  Harding  is  a  doctor 
devoting  her  life  to  psychiatry.  Doctors  Mar- 
shall, who  loves  her  deeply,  and  Stephenson 
bring  to  her  Miss  O'Sullivan,  a  woman  who 
attempted  suicide  as  the  result  of  the  continual 
indiscretion  of  her  sweetheart  (Hayward). 
Renovating  him,  Miss  Harding  falls  in  love 
with  him.  Nevertheless  he  marries  Miss  O'Sul- 
livan, while  Marshall  patiently  waits  and  hopes. 
A  year  passes  and  the  stage  is  set  for  the 
dramatic  climax  when  Hayward,  realizing  that 
his  love  for  Miss  Harding  is  greater,  would 
get  a  divorce,  only  to  have  Marshall  in  a  sus- 
pense-packed situation  claim  Miss  Harding  as 
his  and  thus  assure  the  happiness  of  all  four. 

The  title  being  alluring  and  the  quality  of 
the  story  often  having  proved  its  commercial 
value,  exploitation  that  takes  full  advantage  of 
the  values  of  both,  in  combination  with  the 
worth  of  the  cast,  should  be  applied. 


COLLEGE  SCANDAL 

Varamount 

Murder,  mystery  and  comedy  on  a  college 
campus  is  the  stuff  of  which  this  production  is 
being  made.  Athletics  being  ignored  completely, 
other  than  for  atmospheric  purposes,  it's  a  new 
kind  of  material  for  a  familiar  setting.  Other 
forms  of  student  activity  are  brought  in,  the 
chief  feature  contrasting  the  story's  principal 
dramatic  motivation  being  the  presentation  of 
an  amateur  musical  show. 

The  story  is  an  original  by  Beulah  Marie  Dix 
and  Bertram  Milhauser.  The  screen  play  is 
the  work  of  a  triumvirate  consisting  of  Mar- 
guerite Roberts,  Charles  Brackett  and  Frank 
Partos.  Direction  is  by  Elliott  Nugent,  who 
made  "She  Loves  Me  Not,"  also  a  college 
background  story.  The  picture  is  being  pro- 
duced by  Albert  Lewis,  who  handled  "The 
Gilded  Lily."  Music  and  lyrics  featured  in 
the  student  show  are  by  Sam  Coslow. 

The  cast  presented  is  composed  of  both 
familiar  screen  names  and  a  batch  of  less  known 


juvenile  players.  Arline  Judge  has  the  lead 
role,  cast  as  the  prying  reporter  of  the  college 
paper  whose  butting  into  things  in  which  she 
has  no  business  not  only  provides  much  of  the 
straight  comedy  but  also  enables  her  to  solve 
the  mystery  of  the  several  murders.  Romantic 
interest  is  carried  by  Kent  Taylor  and  Wendy 
Barrie,  a  newcomer  from  the  British  stage  now 
appearing  in  "It's  a  Small  World."  Others  in 
the  cast,  a  policeman,  students  and  professors 
and  college  attendants,  are  William  Frawley, 
Benny  Baker,  William  Benedict,  Douglas 
Blackley,  Edward  Nugent,  Johnny  Downs, 
Joyce  Compton,  William  Stack,  Mary  Nash, 
Helena  Evans,  Edith  Arnold,  Samuel  Hinds 
and  Mary  Ellen  Brown. 

Unlike  the  ordinary  college  story,  this  is 
highly  dramatic;  at  the  same  time  it  preserves 
those  elements  of  student  life  which  patrons 
l;ave  come  to  look  upon  as  a  worthwhile  en- 
tertainment feature.  Most  effective  showman- 
ship seems  to  be  wrapped  up  in  the  dramatic 
story  itself,  but  with  much  available  in  atmos- 
pheric background  and  cast  values. 


BROADWAY  GONDOLIER 

Warner 

The  stuff  of  which  this  airy,  gay,  novel  mu- 
sical comedy  romance  is  being  made  is  of  the 
character  readily  lending  itself  to  smash  show- 
manship. A  lively  intriguing  story  full  of  sur- 
prising situations  and  developments  is  told 
against  the  backgrounds  of  the  streets  of  New 
York,  the  canals  of  Venice  and  a  radio  broad- 
casting station.  Essentially  a  comedy,  it  tells 
a  love  story  to  music  and  lyrics  by  Al  Dubin 
and  Harry  Warren,  a  pair  who  have  con- 
tributed much  to  many  successful  Warner 
musical  pictures.  It  is  being  directed  by  Lloyd 
Bacon,  recent  maker  of  "Here  Comes  the 
Navy"  and  "Devil  Dogs  of  the  Air."  His  ex- 
perience with  "Wonderbar"  is  indicative  of 
what  he  can  do  with  musicals. 

The  story  concerns  a  taxi  driver  who,  given 
the  opportunity  of  a  radio  audition,  misses  his 
date,  then  goes  to  Venice  where  as  a  gondolier 
on  the  Grand  Canal  he's  unwittingly  redis- 
covered by  the  sponsors  of  a  cheese  program. 
As  the  cab  cruising  gondolier  of  the  program 
he  wins  himself  fame  and  riches  and  of  course 
the  girl. 

Dick  Powell  is  starred.  Supplementing  the 
box  office  power  of  his  name  is  a  cast  of  per- 
sonalities and  specialty  folk  all  of  whom  are 
favorably  known.  Included  are  Joan  Blondell, 
now  in  "Traveling  Saleslady,"  Adolphe  Menjou, 
featured  in  the  current  "Gold  Diggers  of  1935," 
Louise  Fazenda,  William  Gargan,  appearing  in 
"Black  Fury,"  Grant  Mitchell,  Hobart  Cava- 
naugh,  George  Barbier,  Joseph  Sauers,  Rafael 
Storm  and  James  Burke.  In  specialty  numbers 
Ted  Fio  Rito  and  his  band  will  be  seen,  ac- 
companying Powell's  singing  over  the  air. 
The  Four  Mills  Brothers  are  down  for  a  num- 
ber of  their  own,  as  is  Judy  Canova  of  the 
noted  Canova  family. 


STRANDED 

Warner 

Kay  Francis  and  George  Brent,  recently  seen 
in  "Living  on  Velvet"  and  "The  Goose  and  the 
Gander,"  again  are  teamed  in  the  leading  roles, 
in  a  romantic  love  story  which,  in  developing 
strong  drama,  reaches  a  climax  strong  with 
tense  suspense  in  a  struggle  against  death  and 
destruction.  The  principal  locales  are  a  metro- 
politan railway  station  and  a  bridge  construc- 
tion job,  two  spots  that  should  serve  as  effec- 
tive backgrounds  for  the  unusual  romance,  con- 
trasting comedy,  intrigue,  dramatic  action  and 
thrill  atmosphere. 

The  yarn  is  an  original  by  Frank  Wead, 


whose  most  recent  stories  are  "West  Point  of 
the  Air"  and  "Murder  in  the  Fleet,"  and 
Ferdinand  Rehyer.  The  screen  play  is  by 
Delmer  Daves,  a  collaborator  on  "Dames"  and 
"Flirtation  Walk."  Frank  Borzage,  who  han- 
dled' Miss  Francis  and  Brent  in  "Living  on 
Velvet,"  is  the  director. 

In  the  story,  much  that  is  of  showmanship 
interest  surrounds  the  association  of  Miss 
Francis,  appearing  as  a  Travelers'  Aid  Society 
clerk  in  the  station,  and  Brent,  a  construction 
engineer.  Their  conflict  leads  to  mutual  love, 
complicated  by  romantic  inclinations  of  Patricia 
Ellis  and  Gavin  Gordon.  Action  develops  when 
a  labor  racketeer,  Barton  MacLane,  remembered 
for  his  similar  role  in  "Black  Fury,"  tries  to 
hamper  the  bridge  building  job,  an  act  that 
brings  Miss  Francis  into  a  none  too  dignified 
situation,  but  finally  smooths  the  way  for  warm 
and  joyous  romance. 

Likewise,  the  stars  and  supporting  cast  are 
of  acknowledged  exploitation  value.  Others 
prominent  in  the  large  cast  are  Donald  Woods, 
Robert  Barrat,  Mary  Forbes,  Frankie  Darro, 
Mae  Busch,  Shirley  Grey,  Henry  O'Neill, 
Joseph  Crehan  and  Pat  Moriarty. 


BLACK  SHEEP 

f  OA 

Neither  a  bucolic  rural  romance  nor  a 
melodrama  of  an  errant  son  as  the  title  might 
first  suggest,  "Black  Sheep"  is  a  drama  of 
tangled  lives,  hearts  and  romance,  with  all  its 
action  taking  place  aboard  an  ocean  liner  mak- 
ing a  westward  Atlantic  crossing.  Exciting 
adventure  vies  with  unique  love  interest. 

The  story  is  an  original  by  Alan  Dwan,  who 
also  is  directing,  the  screen  play  by  Allen  Riv- 
kin.  Lyrics  for  the  one  song  featured  are  by 
Sidney  Claire,  who  wrote  "On  the  Good  Ship 
Lollypop."    The  music  is  by  Oscar  Levant. 

As  the  story  unfolds  it  brings  together  an 
odd  lot  of  characters  in  just  as  odd  situations. 
First  there's  an  international  gambJer,  beating 
his  way  homeward  because  the  cards  and  horses 
didn't  behave  the  way  he  anticipated.  The  role 
is  played  by  Edmund  Lowe,  last  seen  in  "Great 
Hotel  Murder"  and  "Mr.  Dynamite."  Then 
there  is  a  woman,  Claire  Trevor,  who  despite 
critics'  opinion,  thinks  she's  an  actress.  Never- 
thekss  she's  walking  home  from  her  first 
European  trip.  Tom  Brown,  wastrel  scion  of 
Backbay  Bostonians,  becomes  involved  with 
kleptomaniac  Adrienne  Ames  in  an  attempt  to 
smuggle  jewels  through  customs.  Eugene 
Pallette  and  Jed  Prouty  are  a  pair  of  gamblers 
who  take  particular  delight  in  fleecing  Brown. 
Ford  Sterling,  veteran  of  the  old  Keystone  Cop 
days,  is  a  detective  concentrating  on  watching 
Lowe.  Others  are  Herbert  Mundin,  Robert 
Elliott,  Mildred  Harris  Chaplin  and  Billy 
Bevan. 

While  the  affair  which  develops  between 
Lowe  and  Miss  Trevor  is  the  motivating  in- 
fluence, the  accompanying  drama  which  reveals 
Brown  as  his  son,  the  contrasting  comedy  and 
the  thrill  of  unusual  adventure  and  surprise 
round  out  a  formula  that  should  not  only  be 
productive  of  interesting  entertainment  but  also 
of  a  brand  of  showmanship  to  stir  up  more  than 
ordinary  interest  in  the  players  and  story 
content. 


To  Direct  Indusfrial  Films 

Hobart  Brownell  of  Metropolitan  Indus- 
trial Pictures,  Hollywood,  has  been  loaned 
to  Wilding  Picture  Productions  of  Detroit 
to  direct  two  dramatized  industrial  produc- 
tions. One  is  a  short  subject  for  Dodge 
Brothers  and  the  other  is  a  feature  length 
production  for  Firestone. 


..OF  THE  UTMOST 
IMPORTANCE  TO 
THE  INDUSTRY  I 


r 


Distribution 
Offices  in 
Principal  Cities 
To  Be 
Announced 
Soon 


POP 


46 


MOTION    PICTURE  HERALD 


April    27,  1935 


DEAAANDS  OF  YOUNGER  MEMBERS 

OF  EQUITY  CHALLENGE  LEADERS 


Playing  of  Benefits  Without  Per- 
mission Brings  Test;  Pay  for 
Rehearsal  Periods  an  Issue; 
Reorganization  Threatened 

Rumblings  within  the  ranks  of  Actors' 
Equity  Association — which  for  more  than 
20  years  has  represented  the  legitimate  stage 
actor — threaten  reorganization  of  the  ad- 
ministrative system,  following  demands  of 
an  increasingly  large  number  of  radical 
younger  members. 

Not  since  the  dark  days  of  1930,  when 
Equity's  attempt  to  saddle  its  closed  shop 
policy  upon  Hollywood's  creative  talent 
caused  wholesale  resignations,  has  an  Equity 
administration  been  faced  with  such  serious 
problems.  Not  since  the  actors'  strike  of 
1919  has  there  been  such  unrest  within 
Equity's  own  ranks. 

Among  the  issues  at  stake,  the  acting 
membership  considers  the  following  the 
most  important: 

1.  The  playing  of  benefits  by  members 
without  express  authorization  of  Equity. 

2.  The  question  of  pay  for  rehearsal 
periods. 

3.  Membership  drive  in  the  radio  broad- 
casting field. 

4.  Dissension  over  the  Sunday  show 
situation. 

The  first  real  test  of  Equity  and  the  legiti- 
mate theatre  Code  Authority,  on  benefits  that 
do  not  contribute  IS  per  cent  of  proceeds  to 
actors'  charities,  came  to  a  head  recently 
when  Eddie  Cantor,  of  the  Equity  Council,  and 
ten  other  Equity  members  were  brought  up  on 
charges  of  playing  an  unauthorized  benefit  at 
a  Manhattan  theatre  the  week  previous.  These 
members  face  either  a  fine  of  $100  or  suspension 
from  Equity.  In  addition  to  Mr.  Cantor,  Equity 
members  involved  are  Bert  Lahr,  J.  C.  Flip- 
pen,  Earl  Oxford,  Dixie  Dunbar,  Sammy 
White,  Jimmy  Savo,  Jimmy  Durante,  Jack 
Dempsey,  Estelle  Taylor  and  Patsy  Flick. 

Actors  Protest 

The  benefit  was  for  a  home  for  orphans  and 
the  aged.  A  member  of  the  legitimate  Code 
Authority  informed  the  committee  that  15  per 
cent  of  the  gross  would  have  to  go  to  the 
Actors  Fund  Repository  for  distribution  to 
actors'  charities.  The  committee  members  de- 
clined to  cooperate,  declaring  they  were  using 
only  night  club  bands  and  floor  shows  and  there- 
fore were  not  obligated  to  aid  indigent  actors. 
However,  Bert  Lahr,  Earl  Oxford  and  Dixie 
Dunbar  are  members  of  the  cast  of  "Life  Be- 
gins at  8:40,"  definitely  a  legitimate  revue, 
and  Equity  proceeded  to  take  action.  An- 
nouncement of  the  final  decisions  of  Equity  and 
the  Code  Authority  was  awaited. 

Many^  of  Equity's  members  resent  the  ruling 
which,  it  is  claimed,  was  made  necessary  by 
curtailment  of  funds  in  the  Actors'  Fund. 
The  actors'  protest  is  not  at  the  request  to 
contribute,  but  at  the  restriction  in  making 
appearances  which  they  believe  will  enhance 
their  publicity  value. 

Pay  for  Rehearsals  Demanded 

The  second  of  Equity's  major  problems,  that 
of  pay  for  rehearsal  periods,  took  up  most 
of  a  regular  Council  meeting  recently,  but 
khe  ruling  body  decided  not  to  press  the  issue 


too  rapidly.  There  is  no  basic  agreement  be- 
tween Equity  and  New  York  producers  cover- 
ing salaries  during  rehearsals  and  some  thought 
the  association  might  be  able  to  adopt  rules 
which  would  force  producers  to  pay  for  re- 
hearsals. The  Council  is  planning  to  test  the 
temper  of  the  managers. 

One  plan  already  advanced  by  the  actors  is 
that  players  shall  receive  $25  a  week  after  the 
first  week  of  rehearsal  period — the  first  week 
being  the  probationary  time  during  which  the 
producer  may  dismiss  the  player  without  salary 
claim,  or  the  actor  may  quit  without  liability. 
This  sum  would  be  paid  to  players  whose 
engagements  pay  less  than  $150  weekly. 

Many  actors  are  in  favor  of  the  plan 
universally  practiced  in  London's  West 
End,  under  which  all  players  with  salaries 
of  less  than  £10  ($50)  weekly  receive  the 
equivalent  of  $2.50  for  each  day  of  re- 
hearsal, from  the  first  week.  This  plan 
would  not  provide  rehearsal  pay  for  actors 
receiving  more  than  $50  a  week. 

Younger  members'  violent  criticism  of  the 
organization's  inactivity  in  the  broadcasting 
field  and  in  the  matter  of  demanding  a  closed 
shop  in  the  radio  industry,  has  goaded  the 
executive  body  into  a  membership  drive  among 
the  broadcasters.  A  special  committee  has 
been  appointed  and  a  budget  set. 

Equity's  failure  to  get  action  in  Washington 
on  talent  conditions  in  radio,  and  the  delay 
of  the  Radio  Code  Authority  on  recommenda- 
tions made  by  Equity  more  than  a  year  ago, 
have  become  an  increasingly  sore  sport. 

Want  Equity  Protection 

The  Equity  insurgents  declare  that  the  asso- 
ciation has  relinquished  its  projected  jurisdic- 
tion in  Hollywood  to  the  Screen  Actors'  Guild 
— which  has  only  a  nominal  Equity  affiliation 
— that  it  has  virtually  dropped  its  jurisdiction 
in  the  vaudeville  field  and  that,  unless  immedi- 
ate action  is  taken,  it  will  stand  little  chance 
in  the  radio  field. 

These  Equity  members  take  the  stand  that 
if  they  are  in  a  position  to  accept  broadcasting 
engagements  they  must  have  Equity  protection 
against  any  sharp  practices  by  sponsors,  agen- 
cies and  managers. 

The  Sunday  show  issue  long  has  been  a 
point  of  much  dissatisfaction  between  member 
groups  and  the  association's  leaders.  The 
majority  membership  appear  willing  to  work 
on  Sundays  if  the  opportunity  is  afforded.  On 
the  other  hand,  actors  in  the  higher  brackets 
and  the  administration  are  definitely  unfavor- 
able to  Sunday  shows.  Those  members  for 
whom  jobs  are  scarce  have  taken  the  stand 
that  regardless  of  Equity  rules  they  will  work 
on  Sundays  if  so  ordered  by  managers. 

The  new  laws  signed  by  Governor 
Lehman  carry  a  definite  stipulation  that 
actors  must  have  one  day  each  week  free 
from  work.  Because  of  this  it  was  con- 
sidered highly  probable  In  Equity  circles 
that  Monday  night  performances  may  be 
dropped.  This  already  had  been  tried  to 
advantage  by  Dwight  Deere  Wiman  with 
"The  Distaff  Side."  Although  he  had  not 
been  able  to  show  on  Sundays,  he  had  run 
an  extra  matinee  each  week. 

Almost  every  type  of  amusement  except  the 
legitimate  stage  has  been  runing  on  Sundays, 
and  when  benefits  are  held  for  legitimate  at- 
tractions on  Sunday  nights,  grosses  have 
jumped.   The  managers  feel  that  Sunday  shows 


Insurgents  Insist  on  Protection 
in  Radio;  Member  Drive  Be- 
gun Among  Broadcasters;  Dis- 
sension Over  Sunday  Shows 

will  afford  more  persons  an  opportunity  to 
attend. 

Adding  further  to  the  Equity  problem  is  a 
movement  launched  the  past  month  to  take  the 
theatre  out  of  Broadway  and,  resultantly,  Equity 
control.  An  organization  known  as  Stage 
Unity  of  America  has  been  formed  to  revive 
the  "road,"  but  in  a  different  way  than  ever 
before.  Fundamentally  the  object  appears  to 
be  to  effect  a  complete  breakaway  from  Broad- 
way and  its  traditions.  Plays  will  not  be  aimed 
at  Broadway  production  nor  will  the  Unity 
sponsors  produce  in  New  York. 

lO-City  Circuit  Proposed 

Plans  call  for  a  10-city  circuit.  Permanent 
companies  would  perform  new  plays  and  oc- 
casional revivals.  Unity,  which  has  offices  at 
112  East  19th  street.  New  York,  will  not  start 
production  until  the  organization  is  assured  of 
audiences.  If  results  of  the  present  campaign 
warrant,  10  companies  will  be  in  readiness  for 
the  first  circuit  early  this  summer,  with  actual 
playing  to  commence  in  the  autumn. 

Unity  would  offer  players  a  minimum  10- 
week  season  at  regular  Broadway  salaries.  The 
organization  also  is  looking  for  new  plays. 
Authors  would  receive  loyalties  for  at  least 
10  weeks  the  first  season,  and  their  work  would 
remain  permanently  in  the  companies'  reper- 
toires. 

According  to  R.  Paulding  Steele,  head  of 
Unity,  the  movement  has  been  formulating 
quietly  for  the  past  two  years.  The  organiza- 
tion, he  explained,  will  work  through  chapters 
in  each  city  of  the  circuits.  Chapters  in  at 
least  six  Eastern  situations  are  to  be  launched 
at  once. 

Indiana  Company  Plans  to 
Acquire  Theatres  in  State 

The  Temple  Court  Theatre  Company  has 
been  organized  at  Washington,  Ind.,  for  the 
acquisition  of  theatres  in  southern  Indiana. 
The  company  is  now  erecting  a  house  at 
Washington,  which  will  seat  450.  Harry 
M.  Palmer  is  general  manager,  and  Walter 
Hatfield  is  associated  with  him.  Mr.  Palmer 
is  a  pioneer  theatre  man  of  Indiana,  having 
operated  a  theatre  in  1906.  For  the  past 
several  years  he  has  been  associated  with 
Publix  Theatres  and  McCarrell  Amusement 
Enterprises. 


Columbia  Script  to  Library 

The  original  working  script  of  Columbia's 
Academy  Award  winning  film,  "It  Hap- 
pened One  Night,"  from  Samuel  Hopkins 
Adams'  "Night  Bus,"  has  been  given  to  the 
New  York  Public  Library  by  Columbia. 
Jack  Cohn,  vice-president,  made  the  pre- 
sentation last  week. 


Sherman  Named  Correspondent 

Al  Sherman,  motion  picture  critic  of  the 
Morning  Telegraph  in  New  York,  and  con- 
nected with  the  General  Press  Bureau,  has 
been  named  American  correspondent  of  the 
British  General  Press,  a  London  syndicate. 


April    27,  1935 


MOTION    PICTURE  HERALD 


47 


THE  HOLLYWOOD  SCENE 


by  VICTOR  M.  SHAPIRO 
Hollywood  Correspondent 

CYCLES,  like  supervisors,  seem  to  be 
something  that  this  business  can't 
seem  to  get  along  with  or  without. 
Born  in  the  weUer  of  what  production  is 
most  earnestly  striving  to  do,  the  first  of  a 
cycle  seeks  to  provide  originality,  diversity 
and  departure  from  formula  in  screen  enter- 
tainment. Out  of  it  comes  a  daring,  unor- 
thodox theme  which  grips  popular  fancy. 
Immediately  follows  a  grand  rush  to  climb 
aboard  the  bandwagon.  Executive,  writer, 
director  and  actor  brains,  supposed  to  be 
devoted  to  the  cause  of  originality  and  va- 
riety, go  into  all  sorts  of  contortions  striving 
not  for  something  different,  but  to  put  a  new 
and  novel  twist  on  the  familiar  premise. 
Then  the  public,  satiated,  stays  away. 

Showmen  may  expect  follow-ups  on  trail- 
blazing  films  like  "Black  Fury,"  "Les  Mis- 
erables,"  "Naughty  Marietta,"  "Roberta," 
"G-Men,"  and  if  "Dante's  Inferno"  clicks. 
Hell  itself  may  turn  loose  again,  on  the 
screen. 

The  brothers  Warner,  first  on  the  screen 
with  the  gangster  cycle,  are  again  first  with 
the  anti-gangstev  films,  "G-Men"  glorifying 
federal  agents  in  their  implacable  war  on 
crime. 

Then  it  occurred  to  one  scribe  that,  in 
addition  to  making  the  G-man  an  inspir- 
ing figure  and  painting  the  gangster  as 
getting  his  just  deserts,  the  film  showing 
the  criminal  as  cringing  and  yellow  when 
bereft  of  political  connections,  gang  and 
gun,  still  afforded  a  psychological  study. 

Following  "G-Men,"  the  federals  will  have 
their  innings  in  Reliance's  "Let  'Em  Have 
It,"  Paramount's  "Men  Without  Names," 
Select's  "People's  Enemy,"  MGM's  "Public 
Hero  No.  1,"  and  another  from  Warner 
entitled  "Dr.  Socrates." 

Independent  producers  also  are  planning 
dramas  around  the  federal  agents. 

V 

Eastman  Kodak  Exploitation 

After  seeing  MGM's  "Little  People,"  an  ani- 
mal short,  Eastman  Kodak  decided  to  embark 
on  an  exploitation  campaign  designed  to  inspire 
Young  America  to  "shoot"  animals  with 
cameras.  The  picture  tells  of  an  old  woodsman 
who  stalks  small  game  with  lens  and  film  in- 
stead of  a  rifle.  Tieups  are  to  be  efifected  by 
Eastman  when  the  picture  is  released,  parents 
and  teachers  groups  to  play  a  large  part.  "Lit- 
tle People,"  which  Harry  Rapf  produced,  and 
"Sequoia,"  also  produced  by  MGM,  were  the 
mainsprings  of  the  Eastman  idea. 

V 

Stage  Seeks  Film  Talent 

Hollywood  has  reached  out  many  times  to 
New  York  for  players ;  now  a  New  York  stage 
producer  is  in  Hollywood  for  the  avowed  pur- 
pose of  signing  casts. 

Al  Woods  is  here  in  hopes  of  finding  two 
big  film  stars  and  unknown  talent  to  take  care 
of  his  two  fall  productions,  "Abide  With  Me" 
and  "The  Night  of  January  16." 

Hollywood  now  is  the  mecca  for  talent,  in 
his  opinion,  though  New  York  still  is  the  show- 
room. He  strongly  advocates  discontinuance  of 


FEDERAL  AGENTS  NOW  FILM  STORY  HEROES 
EASTMAN  KODAK  TYING  IN  WITH  ANIMAL  FILM 
AL  WOODS  SEEKS  FILM  TALENT  FOR  HIS  PLAYS 
FIVE  PICTURES  START;  FOUR  ARE  COMPLETED 


personal  appearances,  holding  that  a  star  is 
cheapened  by  low  admission  price  and  short 
spiels.  In  his  opinion,  producers  could  clean  up 
almost  as  much  as  they  do  in  pictures  by  rout- 
ing stars  through  key  cities  in  good  new  plays 
for  eight  or  ten  week  engagements  once  a  year. 

Al  Woods  launched  on  their  stage  careers 
Claudette  Colbert,  Ann  Harding,  Charles  Rug- 
gles,  Glenda  Farrell,  Joan  Blondell  and  many 
others. 

V 

News  Flashes 

Nicholas  Schenck,  it  is  said,  wants  David  O. 
Selznick  to  sign  a  new  ticket  at  MGM,  but 
Mr.  Selznick  will  wait  until  his  pictures  are  fin- 
ished before  deciding.  The  producer  has  indepen- 
dent production  plans  in  the  offing.  .  .  .  Proving 
that  the  Independent  Theatre  Owners'  stand 
on  the  Los  Angeles  zoning  schedule  post- 
ponement is  not  merely  a  brief  flareup, 
the  organization  has  sent  Attorney  Frank 
S.  Hutton  to  Washington  to  protest  Fox 
West  Coast's  delay  to  the  Department 
of  Justice.  .  .  .  Attorney  M.  Peirson  Hall 
will  file  an  answer  in  behalf  of  the  local  griev- 
ance board  in  the  Bank  Nights  case  involving 
the  Oxnard  Theatres  and  San  Gabriel  Theatres. 
Mr.  Hall  has  received  his  instructions  from 
Attorney  General  Homer  Cummings.  .  .  .  Mayor 
Frank  Hague  of  Jersey  City  presented  his 
studio  removal  proposition  to  all  the  major 
producers  here,  with  more  meetings  coming 
soon.  The  producers  dispatched  engineers  East 
and  engaged  Attorney  John  Milton  in  Jersey 
City  to  receive  the  engineers'  reports. 

V 

Five  Pictures  Start 

Usually  a  dull  week  in  the  exhibition  end  of 
the  business,  Holy  Week  witnessed  a  Holly- 
wood production  quietude  seldom  experienced. 
But  five  new  features  were  put  into  work.  Only 
four  were  completed. 

Two  pictures  started  at  Columbia.  With  Leo 
Blugakov  directing,  "After  the  Dance."  a  ro- 
mantic drama,  went  before  the  cameras.  It  has 
Nancy  Carroll  and  George  Murphy  in  the  lead- 
ing roles  and  Victor  Kilian,  Robert  Middle- 
mass,  Wyrley  Burch,  Thelma  Todd,  Jack  La- 
Rue  and  Harris  Barris  in  support. 

"Range  War"  will  present  Tim  McCoy,  Bil- 
lie  Seward,  Jack  Rockwell,  Ed  LeSainte,  Ward 
Bond  and  Guy  Usher.  David  Selman  is  di- 
recting. 

Warner  started  "Front  Page  Woman,"  adap- 
tation of  a  recent  weekly  magazine  serial  titled 
"Women  Are  Bum  Newspaper  Men."  Bette 
Davis  will  be  seen  in  the  title  role.  The  cast 
to  date  lists  George  Brent,  William  Gargan  and 
Errol  Flynn.  Michael  Curtiz  is  directing. 

At  Fox  Will  Rogers  started  "In  Old  Ken- 
tucky." With  George  Marshall  the  director,  the 
cast  includes  Dorothy  Wilson,  Charles  Sellon, 
Russell  Hardie,  Louise  Henry,  Alan  Dinehart 
and  Bill  Robinson. 

Last  of  the  newly  started  pictures  is  "Accent 
on  Youth,"  Paramount.  Based  on  a  stage  play, 
the  picture  will  feature  Sylvia  Sidney,  Holmes 
Herbert,  Catherine  Doucet,  Astrid  AUwyn, 
Herbert  Marshall,  Phillip  Reed  and  Ernest 
Cassart.  Wesley  Ruggles  is  directing. 

V 

One  to  Each  of  Four  Studios 

The  four  completed  pictures   were  equally 
divided  among  four  studios.    Warner  finished 
active  shooting  on  "Stranded,"  topical  romance 
drama.  Kay  Francis  and  George  Brent  are  co- 
starred.    Frank   Borzage   directed.    The  sup- 


port includes  Patricia  Ellis,  Donald  Woods, 
Robert  Barrat,  Mary  Forbes,  Florence  Fair, 
Barton  MacLane,  Frankie  Darro,  Gavin  Gor- 
don, Joseph  Crehan,  Mae  Busch,  Henry  O'Neill, 
Zeffie  Tilbury  and  Pat  Moriarity. 

"Alias  Mary  Dow"  was  finished  at  Univer- 
sal. A  drama,  directed  by  Kurt  Neuman,  the 
feature  will  present  Sally  Filers,  Ray  Milland, 
Henry  O'Neill,  Phyllis  Crane,  Katherine  Alex- 
ander, Lola  Lane  Clarence  Muse,  Chick  Chand- 
ler, Walter  Miller,  Charles  Sellon  and  Jane 
Meredith. 

Monogram  completed  "Keeper  of  the  Bees,"  a 
Gene  Stratton  Porter  story.  Neil  Hamilton, 
Betty  Furness,  Emma  Dunn,  Hobart  Bosworth, 
Helen  Jerome  Eddy  and  Edith  Fellows  will  be 
seen.  Christy  Cabanne  directed. 

MGM  and  Edward  Sedgwick,  director,  fin- 
ished "Murder  in  the  Fleet."  The  large  cast 
includes  Robert  Taylor,  Jean  Parker,  Una  Mer- 
kel,  Nat  Pendleton,  Ted  Healy,  Arthur  Byron, 
Donald  Cook,  Jean  Hersholt,  Robert  Livings- 
ton, Frank  Shields,  Raymond  Hatton,  Mischa 
Auer,  William  Tannen,  Charles  Wilson,  Mary 
Doran,  Tony  Hughes,  Tom  Dugan,  War  Bond, 
Richard  Tucker,  Eeila  Mclntyre,  John  Hyams. 


Handling  "The  Lost  City" 

United  Artists  has  closed  with  S.  S. 
Krellberg  to  handle  "The  Lost  City"  in 
Central  and  South  American  countries.  The 
film  has  been  booked  by  circuits  in  the 
metropolitan  area. 


Merchandise  Deal  Closed 

Columbia  has  closed  a  deal  with  the  Mer- 
shon  Manufacturing  Company,  jewelry  firm, 
whereby  the  company  will  have  exclusive 
right  to  use  the  name  and  figures  of  char- 
acters in  Columbia's  "Scrappy"  cartoons  in 
its  manufactured  children's  jewelry. 


Boston  Trailer  Film  Moves 

The  Master  Motion  Picture  Bureau,  trail- 
er producer  of  Boston,  has  acquired  its  own 
building,  on  Piedmont  street.  The  Ambuter 
Film  Laboratory  has  taken  over  the  New 
England  distributors  of  the  Victor  Animate- 
phone,  I6mm.  portable  apparatus. 


To  Make  Advertising  Films 

Promotion  Films,  Inc.,  was  chartered  last 
week  at  Albany,  N.  Y.,  to  produce  and  dis- 
tribute a  series'  of  commercial  pictures  on  a 
national  and  regional  basis.  R.  M.  Savini 
is  president,  J.  Michelson,  vice-president  and 
treasurer,  and  Cecil  Bernert,  secretary.' 


Sheinmann  to  Attend  Congress 

Joseph  Sheinmann,  president  of  the  86th 
Street  Casino  Theatre,  Inc.,  New  York,  and 
now  in  Germany,  has  been  invited  to  attend 
the  International  Film  Congress  in  Berlin. 
Mr.  Sheinmann  has  arranged  for  the  impor- 
tation of  60  German  and  Hungarian  features. 


Agfa  Ansco  Loss  Reduced 

Agfa  Ansco  last  week  reported  a  net  loss 
for  1934  of  $286,106  after  charges,  de- 
preciation and  income  taxes.  This  com- 
pares with  a  net  loss  for  1933  of  $519,474. 


48 


MOTION    PICTURE  HERALD 


April    27,  1935 


$HOWMEN*»  REVIEWS 


liT'il 


This  department  deals  with  new  product 
from  the  point  of  view  of  the  exhibitor 
who  is  to  purvey  it  to  his  own  public 


Mary  Jane's  Pa 

(First  National) 
Comedy  Drama 

This  is  a  domestic  comedy  drama,  with  the 
reputations  which  Guy  Kibbee  and  Aline  Mac- 
Mahon  have  garnered  for  themselves  in  pre- 
vious pictures  apparently  the  most  potential 
interest  creating  asset.  It  is  clean,  wholesome 
amusement  with  major  appeal  undoubtedly  to 
the  regular  every  week  theatregoers.  In  the 
character  of  its  hero,  a  now  almost  legendary 
tramp  printer,  there  may  be  opportunity  for 
unique  showmanship  that  will  arouse  more 
than  ordinary  curiosity. 

Sam  Preston,  small  town  printer  publisher, 
suddenly  is  bitten  by  the  wanderlust  bug  of 
his  old  craft.  He  deserts  his  wife  and  little 
family.  Returning  years  later  after  wanderings 
that  have  taken  him  around  the  world,  he  is 
reintroduced  into  the  clan  via  daughter  Mary 
Jane.  While  his  wife  is  very  busily  engaged,  as 
a  newspaper  publisher,  in  promoting  the  political 
destinies  of  Marvin,  Sam  is  relegated  to  the 
status  of  family  cook.  But  Sam  has  not  been 
an  oldtime  printer  for  nothing.  Politics  being 
the  life  blood  of  his  craft,  he  naturally  smells 
something  wrong  and  of  course  it  is  that  Mar- 
vin, instead  of  being  the  people's  friend,  is  in 
reality  only  a  tool  of  the  interests. 

Completely  small  town  in  atmosphere,  the 
comedy  and  drama  surrounding  the  two  princi- 
pal characters  is  supported  by  a  juvenile  ro- 
mance which  features  Nan  Grey,  a  newcomer, 
and  Tom- Brown.  This  angle,  however,  is  en- 
entirely  secondary  to  the  motivating  premise 
which,  adequately  publicized  and  with  advan- 
take  taken  of  the  Kibbee-MacMahon  popularity, 
appears  to  be  the  most  effective  medium  of 
stirring  up  interest. — McCarthy,  Hollywood. 

Produced  and  distributed  by  Warner  Bros. -First  Na- 
tional. Directed  by  William  Keighley.  Screen  play  by 
Tom  Reed  and  Peter  Milne.  Based  on  a  play  by  Edith 
Ellis.  Photographed  by  Ernest  Haller.  P.  C.  A.  Cer- 
tificate No.  680.  Running  time,  when  seen  in  Holly- 
wood. 68  minutes.  Release  date,  April  27,  1935.  General 
audience  classification. 

CAST 

Ellen  Preston   Aline  MacMahon 

Sam  Preston   Guy  Kibbee 

Mary  Jane   Betty  Jean  Hainey 

Lucille   Nan  Grey 

Line  Overman   John  Arledge 

King  Wagner   Tom  Brown 

John  Wagner   Robert  McWade 

Gene   Carl  Stockdale 

Marvin   Minor  Watson 

Sheriff   DeWitt  Jennings 

Chief  Bailey   Oscar  Apfel 

Fred   Robert  Light 

Jones   Louis  Mason 

Bill   Milt  Kibbee 

Watchman   Jack  Kennedy 


C  Men 


(Warner) 
Drama 

If  from  a  practical  showmanship  and  com- 
mercial viewpoint  the  producers  determined 
that  "G  Men"  was  to  serve  as  a  model  for 
similarly  based  pictures,  they  have  succeeded. 
It  is  alive  with  action,  packed  with  thrill,  full 
of  the  spirit  that  a  thousand  and  one  banner 
line  newspaper  stories  have  made  vividly 
familiar. 

"G  Men"  has  two  stories.  One,  first  showing 
the  reason,  is  the  dramatic  and  romantic  career 
of  a  G  man  from  his  rookie  days  to  thf  mo- 


ment in  which  he  wipes  out  the  re-creation  of 
America's  most  notorious  public  enemy  number 
one.  The  other  is  the  gun-roaring  picturiza- 
tion  of  years  of  daily  headline  newspaper 
stories,  graphically  detailing  the  Government's 
tight  on  organized  crime.  Down  the  line  they 
come,  and  as  fact  is  blended  with  fiction  and 
liberal  theatric  license  taken,  the  best  remem- 
bered highlights  are  reenacted. 

First  is  depicted  the  new  mobster  lawlessness 
to  which  repeal  of  prohibition  gave  birth ;  the 
killing  of  an  unarmed  Government  operator, 
then  Brooklyn's  half  million  dollar  bank  truck 
robbery,  followed  by  a  digest  of  a  score  or  more 
midwest  bank  robberies  and  the  toll  of  life 
taken,  the  Government  galvanized  into  action; 
laws  passed  to  meet  the  new  menace.  Brick 
Davis  joining  the  service  and  the  conflict  be- 
tween him  and  his  superior  McCord.  Follows 
the  Kansas  City  Union  Station  massacre,  dyna- 
mically portrayed  in  detail,  and  McCord  and 
Brick  moved  into  Chicago  to  avenge  Farrell's 
slaying  and  to  wage  relentless  warfare  on  the 
"Dillengers,  Nelsons  and  Hamiltons."  As  all 
this  is  going  on,  romance  and  comedy  contrast, 
lietween  Brick  and  McCord's  sister,  Kay,  is 
cleverly  worked  in. 

There's  the  Wisconsin  woods  episode ;  bark- 
ing dogs  to  nullify  the  coup,  the  seething  gun 
battle  and  its  ensuing  carnage,  from  which  the 
ace  criminal  Collins  escapes.  Succeeding  is  the 
Chicago  apartment  house  incident  in  which 
Brick  is  almost  killed  as  he  saves  McCord's 
life  while  Collins  again  escapes  to  shoot  his 
wife,  Jean,  Brick's  old  flame,  who  he  believes 
has  tipped  off  the  G  men  to  his  hide-out. 

Collins  kidnaps  Kay  in  an  attempt  to  make 
her  a  hostage  to  assure  his  escape  to  Canada. 
This  builds  to  a  breath-taking  finale  as  wounded 
Brick,  rushing  from  the  hospital  to  the  dying 
Jean,  learns  where  Collins  is.  In  one  suspense- 
packed  sequence,  with  Kay's  life  at  stake,  he 
wounds  the  desperate  Collins,  who  dies  in  a 
terrific  auto  crash. 

As  the  production  has  two  stories,  it  is  also 
three  kinds  of  a  picture.  It's  a  new  kind  of 
war  picture  with  a  new  kind  of  gangster,  and 
it  also  is  a  dramatic  romance.  It  combines  the 
most  potential  audience  appeal  characteristics  of 
all  three. 

In  most  cases  all  the  real  exploitation  that 
"G  Men"  needs  has  already  been  done.  Every 
newspaper  story  that  has  been  written  during 
the  past  several  months  anent  the  Goverment's 
war  on  public  enemies  is  an  ad  for  it. — Mc- 
Carthy. Hollywood. 

Produced  and  distributed  by  Warner- First  National. 
Directed  by  William  Keighley.  Screen  play  by  Seton 
I.  Miller,  Story  by  Gregory  Rogers.  Photographed 
by  Sol  Polito,  Film  editor.  Jack  Killifer,  Super- 
visor, Lou  Edelman.  Assistant  director,  Chuch  Han- 
sen, Art  director,  John  Hughes.  Gowns  by  Orry- 
Kelly.  Musical  director,  Leo  F.  Forbstein.  P.  C.  A. 
Certificate  No.  745.  Running  time,  when  seen  in 
Hollywood,  85  minutes.  Release  date.  May  4.  1935. 
Adult  audience  classification, 

CAST 

Brick  Davis   James  Cagnev 

Kay  McCord   Margaret  Lindsav 

Collins   Barton  MacLane 

Gerard   Russell  Hopton 

McKay   Wm.  Harrigan 

Bill   Monte  Blue 

The  Man   Raymond  Hatton 

Venke   Harold  Ruber 

Jean   Morgan  Ann  Dvorak 

Jeff  McCord  Robert  Armstrong 

Hugh  Farrell   Lloyd  Nolan 

Leggett   Edward  Pawley 

Durfee   Noel  Madison 

Bruce  J,  Gregory  Addison  Richards 

Buchannan   Regis  Toomev 


The  Daring  Young  Man 

(Fox  -  Robert  T.  Kane) 
Comedy 

Fun  and  laughter  loom  as  the  outstanding 
commercial  and  entertainment  values  of  this  pic- 
ture. Its  premise  being  to  amuse,  it  does  that 
in  several  ways  even  though  things  get  pretty 
well  mixed  up.  The  action  is  fast  and  generally 
exciting  from  a  comedy  viewpoint,  in  situations 
and  dialogue.  The  picture,  which  first  starts  out 
to  be  the  comedy  romance  of  a  woman-hating 
newspaper  man  who  falls  for  the  right  girl 
when  she  comes  along,  develops  into  a  hokum 
burleque  picturization  of  the  incidents  of  a  re- 
cent eastern  prison  scandal. 

While  there  is  much  jail  atmosphere,  it  is 
not  a  prison  picture  in  the  accepted  meaning 
of  the  term.  Rather  it's  a  detailing  of  what 
happens  to  romance  when  duty  calls  and  a  re- 
porter crashes  jail  to  gather  the  why  and 
wherefor  lowdown  for  the  entertaiment  and 
edification  of  his  newspaper  readers. 

Don  McLane  and  Martha  Allen  are  rival  re- 
porters. Long  his  admirer,  Martha  finally  con- 
trives to  have  Don  pop  the  question.  But  at  the 
church  door  comes  a  message  from  his  boss 
ordering  Don  to  get  on  the  job,  crack  his  way 
into  Welfare  Island  and  get  all  the  facts  on  the 
rumored  sensational  goings  on  occuring  there. 
Deserting  the  prospective  bride,  Don  dashes  to 
the  job.  Inside,  the  treatment  being  straight 
hokum,  conditions  full  of  hilarity  are  revealed — 
the  muggs  and  the  lugs  have  taken  over  admin- 
istration of  the  jail  and  are  using  it  and  their 
sentence  time  for  gay  mirth  and  recreation. 

Don  gets  the  stories  all  right,  but  his  paper 
doesn't.  The  deserted  bride  works  a  series  of 
gags  whereby  all  Don's  scoops  appear  in  her 
publication.  Although  the  trick  gets  Don  hu- 
morously in  wrong  with  his  own  editor,  it  con- 
vinces him  that  his  future  is  best  assured  with 
Martha  bearing  the  title  Airs.  McLane. 

Presented  to  patrons  as  an  all-laugh  show 
which  has  no  other  objective  other  than  to  be 
ridicuously  amusing,  the  show  contains  many 
exploitation  ideas  that,  sm.artly  adapted  in  the 
spirit  which  motivates  the  story,  should  do  much 
to  stimulate  patron  curiosity. — McCarthy,  Hol- 
lywood. 

Produced  and  distributed  by  Fox.  Produced  by 
Robert  T.  Kane.  Directed  by  William  A.  Seiter. 
Screen  olay  by  William  Hurlbut.  Additional  dialogue 
by  Sam  Hellman  and  Glenn  Tryon.  From  a  story 
by  Claude  Binyon  and  Sidney  Skolsky.  Photographed 
by  Merritt  Gerstad.  Sound,  E.  C.  Ward.  Art  di- 
rector. Jack  Otterson,  Gowns,  Rene  Hubert,  Musical 
director,  Arthur  Lange.  P.  C.  A.  Certificate  No.  746. 
Running  time,  when  seen  in  Hollywood,  73  minutes. 
Release  date.  May  17,  1935.  General  audience  classifi- 
cation. 

CAST 

Don  McLane  James  Dunn 

Martha  Allen  Mae  Clarke 

Gerald  Raeburn  Neil  Hamilton 

Warden   Palmer  Sidney  Toler 

Pete  Hogan  Warren  Hymer 

Rafferty   Stanley  Fields 

Sally   Madge  Bellamy 

Cub  Reporter  Frank  Melton 

Flaherty   Raymond  Hatton 

Cubby  Jack  La  Rue 

Col.  Baggott  Arthur  Treacher 

FTelen  Kay  Dorothy  Christy 

Editor  Hooley..  Robert  Gleckler 

Muggs   William  Pawley 

Assistant  Warden  James  Donlan 

Star  Reporter  Phil  Tead 


For  twenty-two  years  we've  been  printing  spe- 
cialists, setting  the  pace  with  improved  produc- 
tion methods  and  ever- prompter  service  .  .  . 
designing  and  building  machinery  to  control 
quality  and  assure  uniformity  .  .  .  developing 
modern  plants  so  efficient  and  extensive  that 
they  could  satisfy  the  print  requirements  of  the 
entire  world.  Send  your  productions 
to  the  screen  on  Consolidated 
Certified  Prints.  There  is  a  difference. 


MADE  BY  SCIENCE  TO 
EXPRESS  YOUR  ART" 


CONSOLIDATED  FILM  INDUSTRIES,  INC. 


NEW  YORK 


HOLLYWOOD 


50 

Sons  of  Steel 

(Chesterfield) 
Drama 

A  combination  of  romance,  drama  and  action 
in  a  steel  mill,  this  independently  produced  pic- 
ture, while  lacking  an  outstanding  cast,  never- 
theless has  a  lively  and  attractive  title,  reason- 
ably well  borne  out  by  the  story  itself,  and  a 
somewhat  novel  premise  which  may  well  be  use- 
ful in  the  selling  of  the  picture. 

Charles  Starrett,  who  has  attained  some  popu- 
larity in  more  or  less  active  roles,  is  in  the 
lead,  supported  by  Polly  Ann  Young  and  Wil- 
liam Bakewell  in  particular.  The  rather  un- 
usual thematic  idea  has  a  weathy  steel  mill 
owner  employing,  in  a  laboring  position,  the 
ward  of  an  old  mill  worker,  after  the  boy's 
graduation  from  college,  that  boy  being  his  own 
son,  brought  up  by  the  man  and  his  wife  after 
the  death  of  his  mother  The  boy's  romance 
with  the  daughter  of  his  guardians,  and  his 
struggle  for  a  position  in  the  type  of  work  in 
which  he  is  interested,  form  the  backbone  of  the 
story.  His  father  gave  him  to  the  poor  couple 
in  order  that  the  boy  might  experience  a  few 
of  the  world's  hard  knocks.  His  good  inten- 
tions almost  end  disastrously,  but  reconciliation 
and  understanding  have  their  day.  There  is 
action  in  a  raid  of  striking  workers  on  the 
closed  mill. 

The  selling  may  well  be  developed  about  the 
theme  and  the  action  promised  in  the  title.  The 
picture  in  the  main  is  well  produced,  and  done 
in  interesting  fashion. 

Starrett,  ward  of  the  old  couple,  and  Bake- 
well,  son  of  wealthy  and  indolent  Holmes  Her- 
bert, who,  with  his  brother,  Walter  Walker, 
jointly  own  the  steel  mill,  are  graduated  from 
college  together.  Returning  home,  Bakewell 
loafs,  Starrett  hunts  a  job.  Finally,  his  guard- 
ian lands  him  a  job  as  an  ordinary  worker  in 
the  plant,  his  father  revealing  no  connection, 
while  Bakewell  takes  over  the  sales  department, 
the  business  being  in  a  bad  way.  Dissatisfied, 
Starrett  is  fired  by  his  father  when  he  tells  him 
what  he  thinks  of  his  methods  of  operation, 
and  Starrett  is  easy  prey  to  recalcitrants  who 
seek  to  stir  up  trouble  in  the  mill,  Blakewell, 
meanwhile,  in  the  wrong  spot,  makes  a  failure 
of  the  sales  department. 

When  Starrett's  guardian  is  struck  down  by 
a  mill  guard,  he  leads  a  raid  on  the  mill, 
crashes  in  and  rushes  to  his  father's  office. 
There  he  upbraids  "the  boss,"  who  finally  tells 
him  the  truth.  Starrett  persuades  the  men  to 
call  oi¥  the  strike,  and  with  an  automobile  de- 
sign of  his  own,  they  retrieve  an  important  con- 
tract, while  Bakewell,  in  his  mechanical  de- 
partment, becomes  a  successful  manager.  Miss 
Young,  Bakewell's  secretary,  with  whom  he  is 
in  love,  and  Starrett  go  away  on  their  honey- 
moon, while  the  two  old  men  prepare  to  retire, 
having  nothing  further  to  do. — Aaronson,  New 
York. 

Produced  and  distributed  by  Chesterfield.  Directed 
by  Charles  Lamont.  Author,  Charles  Belden.  Photo- 
graphy by  M.  A.  Anderson.  Recording,  Pete  Clark. 
Film  editor,  Ronald  Reed.  P.  C.  A.  Certificate  No. 
448.  Running  time,  64  minutes.  Release  date,  Dec. 
15,   1934.    General  audience  classification. 

CAST 

Phillip  Mason  Charles  Starrett 

Rose  Mason  Polly  Ann  Young 

Ronald  Chadburne  William  Bakewell 

John   CTiadburne  Walter  Walker 

Enid   Chadburne  Aileen  Pringle 

Curtis  Chadburne  Holmes  Herbert 

Tom  Mason  Richard  Carlyle 


The  Cowboy  Millionaire 

(Fox  -  Sol  Lesser) 
Comedy  Romance 

Something  brand  new  in  the  line  of  "West- 
ern" entertainment  is  introduced  in  this  picture. 
So  far  is  the  departure  from  formula  that  its 
presentation — and  it  should  be  a  satisfactory 
feature  for  almost  any  kind  of  theatre  and  au- 
dience— is  quite  likely  to  be  a  commercial  sur- 
prise. Gone  are  all  the  old  theatric  heroics  with 
their  breakneck  riding  and  shoot-'em-up  sensa- 
tionalism as  the  hero  shows  up  at  the  crucial 


MOTION    PICTURE  HERALD 

moment  to  save  the  gal.  In  their  place  is  a 
novel  comedy  romance,  smartly  contrived,  told 
with  zip  and  dash,  preserving  the  best  ideas  of 
the  outdoor  action  attractions  while  striking  a 
new  tack  that  should  both  please  devotees  of 
westerns  and  prove  interesting  to  those  who 
ordinarily  pass  up  such  shows. 

The  show  has  a  standard  beginning  that  gives 
not  a  hint  as  to  how  it  is  to  develop.  Bob  and 
his  pal  Persimmon  are  a  pair  of  prospecting 
miners  who  to  ease  the  monotony  of  their  lonely 
lives  take  jobs  as  prop  cowboys  at  a  Dude 
ranch.  The  main  stunt  to  welcome  new  guests 
is  the  staging  of  a  fake  stage  coach  holdup. 
For  this,  Parmella  Barclay,  a  haughty  English 
visitor,  and  her  aunt  Henrietta  fall  hard.  But 
Bob  finds  himself  falling  in  love  with  the  girl. 
She,  after  hearing  from  the  hotel  clerk  that 
Bob  is  a  phoney  cowboy  who  has  made  a  bet 
that  he  can  win  her,  hires  him  for  her  guide 
with  the  intention  of  giving  him  a  fine  showing 
up.  However,  things  don't  go  as  either  intend- 
ed, and  to  hide  her  chagrin  the  girl  leaves  for 
England.  Then  the  whole  character  of  the  pic- 
ture changes.  Bob  follows  her  and  as  he  hon- 
estly attempts  to  convince  her  that  his  love  is 
real.  Persimmon,  back  home,  suddenly  discovers 
that  the  mine  is  a  bonanza.  The  far-off  Bob 
prevents  Persimmon  from  selling  out,  and  he 
wins  the  girl  in  a  spectacular  anti-climax  that 
is  almost  certain  to  provide  a  surprising  thrill. 

Novelty,  which  neither  the  title  tone  nor 
screen  reputation  of  George  O'Brien  vaguely 
suggests,  appears  to  be  the  most  valuable  selling 
adjunct.  While  there  is  plenty  to  interest  and 
hold  the  attention  of  the  essentially  "western" 
fans,  there  is  a  lot  more  with  which  to  intrigue 
the  others.  Let  the  customers  know,  without 
telling  too  much,  that  this  is  a  comedy  romance 
with  all  the  necessary  qualities  to  amuse  and 
surprise  them. — McCarthy,  Hollywood. 

Produced  by  Sol  Lesser.  Distributed  by  Fox.  Pre- 
sented by  Sol  Lesser  and  John  Zanft.  Directed  by 
Edward  F.  Cline.  Screen  play  by  George  Waggner 
and  Dan  Jarrett.  Production  manager,  Frank  Melford. 
Photographed  by  Frank  B.  Good.  Art  director,  Robert 
Ellis.  Film  editor,  Donn  Hayes.  Assistant  director, 
Justin  H.  McCloskey.  Sound  recorder,  L.  E.  Clark. 
Running  time,  when  seen  in  Hollywood,  65  minutes. 
Release  date.  May  10.  1935.  General  audience  classsi- 
fication. 

CAST 

Bob  Walker  ,  George  O'Brien 

Parmela  Barclay  Evalyn  Bostock 

Persimmon   Edgar  Kennedy 

Henrietta  Barclay  Slaude  Allen 

Bradley  Thornton  Alden  Chase 

Doyle   Dan  Jarrett 

Ben   Lloyd  Ingraham 

Hotel  Clerk  Thomas  Curran 


Stolen  Harmony 

(Paramount) 
Drama 

George  Raft  again  appears  as  a  dancer,  but 
in  this  instance  he  is  a  saxophonist  in  a  band 
and,  momentarily,  a  gangster  in  addition,  a  com- 
bination of  characterizations  and  situations 
which  should  open  the  way  for  attention- 
attracting  selling.  Furthermore,  there  appears 
a  wide  opportunity  for  selling  the  more  than 
featured  appearance  of  Ben  Bernie,  the  "old 
maestro,"  and  his  band.  That  Bernie,  cigar  and 
all,  has  a  large  popular  following  through  his 
radio  work  and  stage  appearances  there  can  be 
no  doubt. 

The  story  has  rather  a  novel  idea,  and  an 
entertaining  if  somewhat  fantastic  development. 
Raft  plays  the  gangster  for  a  short  time,  but 
fictitiously,  in  an  effort  to  apprehend  a  gang 
of  dangerous  criminals.  Throwing  a  note  of 
timeliness  about  the  story,  the  amazing  idea 
has  Bernie's  entire  band  kidnaped  by  a  gang 
of  hunted  desperadoes  and  made  to  play  for 
them  in  their  forest  hideout.  There  is  romance, 
and  comedy  and  music,  plus  a  specialty  number 
or  two,  and  climactic  action  of  punch-laden 
quality  to  enliven  proceedings  and  bring  the 
film  to  a  smashing  conclusion,  quite  literally. 

As  a  young  man  with  a  jail  record,  who  at- 
tempts to  go  straight,  and  is  nearly  killed  in  his 
effort  to  prove  to  those  who  had  faith  in  him 
that  they  were  making  no  mistake.  Raft  does 
a  good  job  of  his  role.  He  is  by  turns  the 
suave  and  polished  dancer  and  the  two-fisted 


April    27,  1935 

gangster.  Bernie  offers  an  engaging  perform- 
ance in  his  important  role. 

Raft,  saxophonist  in  a  prison  band,  impresses 
the  visiting  Bernie,  friend  of  the  warden,  who 
persuades  Bernie  to  give  Raft,  who  was  jailed 
for  "one  mistake,"  a  chance  in  his  famous  band. 
Raft  more  than  makes  good  and  the  band  starts 
a  cross-country  tour  in  a  huge  streamlined  bus. 
When  the  partner  of  Grace  Bradley,  featured 
dancer,  walked  out,  Raft  gets  the  chance  and 
the  couple  are  the  hit  of  the  show,  while  Miss 
Bradley  and  Raft  develop  more  than  a  little 
interest  in  each  other.  Comedy  is  supplied  in 
the  situation  which  finds  a  big  money  man  from 
the  west,  turned  down  by  one  of  the  show's 
singers,  following  the  bus  across  country  in  a 
dilapidated  cab. 

In  Chicago,  Raft  is  approached  by  an  old 
prison  mate,  who  wants  Raft's  help  in  robbing 
the  bus  safe.  Raft  refuses.  When  the  safe  is 
robbed,  Raft  recovers  the  money,  but  is  caught 
by  the  police.  Bernie  sees  to  his  release,  but 
doubts  him.  Miss  Bradley  is  hurt  and  cannot 
understand  when  Raft  insists  he  will  leave  the 
bus  at  the  next  stop.  They  are  captured  by  a 
gang,  taken  to  their  hideout  and  made  to  play. 
One  of  them  recognizes  Raft,  who  has  been 
using  an  assumed  name,  and  Raft  becomes  one 
of  them,  to  all  appearances.  When  the  police 
get  too  active  in  pursuit  of  the  missing  bus,  the 
gang  brazen  their  way  out,  with  Bernie's  gun- 
point cooperation,  and  steal  an  automobile. 
Raft  goes  with  them,  races  through  the  next 
city,  and  deliberately  smashes  the  car  in  front 
of  a  police  station,  the  police  taking  care  of  the 
gang.  Raft  becoming  a  hero,  returning  to  the 
band,  and  to  Miss  Bradley. 

Active  and  entertaining  material,  it  should  be 
suitable  for  playing  any  time  in  the  week. — 
Aaronson,  New  York. 

Produced  and  distributed  by  Paramount.  Producer, 
Albert  Lewis.  Directed  by  Alfred  Werker.  From  the 
story  by  Leon  Gordon.  Screen  play  by  Leon  Gordon 
and  Harry  Ruskin.  Dialogue  by  Claude  Binyon  and 
Lewis  Foster.  Music  and  lyrics  by  Harry  Revel  and 
Mack  Gordon.  Dances,  LeRoy  J.  Prinz.  Photography 
by  Harry  Fishbeck.  Editor,  Otho  Lovering.  P.  C.  A. 
Certificate  No.  627.  Running  time,  74  minutes.  Release 
date,  April  19,  1935.  General  audience  classification. 
CAST 


Ray  Angelo    George  Raft 

Jack  Conrad    Ben  Bernie 

Jean  Loring    Grace  Bradley 

Sunny  Verne    Iris  Adrian 

Lil  Davis    Goodee  Montgomery 

Tex  Burrage    Lloyd  Nolan 

Ted  Webb    Paul  Gerrits 

Dude  Williams    Ralf  Harolde 

Schoolboy    William  Cagney 

Turk  Connors    William  Pawley 

Clem  Waters    Charlie  Amt 

Pete    Cully  Edwards 

Phillips    Jack  Norton 

Mathew  Huxley    Christian  Rub 

Joe  Harris    Leslie  Fenton 

Warden  Clark  Robert  Emmett  O'Connor 


The  Return  of  Chandu 

(Principal) 
Melodrama 

This  is  material  for  the  youngsters,  and  such 
of  the  older  generation  who  may  extract  some 
degree  of  entertainment  from  the  melodramatic 
adventures  of  the  great  Chandu,  magican  of 
magicians,  in  his  untiring  and  ever  successful 
fight  against  the  evil  forces  of  black  magic. 
They  aim  at  the  capture  for  human  sacrifice  of 
the  beautiful  Egyptian  princess  protected  by  the 
all-powerful  Chandu,  who,  in  private  life  and 
polite  Beverly  Hills,  Cal.,  society,  is  the  charm- 
ing Dr.  Chandler. 

This  feature  is  complete  in  itself,  but  made 
up  from  the  serial  of  the  same  title.  It  is  taken 
from  the  wellknown  radio  melodrama. 

Bela  Lugosi  is  Chandu  (Chandler),  while 
Maria  Alba  is  the  princess  who  is  protected, 
and  loved  by  Chandu.  The  picture,  melodrama 
all  the  way,  is  a  series  of  kidnappings,  rescues 
and  battles  between  Chandu  and  the  black  mag- 
icians, with  Miss  Alba  as  the  foil.  Involved 
are  Clara  Kimball  Young,  as  Chandu's  sister, 
and  her  son  and  daughter.  Dean  Benton  and 
Phyllis  Ludwig,  respectively. 

The  princess  arrives  in  the  United  States  for 
a  visit  to  Chandu's  sister,  and  at  a  party  feels 
the  presence  of  danger,  in  the  person  of  Lucien 
Prival,  leader  of  the  forces  of  evil.  Just  as  she 


♦  If  you  get  your  vitamins  . . . 

. . .  pure  milk  . . .  fresh  air  . . .  and  spinach  for 
the  baby . . . 

. . .  good  pictures  .  . .  proper  advertising  and 
National  Screen  Trailers  for  your  box- 
office  . . . 

. . .  they've  got  that  good  old  "make-'em-want- 
to-see-it"  selling  appeal  that  all  good  adver- 


tising aims  at  and  in  which  National  Screen 
Service  has  excelled  these  15  years  . . . 

♦  And  there's  an  organization  of  more  than 
700  employees  whose  business  is  only  the  mak- 
ing of  trailers  and  the  service  of  trailers  .  .  . 

♦  And  that's  how  we  keep  more  than  9,000 
busy  showmen  "solidly  sold"  on 


NATIONAL  SCREEN  SERVICE 

A    A    A    prize  baby  of  th    a 


52 


MOTION    PICTURE  HERALD 


April    27,  1935 


is  about  to  drink  poisoned  liquor,  Chandu,  who 
escaped  capture  merely  by  making  himself  in- 
visible, arrives  to  frustrate  the  plot.  She  is 
kidnapped,  again  Chandu  rescues  her,  his  car 
moving  without  guidance  to  the  house  where 
she  is  held  captive.  They  board  a  yacht  for  a 
South  Seas  cruise,  another  attempt  is  made  to 
get  Miss  Alba,  but  again  Chandu  comes  to  the 
rescue  in  the  nick  of  time  at  night  on  the  ocean. 
When  the  yacht  puts  in  at  a  port  for  repairs, 
both  Miss  Alba  and  Miss  Young  are  captured, 
and  the  sacrifice  is  about  to  be  made  on  the  spot, 
with  both  women  as  the  victims,  when  the  un- 
beatable Chandu  arrives,  engages  in  a  wild 
battle  with  Prival,  who  lands  in  his  own  sac- 
rificial fire,  while  Miss  Alba  and  Chandu  are 
finally  free  of  the  evil  ones. 

There  is  plenty  of  suspense,  and  melodramat- 
ics  and  action,  for  the  youngsters,  at  any  rate. 
The  weekend  is  the  time  to  play  it. — Aaronson, 
New  York. 

Produced  and  distributed  by  Principal.  Producer, 
So!  Lesser.  Directed  by  Ray  Taylor.  Adapted  from 
the  radio  drama  by  Harry  Earnshaw,  Vera  Oldham 
and  R.  R.  Morgan.  Screen  play  by  Barry  Barringer. 
Story  supervision  by  Harry  Chandlee.  Photography 
by  John  Hickson.  Supervised  by  Frank  Melford. 
Production  manager,  Theodore  Joos.  Film  editor,  Lou 
Sackin.  Sound  recorder,  Corson  Jowitt.  Assistant 
director,  Harry  Knight.  Art  director,  Robert  Ellis. 
Music  supevision,  Abe  Meyer.  Dialogue  director,  Cyril 
Armbrister.  Running  time.  60  minutes.  Release  date, 
Oct.   4,   1934.    General  audience  classification. 

CAST 

Frank  Chandler  (Chandu)  Bela  Lugosi 

Princess  Nadji  Maria  Alba 

Dorothy  Regent  Clara  Kimball  Young 

Vindhyan,  High  Priest  of  Ubasti  Lucien  Prival 

Betty  Regent  PhyUis  Ludwig 

Bob  Regent  Dean  Benton 

Prince  Andra  Bryant  Washburn 

Judy   Peggy  Montgomery 

Sutra,  an  accomplice  Cyril  Armbrister 

Bara,  an  accomplice  Elias  Lazarof? 

Morta,  an  accomplice  Dick  Botellier 

Nito,  the  butler  Frazer  Acosta 

The  Voice  of  Ubasti  Murdock  McQuarrie 

Vitras,  High  Priest  of  Ubasti  Jack  Clark 

Tyba,  the  White  Magician  Josef  Swickard 

Tagora   Harry  Walker 

Mr.  James  Charles  Meecham 

Mrs.  James  Isobe!  LeMal! 


The  Phantom  Fiend 

(Olympic  Pictures) 
Murder  Mystery 

An  arch  fiend,  abroad  in  London,  whose 
pleasant  pastime  it  is  to  come  upon  women, 
usually  young,  in  dark  places  at  night,  and  slit 
their  throats,  is  the  not  too  gentle  theme  of  this 
adaptation  of  the  novel,  "The  Lodger,"  by  Mrs. 
Belloc  Lowndes.  The  picture,  produced  in  Eng- 
land by  Julius  Hagen's  Olympic  Pictures,  is 
efifectively  produced,  with  all  the  suggestion  of 
gruesomeness  and  little  or  none  of  the  actuality. 

The  film  has  a  most  unexpected  conclusion. 
What  had  appeared  to  be  a  theme  devoted  to 
"catching  the  criminal"  suddenly  becomes  one 
of  solving  a  mystery  of  identity.  All  of  which 
has  its  effect  on  the  romantic  element,  a  happy 
effect  in  that  the  suspect  is  cleared. 

Ivor  Novello,  who  should  be  familiar  to 
American  screen  audiences,  plays  a  rather  dif- 
ficult leading  role  to  fair  satisfaction.  The 
others  are  alike  unknown  in  the  theatres  of  this 
country.  While  the  dialogue  is  spoken  with  the 
unmistakable  "King's  English,"  there  appears 
to  be  sufficient  action  mystery  and  suspense  to 
compensate. 

It  would  be  well,  perhaps,  to  permit  the  title 
and  its  implication  of  mystery  and  murder  and 
the  like  to  carry  the  film's  weight,  at  the  same 
time  making  whatever  use  of  the  name  of  No- 
vello suggests  itself,  depending  on  how  well 
known  he  may  be  in  the  particular  community. 

The  phantom  fiend,  whose  foul  deeds  have 
aroused  London  and  made  a  newspaper  holiday, 
is  described  by  a  visiting  analyst  as  a  foreigner, 
musically  talented,  who  escapes  from  a  Contin- 
ental insane  asylum.  A  music-loving  foreigner, 
Novello,  engages  a  room  at  a  small  rooming 
house,  whose  owners  have  a  daughter,  Eliza- 
beth Allan,  a  telephone  operator.  Her  fiance,  a 
newspaper  reporter,  is  assigned  to  the  case. 
Miss  Allan  is  more  and  more  attracted  to  the 
retiring  stranger,  who  plays  so  well.  The  atroci- 
ties  pile   up.    Moments   of  amusing  comedy, 


handled  for  the  most  part  by  the  girl's  imbibing 
father,  are  interspersed. 

Finally,  as  the  stranger  and  the  girl  fall 
completely  in  love  with  one  another,  suspicion 
dawns  on  the  father.  He  gives  his  information 
to  the  reporter  and  Novello  is  arrested.  He 
escapes,  handcuffed,  manages  to  call  Miss  Allan 
and  have  her  meet  him  at  a  point  in  the  park. 
Novello  arrives  in  time  to  kill  the  phantom 
fiend.  He's  the  brother  of  Novello,  closely  re- 
sembling him  and  sought  by  him  throughout 
London.  The  solution  clears  the  way  for  No- 
vell's romance  with  Miss  Allan. — Aaronson, 
New  York. 

Produced  and  distributed  by  Olympic.  A  Julius 
Hagen  production.  Director.  Maurice  Elvey.  Based 
on  the  novel,  "The  Lodger,"  by  Mrs.  Belloc  Lowndes. 
Screen  play  by  Miles  Mander  and  Paul  Rotha. 
Photography  by  Sidney  Blythe,  Basil  Emmott  and 
William  Luff.  Running  time,  67  minutes.  Release 
date,  April  19,  1935.  Adult  audience  classification. 
CAST 

.\ngeloft'   Ivor  Novello 

Daisy    Bunting  Elizabeth  Allan 

Mr.  Bunting  A.  W.  Baskcomb 

Mis.  Bunting  Barbara  Everest 

Toe  Martin  Jack  Hawkins 

Detective   Snell  Shayle  Gardner 

Lord  Southcliff  Peter  Cawthorne 

Bob  Mitchell  P.  Kynaston  Reeves 

Mrs.    Coles  Drusilla  Wills 

Gladys   Mollie  Fisher 

Sylvano   Anthony  Holies 

Rabinovitch   Andrea  Malandrinos 


The  Casino  Murder  Case 

(MGM) 
Murder  Mystery 

One  of  the  more  recent  delvings  into  crimi- 
nality on  the  part  of  the  notable  Philo  Vance, 
astute  and  polished  gentleman  criminologist, 
here  comes  to  the  screen  as  moderately  enter- 
taining screen  fare.  Paul  Lukas,  of  recognized 
ability,  has  been  cast  as  Vance  and  the  de- 
votees of  the  mysteries  of  Willard  Huntington 
Wright,  otherwise  known  as  S.  S.  Van  Dine, 
the  creator  of  the  character  Vance,  here  will 
find  their  suave  and  polished  mental  giant 
speaking  with  a  definitely  foreign  accent.  Mr. 
Lukas  works  hard  to  get  the  most  out  of  his 
role. 

In  support  are  such  good  names  as  Alison 
Skipworth,  Donald  Cook,  Arthur  Byron,  Ted 
Healy,  Louise  Fazenda  and  Purnell  Pratt. 
There  has  been  created  a  full  quota  of  mystery, 
and  suspense,  action  and  atmosphere,  but  the 
Sergeant  Heath  of  Healy  strives  too  hard  to 
supply  the  picture's  comedy  relief.  One  mur- 
der, two  near  murders  and  a  suicide  are  the 
motivating  forces,  and  Vance  displays,  although 
a  bit  obscurely,  his  genius  for  getting  behind 
fact  and  clues  to  the  root  of  the  evil,  with  his 
customary  nonchalance  and  vigor.  This  time, 
too,  Vance  combines  his  sleuthing  with  a  meas- 
ure of  romance,  and  is  equally  successful  in 
both. 

The  most  effective  selling  procedure  seems 
to  lie  in  emphasizing  the  mystery,  the  origin 
of  the  picture — the  Van  Dine  story  of  the  same 
title,  which  appeared  in  serial  as  well  as  book 
form — with  references  to  previous  films  of  the 
same  series. 

As  usual,  the  suspects  are  numerous  and  the 
killer  is  the  person  rather  least  under  suspicion, 
which  is  all  quite  according  to  Hoyle.  When 
Vance  receives  a  message  that  Cook,  weak- 
willed  son  of  Alison  Skipworth,  who  dominates 
her  wealthy  family,  is  to  be  in  danger  at  the 
casino  of  his  uncle,  Byron,  things  begin  to  hap- 
pen. They  continue  to  happen  until  the  end 
of  the  film,  though  occasionally  impeded  by 
too  obvious  attempts  to  inject  sequences  of 
smart  humor  and  sophistication. 

Cook's  showgirl  wife  is  found  dead,  and 
Markham  (Pratt)  and  Healy  set  to  work.  Cook 
is  poisoned  at  the  casino,  but  recovers.  His 
wife  is  murdered.  The  chain  of  "signposts,"  as 
described  by  Vance,  points  too  readily  to  Byron, 
so  Vance  decides  that  is  the  wrong  road.  A 
new  chemical  water  composition,  heavy  water, 
is  involved,  and  Byron's  secret  plant  for  its 
manufacture  is  one  of  the  stopping  places  along 
the  Vance  road.  Then  Rosalind  Russell,  Miss 
Skipworth's  secretary,  and  the  girl  to  whom 
Vance  finds  himself  more  strongly  drawn  as  the 


case  progresses,  is  poisoned,  but  slightly,  and 
finally  Miss  Skipworth  is  found  dead,  an  ap- 
parent suicide,  with  a  note  confessing  to  the 
murder  of  Cook's  wife.  Vance  is  unconvinced, 
despite  the  fact  that  the  handwriting  is  genuine. 

His  conclusions  are  proved  accurate,  when 
Cook  invites  him  and  Miss  Russell  to  the  office 
of  the  now  closed  casino,  admits  he  was  guilty 
of  the  death  of  his  wife,  and  that  his  own 
poisoning  was  a  blind,  and  shoots  Vance,  or 
shoots  at  Vance,  since  that  gentleman  has  seen 
to  it  that  Cook's  gun  is  loaded  for  him — with 
blanks.   The  waiting  police  finish  Cook  neatly. 

It  is  satisfactory  mystery  fare. — Aaronson, 
New  York. 

Produced  and  distributed  by  Metro-Goldwyn-Mayer. 
Producer,  Lucien  Hubbard.  Directed  by  Edwin  L. 
Marin.  Story  by  S.  S.  Van  Dine.  Screen  play  by 
Florence  Ryerson  and  Edgar  Allan  Woolf.  Synchro- 
nized by  Dimitri  Tiomkin.  Art  director.  Cedric  Gib- 
bons. Associates.  Joseph  Wright  and  Edwin  B.  Wil- 
lis. Wardrobe  by  Dolly  Tree.  Photographed  by 
Charles  Clarke.  Film  editor,  Conrad  A.  Nervig.  P. 
C.  A.  Certificate  No.  646.  Running  time,  84  minutes. 
Release  date.  March  15,  1935.  General  audience  classi- 
fication. 

CAST 

Philo  Vance    Paul  Lukas 

Mrs.  Llewellyn    Alison  Skipworth 

Lynn    Donald  Cook 

Doris    Rosalind  Russell 

Kinkaid    Arthur  Byron 

Sergeant  Heath    Ted  Healy 

Currie    Eric  Blore 

Amelia    Isabel  Jewell 

Becky    Louise  Fazenda 

Markham    Purnell  B.  Pratt 

Doctor  Kane    Leslie  Fenton 

Virginia    Louise  Henry 

Smith    Leo  Carroll 

Doctor  Doremus    Charles  Sellon 


Strauss'  Great  Waltz 

(Tom  Arnold) 
Romance  with  Music 

Produced  in  England  by  Tom  Arnold,  and 
directed  by  Alfred  Hitchcock,  this  is  yet  an- 
other version  of  the  now  cinematically  old  story 
of  Johann  Strauss,  the  great  Austrian  composer, 
his  efforts  to  belittle,  through  jealousy,  the  am- 
bition of  his  young  son,  and  the  eventual  public 
acclaim  which  comes  to  the  younger  Strauss. 
Despite  a  capable  cast,  the  production  somehow 
misses  fire,  giving  evidence  of  rather  ineffectual 
production. 

The  music  is  not  quite  the  inspiriting,  ever 
present  backbone  of  the  picture  which  might 
be  expected.  The  only  number  which  has  a 
strong  and  important  place  in  the  story  is  "The 
Beautiful  Blue  Danube,"  one  of  the  most  fa- 
mous of  all  waltzes,  and  the  composition  which 
firmly  established  the  fame  of  the  younger 
Strauss,  whose  friends  had  to  resort  to  trickery 
in  order  to  introduce  the  song  to  the  public. 
Young  Strauss'  difficulty  is  not  only  paternal, 
but  even  more  important,  to  him,  of  a  romantic 
nature.  His  sweetheart  fears  she  will  lose  him 
if  he  turns  finally  to  music,  and  away  from  her 
father's  confectionery  shop,  and  jealousy  enters 
there,  too. 

The  cast  is  headed  by  the  popular  British 
player,  Jessie  Matthews,  who  has  come  to  some 
prominence  in  this  country  through  recent  ap- 
pearances. It  is  understood  that  this  is  one  of 
her  earlier  efforts  in  England,  the  release  date 
noted  being  for  this  country  only.  The  picture 
apparently  was  made  some  time  ago.  Support- 
ing her  are  Edmund  Gwenn  as  the  elder  Strauss, 
Edmond  Knight  as  the  son,  and  Fay  Compton 
as  the  countess  who  befriends  the  boy  and 
arouses  his  sweetheart's  jealousy. 

When  Johann  Strauss  is  at  the  height  of  his 
Vienna  fame,  his  son,  ambitious  to  become  a 
composer  in  his  own  right,  plays  "second  fid- 
dle" in  his  father's  orchestra.  Angered  at  his 
father's  disparaging  remarks  concerning  his 
ability,  the  boy  quits  the  orchestra.  His  sweet- 
heart, Resi,  is  of  two  minds :  she  would  help 
him  with  his  music  with  her  encouragement,  but 
fears  she  may  lose  him  if  he  becomes  wedded 
to  his  art,  and  realizes  that  her  father  is  in- 
terested in  a  son-in-law  who  will  assist  him  in 
the  confectionery  business. 

Young  Strauss  accidentally  meets  the  count- 
ess, who  becomes  interested  in  him  when  she 
realizes  he  has  talent.  She  asks  him  to  set  to 
music  a  poem  she  has  written,  which  meanwhile 


You  and  { 

119 

others  can 
still  go!  ; 


NAKED 
TRUTH 
DINNER 


Cleopatra:  What's  the  idea  of  the  slickum.  Nappy? 


Napoleon:  Zere  ee$  a  reason,  Patty,  my  dear.  I  m 

going  to  zee  T.  N.  T.  dinnaire! 


A.  M.  P.  A. 


APRIL  27, 
1935 

HOTEL 

ASTOR 


Copy:  Edward  Finney — Monogram  Pictures 


Typography:  Supreme  Ad  Service 


Engraving:  City  Photo  Engraving  Corp. 


54 


MOTION    PICTURE  HERALD 


April    27,  1935 


had  been  turned  down  by  the  elder  Strauss 
when  approached  by  the  countess'  husband.  At 
a  suggestion  from  Resi,  the  Danube  waltz  is 
written.  The  countess  and  an  old  music  master 
conspire  to  decoy  the  elder  Strauss  away  from 
his  big  concert,  and  force  the  boy  to  conduct 
his  own  composition,  which  is  an  immediate 
and  sensational  success.  The  countess  follows 
the  boy  to  his  rooms,  and  when  her  husband 
comes  racing  after  her,  Resi  steps  in  to  save 
the  situation.  Then  young  Strauss  realizes  he 
may  have  both  his  music  and  the  girl,  while  his 
father  understands  that  his  successor  has  been 
discovered. 

Not  particularly  effective,  and  with  no  out- 
standing marquee  names,  the  selling  of  the  film 
should  concentrate  on  the  romance,  the  histori- 
cal figures  and  such  of  the  Strauss  music  as  is 
part  of  the  production. — Aaron  son.  New  York. 

Produced  and  distributed  by  Tom  Arnold.  Directed 
by  Alfred  Hitchcock.  Based  on  play  by  Heinz  Reich- 
ert.  Dr.  A.  M.  Willner  and  Ernest  Marischka,  and  the 
musical  arrangement  of  Julius  Bittner  and  E.  W. 
Korngold.  Musical  adaptation  for  the  screen  by  Hu- 
bert Bath,  under  the  direction  of  Louis  Levy.  Run- 
ning time,  72  minutes.  Release  date,  April  6,  1935. 
General  audience  classification. 

CAST 

Resi    Jessie  Matthews 

Johann  Strauss    Edmund  Gwenn 

Schani  Strauss    Edmond  Knight 

Countess  von  Stahl    Fay  Compton 

The  prince    Frank  Vosper 

Ebezeber    Robert  Hale 

Leopold    Hindle  Edgar 

Lady's  maid    Betty  Huntley  Wright 

Drexler    Marcus  Barron 

Mme.  Fouchett   Sybil  Grove 


The  Ghost  Walks 

(  Chesterfield  ) 
Comedy  Mystery 

More  comedy  than  mystery,  the  comedy  phase 
containing  some  real  laugh  moments,  the  mys- 
tery not  very  mysterious  and  not  too  serious, 
with  several  disappearances  but  no  murders, 
this  independently  produced  picture  looks  to  be 
fairly  satisfactory  regular  run  program  mate- 
rial. 

The  selling  may  best  be  concentrated  on  the 
comedy  element  of  the  story,  with  a  hint,  of 
the  mystery  to  arouse  patronage  interest,  and 
whatever  play  upon  the  title  suggests  itself 
to  the  exhibitor  as  a  means  of  attracting  at- 
tention. The  cast,  although  it  has  familiar 
names,  contains  none  which  may  be  considered  of 
draw  value,  the  consequent  necessity  of  selling 
story  and  title  being  obvious.  John  Miljan  and 
June  Collyer  head  the  cast,  with  Johnny  Arthur 
and  Spencer  Charters  virtually  leading  the  sup- 
port. 

The  rather  novel  idea  has  a  playwright  de- 
liberately taking  a  wellknown  theatrical  pro- 
ducer and  his  secretary,  Richard  Carle  and 
Arthur,  respectively,  to  the  large  house  he  has 
rented  previously,  and  there,  with  a  group  of 
professional  players,  putting  on  for  their  bene- 
fit a  horror  play  he  has  written.  When  the 
producer  discovers  the  script  in  playwright 
Miljan's  room,  he  and  his  secretary  assume  the 
rest  of  what  takes  place  to  be  part  of  the  play, 
and  Miljan  is  unable  to  convince  them  that  two 
■disappearances  and  the  discovered  fact  that 
there  is  an  escaped  lunatic  about  the  place,  are 
not  part  of  the  play. 

When,  in  an  atmosphere  of  the  usual  storm, 
thunder  and  lightning,  Miljan  brings  Carle  and 
Arthur  to  the  house  to  stay  the  night  after 
their  car  is  struck,  the  two  are  immediately 
made  nervous  by  the  actions  of  the  occupants 
of  the  house.  They  seem  to  know  Miljan,  and 
although  Miss  Collyer  appears  to  be  in  love 
with  him,  there  is  an  irritable  brother,  and  a 
doctor,  who  is  supposed  to  own  the  house,  and 
a  girl  who  is  subject  to  hallucinations  concern- 
ing the  murder,  several  years  before,  of  her 
husband.  They  are  all  part  of  the  cast.  There 
are  amusing  moments  at  the  dinner  table,  but 
things  take  a  serious  turn  when  the  girl  ap- 
pears to  have  died,  then  disappears,  and  a  guard 
arrives  to  say  an  inmate  has  escaped  from 
a  nearby  insane  asylum. 

While  Carle  and  Arthur  think  the  play  still 
IS  going  on  for  their  benefit,  the  brother  dis- 
appears and  two  other  guards  arrive.  The  luna- 


tic, it  is  feared,  is  loose  in  the  house.  Then  be- 
gins a  series  of  hand  reachings,  hidden  doors 
and  the  like,  ending  in  the  disappearance  of  Miss 
Collyer  and  finally  Carle  himself.  Eventually 
Charters,  the  first  guard,  is  found  in  a  cellar 
laboratory,  where,  thinking  he  is  a  famed  phy- 
sician, he  is  about  to  operate  on  his  victims. 
He  is  the  lunatic.  The  play,  it  is  decided,  is  a 
success. 

Mystery  and  comedy,  with  accent  on  the 
comedy,  this  appears  satisfactory  program  ma- 
terial for  a  midweek  playing  position. — Aaron- 
son,  New  York. 

Distributed  by  Chesterfield.  Produced  by  Invincible 
Pictures.  Directed  by  Frank  Strayer.  Story  and 
screen  play  by  Cliarles  S.  Belden.  Cameraman,  M. 
A.  Anderson.  Running  time,  66  minutes.  Release 
date,  Dec.  1,  1934.  General  audience  classification. 
CAST 

Prescot  Ames    John  Miljan 

Gloria  Shaw    June  Collyer 

Wood    Richard  Carle 

The  guard    Spencer  Charters 

Erskine  . .    Johnny  Arthur 

Dr.  Kent    Henry  Kolker 

Terry    Donald  Kirk 

Beatrice    Eve  Southern 

Carroway    Douglas  Gerrard 

Jarvis    Wilson  Benge 


Moscow  Laughs 

(Amkino) 
Comedy  with  Music 

The  Russian  motion  picture  industry,  in  this 
first  film  of  its  type  to  reach  the  United  States, 
is  at  great  pains  to  paint  a  new  kind  of  picture 
of  the  Soviet  people,  one  indicating  the  inhabi- 
tants of  the  collectivized  state  as  merry  and  gay, 
laughing  and  wholeheartedly  enjoying  jazz 
music. 

The  film's  action  is  basically  slapstick.  It 
would  seem  that  the  producers,  in  an  attempt  to 
get  away  from  the  usual  heavily  dramatic  story 
emanating  from  the  state-owned  Russian  stu- 
dios, have  catapulted  to  the  other  extreme.  A 
slight  romance  has  been  injected,  but  the  film 
is  largely  concerned  with  efforts  to  be  amus- 
ing. 

A  Russian  jazz  band  is  the  center  of  activity 
in  the  latter  part  of  the  picture,  a  band  which 
is  said  to  be  the  leading  one  of  its  kind  in  Mos- 
cow and  is  led  by  the  star  himself. 

The  film  appears  to  be  of  the  sort  for  those 
interested  in  seeing  Russian  pictures.  It  con- 
tributes nothing  which  the  regular  run  of 
American  patrons  cannot  find,  with  better  exe- 
cution, in  the  product  of  the  American  studios. 
The  music  is  tuneful,  and  the  feminine  lead, 
Lubov  Orlova,  has  an  excellent  voice. 

Kostia,  herdsman  on  a  collective  farm  near 
a  health  resort,  is  mistaken  for  a  famous  musi- 
cal conductor  by  the  wealthy  daughter  of  a  for- 
eign engineer,  who  invites  him  to  a  party.  He 
plays  on  his  shepherd's  pipe,  his  grazing  animals 
wander  into  the  house  and  wreck  the  place  in 
inebriated  fashion,  and  Kostia  is  ordered  from 
the  house.  Aniuta,  maid  of  all  work,  is  in  love 
with  Kostia,  but  he  does  not  notice  her. 

Kostia  goes  to  Moscow,  is  pursued  behind 
the  scenes  of  a  theatre,  dons  dress  clothes  as 
a  disguise,  and  finds  himself  on  the  rear  stage 
rostrum  before  a  symphony  orchestra,  which 
had  not  met  its  director-  When  he  waves  his 
arms  they  play  the  Hungarian  Rhapsody,  trying 
to  follow  him.  Kostia  flees  when  the  real  con- 
ductor appears,  and  later  becomes  the  leader  of 
a  jazz  band,  which  seems  to  spend  most  of  its 
time  wrecking  instruments  and  beating  each 
other.  He  meets  Aniuta  again,  the  girl  having 
been  discharged,  and  she  is  induced  to  appear 
with  the  band  as  a  vocalist.  She  is  a  success 
and  they  are  reconciled. 

Interwoven  are  repeated  scenes  of  buffoonery, 
designed  to  create  as  much  excitement  of  a 
comedy  nature  as  possible.— Aaron  son.  New 
York. 

Distributed  by  Amkino.  Produced  by  Kinocora- 
binat.  Directed  by  Gregery  Alexandrov.  Music  by 
I.  O.  Dunayevsky.  Running  time,  95  minutes.  Re- 
lease date,  March  21,  1935.  General  audience  classifi- 
cation. 

CAST 

Kostia,  the  herdsman  Leonid  Utesov 

Aniuta,  the  maid  Lubov  Orlova 

Helena   M.  P.  Strelkova 

Helena's  mother  E.  A.  Tiopkma 

The  coachman   F.   N.  Kurikhin 


Rocky  Mountain  Mystery 

(Paramount) 
Western 

A  combination  of  western  and  mystery,  this 
is  an  adaptation  of  the  Zane  Grey  story,  "Golden 
Dreams,"  which  fact  should  have  more  than  a 
little  bearing  on  the  selling  of  the  picture.  In 
addition  there  are  the  two  popular  players,  Ran- 
dolph Scott,  large  and  handsome  western  star, 
and  Chic  Sale,  character  actor  of  prominence. 

The  story  centers  about  a  mine  high  in  the 
Rocky  Mountains.  With  a  great  deal  more 
"western"  than  "mystery"  as  the  mainstay  of 
the  yarn,  it  appears  good  weekend  material, 
with  special  attention  to  be  directed  at  the 
younger  element  of  the  patronage. 

Scott  arrives  at  the  mine  to  succeed  his 
brother-in-law  as  supervising  engineer.  He 
learns  that  the  foreman  has  been  murdered  and 
his  predecessor  accused  of  the  crime.  Scott 
joins  forces  with  the  sheriff.  Sale,  to  uncover 
the  murderer.  Finally,  after  considerable  action 
along  the  way,  and  after  Kathleen  Burke  and 
Howard  Wilson  also  have  been  murdered,  Scott 
uncovers  sufficient  evidence  to  "get"  his  man. 
But  he  accomplishes  that  only  after  a  rough 
and  tumble  battle  all  over  the  mine,  which  ends 
in  the  murderer  plunging  out  of  a  high  window 
to  his  death.  Scott  and  Ann  Sheridan  conclude 
the  picture  on  the  expected  romantic  note. 

There  is  plenty  of  action  and  punch  to  be  sold 
to  those  who  are  devotees  of  the  western. — 
Aaronson,  New  York. 

Produced  and  distributed  by  Paramount.  Producer, 
Harold  Hurley.  Directed  by  Charles  Barton.  Screen 
play  by  Edward  E.  Paramore,  Jr.  Adapted  by  Ethel 
Doherty  from  Zane  Grey's  story,  "Golden  Dreams." 
Art  direction,  Hans  Dreier  and  Dave  Garber.  Photo- 
graphy by  Archie  Stout.  P.  C.  A.  Certificate  No. 
476.  Running  time,  68  minutes.  Release  date,  Feb. 
8,  1935.    General  audience  classification. 

CAST 

Larry  Sutton  Randolph  Scott 

Tex  Murdock  Charles  "Chic"  Sale 

Mrs.  Borg  Mrs.  Leslie  Carter 

Flora   Kathleen  Burke 

Ballard  George  Marion,  Sr. 

Rita  Ballard  Ann  Sheridan 

John  Borg  James  C.  Eagles 

Fritz  Howard  Wilson 

Ling  Yat  Willie  Fung 

Mrs.  Ballard  Florence  Roberts 


So  You  Won't  Talk 

(Warner-FN-British  ) 
Farce 

With  Monty  Banks  playing  a  silent  part,  this 
Beaudine-directed  effort  of  the  Warner-FN- 
British  studio  very  successfully  recaptures  the 
atmosphere  of  the  pre-talker  screen  farce  in 
which  action  spoke  more  entertainingly  than 
words.  It  is  full  of  action,  has  speed  and  a 
genuinely  funny  plot  idea,  and  individual  inci- 
dent is  of  the  semi-slapstick  type  so  lacking  of 
late. 

Tom  Geraghty's  original  story  offers  some 
useful  exploitation  angles.  Tony  Cazari,  part 
owner  of  an  Italian  restaurant  in  London,  is 
left  $500,000  by  his  grandfather  on  condition 
that  he  does  not  speak  or  write  for  thirty 
days,  during  which  he  must  endure  the  society 
of  the  gold-digging  feminine  relatives  who  have 
helped  the  old  man  into  his  grave.  An  acci- 
dent prevents  him  from  explaining  matters  to 
his  fiancee  before  his  lips  are  sealed.  A  race- 
course crook  who  already  has  tricked  Tony  into 
putting  his  own  and  partners'  savings  on  a 
loser,  is  bribed  by  the  women  fortune  hun- 
ters— who  get  the  money  if  Tony  falls  down — 
to  force  him  to  speak  and  he  ultimately  does 
so  by  pretending  to  shoot  his  girl,  but  they 
have  all  forgotten  Summertime,  and  Tony  has 
already  won  the  fortune. 

Tony's  struggles  in  the  hands  of  the  middle- 
aged  plotters  and  his  attempts  to  escape  the 
still  more  deadly  attacks  of  their  vampish  young 
ally  provide  good  laughs  and  plenty  of  them. 
There  is  a  particularly  good  scene  in  which 
the  old  ladies  dance  themselves  into  exhaustion 
in  trying  to  discover  if  Tony  has  the  birth- 
mark belonging  to  the  rightful  heir.  The  dumb 
man's  use  of  a  flute  to  indicate  his  wishes  and 
other  minor  comedy  angles  are  well  presented 


April    27,  1935 


MOTION    PICTURE  HERALD 


55 


and  all  the  parts  are  well  played,  with  Claude 
Dampier  shining  as  the  imbecile  lawyer's  clerk 
who  has  to  watch  Tony.  Ralph  Ince,  also,  has  a 
good  part  as  the  tough. — Allan,  London. 

Produced  by  Warner-First  National  at  Teddingtoii 
and  distributed  in  England  by  First  National.  Orig- 
inal story  by  Tom  Geraghty.  Directed  by  William 
Bcaudine.    Running  time,  85  mins.  "G." 

CAST 

Tony  Cazari   Monty  Banks 

Edith   Vera  Pearce 

Harriet   Bertha  Belmore 

Pauline   Enid  Stamp-Taylor 

Katrina   Muriel  Angeius 

Ralph  Younger   Ralph  Ince 

Whistle   Claude  Dampier 

Peebles   Julian  Royce 

Fielding   A.  Bromley  Davenport 


Burn  'Em  Up  Barnes 

(Majestic) 
Action  Melodrama 

Produced  by  Mascot  and  originally  available 
in  serial  form,  this  is  a  selection  of  the  action 
and  story  highlights  of  that  serial,  of  the  same 
title,  and  the  concoction  of  a  feature,  which  has 
more  than  its  share  of  action  plus,  and  should 
be  just  the  thing  for  the  weekend  position  on 
the  regular  run  theatre  bill,  with  special  etn- 
phasis  on  the  younger  element  of  the  patronage 
advisable  in  the  selling. 

It  is  chock  full  of  thrill  and  punch,  as  the 
hero  races  on  the  dirt  tracks,  as  he  risks  his 
neck  in  airplane  stunts  for  the  motion  picture, 
.goes  in  search  of  danger  in  the  test  driving  of 
a  new  car  on  the  proving  grounds,  and  in  gen- 
eral serves  to  provide  action  which  should  keep 
tiie  youngsters,  and  some  of  the  adults,  close  to 
the  edges  of  their  theatre  chairs. 

Jack  Mulhall  is  the  daredevil,  Lola  Lane  the 
inevitable  girl  in  the  story,  and  Frankie  Darro, 
always  capable  youngster,  having  a  good  deal 
to  do  with  what  goes  on.  The  story,  as  is 
usually  the  case  with  this  sort  of  action  mate- 
rial, is  simplicity  itself,  merely  serving  to  carry 
the  action  and  afford  as  many  opportunities 
as  possible  for  one  hairbreadth  escape  from 
death  after  another.  There  is,  of  course,  the 
menace  to  the  happiness  and  success  of  the 
young  couple,  the  land  which  is  saturated  in 
oil,  a  fact  not  realized  by  its  owner,  and  the 
eventual  undoing  of  the  villains  of  the  piece, 
with  a  couple  of  murders  thrown  in  for  good 
measure. 

The  exhibitor  may  well  sell  it  for  what  it  is, 
an  action  yarn  with  plenty  of  thrill  and  lively 
moments,  and  in  the  position  of  the  week  when 
that  type  of  material  is  apt  to  attract  its  great- 
est number  of  followers. 

The  story  has  Mulhall,  racing  driver,  swear- 
ing off  the  track  when  his  best  friend,  a  news- 
reel  cameraman,  is  killed  during  a  race.  The 
young  brother  of  the  deceased,  Darro,  is  left 
in  the  care  of  Mulhall.  He  meets  Miss  Lane, 
whom  he  had  previously  rescued  on  the  track, 
and  enters  into  partnership  with  her  in  her 
transportation  business,  the  mainstay  of  which 
is  a  school  bus  contract.  Edwin  Maxwell,  leader 
of  the  menace,  attempts  to  force  her  to  sell  her 
oil  land  by  attempting,  by  foul  means,  to  force 
her  to  lose  the  bus  contract.  Stopped  by  Jack 
or  Darro  innumerable  times  as  she  would  sign 
tlie  deed  away,  the  two  eventually  save  the  day, 
but  not  until  they  run  the  full  gamut  of  ad- 
venture and  danger. — Aaronson,  New  York. 

Distributed  by  Majestic.  Produced  by  Nat  Levine 
for  Mascot.  Directed  by  Colbert  Clark  and  Armand 
.Schaefer.  Supervising  editor,  Wyndham  Gittens.  Story 
by  John  Rathmell,  Colbert  Clark.  Screen  play  by  Al 
ftlartin,  Armond  Schaefer,  Barney  Sarecky,  Sherman 
Lowe.  Running  time.  70  minutes.  Release  date,  Dec. 
18,  1934.    General  audience  classification. 

CAST 

Bobbie    Frankie  Darro 

Barnes    Jack  Mulhall 

Marjorie    Lola  Lane 

Tony    Julian  Rivero 

Warren    Edwin  Maxwell 

Drummond    Jason  Robards 

Ridpath    Francis  McDonald 

George    James  Bush 

Stevens    Stanley  Blystone 

Tucker    AI  Bridge 

Frazer    Bob  Kortman 

Parsons    Tom  London 

Parker    Eddie  Hearn 

Chase    John  Davidson 

District  attorney    Lloyd  Whitlock 

Director   Bruce  Mitchell 

Assistant  director    Jimmy  Burtis 


Topno+chers 

(RKO  Radio) 
Fair  Subject 

With  the  "Easy  .\ces,"  man  and  wife,  attend- 
ing a  motion  picture  theatre  and  supposedly 
looking  at  the  same  picture  shown  to  the  au- 
dience, something  in  the  nature  of  a  sports  reel 
is  unfolded,  with  the  husband,  talking  to  his 
wife,  supplying  the  accompanying  narration,  and 
she,  with  her  constant  comments,  attempting 
with  only  fair  success,  to  supply  the  comedy. 
Shown  are  Man  o'  War,  famous  race  horse; 
Berlinger,  Olympic  athlete,  and  others  noted  for 
their  skill  in  swimming,  running,  baseball  and 
other  sports.  Fairly  interesting  material. — Run- 
ning time,  11  minutes. 


Graduation  Exercises 

(  Columbia  ) 
Amusing 

This  is  an  amusing  enough  cartoon  in  the 
Scrappy  series,  in  which  Scrappy  is  late  for 
the  graduating  exercises  at  school  on  account 
of  his  younger  brother's  escapade.  To  get  in. 
the  baby  mounts  on  Scrappy's  shoulders  and 
they  appear  as  the  expected  bearded  member 
of  the  school  board.  The  tricks  they  play  on 
the  teacher  finally  lead  to  their  undoing,  but 
they  enjoyed  themselves  while  it  lasted,  and  so 
should  the  youngsters  seeing  the  subject. — Run- 
ning time,  7  minutes. 


The  Lost  Chick 

(MGM) 

Good 

One  of  the  Harman-Ising  cartoons  in  color, 
this  is  amusing  and  entertaining,  as  the  mother 
hen  loses  one  egg,  which  is  found  by  two  young 
squirrels,  hunting  for  nuts.  They  think  it  is  a 
nut,  search  for  no  other  food,  and  when  winter 
comes  and  the  chick  hatches,  they  care  for  it. 
Then  comes  hunger  and  cold,  and  at  the  plead- 
ing of  the  chick,  which  had  been  taken  home 
by  its  mother,  the  hen  goes  out  into  the  snow, 
finds  the  squirrels  and  brings  them  to  her  home. 
A  number  which  youngsters  especially  should 
find  delightful. — Running  time,  9  minutes. 


Screen  Snapshots  No.  7 

(  Columbia  ) 
Good 

This  number  in  the  series,  which  has  the 
name  of  Harriet  Parsons  attached,  is  rather  con- 
siderably better  than  the  usual  run  of  these 
shots  of  the  film  personalities  off  the  set.  It 
opens  with  a  big  Hollywood  dog  show,  with 
the  stars  showing  the  pets,  then  moves  here 
and  there  about  the  town,  to  conclude,  at  some 
length,  with  the  recent  big  race  at  the  new 
Santa  Anita  race  track,  alternating  with  shots 
of  the  stars  watching  and  good  pictorial  work 
on  the  race  itself. — Running  time,  10  minutes. 


Shoestring  Follies 

(Vitaphone) 
Entertaining 

There  is  entertainment  in  this  musical  subject, 
which  features  Eddie  Peabody,  the  diminutive 
master  of  the  banjo.  Two  inpecunious  would-be 
producers  attempt  to  put  on  a  show  and  gather 
entertainers  wherever  thev  can  get  them  for 
nothing.  The  result  is  a  lively  combination  of 
girl-chorus  material,  a  comedy  song  and  Eddie's 
more  than  expert  strumming  of  the  banjo,  aided 
by  a  chorus  background  playing  neon-lit  banjos. 
A  good'  subject. — Running  time,  21  minutes. 


Old  Age  Pension 

(Universal) 
Fair 

Tfenry  Armetta,  Italian  comedian  of  the  pe- 
culiar gait  and  continuous  difficulty  is,  in  this 
case,  the  marital  victim  of  his  wife  and  two 
children.  They  see  in  the  approaching  passage 
of  an  old-age  pension  law  an  opportunity  for 


riches  without  work,  and  act  accordingly,  with 
Henry  as  the  sufferer.  He  dreams  a  nightmarish 
dream  of  being  forced  to  lie  to  government 
pension  agents  in  order  to  get  his  check,  then 
of  telling  the  truth  and  being  beheaded  in  his 
living  room.  On  the  whole  the  subject  is  fair, 
but  the  beheading  scene  appears  entirely  un- 
necessary, and  should  serve  to  frighten  little 
children  by  the  score. — Running  time,  20 
minutes. 


Spice  of  Life  No.  6 

(  Columbia  ) 
Fair 

The  humor  in  this  number  of  the  series  can- 
not be  considered  more  than  fairly  provocative 
of  laughs,  as  Doc  Rockwell  introduces  the 
subject  with  some  of  his  nonsense  chatter,  and 
the  screen  reproduces  bits  of  humor  gathered 
from  publications  everywhere,  which  are  occa- 
sionally amusing.  The  series  is  produced  in 
cooperation  with  the  "Literary  Digest,"  and 
the  number  concludes  with  Rockwell  finishing 
his  discourse  on  the  advantages  of  whittling. — 
Running  time,  10  minutes. 


Little  New  New  York 

(RKO  Radio) 
Fair 

One  of  a  new  group  of  subjects  featuring  the 
"Easy  Aces,"  this  is  virtually  a  travel  subject, 
the  audience  looking  over  New  York  as  it  is 
today,  with  occasional  contrasting  flashes  of 
the  city  many  years  ago.  The  Ace  couple, 
man  and  wife,  are  attending  a  film  theatre,  see 
the  subject,  and  the  husband  acts  as  guide 
handling  the  accompanying  dialogue,  while  his 
wife  constantly  interrupts  him  with  remarks  that 
are  only  occasionally  amusing.  A  fair  subject. — 
Running  time,  10  minutes. 


The  Sorcerer's  Apprentice 

(  Metro  polis-Tapernoux  ) 
Unusual  Interest 

Produced  in  France,  but  entirely  without 
dialogue,  this  is,  in  effect,  pantomime  accom- 
paniment to  the  musical  score  of  Paul  Dukas, 
who  based  his  composition  on  Goethe's  poem 
of  the  same  title.  The  story  is  of  the  experi- 
ences of  the  apprentice  who  began  to  experi- 
ment with  the  magic  formulae  of  his  master 
during  the  latter's  absence.  His  master,  re- 
turning, punishes  him  hy  creating  weird  phan- 
toms. The  pantomime  dance  of  the  apprentice 
is  effective.  The  subject,  excellently  pro- 
duced, should  have  unusual  appeal  to  class 
audiences,  in  particular. — Running  time,  10 
minutes. 


Parrotville  Old  Folks 

(RKO  Radio) 
Good 

One  of  the  Rainbow  Parade  cartoons  in  color, 
and  effectively  done,  this  tells  of  the  old  folks' 
home  in  Parrotville,  the  inmates  of  which  are 
regaled  with  music  hy  the  old  sea  captain  and 
his  man.  The  old  parrots  use  their  perches  as 
pogo  sticks  in  dancing  to  the  music,  and  make 
a  good  job  of  things  when  dinner  is  served.  An 
entertaining  and  colorful  subject. — Running 
time,  7  minutes. 


Dixieland 

(Vitaphone) 
Of  Interest 

Sixth  in  the  See  America  First  series,  pro- 
duced by  E.  M.  Newman,  with  John  B.  Ken- 
nedy handling  the  interesting  accompanying  ex- 
planation, this  pictures  landmarks  of  the  Old 
South,  in  the  period  just  before  and  after  the 
Civil  War.  these  mementoes  of  a  vital  phase  in 
the  nation's  history  calling  to  mind  the  "events 
leading  up  to  the  tragedy,"  so  to  speak.  Al- 
though lacking  in  action,  the  subject  and  the 
series,  should  be  of  general  and,  specifically, 
school  interest. — Running  time,  10  minutes. 


56 


MOTION    PICTURE  HERALD 


April    2  7,    19  3  5 


J.  C.  JCNriNS--Hl$  COLriJM  IE 


Neligh,  Neb. 

Dear  Herald: 

We  have  been  considering  the  matter 
pretty  seriously  and  after  due  deliberation 
liave  come  to  the  conclusion  that  the  "Brain 
Trust"  must  have  got  busy  on  that  "Shelter- 
belt"  to  "bring  rain,"  since  it  rained  on  us 
all  through  Kansas  and  has  been  raining  for 
the  two  days  and  nights  we  have  been  home. 

This  morning  the  rain  turned  into  snow 
and  we  are  having  an  April  shower  with 
an  early  March  temperature  which  has  kept 
us  shut  in  and  has  sweetened  our  angelic 
disposition  to  a  point  where  we  want  to  kick 
the  house  cat  in  the  belly  and  upset  the 
center  table. 

The  snow  reminds  us  of  the  spring  snows 
we  used  to  have  when  we  were  a  boy  back 
in  southern  Michigan.  They  were  called 
"sugar  snows,"  for  that  was  the  time  they 
made  maple  sugar,  and  you  remember  how 
we  used  to  go  out  to  the  sugar  camp  and 
take  a  snowball  and  pour  maple  syrup  on  it 
and  make  maple  wax,  don't  you,  Oscar? 
Oh,  gosh,  wasn't  that  sumthing?  Whenever 
we  think  of  those  days  we  feel  pity  for  the 
boys  of  this  generation,  but  then,  that  wasn't 
what  we  wanted  to  talk  about. 

But  That  Bale  of  Hay- 
When  we  came  through  Belleville,  Kan., 
we  stopped  to  call  on  our  old  friend,  Sam 
Blair.  We  expected  that  Sam  had  gone 
down  to  the  creek  bullhead  fishing,  since  we 
lieard  that  his  wife  had  gone  to  Denver. 
The  last  time  we  had  seen  Sam  he  was  in  a 
hospital  and  was  recovering  from  an  explora- 
tory experiment  by  a  horse-doctor  from 
Chester,  Neb.  Sam  said  that  in  his  explora- 
tions he  had  discovered  a  monkey  wrench, 
some  binding  wire,  a  Hubbard  squash,  a  can 
of  sardines,  but  he  never  could  figure  out 
where  that  bale  of  hay  came  from.  You 
perhaps  don't  know  Sam.  Sam  was  born 
on  Friday  the  Thirteenth  in  the  dark  of  the 
moon  just  after  the  January  blizzard  in  the 
Rio  Grande  valley,  and  is  therefore  not  to 
be  held  responsible  for  what  he  says.  If 
we  had  Sam's  power  of  imagination  and  his 
sense  of  appreciation  we  believe  we  could 
enjoy  hearing  a  crooner  croon  "Her 
cheeks  were  like  the  roses  and  her  lips  were 
crimson  red,"  but  being  a  bonehead,  like  we 
are,  we  believe  we  would  sooner  hear  two 
tomcats  discussing  politics  over  a  clothes- 
line. Well,  anyhow,  we  were  mighty  glad 
to  meet  Sam  and  to  learn  that  he  is  getting 
along  fine  after  his  operation,  but  what 
makes  us  sore  is  that  he  and  Mrs.  Blair  oc- 
cupied apartments  only  a  block  from  where 
we  lived  all  the  while  we  were  in  Corpus 
Christi,  Texas,  and  we  didn't  know  it  until 
we  called  on  him  at  Belleville.  Sam,  you 
know,  operates  all  theatres  of  the  Blair  En- 
terprises, which  circuit  of  houses,  under  his 
able  management,  are  a  few  of  the  things 
which  are  making  the  Jayhawk  state  a  pretty 
good  place  to  live.  Sam  bet  us  two  dollars 
that  his  candidate  would  be  elected  presi- 
dent at  the  next  presidential  election.  Sam 
lost  just  two  bucks ;  that  is,  unless  these 
trees  on  that  "shelterbelt"  bring  us  plenty 
of  rain. 


Walt  Bradley,  who  directs  the  activities 
of  the  Moon  theatre  here  in  the  nnetropo- 
lis  of  the  west,  tells  us  that  his  business  has 
been  better  at  the  Moon  for  the  past  two 
months  than  it  has  been  in  any  like  period 
for  a  long  tinne.  We  can't  figure  out  a 
reason  for  this  condition.  The  crops  were 
light,  they  killed  off  five  million  pigs,  and 
there  are  no  alphabetical  activities  around 
here,  and  if  you  can  figure  out  a  plausible 
reason  for  this  increase  in  business  you  will 
be  entitled  to  a  front  seat  at  the  next 
political  convention. 

The  only  solution  for  this  condition  that 
we  are  able  to  find  is  that  the  Legion  of 
Decency  must  have  been  cleaning  up  the 
films  and  making  them  of  more  interest  to 
people  who  still  retain  their  sense  of  decency. 
Maybe  that  isn't  the  proper  reason,  we  don't 
know,  but  we  are  for  whatever  it  is  so  long 
as  it  increases  business. 

V 

All's  Well 

No  doubt  you  will  be  interested  in  learn- 
ing how  this  beautiful  city  on  the  banks  of 
the  raging  Elkhorn  (which  almost  went  dry 
last  summer)  managed  to  get  along  during 
our  absence  down  among  the  Longhorns  in 
the  Rio  Grande  valley  the  past  winter.  You 
are  to  be  commended  for  the  interest  you 
are  taking  in  the  welfare  of  "The  Pride  of 
tlie  West."  For  your  information  we  will 
state  that  on  our  arrival  home  we  found  that 
the  Night  Watch  had  been  ringing  the  cur- 
few regularly  every  night  at  ten  o'clock 
(  which  nobody  had  paid  any  attention  to  for 
ten  years)  and  had  slept  peacefully  in  the 


SHORT  PRODUCT 
PLAYING  BROADWAY 


Week  of  April  20 


ASTOR 

South  Seasickness   RKO  Radio 

MAYFAIR 

Topnotchers   RKO  Radio 

Wig  Wag   RKO  Radio 

MUSIC  HALL 

The  Robber  Kitten  United  Artists 

PARAMOUNT 

The  Kids  in  the  Shoe  Paramount 

Melody  Magic   Paramount 

Animal  Intelligence   Paramount 

RIALTO 

Parrotville  Old   Folks  RKO  Radio 

Little  New  New  York  RKO  Radio 

RIVOLI 

Mickey's  Kangaroo   United  Artists 

ROXY 

Funny  Little  Bunnies  United  Artists 

Jungle  Antics   Paramount 

A  Nose  for  News  Educational 

STRAND 

What,  No  Men?  Vitaphone 


city  hall ;  the  cows  were  grazing  contentedly 
on  the  court-house  lawn ;  Bill  Smith  had 
reshingled  his  henhouse;  the  jaw-bone  poker 
club  had  framed  up  some  new  rules  against 
us ;  Frank  Smith's  dog  Fannie  had  weaned 
her  litter  of  ten  pups  (all  dogs  but  eight), 
and  otherwise  the  town  had  been  running 
along  in  the  same  old  groove,  which  would 
indicate  that  our  absence  was  hardly  notice- 
able. That's  just  the  way  it  goes  with 
some  towns.  Of  course  there  were  a  lot  of 
folks  who  were  glad  to  see  us  back,  the 
most  of  whom  we  had  omitted  to  settle  with 
before  we  went  away,  and  their  claims 
ranged  from  fifty  cents  to  a  borrowed  lawn 
mower.  That's  just  the  way  it  is  with  some 
people,  they  never  forget  anything. 

The  ability  of  these  folks  to  remember 
reminds  me  of  a  drayman  back  in  our  home 
town  in  Indiana.  He  remembered  our  girl's 
liirthday.  We  had  forgotten  all  about  it  but 
he  remembered  it  and  gave  her  a  box  of 
chocolates  and  that's  how  it  came  that  we 
found  him  at  her  house  the  next  Sunday 
evening  when  we  called.  Doggone  the  luck 
anyhow ;  we  never  could  remember  anything. 
V 

The  other  day  we  paid  thirty  cents  a 
pound  for  pork  chops  down  in  Concordia, 
Kansas.  The  farmer  who  raised  and  fatted 
that  hog  got  seven  cents  a  pound  for  it. 
What  we'd  like  to  know  is,  who  got  the 
other  twenty-three  cents.  It  begins  to  look 
like  the  farmer  was  in  the  wrong  end  of  the 
hog  business. 

When  the  farmer  feeds  his  pigs 
Without  a  single  sigh  or  frown 
And  he  meeds  the  garden  out  so  it  can 
grow, 

He  zmll  pity  Mrs.  Wiggs 
When  she  took  her  pigs  to  town 
Because  the  hoys  up  at  the  top  will  get 
the  dough. 

V 

Last  Christmas  Lyle  Talbot  sent  us  his 
photograph  showing  himself  holding  a  bunch 
of  Christmas  packages  and  wearing  a 
smile  that  reminded  us  of  the  smile  he  used 
to  wear  at  our  wife's  dinner  table  when 
she  brought  on  the  beans  and  sowbelly. 
We  were  thankful  that  he  remembered  us 
and  we  are  glad  to  note  that  he  is  fast  work- 
ing up  to  the  top  of  the  ladder  and  will 
soon  be  in  a  class  with  Wallace  Beery,  Ned 
Sparks,  Clark  Gable,  Allen  Jenkins  (a  dis- 
tant relative  of  ours,  very  distant),  Joe  E. 
Brown,  Eddie  Quillan,  Shirley  Temple  and 
several  other  folks,  including  Henry  B.  Wal- 
thall. We  knew  Lyle  when  he  used  to  feel 
of  the  fuzz  on  his  upper  lip  and  cast  side 
glances  at  the  girls  on  the  street,  and  we 
are  glad  to  know  that  he,  along  with  the 
rest  of  them,  is  not  a  regular  customer  of 
the  public  soup  kitchen.  Thanks,  Lyle,  for 
the  photograph.  Come  on  in  any  time. 
V 

The  rain  that  this  corn  belt  has  received 
the  past  two  days  and  nights  gives  us  the 
best  outlook  for  a  crop  we  have  had  for 
some  time,  and  with  a  good  crop  business 
ought  to  be  good,  and  without  it  fishing 
ought  to  be  good. 

COLONEL  J.  C.  JENKINS 
The  HERALD'S  Vagabond  Colyumnist 


April    27,  1935 


MOTION    PICTURE  HERALD 


57 


llliiill 


WHAT  THE  PICTURE 
DID  E€D  ME 


Columbia 


AGAINST  THE  LAW:  John  Mack  Brown— Pretty 
good  for  Friday-Saturday.  Running  time.  62  minutes. 
—P.  G.  Held.  New  Strand  Theatre,  Griswold,  Iowa. 
General  patronag^e. 

BEHIND  THE  EVIDENCE:  Norman  Foster,  Sheila 
Manners — This  is  good  material  for  double  feature  pro- 
grams. We  played  it  on  a  double  bill  and  it  pleased. 
It  has  plenty  of  action,  is  well  enough  produced,  and 
the  acting  is  fairly  effective. — J.  W.  Noah,  New  Lib- 
erty and  Ideal  Theatres,  Ft.  Worth,  Texas.  General 
patronage. 

BEST  MAN  WINS,  THE:  Jack  Holt.  Edmund 
Lowe — Pretty  good  program  picture.  Running  time,  64 
minutes. — P.  G.  Held.  New  Strand  Theatre,  Griswold, 
Iowa.    General  patronage. 

BROADWAY  BILL:  Warner  Baxter,  Myrna  Loy 
—The  best  liked  picture  that  we  have  played  in  a 
long  time.  Should  be  booked  for  more  than  one  day 
as  word-of-niouth  will  build  up  the  business.  Our 
second  day  was  only  20c.  less  than  the  first  and  that 
is  unusual  in  any  man's  theatre  unless  the  second  day 
falls  on  Saturday  or  a  holiday.  You  won't  go  wrong 
in  booking  this  one.  Running  time.  105  minutes. 
Played  April  11-12.— Seth  H.  Field.  Dirigo  Theatre, 
Ellsworth,   Maine.     Small  town  patronage. 

BROADWA'V  BILL:  Warner  Baxter,  Myrna  Loy— 
Good.  Well  liked  by  everyone.  Racing  sequence  very 
best.  Will  build.— Wayne  T.  Jenkins,  Peoples  Thea- 
tre, Pleasant  Hill,  Mo.  Small  town  and  rural  patron- 
age. 

FUGITIVE  LADY:  Neil  Hamilton,  Florence  Rice 
— A  rather  melodramatic  film  which  was  liked  on  a 
double  feature  program  with  "Behind  the  Evidence." 
—J.  W.  Noah,  New  Liberty  and  Ideal  Theatres,  Ft. 
Worth,  Texas.    General  patronage. 

JEALOUSY:  Nancy  Carroll,  Donald  Cook— I  agree 
with  my  brother  exhibitors.  A  complete  flop  at  the 
box  office.  Lost  money  for  us.  Recording  fair.  Run- 
ning time.  69  minutes. — P.  G.  Held,  New  Strand  The- 
atre,  Griswold,  Iowa.     General  patronage. 

LAW  BEYOND  THE  RANGE:  Tim  McCoy,  Billie 
Seward — Played  this  as  the  co-feature  with  "That's 
Gratitude"  and  it  walked  away  with  the  honors. 
Strangely  enough  this  town  does  not  go  for  western 
pictures  and  its  liking  of  this  was  an  exception.  Busi- 
ness was  below  average  for  Saturdays,  possibly  be- 
cause of  a  bad  storm,  but  probably  because  the  pic- 
tures had  no  drawing  power.  Running  time,  58  min- 
utes. Played  April  13.— Seth  H.  Field,  Dirigo  Thea- 
tre, Ellsworth,  Maine.    Small  town  patronage. 

MILLS  OF  THE  GODS:  May  Robson,  Fay  Wray— 

Good  story  which  pleased,  but  stars  do  not  draw. — 

Leon  C.  Bolduc,  Majestic  Theatre,  Conway,  N.  H. 
General  patronage. 

WESTERNER,  THE:  Tim  McCoy,  Marion  Shilling 
— A  very  good  western.  Running  time,  57  minutes. — 
P.  G.  Held,  New  Strand  Theatre,  Griswold,  Iowa. 
General  patronage. 

WHOLE  TOWN'S  TALKING,  THE:  Edward  G. 
Robinson.  Jean  Arthur — Very  good.  Had  the  house  in 
an  uproar.  Quite  an  increase  second  night.  Be  sure 
and  mention  fact  the  story  is  taken  from  Collier's 
"Jail  Breaker." — Wayne  T.  Jenkins,  Peoples  Theatre, 
Pleasant  Hill,  Mo.    Small  town  and  rural  patronage. 

WHOLE  TOWN'S  TALKING,  THE;  Edward  G, 
Robinson.  Jean  Arthur— Here  is  a  very  fine  picture 
but  it  did  not  draw  well.  For  some  reason  Robinson 
does  not  draw  and  Columbia  should  select  better  titles 
for  their  pictures.  Those  who  saw  it  were  well  pleased. 
Running  time,  93  minutes.  Played  April  9-10, — Warn- 
er Mcl.,aughlin,  Empire  Theatre,  Fort  Henry,  N.  Y. 
Small  town  patronage. 

WHOLE  TOWN'S  TALKING,  THE:  Edward  G. 
Robinson,  Jean  Arthur — It's  easy  to  understand  why 
almost  every  exhibitor  is  praising  Columbia,  Tliis 
company  has  produced  another  picture  which  any 
type  of  audience  should  enjoy.  It  is  a  human  down- 
to-earth  comedy  which  tells  of  a  timid  soul  who  is 
mistaken  for  a  gangster  who  forces  this  Mr.  Milque- 
toast type  to  change  places  with  him.  It  is  all  good 
fun  and  the  audience  heartily  enjoyed  it. — J.  W.  Noah, 
Xew  Liberty  and  Ideal  Theatres,  Ft.  Worth,  Texas. 
General  patronage. 


N  fhis,  the  exhibitors'  own  de- 
partment, the  theatremen  of  the 
nation  serve  one  another  with 
information  on  the  box  office  per- 
formance of  product  for  their  mu- 
tual benefit.  It  is  a  service  of  the 
exhibitor  for  the  exhibitor.  Address 
all  communications  to — 

What  the  Picture  Did  for  Me 

MOTION  PICTURE  HERALD 
I  790  Broadway,  New  York 


FLIRTATION  WALK:  Dick  Powell.  Ruby  Keeler— 
In  my  estimation  the  best  picture  ever  produced.  It 
has  everything,  story,  comedy,  love  interest,  haunt- 
ing melodies,  stirring  martial  music  and  that  grand 
old  U.  S.  Military  Academy.  Drew  exceptionally  well. 
They  raved.  Socko  this  one.  Played  March  3-4. — 
Lamar  Guthrie,  Rogue  Theatre  No.  3,  Tipton,  Okla. 
Small  town  and  rural  patronage. 

KANSAS  CITY  PRINCESS:  Joan  Blondell— Fair. 
Blondell  and  Farrell  make  a  fine  team.  All  they  need 
is  better  stories.  Played  March  27. — Alyce  Cornell, 
Galewood  Theatre.  Grand  Rapids.  Mich.  Neighbor- 
hood patronage. 

MURDER  IN  THE  CLOUDS:  Lyle  Talbot,  Ann 
Dvorak — Very  entertaining.  Well  liked  by  all. — Jack 
Greene,  Geneseo  Theatre,  Geneseo,  111.  Small  town 
patronage. 

VERY  HONORABLE  GUY,  A:  Joe  E.  Brown- 
Poor  cast,  no  laughs.  This  is  Brown's  worst  up  to 
date.  Played  April  7. — Alyce  Cornell.  Galewood  The- 
atre,  Grand  Rapids,  Mich.     Neighborhood  patronage. 


Fox 


First  National 


BABBITT:  Guy  Kibbee,  Aline  MacMahon— 'Well 
liked  and  a  lot  of  real  entertainment.  Running  time. 
75  minutes.  Played  April  3, — M.  W.  Mattecheck,  Lark 
Theatre,  McMinnville,  Ore.    Local  patronage. 


BRIGHT  EYES:  Shirley  Temple,  James  Dunn— 
Everybody  likes  Shirley.  James  Dunn  very  good  in 
this  picture. — Leon  G.  Bolduc,  Majestic  Theatre,  Con- 
way, N.  H.    General  patronage. 

BRIGHT  EYES:  Shirley  Temple.  James  Dunn— As 
far  as  bo.x  office  is  concerned  it's  great,  and  that's 
the  answer  to  any  exhibitor's  prayer. — ^Jack  Greene. 
Geneseo  Theatre,  Geneseo,  111.    Small  town  patronage. 

BRIGHT  EYES:  Shirley  Temple.  James  Dunn- 
Excellent  in  every  way.  Little  Shirley  Temple  is 
wonderful.  This  broke  our  house  records.  Running 
time.  82  minutes.— P.  G.  Held,  New  Strand  Theatre, 
Griswold,  Iowa,    General  patronage. 

CARAVAN:   Charles   Boyer.   Loretta  Young— Fair. 

Many  were  disappointed.  The  name  fooled  them,  most 
expecting  another  "Wagon  Wheels"  or  "Covered 
Wagon."  Played  March  31. — Alyce  Cornell,  Galewood 
Theatre,  Grand  Rapids,  Mich.  Neighborhood  patron- 
age. 

CARAVAN:  Loretta  Young,  Charles  Boyer— This 
should  have  been  a  box  office  hit.  The  story  is  there, 
romance,  comedy,  music  that  reminds  one  of  Victor 
Herbert.  Why  did  it  not  click  ?  The  title  "Caravan" 
suggests  so  many  things.  It  suggests  an  Arabian 
desert  picture,  a  western  or  a  gypsy  picture.  What- 
ever the  cause,  we  just  did  a  bare  average  with  this 
but  the  picture  deserves  getting  behind  and  it  will 
please  those  who  come. — J.  E.  Stocker,  Myrtle  Thea- 
tre. Detroit,  Mich.    Neighborhood  patronage. 

CHARLIE  CHAN  IN  LONDON:  Warner  Oland, 
Drue  Leyton — Very  good.  Oland  always  pleasing. — 
I. eon  C.  Bolduc.  Majestic  Theatre,  Conway.  N.  H. 
General  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— My 
patrons  like  Will  Rogers.  Personally.  I  think  when 
you've  seen  a  Rogers  picture  all  the  others  are  almost 
the  same.  Why  not  star  him  in  another  kind  of  a 
story? — Leon  C.  Bolduc.  Majestic  Theatre,  Conway, 
N.  H.    General  patronage. 

COUNTY  CHAIRMAN,  THE:  Will  Rogers— Good 
picture  to  good  business. — R.  V.  Fletcher,  Lyric  The- 
atre. Hartington.  Neb.    General  patronage. 

HELLDORADO:    Richard    Arlcn,    Madge  Evans— 


<iood  little  program  picture. — Leon  C.  Bolduc,  Ma- 
jestic Theatre,  Conway,  N.  H.    General  patronage. 

HELL  IN  THE  HEAVENS:  Warner  Baxter,  Con- 
chita  Montenegro — Fair  air-action  picture. — Leon  C. 
Bolduc,  Majestic  Theatre,  Conway,  N.  H.  General 
patronage. 

LIFE  BEGINS  AT  40:  Will  Rogers,  Richard  Crom- 
well, Rochelle  Hudson — For  the  first  time  in  our 
small  town  lives  we  get  to  see  a  Will  Rogers  "hot  off 
the  griddle."  Usually  they're  warmed  over  and  old 
before  the  little  theatre  gets  them.  And  did  we  break 
a  record?  We  did.  Biggest  box  office  returns  in 
history,  which  shows  how  nice  it  would  be  if  the 
small  exhibitor  were  not  held  back  sixty  days  for 
the  big  fellow.  Of  course,  it's  a  percentage  picture 
and  a  peak  night  feast  means  a  famine  of  a  day  or 
two  which  the  little  theatre  must  swallow.  But  there's 
only  one  Will  Rogers  and  the  public  loves  him  (and 
Shirley  Temple). — Mary  H.  Davis,  Dixie  Crystal  The- 
atre, Clewiston,  Fla.    Small  town  patronage. 

LOTTERY  LOVER:  "Pat"  Paterson,  Lew  Ayres— 
Fair  program  picture. — R.  V.  Fletcher,  Lyi-ic  Theatre, 
Hartington,  Neb.     General  patronage. 

MARIE  GALANTE:  Spencer  Tracy,  Ketti  Gallian 
— Fair.  Poor  title.  Stars  do  not  draw. — Leon  C. 
Bolduc,  Majestic  Theatre,  Conway,  N.  H.  General 
patronage. 

MARIE  GALANTE:  Spencer  Tracy,  Ketti  Gallian, 
Ned  Sparks,  Helen  Morgan — This  program  picture  re- 
ceived fair  audience  response.  It  is  well  made,  though 
not  out  of  the  ordinary. — J.  W.  Noah,  New  Liberty 
and  Ideal  Theatres,  Ft.  Worth,  Texas.  General  pat- 
ronage. 

MYSTERY  WOMAN:  Mona  Barrie,  Gilbert  Roland 
— Fair  program  picture. — R.  V.  Fletcher,  Lyric  Thea- 
tre, Hartington,  Neb.    General  patronage. 

ONE  MORE  SPRING:  Janet  Gaynor,  Warner  Bax- 
ter— Just  fair.  Janet  seems  to  be  losing  her  appeal 
very  fast. — Leon  C.  Bolduc,  Majestic  Theatre,  Conway, 
N.  H.    General  patronage. 

ONE  MORE  SPRING:  Janet  Gaynor,  Warner  Bax- 
ter— Trifle  tiresome  due  to  lack  of  action.  Dialogue 
and  situations  funny  and  helped  hold  audience.  Gay- 
nor and  Baxter  wasted  on  such  a  trivial  story.  Busi- 
ness fair. — Wayne  T.  Jenkins,  Peoples  Theatre,  Pleas- 
ant Hill,  Mo.    Small  town  and  rural  patronage. 

PECK'S  BAD  BOY:  Jackie  Cooper,  Thomas  Meig- 
han — Pleased  the  younger  elements. — Leon  C.  Bolduc, 
Majestic  Theatre,  Conway,  N.  H.    General  patronage. 

365  NIGHTS  IN  HOLLYWOOD:  James  Dunn,  Alice 
Faye — Very  poor  entertainment. — Leo  C.  Bolduc,  Ma- 
jestic  Theatre,   Conway,   N.   H.     General  patronage. 

365  NIGHTS  IN  HOLLYWOOD:  Alice  Faye,  James 
Dunn — This  is  really  better  than  expected.  It  is  a 
story  that  exposes  the  acting  school  racket  in  Holly- 
wood but  it  has  a  well  knit  story.  Good  comedy  sup- 
plied by  Mitchell  and  Durant.  a  couple  of  elaborate 
musical  numbers  that  show  decided  originality.  A 
fair  average  business  considering  the  Lenten  season. 
--J.  E.  Stocker,  Myrtle  Theatre,  Detroit,  Mich. 
Neighborhood  patronage. 

UNDER  PRESSURE:  Edmund  Lowe,  Victor  Mc- 
Laglen — Plenty  of  action.  Not  much  in  it  for  women. 
Will  go  over  where  McLaglen  and  Lowe  are  liked. — 
Wayne  T.  Jenkins,  Peoples  Theatre,  Pleasant  Hill, 
Mo.    Small  town  and  rural  patronage. 

WHEN  A  MAN'S  A  MAN:  George  O'Brien,  Doro- 
thy Wilson — Great  at  the  box  office  and  everyone 
pleased.  Give  us  more  like  it.  O'Brien  seems  to  ap- 
peal to  all  classes. — Wayne  T.  Jenkins,  Peoples  Thea- 
tre, Pleasant  Hill,  Mo.  Small  town  and  rural  pat- 
ronage. 

THE  WHITE  PARADE:  John  Boles,  Loretta 
Young — As  our  friend  Walter  Winchell  would  say, 
"An  orchid  for  you,"  so  I  say,  "An  orchid  to  all  who 
helped  make  this."  If  someone  were  to  suggest  the 
subject  of  "Student  Nurses"  for  a  picture,  one  could 
hardly  get  enthused,  and  yet  they  took  this  subject 
and  made  one  grand  picture  of  it.  I  had  seen  it  before 
my  playdate,  got  behind  it  and  did  above  average  with 
it.— J.  E.  Stocker.  Myrtle  Theatre,  Detroit,  Mich. 
Neighborhood  patronage. 


Mascot 


CRIMSON  ROMANCE:  Ben  Lyon,  Sari  Maritza, 
Erich  von  Stroheim — Another  war  picture  which  is  no 
more  original  than  the  rest;  just  war,  broken  friend- 
ships, saddened  mothers,  and  shattered  romances.  The 
audience  response  to  this  picture  was  fair  on  a  double 
(Continued  on  following  page,  column  2) 


MOTION    PICTURE  HERALD 


April    27.  1935 


RCfl  VICTOR 

PHOTOPHONE 

THAT  GIVES  GREATEST  SOUND 
SATISFACTION   AND   OFFERS  YOU: 

•  A  Sound  Box-Office 
Attraction 

«  Complete  Ownership 

•  A  Self-Liquidating 
Investment 

«  RCA  Super-Service 


PHOTOPHONE  DIVISION 

RCA  Manufacturing  Co.,  Inc. 
Camden,  N.  J. 
A  Radio  Corporation  of  America  Subsidiary 


feature  program.  Women  heartily  disliked  the  story. — 
J.  W.  Noah,  New  Liberty  and  Ideal  Theatres,  Ft. 
Worth,  Texas.     General  patronage. 

IN  OLD  SANTA  FE:  Ken  Maynard.  Evalyn  Knapp, 
H.  B.  Warner — One  of  the  best  bets  you  can  make 
on  Friday-Saturday.  It's  above  the  average  and  will 
please  not  onlV  western  fans,  but  others  more  sophis- 
ticated. The  plot  is  good,  it  has  an  historical  glamor 
and  some  really  delightful  Gene  Autry  music  to  lift 
it  out  of  the  rut  ol  the  commonplace  shooting  and 
hghting  which  are  all  right  as  seasoning,  but  why  not 
make  more  westerns  like  this  and  the  George  O'Brien 
and  Randolph  Scott,  Zane  Grey  stories?  They  have  a 
general  appeal.  Most  folks  (not  decadent;  like  clean 
outdoor  adventure,  and  with  a  little  music  and  cow- 
boy singing,  westerns  go  over  well  weekly  in  my 
town.  And  don't  you  ever  think  my  western  fans 
don't  know  the  difference  between  these  two  types  of 
westerns.  The  box  office  proves  it  conclusively. — 
Mary  Hayes  Davis,  Dixie  Crystal  Theatre,  Clewiston, 
Fla.    Small  town  patronage. 

MARINES  ARE  COMING,  THE:  William  Haines, 
Esther  Ralston,  Conrad  Nagel,  Armida — Wilham 
Hames  may  have  ceased  to  be  popular  in  tlie  large 
metropolitan  houses,  but  he  is  a  welcome  return  in 
the  theatres  catering  to  the  family-type  patronage. 
Our  patrons  were  more  than  pleased  with  this  well 
made  program  picture  distinguished  for  its  action  and 
witty  dialogue.  To  the  picture- wise,  this  him  is  obvi- 
ously inexpensively  produced,  but  it  is  far  above  the 
average  independent  picture.  Armida  was  especially 
noteworthy  as  the  fiery  little  sweetheart  of  Haines; 
tnis  diminutive  lady  deserves  better  film  opportuni- 
ties than  she  has  received  in  the  past  tew  years,  for 
although  not  beautiiul,  she  is  talented.  This  picture 
is  mass  entertainment  and  has  nothing  to  appeal  to 
the  more  discriminating  "class  "  patron. — J.  W.  Noah, 
j.\ew  Liberty  and  ideal  Theatres,  Ft  Worth,  Texas. 
General  patronage. 


MGM 


AFTER  OFFICE  HOURS:  Clark  Gable,  Constance 
Bennett — Fine  entertainment  for  all  classes.  Plenty 
of  comedy. — Leon  C.  Bolduc,  Majestic  Iheatre,  Con- 
way, N.  H.    General  patronage. 

AFTER  OFFICE  HOURS:  Clark  Gable,  Constance 
Bennett — Played  this  for  one  day  only  to  the  best 
midweek  business  since  first  week  of  January.  Where 
they  liked  "Forsaking  All  Others,"  this  will  go  over 
in  a  big  way.  Running  time,  73  minutes.  Played 
April  10. — Seth  H.  Field,  Dirigo  Theatre,  Ellswortli, 
Maine.    Small  town  patronage. 

BABES  IN  TOYLAND:  Laurel  and  Hardy— This 
one  pleased.  Drew  the  grown-ups  as  well  as  the  kids. 
Held  up  nicely  for  a  three-day  run.  Laurel  and 
Hardy  always  do  good  for  us.  Good  business.  Run- 
ning time,  79  minutes.  Played  March  IS. — Esther 
Schaber,  The  Senator,  Ashley,  N.  D.  Small  city  and 
country  patronage. 

BABES  IN  TOYLAND:  Laurel  and  Hardy— A  sort 
of  opera  and  like  most  such  productions  very  strongly 
tinctured  with  hokum.  It  goes  over  100  per  cent  with 
the  kids  and  pleases  the  adults  nearly  as  well.  Run- 
ning time,  79  minutes.  Played  April  12-13. — G.  A.  Van 
Fradenburg,  Valley  Theatre,  Manassa,  Col.  Farm- 
ing community  patronage. 

BIOGRAPHY  OF  A  BACHELOR  GIRL:  Ann  Hard 
ing,  Robert  Montgomery — This  is  another  one  of  these 
all  talking  pictures.  No  action,  just  talk,  talk,  talk. 
Just  a  waste  of  a  darn  good  cast.  Did  a  good  busi- 
ness the  first  night  but  after  the  good  news  got 
around  nobody  came  but  my  brother-in-law.  Running 
time,  84  minutes.  Played  April  7.— Esther  Schaber, 
The  Senator,  Ashley,  N  Y.  Small  city  and  country 
patronage. 

DAVID  COPPERFIELD:  Frank  Lawton,  Freddie 
Bartholomew,  Lionel  Barrymore,  W.  C.  Fields,  Edna 
May  Eliver — Good  acting  with  the  Dickens  story  well 
done.  An  exceedingly  long  picture  that  I  think  could 
have  been  sHghtly  cut  and  helped  some.  It  will  at- 
tract people  who  are  not  usually  seen  in  the  theatre 
and  you  probably  won't  see  them  again  until  another 
like  it.  That  is  our  experience.  However,  I  don't 
think  that  any  of  the  other  Dickens  pictures  would 
have  a  chance  at  the  box  office.  This  one  happened 
at  the  logical  time  when  clean  pictures  are  fjeing 
clamored  for  and  it  was  only  the  strong  advertising 
campaign  that  put  it  over.  Others  I  don't  think  would 
hit.  I  know  that  OUver  Twist  was  made  many  years 
ago  and  my  records  show  that  it  flopped  at  the  box 
office.— A.  E.  Hancock,  Columbia  Theatre,  Columbia 
City,  Ind.    General  patronage. 

DAVID  COPPERFIELD:  W.  C.  Fields,  Lionel 
Barrymore,  Edna  May  Oliver,  Frank  Lawton,  Freddie 
Bartholomew,  Roland  Young,  Basil  Rathbone,  Mau- 
reen O'SuUivan— This  is  very  likely  to  go  down  in 
history  as  the  best  picture  made  this  season.  Prob- 
ably a  number  of  others  will  outgross  it  in  small 
towns,  but  it  should  do  a  satisfatcory  business  any- 
where. Running  time,  133  minutes.— Played  April  5-6. 
— G.  A.  Van  Fradenburg,  Valley  Theatre,  Manassa, 
Col.    Farming  community  patronage. 

MERRY  WIDOW,  THE:  Jeanette  MacDonald, 
Maurice  Chevalier — A  lot  of  money  wasted.  No  draw. 
Costume  pictures  do  not  go.  Running  time,  100  min- 
utes. Played  April  7-9.— M.  W.  Mattecheck,  Lark 
Theatre,  McMinnsville,  Ore.    Local  patronage. 

OUTCAST  LADY:  Constance  Bennett,  Herbert  Mar- 
.shall— No  good.— R.  V.  Fletcher,  Lyric  Theatre,  Hart- 
ington.  Neb.    General  patronage. 


PAINTED  VEIL,  THE:  Greta  Garbo,  Herbert  Mar- 
sliall,  George  Brent — Best  Garbo  has  made.  Some  fine 
acthig  in  this.  Fair  box  office.  Played  March  31. — 
Alyce  Cornell,  Galewood  Theatre,  Grand  Rapids,  Mich. 
.Neighborhood  patronage. 

PAINTED  VEIL,  THE:  Greta  Garbo,  Herbert  Mar- 
.■>hall,  George  Brent — This  pro<luction  did  not  strongly 
appeal  to  our  patronage,  which  complained  that  the 
picture  was  slow  and  dull.  1  found  it  to  be  fairly  en- 
tertaining.— J.  W.  Noah,  New  Liberty  and  Ideal  Thea- 
tres, Ft.  Worth,  Texas.   General  patronage. 

TIMES  SQUARE  LADY:  Robert  Taylor,  Virginia 
Bruce — Fair  program  picture. — R.  V.  Fletcher,  Lyric 
Theatre,  Hartington,  Neb.   General  patronage. 

VANESSA— HER  LOVE  STORY:  Helen  Hayes, 
Robert  Montgomery— In  capital  letters  the  advice  is 
to  avoid  this  one.  An  awlul  bore  about  nothing.  1 
think  someone  in  the  small  audience  liked  it.  Run- 
ning time,  77  minutes.  Played  April  5. — Warner  Mc- 
Laughlin, Empire  Theatre,  Fort  Henry,  N.  Y.  Small 
town  patronage. 

WINNING  TICKET:  Leo  CarriUo,  Louise  Fazenda 
— Metro's  error  and  a  bad  break  for  any  exhibitor 
that  plays  it.  In  the  first  place,  Fazenda  was  through 
long  ago  and  CarriUo  has  been  in  support  in  about 
two  pictures  and  Metro  is  trying  to  rocket  him  into 
stardom  with  the  result  that  the  picture  is  a  headaclie 
for  any  audience.  It  would  make  a  good  two-reel 
comedy  and  that  it  all.  CarriUo  is  not  known  except 
lor  small  parts  that  he  has  done  in  other  pictures.  1 
will  grant  that  he  is  good  as  a  character  actor  but 
as  a  star  to  biU  in  lights  he  has  yet  to  arrive.  And 
the  exhibitor  pays  for  the  mistake. — A.  E.  Hancock, 
Columbia  Theatre,  Columbia  City,  Ind.  General  pat- 
ronage. 


Paramount 


BELLE  OF  THE  NINETIES:  Mae  West— I  guess 
Mae  West  is  through  as  far  as  I  am  concerned.  Not 
one  of  her  pictures  has  made  money  for  me.  Our 
patrons  don't  go  for  her  pictures.  Running  time,  78 
minutes. — P.  G.  Held,  New  Strand  Theatre,  Griswold, 
Iowa.    General  patronage. 

CLEOPATRA:  Claudette  Colbert— A  lot  of  money 
wasted.  Very  little  entertainment.  Running  time,  102 
minutes.  Played  April  10-12.— M.  W.  Mattecheck, 
Lark  Theatre,  McMinnville,  Ore.    Local  patronage. 

COLLEGE  RHYTHM:  Jack  Oakie,  Joe  Penner, 
Lanny  Ross — This  still  had  box  office  when  I  showed 
it,  even  though  it  is  several  months  old.  I  do  not 
need  to  tell  you  it  is  entertainment,  but  I  do  want 
to  tell  you  that  our  old  friend  Jack  Oakie  can  still 
give  it  out  and  also  take  it  and  here's  hoping  he  wUl 
continue  for  a  long  time.  Lanny  Ross  has  the  best 
screen  voice  I  know  of  and  a  grand  screen  personality. 
Joe  Penner  goes  over  and  will  be  okay  if  the  screen 
fans  don't  tire  of  his  stuff.  More  power  to  Joe  Pen- 
ner.— W.  H.  Brenner,  Cozy  Theatre,  Winchester,  Ind. 

CRIME  WITHOUT  PASSION:  Claude  Rains— I  will 
add  my  comment  to  this  much  debated  picture.  On  a 
double  program  this  is  not  so  bad,  but  what  makes  it 
appear  worse  than  it  is,  is  the  prologue  representing 
sin,  I  suppose  it  is,  and  that  footage  about  75  feet 
or  so,  is  about  the  most  horrible  piece  of  film  ever 
projected  on  a  screen.  I  caught  it  the  first  show 
and  did  not  show  those  scenes  again.  The  prologue 
scene  is  partly  repeated  at  the  ending  but  only  a 
couple  of  short  flashes.  No  one  commented  one  way 
or  the  other,  if  they  did  not  like  it.  The  other  half 
of  the  program  pleased. — J.  E.  Stocker,  Myrtle  Thea- 
tre, Detroit,  Mich.    Neighborhood  patronage. 

ENTER  MADAME:  Elissa  Landi,  Cary  Grant— En- 
ter Madam  and  if  I  make  no  mistake  you  will  open 
the  back  entrance  and  let  her  go  right  on  through. 
Hysterical  opera  stars  screeching  their  heads  off  and 
what  one  patron  said  when  he  left  holding  his  head 
would  not  get  by  the  mails.  It  was  not  a  polite  word 
that  he  had  for  it.  Of  all  the  dumb  clucks  that  it 
has  been  my  misfortune  to  run  this  one  is  it.  May 
I  never  run  another  like  it.  Supposed  to  be  high 
class  musical,  but  my  patrons  had  another  name  for 
it.  The  worst  panning  a  picture  has  had  for  some 
time  and  they  had  reason.— A.  E.  Hancock,  Columbia 
Theatre,  Columbia  City,  Ind.   General  patronage. 

GILDED  LILY,  THE:  Claudette  Colbert,  Fred  Mac- 
Murray — Very  good.  This  type  of  role  just  suits  her. 
Gave  109  per  cent  satisfaction.  Fred  MacMurray's 
styles  of  acting  takes  hold.— Wayne  T.  Jenkins,  Peo- 
ples Theatre,  Pleasant  Hill,  Mo.  Small  town  and  rural 
patronage. 

HOME  ON  THE  RANGE:  Randolph  Scott— Drew 
fairly  well  but  nothing  extra.  Story  seemed  to  be  all 
chopped  up  and  disconnected.  Entirely  too  short  for  a 
picture  of  this  caliber.— Jack  Greene,  Geneseo  Thea- 
the,  Geneseo,  111.    Small  town  patronage. 

HOME  ON  THE  RANGE:  Jackie  Coogan,  Ran- 
dolph Scott,  Evelyn  Brent— A  rather  hashed  up  plot 
and  poor  continuity,  but  seems  to  please.  Anyway,  it 
drew  them  out.  Played  on  a  Sunday  and  Monday.— 
Wayne  T.  Jenkins,  Peoples  Theatre,  Pleasant  Hill, 
Mo.    Small  town  and  rural  patronage. 

LIVES  OF  A  BENGAL  LANCER:  Cary  Cooper, 
Franchot  Tone— This  picture  is  gigantic.  It  is  oiie  of 
those  pictures  that  no  matter  how  much  advertising 
you  may  do,  it  requires  about  one  day's  running  be- 
fore they  will  come  in.  After  that  you  go  to  town. 
It   will  do  marvelous   business  on   out.    Have  been 


April    27,  1935 


MOTION    PICTURE  HERALD 


59 


MAINE  TO  FLORIDA- 
NEW  CONTRIBUTORS 

I  ioiii  Maine  to  Florida — and  out  to 
Missouri — come  new  coittrihufors  to 
"What  the  Picture  Did  for  Me"  this 
week.  They  are: 

Wayne  T.  Jenkins,  manager,  Peo- 
ples Theatre,  Pleasant  Hill,  Mo. 

Seth  H.  Field,  Dirigo  Theatre,  Ells- 
worth, Maine. 

Mary  Hayes  Davis,  Dixie  Crystal 
Theatre,  Clewiston,  Fla. 

Kead  the  reports  of  these  showmen 
in  the  department  this  issue. 


wondering  why  we  have  not  had  Gary  Cooper  in  any 
Ijictures  of  late  and  you  will  find  the  answer  in  this 
jjicture.  Many  patrons  thought  this  the  biggest  pic- 
ture they  ever  saw. — VV.  H.  Brenner,  Cozy  Theatre, 
Winchester,  Ind. 

LIVES  OF  A  BENGAL  LANCER:  Franchot  Tone, 
Gary  Cooper — A  marvelous  picture  from  every  angle, 
but  why  didn't  it  draw  more  business.  A  flop  at 
the  box  office. — Jack  Greene,  Geneseo  Theatre,  Geneseo, 
111.    Small  town  patronage. 

SHOOT  THE  WORKS:  Jack  Oakie,  Ben  Berni^ 
Only  a  lair  program  picture.  Running  time,  81  min- 
utes.— P.  G.  Held,  New  Strand  Theatre,  Griswold, 
Iowa.   General  patronage. 

Principal 

THUNDER  OVER  MEXICO:  This  is  truly  a  great 
picture.  It  is  all  that  the  advertising  says  it  is.  It 
broke  all  box-office  records  for  three  years.  The  pic- 
ture is  something  different  and  it  is  terrifying  in  its 
realism.  I'he  great  Russian  producer,  Kisenstein,  made 
it.  People  actually  stood  up  and  cheered  after  it  was 
over.  It  was  so  impressing.  People  came  from  all 
over  to  see  this  picture.  I  myself  do  not  think  that 
1  have  ever  seen  such  a  picture  before.  Yet,  it  is  so 
simple  in  contrast  with  other  pictures  but  yet  so  more 
powerful  than  any  other  picture  I  think  I  have  ever 
seen.  It  is  the  way  it  is  done  with  such  beautiful  set- 
tings and  the  way  the  producer  shows  us  clouds  as 
no  other  film  has  ever  brought  out.  The  music  with 
the  picture  was  so  beautiful  that  words  can  not  ex- 
press it.  I  think  this  picture  will  go  down  in  the 
minds  of  the  people  who  saw  it  as  one  of  the  greatest 
pictures  which  they  have  ever  seen.  Everyone  who 
saw  it  expressed  their  appreciation  of  it.  I  myself 
have  never  seen  such  an  excited  audience  which  at- 
tended this  picture.  People  just  raved  about  it,  told 
their  friends  and  we  had  to  have  S.  R.  O.  sign  up 
every  time  we  presented  it.  It  sure  gave  us  a  good 
feeling  and  we  believe  that  show  business  will  still  be 
great  if  .  we  can  play  good  pictures.  This  shows  that 
people  want  pictures  that  are  difTerent.  I  have  not 
gotten  over  the  rush  business  which  we  did.  I  hope 
that  some  of  you  will  play  it.  If  it  is  advertised  right 
it  will  do  business  for  you.  Recording  perfect  and 
print  in  perfect  condition.  Played  April  12-15. — Albert 
HefTeran,  Owl  Theatre,  Grand  Rapids,  Mich.  Special 
audience. 

Monogram 

GIRL  O'  MY  DREAMS:  Mary  Carlisle,  Creighton 
Chaiiey — Poor  program  picture. — R.  V.  Fletcher,  Lyric 
Theatre,  Hartington,  Neb.    Small  town  patronage. 

RKO 

ANNE  OF  GREEN  GABLES:  Anne  Shirley,  Tom 
Brown — Fine  story,  good  cast,  big  box  office.  Played 
March  24. — Alyce  Cornell,  Galewood  Theatre,  Grand 
Rapids,  Mich.    Neighborhood  patronage. 

CAPTAIN  HURRICANE:  James  Barton,  Helen 
Westley — Terrible.  I  haven't  had  a  good  picture  for 
so  long  I'm  ready  to  close  up. — R.  V.  Fletcher,  Lyric 
Theatre,  Hartington,  Neb.    General  patronage. 

DANGEROUS  CORNER:  Virginia  Bruce.  Conrad 
Nagel.  Melvyn  Douglas — The  ending  of  this  film 
spoiled  it  for  many  of  our  patrons.  After  working 
up  to  a  highly  logical  climax  the  picture  is  spoiled  by 
a  subtitle  "This  is  what  might  have  happened.  .  .  . 
This  is  what  really  happened"  which  makes  way  for 
the  customary  "I  love  you.  you  love  me"  ending.  Until 
the  final  reel  this  film  is  intensely  interesting.  It 
is  a  well  produced  picture  and  is  splendidly  acted. — J. 
\V.  Noah,  New  Liberty  and  Ideal  Theatres.  Fori 
Worth,  Texas.    General  patronage. 

GAY  DIVORCEE:  Fred  Astaire  Ginger  Rogers— 
This  is  a  swell  picture  and  pleased  all  who  saw  it. 
However,  I  couldn't  get  them  in  very  well  on  it.  That 
Ginger's  a  honey.  Played  February  17-18. — Lamar 
Guthrie,  Rogue  'Theatre,  No.  3,  Tipton,  Okla.  Small 
town   and   rural  patronage. 

GIGOLETTE:  Adrienne  Ames,  Ralph  Bellamy^Just 


another  picture.— R.  V.  Fletcher,  Lyric  Theatre,  Hart- 
lu.gton.  Neb.    General  patronage. 

LADDIE:  Gloria  Stuart,  John  Beal — A  splendid  pic- 
lure  and  very  well  received.  A  real  human  story  and 
splendidly  directed.  Running  time,  67  minutes.  Played 
.Vpi  il  ^-'i.-  -M.  W.  Matteohcck.  I.arke  Theatre.  Mc- 
Mininille.  Ore.    I..ocal  patronage. 

LIGHTNING  STRIKES  TWICE:  Ben  Lyon,  Pert 
Kelton — Just  fair  program  picture — R.  V.  Fletcher, 
l.yric  Theatre.  Hartington,  Neb.    General  patronage. 

LIGHTNING  STRIKES  TWICE:  Ben  Lyon,  Pert 
Kelton — Just  a  fair  comedy  that  pleased  about  50  per 
cent  of  my  patrons.  Running  time,  65  minutes. — P.  G. 
Held,  New  Strand  Theatre,  Griswold,  Iowa.  General 
patronage. 

LITTLE  MINISTER,  THE:  Katharine  Hepburn, 
John  Beal — Very  good.  Patrons  liked  it. — Leon  C. 
liolduc,  Majestic  Theatre,  Conway,  N.  H.  General  pat- 
ronage. 

LITTLE  MINISTER,  THE:  Katharine  Hepburn. 
John  Beal — A  charming  story  which  was  keenly  en- 
joyed by  the  not  very  large  audience  of  rather  culti- 
vated people  who  saw  it.  But  "Grand  Old  Girl"  and 
"The  Little  Minister"  are  not  small  town  money 
makers.  Wheeler  and  Woolsey's  "Kentucky  Kernels" 
will  make  you  more  money.  And  thanks  to  somebody 
it's  decently  clean  and  not  like  "Africa"  was. — Mary 
H.  Davis,  Dixie  Crystal  Theatre,  Clewiston,  Fla.  Small 
town  patronage. 

RED  MORNING:  Steffi  Duna,  Regis  Toomey— Just 
fair  picture. — R.  V.  Fletcher,  Lyric  Theatre,  Harting- 
ton, Neb.    General  patronage. 

ROMANCE  IN  MANHATTAN:  Francis  Lederer, 
Ginger  Rogers — This  is  a  very  nice  picture  but  not 
strong  enough  for  a  Sunday  date.  Our  patrons  rather 
disappointed  because  of  no  music  or  dancing.  Did  a 
fair  business.  Running  time,  78  minutes.  Played 
March  24. — Esther  Schaber,  The  Senator,  Ashley,  N. 
D.    Small  city  and  country  patronage. 

SILVER  STREAK,  THE:  Sally  Blane,  Charles  Star- 
rett — A  very  good  thrill  picture  that  pleased  and 
made  money.  Fine  for  any  day  of  the  week.  Running 
time,  70  minutes. — P.  G.  Held,  New  Strand  Theatre, 
Griswold,  Iowa.    General  patronage. 

STAR  OF  MIDNIGHT:  William  Powell,  Ginger 
Rogers— Another  good  one  from  RKO.  This  one  has 
evei'ything,  romance,  comedy,  mystery  and  plenty  of 
action.  Powell  and  Rogers  sure  make  a  dandy  team. 
Wish  we  could  get  more  pictures  like  this.  Our  crowd 
sure  went  for  it  in  a  big  way.  Did  an  excellent  busi- 
ness. Running  time,  84  minutes.  Played  April  11. — 
Esther  Schaber,  The  Senator,  Ashley,  N.  D.  Small 
city  and  country  patronage. 

WEST  OF  THE  PECOS:  Richard  Dix,  Martha 
Sleeper — Great.  Richard  Dix  just  suited  to  this  kind 
of  role.  Good  business  and  gave  100  per  cent  satis- 
faction.— Wayne  T.  Jenkins,  Peoples  "Theatre,  Pleas- 
ant Hill,  Mo.    Small  town  and  rural  patronage. 


United  Artists 

AFFAIRS  OF  CELLINI:  Fredric  March,  Con- 
stance Bennett — Very  fine  picture  with  grand  comedy, 
Morgan  stealing  the  show.  The  few  who  saw  it  were 
well  pleased.  Played  April  3-4. — ^Alyce  Cornell,  Gale- 
wood  Theatre,  Grand  Rapids,  Mich.  Neighborhood 
patronage. 

CLIVE  OF  INDIA:  Ronald  Colman,  Loretta  Young 
— Good  picture  to  poor  business. — R.  V.  Fletcher.  Lyric 
Theatre,  Hartington,  Neb.    General  patronage. 

CLIVE  OF  INDIA:  Ronald  Colman,  Loretta  Young 
— Don't  waste  your  money  on  this  one.  Producer  in- 
sisted on  our  playing  it  three  days.  One  would  have 
been  plenty  and  more.  Not  nearly  as  good  as  "Lives 
of  a  Bengal  Lancer."  Action  drags.  Running  time,  90 
minutes.  Played  March  31-April  1-2. — Warner  Mc- 
I.-aughlin,  Empire  Theatre,  Port  Henry,  N.  Y.  Small 
town  patronage. 

LAST  GENTLEMAN,  THE:  George  Arliss,  Edna 
May  Oliver,  Charlotte  Henry — Was  afraid  of  this  pic- 
ture, thinking  it  would  be  too  highbrow  to  please  all 
of  my  widely  varied  audience;  this  being  a  feared 
general  impression.  But  it  proved  a  delightful  sur- 
prise; human,  simple,  delightful  comedy  and  wonder- 
ful characterization.  The  second  night  proved  Arliss 
has  mass  appeal.  In  the  right  kind  of  pictures,  like 
this,  we  believe  he  would  not  only  please  the  select 
few,  but  the  masses.  Box  office  receipts  better  second 
night  than  first  proves  something,  doesn't  it? — Mary 
H.  Davis,  Dixie  Crystal  Theatre,  Clewiston,  Fla.  Small 
town  patronage. 

MIGHTY  BARNUM,  THE:  Wallace  Beery.  Adolphe 
Menjou — Very  good.  Beery  scores  again.  Played 
.\pril  7. — Alyce  Cornell,  Galewood  Theatre,  Grand 
Rapids,  Mich.   Neighborhood  patronage. 

MIGHTY  BARNUM,  THE:  Wallace  Beery,  Adolphe 
Menjou,  Virginia  Bruce,  Rochelle  Hudson — This  pic- 
ture drew  well  two  nights  and  delighted  everyone.  It 
has  a  general  human  interest  appeal  second  only  to 
Will  Rogers.  Highbrows,  lowbrows,  nobrows,  little 
children,  sophisticates  and  ruralites — they  all  loved  it. 
for  it  speaks  a  universal  language  and  has  many  and 
varied  points  of  contact.  Beery  was  a  funny,  lovable 
(Continued  on  following  page) 


SCREENO 

15  taking 

CHICAGO 

by 

Storm! 


The  NEW 

THEATRE  ATTRACTION 

Double  and  Triple 
Your  Box-Office 
Receipts 

One  hundred  theatres  in  Chicago  are  now 
showing  Screeno.  On  Screeno  night  they  are 
hanging  out  the  sign  "S-R-O."  Screeno  is  a 
game  of  skill,  thrill  and  amusement.  It  holds 
the  patrons  spellbound  for  20  full  minutes. 

It  is  featured  in  a  number  of  B  &  K,  Publix, 
Warner,  Essaness,  Schoenstadt  and  a  score  of 
independent  theaters  in  Chicago.  Write  for 
details. 


WARNING! 

Screeno  is  the  only  attraction  shown  on  the 
screen  that  can  not  be  controlled  by  the 
operator,  as  it  has  a  patented  device  that 
makes  it  impossible  to  stop  the  indicator 
at  a  pre-determined  number.  Any  imita- 
tion of  Screeno  is  a  violation;  be  careful 
and  do  not  contract  for  any  other. 


DISTRIBUTORS 
WANTED 

A  few  restricted  territories  now  open.  A 
wonderful  money  maker  for  distributors  as  well 
as  exhibitors.    Write  or  wire  at  once. 

Screeno  Amusement  Company 

1018  South  Wabash  Avenue 
Chicago,  Illinois 


60 


MOTION    PICTURE  HERALD 


April    2  7,     19  3  5 


prince  of  humbugs.  When  the  bearded  lady  of  his 
circus  attempts  to  mal<e  love  to  him,  his  comic  dis- 
tress sent  the  audieucc  into  gales  of  laughter.  Menjou 
was  excellent,  llic  freaks  interesting  to  circus -minded 
youngsters  of  seven  to  seventy,  and  Virginia  Br\ice 
as  Jenny  Lind  a  thrilling  .ioy  to  music  lovers.  By  all 
means  run  this  picture  two  or  three  days  if  you  want 
to  make  friends  for  your  theatre  and  even  up  your 
losses  on  bad  nights,  iiest  of  all,  you  get  a  square 
deal  and  do  not  have  to  play  it  on  percentage  on  a 
peak  night.  It  is  obtainable  at  a  fair  straight  price. — 
Mary  H.  Davis,  Dixie  Crystal  Theatre,  Clewiston,  Fla. 
Small  town  patronage. 

MIGHTY  BARNUM,  THE:  Wallace  Beery,  Adolphe 
Menjou — Good  picture  to  poor  business. — R.  V.  Fletch- 
er, Lyric  Theatre,  Hartington,  Neb.  General  patron- 
age. 


Universal 


HUMAN  SIDE,  THE:  Adolphe  Menjou,  Dtoris  Ken- 
yon.  Charlotte  Henry — This  program  picture  received 
satisfactory  audience  response.  It  is  well  made. — J. 
W.  Noah,  New  Liberty  and  Ideal  Theatres,  Ft.  Worth, 
Texas.  General  patronage. 

IMITATION  OF  LIFE:  Claudette  Colbert,  Warren 
William — One  of  the  finest  pictures  this  year.  Mar- 
velous cast  and  great  story.  Played  March  27. — Alyce 
Cornell,  Galewood  Theatre,  Grand  Rapids.  Mich. 
Neigliborhood  patronage. 

ONE  EXCITING  ADVENTURE:  Binnie  Barnes, 
Xeil  Hamilton — Good  program  picture.  Running  time, 
71  minutes. — P.  G.  Held,  New  Strand  Theatre,  Gris- 
wold,  Iowa.    General  patronage. 

ROCKY  RHODES:  Buck  Jones,  Sheila  Terry— Good 

western  that  drew  well  and  pleased.    Running  time,  64 

minutes. — P.  G.  Held,  New  Strand  Tlieatre,  Griswold, 
Iowa.    General  patronage. 

ROCKY  RHODES:  Buck  Jones,  Sheila  Terry— Poor. 
Buck  a  good  draw  but  this  very  disappointing — Wayne 
T.  Jenkins,  Peoples  Theatre.  Pleasant  Hill,  Mo.  Small 
town  and  I'ural  patronage. 

STRANGE  WIVES:  Roger  Pryor,  June  Clay  worth, 
Esther  Ralston,  Ralph  Forbes — An  average  program 
picture  which  was  fairly  well  received  by  our  patron- 
age on  a  double  bill  with  "Crimson  Romance." — J.  W. 
Noah,  New  Liberty  and  Ideal  Theatres,  Ft.  Worth, 
Texas.   General  patronage. 

TRANSIENT  LADY:  Gene  Raymond,  Henry  Hull, 
Frances  Drake — Nice  little  picture  for  small  town; 
nothing  big  or  prtetentious,  but  very  entertaining. — 
Wayne  T.  Jejikins,  Peoples  Theatre,  Pleasant  Hill, 
Mo.   Small  town  and  rural  patronage. 

WHEELS  OF  DESTINY:  Ken  Maynard— Ken  used 
to  be  okay,  but  the  more  I  see  of  him  with  those 
powder  puflf  fights,  bad  stories,  his  old  man  figure 
and  the  others  in  the  cast,  the  more  I  think  he 
should  take  a  vacation,  a  permanent  one.  This  is  his 
worst  in  my  estimation.  Running  time,  58  minutes. 
Played  March  8-9. — Lamar  Guthrie,  Rogue  Theatre  No. 
3.  Tipton,  O'kla.  Small  town  and  rural  patronage. 


Warner 


BORDERTOWN:  Paul  Muni,  Bette  Davis— A  verv 
good  picture  that  pleased  any  who  saw  it  and  it  drew 
pretty  well.  However,  it  was  not  just  the  picture  one 
would  expect  by  the  title  given  it.  Not  outdoor  enough 
but  it's  okay  and  they  will  like  it.  That  man  Muni  is 
plenty  good.  Running  time,  67  minutes.  Played  March 
15-16. — Lamar  Guthrie,  Rogue  Theatre  No.  Tipton, 
Okla.    Small  town  and  rural  patronage, 

BORDERTOWN:  Paul  Muni,  Bette  Davis,  Margaret 
Lindsay — It  is  not  often  that  a  picture  as  thoroughly 
entertaining  and  original  as  this  is  released.  It  is 
one  of  the  hits  of  the  year  and  deservedly  so.  Acting, 
production  and  story  are  of  a  high  order  and  the 
casting  is  perfection  itself.  The  audience  thought  it 
great  and  I  enjoyed  it  too.    Don't  pass  it  up. — J.  W. 


KHCALTHfUL  A  • 

poier -Aire 

NATURE'S     R€f  RIGERATION 


is  the  biggest  attrac- 
tion you  can  offer  the 
public  in  hot  weather. 
Made    by    pioneers  in 
Theatre   Air  Condition- 
ing, with  over  6,000  in- 
stallations and  a  cooling 
system  for  every  theatre, 
and  every  purse. 

/        Send    for    new    book  —  "Air  Con- 
ditioiiing  for  the  Modern  TJieatre." 

U.  S.  AIR  CONDITIONING  CORP. 

2109  Kennedy  St.,  N.  E.,  Minneapolis,  Minn. 


'COULDN'T  DO 
WITHOUT  IT' 

"The  first  department  I  turn 
to  Is  'What  the  Picture  Did  for 
Me,'  writes  Wayue  T.  Jenkins 
of  the  People's  theatre,  Pleas- 
ant hiill.  Mo.  "I  don't  know 
what  I  would  do  without  it. 

"I  ann  sending  in  some  re- 
ports, more  from  the  audience 
reaction,  which  I  believe  to  be 
the  best  indication  as  to 
whether  a  picture  goes  over  or 
not." 


Noah,  New  Liberty  and  Ideal  Theatres,  Ft.  Worth. 
Texas.    General  patronage, 

SWEET  ADELINE:  Irene  Dlinne  —  Vitagraph's 
flamboyant  trailer  gave  this  picture  everything.  The 
best  musical  picture  of  the  year  and  how  they  can  put 
out  this  lime  of  hooey  and  know  that  the  picture  will 
not  anywhere  measure  up.  as  they  could  have  gather- 
ed from  the  various  reports  on  it  in  the  Herald.  It  is 
the  most  boring  picture  that  we  have  ever  run.  It 
meanders  around  for  80  long,  long  minutes  and  you 
wonder  when  it  will  end.  Irene  Dunne  sings  and  sings 
on  every  occasion  and  without  rime  or  reason  for  it 
except  to  waste  footage.  The  most  disappointing  pic- 
ture that  we  have  from  Warners.  They  dragged  every- 
thing in  the  studio  including  a  vamp  and  then  it  was 
a  no-good  vehicle  that  should  have  gone  on  the  ash 
heap  and  not  been  released.  The  audience  gave  a 
huge  sigh  of  relief  when  it  ended.  They  evidently 
waited  it  out  expecting  something  to  happen  which 
never  did. — A.  E.  Hancock,  Columbia  Theatre,  Colum- 
bia City,  Ind.    General  patronage. 

SWEET  MUSIC:  Rudy  Vallee,  Ann  Dvorak,  Ned 
Sparks,  Helen  Morgan — Plenty  of  publicity  put  this 
over  for  the  first  day,  but  the  second  day  fell  down 
considerably,  indicating  disapproval  on  the  part  of 
those  who  attended  the  first  showing.  Running  time, 
95  minutes.  Played  April  8-9.— Seth  H.  Field,  Dirigo 
Theatre,   Ellsworth,   Maine.    Small   town  patronage. 


RKO 


Short  Features 
Educational 


BLACK  SHEEP,  THE;  Terry -Toons— Very  good 
cartoon  comedy.  Running  time,  eight  minutes. — P.  G. 
Held,  New  Strand  Theatre,  Griswold,  Iowa.  General 
patronage. 

TIME  ON  THEIR  HANDS:  Song  Hit  Stories— Very 
good.  Running  time,  eight  minutes. — P.  G.  Held,  New 
Strand  Theatre,  Griswold,  Iowa.    General  patronage. 


MGM 

HEARST  METROTONE  NEWS:  Have  always  ex 
pected  a  lot  more  from  Metro  News  than  we  have  re- 
ceived.   We  rate  this  newsreel  as  one  of  the  poorest. — 
Seth  H.  Field,  Dirigo  Theatre,  Ellsworth,  Maine.  Small 
town  patronage. 

MOTORCYCLE  COSSACKS:  Oddities  Series— All  of 
Metro's  sport  reels  are  very  good,  only  they  do  a  lot 
of  substituting.  We  were  supposed  to  play  the  release 
on  "Donkey  Baseball,"  only  to  receive  the  one  being 
reviewed.  The  same  thing  happened  on  a  bowling  sub- 
ject a  few  weeks  ago.  Rimning  time,  8  minutes. — 
Seth  H.  Field,  Dirigo  Theatre,  Ellsworth,  Maine. 
Small  town  patronage. 

TOYLAND  BROADCAST:  Happy  Harmonies  Series 
— Color  was  up  to  the  high  standard  that  we  now  look 
for  in  color  cartoons,  but  as  subjects  of  this  sort  go, 
we  would  rate  this  reel  below  par.  Running  time,  8 
minutes. — Seth  II.  Field,  Dirigo  Theatre,  Ellsworth, 
Maine.    Small  town  patronage. 


Paramount 


PARAMOUNT  NEWS:  This  is  the  best-liked  news- 
reel  that  we  have  played.  Paramount  gives  us  a  very 
late  release  and  much  better  service  than  do  the  other 
newsreels. — Seth  H.  Field.  Dirigo  Theatre,  Ellsworth, 
Maine.    Small  town  patronage. 

STRINGS  AND  STRAINS:  Paramount  Varities  Ser- 
ies— Very  unusual  and  amusing  subject  that  combines 
music,  comedy,  good  acting  and  a  clever  marionette 
sequence.  Deserves  a  place  on  any  program,  although 
it  ofifers  little  chance  for  exploitation.  Running  time, 
10  minutes. — Seth  H.  Field,  Dirigo  Theatre,  Ellsworth, 
Maine.    Small  town  patronage. 


ALONG  CAME  A  DUCK:  Toddle  Talc  Cartoons- 
Good  little  carton.  Running  time,  seven  minutes.— P. 
G.  Held,  New  .Strand  Theatre,  Griswold,  Iowa.  Gen- 
eral patronage. 

FERRY  GO  ROUND:  lleadliner  .Series— Only  fair. 
Running  time,  18  minutes. — P.  G.  Held,  New  Strand 
Theatre,  Griswold,  Iowa.    General  patronage. 

PASTRYTOWN  WEDDING:  Rainbow  Parade  Car- 
loons — Very  fine  short  subject  that  pleased  all.  Rim- 
ning time,  seven  minutes. — P.  G.  Held,  New  Strand 
Theatre,  Griswold,  Iowa.    General  patronage. 

Universal 

DIZZIE  DWARF:  Oswald  Cartoons— Only  fair. 
Running  time,  eight  minutes. — P.  G.  Held,  New  Strand 
Theatre,  Griswold,  Iowa,    General  patronage. 

HAPPY  PILGRIMS:  Oswald  Cartoons— Fair  car- 
toon. Running  time,  eight  minutes. — P.  G.  Feld,  New 
,Strand  Theatre,  Griswold,  Iowa.    General  patronage. 

WORLD'S  FAIR  AND  WARMER:  Universal  com- 
edies— Good  two- reel  comedy.  Running  time.  19  min- 
utes.—P.  G.  Held.  New  Strand  Theatre,  Griswold, 
Iowa.    General  patronage. 


Vita  phone 


ART  TROUBLE:  Harry  Gribbon— Comedy  that  is 
way  below  the  standard  set  by  this  company.  There 
was  no  necessity  of  timing  the  jokes  or  gags  to  coin- 
cide with  the  audience  laughter,  because  there  just 
wasn't  any  of  the  latter.  Running  time,  20  minutes.— 
Seth  H.  '  Field.  Dirigo  Theatre,  Ellsworth,  Maine. 
Small  town  patronage. 


Serial 


eriais 

Universal 

RUSTLER'S  OF  RED  DOG:  John  Mack  Brown- 
Started  out  slowly,  but  with  the  third  chapter  it  is 
now  beginning  to  pick  up  speed  and  is  attracting  more 
of  the  older  folks  than  did  "Tailspin  Tommy,"  which 
went  over  big  with  the  kids.  Twelve  episodes.  Run- 
ning time.  20  minutes  each. — Seth  H.  Field,  Dirigo 
Theatre,   Ellsworth,   Maine.   Small  town  patronage. 

TAILSPIN  TOMMY:  Maurice  Murphy,  Noah  Berry, 
Jr.— Just  finished  playing  this  serial  and  find  it  one 
of  the  best  serials  we  have  played  the  20  years  we 
have  been  in  business. — P.  G.  Held,  New  Strand  Thea- 
tre,  Griswold,   Iowa.    General  patronage. 


Moon  Leaves  Fox 

Russell  B.  Moon  has  resigned  from  the 
exploitation  department  of  Fox  Film  Cor- 
poration, effective  May  1.  Mr.  Moon  will 
operate  his  own  business,  Motion  Picture 
Ad-Sales  Printing  Company,  which  he 
launched  a  year  ago,  specializing  in  motion 
picture  novelty  advertising. 


France  Honors  Sarnoff 

The  Cross  of  the  Legion  of  Honor  was 
conferred  last  week  on  David  Sarnoff, 
president  of  the  Radio  Corporation  of 
America  by  Consul  General  Charles  de 
Fontnouvelle,  of  France.  The  award  was 
made  for  Mr.  Sarnoff's  pioneering  work  in 
radio. 


RKO  Subject  to  Russia 

Pioneer  Pictures'  "La  Cucaracha,"  color 
short,  has  been  sold  by  RKO  Radio,  which 
distributes  the  subject,  to  Soviet  Russia  for 
distribution  there.  The  entire  Radio  product 
has  been  sold  to  Svea  Film,  Stockholm. 


Zasu  Pitts  Wins  Action 

Zasu  Pitts  has  gained  affirmation  of  a  ver- 
dict of  $5,000  in  the  Los  Angeles  district 
court  of  appeals  in  her  suit  against  Pathe 
for  alleged  failure  to  complete  a  one-picture 
contract  with  a  four-week  guarantee. 


Chatkin  Moves  Office 

David  Chatkin  has  closed  his  Cleveland 
office  and  will  in  the  future  operate  his  Mid- 
west theatre  circuit  from  New  York,  plan- 
ning weekly  visits  to  Cleveland. 


April    27,  1935 


MOTION    PICTURE  HERALD 


61 


THEATRE  RECEIPTS 


The  total  of  theatre  receipts  for  the  calendar  week  ended  April  20,  1935,  from 
I  1 0  theatres  in  I  8  major  cities  of  the  country,  reached  $9 1 0,386,  a  decrease  of  $46, 1  20 
from  the  total  for  the  preceding  calendar  week,  ended  April  13,  when  I  I  I  theatres  in 
18  major  cities  aggregated  $956,506. 

(Cofyripht,  1935:    Rrfroduction  of  material  from  this  department  without  credit  to  Motion  Picture  Herald  expressly  forbidden) 


Theatres 


Boston 


3.246 

25c -50c 

1,382 

30c -50c 

Keith's  Memorial 

2,907 

2Sc-6Sc 

Tv>iiiff*a  State 

3,537 

2Sc-55c 

Metropolitan   . . . . 

4,332 

35c-65c 

1,793 

25c-50c 

Buffalo 

3.500 

30c-55c 

3,000 

I5c 

Great  Lalcei  .... 

3.000 

25c-40c 

2.100 

ZaC-4UC 

Lafayette   

3.300 

25c 

Chicaao 

Apollo   

1.400 

25c-50c 

4.000 

25c-68c 

900 

2Sc-40c 

3.940 

2Sc-40c 

2.509 

2Sc-50c 

1.591 

2Sc-50c 

State-Lake   

2,77« 

20c-35c 

United  Artiati.. 

.  1.700 

30c-«0c 

Cleveland 

3,300 

25c-3Sc 

1,875 

15c-30c 

.3.800 

30c-42c 

RKO  Palace  ... 

.  3.100 

30c-60c 

3.400 

30c-42c 

1.900 

25c-35c 

Denver 

Aladdin                  1.500  25c-50c 

Broadway                1.500  2Sc-40c 

Denham                  1.500  25c-50c 

Denver                   2,500  25c- 50c 

Orpheum                 2,600  25c-40c 

Paramount              2,000  25c-50c 

Hollywood 

Chinese                   2,500  30c- 55c 

PanUKes                  3,000  2Sc-40c 

W.  B.  Hollywood  J.OOO  25c -65c 


Current  Week 

Picture  Gross 


"Roberta"    (Radio)    12,000 

(2iid  week) 

"Case  of  the  Curious  Bride"  (F.N.)  5,000 
and  "Hold  'Em  Yale"  (Para.) 


"The  Scarlet  Pimpernel"   (U.A.)..  10,000 

(2nd  week) 

•One  New  York  NigHt"  (MGM)..  9,000 
and  "I'll  Love  You  Always"  (Col.) 

'Traveling  Saleslady"   (F.  N.)....  20,000 

"Case  of  the  Curious  Bride"  (F.N.)  7,000 
and  "Hold  'Em  Yale"  (Para.) 


'Four  Hours  to  Kill"  (Para.). 

"The  Great  Hotel  Murder"  (F 
and  "Baboona"  (Fox) 


'All  the  King's  Horses"  (Para.).. 
•While  the  Patient  Slept"  (F.N.) 

'Grand  Old  Girl"  (Radio)  and.... 
"A  Night  at  the  Ritz"  (W.  B.) 


and  "Evensong"  (GB  Pictures) 


(Fox) 

'Private  Worlds"  (Para.)  .... 


■'Car  99"  (Para.)  . 

"Roberta"  (Radio) 
(4th  week) 


'Rendezvous  at  Midnight"  (Univ.)  13,000 


'Vanessa:    Her  Love  Story" 
(MGM)  (2nd  week) 


(30c-42c) 
'Gigolelte"  (Radio) 


"$10  Raise"  (Fox)  

••Vanessa:   Her   Love  Story"  

(MGM) 

••All  the  King's  Horses"  (Para.). 


"Gold  Diggers  of  19.35"   (F.  N.).. 

(2nd  week) 
"The   Winning   Ticket"  (MGM).. 

(6  days)  (25c-50c) 
"Mississippi"  (Para.)   

(4  days-2nd  week) 
"Love  in  Bloom"  (Para.)   

(3  days) 

"George  White's   1935  Scandals".. 
(Fox) 

••VV^est  of  the  Pecos''  (Radio).... 
"Traveling    Saleslady"  (F.N.)  


'The  Wedding  Night"  (U.A.). 
(6  days) 


3,000 
81X1 
1.50:) 
1,000 
5,2.i0 
4.000 
5,0C0 

6.500 


'Behind  the  Green   Lights"   3.000 

(Mascot)  and  "Women  Must  Dress" 
(Monogram) 

'Case  of  the  Curious  Bride"     (F.N.)  6,200 
(6  days) 


Previous  Week 

Picture  Gross 


"Roberta"    (Radio)    15,000 

(1st  week) 

"McFadden's  Flats"  (Para.)  and..  3,500 
"The  Florentine  Dagger"   (W.  B.) 


"The  Scarlet  Pimpernel"  (U.A.)..  13,000 
(1st  week) 

"Naughty  Marietta"  (MGM)   13,000 


"George  White's  1935   Scandals"..  22,000 
(Fox) 

"McFadden's  Flats"  (Para.)  and..  6,000 
"The  Florentine  Dagger''   (W.  B.) 


9,700 

"Private  Worlds"  (Para.)   

15,000 

4,400 

"The  Right  to  Live"  (W.B.)  and 

4,600 

"Father  Brown,  Detective"  (Para 

) 

5,000 

"Laddie"    (Radio)  and  

6.501) 

"$10  Raise"  (Fox) 

5,600 

"Naughty  Marietta"  (MGM)  

10,200 

4,900 

"It  Happened  in  New  York"  

5,300 

(Univ.)  and  "Little  Friend" 

(GB  Pictures) 

5,001 

"Evergreen"  (GB  Pictures)   

4,000 

(5  days) 

32.030 

30,000 

4.000 

3.000 

17,000 

17,000 

22,003 

24.000 

(3rd  week) 

11,000 

"Traveling  Saleslady"  (F.  N.).... 

10,000 

13,000 

"The  County  Chairman"  (Fox)  

12,000 

8,000 

10,000 

(MGM)    (1st  week) 

4,300 

"Great  Hotel  Murder"  (Fox)  

3,000 

(6  days) 

2,80(J 

"It  Happened  One  Night"  (Col.).. 

4,000 

(2nd  week-revival) 

8,000 

"George  White's  1935  Scandals".. 

6,500 

31. COO 

(Fox) 

"Gold  Diggers  of  1935"  (F.  N.).... 

16,000 

7,500 

"The  Wedding  Night"  (U.  A.)... 

11,500 

3.000 

"Casino  Murder  Case"  (MGM)... 

3.400 

F.  N.)... 


5„500 
4.50O 


"Gold  Diggers  of  1935" 

(1st  week) 
"Mills  of  the  Gods"  (Col.)  and... 
"Men  of  the  Night"  (Col.) 
"Mississippi"  (Para.)   

(1st  week) 


'West  Point  of  the  Air"  (MGM) 
"The  Little  Minister"  (Radio)  


'Vanessa:  Her  Love  Story"   4,0(X) 

(MGM) 


"Life  Begins  at  40"  (Fox)   8.500 

(6  days) 

'Mister  Dynamite"  (Univ.)  and..  2.500 
"Great  God  Gold"  (Monogram) 

'Laddie"  (Radio)    5,700 

<(,  davst 


High  and  Low  Gross 

(Tabulation  covers  period  from  January.  19M.) 
(Dates  are  1934  unless  otherwisa  specified.) 

High  12-29  "West  of  Pecos"  

Low  2-2-35  "One  Exciting  Adventure 
High  1-6  "Lady  Killer" 

and  "Girl  Without  a  Room' 
Low  3-9-35  "One  More  Spring"  and 
"Lottery  Lover" 

High  3-23-35  "Roberta"  

Low  1-19-35  "Evergreen"   

High  4-7  "Riptide"   

Low  4-20-35  "One  New  York  Night" 
and  "I'll  Love  You  Always" 

High  4-6-35  "Private  Worlds"  , 

Low    4-20-35    "Traveling  Saleslady". 
High  1-6  "Lady  Killer" 

and  "Girl  Without  a  Room" 
Low  3-23-35  "Love  in  Bloom"  and 
"Car  99" 


...  23.000 

'..  8.500 

I 

S  12,000 

2,500 

30,000 
7,000 

22,000 


I 


9,000 
41.000 

20,000 


High  1-6  "Design  for  Living"  

Low  12-29  "Music  in  the  Air"  

High  4-21  "The  Lost  Patrol"  and  ) 

"Three  on  a  Honeymoon" 
Low  12-29  "I  Am  a  Thief"  and 

"Side  Streets" 

High  9-29  "Belle  of  the  Nineties"  

Low  12-22  "Gentlemen  Are  Born"  and  1 

"Marie  Galante"  ( 
High  5-19  "The  House  of  Rothschild". 
Low  7-28  "Here  Comes  the  Navy  


12.000 

4,000 


High  3-10  "It  Happened  One  Night" 
and  "Before  Midnitrht" 

Low  11-17  "Jane  Eyre"  and 

"Young  and  Beautiful" 


1 


High  9-8  "The  Cat's  Paw"  

Low  4-20-35  "George  White's  1935 

Scandals"   

High  8-11  "She  Loves  Me  Not"  

Low  5-26  "Thirty  Day  Princess"  

High  2-23-35  "Baboona"  

Low  4-13-35  "Life  Begins  at  40"  

High  1-5-35  "Big  Hearted  Herbert".... 

Low  6-16  "Registered  Nurse  

High  3-30-35  "Roberta"  

Low  12-1  "Kentucky  Kernels"  

High  1-5-35  "Forsaking  All  Others".... 

Low  8-18  "Paris  Interlude"  

High  9-8  "The  Most  Precious  Thing  in 

Life"   

Low  5-2-35  "Helldorado"   

High  5-5  "House  of  Rothschild"  

Low  4-13-35  "Vanessa:  Her  Love  Story" 


High  10-27  "Six-Day  Bike  Rider". 
Low  12-15  "Silver  Streak"   


26.000 
5.000 

8.100 

4.O00 
18.800 

3,800 
18.000 
4.800 


16.700 
4.200 

16,000 

5,000 
66.000 
19.000 

8,500 

3,000 
25.000 
12.000 
30,000 

8.000 
27.000 

6.000 

19.000 
11,000 

3o.eoo 

10,000 


7.000 
1.400 


High  3-16-35  "Roberta"  

Low  3-17  "Journal  of  a  Crime"  

High  4-6-35  "Transient  Lady"  

Low  5-19  "Where  Sinners  Meet"  

High  1-12-35  "Forsaking  All  Others". 
Low  12-29  "Private  Life  of  Don  Juan". 

High  9-15  "Chained"  

Low  1-12-35  "Our  Daily  Bread"  


23,000 

2.900 
39,000 

4.000 
28.000 

3.500 
10.000 

2,000 


5,000 
1,500 

7,500      High  9-29  "Belle  of  the  Nineties".. 

Low  4-7  "She  Made  Her  Bed".... 


High  5-5  "House  of  Rothschild"   9.000 

Low  8-11  "I  Give  My  Ij>ve"   1,200 


16,500 
800 


High  1-13  "Roman  Scandals"    17.500 

Low  9-29  "British   Agent"   4,000 

High  2-17  "Hi  Nellie"    19.500 

Low  12-29  "Hat,  Coat  and  Glove"   1.000 

High  1-13  "Dinner  at  Eight"   5,500 

Low  6-9  "Uncertain  Lady"   400 


High  4-14  "House  of   Rothschild"   25.171 

Low  12-29  "Music  in  the  Air"   4.292 

High  12-8  "Imitation  of  Life"   12.200 

Low  3-3  "Fugitive  Lovers"  and  ) 

"The  Poor  Rich"                   f  1.500 

High  9-8  "Dames"    25.000 

Low  4-13-35  "Laddie"    S,700 


62 


MOTION    PICTURE  HERALD 


April    27,  1935 


CTHEATCE  CCCEIPTS— C€NT'D1 


Theatres 


Indianapolis 

Apollo                   1.100  2Sc-*)c 

Orde                    2.800  2Sc-Wc 

Indiana                  3.133  25c -40c 

Lyric                      2,000  25c -^te 

Palace                   3.000  2Sc-«)c 

Kansas  City 

Mainstreet              3,100  25c-40c 

Midland   4.000  lSc-«)c 

Newman                  1.800  25c -40c 

Tower                     2,200  2Sc 

Uptown                   2,000  25c-40c 

Los  Angeles 

Filmarte                   800  40c-50c 

Four  Star                900  30c- 55c 

Loew'f  State          2,416  30c-S5c 

Paramount   3,596  30c-S5c 

RKO                      2.700  25c-65c 

United  Artists...  2,100  2Sc-SSc 

W.  B.  Downtown  3,400  25c-40c 

Minneapolis 

Alvin                      1,486  15c-30c 

Century                  1,650  2Sc-40c 

Lyric                      1,238  20c-25c 

Palace                       900  lSc-25c 

RKO  Orpheum...  2,900  25c-40c 

State                      2,300  2Sc-40c 

Time                        300  20c-2Sc 

World                       400  25c -55c 

Montreal 

Capitol                    2,547  25c-60c 

Imperial                  1,914  2Sc-40c 

Loew's                    3,115  30c-60c 

Palace                    2.600  30c-65c 

Princess                  2,272  30c-6Sc 

New  York 

Astor                      1,012  2Sc-75c 

Capitol                    4,700  35c-$1.6S 

Mayfair                  2,300  3Sc-65c 

Palace                    2,500  25c- 7Sc 

Paramount              3,700  35c-99c 

Rialto                     2,200  25c-65c 

Rivoli                     2,200  40e-99c 

RKO  Music  Hall  5.945  35c-$1.65 

Roary                      6,200  2Sc-S5c 

Strand                    3,000  2Sc-55c 


Current  Week 

Previous  Week 

Picture 

Gross 

Picture 

Gross 

"Life  Begins  at  40"  (Fox)  

4,000 

"Life   Begins  at  40"  (Fox)  

7,500 

(2nd  week) 

(1st  week) 

3,500 

"The  Whole  Town's  Talking"  

3,500 

(Col.) 

"Private  Worlds"  (Para.)   

5,500 

9,000 

"It's  a  Small   World"  (Fox)  

7.500 

"George   White's   1935  Scandals".. 

8,500 

(Fox) 

"Naughty    Marietta"  (MGM).'  

4,500 

6,750 

(2nd  week) 

(1st  week) 

"Traveling   Saleslady"  (F.N.)  

5,500 

"Gold  Diggers  of  1935"  (F.  N.)  

9,000 

(m  days) 

"Naughty  Marietta"  (MGM)  

12,000 

"Naughty   Marietta"  (MGM)  

14,500 

(2nd  week) 

(1st  week) 

"The  Right  to  Live"  (W.B.)  

4,000 

3,500 

(Para.) 

"While  the  Patient  Slept"  (F.N.). 

6,000 

"Let's  Live  Tonight"  (Col.)  

6,600 

5,100 

8,400 

(2nd  week) 

(1st  week) 

''The  Runaway  Queen"  (U.A.). 


1,500 
4,400 
7,140 


■The  Scarlet  Pimpernel"   (U.A.) . 

(6  davs-4th  week) 
"The   Wedding  Night"  (U.A.)... 

(6  davs) 

"Eight   Bells"    (Col.)   22,500 

"Case  of  the  Curious  Bride"   6.200 

(F.  N.)   (6  days) 
"Life  Begins  at  40"  (Fox)  

(6  days) 


"People's    Enemy"    (Radio)  and. 
"Unwelcome  Stranger"  (Col.) 
(6  days) 


4,450 
5,800 


'Chapayev"  (Amkino)    1,600 

(2nd  week) 
"Scarlet  Pimpernel"  (U.  A.)   5,300 

(6  days-3rd  week) 
"Life  Begins  at  40"   (Fox)   12.100 

(6  days) 

"Mississippi"   (Para.)    15,500 

(2nd  week) 
"Laddie"  (Radio)    6,100 

(6  days) 

"Times  Square  Lady"  (MGM)  and 


3,jC0 


4,500 


"The  Mystery  of  Edwin  Drood". 
(Univ.) 

"Life  Begins  at  40"   (Fox)   4,600 


■When  a  Man's  a  Man"   (Fox)..  1,500 


'McFadden's  Flats  (Para.)   (6  days) 

"The  Florentine  Dagger"  (W.B.)  5,600 
and  "Dog  of  Flanders"  (Radio)  (6  days) 


"It  Happened  In  New  York"   4.400 

(Univ.) 

'After  OfTice  Hours"   (MGM)....  4,500 


'Car  99"  (Para.) 


1,.500 


'Cheaters"    (Liberty)    2,000       "Take   the   Stand"    (Liberty)   2.000 


'Murder  on  a  Honeymoon"  (Radio) 

'West  Point  of  the  Air  "  (MGM) 

'In  Old  Santa  Fe"  (Mascot)  

(4  days) 

'A   Dog  of  Flanders"  (Radio)  

(3  days) 

'The  Unfinished  Symphony"  

(GB  Pictures) 


'Sweet  Music"  (W.  B.)  and. 
"The  Woman  in  Red"  (F.N.) 


5,000 
6,000 
800 
700 
3,000 

9,000 
3,000 


'Gold  Diggers  of  1935"  (F.  N.)....  6,500 

'Folies  Bergere"  (U.  A.)   6,000 

'Redhead"    (Monogram)    1.000 

(4  days) 

"Crimson    Romance"    (Mascot)....  600 
(3  davs) 

'The  Scarlet  Pimpernel"   (U.  A.)  3,000 
(3rd  week) 


■It  Happened  One  Night"  (Col.)., 
and  "The  Defense  Rests"  (Col.) 
(20c-35c) 

'The  Mystery  of  Edwin  Drood"..  7,500 
(Univ.)  and  "Night  Life  of  the  Gods" 
(Univ.) 

'One   More  Spring"   (Fox)   9,000 


"The  Wedding  Night"  (U.A.)  and  6,000 
'All   the  King's   Horses"  (Para.) 
(2nd  week) 


"It  Happened  One  Night"  (Col.)..  3,800 

(4th  week -revival) 

'Vanessa:    Her  Love  Story"   21,000 

'The  Man  Who  Knew  Too  Much"  2,600 

(GB  Pictures)  (5  days-4th  week) 

'The  Little  Colonel"  (Fox)   10,000 

"Four  Hours  to  Kill"   (Para.)....  14,875 

"Princess  O'Hara"   (Univ.)  9,700 

"Brewster's  Millions"    3,800 

(4   days-2nd  week) 

"Star  of  Midnight"  (Radio)   64,000 

"My  Heart  Is  Calling"   17,500 

(GB  Pictures) 

"Black  Fury"  (F.  N.)    42.321 


"Ruggles  of  Red  Gap"  (Para.)  and 

(2nd  week) 
"Car  99"  (Para.) 

"Baboona"    (Fox)  and  

"Great  Hotel  Murder 


7,noo 


4,000 


(Fox)  (20c-34c) 

10,001) 


"The  Good  Fairy"  (Univ.)  and.... 
"A  Notorious  Gentleman"  (Univ.) 


"The  Little  Colonel"   (Fox)   11,000 


"The  Wedding  Night"  (U.  A.)  and 
'All .  the  King's  Horses"  (Para.) 
(1st  week) 


8,000 


"It  Happened  One  Night"  (Col.)..  4,800 

(3rd  week-revival) 

"West  Point  of  the  Air"  (MGM)  24,000 

"The  Man  Who  Knew  Too  Much"  6,400 

(GB  Pictures)   (3rd  week) 

'Roberta"   (Radio)    9,000 

(2nd  week) 

'Private  Worlds"  (Para.)    19,000 

(2nd  week) 

'Ruggles  of  Red  Gap"  (Para.)....  12,000 

(2nd  week) 

"Brewster's  Millions"   (U,  A.)....  13,400 

"Life  Begins  at  40"   (Fox)   58,000 

'It  Happened  in  New  York"   19.500 

(Univ.) 

"The  Case  of  the  Curious  Bride"  10,656 


High  and  Low  Gross 

(Tabulation  covers  period  fr«m  January,  1134.) 
(Dates  are  1934  unless  otherwise  spediied.) 


High  4-13-35  "Life  Begins  at  40"  

Low  2-9-35  "Baboona"  

High  12-15  "Lady  By  Choice"  

Low  1-19-35  "The  President  Vanishes"  } 
and  "Enter  Madame"  ( 


High  3-2-35  "Woman  in  Red" 
Low  1-12-35  "Little  Women".. 


High  4-6-35  "Traveling  Saleslady"  

I^w  7-28  "Half  a  Sinner"  and  } 
"Embarrassing  Moments"  ( 

High  2-3  "Sons  of  the  Desert"  

Low   4-6-35  "Casino  Murder  Case".... 


7,500 
2,0UI. 
8.50U 

2,000 

12,000 
1,500 

11,000 

2,000 
12,500 
2,750 


High  6-23  "Glamour"   23,000 

Low  1-12-35  "I  Sell  Anything".....   2,000 

High  4-7  "Riptide"    21.400 

Low  12-22  "Private  Life  of  Don  Juan"  4,000 

High  9-29  "Belle  of  the  Nineties"   14,000 

Low  4-13-35  "Rocky  Mountain  Mystery"  3,500 

High  1-12-35  "Broadway  Bill"   14,000 

I.X3W  5-5  "Let's  Fall  in  Love"   4,00« 

High  10-27  "Judge  Priest"   9,200 

r.ow  1-27  "Good  Bye  Again"   1,700 


High  4-14 
Low  6-30 
High  3-3  ' 
Low  12-15 
High  4-7  ' 
Low  12-29 
High  9-1  " 
Low  12-22 
High  3-16 
Low  1-27  ' 
High  1-20 
Low  5-12  ' 


"Moon  Over  Morocco" 
"Island  of  Doom".... 

'Devil  Tiger"  

"Have  a  Heart"  

'Riptide"   

"Music  in  the  Air".. 

'Now  and  Forever"  

"One  Hour  Late"  

■35  "Roberta"  

'Let's  Fall  in  Love".. 

"I'm  No  Angel"  

'Sorrell  and  Son"  


High  9-8  "Dames"   

Low  12-29  "White  Lies"  and 

"The  Last  Wilderness" 


7.600 
160 

7,800 

2,50C 
28.500 

4,206 
29,998 
12,500 
16,000 

1,800 
13.000 

2,500 

20,000 
4,900 


High  10-20  "Barretts  of  Wimpole 

Street"   

Low  3-16-35  "Rumba"   

High  3-16-35  "Baboona"   

Low  1-27  "Jimmy  and  Sally"  

High  1-5-35  "Romance  in  the  Rain"... 

Low  4-20-35  "Cheaters"   

High  3-23-35  "Roberta"  ..'  '  

Low  8-25  "The  Lady  is  Willing"  

High  8-18  "She  Loves  Me  Not"  

Low  7-28  "Here  Comes  the  Navy"  

High  10-20  "Girl  of  the  Limberlost". . . 
Low   12-8  "Cimarron"   


High  4-14  "Private  Life  of  Henry  VIU" 
Low  3-23-35  "Narcotic".  


High  2-24  "Queen  Christina"  

Low  12-22  "Great  Expectations"  and  } 

"Wake  Up  and  Dream" 
High  6-23  "Wine,  Women  and  Song" 
and  "Pride  of  the  Legion" 

Low  3-3  "Fanny"   

High  12-8  "Six  Day  Bike  Rider"  

Low  7-21  "Fog  Over  Frisco"  and  ) 
"Affairs  of  a  Gentleman"  ) 

High  12-1  "The  Merry  Widow"  

Low  7-21  "Shoot  the  Works"  and  ) 
"Friday  the  13th"  ( 
High  1-5-35  "Kid  Millions"  and  } 
"Fugitive  Lady"  f 
Low  8-4  "House  of  Rothschild"  and  ? 
"Most  Precious  Thing  in  Life"  ) 


6,50(1 
4,000 
2,000 
500 
3,000 
2,000 
7,000 
2.700 
7,00C 
5,000 
3,500 
1,000 


4,000 
2,000 


13,500 

3,500 

6,500 
1,500 
14,500 

4,500 
14,000 

6,000 

10,500 

4.500 


High  3-31  "House  of  Rothschild"   23,'600 

Low  2-23-35  "Uttle  Men"   6,000 

High  10-6  "Barretts  of  Wimpole  Street"  65,860. 

I^w  12-29  "The  Band  Plays  On"   4.500 

High  1-27  "Sixteen  Fathoms  Deep"   15,300 

Low  6-2  "Unknown  Soldier  Speaks"   1,250 

High  7-21  "Of  Human  Bondage"   16,200 

Low  12-22  "Babbitt"    6,500 

High  8-25  "Cleopatra"    72,000 

Low  8-11  "Elmer  and  Elsie"   10,500 

High  4-7  "The  Lost  Patrol"   32,800 

Low  5-12  "Success  at  Any  Price"   7,700 

High  11-17  "Kid  Millions"   51.000 

Low  4-13-35  "Brewster's  Millions"   13,400 

High  1-5-35  "The  Little  Minister"   110.000 

l  ow  1-19-35  "Evergreen"   52,000 

High  12-1  "Imitation  of  Life"   44,000 

Low  6-30  "Affairs  of  a  Ontleman"   13,700 

High  3-10  "Wonder  Bar"   43,863 

Low  1-20  "Easy  to  Love"   9,271 


April    2  7,     19  3  5 


MOTION    PICTURE  HERALD 


63 


E THEATRE  RECEIPTS— CCNT'Dl 


Theatres 


Current  Week 


Previous  Week 


Oklahoma  City 

Capitol    1,200  10c-41c 

Criterion    1,700  10c-S5c 

Liberty    1,500  10c-36c 

Midwett    1,500  10c-56c 

Omaha 

Brandeis    1,200  25c-40c 

Omaha    2,200  25c-40c 

Orpheum    3,000  2Sc-40c 

Paramount    2,800  25c-40c 

Philadelphia 

Aldine    1,200  3Sc-55c 

Arcadia    609  25c-50c 

Boyd    2,400  3Sc-S5c 

Earle    2,000  2Sc-S5c 

Fox    3,000  40c-65c 

Karlton    1,000  25c-40c 

Keith's    2,000  3Oc-S0c 

Stanley    3,700  3Sc-55c 

Stanton    1,700  30c -50c 

Portland,  Ore. 

Blue  Mouse   ....    700  15c-25c 

Broadway    1,912  25c-40c 

Mayfair    1.700  25c-40c 

Orpheum    1,700  2Sc-40c 

Paramount    3,008  25c-40c 

United  Artists...    945  25c-40c 

San  Francisco 

Fox    4,600  15c-40c 

Golden    Gate         2,800  2Sc-40c 

Orpheum    3,000  lSc-40c 

Paramount    2,670  25c-40c 

St.  Francis    1,400  15c-55c 

United  Artists...  1,200  15c-SSc 

Warfield    2,700  2Sc-65c 

Seattle 

Blue  Mouse    950  2Sc-S5c 

Viith  Avenue  ...  2,500  25c-S5c 

Liberty    1,800  lSc-50c 

Music  Box    950  25c-S5c 

Orpheum    2,450  25c-SOc 

Paramount    3,050  25c-35c 


Picture 


Grou 


"Night  Life  of  the  Gods"   1,000 

(Univ.) 

"The  Night  Is  Young"   (MGM)..  800 

(3  days) 

"Life  Begins  at  40"  (Fox)   8,000 

"Car  99"   (Para.)   2,5*) 

(4  days) 

"Long   Lost   Father"    (Radio)   1,000 

(3  davs) 

"The   Wedding  Night"   (U.A.)....  2,500 


"Traveling  Saleslady"  (F.  N.)  and 
"Enchanted  April"  (Radio) 


4,800 
5,200 


''George   White's   1935  Scandals".. 
(Fox) 

"Sequoia"    (MGM)    and   7,500 

"Transient  Lady"  (Univ.) 

"All  the  King's  Horses"  (Para.)..  5,800 
(3  davs) 

"It   Happened  One   Night"    (Col.)  2,350 
and  "Great  Expectations"  (Univ.) 
(4  days)  (25c-35c) 


"Brewster's   Millions"   (U.  A.)....  3,000 
(6  days) 

"Ruggles  of  Red  Gap"  (Para.)....  2,000 

(6  davs -2nd  vvfeek) 

"Naughty  Marietta"   (MGM)   22,000 

(6  days) 

"Traveling  Saleslady"   (F.  N.)....  13,500 

(6  days)  (2Sc-50c) 

"Iron    Duke"    (GB   Pictures)   12,500 

(6  days) 

"One  New  York  Night"  (MGM)..  2,100 
(6  days) 

"Private    World"    (Para.)   3,000 

(6  days) 

"Mississippi"    (Para.)    8,000 

(5  days-2nd  week) 

"Case  of  the  Curious  Bride"   5,100 

(F.N.)   (6  days) 

"Broadway  Bill"  (Col.)    1,500 

"Go  Into  Your  Dance"   (F.  N.)..  8,000 

"McFadden's  Flats"  (Para.)  and  3,000 
"Red  Hot  Tires"  (F.  N.) 

"Bride    of    Frankenstein"    (Univ.)  4,00t1 

"Private    Worlds"    (Para.)   11,500 

"Naughty    Marietta"    (MGM)   6,000 

(3rd  week) 

"The  Casino  Murder  Case"  (MGM)  8,500 
and  "Symphony  of  Living"  (Invincble) 

"Star   of   Midnight"    (Radio)   18,500 

"Mister  Dynamite"  (Univ.)  and..  6,500 
"Swell  Head"  (Col.) 

"George  White's   1935  Scandals"..  10,500 
(Fox)  and  "The  Case  of  the  Curious 
Bride"  (F.  N.) 

"Ruggles   of   Red   Gap"    (Para.)..  5,000 
(3rd  week) 

"Our   Daily    Bread"    (U.A.)   6,500 

"Mississippi"    (Para.)    21,000 

(25c- 5Sc) 

"Unfinished    Symphony"   3,300 

(GB  Pictures) 

"Mississippi"   (Para.)    7,200 

(8  days) 

"Carnival"  (Col.)  and   4,100 

"Death  Flies  East"  (Col.) 

(9  daysl  (lSc-35c) 

"Roberta"   (Radio)    3,200 

(6th  week) 

"Laddie"  (Radio)    5,300 

"Love  in   Bloom"  (Para.)   and   4,90) 

"Time   Square   Lady"  (MGM) 


Picture 


Gross 


"Vanessa:    Her  Love  Story"   2,500 

(MGM) 

"Mississippi"   (Para.)    6,600 

"Under  Pressure"   (Fox)    2,200 

(4  days) 

"Two  Alone"    (Radio)   500 

(3  days) 

"The   Whole  Town's   Talking"....  3,000 
(Col.) 

"Laddie"    (Radio)   4,300 

"Murder  on  a  Honeymoon"  (Radio) 

"The  Wedding  Night"  (U.  A.)....  4,250 

"Folies  Bergere"  (U.  A.)  and....  7,100 
"Shadow  of  Doubt"  (MGM) 

"It  Happened  in  New  York"   7,500 

(Univ.)  (3  days) 

"McFadden's  Flats"  (Para.)  and  2,200 
"Our   Daily   Bread"   (U.  A.) 

(4  days)  (25c-35c) 


A.). 


8,000 
3,400 
8,000 


"Thunder  in  the  East"  (U 

(6  days) 
"Ruggles  of  Red  Gap"  (Para.). 

(6  days-lst  week) 
'Private   Worlds"  (Para.)  

(2nd  week-5  days) 


'It  Happened  in  New  York"   15,000 

(Univ.)  (6  days) 

'It's  a  Small  World"  (Fox)   14,500 

(6  days) 

'Imitation  of  Life"   (Univ.)   3,300 

(6  days-revival)  (25c-50c) 

'Roberta"   (Radio)    5,800 

(9  days) 

'Mississippi"   (Para.)    15,000 

(6  days-lst  week) 

'Lost   City"    (Regal    Pictures)....  7,500 

(6  days) 


"Night  Life  of  the  Gods"  (Univ.)  1,700 
and  "It  Happened  in  New  York"  (Univ.) 
"While  the  Patient  Slept"  (F.N.)  5,000 


"Rocky  Mountain  Mystery"  (Para.) 
and  "Maybe  It's  Love"  (F.N.) 


2,500 


"Grand  Old  Girl"  (Radio)   6,500 

"George  White's   1935  Scandals"...  9,000 

(Fox) 


'Naughty  Marietta'' 
(2rid  week) 


(MGM)   7,000 


'Hold  'Em  Yale"  (Para.)  and.... 
'Men  of  the  Night"  (Col.) 


8,500 


"The  Night  Is  Young"  (MGM)..  11,500 

"Princess  O'Hara"  (Univ.)  and...  7,500 
"Hoosier  Schoolmaster"  (Monogram) 

"Traveling  Saleslady"  (F.  N.)  and  11,500 
"$10  Raise"  (Fox) 

"Ruggles  of  Red  Gap"   (Para.)...  7,00<J 
{2nd  week) 

"The   Wedding  Night"   (U.  A.)..  10,500 

(2nd  week) 

"Private  Worlds"   (Para.)   21,500 


"Folies    Bergere"    (U.    A.)   3,100 

(2nd  week) 

"West  Point  of  the  Air"  (MGM)..  8,700 

(8  days) 

"White  Lies"   (Col.)   and   2,700 

"Happy  Landing"  (Monogram)  (10c-35c) 

"Roberta"   (Radio)    4,150 

(5th  week) 

"Traveling  Saleslady"   (F.   N.)....  5,700 


High  and  Low  Gross 

(Tabulation  covers  period  from  January,  1934.) 
(Dates  are  1934  unless  otherwise  specified.) 

High  1-6  "Going  Hollywood"   4,100 

Low  9-8  "You  Belong  to  Me"   800 

High  1-27  "Dinner  at  Eight''   9,000 

Low  10-13  "Madame  Du  Barry"   3,000 

High  4-6-35  "While  the  Patient  Slept"  ) 

and  "We're  Rich  Again"      J  4,100 
Low  3-23-35  "The  Winning  Ticket"....  400 

High  12-29  "Bright   Eyes"   9,540 

Low  5-26  "Merry  Wives  of  Reno"   2,000 

High  1-12-35  "The  Little  Minister"   9,100 

Low  2-16-35  "Babbitt"  and  I 

"Murder  in  the  Clouds"    (  3,000 

High  3-10  "Easy  to  Love"   17,250 

Low  12-29  "Babes  in  Toyland"  and  ) 

"Home  on  the  Range  (  5,000 

High  2-16-35   "The   Secret   Bride"   13,200 

Low  2-24  "Six  of  a  Kind"  and  1 

"Good  Dames"  )  5,250 


High  5-5  "House  of  Rothschild"   23.000 

Low  4-20-35  "Brewster's  Millions"   ....  3,000 

High  1-6  "Duck  Soup"   6,500 

Low  1-27  "Women  In  His  Life"   4O0 

Hign  1-6  "Little  Women"   30,000 

Low  2-23-35  "The  Night  Is  Young"....  6,500 
(5  days) 

High  4-7  "Harold  Teen"   40,000 

Low  7-21  "Cockeyed  Cavaliers"   11,000 

High  12-29  "Bright  Eyes"   28,500 

Low  7-28  "She  Was  a  Lady"   7,000 

High  11-3  "One  Night  of  I^ve"   8..S00 

Low  4-20-35  "One  New  York  Night"....  2,100 

High  3-3  "Carolina"    8,000 

Low  1-5-35  "Sweet  Adeline"   1,500 

High  1-5-35  "Broadway  Bill"   22,000 

Low  12-29  "Behold  My  Wife"   7,500 

High  3-31  "The  Lost  Patrol"   9,000 

Low  1-5-35  "Man  Who  Reclaimed  His 

Head"    2.000 


High  4-7  "Wonder  Bar"   

Low  7-14  "The  Circus  Clown"  and  j 
"I  Give  My  Love"  j 

High  3-2-35   "The  Little  Colonel"  

Low  1-19-35  "Behold  My  Wife"  and  1 
"Defense  Rests"  I 

High  12-1  "Kentucky  Kernels"  

Low  11-10  "Wednesday's  Child"  

High  3-24  "David  Harum"  and  } 
"Once  to  Every  Woman  | 
Low  6-30  "Now  I'll  Tell"  and  / 
"Springtime  for  Henry"  j 

High  4-28  "House  of  Rothschild"  

Low  8-4  "Paris  Interlude"  


and 


High  3-3  "Son  of  Kong"  

Low  8-18  "Sin  of  Nora  Moran" 

"Along  Came  Sally"  J 

High  3-16-35  "Roberta"  

Low  7-7  "Cockeyed  Cavaliers"  

High  6-9  "Sing  and  Like  It"  

Low  6-30  "Affairs  of  a  Gentleman"  ) 

and  "Orders  is  Orders"  ) 

High  9-29  "Belle  of  the  Nineties"  

Low  1-20  "Four  Girls  in  a  Boat"  and  I 

"Fugitive  Lovers"  J 
High  1-19-35  "The  County  Chairman".. 
Low  4-14  "Registered  Nurse"  and  } 

"Murder  in  Trinidad"  f 

High  1-6  "Roman  Scandals"  

Low  3-9  "Private  Life  of  Don  Juan"  

High  12-29  "Bright  Eyes"  

Low  3-31  "Gambling  Lady"  


13,000 

3,900 
4,000 

1.600 
8,000 
3,500 

12,000 

4,000 
9,800 
3,70a 


14.000 

4,500 
23,000 
10,200 
19,500 

5.000 
19.000 

8.006 
11.000 

3.500 
15.000 

4,000 
29,000 
15,500 


'Vanessa:   Her  Love  Story" 
(MGM) 


5,200 


High  2-17  "Roman  Scandals"   7,500 

Low  7-7  "Tomorrow's  Children"   2,550 

High  4-14  "Riptide"   12,750 

Low  3-24  "Fashions  of  1934"   3,500 

High  2-16-35  "Broadway  Bill"  (2d  week)  7,100 
Low  4-13-35  "White  Lies"  and  1 

"Happy   Landing"             j  2,700 

High  4-14  "Spitfire"    6,500 

Low  1-26-35  "Man  Who  Reclaimed  His 

Head"    2,850 

High  12-1  "Kentucky  Kernels"   8,400 

Low  4-21  "Two  Alone"  and  } 

"I  Believed  in  You"           J  3,750 

High  3-23-35  "Shadow  of  Doubt"   8,706 

Imw  12-8  "Peck's  Bad  Boy"  and  ) 

"Menace"                             f  3,300 


64 


MOTION    PICTURE  HERALD 


April    27,  1935 


TRAVELERS 


Margaret  Sullavan  and  her  husband,  William 
Wyler,  arrived  in  New  York  Wednesday 
after  a  European  honeymoon,  and  left  imme- 
diately for  Hollywood  to  start  work  on  a  pic- 
ture for  Paramount,  which  has  borrowed  the 
star  from  Universal. 

Ann  Harding,  RKO  Radio  star,  is  back  in 
Hollywood  after  a  10-day  visit  to  Fort  Bliss, 
El  Paso. 

Robert  Edmond  Jones,  RKO  designer,  will  ar- 
rive in  New  York  from  the  Coast  early  in 
May. 

Sidney  R.  Kent,  Fox  president,  returned  from 
Hollywood  product  conferences. 

Gus  J.  Schaefer,  Paramount's  foreign  man- 
ager, sails  for  Europe  Friday. 

Ann  Sothern,  Columbia  star,  arrived  on 
Broadway  from  Hollywood. 

Edward  Golden,  Monogram  sales  manager, 
was  in  Toronoto  on  distribution  plans. 

Lieut.  J.  F.  Newman  arrived  in  Hollywood 
from  Annapolis  to  advise  Paramount  on 
"Annapolis  Farewell." 

Major  Albert  Warner  returned  to  New  York 
from  Hollywood  product  conferences. 

Kay  Francis,  Warner  star,  arrived  on  Broad- 
way from  the  Coast. 

Sir  Adrian  Baillie,  Bombay  producer,  ar- 
rived in  Hollywood  to  study  color. 

Arthur  Hornblow,  Paramount  producer,  is 
in  New  York  from  the  Coast,  en  route  to 
Europe. 

Travis   Banton,  Paramount  stylist,  returned 

from  Europe,  en  route  to  Hollywood. 
Fay  Wray  returns  to  New  York  next  week 

after  making  two  pictures  in  London  for  GB. 
Flying  to  Hollywood  from  New  York  were 

Ned  E,  Depinet  and  Jules  Levy,  RKO  sales 

executives. 

Michael  Balcon,  GB  production  head,  re- 
turned to  London  from  New  York  and  Holly- 
wood. 

William  Goetz  sailed  for  Europe. 

Herbert  J.  Yates,  president  of  Consolidated 

Film,  sailed  for  Europe. 
Hal  Roach  returned  to  New  York  from  a 

visit  to  his  son  in  Indiana. 
RuFUS  Le  Maire  sailed  for  Europe. 
John   Hay   Whitney,   president  of  Pioneer 

Pictures,  flew  to  Hollywood. 
Tito  Guizar  was  due  in  New  York  from  the 

Fox  studios. 
Noah  Beery  sailed  for  Europe  to  work  for 

Gaumont. 

Helen  Vinson  left  for  London  to  play  in 
Gaumont  pictures. 

Gene  Raymond  arrived  in  New  York  from 
Radio's  Coast  studio  to  make  personal  ap- 
pearances. 

Archie  Mayo  was  in  New  York  from  Holly- 
wood en  route  to  Europe. 

Al  Jolson  returned  to  Broadway  from  an 
eastern  personal  appearance  tour. 

Rachel  Crothers,  writer,  arrived  in  New 
York  from  the  Goldwyn  Coast  studios. 

Paul  Lazarus,  United  Artists'  western  sales 
manager,  left  New  York  for  a  six-week  ex- 
change tour. 

Lily  Pons  sailed  for  Europe,  returning  in  July 
for  her  first  picture,  for  RKO. 

Herman  Rifkin,  Boston;  Claude  Ezell  and 
William  Underwood,  Dallas,  and  Jack  S. 
Jossey  and  Nat  Lefton,  Cleveland,  Repub- 
lic franchise  holders,  returned  to  their  homes 
from  distribution  conferences  in  New  York. 

Spyros  Skouras  returned  to  New  York  from 
Los  Angeles. 

N.  L.  Manheim,  Universal's  foreign  manager, 
returned  to  New  York  from  Hollywood  pro- 
duct conferences  with  Carl  Laemmle. 

Cesar  Romero  arrived  at  Universal  City  from 
Broadway  to  appear  in  "Diamond  Jim." 

Y.  Frank  Freeman,  Paramount  executive,  re- 
turned to  New  York  from  the  Midwest. 

Eddie  Cantor  sails  for  Hollywood  May  4th. 


Howard  Cullman,  operator  of  New  York's 
Roxy  theatre,  returned  from  Miami. 

Bob  Wolff  was  back  in  New  York  from 
Miami. 

Ben  Goetz,  of  Consolidated,  returned  by  air  to 
Hollywood  from  New  York. 

L  E.  Chadwick,  producer,  arrived  in  New  York 
from  the  Coast. 

Harry  Rowson,  former  joint  managing  di- 
rector of  Ideal  Films,  now  part  of  Gaumont 
in  England,  returned  to  London  from  New 
York. 

J.  Louis  Rome,  Baltimore  exhibitor,  returned 
from  Bermuda, 

Leon  Schlesinger,  Warner  short  subject  pro- 
ducer, arrived  in  New  York  from  the  Coast. 

Florine  McKinney  arrived  in  New  York  from 
California. 

Winifred  Cooper,  film  critic  of  the  Utica 
(N.  Y.)  Observer  Dispatch,  was  in  New 
York. 

Herman  Zohbel,  Radio  studio  executive,  re- 
turned to  California  from  New  York. 

Louis  Hyman,  Sol  Lesser's  sales  representa- 
tive, was  touring  Fox  exchanges. 

Emilio  Azcerraga,  radio  station  owner  in  Mex- 
ico City,  returned  to  his  home  after  buying 
equipment  in  New  York  for  a  new  theatre. 

Samuel  Cohen,  United  Artists'  foreign  press 
agent  in  New  York,  sailed  for  Europe. 

Mark  Ostrer,  Gaumont  British  official,  ar- 
rives in  New  York  from  London  in  two 
weeks. 


BOOK  REVIEW 


MAKING  A  PHOTOGRAPH,  by 
Ansel  Adams.  London:  The 
Studio,  Ltd.  96  pp.  71/4x91/4. 
$3.50. 

This  volume  is  one  of  the  publisher's  series 
entitled  "How  to  Do  It,"  which  should  indi- 
cate the  general  character  of  Mr.  Adams' 
aims.  He  is  interested  in  those  persons  who 
have  discovered  in  the  camera  an  instru- 
ment of  serious  self-expression  and  who 
have  not  had  the  instruction  and  experience 
necessary  for  really  effective  results.  The 
author  was  one  of  the  first  to  make  such 
a  discovery  for  himself.  From  it  he  has 
fashioned  a  career  that  is  an  integral  part 
of  the  development  of  modern  creative  pho- 
tography. Incidentally,  Mr.  Adams  is  an 
American. 

The  text  is  consistently  confined  to  the 
essentials  of  equipment,  materials  and  meth- 
ods, in  keeping  with  the  precise  purposes  of 
the  book,  and  is  thoroughly  amplified"  with 
simple,  readily  understandable  diagrams.  In 
addition,  Mr.  Adams  has  included  selected 
pictures  from  his  own  notable  productions, 
giving  for  each  one  the  technical  conditions 
under  which  it  was  made.  Furthermore, 
these  are  not  photo-engraver's  reproductions, 
but  actual  prints  from  the  negatives.  Each 
print  represents  a  specific  problem  in  subject 
and  treatment. 

It  is  assumed  that  most  of  the  reader's 
work  will  be  done  outdoors.  The  studio, 
however,  is  briefly  considered.  The  camera, 
lenses,  developing  and  printing  equipment, 
paper  and  chemicals  are  concisely  discussed 
iDefore  practical  theory  is  reached.  (And  Mr. 
Adams  keeps  the  latter  practical.)  Then  fol- 
lows a  step-by-step  analysis  of  the  process 
of  making  a  photograph. 

Although  a  chapter  on  photographic  es- 
thetics is  included,  it  occupies  but  a  page 
and  a  half,  and  making  a  picture  beautiful  as 
well  as  a  picture  is  told  in  more  concrete 
terms  in  a  final  chapter  on  portraits,  lands- 
capes and  the  other  types. — G.  S. 


Vy^ABASH  AVENUE 


CHICAGO 

An  ambitious  program  is  soon  to  be  an- 
nounced by  the  Publicists'  Association.  The 
following  officers  have  been  installed :  Herb 
Elisburg,  president;  Fred  Bartow,  vice- 
president;  Carl  Hermer,  scribe;  Lou 
Abramson,  treasurer ;  L.  S.  Stein,  director 
of  public  relations,  and  Roy  Topper,  ser- 
geant-at-arms. 

V 

A  shift  in  the  lineup  of  Essaness  managers 
brings  Henry  Markbreit  to  the  Crawford 
with  Harry  Grampp  as  assistant.  Harry 
Brown  is  now  assistant  manager  at  the 
North  Center,  while  H.  E.  Steuvek  has  been 
made  assistant  manager  of  the  Devon. 
V 

Earl  Cunningham,  formerly  director  of 
the  Fountain  Square  Theatre,  Indianapolis, 
has  been  made  manager  of  the  Judell  ex- 
change in  Milwaukee.  Ben  Judell  also  an- 
nounces that  Arthur  Burke,  his  brother-in- 
law,  has  been  added  to  the  sales  staf¥  of  his 
St.  Louis  exchange. 

V 

Duke  Hickey,  for  11  years  with  Univer- 
sal and  recently  in  charge  of  exploitation 
and  advertising  in  the  Middlewest,  has  re- 
signed. 

V 

John  Dromey,  popular  Great  States 
booker,  has  been  elected  mayor  of  North 
Chicago. 

V 

M.  Brazee,  manager  of  the  Avalon,  and 
Harry  Mintz,  manager  of  the  Parthenon,  for 
Warner,  are  back  on  the  job  after  a  siege 
of  "flu."  Assistants  R.  Dunn  and  Walter 
Estrupp  did  noble  work  in  keeping  things 
going. 

V 

George  Schaefer  of  Paramount  made  a 
brief  visit  to  town — long  enough  to  lunch 
with  John  Balaban  at  Henrici's. 

V 

Charles  Sedell,  veteran  film  man,  has 
joined  the  sales  stafif  of  Capital  Film  Ex- 
change. 

V 

Eight  Essaness  theatres  are  now  using 
"Bank  Nights." 

V 

James  Winn,  who  recently  stepped  into 
the  post  of  manager  of  the  Warner  exchange 
from  a  similar  capacity  with  Warner  at  St. 
Louis,  announces  that  Sid  Rose,  booker,  has 
been  made  city  salesman.  John  Soakley  has 
been  named  booker. 

V 

The  Gregory  Circuit  of  Chicago,  operating  in 
Illinois,  Indiana  and  Wisconsin,  has  leased  the 
Mueller  and  Jefferson  theatres  in  Jefferson  City, 
Mo.,  Albert  Goldman  announced. 

HOLQUIST 

Whelan  Takes  Moon's 
Fox  Exploitation  Post 

Leslie  F.  Whelan,  eastern  exploitation  and 
publicity  man  for  Harold  Lloyd  for  many 
years,  has  taken  over  the  exploitation  posi- 
tion at  Fox  which  was  held  by  Russ  Moon. 
A  former  newspaper  man,  Mr.  Whelan 
joined  Paramount  Famous  Lasky  in  1919 
as  exploitation  representative,  and  joined 
Harold  Lloyd  in  1925. 


AprM    27,  1935 


MOTION    PICTUR-E  HERALD 


65 


^  4  N  A  G  F 


ROUND  TABLE 

international  association  of  showmen  meeting  weekly 
in  MOTION  PICTURE  HERALD  for  mutual  aid  and  progress 


PRO  BONUS  PUBLICO 

If  the  bonus  plan  of  compensation  is  desirable  in  stimulating 
managers  to  greater  effort  then  by  ail  means  it  should  be 
encouraged.  But  from  what  evidence  this  department  has 
been  able  to  gather,  results  of  such  participation  drives  have 
not  entirely  succeeded  in  winning  unanimous  approval  either 
from  theatremen  or  their  superiors. 

The  letter  on  a  following  page  from  a  long-time  member 
who  unfortunately  must  remain  anonymous  to  our  readers,  pre- 
sents one  side  of  the  question.  This  protest  comes  almost 
coincidently  with  the  announcement  of  RKO's  profit-sharing 
plan  for  managers,  which,  we  are  told,  has  received  an  en- 
thusiastic acceptance  from  the  field  and  therefore  may  be 
said  to  take  up  some  of  the  slack  evident  in  similar  projects. 

Our  correspondent  Is  not  against  the  idea  of  bonus  drives 
but  finds  objection  mainly  to  the  manner  In  which  those  he 
has  experienced  have  been  handled,  hie  maintains  that  quotas 
and  final  results  are  determined  too  arbitrarily.  In  other 
words,  he  says,  "it's  the  good  ole  fix." 


Undoubtedly,  the  run-of-the-mill  bonus  or  participation  drive 
has  outlived  its  usefulness,  if  ever  such  existed.  Never  com- 
pletely has  any  such  plan  won  the  entire  confidence  or  accord 
of  the  theatreman  who  supposedly  is  most  to  be  benefited. 
There  are  instances  also  where  division  heads  have  been  criti- 
cal. The  reasons  are  not  hard  to  find. 

Firstly,  no  matter  how  conscientious  or  generous  circuit 
heads  may  be  In  setting  up  quotas  and  prize  money,  these 
figures  and  awards  being  arbitrarily  determined  are  oftlmes 
open  to  question  from  the  very  beginning.  Thus,  enthusiasm 
Is  immediately  dispelled  and  morale  endangered. 

Secondly,  in  many  instances  a  manager  may  work  him- 
self Into  a  lather  and  just  miss  his  quota  through  circumstances 
over  which  he  has  little  or  no  control.  And  though  he  may 
be  given  some  little  token  in  recognition  of  his  efforts,  this 
reward,  by  the  rulings  of  the  drive,  must  nevertheless  be 
much  less  than  the  amounts  taken  down  by  the  winners,  no 
matter  how  close  the  runner-up  finishes. 

•     •  • 

The  answer  may  be  the  new  slant  Inaugurated  recently  by 
the  RKO  circuit.  In  which  a  manager  shares  the  profits  of  his 
operation,  quarterly  and  annually,  by  a  definite  percentage  of 
the  increase  over  last  year's  net. 

Although  the  plan  has  not  been  detailed  for  publication,  It 
appears  that  the  manager's  share  Increases  as  his  profits  rise; 
that  these  percentages  are  first  to  be  figured  quarterly;  that 
If  the  theatreman  does  not  click  in  any  one  period  he  has  an 


opportunity  to  make  up  lost  ground  In  the  succeeding  periods 
without  being  penalized.  And,  most  significant,  Is  the  provision 
by  which  a  committee  of  executives  will  consider  for  some 
proportionate  reward,  the  cases  of  those  managers  who  have 
done  a  good  job  but  missed  "ringing  the  gong." 

•     •  • 

We  favor  the  RKO  plan  if  for  no  other  reason  than  It  em- 
braces a  percentage — the  only  just  form  of  remuneration  for 
the  manager.  Whether  or  not  the  percentages  offered  are 
liberal  enough  to  encourage  the  theatreman's  best  is  neither 
here  nor  there  at  this  stage  of  the  project. 

The  fact  remains  that  for  the  first  time,  a  theatre  circuit 
gives  managers — its  salesmen,  an  opportunity  to  earn  "com- 
missions" as  is  customary  in  other  lines  of  endeavor. 

V  V  V 

PRIMER 

Oh,  see  the  horse.  He  belongs  to  the  farmer.  The  horse 
pulls  the  plow.  The  horse  pulls  the  wagon  that  carries  the 
farmer's  crops  to  market.  The  horse  Is  fat.  He  Is  well  fed  and 
rested.  If  he  were  not  well  fed  and  rested  he  would  get  thin 
and  weak.  He  could  not  pull  the  plow  or  the  wagon  to  market. 
The  farmer  would  have  to  buy  another  horse.  A  horse  costs 
money. 

Now,  see  the  manager.  The  manager  is  at  the  theatre.  He 
works  from  early  morn  to  late  at  night.  He  carries  a  heavy 
load.  He  Is  not  well  fed  and  rested.  He  is  not  a  horse. 

V  V  V 

"AH,  THOU  VIXEN,  SPRING" 

Gently  as  a  leaf  falling,  softly  as  summer  rain  on  thirsty 
flowers,  beguiling  as  a  brook  gurgling  over  whitened  rocks, 
comes  this  tender  message  of  Springtide: 

"The  sap  is  just  beginning  to  run  In  the  New  England 
maples  .  .  .  the  first  robins  are  here  .  .  .  deep,  flavorous, 
pungent  smoke  drifts  idly  from  the  smoke-house.  Hickory 
smoke,  cool,  clean  and  zestful;  hams  from  tender  young  pigs 
soaking  In  Its  flavor." 

We  quote  from  a  letter  addressed  to  Mr.  Jerry  Jerauld, 
of  Motion  Picture  Daily,  from  the  People's  Market  of  New 
York,  Purveyors  of  High  Grade  Meat  and  Poultry. 


MOTION    PICTURE    HERALD  April    2  7,    19  3  5 

LOBBY      LAFFS  Many  Organizations 

/—■.■■  ^     X  I    Preview  *Miserables' 


66 

SHOWMEN'S 


Radio  and  Papers 
Go  Far  for  Rofsky 

Broadcast  electrical  transcriptions  of  mu- 
sic from  "Gold  Diggers  of  1935"  prior  to 
and  during  run  proved  an  effective  coverage 
medium  for  George  Rotsky,  Palace,  Mon- 
treal, who  also  arranged  for  these  to  be 
played  on  two  advertisers'  programs.  Stills 
and  theatre  copy  were  displayed  in  music 
departments  of  various  stores. 

Tieup  with  hair  rinse  manufacturer  re- 
sulted in  additional  newspaper  space,  ad 
carrying  Gloria  Stuart  face  cut  and  theatre 
credits.  Large  canned  soup  ad  featured 
Hollywood  satelites  imbibing  with  evident 
relish  that  company's  product. 

Make  19 is  Your  Award  Year 

Sparrow  Arranges  Orphan 
Show  on  "Little  Colonel" 

With  the  cooperation  of  leading  daily, 
Allen  Sparrow,  Loew's  State,  Norfolk,  Va., 
arranged  for  orphans  to  attend  special  morn- 
ing showing  of  "Little  Colonel."  Paper  paid 
for  bannered  bus  transportation  and  ran 
stories  on  event.  Another  paper  through 
classified  ad  page  offered  Temple  flip  and 
"life"  story  books. 

Photo  enlargements  of  Shirley  were 
placed  in  restaurants  and  ferry  waiting 
rooms  one  week  ahead  and  five  and  ten  fea- 
tured miniature  editions  of  book. 

Make  1  93  5   Your  Amard  Year 


APRIL  DEADLINE 
AND  APRIL  JUDGES 

Midnight  of  Monday,  May  6,  has 
been  determined  for  the  deadline  on 
April  Quigley  Award  entries,  and 
managers  are  again  reminded  that 
campaigns  must  be  at  Committee 
Headquarters,  1790  Broadway,  New 
York,  by  that  time. 

April  judges  are:  George  Schaefer, 
Paramount  Pictures;  J.  R.  Vogel, 
Loew  Theatres,  and  Bruce  Gallup, 
Columbia  Pictures.  Decisions  will  be 
announced  in  the  issue  of  May  18. 


Duke  and  Duchess 
Attend  "Richelieu" 

Royalty  was  headlined  in  the  campaign 
on  "Cardinal  Richelieu"  at  the  Radio  City 
Music  Hall  when  Hazel  Flynn  and  Jim 
MacFarland  persuaded  the  present  Duke 
de  Richelieu  and  his  party  to  attend  the 
opening,  resultant  publicity  making  a  bit 
of  to-do  regarding  the  event. 

Cardinal  perfume,  Cardinal  colors,  Riche- 
lieu pearls  were  among  the  various  slants 
featured  by  many  New  York  stores,  as  were 
the  Richelieu  collarettes  by  all  Sears  Roe- 
buck stores  in  a  50-mile  radius.  Not  even 
the  Chateau  Richelieu,  a  prominent  local 
dine  spot,  was  passed  up  for  extra  pub- 
licity. 

Previews  to  helpful  organizations  and 
letters  to  school  heads,  club  officials  and  the 
special  Radio  City  mailing  list  also  aided 
in  spreading  the  word. 

Make  195  J  Your  Award  Year 

Zinnbalist  Turns  Reviewer 

Al  Zimbalist,  advertising  director  St. 
Louis  Amusement  Co.,  St.  Louis,  got  a  little 
peeved  because  critics  wouldn't  review  shows 
at  his  second  run  theatres  so  he  runs  a  col- 
umn of  movie  stuff  down  the  side  of  his  ads, 
thereby  becoming  his  own  reviewer  and  get- 
ting his  little  say  in  at  the  same  time. 

Make  193  5  Yotir  Award  Year 

Morgan  Puts  On  Parachute 
Junnp  for  "West  Point" 

Herb  Morgan,  publicist,  Loew's  Century, 
Baltimore,  Md.,  arranged  with  airport  for 
a  parachute  jump  stunt  in  connection  with 
"West  Point  of  the  Air,"  awarding  tickets 
to  picture  to  first  25  estimating  closest  the 
correct  altitude  from  which  jump  was  made. 

Herb  engineered  several  street  ballys, 
among  which  were  planes  maneuvering 
over  theatre,  miniature  auto  converted  into 
plane  touring  streets  with  driver  dressed  as 
pilot  and  small  planes  with  title  and  dates 
were  stenciled  on  streets. 

For  his  lobby  Morgan  secured  the  actual 
scaled  working  model  of  transpacific  "Fly- 
ing Clipper,"  recently  completed  at  local 
air  plant,  and  reports  hundreds  of  spectators 
at  the  display. 


Lnportant  in  the  advance  of  United 
Artists'  "Les  Miserables"  at  the  New  York 
Rivoli,  was  a  series  of  preview  screenings 
to  which  were  invited  outstanding  groups 
of  lawyers,  judges,  clergy  and  educators. 
Among  others  responding  was  the  Na- 
tional Committee  on  Public  Education  for 
Crime  Control  at  New  York  University, 
which  organization  forwarded  endorse- 
ments to  its  many  members. 

New  York  Board  of  Education  distributed 
booklet  to  grade  and  high  school  pupils, 
teachers  and  heads  of  high  school  English 
departments  being  informed  of  the  essay 
possibilities  of  the  picture.  The  Hays  office 
also  cooperated  with  letters  to  leading  club 
and  organization  leaders  in  the  metropolitan 
district. 

Further  aid  was  obtained  from  French 
clubs,  the  French  consul's  office  and  the 
French  newspaper  "Corriere  des  Etats- 
Unis,"  which  ran  the  serial  based  on  the 
book.  Saks'  Fifth  Avenue  store  plugged  the 
dresses  worn  by  Marilyn  Knowlden  in  the 
film,  Gimbel's  the  Cosette  head  dress,  Macy's 
and  Ovington's  tied  in  on  the  candlestick 
slant  in  the  picture.  Title  stickers  were 
placed  on  all  outgoing  mail,  and  cooperating 
organizations  also  used  these  in  correspond- 
ence. 

Gotham  hosiery  Rochelle  Hudson  tieups 
were  made  in  various  sections  of  the  city, 
and  many  book  stores  carried  window  dis- 
plays and  counter  cards.  Five  stations  tied 
in  on  plug  broadcasts  also  using  the  electri- 
cal transcriptions. 

Make  193  5  Your  Aivard  Year 

Cooperating  Merchant 
Helps  Sell  "Folies" 

With  the  opening  in  Boston  of  new 
branch  store  of  national  furrier,  Joe  Di 
Pesa,  Loew's  State,  grabbed  himself  a  little 
extra  publicity  on  "Folies  Bergere"  by  hav- 
ing merchant  include  stills  of  Chevalier  and 
Oberon  in  style  booklets  distributed  at  open- 
ing. Joe  also  had  Merle  Oberon  send  wire 
of  congratulations  to  furrier. 

Perfumer  used  imprinted  paper  bags  for 
purchases,  markets,  cleaners  and  music 
stores  distributed  special  heralds  with  Che- 
valier cut  and  autographed  photos  of 
Maurice  were  given  out  in  five  and  ten 
chain. 

Make  193  5  Your  Award  Year 


MUSIC  WINDOW.  Lou  Diamond  of  Par- 
amount effected  this  attractive  music  dis- 
play in  R.  H.  Macy's  window  for  "Missis- 
sippi".   Note  still  of  Crosby  with  Bennett. 


April    27,  1935 


MANAGERS'    ROUND  TABLE 


67 


P°P  EYE  CARNIVAL 
ALICE  .«  WOHDERLAHD 
STEINBORN  ON  STAGE 


1 


The  Lineup  for  Rosy's  Show 

**Popeye  CarnivaV*  Is 
Buildup  for  Grosses 

There's  a  bear  market  on  spinach  in,  Oak- 
land, CaL,  according  to  Manager  M.  E. 
"Rosy"  Rosenberg,  of  the  Fairfax,  in  that 
spot,  who  utilized  the  strength-giving  vege- 
table as  a  feature  of  his  recent  Saturday 
morning  "Pop  Eye  Carnival." 

The  idea  came  about  through  the  scarcity 
of  suitable  features  for  the  kid  matinee  show- 
ing, so  Rosy  conceived  the  idea  of  the  shorts, 
showing  three  Popeyes,  a  Walt  Disney,  and 
"Alice  in  Wonderland" — all  repeats,  to  build 
up  the  start  of  a  "Tailspin  Tommy"  serial, 
on  the  same  program.  And  as  a  topper, 
Rosenberg  booked  a  weight-lifting  champ 
who  demonstrated  muscle  control,  bending 
steel  rods  with  his  teeth,  and  dipped  into  a 
can  labelled  "spinach"  to  gather  more  pep. 

Heralds  plugging  the  serial  and  the  car- 
nival were  distributed  in  schools  with  the 
cooperation  of  local  superintendent  who  en- 
dorsed entire  bill,  membership  cards  in  the 
Popeye  Club  were  distributed,  Popeye  mu- 
sical pipes  being  given  for  all  cards  filled 
out  and  turned  in,  and  local  Hearst  papers 
came  in  on  the  stunt  through  their  Popeye 
cartoon. 

Rosy  says  the  show  went  over  big,  with  a 
300  per  cent  increase  in  his  kid  business  on 
the  opening  of  the  serial,  and  following  kid 
matinees  doing  equally  as  well,  as  is  indi- 
cated by  accompanying  photo. 

To  keep  up  interest,  guest  tickets  and 
other  gifts  are  given  weekly  to  members  hav- 
ing birthdays  between  matinees,  stage  acts 
put  on  by  youngsters  with  talent,  and  to  sell 
the  club  title,  the  Popeye  song,  added  to 
other  selections,  are  included  in  every  meet- 
ing. J.  M.  Hanson,  assistant  manager,  is 
credited  in  the  campaign. 

Make  195  5  Your  Award  Year 

Snappy  Advance  on 
"Bride  of  Frankenstein" 

There's  plenty  of  meat  in  the  load  of  aids 
gotten  out  by  Joe  Weil,  exploitation  head 
of  Universal  on  "Bride  of  Frankenstein," 
the  newest  of  which  being  a  series  of  snipes 
reduced  from  the  24  sheets,  that  are  color- 
ful and  peppy. 

Complete  15-minute  radio  script  authored 
by  Joe  is  also  ready  for  managers  playing 
the  date,  and  another  neat  slant  comprises 
a  number  of  exploitation  stunts  sent  out  to 
the  trade  as  mailing  pieces.  For  instance, 
an  emergency  booth  gag  for  lobbies,  with 
nurse  in  attendance,  booth  containing  can- 
dles for  those  afraid  to  go  home  after  see- 
ing the  picture,  hair  dye  for  those  whose 
hair  turns  white,  spirits  of  ammonia,  etc. 


Manager  Attacks 


Bonus  Drives 


From  time  to  time  the  Round  Table  pages  have  carried  accounts  and  results  of 
bonus  and  participation  drives  instituted  by  circuits  in  various  sections  of  the  coun- 
try. Beloiv  is  published  a  letter  from  one  of  our  long  time  members  who  gives  his 
views  on  the  subject  as  a  manager  who  has  taken  an  active  part  in  a  member  of  these 
competitions  to  encourage  grosses.  For  obvious  reasons,  his  name  and  situation  are 
not  attached  to  the  letter  and  the  writer^  comments  are  printed  in  full  for  the  in- 
formation of  the  executives  who  sponsor  these  drives  and  the  managers  in  the  field 
who  attempt  to  win  some  of  the  prize  money. 

Dear  Mike: 

To  begin  with  the  idea  of  Bonus  or  participation  drives  is  all  right.  The  trouble 
lies  in  fhe  way  it  Is  handled.  In  the  nnain  it  spurs  activity  among  managers  and 
results  in  increased  grosses,  as  well  as  reduced  expenditures  of  operation. 

But  the  powers  that  be  in  our  industry  are  short-sighted. 

In  the  working  plan  of  these  so-called  Bonus  or  Participation  Drives  it  is  so 
worked  out  that  out  of  say  ten  drives,  the  individual  manager  may  expect  to  win 
one  or  perhaps  two  of  these  Drives.  If  the  manager  wins  a  Drive  his  par  figure 
is  so  "adjusted"  that  he  will  NOT  win  the  next  one  unless  a  miracle  happens. 

In  other  words,  the  Drives  will  revolve  around  him  until  his  par  figure  after  sev- 
eral "adjustments"  returns  to  his  original  figure,  wherein  he  won  his  last  Drive, 
and  his  chances  will  then  again  be  very  good.  I'm  afraid  if  I  went  into  the  conn- 
plications  used  in  the  Drives  we  have,  it  would  befuddle  and  confuse  as  they 
classify  the  houses  in  classes  and  if  you  do  too  good  in  one  class  they  slip  you 
into  one  more  difficult. 

The  Drives  in  this  organization  have  accomplished  a  lot,  but  on  the  whole  I 
don't  think  they  have  been  satisfactory  to  everyone,  including  the  powers  that 
be,  and  I  understand  that  the  present  one  is  the  last,  and  perhaps  a  salary  in- 
crease all  around  is  the  order  of  the  day. 

However,  I  sincerely  believe  that  the  profit-sharing  plan  could  be  put  in  effect,, 
even  if  a  man  only  owned  one  house  and  put  his  manager  on  a  profit-sharing- 
basis.  It  would  eliminate  outside  checkers,  Inside  checkers,  chiseling  and  a  lot  of 
petty  evils  that  afflict  both  manager  and  owner.  A  manager  who  is  part-owner- 
or  at  least  feels  that  he  Is,  has  a  pride  in  his  own  business  that  no  salaried  em- 
ployee ever  feels. 

To  get  away  from  showbusiness  for  the  moment,  let's  take  the  commercial  field' 
and  see  how  they  handle  it. 

I  think  they  handle  It  more  sanely-  Take  J.  C.  Penney  Co.,  Woolworth  and' 
Montgomery  Ward  for  example.  Their  managers  are  paid  a  salary  that  com- 
pares favorably  with  the  average  theatre  manager  and  they  work  on  a  yearly 
Bonus  plan  and  it's  not  unusual  in  a  town  of  say  10,000  to  find  the  Montgomery 
Ward  manager  earning  a  $3,000  bonus  yearly  In  addition  to  his  salary.  The  man- 
ager of  the  Penney  store  is  a  third-owner  in  his  store  and  consequently  in  the 
same  sized  town  his  store  pays  him  around  8  to  $10,000  per  year.  The  Wool- 
worth  people  work  along  similar  lines. 

Now  as  concerns  the  theatre  manager,  his  average  salary  is  below  par.  If  a 
theatre  grosses  $100,000  per  year,  does  the  manager  receive  10  per  cent  of  that 
yearly  as  say  salary  and  bonus?  He  does  not!  He  receives  a  very  small  percentage 
of  the  gross  as  salary,  although  he  carries  as  much,  if  not  a  greater  responsibility 
than  the  managers  of  the  chain  stores  in  the  commercial  field. 

I  believe  the  solution  to  this  problem  In  the  theatre  business  lies  In  a  profit- 
sharing  plan,  and  it  should  be  a  generous  one,  basing  same  on  the  yearly  gross 
of  a  theatre  taken  over  a  period  of  say  five  years,  and  then  determine  a  figure 
that  the  manager  CAN  reach,  where  Instead  of  making  $50  a  week,  he  knew  if 
he  could  increase  his  yearly  gross  he  might  average  $  1 50  a  week.  And  don't 
forget  that  every  dollar  that  the  manager  piled  up  for  himself  in  a  year,  his 
employer's  profits  would  treble. 

Eventually  you  will  see  this  come  to  pass  in  the  theatre  business,  strange  as 
it  may  sound  to  some  people. 


68 


MOTION    PICTURE  HERALD 


April    2  7,    19  3  5 


Mister  Rosenthal 
Gets  Personal 

Arthur  don't  be  a  clerk  all  your  life — the 
whole  town's  talking. 

Mabel,  please  come  home — all  is  forgiven 
— and  ditto. 

Billy,  you  can't  do  that  to  me — the  whole 
town's — yes. 

And  so  it  kept  on  for  days  until  the  last 
when  the  copy  in  newspaper  personal  col- 
umns called  it  all  a  draw  and  requested  the 
folks  to  meet  at  the  Majestic,  from  whence 
Rosy  Rosenthal  fooled  the  public  at  Bridge- 
port on  "Whole  Town's  Talking." 

Fresh  flower  lobby  was  planted  by  florist 
(see  photo)  in  exchange  for  credit  card,  and 
for  "Wedding  Night,"  jeweler  featured 
rings,  offering  guest  tickets  to  those  able  to 
wear  a  certain  size. 

Make  193  5  Your  Award  Year 

Barker  Atop  Marquee 
Sells  "Mighty  Barnum" 

One  of  the  stunts  used  by  Glenn  Carroll 
at  the  Midland  Theatre  in  Coffeyville,  Kan- 
sas ,  was  barker  atop  marquee  informing 
public  of  the  stupendous  and  gigantic  show 
going  on,  while  tent  and  cutouts  of  ele- 
phants' heads  completed  the  front. 

For  "Car  99"  p.  a.  system  was  brought 
into  play  with  "calling  all  cars"  announced 
at  regular  intervals. 

Make  195  5  Your  Award  Year 

Puts  on  Recipe  Contest 
For  "Wedding"  Supper 

Charlie  Taylor,  Shea's  Hippodrome,  Buf- 
falo, put  over  a  nifty  on  Wedding  Night 
with  Polish  newspaper  sponsoring  a  six-day 
recipe  contest.  Persons  sending  in  best 
recipes  for  a  Polish  wedding  supper  received 
guest  tickets.  Local  baker  donated  huge 
wedding  cake  which  was  displayed  at  local 
food  show  with  card  plugging  contest. 

Department  store  arranged  attractive  win- 
dow of  women's  gowns  with  one  of  original 
models  worn  by  Sten  prominently  featured. 
Jeweler  gave  window  over  to  special  brand 
of  wedding  ring  and  offered  tickets  to  all 
having  corresponding  finger  size. 

With  Niagara  Falls  and  its  honeymooners 
practically  at  his  front  door,  Charlie  ar- 
ranged with  bus  company  for  their  autos  to 
carry  banners  (see  photo)  reading:  "For  a 
honeymoon  trip  or  any  other  occasion,  use 
our  bus  and  see  Gary  Cooper  and  Anna  Sten 
in,  etc.,  etc." 

Make  193  5  Your  Award  Year 

Sweepstake  Winner 
Presents  Radio  Prizes 

Lewis  A.  Doran,  assistant  manager,  Bre- 
voort,  Brooklyn,  N.  Y.,  reports  tieup  on 
"Winning  Ticket"  and  "Sequoia"  with  large 
radio  store,  in  which  prizes  were  awarded 
for  three  "winning  tickets"  held  by  theatre 
patrons.  These  included  an  all-wave  radio 
set,  with  guest  tickets  for  runnersup.  Store 
devoted  entire  window  to  twin-bill  display 
and  prizes. 

Tickets  were  obtained  at  box  office  (with 
admission  ticket)  one  week  prior  to  date,  and 
theatregoers  deposited  stubs  at  radio  store 
for  drawing  on  opening  day  of  show.  Promi- 
nent official  served  as  "drawer"  of  winning 
tickets  at  dealer's  in  presence  of  large  turn- 
out. 


Rosenthal's  Lobby  Floral  Display 


Carroll's  Barker  Atop  Marquee 


Taylor's  "Wedding  Night"  Bus  Tieup 


De  Camac's  "Widow"  Lobby  Setpiece 


As  a  topper,  local  Sweepstake  winner,  who 
clicked  four  days  previous,  appeared  on 
stage  closing  night  of  show  to  announce  and 
present  prizes,  following  which  he  was  in- 
terviewed. This  man's  appearance  was  cir- 
cularized in  his  neighborhood  and  his  people 
turned  out  en  masse. 


Edenfieid  Plays  Up  Film 
Debut  of  Town  Girl 

Although  the  girl  came  from  a  nearby 
town,  the  fact  that  she  had  relatives  and 
friends  in  Augusta  was  cause  enough  for 
Manager  Edenfieid,  Dreamland  Theatre, 
to  go  to  town  on  "Women  Must  Dress"  and 
secure  their  aid  in  publicizing  the  picture  in 
which  girl  made  film  debut  as  a  result  of 
winning  in  Monogram's  contest  for  that 
opus. 

A  full  page  co-op  was  secured  with  mis- 
spelled words  in  all  ads,  prizes  offered  to 
those  submitting  the  most  complete  and  cor- 
rect list  of  the  words. 

Make  193  5  Yoiir  Award  Year 

Roberta  'Phone  Girl 

One  of  the  pre-opening  stunts  used  by 
City  Manager  Bill  Exton  at  the  Kenosha 
in  Kenosha,  Wis.,  was  the  planting  of  a  tele- 
phone operator  at  desk  in  lobby  who  called 
numbers,  starting  conversation  with  "How 
do  you  do,  Mrs.  Blank;  this  is  the  'Roberta' 
operator  calling  from  the  lobby  of  the  Ke- 
nosha," etc.,  etc. 

Make  193  5  Yotir  Award  Year 

Dealer  Pays  for  Ed's  Ads 

Refrigerator  dealer  paid  for  Ed  Harrison's 
"Sweet  Music"  newspaper  ads  in  exchange 
for  a  lobby  display  and  credit  card  at  the 
Capitol  in  Pittsfield,  Mass.  Ads  all  carried 
cuts  of  Vallee  and  Dvorak,  with  theatre 
copy,  and  refrigerator  mention. 

Make  193  5  Your  Award  Year 

Usherette  Wins  Contest 
And  Mayor  Offers  Congrats 

When  Edna  Robinson  at  Frank  Larson's 
Paramount  Theatre,  Idaho  Falls,  Idaho,  cap- 
tured one  of  the  prizes  for  being  among  the 
four  most  beautiful  usherettes  in  the  United 
States  in  connection  with  Universal's  contest 
on  "Good  Fairy,"  Frank  thought  it  ample 
excuse  for  a  celebration  when  he  played  that 
picture. 

Opening  was  dedicated  to  the  young  lady 
with  the  mayor  acting  as  M.  C.  and  present- 
ing winner  with  autographed  photo  of  Mar- 
garet Sullavan.  Wires  were  read  from  entire 
"Good  Fairy"  company,  local  schoolmates 
and  other  friends.  Frank  reports  a  good 
time  was  had  by  all. 

Make  193  5  Your  Award  Year 

Kraus'  "Lost"  Herald 

The  old  reliable  worked  well  for  Edward 
Kraus  of  the  Fargo,  Fargo,  S.  D.,  on  "Love 
in  Bloom"  in  the  form  of  a  bright  red  herald 
with  large  "lost"  copy  reading  "lost  some- 
where between  the  Fargo  Theatre  and  the 
postoffice  a  ladies'  purse  containing  cash, 
tickets  for  (etc.)  ;  finder  may  keep  the 
money  but  return  the  tickets." 

Make  193  5  Your  Award  Year 

Girls  Bally  "Painted 
Veil"  for  De  Cannae 

Through  the  cooperation  of  leading  hotels, 
Peter  De  Camac,  Globe  Theatre,  Calcutta, 
India,  arranged  for  four  girls  dressed  in 
white  with  red  waistbands  carrying  "Paint- 
ed Veil"  and  wearing  small  hats  with  letter- 
ed veils  to  visit  dining  rooms  and  distribute 
throwaways  to  other  guests.  Accompanying 
photo  shows  attractive  lobby  display  Peter 
used  for  his  "Merry  Wioow"  date. 


April    27,  1935 


MANAGERS'    ROUND  TABLE 


69 


Dickens'  Descendant 
Helps  Boucher  Sell  Date 

When  Frank  Boucher,  Maryland,  Hagers- 
lown,  Md.,  discovered  a  few  days  ahead  of 
his  Copperfield  opening  that  Charles 
Dickens,  a  direct  descendant  of  the  famous 
author,  was  a  local  resident,  he  wasted  no 
time  letting  the  rest  of  the  folks  know  about 
it.  Special  stories  on  relationship  were  run 
in  local  and  county  papers.  Reception  was 
tendered  Dickens  in  the  lobby  opening  night, 
at  which  time  he  presented  Mayor  Wertz 
and  wife  with  a  specially  autographed  edi- 
tion of  the  book. 

Frank  further  arranged  a  radio  contest 
giving  Copperfield  dolls  to  youngsters  in 
grammar  schools  writing  best  letters  on 
"Why  I  Am  Going  to  See  David  Copper- 
field."  Dolls  were  presented  from  stage  at 
Saturday  matinee. 

Contacting  the  MGM  studios,  Boucher 
secured  Freddie  Bartholomew's  copy  of  the 
script  autographed  by  members  of  the  cast 
and  auctioned  it  off  from  the  stage,  pro- 
ceeds going  to  Boy  Scouts  who  had  just 
started  local  drive  for  funds. 

Make  193  5  Your  Award  Year 

Store  Distributes  Planes 
For  Caldwell's  "Air"  Date 

Through  tieup  with  department  store  in 
Toledo,  Wally  Caldwell,  Loew's  Valentine 
on  "West  Point  of  the  Air"  arranged  for 
distribution  of  gilder  planes  and  junior  pilot 
license  cards  to  juvenile  purchasers  in  boys 
apparel  department.  Stills  with  playdates 
were  prominently  displayed.  Wally  also  ar- 
ranged for  Junior  Birdmen  to  receive  im- 
printed aviator  helmets. 

On  "Scarlet  Pimpernel"  window  stickers 
were  pasted  on  taxi  windows  and  on  bundles 
leaving  cleaners.  Five  and  tens  featured 
^'Pimpernel"  sundae,  using  window  streamers 
with  playdates. 

Make  193  5  Your  Award  Year 

North  Yields  to 
Poetic  Muse 

Stewart  North's  exploitation  of  "Wednes- 
day's Child"  appeared  in  the  poetical  guise 
of  a  teaser  card,  handed  out  at  the  box  office 
and  distributed  through  merchants. 

Caption  asked,  "Are  You  a  Wednesday's 
Child?"  Verse  on  characteristics  of  children 
"born  on  different  days  of  the  week  followed, 
the  third  line  devoted  to  third  day  standing 
out  in  bold  type — "Wednesday's  Child  Is 
Full  of  Woe."  Footline  noted  theatre  and 
dates. 

Make  193  5  Your  Award  Year 

Pollock  Ties  "Town's  Talking" 
Into  Pinochle  Tournament 

With  all  the  to-do  about  a  pinochle  tour- 
nament staged  by  local  daily  in  Rochester, 
Les  Pollock,  Loew's  Rochester,  tied  in  with 
■the  stunt  on  his  "Town's  Talking"  date, 
awarding  guest  tickets  to  winners.  Large 
■card  with  theatre  copy  and  ticket  offer  was 
displayed  in  leading  hotel  where  tourney 
was  held,  and  newspaper  stories  on  tourna- 
ment tied  in  picture  copy. 

Accompanying  photo  shows  parade  of 
■cars  with  picture  and  playdate  prominently 
displayed.  Leading  florist  devoted  window 
to  unusual  floral  pieces  center  of  which  con- 
tained scene  stills  and  telegraph  branch  win- 
dows used  large  photos  of  Robinson  and 
Jean  Arthur. 

On  "West  Point  of  the  Air,"  ad  contain- 


Beck's  "Folk's"  Lobby  Display 


Gilman  Opens  Straw  Hat  Season 


Geehan's  Colonial  House  for  Shirley 


"Town  Talks"  About  Pollock's  Parade 


ing  small  boxes  listing  the  addresses  of  26 
leading  merchants  was  run,  and  guest 
tickets  were  awarded  to  first  30  supplying 
names  of  the  stores.  Heralds  with  "a  tip 
from  the  sky"  copy  were  dropped  from  plane 
and  National  Guards  attended  show  in  body 
as  guests  of  the  theatre. 


University  Band  Parades 
For  Beck  on  "Folies" 

A  street  parade  was  arranged  by  Eddie 
Beck  at  the  Hollywood,  Fort  Worth,  for 
"Folies  Bergere"  through  tieup  with  students 
band  of  Texas  Christian  University.  Forty 
pieces  paraded  behind  truck  carrying  girls 
in  costume  supporting  huge  straw  hat  let- 
tered with  title.  Band  gave  concert  in  front 
of  theatre. 

Accompanying  photo  shows  attractive  in- 
ner lobby  display  for  which  Ed  used  his  girl 
staff.  All  children  attending  show  received 
the  miniature  straw  hats  and  beauty  salon 
distributed  heralds. 

Make  193  5  Your  Award  Year 

Grady's  Safety  Club 

E.  C.  Grady,  Hoosier,  Whiting,  Ind.,  is 
sponsoring  the  Hoosier  Theatre  Shirley 
Temple  Safety  Club.  Cards  are  given  to  all 
kids  attending,  one  side  of  which  carries  cut 
of  Shirley  with  "If  Shirley  won't,  I  won't" 
motto  and  list  of  "don'ts"  to  avoid  accidents. 
— -Reverse  side  lists  endorsement  of  mayor, 
chief  of  police  and  school  authorities  with 
space  for  member's  name  and  address. 

Make  193  5  Your  Award  Year 

Gilman  Builds  Special 
Animated  Front  for  "Folies" 

Sam  A.  Gilman,  Loew's  Theatre,  Harris- 
burg,  Pa.,  put  on  a  gala  campaign  for 
"Folies  Bergere"  constructing  a  special 
front  (see  photo)  with  oversized  revolving 
straw  hat  over  box  office.  Spotted  around 
hat  band  were  miniature  French  dolls  wear- 
ing tiny  straw  hats.  Four  usherettes  in  In- 
verness capes  and  Chevalier  hats  covered 
shopping  districts  distributing  small  straw 
hats  and  envelopes  supposedly  contain- 
ing French  postcards ;  cards  showed  girl 
chorus  with  picture  copy  on  reverse  side. 

Orchestrations  were  planted  with  lead- 
ing bands,  and  one  week  ahead  entire  staff 
wore  straw  hats  with  imprinted  hat  bands. 
Special  bally  record  was  used  over  p.  a.  sys- 
tem and  hairdresser  plugged  Oberon  coif- 
fure. 

Make  193  5  Your  Award  Year 

"The  Feature  Starts — " 

For  the  benefit  of  patrons  and  to  save  his 
cashier  a  lot  of  wear  and  tear,  Rodney 
Toups,  of  Loew's  State,  New  Orleans, 
places  a  card  with  starting  time  of  feature  on 
window  of  ticket  booth. 

Make  193  5  Your  Award  Year 

Geehan  Gets  Out  Special 
Temple  Tabloid  for  Paper 

Bill  Geehan,  Odeon,  Beaver  Dam,  Wis., 
sold  publisher  of  daily  idea  of  putting  out 
a  "first-time"  tabloid  supplement  on  "Little 
Colonel,"  with  Bill  writing  and  selling  all 
the  ads,  each  including  cut  of  Temple.  Co- 
operating merchants  distributed  Shirley 
photos  and  "life"  books. 

Art  director  of  junior  high  was  contacted 
and  sponsored  a  free  hand  poster  contest, 
with  cash  prizes  awarded  by  theatre  for  best 
posters.  Drawings  were  on  display  in  lobby 
with  credit  cards  and  teachers  encouraged 
students  in  contest.  Accompanying  photo 
shows  miniature  Colonial  house  in  lobby 
constructed  by  local  builders. 

Dairy  tied  in  on  word  contest,  offering 
prizes  for  kids  getting  most  number  of 
words  out  of  their  trade  name  and  local  ice 
cream  company  got  out  special  Temple  pack- 
age which  went  over  with  the  kids. 


70 


MOTION    PICTURE  HERALD 


April    2  7,    19  3  5 


Showmen 's 
Calendar 


JUNE 

1st 


2nd 
5th 


6th 


8th 
9th 


1 0th 

I  Ith 

14th 
15th 

16th 

17th 

18th 

21st 
23rd 

25th 

26th 

28th 
30th 


Kentucky  Admitted  to  Union — 
1792 

Tennessee  Admitted  to  Union 
—1796 

Clive  Brook's  Birthday 

Two  Cent  Postage  Rate  Be- 
tween U.  S.  and  Great 
Britain     Established— 1 908 

Johnny  Weissmuller's  Birthday 

First  Balloon  Ascension  in 
France  by  Montgolfier  Bros. 
—  1783 

Nathan  Hale  Born— 1755 

American  Marine  Victory  at 
Belleau  Woods— 1918 

Battle  of  New  Orleans— 1815 

John  Howard  Payne  (Author 
of  Home,  Sweet  Home) 
Born— 1791 

Franklin  Drew  Lightning  from 
Clouds— 1752 

Richard  Strauss  (German  Com- 
poser) Born — 1864 

Flag  Day 

Pioneer  Day,  Idaho 
Boy  Scouts  Charter  Granted — 
1916 

Arkansas  Admitted  to  Union 
Stan   Laurel's  Birthday 
Father's  Day 

Battle  of  Bunker  Hill— 1776 
Ralph  Bellamy's  Birthday 
Battle  of  Waterloo— 1815 
Jeanette  MacDonald's  Birthday 
Longest  Day  in  Year 
William    Penn    Signed  Peace 

Treaty— 1683 
General    Custer's    Defeat  by 

Indians — 1876 
First  American  Troops  Landed 

in  France — 1917 
Polly  Moran's  Birthday 
Glenda  Farrell's  Birthday 


Police  Notice  Sells  "Lost" 
Jungle"  for  Wally  Baker 

A  pseudo  police  notice  did  the  trick  for 
Wally  Baker,  Tivoli,  Sutton-in-Ashfield, 
England,  on  "The  Lost  Jungle."  Gotten  out 
in  form  of  herald  with  bold  type  copy,  the 
gag  read  "lost,  stolen  or  strayed,  two  lions 
and  a  tiger;  all  persons  visiting  the  Tivoli 
will  receive  handsome  reward  of  exciting 
and  thrilling  entertainment  in  seeing,"  etc. 

On  "Belle  of  the  Nineties"  perfumed 
Westian  visiting  cards  were  distributed  two 
weeks  before  copy  reading  "When  Mae  West 
comes  to  the  Tivoli,  what  time  will  it  be?" 
Below  appeared  play  date  and  line,  "time  to 
come  up  and  see  her  some  time." 

Make  193  5  Your  Award  Year 

Dedication  Ceremonies 
For  Paper  Held  at  Theatre 

When  the  new  Bulletin  Building  in  Los 
Angeles  was  completed,  Manager  J.  D. 
L'Esperance  at  the  Fox  Florence  there  of- 
fered the  facilities  of  his  house  for  the  open- 
ing and  dedication  ceremonies. 

Local  prominents  and  film  stars  were  pre- 
sented from  the  stage  and  through  the  facili- 
ties of  the  p.a.  system,  those  unable  to  gain 
admittance  were  able  to  hear  the  "doings" 
from  the  large  forecourt  of  the  theatre  and 
the  spacious  newspaper  lobby. 


Birthday 
Greetings 


Interstate  "Sequoia"  Billboard  Ad 

Interstate  Theatremen 
Pose  for  "Sequoia"  Ad 

For  some  reason  or  other,  the  unusual 
in  newspaper  display  advertising  is  not  so 
frequent  these  days  and  therefore  the  three- 
column  on  100-line  ad  for  the  "Sequoia" 
date  at  the  Palace-Dallas,  Texas,  illustrated 
in  the  accompanying  photo,  is  called  to  at- 
tention. 

The  atmosphere  was  heightened  by  the 
group  in  front  of  the  24-sheet  stand  com- 
menting on  the  attraction  and  date,  and 
Louis  Charninsky,  who  reports  the  stunt, 
states  that  the  Interstate  Dallas  gang  posed 
for  the  crowd  shot.  Bill  Elliott,  Interstate 
artist,  is  credited  for  the  flash. 

Make  193  5  Yonr  Award  Year 

"Lancer"  Stills  Planted 
On  Restaurant  Tables 

Paris  sounds  a  new  note  in  spotting 
framed  stills  in  eateries,  as  witness  the  ac- 
companying photo  showing  action  shots  on 
"Lancer"  on  restaurant  tables  in  the  sur- 
rounding district  for  the  date  at  the  Para- 
mount, in  the  French  capital. 

Other  slants  by  Andre  Ullman  and  Rene 
Labreton  included  squad  of  mounted  lancers 
working  the  boulevards,  windows  in  promi- 
nent shops,  and  announcements  mailed  in 
envelopes  carrying  coat-of-arms,  regimental 
number  and  Indian  address. 


Wally  Akin 
Jack  E.  Alger 
W.  M.  Allison 
James  Anderson 
J.  Noble  Arnold 
Henry  Bettendorf 
Merle  L.  Blair 
Ben  Bloomfield 
A.  M.  Bowyer 
R.  Speed  Borst 
William  Briemann 
Walter  C.  Carroll 
T.  C.  Clement 
Loren  S.  Cooper 
William  E.  Cooper 
Robert  Corbin 
James  D.  Denny 
Fred  G.  Doney 
R.  J.  Freedman 
Andrew  Gibson 
Sam  A.  Gilman 
Phil  Godel 
Archie  B.  Holt 
Victor  E.  Hudson 
J.  T.  Hughes 
Joseph  Isaac 
Jack  Johannson 
Bernard  S.  Lewis 
Leslie  C.  McEachern 
K.  E.  McKinstry 
J.  S.  MacNeill 
F.  H.  Macomber 
William  J.  Mahon 
E.  H.  Maritslcy 


James  P.  Martin 
Clarence  F.  Millett 
Alberto  Monroy 
George  J.  Nealeans 
Pierce  C.  O'Donnell 
Ben  Ostrow 
Leon  Pickel 
J.  (5.  Polak 
Oliver  B.  Prickett 
Jack  Purves 
Herbert  Ram 
James  M.  Sanderson 
Frank  Schellinger 
Roger  Scherer 
Milton  A.  Schosberg 
H.  B.  Schuessler 
Howard  Schuster 
George  Seymour 
Frank  Shaffer 
Max  Silverwatch 
Benjamin  J.  Smart 
Martin  G.  Smith 
Walter  D.  Stevens 
Arden  Strang 
Robert  W.  Sullivan 
J.  V.  Tamblingson 
James  H.  Tobin 
Hazel  Van  Allen 
Jack  Van  Borssum 
Roland  K.  Vanderburgh 
Donald  J.  Visger 
A!  J.  Wagner 
Laurie  Webb 


Ullman-Labreton  "Lancer"  Table  Cards 


Krendel  Holds  Special 
Kid  Show  on  "Colonel" 

A  record  breaking  morning  show  at  the 
Tivoli,  Toronto,  is  reported  by  Dan  Krendel 
on  his  "Little  Colonel"  date  at  which  La 
Temple  buttons  were  distributed.  Newspa- 
per ads  with  "hey  kids"  copy  plugged  the 
special  showing. 

Five-and-ten  chain  devoted  windows  to 
three-sheet  displays  with  Shirley  cutout 
books  plugging  miniature  editions  of  her 
life's  story.  Tieup  with  book  store  brought 
display  of  scene  stills  on  counters  and  give- 
away of  "Little  Colonel"  pictures  to  each 
child  purchaser.  Department  store  gave 
photos  of  Shirley  holding  authorized  copy 
of  film  version  of  book  to  all  book  buyers, 
and  imprinted  napkins  were  used  in  leading 
tea  rooms. 

Make  193  5  Yonr  Award  Year 

Prominents  Parade  on 
Gow's  "Lancer"  Date 

A  no-cost  campaign  and  one  that  broke  the 
dailies  for  plenty  of  space  was  put  on  by  J. 
M.  Gow,  Capitol,  Nanaimo,  B.  C,  on  "Ben- 
gal Lancer." 

Gow  contacted  mayor  and  other  prominent 
city  officials  and  had  them  meet  at  hotel  on 
opening  night  of  picture.  Here  they  were 
greeted  by  the  local  garrison  of  Canadian 
Scottish  and  escorted  into  waiting  new  model 
cars  promoted  from  a  neighborhood  dealer 
who  for  theatre  lobby  credit  card  supplied 
drivers,  as  well.  They  proceeded  through  the 
main  streets  headed  by  city  band  to  the  gaily 
decorated  theatre. 

Clubs,  civic  organizations  and  school 
board  were  also  advised  of  date. 


April    27,  1935 


MANAGERS'    ROUND  TABLE 


71 


BY-PRODUCTS  OF  THE  PRESS  BOOK 


Let's  take  a  new  slant  in  this  debate  about 
press  books  to  which  the  Herald  is,  wisely  I 
think,  giving  so  much  space.  My  contention 
is  that  few  exhibitors  use  press  books  for 
all  they  are  worth,  and  further,  that  the 
men  who  make  them  do  a  far  more  thorough 
and  intelligent  job  than  the  men  who  use 
them.  Just  to  get  my  point  over,  I'll  quote 
the  essence  of  an  argument  that  I've  heard, 
and  participated  in,  times  without  number. 
Our  present  characters  are  an  Ad  salesman 
and  an  Exhibitor.  We'll  call  'em  Ad  and 
Exhib  for  short.  They  are  discussing  ad- 
vertising accessories.  Exhib  is  having  his 
say  about  their  excessive  cost  and  poor 
quality,  when  Ad  breaks  in : 

Ad:  "Are  you  losing  money  on  press 
books,  too?" 

Exhib:  "Huh?"  Why,  dumbbell,  press 
books  don't  cost  me  anything." 

Ad:  "No?  Maybe  not  directly,  but  you 
pay  for  them  just  the  same." 

Exhib :  "Oh,  yes.  Sure,  that  way.  Of 
course,  we  exhibitors  pay  all  the  industry's 
bills  out  of  our  box  offices.  I  know  that 
only  too  well.  But  press  books  1  They  ought 
to  be  free.  Most  of  the  stuff  in  them  is  of 
no  use  to  me.  All  I  use  out  of  my  press 
book  is  a  couple  of  ads  and  maybe  a  pub- 
licity story  or  two.  The  rest  goes  in  the 
waste  basket. 

"Don't  see  why  they  put  so  much  junk 
in  press  books,  anyway.  Colored  covers, 
great  big  newspaper  ads,  full-page  feature 
stories,  pages  and  pages  of  stuff  that  are 
no  good  for  anything  but  to  make  a  flash  in 
the  press  book. 

"No  exhibitor  that  I  know  can  afford  to 
buy  the  space  those  big  ads  take,  and  as  for 
getting  those  fat  publicity  stories  in  free — 
try  and  do  it.  No,  sir !  Press  books  are  90 
per  cent  waste  as  far  as  I'm  concerned." 

Which  about  sums  up  the  exhibitor  view- 
point. Press  books  are  free.  So  why  bother 
with  anything  but  the  few  indispensable 
items.  Wherefor  a  vast  quantity  of  valuable 
advertising  material,  stuff  that  has  real  sales 
value,  goes  into  theatre  waste  baskets. 

Material  Effective  in  Lobbies 

As  a  matter  of  fact,  and  "aside  from  its 
main  function  of  supplying  material  for  pub- 
lication, inspiration  and  exploitation,  there 
is  in  most  press  books  on  major  attractions 
a  wealth  of  left-over  material  which  makes 
the  most  eifective  kind  of  front-of-the-house 
and  lobby  advertising.  Without  attempting 
to  deal  exhaustively  with  the  subject,  I  will 
mention  a  few  uses  to  which  I  regularly  put 
such  material. 

The  illustrations  to  right  show  two  frames 
which  are  at  convenient  reading  height 
alongside  the  entrance  doors  of  the  theatre. 
One  lists  coming  attractions,  the  other  the 
current  program.  They  are  made  up  of 
press  book  and  trade  paper  ads  mounted  on 
separate  cards,  which  permits  them  to  be 
moved  from  the  coming  to  the  current  pro- 
gram frame.  They  cost  nothing,  occupy  lit- 
tle space,  carry  more  selling  punch  than 


Kound  T abler  Explains  Further 
Uses  of  Press  Book  Contents  in 
Making  Up  Inexpensive  Lobbies 

by  C.  L  ("BILL")  YEARSLEY 

Manager,  Smoot,  Parkersbttrg,  W.  Va. 


Some  time  ago,  the  author  of  this 
article  forwarded  a  campaign  in  which 
were  described  and  ilhisfrated  some  of 
the  variotis  uses  he  makes  of  press 
books  for  display  ffurposes.  Bill  in- 
dicated that  there  were  many  other 
things  of  value  in  press  books  on  the 
major  attractions,  and  upon  our  in- 
vitation has  been  kind  enough  to 
elaborate  this  thought.  He  is  a  well- 
known  figure  in  the  industry  and 
speaks  with  authority. 


anything  else  on  the  front  and  are  read  by 
hundreds  of  people  weekly.  The  dilTerence 
between  these  printed  ads  and  the  usual  com- 
ing and  program  cards  is  that  the  ads  sell 
the  show,  whereas  the  cards  merely  an- 
nounce it. 

Most  theatres  have  frames  for  displaying 
stills,  and  in  those  at  the  Smoot  the  center 
frames  are  occupied  by  ads  from  press  books. 
These  not  only  inform — they  sell.  We  fre- 
quently use  the  colored  sample  heralds  or 
reproductions  of  posters  we  find  in  press 
books.  They  are  bright  and  good  sellers. 
This  sort  of  copy  adds  interest  to  the  stills 
display. 


Tti'O  of  Yearsley's  Press  Book  Frames 


Theatres  which  have  three-sheet  frames 
at  convenient  reading  height  on  the  front 
or  in  the  lobby  can  make  effective  use  of  a 
one-sheet  or  smash  hand-painted  poster  for 
the  top  two-thirds  of  the  frame  and  fill  the 
space  beneath  it  with  one  of  those  "useless" 
colored  covers,  full-page  newspaper  features 
or  other  by-products  of  the  press  book.  This 
stuff  pasted  on  cards,  bordered  with  a  bit 
of  water  color  and  fastened  with  thumb  tacks 
against  a  permanent  background  of  cloth  or 
changeable  background  of  crepe  or  other 
colored  paper  makes  better  selling  display 
than  any  three-sheet  or  hand-painted  read- 
as-you-run  poster  that  fills  the  entire  frame. 

Press  books  often  contain  very  attractive 
cuts  and  captions  designed  for  the  woman's 
page  of  newspapers :  fashions,  star  por- 
traits and  the  like.  These,  with  a  clipped 
and  mounted  press  book  ad  on  coming  at- 
tractions are  effective  if  neatly  displayed  on 
a  bulletin  board  in  the  ladies'  lounge.  Other 
material,  of  more  general  interest,  suitable 
for  display  in  the  theatre  foyer,  will  be 
glanced  over  by  patrons  in  idle  moments. 

Displays  Must  Be  Interesting 

It  has  been  my  observation  over  many 
years  study  of  theatre  advertising  that  too 
little  attention  is  paid  to  making  the  lobby 
and  front  of  the  house  advertising  interesting 
as  well  as  striking  or  artistic.  The  old  idea 
that  house  advertising  should  all  be  read-as- 
you-run  stuff  can  be  disproved  to  the  profit 
of  any  theatre  advertiser  who  will  take  the 
little  trouble  necessary  to  make  the  test. 

There  is  one  more  angle,  and  an  impor- 
tant one,  to  the  use  of  interesting  material 
from  the  press  book  or  trade  paper  ads,  in 
theatre  front  advertising.  It  attracts  and 
detains  readers  who  have  idle  moments  to 
spare,  and  who,  even  though  they  have  no 
intention  of  buying  a  ticket  at  the  time, 
serve  as  decoys  who  attract  others  who  may 
and  frequently  do  buy.  Life  about  a  theatre 
front  is  good  for  business.  The  read-as-you- 
run  poster,  however  effective,  will  not  hold 
attention.  Press  books  are  full  of  headlines 
and  pictures  which  are  devised  with  almost 
devilish  cunning  to  catch  the  attention  and 
hold  it  until  the  desire  is  created  that  pre- 
cedes every  ticket  bought. 

These  suggestions  by  no  means  exhaust 
the  uses  to  which  the  by-products  of  the 
press  book  may  be  put  by  the  theatre  ad- 
vertiser who  is  really  interested  in  doing  a 
thorough  job.  Try  it  for  a  month  and  see 
for  yourself.  And  the  beauty  of  it  is  that 
this  kind  of  material  is  exactly  what  is 
needed  to  help  sell  the  tough  ones,  pictures 
without  the  Gables,  Munis,  Colberts  or  Gar- 
bos.  It  will  both  save  and  make  money  for 
any  theatre  from  the  de  luxe  to  the  shooting 
gallery. 

Before  closing,  I  must  add  that  much  valu- 
able material  is  to  be  found  in  trade  paper 
ads.  It's  a  pity  that  a  lot  of  those  swell 
colored  inserts  are  not  used  to  gladden  the 
eyes  and  whet  the  box  office  appetites  of  the 
customers.  They'll  do  it.  Try  it  and  see 


72 


MOTION    PICTURE  HERALD 


April    27,  1935 


SOME  OVERSEAS  EXPLOITATION 


La  Madame  Drives  in  Spain 


Cantor  Sells  Candy  in  Sweden 


You  Can  Almost  Hear  the  Trumpet 


They  Do  It  Well  in  Sydney 


(Right)  C.  E.  GRAY,  of  the  Manurewa 
Theatre,  Manurewa,  New  Zealand,  con- 
verted his  foyer  effectively  to  introduce 
showings  of  the  new  Walt  Disneys,  Mickey 
Mouse  and  the  Slllys.  In  addition  to  the 
advance  one-sheet  frannes.  Gray  papered 
the  walls  with  Mickey  and  Minnie  figures. 

(Left)  R.  HUET,  Warner  Brothers  man- 
ager for  Spain,  worked  out  this  crowd- 
stopper  on  "Madame  DuBarry"  at  the 
Fantasio  Theatre,  in  Barcelona.  Royal 
coach  and  four  with  drivers  and  footmen 
in  costume  made  all  principal  sections  of 
the  city.   Gal  was  dressed  in  character. 

V  V  V 

(Right)  R.  E.  BINNS,  Warner  Brothers 
manager  in  China,  is  credited  for  this  ex- 
cellent window  in  the  largest  department 
store  in  Shanghai,  for  the  date  on  "Flirta- 
tion Walk"  at  the  Grand  Theatre.  Chinese 
theatre  cards  also  carried  notice  of  date  and 
attraction. 

{Left)  HARALD  AST  ROM,  United  Ar- 
tists' manager  in  Stockholm,  Sweden,  made 
this  tieup  for  the  date  of  "Kid  Millions"  at 
the  local  Grand  Theatre.  Prominent  candy 
concern  cooperated,  supplying  windows  and 
booking  up  in  other  elective  ways.  That's 
Eddie  doing  the  plug. 

V  V  V 

(Right)  M.  CZABAN,  Paramount  man- 
ager in  Warsaw,  Poland,  engineered  the 
campaign  on  "Scarlet  Empress"  at  the 
Metropolis  Theatre,  in  Poznan.  The  color- 
ful street  bally  was  only  one  part  of  the 
exploitation  with  ushers  in  costume  and 
stage  prologue  to  round  out  the  adver-> 
tising. 

(Left)  RICARDO  COFINO,  manager 
of  the  Palace  Theatre,  in  Guatemala  City, 
Guatemala,  finds  this  type  of  front  very 
successful.  The  flash  depicted  is  on  "The 
Trumpet  Blows,"  and  has  to  do  with  bull- 
fighting with  which  Cofino's  patrons  are 
familiar.   Note  blowups  of  Raft. 

V  V  V 

(Right)  F.  MILUCCI,  Fox  manager, 
Milan,  Italy,  arranged  for  this  lobby  on 
"Caravan"  at  the  Cinema  Odeon.  In  addi- 
tion to  the  trio  in  the  balcony  playing  num- 
bers from  the  picture,  the  display  also  fea- 
tured life  size  figures  of  the  wine  girls. 

(Left)  H.  STUART-CODDE,  publicity 
and  advertising  head  of  the  Fox  Sydney, 
Australia,  office  and  his  staff  arranged  this  ex- 
cellent window  on  "Bright  Eyes"  at  leading 
department  store.  Note  cutout  theatre  copy 
running  across  entire  bottom  of  window. 


Mickey  Wallpaper  in  Australia 


A  Bit  of  All  Right  from  China 


•  ♦ 

hiaftTiTi 

Empress  and  Suite  in  Poland 


Balcony  Musicians  Selling  "Caravan" 


April    2  7,     19  3  5 


MOTION    PICTURE  HERALD 


73 


THE  RELEASE  CHART 


Productions  are  listed  according  to  the  names  of  distributors  in  order  that  the  exhibitor  may  have  a  short-cut  towards  such 
information  as  he  may  need,  as  well  as  information  on  pictures  that  are  coming.  Features  now  in  work  or  completed  for  release 
later  than  the  date  of  this  issue  are  listed  under  "Coming  Attractions."  Running  times  are  those  supplied  by  the  companies. 
Asterisk  indicates  running  time  as  made  known  by  West  Coast  studio  before  announcement  by  home  office  in  New  York.  Varia- 
tions also  may  be  due  to  local  censorship  deletions.  Dates  are  1934,  unless  otherwise  specified.  Letter  in  parentheses  after 
title  denotes  audience  classification  of  production:  (A)  Adult,  (S)  General.  Numerals  following  audience  classification  are  pro- 
duction numbers. 


AMBASSADOR  PICTURES 


FIRST  DIVISION 


star 


Features 

Title 

Fighting  Trooper.  The  Kermit  Maynard- Barbara  Worth 

Northern  Frontier  (G)  Kermit  IVIaynard-Eleanor   Hunt...  Feb. 

Red  Blood  of  Courage  Kermit  Maynard   Apr. 

Wilderness  Mail   (G)  Kermit  Maynard-Fred    Kohler. .  . .  Mar. 

Coming  Attractions 

His   Fighting  Blood  Kermit  Maynard   July 

Sandy  of  the  Mounted  Kermit  Maynard   Sept. 

Timber  War   Kermit  Maynard   May 

Trails  of  the  Wild  Kermit  Maynard  Aug. 


Running  Time 
Rel.  Date      Minutes  Reviewed 

Nov.  15  

I, '35  57. Mar.  9,'35 

20,'35  

13. '35  "58.  Mar.  I6,'35 


I. '35. 
I2,'35. 
27, '35. 

6.'35. 


(Releases   Monogram,    Liberty,   Chesterfield   and   Invincible  pictures  in  certain  territories.) 

Features 

Title  Star  Dist'r  Rel.  Date 

Convention  Girl   Rose  Hobart   Oct. 

Flirtation   Jeannette  Loff- 

Ben    Alexander  Nov. 

Hei    Tiki    (G)  (All  Native  Cast) ...  Principal   Feb. 

Little    Damozel   Anna   Neagle  Dec. 

Return  of  Chandu  Maria  Alba- 

Bela  Lugosi  Principal   Oct. 

Sunset   Range   (G)  Hoot  Gibson- 
Mary   Doran   May 

White  Heat   Virginia  Cherrill  


Running  Time 

Minutes  Reviewed 
31  


1/35.  86. Feb.  9,'35 
4  


'35.  55.  Mar.  9,'35 
 Oct.  I 


CHESTERFIELD 


Features  Running  Time 

Title  Star  Rel.  Date      Minutes  Reviewed 

Circumstantial    Evidence   Chick  Chandler-Shirley  Grey  Mar.  30,'35  .68  

Curtain  Falls.  The  (A)  Henrietta  Crosman   Oct.       I  67  Oct. 

Green  Eyes  (G)  Charles  Starrett-Shirley  Grey.... June 

Shot  in  the  Dark,  A  Charles  Starrett-Marion  Shilling ..  Feb. 

Sons  of  Steel  C.  Starrett-PoUy  Ann  Young  Dec. 

World  Accuses,  The  (G)  Dickie   Moore-Russell   Hopton . .  . . Nov. 

Coming  Attractions 

Girl  Who  Came  Back  

Happiness  C.O.D  


FIRST  NATIONAL 


67  Oct.  8 

5  67  Dec.  8 

5,'35  68  

15  

12  63. Mar.  30,'35 


COLUMBIA 


Rel. 
.Oct. 
.Jan. 

Jan. 


Features 

Title  Star 

Against  the  Law  (A)  John  Mack  Brown-Sally  Blane.. 

Behind  the  Evidence  (G)  Norman  Foster-Sheila  Mannors, 

Best  Man  Wins,  The  (G)  J.  Holt-Florence  Ricc-E.  Lowe 

Beyond  the  Law  (G)  Tim   McCoy-Shirley  Grey  July 

Broadway    Bill    (G)  Warner  Baxter-Myrna  Loy  Dec. 

Carnival    (G)   J.  Durante  -  Lee  Tracy  -  Sally 

Eiiers    -    RIorence    Rice  Feb. 

Death  Flies  East  (G)  Florence  Rice-Conrad  Nagel  Feb. 

Eight  Bells   Ann  Sothern-Ralph  Bellamy  Apr. 

(See  "In  the  Cutting  Room."  Feb.  23,35.) 

Fugitive  Lady  (G)  Neil  Hamilton-Florence  Rice  Oct. 

I'll  Fix  It  Jack  Holt-Mona  Barrie  Oct. 

I'll  Love  You  Always  (G)  Nancy  Carroll-George  Murphy. .  .  Mar. 

In  Spite  of  Danger  (G)  Marian   Marsh-Wallace  Ford  Mar. 

Jealousy  (G)   Nancy  Carroll-Donald  Cook  Nov. 

Lady  by  Choice  (G)  Carole  Lombard  -  May  Robson  - 

Walter  Connolly-Roger  Pryor...Oct. 

Law  Beyond  the  Range  Tim   McCoy-Billie  Seward  Feb. 

Let's  Live  Tonight  (G)  Lilian  Harvey-Tullio  Carminati . .  Mar. 

Men  of  the  Night  (G)  Bruce  Cabot-Judith  Allen  Nov. 

Mills  of  the  Gods  (G)  May  Robson  -  Victor  Jory  -  Fay 

Wray   Dec. 

Party  Wire  (G)  Jean  Arthur- Victor  Jory  Apr. 

Prescett  Kid   Tim  McCoy-Sheila  Mannors  Nov. 

Revenge   Rider   Tim    McCoy-Billie  Seward  Mar. 

(See  "Alias  John  Law"  "In  the  Cutting  Room,"  Dec.  8.) 

Square  Shooter   (G)  Tim  McCoy   Jan. 

Swell   Head   Wallace  Ford-Barbara  Kent  Apr. 

That's  Gratitude  (A)  Frank  Craven-Sheila  Mannors  Oct. 

Unwelcome  Stranger   Jack    Holt-Mona    Barrie  Apr. 

(See  "Gimpy"  "In  the  Cutting  Room,"  Mar.  2,'35.) 

Westerner,  The   Tim   McCoy-Marian  Shilling  Dec. 

White  Lies  (A)  Victor  Jory-Fay  Wray  Nov. 

Whole  Town's  Talking,  The  (G).Edw.  G.  Robinson-Jean  Arthur. .. Feb. 


Running  Time 
Date      Minutes  Reviewed 

25  61  Dec.  I 

20, '35  57.  Feb.     2. '35 

5,'35  68. Jan.  5,'35 

20  57  Dec.  20 

27  •'105  Nov.  10 


10,  '35... 
28,'35  

11.  '35... 


.75.  Feb. 
*65.Mar. 


23,'35 
9, '35 


23  68.  Mar.    16, '35 

15  69  Nov.  17 

20,  '35  68. Apr.     6, '35 

8.'35  56. Apr.    13, '35 

20  60  Dec.  15 

15  *85  Oct.  6 

I5,'35  58  

I,'35  69. Mar.  23,'35 

26  58  Dec.  8 

15  67. Jan.    19, '35 

27,'35...  .'65. Apr.  20,'35 

8  56  

18, '35  57  

21,  '35  57.  Mar.  9,'35 

8,'35  

6  64  Nov.  17 

20,'35  


ID  

27  74. Jan.     5, '35 

22,'35  *93.Jan.    26, '35 


Coming  Attractions 

After  the  Dance  Nancy  Carroll-George  Murphy  

Air  Hawks   Ralph  Bellamy-Tala  Birell  Apr.  30,'35. 

(See  "Air  Fury"  "In  the  Cutting  Room,"   Mar.  30,'35.) 

Awakening  of  Jim  Burke  Florence   Rice-Jack  Holt  

Black   Room   Mystery  Boris  Karloff   

Call  to  Arms  Willard   Mack-Ben  Lyon-Sheila 

Mannors-Wera  Engels   

(See  "In  the  Cutting  Room,"  Nov.  3.) 

China  Roars   

Depths  Below   

Feather  in  Her  Hat,  A  Ruth  Chattcrton   

Fighting  Shadows   Tim  McCoy-Geneva  Mitchell  Apr.  I8,'35. 

Frisco  Fury   Jack  Holt   

Georgiana   Ann  Sothern   

Girl  Friend,  The  Lupe  Velez-Jack  Haley  

Grand  Exit   

If  You  Could  Only  Cook  Claudette  Colbert   

Lsdy  Bcwsrc  - 

Love  Me  Forever  Grace  Moore  -  Leo  Carrillo  - 

Robert  Allen   

Maid  of  Honor  

Men  of  the  Hour  Richard  Cromwell-Billie  Seward.. Apr.  25,'35. 

(See  "In  the  Cutting  Room,"  Apr.  13, '35.) 

Modern  Lady   Ruth  Chatterton   

Range  War   Tim   McCoy-Billie  Seward  

Sure  Fire   Gene  Raymond-Ann  Sothern  

Unknown  Woman   Marian  Marsh-Richard  Cromwell  


DU  WORLD  PICTURES 


Running  Time 
Date      Minutes  Reviewed 

15  90  

15, '35  

15  


Features 

Title  Star  Rel. 

Blue  Light  5029  Leni   Riefenstahl   Oct. 

Camille   Y.  Printemps-Pierre,  Fresnay  Apr. 

Cranquebille  5038   Dec. 

Girl  in  the  Case  5005  Jimmy  Savo-Eddie  Lambert- 
Dorothy  Darling   

Kocha,  Lubi  Szanule  5041  (Polish)   Nov. 

L'Agonie  des  Aigles  (A)  5032.  Pierre   Renoir   Dec. 

Man  Who  Changed   His  Name, 

The  (A)  5036  Lyn  Harding   65. 

Marie  5043   Annabella   Jan.      I,'35  67. 

Old  Bill  5038  Anatole  France  story  Feb.    10, '35  70. 

Viennese  Love  Song  Maria  Jeritza   72. 

World  in   Revolt  Graham  McNamee   Mar.     I, '35  

Coming  Attractions 

Dream  of"  My  People  Cantor  Rosenblatt   


I.... 


.60. 
.72. 
.80. 


.  Dec.  8 
Oct.  27 


Features 

Title 

Babbitt   (G)  869   

Case  of  the  Curious  Bride  879. 
Flirtation  Walk  (G)  752  


Gentlemen  Are  Born  (G)  872.. 
Go  Into  Your  Dance  (G)  853.. 
Gold  Diggers  of  1935  (G)  851. 

Happiness  Ahead  (G)  854  

Living  On  Velvet  859  (G>  

Maybe  It's  Love  (G)  876  

Murder  in  the  Clouds  (G)  877. 

Red  Hot  Tires  (G)  878  

Six  Day  Bike  Rider  (G)  864.. 
Traveling  Saleslady  (G)  870... 
While  the  Patient  Slept  (G)  874 
Woman  in  Red,  The  (G)  863.. 


Star  Rel. 
Aline  MacMahon-Guy  Kibbee..  Dec. 

Warren   William    *pr. 

Dick  Powell  -  Ruby  Keeler-Pat 

O'Brien    Dec. 

Franchot  Tone  -  Jean  Muir   Nov. 

Al   Jolson-Ruby   Keeler   Apr. 

Dick  Powell-Gloria  Stuart   Mar. 

Dick  Powell-J.  Hutchinson....  Oct. 
Kay  Francis  -  George  Brent  - 

Warren   William    Mar. 

Gloria  Stuart-Ross  Alexander..  Jan. 

Lyie  Talbot-Ann    Dvorak   Dec. 

Lyie  Talbot-Mary  Astor    Feb. 

Joe  E.  Brown-Maxine  Doyle...  Oct. 

Joan  Blondell    Apr. 

Aline  MacMahon-Guy  Kibbee..  Mar. 
B.  Stanwyck-Gene   Raymond...  Feb. 


Running  Time 
Date      Minutes  Reviewed 

8  '75  Nov.  17 

I3,'35  68. Apr.    13, '35 

I  97  Nov.  10 

17  *75  Oct.  20 

20,'35  97.  Mar.   23, '35 

16. '35  95.  Mar.   23. '35 

27  86  Sept.  22 

2,'35  80.  Mar.  I6,'35 

I2,'35  62  Nov.  24 

15  61. Jan.  5,'35 

2,'35  66.  Mar.    9, '35 

20  69. ...Nov.  10 

8,  '35  63. Apr.  6,'35 

9,  '35  61.  Mar.  9,'35 

I6,'35  58.  Mar.  30,'35 


.May    25, '35  

..Apr.    27,'35  71 


Coming  Attractions 

Alibi  Ike   Joe  E.  Brown   

(See  "In  the  Cutting  Room,"  Apr.  6, '35.) 

Black    Fury    (G)   Paul   Muni-Karen  Morley  May    18/35  *90.Apr.  6,'35 

Captain    Blood   Robert  Donat-Jean  Muir  

G  Men,  The   James  Cagney- Margaret  Lindsay..  May     4,'35  85  

(See  "In  the  Cutting   Room,"  Apr.  13, '35.) 
Girl  From  Tenth  Avenue,  The..Bette  Davis-Ian  Hunter  

(See  "Men  on  Her  Mind"  "In  the  Cutting  Room,"  Mar.  30, '35.) 
in  Caliente  856   Dolores  Del   Rio-Pat  O'Brien.. 

(See  "In  the  Cutting   Room,"   Feb.   2, '35.) 
Mary  Jane's  Pa  875  Aline  MacMahon-Guy  Kibbee.. 

(See  "Wanderlust"  "In  the  Cutting  Room,"  Mar.  2, '35.) 

Napoleon   Edw.  G.  Robinson-Bette  Davis. 

Singer  of  Naples   Enrico   Caruso,  Jr  


FOX  FILMS 

Features 

Title 

Baboona  (G)  530  

Bright  Eyes    (G)  524  

Charlie  Chan  in  Paris  (G)  526 
County  Chairman,  The  (G)  525 
First  World  War,  The  (A)  519 

Gambling   (A)  512  

George   White's    1935  Scandals 

(A)  534 
Great  Hotel  Murder  "(G)  "532! 

Helldorado   (G)  522  

Hell  in  the  Heavens  (A)  517. 
It's  a  Small  World  (A)  536. . 

Ladies   Love   Danger  540  

(See  "Secret  Lives"  "In 
Life  Begins  at  40  (G)  533... 

Liliom  (A)   

Little  Colonel  (G)  531  

Lottery  Lover  (G)  523  

Music  in  the  Air  (G)  513... 


Star  Rel. 

Mr.  &  Mrs.  Martin  Johnson  Feb. 

Shirley  Temple-James   Dunn  Dec. 

Warner  Oland   Jan. 

Will    Rogers   -..Jan. 

 Nov. 

George  M.  Cohan   Nov. 


Mystery  Woman  (G)  515.. 
One  More  Spring  (G)  529. 
Peck's  Bad  Boy  (G)  516.. 


Spring  Tonic  535  

(See  "Man  Eating  Tiger" 

$10  Raise  (G)  537  

Under   Pressure  521  

(Reviewed  under  the  title 
When  a  Man's  a  Man  (G)  527. 
White  Parade,  The  (G)  518... 


Alice   Faye-James  Dunn  

Edmund  Lowe-Victor  McLaglen. 
Richard  Arlen-Madge  Evans... 
Warner  Baxter-C.  Montenegro.. 
Spencer  Tracy- Wendy  Barrie... 
Gilbert  Roland-Mona  Barrie... 
th.e  Cutting  Room,"   Mar.  30,'35. 

Will  Rogers   

Charles  Beyer   

Shirley  Temple-L.  Barrymore.. 
"Pat"  Paterson-Lew  Ayres.... 
Gloria  Swanson  -  John  Boles  - 

Douglass  Montgomery   

Mona  Barrie-Gilbert  Roland... 
Janet  Gaynor-Warner  Baxter... 
Jackie  Cooper-Thomas  Meighan- 
Dorothy  Peterson-Jackie  Searl 

Lew   Ayres-Claire  Trevor  

"In  the  Cutting  Room,"  Mar.  9, 

Edward   Everett  Horton  

Edmund  Lowe-Victor  McLaglen. 
"Man  Lock") 

George  O'Brien   

John  Boles-Loretta  Young  


Mar. 
Mar. 
Dec. 
Nov. 
Apr. 
Apr, 
) 

Mar. 
Mar. 
Feb. 
Jan. 

Dec. 
Jan. 
Feb. 

Oct. 
Apr. 
,'35.) 
Apr. 
Feb. 

Feb. 
Nov. 


Running  Time 
Date      Minutes  Reviewed 

8,'35  72. Jan.    26, '35 

28  83  Dec.  15 

25,  '35  70. Jan.  5,'35 

1 1,  '35  78  Dec.  29 

23  78  Nov.  17 

3  80  Dec.  M 

29,'35  83. Apr.     6, '35 

8,'35  70. Feb.  23,'35 

21  74  Dec.  15 

9  80  Nov.  3 

12,  '35  71. Apr.  6,'35 

26,  '35  

22,'35  79. Mar.  23,'35 

16, '35  90. Mar.  23.'35 

22,'35  80.  Feb.  I6,'35 

4,'35  82.  Feb.  9,'35 

7  81  Dec.  22 

I8,'35  69. Jan.  26,'35 

I5,'35  87.  Feb.  9,'35 


19  69  Sept. 

I9,'35  58  


S 


5,'35  70. Mar.  23, '35 

1,'35  69. Jan.  I9,'35 

I5,'35  66.  Mar.  2,'35 

16  83  Oct,  27 


.Juna  I. 


Coming  Attractions 

Argentina   Alice    Faye-Gilbert  Roland  

Black  Sheep   Edmund   Lowe-Claire  Trevor  June     7, '35  

Ctiarlie  Chan  in  Egypt  Warner  Oland-"Pat"   Paterson. . .  June    14, '35  

Cowboy    Millionaire   538  George    O'Brien   May  I0,'35  

Dante's  Inferno   Claire  Trevor-Alice  Faye  

(See  "In  the  Cutting  Room,"  Mar.  2_,'35.) 
Daring  Young  Man,  The  528..  James  Dunn-Mae  Clarke  May  I7,'35  

(See  "Man   Proposes  '  "In  the  Cutting  Room,"  Apr.  6,'35.) 

Farmer  Takes  a  Wife,  The  Janet  Gaynor-Henry  Fonda  

Doubting  Thomas  (G)  542  Will   Rogers   May   3I,'35  "75. Apr.  20,'35 

Ginger   Jackie  Searle-Jane  Withers  

In  Old  Kentucky   Will  Rogers   

Orchids   To    You  Jean  Muir   June  2I,'35  

Our  Little  Girl  539  Shirley  Temple   May     3, '35  

(See  "In  the  Cutting  Room,"  Apr.  6,'35.) 

Redheads  on  Parade  John    Boles-DIxle  Lee  

Under  the  Pampas  Moon  541...  Warner  Baxter-Ketti    Gallian  May  24,35  

Work  of  Art   Lew  Ayres-Claire  Trevor  June  28,'35  


74 


MOTION    PICTURE  HERALD 


April    27,  1935 


tTHC  RELEASE  CHACT—CCNT'D) 


SB  PICTURES 


Features 

Title  Star  ReJ. 

Chu  Chin  Chow  (G)  3401  Anna  May  Wong-George  Robey.-  Oct. 

Evensong    (A)    3406  Evelyn  Laye   Dec. 

Evergreen  (A)   3405  Jessie  Matthews-Sonnie  Hale  Dec. 

Iron  Duke,  The  (G)  3407  George  Arliss   ian. 

lack  Ahoy   (G)   3404  Jack  Hulbert   Feb. 

Little  Friend  (A)  3403  Nova  Pilbeam-Matheson  Lang  Nov. 

Lover  Divine  3410  Marta  Eggerth   Mar. 

(Reviewed  under  the  title   "Unfinished  Symphony") 

Loves  of  a   Dictator   (A)  Clive   Brook-Madeleine  Carroll ..  Apr. 

Man  Who  Knew  Too  Much.  The 

(G)    3415   Peter  Lorre-Nova  Pilbeam  Apr. 

Man  of  Aran  (A)  3413  Robert  Flaherty   Dec. 

My  Heart  Is  Calling  (G)  3409.  Jan   Kiepura   May 

My  Song  for  You  3414  Jan   Kiepura   June 

Power  (A)  3402   Conrad   Veidt-Benita  Hume  Nov. 

Princess  Charming  3408  Evelyn  Laye-Henry  Wilcoxon  Jan. 

INVINCIBLE  PICTURES 

[Distributed  through  Chesterfield] 

Features  Running  Time 

Star  Rel.  Date       Minutes  Reviewed 

Ghost  Walks,  The   John  Miljan-June  Collyer  Dec.  I  

Public    Opinion   Lois  Wilson-Shirley  Grey  Mar.    15,35  bb  

Symphony   for    Living  Evelyn  Brent-AI  Shean  Jan.    20,  35  75  

Coming  Attractions 

Death   from   a    Distance  Russell  Hopton-Lola  Lane  Apr.    30,  35  

Dinner  Party   

Murder  at  Pinecrest  

Room  and  Board   


Running  Time 
Date       Minutes  Reviewed 

15  95  Sept.  29 

15  82  N  ov.  3 

31  98  June  23 

'35  90  Dec.  22 

8,'35  70.  Feb.  I6,'35 

18  88  Oct.  20 

30, '35  Oct.  13 

I, '35  95. Feb.  I6,'35 

15, '35  80  Dec.  29 

 77  Oct.  27 

I, '35  90.  Feb.  2,'35 

I, '35  Nov.  ID 

I  103  Oct.  13 

•35  81  


LIBERTY  PICTURES 


star 

.Leila  Hyams-Phillips  Holmes. 


Oct. 


Fentures 

Title 

No    Ransom    (A)  1004 

Once   to    Every    Bachelor  (A)   

1005   Martan  Nixon-Neil  Hamilton  Dec. 

School    F^or  Girls    (A)    1007. ..  Sidney  Fox-Paul   Kelly  Feb. 

Sweepstake   Annie    (G)  Marian  Nixon-Tom   Brown  Mar 

Two    Heads   on   a   Pillow  (A) 
1006 

When  Strangers 


Running  Time 
Rel.  Date      Minutes  Reviewed 


8.. 


.70. ...July  21 


14  72  May  10 

19, '35  73. Mar.     9, '35 

5, '35  81.  Feb.  23,'35 


Meet  1002. 
Without   Children  1008  

Coming  Attractions 

Dizzy  Dames   

I'll  Bet  You 


Neil  Hamilton-Miriam  Jordan.  ..  .Oct. 
Richard  Cromwell-Arline  Judge.  ..July 
M.  Churchill-Bruce  Cabot  Apr. 


2  

20  

15. '35. 


.71  . 
.74. 


.Oct.  13 


.  M.  Rambeau-Florine  McKinney 
H.  B.  Warner-Onslow  Stevens.. 


.May     I, '35. 


Old  Homestead.  The  Mary  Carlisle-Lawrence  Gray. 


MAJESTIC 


Features 

Title 
Night  Alarm 


Star 


(G) 


.*63. 


Sept. 
.  Dec. 


Running  Time 
Rel.  Date      Minutes  Reviewed 

505   Bruce  Cabot-Judith  Allen-H.B.    (New  York) 

Warner  -  Fuzzy  Knight  Dec.    15.^  b5 

Perfect  Clue,  The  (G)  512  David   Manners-Dorothy  Libairc . .  Mar.  10.35. 

She  Had  to  Choose  (G)  504...  Larry  "Buster"  Crabbe  -  Isabel 

Jewell  -  Sally  Blane   Sept.  14  

Coming  Attractions  ,    ,       „  .rs  Mar  so  35 

Motive  for  Revenge   (G)  Donald  Cook  -  Irene  Hervey..   65. Mar.  3U,  3a 

Mutiny   Ahead   Neil  Hamilton-Kathleen  Burke  

(See  "In  the  Cutting  Room."   Jan.  26. '35.) 


.65. ...Aug.  II 


MASCOT  PICTURES 


Features  „  , 

Title  Star  ^<^'- 

Behind  the  Green  Lights  (G)..  Norman   Foster-Judith   Allen  Mar. 

Crimson  Romance  (A)  '^en  Lyon-Sari  Maritza  Oct. 

In  Old  Santa  Fe  (G)  Ken   Maynard-Evalyn   Knapp  Nov. 

Little  Men  (G)   Erin  O'Brien-Moore-R.  Morgan ...  Dec. 

Lost  Jungle.  The  Clyde  Beatty   

Marines  Are  Coming,  The  William    Haines- Armida 

Conrad  Nagel-Esther  Ralston 
Young  and  Beautiful  (A)  William   Haines-Judith  Allen. 

Comina  Attractions 

Headline' Woman   Roger  Pryor-Heather  Angel.... 

One  Frightened  Night  Chas.  Grapewin-Mary  Carlisle. 


Running  Time 
Date      Minutes  Reviewed 

II, '35  70. Mar.   23. '35 

I        ...67  Oct.  6 

15   63....  Nov.  24 

14   72  Dec.  22 

13  68  


Nov. 
Sept. 


May 
.May 


20.... 
2  

I5,'35. 
I,'35. 


.70.. 
.68.  . 


.  Dec. 

Sept. 


15 


METRO-GOLDWYN-MAYER 

Features 

Title  Star 

After  Oflicc  Hours  (G)  C.    Bennett-Clark  Gable  

Babes  in  Toyland  (G)  Laurel  and  Hardy-C.  Henry  

Baby  Face  Harrington   (G)  Charles  Butterworth  .... 

Barretts  of  Wimpole  Street  (A).  Norma   Shearer-Charles  Laugh- 

ton-Fredric  March   

Band  Plays  On.  The  (G)  Robt.  Young-Betty  Furness  

Biography  of  a  Bachelor                                  .       ..  j- 
Girl   (A)   R.  Montgomery-Ann  Harding  

Casino  Murder  Case  Paul  Lukas   

(See  "In  the  Cutting   Room."   Feb.    16.  35.) 

David  Copperfield  (G)  Frank   Lawton  -  Freddie  Bar- 
tholomew -  W.  C.  Fields  -  L. 
Barrymore-Edna    M.  Oliver  

Evelyn    Prentice    (A)   William   Powell-Myrna  Loy.  

Forsaking  All  Others  (A)  Joan  Crawford  -  Clark  Gable  - 

Robert  Montgomery   

Gay  Bride.  The   (A)  Carole   Lombard-Chester  Morris. 

Have  a  Heart  (G)  Jean   Parker   -   James   Dunn  - 

Stuart  Erwin  -  Una  Merkel... 

Mark  of  the  Vampire   (A)  L.   Barrymore-Bela  Lugosi  

Merry  Widow.  The   (A)  Maurice  Chevalier-J.  MacDonald.. 

Naughty  Marietta  (G)  J.   MacDonald-Nelson  Eddy  

Night  Is  Young.  The  (G)  Ramon   Novarro-Evelyn  Laye  

One  New  York   Night  Franchot   Tone-Una  Merkel  

(See  "Mystery  in  Room  309"  "In  the  Cutting  Room."  Mar 

Painted  Veil,  The  (A)  Greta   Garbo- Herbert  Marshall- 
George  Brent   

Reckless   (A)   Jean  Harlow-Wm.  Powell  

Sequoia  (G)   Jean  Parker- Russell  Hardie  

Shadow  of  Doubt  (G)  Ricardo  Cortez- Virginia  Bruce.. 

Society  Doctor   Chester  Morris-V.  Bruce  

(Reviewed  under  the  title  "Only  8  Hours") 

Times  Square  Lady  (G)  Robert  Taylor-Virginia  Bruce... 

Vanessa:  Her  Love  Story   (A).  Helen  Hayes-Robert  Montgomery. 

West  Point  of  the  Air  (G)  Wallace  Beery- Robert  Young  

What  Every  Woman  Knows  (G).  Helen  Hayes-Brian  Aherne  .... 

Wicked  Woman  (A)  Mady  Christians-Chas.  Bickford. 

Winning  Ticket.  The  (G)  Leo  Carrillo-L.  Fazenda  


Running  Time 
Rel.  Date       Minutes  Reviewed 

Feb.   22.'35  73.  Feb.  I6.'35 

Nov.    30  79  Nov.  24 

Apr.    1 2. '35  63.  Mar.  30.'35 


Dec.    21  . 


Jan. 
Mar. 


Jan. 
Nov. 


4. '35. 


I8.'35. 
9  


Dec.  28.. 
Dec.  14.. 


Sept. 
Apr. 
Nov. 
Mar. 
Jan. 
Apr. 


16. '35.) 


7  

26. '35. . . 

2  

29, '35... 
1 1,'35. . . 

5,'35.  .  . 


III. 

.  .  .Aug. 

4 

85. 

. . .  Dec. 

29 

.84. 

...  Dec. 

29 

.  133. 

Jan.  I9,'35 

.  .80. 

...  Nov. 

3 

84. 

. . .  Dec. 

8 

82. 

. .  .Nov. 

17 

.  .S2. 

.  .  Oct. 

27 

.  .60. 

Apr.  6. 

'35 

100. 

.  .  Sept. 

8 

.106. 

Mar.  2. 

'35 

.  .82. 

 Dec. 

29 

71 

8B 

.  ...  Nov. 

10 

Nov.  23  

Apr.    19. '35  99. Apr     13, 'Si 

Feb.     I. '35  72. ..Nov.  17 

Feb.    15. '35  75.  Feb.     9. '35 

Jan.    25, '35  68,  Jan.    12. '35 

Mar.     8,'35  69. Mar.     2. '35 

Mar.  I, '35...    77.  Feb.    23. '35 

Mar.  22, '35  *8B  Mar.    16, '35 

Oct.     19  92  Oct.  13 

Dec.      7  74.   .  .  Dec.  I 

Feb.     8. '35  70. Jan.    19. '35 


Comma  Attractions 

Age  of  Indiscretion  May  Robson-Madge  Evans  May  10.35. 

(Ooe  "'"  the  Cutting  Room."  Mar.  30. '35.) 

Anna  Karenina   "'•"♦a  Garbo-Fredric  March  

China  Seas   Wallace  Beery-Clark  Gable   


Running  Time 

Title  Star  Rel.  Date       Minutes  Reviewed 

Flame  Within,  The  Ann  Harding-Herbert  Marshall ...  May    17, '35  

Garden  of  Allah,  The  Joan  Crawford   

Masquerade   William  Powell   

Mutiny  on  the  Bounty   Clark   Gable-Charles  Laughton- 

Robert  Montgomery   

Murder  in  the  Fleet  Robert  Taylor-Jean  Parker  May  24.'35  

No  More  Ladies  Joan  Crawford   June  I4,'35  

Public  Hero  No.  1  Chester  Morris-Jean  Arthur  May    31, '35  

(See  "In  the  Cutting  Room,"  Mar.  30, '35.) 

Typee   Mala.  Lotus  Long   

Vagabond   Lady   Robert  Young-Evelyn  Venable. .  . .  May     3, '35  73  

(See  "In  the  Cutting  Room^"   Mar.  I6.'35.) 

MONOGRAM  PICTURES  CORPORATION 


Features 

Title  Star  Rel. 

Desert  Trail   John  Wayne-Mary  Kornman   Apr. 

(See   "In  the  Cutting   Room."    Feb.  23, '35.) 
Flirting  With  Danger  (G)  3023.  Robert  Armstrong-Marion  Burns. .  Dec. 
Girl   of  the   Limberlost  (G) 

3001   Marian  Marsh-Ralph  Morgan  Oct. 

Girl  0'  My  Dreams  (G)  3015  .  Mary  Carlisle-Crei ghton  Chaney  .Nov. 

Great  God  Gold  (A)  Sidney   Blackmer-Gloria  Shea..  . Apr. 

Happy   Landing   (G)   3029  Ray  Walker-Jacqueline  Wells  Sept. 

Lawless  Frontier  (G)  3033  John  Wayne-Sheila  Terry   Nov. 

Lost  in  the  Stratosphere  (G) 

3020   June  Collyer-William  Cagney  Nov. 

Million  Dollar  Baby  (G)  Arline  Judge  -   Ray  Walker  - 

Jimmy  Fay   Jan. 

Monte  Carlo  Nights  (A)  2024..  Mary  Brian-John   Darrow  May 

Mysterious    Mr.    Wong,  The 

(A)  3022   Bela  Lugosi-Wallace   Ford  Jan. 

Mystery  Man  (G)  Robert  Armstrong   Apr. 

'Neath  Arizona  Skies  (G)  3032. John  Wayne-Sheila  Terry  Dec. 

Nut  Farm.  The  (G)  Wallace  Ford   Mar. 

Rainbow  Valley  (G)  John  Wayne-Lucille  Brown  Mar. 

Reckless  Romeos  (G)  3019  Robt.   Armstrong- Wm.  Cagney  

Redhead   (A)   3012  Bruce  Cabot-Grace   Bradley  Nov. 

Sing  Sing  Nights   (A)  Conway  Tearle-Mary   Doran  Dec. 

Star  Packer.  The  2041  John  Wayne-Verna  Hillie  July 

Successful  Failure,  A  (G)  3024.  Wm.  Collier,  Sr.   -  Lucille 

Gleason   Oct. 

Texas   Terror   John   Wayne   Feb. 

Tomorrow's  Youth  3021  Dickie  Moore  -  Martha  Sleeper  - 

John  Miljan-Gloria  Shea  Sept. 

Trail  Beyond.  The  (G)  3031..  .  John  Wayne-Verna  Hillie  Oct. 

Women  Must  Dress  (G)  Minna  Gombell-Gavin  Gordon ...  Feb. 

Coming  Attractions 

Cheers  of  the  Crowd  

Dawn   Rider.   The  John  Wayne-Marion  Burns   

Healer.  The   Ralph   Bellamy-Karen  Morley  

(See  "In  the  Cutting   RMm,"  Apr.   13, '35.) 

Honeymoon   Limited   Neil    Hamilton-Irene  Hervey.... 

Hoosier  Schoolmaster,  The  (G) .  Charlotte   Henry-Norman  Foster. 

Keeper  of  the  Bees,  The  Neil  Hamilton-Betty  Furness...  . 

Paradise  Canyon   John  Wayne-Marion  Burns  


Running  Time 
Date      Minutes  Reviewed 
22.'35  54  


.70. 


.Nov.  17 


15  86  Sept.  I 

17  65  Nov.  16 

I5.'35  72.  Mar.  9,'35 

I  63  Aug.  4 

22  54.  Feb.  2,'35 


15. 


.64.... Oct.  27 


I5,'35. 

20.... 


..65. 
..62. 


.  Dec.  20 


25. '35  68. Jan.  I9.'35 

25,'35  62.  Feb.  I6,'35 

5  52  Dec.  15 

25. '35  65.  Feb.  9.'35 

I5,'35  52.  Mar.  I6,'35 


I . 
15. 
30. 


.76  Sept.  22 

.60.  Feb.  2, '35 
.54  


15.... 
I,'35. 


.62. ...Get. 
.  .51  


15  63  

22  55  Sept.  22 

I, '35  77.  Jan.    26, '35 


May    I5,'35  75. Apr.  i3,'35 


PARAMOUNT 


Running  Time 
Date      Minutes  Reviewed 

22.  '35  *85.Feb.  23,'35 

7  79  .  Feb.  23,'35 

l.'35....*75.Feb.  I6,'35 

23  '83  Nov.  10 

4.'35  83  Nov.  8 

21  *65  Dec.  I 

I9.'35  74. Apr.  6,'35 

25. '35  80. Jan.  5,'35 

25  76  Dec.  8 

I2,'35  63.  Mar.  30.'3 

21  55.  Mar.  2,'35 

30  68  Nov.  24 

9  66  Dec.  22 

I8.'35  89. Jan.  5. '35 

15. '35. .  .  .  '77.  Mar.  9,'35 

29.'35  65. Mar.  9,'35 

22,  '35....*80.Mar.  2,'35 


Features 

Title  Star  Rel. 

All  the  King's  Horses  (G)   3430.  Mary  Ellis-Carl  Brisson  Feb. 

Behold  My  Wife  (A)  3419  Sylvia  Sidney-Gene   Raymond ..  .Dec. 

Car  99  (G)  3432  Fred  MacMurray-Ann  Sheridan ...  Mar. 

College  Rhythm  (G)  3417  Joe  Penner-Lanny  Ross  Nov. 

Enter  Madame  (A)  3414  Elissa   Landi-Cary   Grant  Jan. 

Father  Brown.   Detective  (G) 
3420   Walter  Connolly-Paul  Lukas- 

Gertrude  Michael   Dec. 

Four  Hours  To  Kill  (A)  Richard   Barthelmess   Apr. 

Gilded  Lily,  The  (G)  3426  C.  Colbert-Fred  MacMurray  Jan. 

Here  Is  My  Heart  (G)  3423...  Bing  Crosby-Kitty  Carlisle  Dec. 

Hold  'Em  Yale  (G)  Patricia   Ellis-Cesar   Romero  Apr. 

Home  on  the  Range  (G)  3421.  Jackie  Coogan-Randolph  Scott  .  .  .Dec. 

It's  a  Gift  (G)  3418  W.  C.  Fields-Baby  LeRoy  Nov. 

Limehouse  Blues  (A)  3415  George   Raft-Jean   Parker  Nov. 

Lives  of  a  Bengal  Lancer  (G) 

3427   Gary  Cooper- Franchot  Tone  Jan. 

Love  in  Bloom  (G)  3434  Joe   Morrison- Dixie  Lee   Mar. 

McFadden's  Flats  ((3)  Betty  Furness-Richard  Cromwell ..  Mar. 

Mississippi  (G)  3433  Bing  Crosby-Joan   Bennett  Mar. 

Mrs.    Wiggs   of  the  Cabbage 

Patch  (G)  3407  Pauline  Lord  -  W.  C.  Fields  - 

Zasu   Pitts   -    Kent  Taylor  - 

Evelyn   Venable   Oct. 

One  Hour  Late  (G)  3422  Joe   Morrison-Helen  Twelvetrees  .  Dec. 

President  Vanish'es   (G)  3416  .  Arthur  Byron-Janet  Beecher  Jan. 

Private  Worlds  (A)  3435  C.  Colbert-  J.  Bennett-C.  B oyer.  Apr. 

Pursuit   of    Happiness,  The 

(A)  3409   Francis  Lederer-Joan  Bennett. ...  Nov. 

Rocky  Mountain  Mystery  3428.  .  R.  Scott-Chas.  "Chic"  Sale  Feb. 

'See  "Vanishing  Pioneer"  "In  the  Cutting  Room."  Nov.  10.) 
Ruggles  of  Red  Gap  (G)  3431.  Charles  Laughton-Mary-Boland- 

Charles   Ruggles-Zasu  Pitts.  ...  Mar. 

Rumba  (A)  3429   George  Raft-Carole  Lombard  Feb. 

Scoundrel.  The   Noel  Coward-Julie  Haydon  Apr. 

Stolen  Harmony   Georqe    Raft-Ben    Bernie  Apr. 

(See  "In  the  Cutting  Room,"  Feb.  2. '35.) 
Wings  in  the  Dark  (G)  3424  .  Cary   Grant-Myrna  Loy  Feb. 

C oming  Attractions 

;ollege  Scandal   Arline  Judge-Kent  Taylor  

Crusades,  The   Loretta  Young-Henry  Wilcoxon  

(See  "In  the  Cutting  Room,"   Mar.  30, '35.) 
Devil  Is  a  Woman.  The  (A) . . .  Marlene   Dietrich-Cesar  Romero  .  May     3, '35. 
Glass  Key,  The  George   Raft   May  3I,'35  

(See  "In  the  Cutting  Room."   Mar.  30, '35.) 
Coin'  to  Town   Mae  West   May  I7,'35  

(See  "How  Am   I    Doin'?"   "In  the  Cutting   Room,"   Feb.  23. '35.) 

Men  Without  Names  Fred  MacMurray-Madge  Evans  

Milky  Way.  The   Harold  Lloyd-Adolphe  Menj'ou  

Onre  in  a  Blue  Moon  3425  J.  Savo-Michael   Dalmatoff  May    10, '35  

Paris  in  Spring  Tullio  Carminati-Mary  Ellis  

(See   "In  the  r.uttinj   Room."    Feb.   23. '35.)  „^  .         -  ,,,, 

People  Will  Talk  (G)  Chas.    Rugqles-Mary    Boland  May    24,'35  67. Apr.  8,35 

So   Red  the   Rose  Margaret  Sullavan-Fred  Stone- 
Pauline  Lord   • 

PRINCIPAL 

Fentures  Running  Time 

jHlg  star  Rel.  Date      Minutes  Reviewed 

little   Damozel  722   Anna  Neagle-James   Rennie  June    II  59  

Peck's    Bad   Boy    (G)  Jackie  Cooper-Thomas  Meighan- 

516  Dorothy  Peterson-Jackie  Searl.  .Oct.     19  69  Sept.  a 

RetMrn  of  Chandu.  The 

300-312   Bela  Lugosi-Maria  Alba  Oct.      I  65  


19 

73. 

...Aug.  23 

14  

. . .75. 

...Dec.  8 

1 1.'35.. 

. . .83. 

...Nov.  24 

I9.'35. . 

..84. 

Mar.  I6,'35 

16  

.. .72. 

...Sept.  15 

8,'35 

...63 

8. '35.  . 

..*90. 

Feb.  I6,'35 

15.'35.  . 

..*70. 

Feb.  2,'35 

.  ..73 

I,'35.. 

.. .75, 

Jan.  I9,'35 

.80.  Mar.  2,'35 


April    27,  1935 


MOTION    PICTURE  HERALD 


75 


(TtiE  I^ELEASE  CHACT— CCNT'D) 


RKO  RADIO  PICTURES 


Features 

Title 

Anne  of  Green  Gables  (G)  507. 

Captain  Hurricane  (G)  

Dangerous  Corner   (A)  506.... 

Dog  of  Flanders  (G)  

Enchanted  April.  The  (A)  

Gay  Divorcee.  The  (G)  505  

Gigolette   

Grand  Old  Girl  (G)  519  

Gridiron  Flash  (G)  SI  I  

Laddie  (G)   

Lightning    Strikes    Twice  (G) 

517   

Little  Minister  (G)  512  

Murder  on  a  Honeymoon  (G).. 

People's  Enemy   

Red  Morning  (G)  515  

Roberta  (G)   

Romance  in  Manhattan  (G)  518. 

Silver  Streak,  The  (G)  513  

Star  of  Midnight  (G)  

Strangers  All  (G)  

West  of  the  Pecos  (G)  516  

Woman  in  the  Dark  (G)  


Star  Rel. 

Anne  Shirley-Tom  Brown  Nov. 

James  Barton-Helen  Westley  Mar. 

Melvyn  Douglas- Virginia  Bruce- 
Conrad  Nagel   Oct. 

Frankie  Thomas- Helen  Parrish .  .  .  Mar. 

Ann   Harding-Frank   Morgan  Feb. 

Fred  Astaire-Ginger  Rogers  Oct. 

Adrienne  Ames-Ralph  Bellamy.  ..  Feb. 

May  Robson-Hale  Hamilton  Jan. 

Eddie  Quillan-Betty  Furness  Oct. 

John   Beal-Gloria  Stuart  Apr. 

Ben  Lyon-Pert  Kelton  Dec. 

Katharine  Hepburn-John  Beal . .  .  Dec. 

Edna  May  Oliver-J.  Gleason  Feb. 

Preston  Foster-Melvyn  Douglas.  ..  Mar. 

Stefli  Duna-Regis  Toomey  Dec. 

Irene  Dunne  -   Fred  Astaire  - 

Ginger   Rogers   Mar. 

Francis  Lederer-Ginger  Rogers.  .  .Jan. 

Sally  Blane-Charles  Starrett  Dec. 

William  Powell-Ginger  Rogers.  .  Apr. 

May   Robson   Apr. 

Richard   Dix-Martha  Sleeper  Jan. 

Fay  Wray-Ralph  Bellamy  Nov. 


Running  Time 
Date      Minutes  Reviewed 

23  79... Oct.  27 

I. '35  72. Feb.    16, '35 

5  67. Jan.  I8.'35 

22,'35....*72.Mar.  2.'35 

I, '35  *78  Dec.  15 

19  *I07  Oct.  18 

15, '35  

18,  '35  72. Jan.  I2,'35 

26  64. Jan.    26, '35 

5, '35  egi/aMar.  9,'35 

7  66.  Mar.     2, '35 

28  110  ...Dec.  22 

22,'35  731/2  Feb.    2. '35 

15,'35  70  

14  63. Apr.    20, '35 

8,'35.  .  .  .  I  051/2  Feb.  23, '35 

II. '35  78  Dec.  I 

21  72  Dec.  8 

19.  '35  90. Apr.  6,'35 

26, '35          70.  Mar.   30, '35 

4. '35  69. Jan.      5. '35 

9  70  Dec.  8 


Coming  Attractions 

Becky  Sharp   Miriam  Hopkins   

(See  "In  the  Cutting  Room,"  Mar.  9.  35.) 
Break  of  Hearts  K.  Hepburn-Charles  Boyer  

(See  "In  the  Cutting  Room,"  Apr.  6, '35.) 

Chasing  Yesterday  (G)  Anne  Shirley   May  10,'35... 

Hooray  for  Love  Gene  Raymond-Ann  Sothern  

(See  "In  the  Cutting  Room,"  Apr.  13, '35.) 
Informer,  The   V.  McLaglen-Margot  Grahame.   

(See  "In  the  Cutting  Room,"  Mar.  16. '35.) 
Nitwits,  The   Wheeler  and  Woolsey  

(See     in  the  Cutting  Room,"  Mar.  30, '35.) 

Peacemaker,  The   Richard  Dix-Margot  Grahame  

She   Helen  Gahagan- Randolph  Scott  

Top  Hat   Fred  Astaire-Ginger  Rogers  

Village  Tale   Randolph  Scott-Kay  Johnson  May  3,'35... 

(See  "In  the  Cutting  Room,"  Mar.  2,'35.) 


■80. Apr.  6,'35 


STATE  RIGHTS 


13. 

29  . .  .  . 

I4,'35. 

24  

12  

24 ... . 


.68. 
.60. 


.  Dec. 
.  Dec. 


Features  Running  Time 

Star  Dist'r  Rel.  Date       Minutes  Reviewed 

Are  You  a  Mason?  (A) . . . .  Sonnie   Hale   M.  J.   Kandel  Oct.    ^9    _  .  .  M.      Noi.  3 

Calling  All  Cars  (G)  Jack  LaRue   Empire  Films  ..    Jan.    25,  35.    .67. Jan.  io.i^ 

Cowboy   Holiday  (G)  Big  Boy  Williams ...  Syndicate   Jan.      1.  35  .  .57  .  Jan.    26,  35 

Cyclone  Ranger,  The  (G)..Bill  Cody   Spectrum  Pictures  ■_  co     "  n  „  '  ?o 

Dealers  in  Death  (A)  Topical  Films  ...  Dec.  " 

Life  in  the  Congo  (G)  Kinematrade   Nov. 

Lost  City,  The  (G)  Wm.  Boyd  -  Claudia  ^  . 

Dell   Regal    Pictures. .  Fen. 

Loyalties   Basil   Rathbone    ...   Harold  Aulen  ..  .Oct. 

Man  of  Courage  (G)  Eureka   Nov. 

Norah  O'Neale   Lester  Mathews  ....Guaranteed 

Pirtures   Oct. 

Maryjka   Ina  Benita   Principal  Film  ...Dec. 

Sangen  Till  Heine  (G)  Martin  Osman   Scandinavian   i-i      ''n  H 

Ticket  to  a  Crime  (G)  Ralph  Graves   Syndicate   Dec.    15  67. ...Dec.  29 

War  Is  a  Racket  (A)  Eureka  Prod  Dec.      8  68  Dec.  29 

Woman  Condemned   Claudia  Dell   Marcy  Pictures  ...Apr.     4  bb  


,74.  Mar.     9. '35 

.74  Nov.  3 

.95. .  .  .Nov. 


24 


.66. 
.65. 


.  .  Nov. 
. .  Dec. 


UNITED  ARTISTS 


Features 

Title  Star  Rel. 

Clive  of  India  (G)  Ronald   Colman-Loretta   Young.  .Jan. 

Folics  Bergere  (G)   Maurice  Chevalier-Merle  Oberon.  Feb. 

Kid  Millions  (G)  Eddie  Cantor  -  Ann  Sothern  - 

Ethel   Merman   Dec. 

Last  Gentleman,  The  (G)  George  Arliss   ..Sept. 

Les  Miserables   (G)  Fredric  March-C.  Laughton ......  Apr. 

Mighty  Barnum,  The  (G)  Wallace  Beery  -  Adolphe  Men- 

jou-Janet  Beecher-V.  Bruce ....  Dec. 

Private  Life  of  Don  Juan,  The.  Douglas  Fairbanks,  Sr.  -  Merle 

Oberon   Nov. 

Runaway  Queen   Anna   Neagle-Fernand  Graavey.  . .  Dec. 

Scarlet  Pimpernel,  The  (G) ....  Leslie  Howard-Merle  Oberon  Feb. 

Transatlantic  Merry-Go-Round 

(A)   Gene    Raymond-Nancy  Carroll- 
Sydney  Howard-Jack  Benny. ...  Nov. 

Wedding  Night.  The  (G)  Anna  Sten-Gary  Cooper  Mar. 

We  Live  Again  (A)  Anna  Sten-Fredric  March  Nov. 

Coming  Attractions 


Running  Time 
Date      Minutes  Reviewed 
25. '35. . .  .*90.  Jan.    26. '35 
22,'35. .  .  .*85.  Feb.    23. '35 

28  *92  Oct.  27 

21  72  May  12 

2I.'35. . . 'lOS.Apr.     6, '35 


25. 


'105. 


.  Dec. 
Sept. 


30  

21  

15, '35  95. Jan.    26, '35 


2  

8,'35. 
16  


..92  Nov.  17 

.*90.Feb.  23, '35 
.♦83  Sept.  29 


20,'35  78. Apr.  I3.'35 

6. '35  


Brewster's  Millions   (G)  Jack  Buchanan-Lili   Damita  May 

Call  of  the  Wild.  The  C.   Gable-Loretta  Young  May 

(See  "In  the  Cutting  Room."   Mar.  2.'35.) 

Cardinal  Richelieu  (G)  George  Arliss   Apr.    28, '35. ..  .'80.  Mar.  30, '35 

Congo   Raid   (G)  Leslie  Banks  -  Paul  Robeson  - 

Nina  Mae   MacKinney  95. Apr.  20,'35 

(Reviewed  under  the  title,  "Sanders  of  the  River.") 

Let  'Em   Have  It  Richard  Arlen- Virginia  Bruce  

Nell  Gwyn   (A)  Anna  Neagle-Cedric  H^irdwicke  75. July    14, '35 

Thunder  in  the  East  Charles   Boyer-Merle   Oberon  May    13, '35  75  Dec.  I 

(Reviewed  under  the  title  "The  Battle") 


UNIVERSAL 


Ferftires 

Title  Star  Rel. 

Crimson  Trail.  The  (G)  8083  .  Buck  Jones   Feb. 

Gift  of  Gab  (G)  8030  Edmund   Lowe  -  Gloria  Stuart - 

Alice  White   Sept. 

Good  Fairy.  The  (G)  8003  Margaret  Sullavan-H.   Marshall ..  Feb. 

Great   Expectations   (G)   8029 ..Henry  Hull-Jane  Wyatt-Phillips 

Holmes   Oct. 

Imitation  of  Life  (G)  7003  .  . .  Claudette  Colbert-W.  William  Nov. 

It  Happened  in  New  York  (G) 

8023   I  yie  Talhot-Heather   Angel  Mar. 

I've  Been  Around  (A)  8025  Chester  Morris   Dec. 

Man  Who  Reclaimed  His  Head 

(G)   8028   Claude   Rains-Joan   Bennett  Dec. 

Mister  Dynamite   (G)  8012. ...  Edmund   Lowe-Esther  Ralston. ..  .Apr. 

Mystery  of  Edwin  Drood  (G)  8024Claude  Rains-Heather  Angel  Feb. 

Niaht  Life  of  the  Gods  (G) 

8008   *lan   Mowbray   Mar. 

Notorious  Gentleman.  A  8032. .  Charles  Bickford-Hclen  Vinson. .  .Jan. 
One  Exciting  Adventure  (G) 

8027   Binnie  Barnes-Neil   Hamilton ....  Oct. 


Running  Time 
Date       Minutes  Reviewed 
I8,'35  58.  Mar.  I6,'35 

24  '71  Sept.  19 

18.'35  98.  Feb.     9, '35 

22  102....  Oct.  20 

26  Ill  Dec.  I 

I8,'35  66. Apr.    13, '35 

31  '75  Dec.  29 

24  *80....Dec.  9 

22. '35  '-65. Apr.     6. '35 

4, '35  87. Mar.  30,'35 

M.'.35. . .  .*75.Jan.  I2,'35 
21, '35  '75. Jan.    19, '35 

15   73  Oct.  6 


Title  Star  Rel. 

Princess  O'Hara  (G)  8013  Jean  Parker-Chester  Morris  Apr. 

Rendezvous  at  Midnight  8031 ..  Ralph  Bellamy   Feb. 

(See  "In  the  Cutting  Room."  Nov.  17.) 

Rocky  Rhodes  (G)  8001  Buck  Jones-Sheila  Terry  Sept. 

Secret  of  the  Chateau  (G)  8033.  Claire   Dodd-Clark  Williams  Dec. 

Stone  of  Silver  Creek  (G)  8084.  Buck  Jones-Noel  Francis  Apr. 

Straight  from   the    Heart  (A) 

8036   Mary    Astor-Roger  Pryor-Baby 

Jane   Jan. 

Strange   Wives   (G)   8020  June   Clayworth- Roger  Pryor  Dec. 

1  here  s   Always   Tomorrow  (A) 

8035   Frank  Morgan-Elizabeth  Young- 
Lois  Wilson-Binnie   Barnes. ..  .Sept. 

Transient  Lady  (G)  8019  Gene  Raymond-Henry  Hull  Mar. 

Wake  Up  and  Dream  (G)  8021  .  Russ  Columbo-June   Knight  Oct. 

When  a  Man  Sees  Red  (G)  8082.  Buck  Jones   Nov, 


Running  Time 
Date      Minutes  Reviewed 

1,'35         80. Mar.  30,'35 

1 1, '35  


24.... 

3  

15, '35. 


.60...  Dec.  22 

.69  Sept.  15 

.60. Apr.  20,'35 


l4,'35....'68.Fcb.  10, '35 
10  75  Dec.  8 

10  87  Nov.  17 

4, '35  72. Mar.   23. '35 

1  78  Oct.  20 

12  60. Jan.    26, '35 


Coining  Attractions 


27, '35. 


6,'35  80. Apr.  20,'35 

20,'35  


3,'35. 


Alias  Mary  Dow  8011  Sally  Eilers-Ray  Milland  May 

(See     In  the  Gutting  Room."  Apr.  13. '35.) 

Bride  of  Frankenstein  (A)  8009.  Boris   Karloff   May 

Chinatown  Squad  8017  Lyie  Talbot- Valerie  Hobson  May 

(See  "In  the  Cutting  Room,"  Apr.  13, '35.) 

Diamond  Jim   Edward  Arnold-Binnie  Baines  

Raven,  The  8016  Karlnff-Bela   Lugosi   June 

(See  "III  the  Cutting  Room,"  Apr.  13, '35.) 

Sing  Me  a  Love  Song  8026. . .  .  Ricardo  Cortez   

Werewolf  of  London  8015  Henry  Hull   May    13, '35  75 

(See  "In  the  Cutting  Room,"  Mar.  30,'35.) 

WARNER  BROS. 

Features 

Title 

Bordertown  (A)  806  

Church  Mouse  881  

Devil  Dogs  of  the  Air  (G)  816. 

Firebird,  The  (A)  825  

Florentine  Dagger,  The  829.... 

(See  "In  the  Cutting  Room 

I  Am  a  Thief  (G)  826  

Night  at  the  Ritz,  A  823  

(See  "King  of  the  Ritz." 

Right  to  Live  (A)  828  

St.  Louis  Kid,  The  (G)  817.. 

(Reviewed  under  the  title, 

Secret  Bride,  The  (G)  811  

Sweet  Adeline  (G)  802  

Sweet  Music  (G)  805  

White  Cockatoo  (G)  827  

Coming  Attractions 

Broadway  Gondolier   Dick  Powell-Joan  Blondell  

Dinky   Jackie   Cooper-Mary  Astor  May    1 1  ,'35  65. 

(See  "In  the  Cutting  Room,"  Apr.  13, '35.) 

Front  Page  Woman  Bette   Davis-George  Brent  

Going  Highbrow   Guy   Kibbee-2asu  Pitts  

(See  "Crashing  Society,"  "In  the  Cutting    Room."  Apr.  13, '35.) 
Goose  and  the  Gander  Kay  Francis-George  Brent  

(See  "In  the  Cutting  Room,"  Mar.  9, '35.) 

Green  Cat   Bette  Davis  

Haircut   George  Brent-Jean  Muir  

Irish  in  Us,  The  James  Cagney-Pat  0  Brien  

Living  Up  to  Lizzie  Aline  MacMahon   

Midsummer  NiSht's   Dream  All  Star   135. 

Money  Man   Edw.  G.  Robinson-Bette  Davis  

Oil  for  the  Lamps  of  China  867.  J.  Hutchinson-Pat  O'Brien  

(See   "In  the  Cutting    Room."    Mar.  30,'35.) 

Page  Miss  Glory  Marion  Davies-Dick  Powell  

Present  from  Margate,  A  Kay  Francis-Ian  Hunter  

Stranded   Kay  Francis-Geo.  Brent  


Star  Rel. 

Paul  Muni-Bette  Davis  Jan. 

Laura  l,a  Plante  Dec. 

James  Cagney-Pat  O'Brien  Feb. 

Verree  Teasdale-Ricardo  Cortez. .Nov. 
Donald  Woods-Margaret  Lindsay. .  Mar. 
,"  Jan.  26, '35.) 

Mary  Astor-Ricardo  Cortez  Nov. 

William  Gargan-Patricia  Ellis. ..Mar. 
"In  the  Cutting   Room.'    Jan.  26, '35.) 

George  Brent-J.  Hutchinson  Jan. 

James  Cagney   Nov. 

"A  Perfect  Week-End.") 

B.  Stanwyck-Warren  William  ....  Dec. 

Irene   Dunne- Donald  Woods  Dec. 

Rudy   Vallee-Ann    Dvorak  Feb. 

Jean   Muir-Ricardo   Cortez  Jan. 


Running  Time 
Date      Minutes  Reviewed 

5,'35  90. Feb.     2. '35 

15  

9,'35  86. Feb.     9, '35 

3   75...  Oct.  13 

30,'35  69  

24  64  Nov.  17 

23, '35  62  

26, '35  66.  Feb.  23,'35 

10  67  Oct.  20 

22  64  .  Feb.  9,'35 

29   82  Dec.  15 

23, '35  95.  Mar.     2, '35 

19. '35  70. Jan.  26.'35 


OTHER  PRODUCT  (FOREIGN) 


Features 

Title 

Abdul  the  Damned  (A). 

Bella  Donna  (A)  

Broken  Melody,  The  


Chapayev  (A)   , 

Cornflower   

(Hungarian  Dialogue) 
Czar  Wants  to  Sleep  (A). 

Dandy  Dick  (G)  

Death  at  Broadcasting 

House   

Dirty  Work  (G)  

Escape  Me  Never  (A).... 
Forbidden  Territory,  The. 

Doctor's  Orders   

Everything  for  the  Women 

(Hungarian  Dialogue) 
Father  Knows  Best  

(Hungarian  Dialogue) 
In  a  Monastery  Garden  (A) 
It's  a  Bet  (G)  


La  Crise  Est  Finie  (G ) . . 

Lady  in  Danger  (A)  

Lorna   Doonc  (G)  

Madame  Bovary  (A)  

Miracles   

Morals  of  Marcus,  The  (G) 

Oh!  Daddy  (G)  

Old  Curiosity  Shop  

One  Night   

Phantom  Light,  The  (G). 
Radio  Parade  of  1935  


Rakoczi  March  

(Hungarian  Dialogue) 
Rakoczy  Marsch   

(German  Dialogue) 
i^hepherdess'  Sweetheart   . , 
Song  of   Happiness  (G)... 
Soviet  Russia  Today  (G)... 

Such  Is  Life  

Strictly   Illegal  (G)  

Ta  Galazia  Keria  

Ten  Minute  Alibi  (A)  

Three  Songs  About  Lenin.. 
They  Are  Looking  Up  (G). 
Triumph  of  Sherlock  Holmes 

The  (A)   

Victor  and  Victoria  (G).. 
Wandering  Jew.  The  (A)., 


Running  Time 

Star  Dist'r  Rel.  Date      Minutes  Reviewed 

Nils  Asther   Gaumont-British  95. Apr     13  35 

Mary  Ellis  Gaumont-British  85. Jan.  5','35 

John  Garrick- 

Merle  Oberon   ....Olympic   Pictures. .  Oct.     29  68....  Dec.  I 

 Amkino   Jan.    1 2,'35. . .  95.  jaii.  26,'35 

Irene  Agal   Danubia  Pictures.  Jan.    II, '35... 80  

M.  Yanshin   Amkino   Dec.      8  88....  Dec  22 

Will  Hay   Assoc.  British  70.  Mar.  r6,'35 

Ian   Hunter   ABFD    British  90. Jan.  I2,'35 

Ralph    Lynn   Gaumont-£  ritish  80.  Jan.  26!'35 

Elizabeth  Bergner  ..United  Artists   80. Apr.  20,'35 

Gregory  Ratoff   Gaumont-t^ritish  87....  Nov  '24 

Leslie  Fuller   British  Int'l   75.Jan.     5 '35 

Tiber    Von    Halmay  .  Danubia  Pictures. .  Oct.     10  84  '. . . 

Szoke   Szakall  Danubia  Pictures.  Jan.  18,'35...80  

.John  Stuart   R  &  S  Mar.  12,'35...77. 

Gene  Gerrard- 

Helen  Chandler   ..British    Int'l   .^....80. 

Albert  Prejean   European    Films.  .Mar.  I2,'35...81. 

Tom  Walls   Gaumont-British.  63. 

John  Loder   ADFD    British..  80. 

.Pierre    Renoir   John    Tapernoux. .  .  Nov.    17  100. 

V.  Gardin   Amkino   ..Oct.     19  68. 

.  Lupe  Velez- 

lan   Hunter   Gaumont-British  .75. 

.Leslie  Henson   Gaumont-British  ..75. 

.Elaine  Benson   Assoc.  British  ..85. 

.Ingert   Bluggren    ...Scandinavian   .!..80. 

.Gordon    Harker    ....  Gaumont-British   ..75. 

.Will  Hay  -  Helen  , 

.    Chandler   Assoc.  British   .85. 

.Paul  Javor   Danubia  Pictures- .  Nov.    12   .89. 


Mar.  30, '35 


Mar.  16.' 
Mar.  30,' 
.  .  .  Dec. 
Feb.  2, 
. . .  Dec. 


Apr. 
Mar. 
Feb. 
Feb. 
Feb. 


Jan.  I2,'35 


Gustav  Froehlich- 

Camilla  Horn   Danubia  Pictures- .  Mar.     1,'35.  82 

(Greek   Feature)    ...Frank  Norton   ...  Feb.  17,'35..II8 

M.  Victorov   Amkino                    Apr.     6, '35. .  .go  Apr  20 '35 

 Amkino   -.Mar.     3,'35.  .  .67.  Mar  is'-^'i 

(Greek   Feature)    ...Frank  Norton   .  ..Jan.    I9,'35  119 

Leslie  Fuller   Gaumont-British.                          70  Mar'  tR-ik 

(Greek   Feature)    .   .Frank  Norton  ....Oct.     15   85' 

Phillips  Holmes   British   Lion   80  Feb  9 '35 

 Amkino   ..Nov.     8  64       Nov  '  17 

Cicely  Courtneidge    .Gaumont-British.  100.  Feb.  9 '35 

Arthur  Wontner   Gaumont-British.                          P7  Mar  q  "i'i 

Renate  Mueller   Ufa   Jan.    26, '35  ..84  Feb'  2'^^ 

Conrad  Veidt   Olympic   Pictures  83  Jan'  19' 35 


76 


MOTION    PICTURE  HERALD 


April    2  7,    19  3  5 


(THE  RELEASE  CH ACT—CONT'D) 


SHORT 
EILMS 

lAll  dates  are  1934  unless 
otherwise  stated^ 

CELEBRITY  PRODTIONS 


Title 


Rel.  Date  Min. 


COMICOLOR  CARTOONS 


The   Headless  Horseman. 


Jack 


Bremen  Town  Musicians. 
Old   Mother  Hubbard  


29  .  . 

1  rl.. 

July 

20... 

.7.... 

Oct. 

1 

1  ri.. 

Oct. 

29 

1  rl. . 

28  

.8.... 

24 

.8.... 

Feb. 

6, '35. 

.1  rl.. 

.  Mar. 

6, '35. 

.1  rl . . 

.Apr. 

3. '35. 

.1  rl. . 

.  May 

I,'35. 

.1  rl . . 

.  May 

29,'35 

.1  rl .  . 

26,'35 

.1  rl.. 

COLUMBIA 


Date 

I. '35, 
15. '35. 
25.'35. 
I0,'35. 
7, '35. 
I  


Title  Rel. 

BROADWAY  COMEDIES 
Gum  Shoes   Mar. 

(All  Star) 
His  Bridal  Sweet  Mar. 

Harry  Langdon 
His  Old  Flame  Jan. 

Charlie  Murray 
Horse  Collars   Jan. 

(3  Stooges) 
I'm  a  Father  Feb. 

Andy  Clyde 
In  the  Dog  House  Dec. 

Andy  Clyde 
Leather  Neckcr,  The  

Harry  Langdon 
Old  Sawbones   Apr. 

Andy  Clyde 
One  Too  Many  Dec. 

Leon  Errol 
Perfectly  Mismated   Nov. 

Leon  Errol 
Pop  Goes  the  Easel  Mar. 

(3  Stooges) 
Restless  Knights   Feb. 

(3  Stooges) 
Shivers   "ec. 

Harry  Langdon 
Three   Little   Pigskins  Dec. 

(3  Stooges) 
Uncivil  Warriors   

(3  Stooges) 

COLOR  RHAPSODIES 
1934-35 

A  Cat,  a  Bell  and  Mouse  

Babes  at  Sea  Dec. 

Holiday  Land   Nov. 

Make  Believe  Revue,  The  .  Mar. 
Shoemaker  and  the  Elves  .  Jan. 

KRAZY  KAT  KARTOONS 

1934-35 

4.  Birdman   Feb.    I. "35 

5.  Hotcha  Melody   Mar.  15, '35 

6.  King's  Jester   

7.  Garden  Gaities   

8.  Peace  Conference,  The  

LAUGHING  WITH 
MEDBURY 

1934-35 

Among  the  Cacoons  Nov.  9  

At  a  County  Fair  Dec.  7.... 

Medbury  in  Hollywood  Jan.  I  I, '35 

In  the  Old  Days  Mar.  22, '35 

LIFE'S   LAST  LAUGHS 

1934-35 


Min. 
20.,. 

20... 
20.  .  . 
20... 
20.  .  . 
20.  .  . 


II. '35, 

28  

20 ...  . 
29.'35, 
20. '35. 

24  

8  


20... 
20  .  .  . 
20.  .  . 
20... 
I61/2. 
20.  ,  . 
20. .  . 


12  

9  

22. '35. 
20. '35. 


No. 
No. 
No. 
No. 
No. 


2—  . 

3—  . 


Oct.  12... 

.Nov.  9  ,  . 

.Dec.  12... 

.Jan.  4. '35 

.Feb.  I. '35 


;.-35. 


,'35, 
,'35 


SCRAPPY  CARTOONS 
1934-35 

Gloom  Chasers,  The  Jan.  18, 

Happy  Butterfly   Dec.  20 

Concert   Kid   Nov.  2 

Gold  Getters   iVIar.  I 

Graduation   Exercises   Apr.  12, 

SCREEN  SNAPSHOTS 

No.     I  —  Sept.  29 

No.    2—   Oct.  26 

No.    3—   Nov.  23 

No.  4 —   Dec.  21 

No.    5—   Jan.  18. 

No.    6—  Feb.  22. 

No.    7—   Mar.  15. 

No.    8—  Apr.  12. 

SPICE  OF  LIFE 

1934-35 
No. 
No. 
No. 
No. 
No. 

WORLD  OF  S 

(1934-35) 

Air  Thrills   Mar.    I. '35 

Flying  Pigskins   T\.Nov.  9 

Hold  That  Shark  ^  .  Mar.  29. '35 

Good  Golfers  Start  Young  ...Sept.  20... 

Pardon   My  Grip  Feb.    I. '35 

Polo  Thrills   Oct.  12  

Thrill    Flashes   Dec.  12... 

When  Men  Fight  Jan.    4. '35 


2—  Sept.  29 

3—  Dec.  13 

4 —  Dec.  31 

5 —  I  Jan.  20. 

6—  y'.  Mar.  I. 


.7... 
.7... 
.7... 
.7... 
.7... 

1 01/2 . 
10'/:. 
I  01/2  . 
10'/2. 
10.  .  . 
10. . . 

IO'/2 

10... 


DU  WORLD  PICTURES 

Title  Rel.  Date  Min. 

OUEST   OF  PERFECT 
WOMAN  SERIES 
(TOM  TERRIS) 

1.  Veiled  Dancer  of  Eloued.July   15. ...10... 

2,  Vampire  of  Marrakesh..  Aug.    I  9... 


Title 

SEMI-FEATURES 
AND  SHORTS 


Rel,  Date  Min. 


Charles  Laughton 


Retribution  of   Clyde  Bar- 
row and  Bonnie  Parker.. 


Frank  Albertson 
word  of  the  Arab 
Duncan  Renaldo 


Mar. 

1 . . 

.  .26 

1 . . 

..15 

Oct. 

1 . . 

. .  .8 

Aug. 

15. . 

.  .  .9 

Sept. 

15. . 

.  .  18 

July 

10.  . 

.  .20 

Oct, 

1  .  . 

..17 

.Sept. 

15.. 

.  .28 

Sept. 

.  .  18 

Dpi  riiitp 

Min 

Aug  3 

22 

Aug  31 

20  '.  * 

Oct  5 

21 

Sept.  28. . . 

19.. 

Mar.  8.'35 

18.. 

Feb.  8.'35 

18. . 

.May  10. '35 

.2  rl 

Nov.  16... 

20.  . 

Oct.  26... 

19.. 

.Sept.  14.  . . 

19.  . 

.Nov.  30, . . 

18.  . 

.  Dec.  21 . .  . 

21.. 

.  N  ov.    9 . . . 

19.  . 

Nov.  2... 

16.. 

Feb.  I,'35 

21  .  . 

Oct.  12... 

19.  . 

Jan.  I8,'35 

17.  . 

Jan.  4,'35 

20. . 

Dec.  7... 

19.  . 

.  Nov.  23. .  . 

21 .  , 

Mar.  22,'35 

19.  . 

Oct.  19... 

20.. 

Sept.  7... 

22... 

.Nov.  16... 

10.. 

Apr.  12. '35. 

.  1  rl 

Jan.    4. '35 

ID. . 

Oct.  26... 

10.  . . 

Aug.  31   . . 

ID.  . 

.  Mar.  15. '35 

.9.  . . 

Jan.  I8.'35 

.9... 

Sept.  14. . . 

II... 

Dec.  7... 

II... 

EDUCATIONAL 

[DIs+ribute<J  through  Fox  Films] 

Title 
BING  CROSBY 
SPECIALS 

1 —  I  Surrender  Dear  

2 —  One  More  Chance  

— Billboard  Girl   

4 — Dream  House   

CORONET  COMEDIES 

An  Ear  for  Music  

Easy  Money   

Grooms  in  Glooms  

Rural  Romeos   

Second  Hand  Husband  

Super-Stupid   

Two  Lame  Ducks  

FROLICS  OF  YOUTH 

Boosting  Dad   

Campus  Hoofer.  The  

Educating  Papa   

Little  Big  Top.  The  

MARRIAGE  WOWS 

SERIES 

Domestic  Bliss-Tcrs   

Dumb  Luck   

How  Am  I  Doing?  

MUSICAL  COMEDIES 

Big  Business   

Girl  from  Paradise.  The.  . 

Hail  Brother   

Nifty  Nurses   

She's  My  Lilly  

SONG   HIT  STORIES 

Bounding   Main,  The  

Fireman's  Day  Off  

Gay  Old  Days  

House  Where  I  Was  Born, 

The   

Mountain  Melody   

nid  Camp  Ground,  The.  .  . 

Song  Plugqer   

Time  on  Their  Hands  

Way   Down  Yonder  

STAR  PERSONALITY 

COMEDIES 

A  Nose  for  News  

Dame  Shy   

"ayseed  Romance   

Mr.  Widget   

Object  Not  Matrimony  

One-Run  Elmer   

nnly  the  Brave  

Palooka  from  Paducah  

Tars  and  Stripes  

TERRY-TOONS 

''lack  Sheep,  The  

Bull  Fight.  The  

Dog  Show.  The  

Fireman  Save  My  Child... 

First  Snow.  The  

Five  Puplets   

Flyinq  Oil   

Hot  Sands   

Jack's  Shack   

Jail  Birds   

Magic  Fish.  The  

Mice  in  Council  

Modern   Red   Riding  Hood. 

A   

Moth  and  the  Spider.  The. 

Old  Dog  Tray  

Opera  Night  

Peg  Leg  Pete,  the  Pirate.. 

South  Pole  or  Bust  

Tom  Tom  the  Piper's  Son. 

What  a  Night  

Why  Mules  Leave  Home... 

TREASURE  CHEST 

Chums   

Harlem  Harmony   

Hollywood  Movie  Parade. 

The   

Taming  the  Wild  

Then  Came  the  Yawn  

.Your  Stars  for  1935  

YOUNG  ROMANCE 

Love  in  a  Hurry  

Moon  Over  Manhattan  

Three  Cheers  for  Love  

FIRST  DIVISION 

MARCH    OF  TIME 

No.    1   Feb.    I. '35  

No.   2   ...Mar.  8.'35  

No.   3   Apr.  19. '35  

MUSICAL  MOODS 

(Technicolor) 

In  a  Monastery  Garden Oct.     2  7. 

Mexican  Idyll   Oct  16  

By  the  Waters  of 

Minnetonka   

Hymn  to  the  Sun  

Les  Preludes   

October  Day   9. 

Italian  Caprice   8. 

Voices  of  Spring  

Irish  Melody   8. 

Countryside  Melodies   May  4,'35..8. 

Mediterranean  Songs   7. 

Barcarolle   ^  8. 

In  a  Mountain  Pass  

Fingal's  Cave   Nov.  13  

(Black  &  White) 

Waltz  in  A  Flat  Major  

Dance  of  the  Hours  Dec.  15  

Air  for  the  G  String  Nov.  3  

Liebestraum   

6  THRILLING  JOURNEYS 

Old  Faithful  Speaks  8. 

Realm  of  Ghosts  


Apr.  5. '35. 17... 
May  31, '35.  .2  ris 
Mar.  I5.'35.20. . 
Jan.  25. '35. 21... 
Mar.  I. '35. 18.. 
Feb.  22.'35. 19. . . 
Apr.  19, '35.  .2  rIs 
Jan.  1 1, '35. 20.  .. 
May  3,'35..2rls 

Oct.     5  6... 

Feb.  8,'35..6... 

Dec.  28  6 

Feb.  22,'35.  .6.  .  . 

Jan.  II, '35. .6... 

Apr.  19, '35.  .6.  .  . 

Apr.  5, '35.. 6... 

Nov.    2  6... 


Nov.  30 
Sept.  21 . . 
Oct.  19.. 
Aug.  24. . 


May  I7,'35..l  rl 
Mar.  8,'35. .  I  rl 
Mar.  21, '35.  .6. . 
May  3I,'35..I  rl , 
May   3, '35,  .  I  rl 

Dec.  14  6 

Nov.  16  6 

Jan.  25,'35..6.. 
Sept.    7  6.. 


Mar.  I,*35..9.. 
Dec.  21  10.. 


Nov.  2  

Apr.  26.'35. 
Aug.  10. . .  . 
Oct.  19... 


.9. . . 
.  I  rl, 
.8. . . 
II  .  .. 


May  I7.'35..2rls 
Feb.  I5,'35.I7... 
Dec.  14  19... 


Title 

Deep  Sea  Harvest  

Ride  Along  Dude  

City  of  Proud  Memories. 
Craters  of  the  Moon  


Rel.  Date  Min, 


FOX  FILMS 


Title  Rel.  Date  Min. 

ADVENTURES  OF  THE 

NEWSREEL  CAMERAMAN 

Casting  for  Luck  10. . . . 

Man's  Mania  for  Speed  10  

Marching  with  Science  9  

On  Foreign  Service  9.... 

Tracking  the   Explorers  10.... 

MAGIC  CARPET 

SERIES 

The  Coast  of  Catalonia  

Crossroads  of  the  World  9  ... 

Geneva-by-the-Lake   10.... 

MOVIE  TINTYPE  SERIES 
The  Heart  of  Valeska  Mar.    9  10  

MASTER  ART  PRODUCTS 


Rel.  Date 
(Variable) 


Min. 


Title 

HUMAN   SIDE  OF 
THE  NEWS 
(EDWIN   C.  HILL) 

1.  Roosevelt  Family  in 

America   II... 

2.  A   Visit  to  West  Point  10... 

3.  Carrie    Jacobs    Bond  9... 

MELODY  MAKERS 

Fields    and    McHugh  9... 

ORGANLOGU  ES 
What's    in    a    Name  8... 

RAIN  SONGS 
Irving  Kaufman-Lew  White  

SPECIAL 

Take  a   Letter  Please  

Eddie  Stanley- 
Evelyn  San 

METRO-GOLDWYN- 
MAYER 


Title 

ALL-STAR  COMEDIES 
Caretaker's  Daughter 

Movie  Daze   

Mrs.  Barnacle  Bill  

CRIME  DOESN'T  PAY 
No.  I — Buried  Loot 

CHARLEY  CHASE 
Chases  of  Pimple  Street 

Fate's  Fathead   

I'll  Take  Vanilla  

It  Happened  One  Day 

Okay  Toots   

Something  Simple 
You  Said  a  Hatful 

IRVIN   S.  COBB 
Ballad  of  Paducah  Jail 

Nosed  Out   

Speaking  of  Relations,. 
You  Brings  the  Ducks 

FITZPATRICK 

TRAVEL  TALKS 
Africa.  Land  of  Contrast.. 
Citadels  of  the 

Mediterranean   

Colorful  Guatemala   

Colorful  Ports  of  Call  

Cruising  in  the  South  Seas 

Glimpses  of  Erin  

Holland  in  Tulip  Time  ... 
Ireland,  The  Emerald  Isle. 

Rainbow  Canyon   

Switzerland.  The  Beautiful 
Zeeland.    The  Hidden 

Paradise   

Zion.  Canyon  of  Color  

GOOFY  MOVIES 


.  Date  Min. 


Jan.  13 


No. 
No. 
No. 
No. 
No. 
No. 
No. 


.Sept. 
.  Dec. 
.  Feb. 
Oct. 

Jan. 
.  Nov. 

.  May 


I  rl. 
9... 
9... 

 I  rl. 

 I  rl. 

15  9. . . 

8. . . .8. . . 
2.'35..8... 
13  9. . . 


5.'35.  .7. . 
10  8. . 


5  9. 

 8. 


.Sept. 
,  Oct. 
Nov. 


rl. 


8. ...10.. 

6  9. 

3  10. 

 10. 


HAPPY  HARMONIES 
(Harman-lsing) 

2 —  Old  Pioneer   

3 —  A    Tale   of  the  Vienna 
Woods   

4 —  Bosco's  Parlor  Pranks.. 

5 —  Toyland  Broadcast   

6 —  Hey.    Hey,  Fever  

7 —  When  the  Cat's  Away.. 

8 —  The  Lost  Chick  

9 —  Calico  Dragon   

LAUREL  &  HARDY 

Fixer-Uppers   

Going  Bye-Bye  

Live  Ghosts   

Them  Thar  Hills   

Tit  for  Tat   

MUSICAL  COMEDIES 

Music  in  Your  Hair  

Roamin'  Vandals   

MUSICAL  REVUES 

Gentlemen   of  Polish  

Grandfather's  Clock   

Gypsy  Night   

Star  Night  at  the  Cocoanut 

G  rove   

What  Price  Jazz?   

ODDITIES 

Dartmouth  Days   

Donkey  Baseball   

Motorcycle  Cossacks   

Little  Feller   

Little  People   

Old  Shep   

Pichianni  Troupe   

Pro  Football   

Rugby   

Strikes  and  Spares  

Taking  Care  of  Baby  

Trick  Golf   

Windy   

OUR  GANG 

Anniversary  Trouble   

Beginner's  Luck   

Mama's   Little  Pirate  

Teacher's  Beau   

Shrimps  for  a  Day  


Sept.  29  8. 


Oct. 
Nov. 
Dec. 
Jan. 
Feb. 


27  9  . . 

24  9  . . 

22  8 . . 

9,'35.  .9. 
16, '35.  .9.  . 
 10.  . 


Jan, 


June 
Apr. 


 21  

 21  

 21  

 2  rIs. 

5,'35.20  


Oct.  27. 


.17.... 
.18.... 

.  .2  rIs. 

.17  

.18  


.  .21 . 
. .  18. 


Nov.  17  II 

 8 

12. '35.  .9 

28  8 

I 


Jan. 
May 

June 
Sept. 

Dec. 
Oct. 
.Aug. 
.  Mar. 


Nov. 


 18. 

 19. 

3  18. 

 19. 

 21 . 


Date  Min. 


8,'35..7... 

21  7... 

19  7... 

16  7... 

15. '35. .7... 

19. '35  

15, '35. .7... 

24, '35  

17  7... 

21  7... 

28  7... 

I0.'35  

26  7... 

I.'35..7... 


8.'35.I0. 


Title  Rel  Date  Min. 

Wash-ee   Iron-ee   Sept.  29. . . .  17. . . . 

TODD-KELLY 

Bum    Voyage   Dec.  15  20  

Done  in  Oil   Nov.  10  IB  

Maid   in   Hollywood   May  19  20  

Misses  Stooge.  The  19.... 

One  Horse  Farmers  Sept.   1  18  

Opened   by   Mistake  Oct.     6  19  

Sing.   Sister.   Sing!  21  

Three  Chumps  Ahead  2  rIs. 

Tin   Man.   The  16  

Treasure   Blues   19  

WILLIE  WHOPPER 

Cave   Man   7.. 

Good  Scout   7  

Jungle  Jitters   7  

Raslin'  Round   

Reducing   Creme   May   19  8  

Robin  Hood.  Jr  Mar.  10  8..  . 

(Color) 

Viva  Willie   7  


MONOGRAM 

PORT  0'  CALL  SERIES 

10.  Dravidian    Glamour  Sept.  I....  10. 

11.  Adventure   Isle   Oct.      I  10. 

12.  (2ueen  of  the  Indies  Nov.    I  10. 

13.  A  Mediterranean  Mecca,  Dec.  1....I0. 


PARAMOUNT 

Title  Rel. 

BETTY  BOOP 

CARTOONS 

Baby  Be  Good  Jan. 

Betty  Boon's  Life  Pal  Sept. 

Betty  Boop's  Prize  Show..  Oct. 

Keep  in  Style  Nov. 

Stop  That   Noise  Mar. 

Swat  the  Fly   Apr. 

Taking  the  Blame  Feb. 

No!  No!  A  Thousand  Times 

No!   May 

There's  Something  About  a 

Soldier   Aug. 

When  My  Ship  Comes  in..  Dec. 

COLOR  CLASSICS 
An  Elephant  Never  Forgets  Dec. 

Kids  in  the  Shoe,  The  May 

Little   Dutch  Mill  Oct. 

Song  of  the  Birds   Mar. 

HEADLINERS 
Feminine  Rhythm   Feb, 

Ina  Ray  Hutton  and  Her 

Melodears 
Hark  Ye,  Hark  Mar. 

Ben    Bernie-Grace  Barry 
Hollywood    Rhythm  Nov. 

Gordon  and   Revel  -  Lyda 

Robert!  -  Jack  Oakie-Nor- 

man  Taurog-LeRoy  Prinz- 

Edith  and  Bill  Wilshire 
Is  My  Face  Black  May 

Molasses  'n'  January- 
Three  X  Sisters 
Ladies  That   Play..„  Dec. 

Phil    Spitalny    and  His 

Musical  Ladies 
Melody   Magic    Apr. 

Johnny    Green    and  His 

Orchestra   

Million   Dollar  Notes  Feb. 

Red    Nichols    and  his 

World   Famous  Pennies 
Radio  Announcer's  Review.  Sept. 
Rhythm  on  the  Roof  Oct. 

Anson  Weeks  &  Orchestra  , 
Song   Writers   of  the  Gay 

Nineties   Mar. 

Pat  Rooney 
Yacht  Club  Boys  Garden 

Party   Dec. 

PARAMOUNT  PICTORIAL 

(NEW  SERIES) 
No.  4 — Tub  Boat  Ahoy — Hot.  Nov. 

Dog — Mabel  Wayne 
No.  5 — Rose  of  Bulgaria — .Dec. 

0.  Soglow — Coney  Island 
No.  6 — Twilight  Melody  —.Jan. 

Pets    from    the    Wild — 

Howard  Chandler  Christy 
No.  7 — Queen  of  the  Waters  .  Feb. 

— Billy  Blue  Gum — Meri- 

cano 

do.  8 — Aubrey  Rainier — Old   

Madeira — Rube  Goldberg, 
World  Famous  Humorist. 

No.    9—   Mar. 

No.  10—   Apr. 

No.  II—   May 

PARAMOUNT  VARIETIES 

No.    7—   Feb. 

No.  8 —   Mar. 

No,    9—   Mar. 

Coo-Coo  News   Jan- 
Famous  People  at  Play  May 

Jungle  Antics   Feb. 

Madhouse  Movies  No.   I..  Aug. 

Manhattan  Rhythm   May 

Monkey  Shines   Nov. 

Movie  Sideshow   Jan. 

Nerve  of  Some  Women,  The.  Nov. 

Old  Kentucky  Hounds   Sept. 

Screen  Souvenirs  No.  1   '•'pt. 

Screen  Souvenirs  No.  2  Nov. 

Screen  Souvenirs  No.  3  Feb. 

Screen  Souvenirs  No.  4  Apr. 

Shorty  on  the  Farm  Apr. 

Superstition  of  the  Black 

Cat   Aug. 

Superstition  of  the  Rabbit's 

Foot   Mar. 

Superstition  of  Three  on 

a  Match   Oct. 

Superstition   of  Walking 

Under  a  Ladder   Dec. 

POPEYE   THE  SAILOR 

A  Dream  Walking  Sept. 

Be  Kind  to  "Aminals" . . .  .  Feb. 
Beware  of  Barnacle  Bill.... Jan. 
Choose  Your  "Weepins" . . . .  May 
Dance   Contest   Nov. 


22,'35. 
16..., 

3,'35. 
7.... 
1 2. '35. 


10.,,. 


8,'35.ll.... 


14.. ., 
26.... 


I, '35. 
28  

9  

7.... 
4, '35. 

I, '35. 


10.... 
II.... 

;  1 
10.... 

10.... 

10.... 
10.... 
10  

10.... 

.1  ri.. 


29,'35.... 
26. '35  

24,  '35.... 

I,'35.I0. 

1,  '35... . 
29.'35  

25,  '35.I0. 
17,'35.... 
22, '35. 10. 
24. 

3,35. 
16. 

II, '35. 

2.  . 
7.. 

21.. 
30.. 

8,'35.10. 
I9,'35.... 

5,'35.... 


.  .9. 
.10. 
.10. 
.11. 
.10. 
.10. 
.10. 
.10. 


10. . ..10. 
8,'35..8. 

19  II  . 

28  ...11. 


28  

22,'35. 
25,'35. 
31, '35. 
23.... 


April    2  7,     19  3  5 


MOTION    PICTURE  HERALD 


77 


(TtlE  RELEASE  CHART— CCNl'E) 


Titie  Rel.  Date  Min. 

Hyp-Nut-Tist.   The  Apr.  26, '35  

pleased  to  Meet  Cha!  Mar.  22, '35.  .7. . . 

Shiver  Me  Timbers  July  27  7... 

Shoein'  Hosses   June    I  7... 

Strong  to  the  Finich  June  29  7... 

Two  Alarm   Fire  Oct.   26  7... 

We  Aim  to  Please  Dec.  28  7... 

PARAMOUNT  SOUND 
NEWS 

Two    Editions  Weekly 
GRANTLAND  RICE 
SPORTLIGHTS 
(NEW  SERIES) 

Uo.  A — Keeping  Time   Oct.    26  II.... 

No.  5 — Saddle  Champs   Nov.  30  II  

No.  6 — A   Sportlight  Cock- 
tail  Dec.  28  10  

No.  7 — King  of  the  Ever- 
glades  Jan.  25,'35.I0  

No.  8— Feline  Athletes   . . .  .  Feb.  22,'35. 10. . . . 

No.  9 — Sporting  Sounds  Mar.  22,'35  

No.  10 — Nerve  Control  Apr.  19, '35  

No.  II — Animal  Intelligence.  May  17, '35  

TWO   REEL  COMEDIES 
Making  the  Rounds  July    6  21  

Pallette-Catlett 
New  Dealers,  The  Apr.    6  20  

Pallette-Catlett 
News   Hounds   June    I  20  

Pallette-Catlett 
No  More  Bridges  Mar.  16  21  

Leon  Errol   

Oil's  Well   May    4  22  

Chic  Sale 

Old    Bugler,    The  Jan.     5  20  

Chic  Sale 

Petting  Preferred   Apr.  27  10  

Pleased  to  Meet  Cha!  Mar.  22,[35  

Sporting  Sounds   Mar.  22, '35  

Up  and   Down   Mar.  2,'35.2I  

Franklyn  Pangborn 

PRINCIPAL 

Title  Rel-  D^t^  l^'h- 

Death  Day   Apr.  10  17  

Glory  of  the  Kill  May  23.... 28.... 

Newslaugh— No.  2  Dec.  20,  33.. 9.... 

Wonders  of  the  Tropics  Dec.  13,33.32  

CONFLICTS  OF 

NATURE  SERIES 
Circle  of  Life  of  the  Ant 

Lion,  The   Feb.  14  7  

Farmer's   Friend   Oct.     1  7  

From  Cacoon  to  Butterfly. .  .Jan.   10  7  

Her  Majesty  the  Queen  Bee. Dec.    1,33. .6  

Insect  Clowns   Mar.    4. ....7  

Queen  of  the  Underworld ...  Dec.  6,33../  


RKO  RADIO  PICTURES 


Title 


Rel.  Date  Min. 


14. ...19... 
22,'35. 171/2. 
12. ...21... 
7,'35.l9'/2. 

27  20. . . 

l2,'35.19'/2. 


9. ...20... 

l,'35.l9'/2. 
22,'35.20.. . 
31  ....201/2. 


l4,'35.2|i/2. 
13. ...18... 

19  21 . . . 

19, '35.  19. .  . 
28  201/2. 

2  21  . .  . 

2....2l'/2. 


21  5... 

4,'35..5V2. 
I8,'35.  .5. .  . 
1,'35.  .5. . . 
15,'35..5. 


BLONDE  and  RED 

HEAD  SERIES 

Dancing  Millionaire   Dec. 

Hunger  Pains   Feb. 

Ocean  Swells   Oct. 

Pickled  Peppers   June 

Rough  Necking   Apr. 

Wig  Wag   Apr. 

CHICK  CHANDLER 

COMEDIES 

Big  Mouthpiece   Nov. 

Horse  Heir   Feb. 

Raised  and  Called  Mar. 

Unlucky  Strike   Aug. 

CLARK  &  McCULLOUGH 

SERIES 

Alibi    Bye    Bye  June 

Bedlam  of  Beards  Apr. 

Everything's  Ducky   Oct. 

Flying  Down  to  Zero  Apr. 

In  a  Pig's  Eye  Dec. 

In  the  Devil  Dog  House...  Feb. 

Odor  in  the  Court  Aug. 

DUMBBELL  LETTERS 

No.    7   Dec. 

No.    8   Jan. 

No.    9   Jan. 

No.  10   Feb. 

No.  II   Feb. 

No.  12   ,  Mar. 

No.  13   

No.  14   Mar. 

No.  15   Apr. 

No.  16   Apr. 

No.  17   May 

EASY  ACES 

Little  New  New  York  

Pharaohland   Feb.  22, '35.  .9  

Topnotchers   Apr.  19,'35.1l  

FOUR  STAR 
COMEDIES 

Fixing  the  Stew   Nov.    2  20  

Hit  and  Rum   Apr.  26, '35. 19  

How  to  Break  90 
at  Croquet   Jan.    4,'35. 15  

HEADLINER  SERIES 

(1934-35) 

No.  I — Songs  of  the  Colleges. Oct.     5  15  

No.  2 — Ferry  Go  Round. ...  Nov.  23  20  

No.  3— This  Band  Age  Jan.  25, '35. 21 1/2  . . 

No.  4 — Simp  Phoney  Concert.  Mar.  I5,'35.2I  

EDGAR  KENNEDY 
COMEDIES 

Bric-a-Brac   Jan.  I8,'35.19  

Love  on  a  Ladder   Sept.  7  201/2.. 

Poisoned  Ivory   Nov.  16  21  

Sock  Me  to  Sleep  May  I7,'35  

South   Seasickness  Mar.  29,'35.20>/2. . 

Wrong   Direction   Nov.  16  21.... 

MUSICALS 

Everybody  Likes  Music  Mar.  9....19'/2.. 

Henry  the  Ape  Jan.  26  2rls. 

Bert  Lahr 


,'35. .5... 

29,'35..5... 
12,'35.  .5. . . 
26, '35.  .4. . . 
IO,'35..4i/2. 


Title  Rel.  Date  Min. 

If  This  Isn't  Love  Sept.  28  211/2. 

Spirit  of   1976  Feb.  I5,'35.21 1/2  . 

MUSICOMEDIES  SERIES 

(Ruth  Etting) 

An  Old  Spanish  Onion  Mar.  1,'35.20  

Bandits  and   Ballads  Dec.    7  18'/2.. 

Southern  Stylo   Sept.  14  20..., 

Ticket  Or  Leave  It  May  26,'35.2I  

PATHE  NEWS 
Released  twice  a  week 

PATHE    REVIEWS  (1933-1934) 
Released  once  a  month 

PATHE  TOPICS 
Released  seven  times  a  year 

RAINBOW 

PARADE  CARTOONS 

Foxy   Terrier,   The  May  3I,'35... 

Japanese  Lantern   Mar.   8, '35.. 8 

Parrotville  Old  Folks  Jan.  25, '35.  .7 

Picnic    Panic   May    3, '35... 

Spinning  Mice   Apr.    5, '35... 

Sunshine  Makers,  The  Jan.  1 1, '35.. 8 

SOGLOW'S  "THE  KING" 

CARTOONS 
Cactus  King   June   8  1  rl. 

SPECIALS 

Century  of  Progress  Juno  15  22... 

A    Day  with  the  Dionne 

Quintuplets   Dec.  28  II1/2. 

Grand    National  Irish 

Sweepstakes  Race,  1934... Apr.    2  10... 

La  Cucaracha   Aug.  31  2O1/2. 

Stefii  Duna-Don  Alvarado 

(Technicolor) 

TODDLE  TALE 

CARTOONS 
A  Little  Bird  Told  Me  Sept.  7  5... 

VAGABOND  ADVENTURE 
SERIES 

Eyes  on  Russia   Aug.    9....  11... 

Fakeers  of  the  East  Dec.    7  I81/2. 

Isle  of  Spice  Jan.  1 1,'35. 10</2 . 

Jamaica   May  17,'35.  .9'/2  . 

Red   Republic   Sept.  21  10... 

Roumania   


STATE  RIGHTS 

CARTOON  EXHIBITOR 

Of  All  Things   4... 

CENTRAL 

Child  of  Mother  India  30... 

Hindu  Holiday   9... 

METROPOLITAN  LIFE 
Once  Upon  a  Time  10... 

METROPOLIS- 

TAPERNOUX 
Bolero   14... 


UNITED  ARTISTS 

Title  Rel.  Date  Min. 

MICKEY  MOUSE 
9.  The  Dognappers   Nov. 


10.  Two-Gun  Mickey   Dec. 

11.  Mickey's  Man  Friday. .  .Jan. 

12.  Band   Concert   Feb. 

(Color) 

13.  Mickey's  Service  Station . Mar. 

14.  Mickey's   Kangaroo   Apr. 

15.  Mickey's  Garden   

(Color) 

SILLY  SYMPHONIES 

8.  Peculiar  Penguins   Sept. 

9.  Goddess   of   Spring  Nov. 

10.  The  Golden  Touch  Mar. 

11.  Robber  Kitten   Apr. 


10.... 
25.... 
I7,'35. 
23,'35. 

I5.'35. 
20,'35. 


.9... 

.8'/2. 


21, '35. 
I8,'35. 


UNIVERSAL 


Title 

CARTUNE  CLASSICS 
No.    2 — Toyland    Premiere.  .  Dec. 

No.    3.— Candyland   Apr. 

No.  4 — Springtime 

Serenade  

GOING  PLACES 

with  LOWELL  THOMAS 

No.    6   Jan. 

No.    7   Feb. 

No.    8   Mar. 

No.    9   May 

No.  10   May 

No.  II   June 

No.  12   July 

No.  13   Aug. 

OSWALD  CARTOONS 

Do  a  Good  Deed   Mar. 

Elmer  The  Great  Dane  Apr. 

Gold  Dust  Oswald  

Hill  Billy   Feb. 

Robinson  Crusoe  Isle  Jan. 

Spring  in  the  Park  Nov. 

Two  Little  Lambs  Mar. 

STRANGER  THAN 

FICTION  SERIES 

No.    5— Novelty   Dec. 

No.    6— Novelty   Jan. 

No.    7— Novelty   Mar. 

No.  8 — Novelty   Apr. 

No  9 — Novelty   Apr. 

No.  10 — Novelty   May 

No.  II— Novelty   June 

No.  12— Novelty   July 

No.  13 — Novelty   Aug. 

UNIVERSAL  COMEDIES 
At  the  Mike   Oct. 

(Mentone  No.  3-A) 
Demi  Tasse   Oct. 

(Ooane  Musical  No.  1) 
Desert    Harmonies   Apr. 

(Mentone  No.  12-A) 
Doin'  the  Town   Jan. 

(Mentone  No.  9-A) 
Father  Knows  Best  Feb. 

Sterling  Holloway 


Rel.  Date  Min. 


10  9  

22,'35..l  rl.. 


.in.. 


14, '35. .9.. 

18,  '35..9.. 
25, '35.  II.. 

6,  '35..1  rl 
27,'35..1  rl 
25,'35..1  rl 
22,'35..1  rl 

19,  '35..l  rl 

25, '35.. 7.. 
29,'35..l  rl 

 1  rl 

l,'35..9.. 

7,  '35..9.. 

12  7.. 

I  l,'35..8'/2 


17.  .  . 

.9 

28,'35 

.8 

4,'35 

.8 

l,'35 

10 

22,'35 

10 

20, '35. 

.1 

rl 

17, '35. 

rl 

I5,'35. 

rl 

12, '35. 

rl 

10. ...20.... 

3  2  rls. 

10,'35.  .2  rls. 
30,'35.18.... 
20, '35.  .2  rls. 


Title  Rel.  Date 

Henry's  Social  Splash  Dec.  19. 

Henry  Armetta 

Here's  the  Gang  May  8,' 

(Mentone  No.  13-A) 

Hollywod  Trouble   Jan.  9,' 

Just  Wo  Two  Aug.  8. 

Knickerbocker  Knights  ....Dec.  12. 

Mentone 

Meet  the  Professor  Feb.  13,' 

(Mentone  No.  10-A) 
Oh!  What  a  Business  Nov.  26. 

(Mentone  No.  5-A) 
Old  Age  Pension  Mar.  27,' 

Henry  Armetta 
Revue  a  la  Carte  Jan.  16,' 

Tom  Patricola 

(Mentone  No.  8) 
Sterling's  Rival  Romeo  Nov.  14. 

Sterling  Holloway 
Telephone  Blues   Mar.  13,' 

(Mentone  No.  ll-A) 
Tid  Bits   Oct.  24. 

(Doane  Musical  No.  2) 
Well,  By  George  Oct.  31. 

(Mentone  No.  4-A) 

George  Price 
Whole  Show,  The  Dec.  26. 

(Mentone  No.  7-A) 

James  Barton 
World's  Fair  and  Warmer.  .Oct.  17. 
Would  You  Be  Willing?  May  22, 

(Van  Ronkel  No.  4) 


Min. 
...21... 

'35.. 2  rls 

35.20... 
...19... 
...20... 

35.19... 

....2  rls 

35.  .2  rls 

35.17... 

 2  rls 

35. 19. . . 
....2  rls 
...20... 


.20. 


...22... 
35.  .2  rls 


VITAPHONE  SHORTS 


Title 

Rel. 

Date 

Min. 

BIG   V  COMEDIES 

1934-35 

All  Sealed  Up  

Sept. 

15... 

19  

Ben  Blue 

20,'35 

.2  rls. 

Allen  Jenkins 

Mar. 

9, '35 

19.... 

Shemp  Howard 

Daphne  Pollard 

Sept. 

29... 

17  

El  Brendel 

Apr. 

6,'35 

19.... 

Bob  Hope 

Oct. 

20... 

18.... 

Shemp  Howard 

Daphne  Pollard 

So  You  Won  t  T-T-T-Talk. 

Nov. 

3... 

20.... 

Roscoe  Ates 

Nov. 

17... 

19.... 

Ben  Blue 

Jenkins  &  Donnelly 

Dec. 

15... 

19  

Dizzy  and  Daffy  Dean 

Once  Over  Lightly  

Jan. 

12,'35 

20  

Roscoe  Ates 

Jan. 

26,'35 

19.... 

El  Brendel 

Why  Pay  Rent?  

May 

4,'35 

.2  rls. 

hoscoe  Ates-Shemp  Howard 

BROADWAY  BREVITIES 

1934-35 

Sept. 

20  

Hal  LeRoy-Dorothy  Dare 

Sept. 

8... 

21.... 

Dorothy  Stone-Bob  Hope 

Sept. 

22. .  . 

19.... 

Leon  Errol 

(Technicolor) 

Oct. 

6. .  . 

21  ... . 

Ruth  Etting 

Off  the  Beat  

Oct. 

18... 

20.... 

Morton  Downey 

Oct. 

27... 

19.. .. 

Bernice  Claire- 

J.  Harold  Murray 

Nov. 

19... 

20.... 

Jeanne  Aubert 

Mar. 

30,'35 

20.... 

Winifred  Shaw- 

Phil  Regan 

Hear  Ye!  Hear  Ye!  

Dec. 

22 

2  rls. 

Vera  Van  and  the 

Yacht  Club  Boys 

See,  See,  Senorita  

Jan. 

12, '35 

.2  rls. 

Tito  Guizar  Armida 

Jan. 

5, '35 

21.... 

El  Brendel-Phil  Regan 

(Technicolor) 

Soft  Drinks  &  Sweet  Music 

Dec. 

8. .  . 

20. . . . 

George  Price-Sylvia  Froos 

Jan. 

5,'35 

20.... 

Maglin  Kiddies 

Tad  Alexander 

Jan. 

9. '35 

.2  rls. 

Cross  &  Dunn 

Feb. 

2, '35 

.2  rls. 

Jeanne  Aubert 

In  the  Spotlight  

Feb. 

22,'35 

20  

Hal  LeRoy  &  Dorothy  Lee 

Mr.  &  Mrs.  Melody  

Mar. 

16, '35 

20  

llomay  Bailey — Lee  Sims 

Feb. 

16, '35 

21 

Eddie  Peabody 

Singing  Silhouette,  The 

Apr. 

6, '35 

20.... 

Olga  Baclanova 

Apr. 

6, '35 

20  

Morton  Downey 

Cure  It  With  Music  

Apr. 

I3,'35 

.2  rls. 

Fifi  D'Orsay 

Apr. 

27,'35 

.2  rls. 

Roscoe  Ails 

May 

11, '35 

.2  rls. 

Hal  Le  Roy 

LOONEY  TUNES 

(1934-1935) 

No.  1 — Buddy's  Adventures 

in.. 

No.  2 — Buddy  the  Dentist.. 

.1  rl.. 

No.  3 — Buddy  of  the 

.7.... 

No.  4 — Buddy's  Theatre   7.... 

No.  5 — Buddy's   Pony  Ex- 
press  I  rl. . 

No.  6— Buddy  in  Africa  7.... 

No.  7 — Buddy's  Lost  Wond  1  rl.. 

No.  8 — Buddy's  Bug  Hunt  1  rl.. 

MELODY  MASTERS 
1934-1935 

Mirrors   Sept.  8  II  

Freddy  Rich  &  Orchestra 
Phil    Spitalny    and  His 

Musical  Queens   Oct.     6  10.... 

Richard  Himber  and  His 

Orchestra   Nov.    3  10  

Don  Redman  and  His  Band .  Dec.  29....  10.... 
Will  Osborne  and  His  Or- 
chestra  Dec.    I  10  

A  &  P  Gypsies  Jan.  26,'35.10  

Harry  Horlick 

Charlie  Davis  and  Band....  Feb.  I6,'35.I0  

Rimac's  Rhumba  Orchestra  .Apr.  13, '35. .  I  rl. . 
Barney  Rapp  and  His  New 

Englanders   Mar.  16, '35. 10  

Freddy    Martin    and  His 

Orchestra   May  1 1, '35..  I  rl.. 

MERRIE  MELODIES 

1934-35  (In  Color) 

No.    4 — Country  Boy   7.... 

No.    5—1  Haven't  Got  a  Hat  1  rl.. 

No.    6 — Along  Flirtation 

Walk   7  

No.    7 — My  Green  Fedora  Irl.. 

No.  8 — Into  Your  Dance  Irl.. 

SEE  AMERICA  FIRST 

E.  M.  NEWMAN 

No.    I — Pilgrim  Days   Oct.  27  II  

No.    2 — Boston  Tea  Party..  Nov.  17  II  

No.    3 — Hail  Columbia   Dec.    8  10  

No.  4 — Remember  the 

Alamo   Dec.  20  10  

No.    5 — Trail  of  the  49ers.  .Jan.  19,'35.I0  

No.    6— Dixieland   Feb.  9,'35.I0  

No.    7 — Blue  and  the  Gray.  Mar.  2,'35.I0  

No.    8 — The   Mormon  Trail .  Mar.  23, '35. 10  

No.  9 — Westward  Bound  .  .  Apr.  I3,'35. .  I  rl . , 
No.  10 — Remember  the 

Maine   May   4,'35..1  rl.. 

PEPPER  POT 
1934-35 

Radio  Reel  No.  1  Sept.  15  9  

Mr.  and  Mrs.  Jesse  Crawford. Sent.  29  9.... 

Vaudeville  Reel  No.  I  Oct.    13  II  

Movie  Memories   Oct.   27  8  

Songs  That  Live  Nov.  10  9.... 

Gus  Edwards 
Two  Boobs  in  a  Balloon. ...  May    5, '35.,  I  rl.. 

Edgar  Bergen 

Good   Badminton   Nov.  24  1  rl.. 

Stuffy's  Errand  of  Mercy...  Dec.  15  9  

Listening  In   Dec.    8  10  

Radio  Reel  No.  2 

Vaudeville  Reel  No.  2  Dec.  29  10  

Harry  Von   Tilzer  Jan.  5,'35.I0  

Chas.  Ahearn   Jan.  I9,'35.I0  

A   Trip  Thru  a  Hollywood 

Studio   Feb.  2.'35..9  

We  Do  Our  Part  Feb.  9,'35..1rl.. 

Radio  Reel  No.  3 

Vaudeville  Reel  No.  3  Feb.  16, '35..  Irl.. 

Guess  Stars   Mar.  22,'35. 10  

Radio  Ramblers 

Billy  Hill   Mar.  16, '35  

Eggs  Marks  the  Spot  Mar.  30,'35. 1 1 . . . . 

Radio  Reel  No.  4 
Some  Bridge  Work  Apr.  13,'35. 10  

Easy  Aces 

Vaudeville  Reel  No.  4  Apr.  27,'35. .  I  rl . . 

Movieland    Revue  May  1 1,'35. .  1  rl. . 

SERIALS 

12  Episodes  Each   Unless  Otherwise  Specified 
Title  Rel.  Date  Min. 

FIRST  DIVISION 

Young  Eagles   July     I  2  rls. 

Boy  Scouts 


MASCOT 


Burn  'Em  Up  Barnes  June  16  

Jack  Mulhall-Lola  Lane- 

Frankie  Darro 
Lost  Jungle,  The  June  13  

Clyde  Beatty 
Law  of  the  Wild  Sept.  5  

Rex,  Rin  Tin  Tin,  Jr. 

Ben  Turpin,  Bob  Custer 
Mystery  Mountain    Dec.  3  

Ken  Maynard-Verna  Hillie 
Phantom   Empire   Feb.  23. '35. 

Gene  Autry-Frankie  Darro 


.2  ns. 

(each) 

.2  ns. 
(each) 
.2  rls. 
(each) 

.2  ns. 

(each) 
.2  ns. 
(each) 


PRINCIPAL 


Chandu  on  the  Magic  Island  

Bela  Lugosi-Maria  Alba 

Return  of  Chandu,  The  Oct.  1   

Bela  Lugosi-Maria  Alba  (Seven-reel  feature 
followed  by  eight 
two-reel  episodes) 

UNIVERSAL 

Call   of  the  Savage  .Apr.  I5,'35.20. . .. 

Noah  Beery.  Jr.  (each) 

Red  Rider,  The  July   16  20.... 

Buck  Jones  (each) 

(15  episodes) 
Rustler's  of  Red  Dog  Jan.  21, '35. 20  

John  Mack  Brown  (each) 

Tailspin  Tommy   Oct.  29.... 20.... 

Maurice  Murphy-  (each) 

Noah  Beery,  Jr. 
Vanishing  Shadow,  The  Apr.  23  20.... 

Onslow  Stevens-Ada  Ince  (each) 


78 


MOTION    PICTURE  HERALD 


April    27,  1935 


CLASSIFIED 
ADVEKTISINe 


the  great 
national  medium 
for  showmen 


Ten  cents  per  word,  money-order  or  check  with  copy.  Count  initials,  box  number  and  address.  Minimum  insertion, 
$1.    Four  insertions  for  the  price  of  three.    Contract  rates  on  application.    No  borders  or  cuts.    Forms  close 
Mondays  at  5  P.M.  Publisher  reserves  right  to  reject  any  copy.  Address  correspondence,  copy  and  checks  to 
MOTION  PICTURE  HERALD,  Classified  Dept.,  1790  Broadway,  New  York  City 


USED  ECLIIPMENT 


WISE  EXHIBITORS  KNOW  WHERE  TO  BUY 
those  good  gruaranteed  rebuilt  Simplex  and  Powers 
projectors,  reflector  lamps,  rectifiers,  Mazda_  equip- 
ment, sound  accessories,  parts,  supplies.  Quality  bar- 
gains always.  Free  catalog-.  Play  safe  witb  MONARCH 
THEATRE  SUPPLY  CO..  Memphis,  Tenn.  Estab- 
lished 25  years. 


UNUStTAL  BARGAINS  IN  USED  OPERA 
chairs.  sounH  equipment,  moving  picture  machines, 
screens.  spotlights.  stereopticons.  etc.  Proiertion 
machine-;  repaired.  Catalog  H  free.  MOVIE  STTPPT.Y 
COMPANY.   Ltd..   844  So.    Wabash   Ave.,  Chicago. 


l.onn  FULL  UPHOLSTERED  CHAIRS.  KIND 
sound  engineers  recommend,  refinished  liVe  new. 
JOHN  BLLTM,  722  Springfield  Ave..  Newark.  N.  J. 


BARGAINS  RECONDITIONED  ARCTIC  NTT-ATR. 
Supreme,  American  Blowers,  noiseless  drives,  hydraulic 
variable  speed  n'dtevs.  New  air  washers.  Catalog 
mailed.  SOUTHERN  FAN  CO..  11  Elliott.  Atlanta. 
Ga. 


THESE  PRICES  TALK  SENSE  —  ANNUAL 
spring  house  cleaning — ticket  choptjers.  $35.00;  Racon 
units  from  $10,00  ■  fire  extinguishers,  ?4.!!0;  sound 
screens,  from  $10.00:  Powers  6A  heads.  $22.50;  sound- 
heads from  $19.75;  Acme  portable  projectors.  .*25.00; 
chairs,  from  75c:  Peerless  Hi-lo  arcs,  $89.50;  lenses 
from  $4.95;  Simplex  intermittents  from  $10.00;  arc 
rheostats  from  $fi  75.  Wri*e  us  your  needs.  S.  O.  S.. 
1600  Broadway.  New  York. 


BARGAINS  -  ONE  USED  ARCTIC  NU-AIR 
blower  and  motor  cheap.  Simplex,  Powers  and  auto- 
matic reflector  '^rcs-  '-'^'^^ifi'^rs  Coinpl'^te  sound  equip- 
ment. S49.75  i,n.  SOT.IND  SALES  CO.,  Representa- 
tive SOS,  Piedmont.  Ala. 


PAIR  HC  HI-LO  LAMPS.  GOOD  CONDITION, 
complete,  best  offer  takes  them,  will  trade.  PALACE 
THEATRE,   Greensboro.   N.  C. 


ONE  WESTERN  ELECTRIC  NO.  555  UNIT, 
perfect,  $16.50.  BOX  54,-?.  MOTION  PICTURE 
HERALD. 


NEW  ECDII^MENT 


SPECIAL  MAIN  DRIVE  GEAR  FOR  SIMPLEX, 
RCA  or.  Western.  $2.75  for  April  only.  Order  your 
supply  now.  MODERN  THEATRE  EQUIPMENT 
CORP..   133  Meadow   St.,   New   Haven,  Conn. 


EXCITER    LAMPS.   6    FOR    $2.40;  RCA  TUBES 

less  40%;  photo  cells.  $5.50  each.    All  purchases  from 

us  guaranteed.  CROWN,  311  West  44th  St.,  New 
York. 


SENECAL 
ECUIPAiENT 


BARGAINS!— POWERS  MECHANISMS,  MOTOR 
generator.  Parts.  TROUT  THEATRE  EQUIPMENT, 
Enid,  Okla. 


MORE  MODERN  LIGHT  ON  YOUR  SCREEN— 
new  reflector  arc  lamps  or  rectifiers,  $49.50 — Act  now 
before  all  sold.  Convert  old  lamps  to  Suprex. 
S.  O.  S.,  1600  Broadway,  New  York. 


SCREENS  RESILVERED  BY  FACTORY,  GUAR- 
anteed,  equal  to  new,  19c  per  square  foot.  Now 
you  can  order  a  screen  for  very  little  money.  Satis- 
faction assured.  CROWN.  311  West  44th  St.,  New 
York. 


PORTABLE  SOUND  PROJECTOR  —  UNUSED 
RCA  amplifier— spare  parts  cheap.  CANADY,  19570 
South  Sagamore  Road,  Cleveland,  O. 


19.36  CINEMAPHONE  SOUND  HERE  NOW— 
amplifiers,  soundheads,  tweeters,  woofers,  perfect  re- 
sults, lowest  prices.  Free  trial.  S.  O.  S.,  1600 
Broadway,  New  York. 


WANTED  TO  CUT 


WANT  TO  BUY— WANT  TO  SELL?  THOU- 
sands  of  theatre  owners  will  see  this  advertisement, 
just  as  you  are.  Motion  Picture  Herald's  Classified 
Advertising  Section  gets  results!  If  you  have  any- 
thing to  sell — or  want  to  buy — new  or  used — contact 
them  through  these  classified  columns  which  gives 
you  the  greatest  coverage  at  minimum  cost.  Write, 
wire  or  phone  MOTION  PICTURE  HERALD,  1790 
Broadway.  New  York  City. 


BONUS  PAID  FOR  SIMPLEX,  POWERS,  ARC 
lamps,  rectifiers,  lenses,  portables.  Stocks  liquidated. 
Strictly  confidential.  BOX  546,  MOTION  PICTURE 
HERALD. 


ORDER  NOW!  RICHARDSON'S  NEW  BLUE 
Book  of  Projection — 6th  edition,  complete  in  one  vol- 
ume, more  than  600  pages,  over  100  illustrations.  Full 
text  on  projection  and  sound  combined  with  trouble- 
shooter.  $5.00.  Mr.  Richardson  will  autograph  the 
first  two  hundred  copies  ordered.  QUIGLEY  BOOK- 
SHOP, 1790  Broadway,  New  York. 


10,000  SHORT,  PRECISE  BIOGRAPHIES  OF  Mo- 
tion picture  personalities — thousands  of  pertinent  facts 
about  every  phase  of  the  motion  picture  industry — the 
book  to  have  at  your  hand  every  minute  of  the  day- 
Motion  Picture  Almanac,  the  industry's  book  of  facts. 
1935-36  edition  now  in  preparation.  Order  your  copy 
early.  $3.00.  QUIGLEY  PUBLISHING  CO.,  1790 
Broadway,  New  York  City. 


PCSITICNS  WANTED 


MANAGER— HIGHLY  RECOMMENDED.  LIVE- 
wire  producer  in  all  branches  of  theatre  management. 
Biivintr.  booking,  nuhlicity.  BOX  544,  MOTION 
PICTURE  HERALD. 


SCDND  ECDIDMENT 


RUNNING  AROUND  THE  SOUND  TRACK? 
Rest  up  now — frequency  film,  copyrighted  instruc- 
tions, 9,000  cycle,  $1.50.  Buzz  and  chopper  track, 
$2.50.     Combination   of    both,    $3.00.     S.    O.    S.,  1600 

Broadway.  New  York. 


"BIG  COMBINES  BEATEN  TO  A  FRAZZLE" 
says  Wilka,  lola,  Kansas.  "You  stand  above  all 
independents."  He  promises  us  many  installations 
this  year.  Are  you  ready?  S.  O.  S.,  1600  Broadway, 
New  York. 


PDINTING  SERVICE 


100  WINDOW  CARDS,  14  x  22,  3  COLORS.  $3.75; 
no  C.O.D.     BERLIN  PRINT,  Berlin,  Md. 


THEATRES  WANTED 


WANTED  THEATRE,  2,000  TOWN,  MINNESOTA 
or  Wisconsin.  Write  particulars.  BOX  468,  James- 
town, N.  D. 


TRAINING  SCtiCCLS 


LEARN  MODERN  THEATRE  MANAGEMENT. 
Catalog  free.  THEATRE  MANAGERS  INSTITUTE, 
315  Washington  St.,  Elmira,  New  York. 


THEATRES 


FOR  RENT  THEATRE,  EQUIPPED,  600  SEATS. 
A.  G.  ABBOTT.  Grand  Island,  Nebr. 


FOR  RENT:  OPERA  HOUSE,  MODERN  THEA- 
tre,  new  leather  upholstered  chairs,  reasonable.  I.  H. 
RUSSELL,  Real  Estate  &  Insurance,  Charles  Town, 
W.  Va. 


REPRESENTATIVES 
WANTED 


SALESMAN  WITH  CAR,  EXPERIENCED  SELL- 
ing  to  theatres.  Must  be  able  to  invest  $75,  actual 
cost  of  demonstrators  and  selling  equipment.  Liberal 
commissions  and  big  opportunity  for  hustlers.  A 
modern  necessity;  highly  endorsed  by  leading  ex- 
hibitors.   HARRY  K.  LUCAS,  Charlotte,  N.  C. 


WANT  LIVE-WIRE  AGENTS  ANYWHERE  TO 
sell  nationally  advertised  sound  projection  equipment, 
portable  and  permanent  supplies,  parts,  etc.  BOX  545, 
MOTION  PICTURE  HERALD. 


Cameramen  s 

INSPIRATION 


/CAMERAMEN  long  ago  decided 
^^-^  that  Eastman  Super  Sensitive  ''Pan" 
is  fit  company  on  any  flight  of  genius.  And 
results  vindicate  their  judgment.  For  four 
years  in  succession  the  great  bulk  of  the 
really  inspired  motion  pictures  have  been 
photographed  on  this  superlative  film. 
Eastman  Kodak  Company,  Rochester,  N.  Y. 
(J.  L.  Brulatour,  Inc.,  Distributors,  New 
York,  Chicago,  Hollywood.) 


EASTMAN  Si/per  Sensitive 
Panchromatic  Negative 


WARNING! 

Prepare  for  Riots 

MAE  DAY 

ay  17th 


MAE  WEST 


GOIN'  TO  TOWN 


A  Paramount  Picture 

DIRECTED    BY    ALEXANDER  HALL 

rVI  AY  17th 


4