Class P/V/??^ Book , PRESENTED BY Scanned from the collections of The Library of Congress AUDIO-VISUAL CONSERVATION at The LIBRARY of CONGRESS I* 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.loc.gov/rr/record i MOTION PICTURE qp NAZI FILMS DISGUISED AS FRENCH BRING BOYCOTT GUILDS EXTEND THREATS TO UNIONIZE HOLLYWOOD THE BOX OFFICE CHAMPIONS OF A MONTH VOL. 125, NO. 6 NOVEMBER 7, 1936 Entered as second-class matter, January 12, 1931. at the Post Office, at New York, X. )'., under the act of March .!, 1879 Published weekly by Quit/ley Publishing Co.. Inc., at 1270 Sixth Avenue. Rockefeller Center, New York Subscriftioi $3.00 a year. Single copies, 25 cents. v '7 feu b°c* Of 10 This is a tip-off to M-G-M exhibitors to keep the old S. R. O. sign handy after they have finished playing "Great Ziegfeld", "Gorgeous Hussy", "Libeled Lady" and other Fall Season hits from M-G-M ! • There's more on the way as you can see on this page. And, oh mister, how you're going to nee-d that S. R. O. sign! ROBE^ GRETA TAYLOR GARBO ^Hb^^^H^^^^ , ,s should be How fitting ** -^Garb^nd ^andsomej M, * and P°r"ard bVance "Oarbo as ^^^^J^J^Z^X^ Idol of '°m*""atld, the romannc ' ,.R 0 and Jul Taylor as A'f"r' George Vu„f thi s year! A/"e Go S" "ev-^/, danced ^^...^rt,,- °^e„f ^^^^^ Product1'00 , by JOSEPH p'°Ldu^sJevvicr - i -■JW Pi to .«•• • «™h \ 8 Not vou'U fin4 1«' \yhcne *ho WE'VE BLANKETED THE COUNTRY BLANKET YO HENRY STEPHENSON MWDmVEN-ROBERT BAR RAT TArtAJ ft) MICHAEL CURTIZ ( "endT:s;l-sto,,ping 24-sh«' \ wa,t t,l you see it i„ fu|, co(or, ) NEW LOW PRICES FOR A NEW 24-SHEET 51 and over 9c 1 to 5 $2.00 3-SHEET 6 to 15 $1.75 1 to 10 40c 16 and over $1.50 11 to 25 36c 1-SHEET 26 to 50 32c 1 to 10 15c 51 and over 28c 11 to 25 13c 6-SHEET 26 to 50 11c 1 to 5 75c HIGH IN FLASH ACCESSORIES 6 to 10 70c llxl4's 11 to 20 , 65c In full color — pebbled and 21 to 50 55c varnished! 51 and over 50c Set of 8 $ .75 per set 14xl7's HERALD— 8 "xl 6" In full color — pebbled and in two colors, rotogravure! varnished! 1M to 4M $2.75 per M Set of 8 $1.50 per set 5M and over. . .$2.50 per M WITH THESE THESE! deHAVIUAND he big- gest-selling magazines in America are on your advertising schedule- put there by Warner Bros, to sell your show with a smashing campaign they won't forget! That kind of advertising is costly — and it hasn't cost you a cent! It's doing your job, reaching your patrons, making your campaign the biggest of its kind in the history of show busi- ness! Now see it through! Set up your engagement in the big way it deserves and get your full share of profits from the year's biggest dramatic hit! EVERY ONE OF THESE MAGAZINES INCLUDED IN WARNER BROS.' 55-MILLION READER CAMPAIGN! SATURDAY EVENING POST • COLLIER'S • LIFE • PICTORIAL REVIEW* COSMOPOLITAN • RED BOOK • ESQUIRE • STAGE PARENTS' MAGAZINE • AMERICAN BOY • SCHOLASTIC PICTURE STILL KNOCKING RECORDS F' A GOAL! That 20th tops its great musicals with even greater ones is being proven by "Pigskin Parade's" outstanding showing. Held over in LOUISVILLE. First 3 days beat "Sing, Baby's first 4 days in COLUMBUS. Held for second week in ST. LOUIS. Building beyond 'Sing, Baby" in WASHINGTON despite election opposition. Topping "Sing, Baby" in DETROIT. Way ahead of "Thanks A Million" in NEW HAVEN. Neck-and-neck with "Sing, Baby" in KANSAS CITY. Leading "Sing, Baby" in DAYTON. Out-stepping "Road to Glory" in MEMPHIS and PHILADELPHIA! 20thrs LAUGH & SONG TOPPER THANKS A MILLION" TO SING, BABY, SING"! WITH CAST PICKED FOR ENTERTAINMENT THE KEYSTONE YOUR FUTURE \ STUART ERWIN • JOHNNY DOWNS ARLINE JUDGE • BETTY GRABLE PATSY KELLY • JACK HALEY YACHT CLUB BOYS • DIXIE DUNBAR ANTHONY MARTIN JUDY GARLAND Directed by David Butler* Associate Producer Bogart Rogers Screen play by Harry Tugend, Jack Yellen and William Conselman • Based on a story by Arthur Sheekman, Nat Perrin and Mark Kelly • Music and lyrics by Lew Pollack and Sidney D. Mitchell • Music and lyrics of songs sung by Yacht Club Boys — by Themselves Darryl F. Zanuck in Charge of Production MOTION PICTURE HERALD Vol. 125, No. 6 November 7, 1936 SCREEN and GOVERNMENT DVOCATES of governmental regulation of the mo- tion picture industry can find much of special in- terest in observation of manifestations in certain ■ # \ areas overseas. ' A great deal is ever being said, for instance, by our leftists critics about the achievements of the art in Russia, by the state controlled cinema, which it seems is not bound by profit motives and is, so they contend, artistically free. That makes a neat background against which to consider the tidings the other day of Russia's sending to labor camps three picture executives on the charge of buying an inadequate story, wasting money in production and search for talent. There's a free art for you. And, again, there's another sharp cut picture of what bureaucrats can do with power in Motion Picture Herald's pre- sentation in the issue of September 26 setting forth the rules under which motion picture theatres may operate under the Anarchist government of Spain. Meanwhile, and by happy contrast, it is to be observed that in Great Britain the chief concern of the government about the motion picture these days appears to be expressed in support and encouragement of a substantial sort for the up- building of the British film industry. The impressive avail- ability of capital for British screen development implies and is based upon approval in high places. HERE at home, too, where most of what we hear in the public prints from Washington about the screen is in the nature of annoying agitations for legislation, there is another story of official encouragement. Through the last especially troubled years of the world market and the Ameri- can industry's problems of tariffs, quotas and the like, the ap- propriate departments in Washington have in strong but diplomatic fashion given important service and support. It is a story that may not be told with official detail, but some part of it is known to every manager of foreign sales in New York. In at least some offices in Washington there is a recognition of the significance of America's world wide film distribution in the broad general service of American industry. The motion picture has for three decades been doing a job for the United States, being permitted the while to tend to its own business. AAA ONE of the choicer and franker discussions of the state of the art in Hollywood is contributed to the current issue of Stage by Mr. Gene Lockhart, actor-from- Broadway, now working considerably in films. Mr. Lockhart seems to like his work and Hollywood. Of his contemporaries he says: Fifty percent of the actors in Hollywood are content in the film capital. Twenty-five percent long to tread again the boards of legitimate drama — that is, providing the part is out- standing, the billing is good, and the salary approximates what they receive in pictures. Twenty percent woidd go back to the stage if offered a part because they are not being offered parts in Movietown. Four percent insist upon returning each year to the stage because they retain abiding respect for the theatre; they are offered leading roles, and they have a sufficiently large bankroll to withstand the expense of four weeks' rehearsal, pos- sible failure of the show, and return fare to Hollywood. One percent would return to the stage in any part, with or tvithout kudos in the pocket, because they love the theatre. Mr. Lockhart thinks that all good motion picture acting is sincere and insists that no actor can fool a camera. AAA DIRT RECORDS THE struggle for common decency in the amusement trades never ceases. Just now that coin operated phonograph business is having an unhappy time of it with producers and vendors of smut song records. Leaders of the business are finding it necessary to make the same basic arguments of the validity of decency and its merit as a business policy in the service of a decently inclined public that have been made in every other amusement institution be- fore. This problem has arisen often before in the phonograph trade, most conspicuously in 1894-5, the year before the screen was born. A considerable proportion of the smut song records has been credited to "Hollywood stars" in their advertising. In- vestigation discovers the advertising to be both salacious and fraudulent. BURLESQUE producers in New York have joined the double bill movement to the best of their ability by presenting four "stripping principals" in each cast. The prospects are excellent for official municipal attention to this develop- ment of the art at an early date. A A A CIVILIZING some producers is like trying to drown out a woodchuck — he always comes out another hole. Just now a celebrated picture impresario, having had his sex technique repressed, tends to amplification of his scenes of sadism, quite as immoral but in a category less under fire. 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 Quigiey Publishing Company, Rockefeller Center, New fork 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, 624 South Michigan Avenue, C. B. O'Neill, manager; Hollywood Bureau, Postal Union Life Building, Boone Mancall, manager; London Bureau, 4, Golden Square, London W I, Bruce Allan, cable Quigpubco London; Berlin Bureau, Berlin-Tempelhof, Kaiserin-Augustastrasse 28, Joachim K. Rutenberg, representative; Paris Bureau, 29, Rue Marsoulan, Paris 12, France, Pierre Autre, representative, cable Autre-Lacitral-12 Paris; Rome Bureau, Viale Gorizia, Rome, Italy, Vittorio Malpassuti, representative, Italcable, Malpassuti, Rome; Melbourne Bureau, Regent Theatre, 191 Collins St., Melbourne, Australia, Cliff Holt, representative; Mexico City Bureau, Apartado 269, Mexico City, James Lockhart, representative; Prague Bureau, Uhelny trh 2, Prague I, Czechoslovakia, Harry Knopf, representative; Budapest Bureau, 3, Kaplar-u, Budapest, Hungary, Endre Hevesi, representative; Buenos Aires Bureau, Corrienfes 2495, Dep. 8, Buenos Aires, Argentina, Natalio Bruski, representative; Shanghai Bureau, 142 Museum Road, Shanghai, China, J. P. Koehler, representative; Tokyo Bureau, 880 Sasazuka, Ichikawa-shi, Chiba-Ken, Japan, H. Tominaga, representative; Rio de Janeiro Bureau, Caixa Postal 3358, Rio de Janeiro, Brazil, A. Weissmann, representative; Barcelona Bureau, Harry Chapin Plummer, Hotel Ritz, Plaza de las Cortes, Barcelona, Spain. India Bureau; K. G. Gidwaney, Post Box 147, Bunder Road, Karachi, India; Uruguay, P.O. Box 664, Montevideo, Uruguay, Paul Bodo, representative, cable Argus Montevideo- Amsterdam Bureau, Zuider Amstellaan 5, Amsterdam, Holland, Ph. de Schaap, representative; Vienna Bureau, Neustiftgasse 54, Vienna VII, Hans Lorant, representative. Member Audit Bureau of Circulations. All contents copyright 1936 by Quigley Publishing Company. Address all correspondence 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 Ouigley Publications: Motion Picture Daily, Teatro al D!a, Spanish language quarterly in the theatre and equipment field, and International Motion Picture Almanac and the Box Office Check-up, both published annually. 8 MOTION PICTURE HERALD November 7, 1936 This Week German Film Impasse Studio Ambitions An attempt to gain the cooperation of large film distributors and representa- tives of exhibitors in the exclusion from America of films made in Nazi Germany, or films which are pro-Nazi in tone, is being made by the Non- Sectarian Anti-Nazi League to Champion Human Rights, of which Samuel Untermyer is president. A meeting of distributors and exhibitors was called at the New York of- fices of the League on Friday of this week. The attempt is a result of what has been labeled an effort by German producers and distributors to gain exhibition of their pic- tures in this country by advertising them as French product. The League and other organizations last week investigated such a picture which was billed as French product but was found to be a UFA film, made in Germany with a predominantly German cast. The story is on page 13. Equity Suspends 24 A convincing demonstration of the strength of the Screen Actors Guild and of the movement to establish a closed shop for actors in Hollywood is seen in the suspen- sion of 24 players by Actors Equity Asso- ciation for failure to join the Guild after receiving warnings that they must join in order to retain their Equity status. The action was made possible through the affilia- tion of the Guild and Equity. The organized labor situation as it affects the motion picture industry is surveyed on page 21. Music Publishers Agree After months of preliminaries, the Ameri- can Society of Composers, Authors and Pub- lishers, along with the British Performing Rights Society, this week reached a satis- factory agreement with Canadian exhibition interests for music fees for the year 1936 and the Canadian Performing Rights So- ciety will continue in operation for another year. The fee charged by ASCAP is higher than that prescribed by Dominion law, but it was thought this will not affect the new pact, though it will be examined by the gov- ernment. Details of the Toronto meeting on the new agreement, and other ASCAP activities, are found in the story on page 14. Camera Crist The Hollywood productions-in-work level came down as fourteen pictures were taken to the cutting room and eight were placed before the cameras. Titles and personnel are listed on page 41. Jorge Mendez Delfino, owner of a studio in Buenos Aires, and Amador Feliu, tech- nical manager, have been studying condi- tions in Montevideo, Uruguay, with a view to erecting a motion picture studio and labo- ratories there. Weather conditions in Uruguay are called superior to those in Ar- gentina, resembling the climate of Southern California, and production costs are expected to be lower than in other production centers. This and other news from Montevideo is reported on page 72. Editor This Week in Pictures The Hollywood Scene Cutting Room Asides and Interludes British Studios Showmen's Reviews Chicago In the Newsreels Theatre Receipts Managers' Round Table The Release Chart Technological Page 7 Page 10 Page 41 Page 34 Page 33 Page 53 Page 54 Page 68 Page 70 Page 61 Page 81 Page 89 Page 99 New Exhibitor Croup Broadway this week was awaiting mo- mentarily the announcement of a new na- tional exhibitor organization, which will give the industry a third group, besides the Motion Picture Theatre Owners of America and Allied States Association of Motion Picture Exhibitors. Harry Brandt, presi- dent of Independent Theatre Owners Asso- ciation, is the prime mover behind the foun- dation of the new association, but all meet- ings are being held behind closed doors. It is said that Howard S. Cullman, trustee of the Roxy, will be the head of the third group, though Mr. Cullman has denied that he has been approached. All available details of the new association are found in the story on page 29. Orchestras Exempted The United States Internal Revenue Bureau ruled this week that exhibitors do not have to pay the social security tax on payrolls of orchestras employed. This ruling is explained on page 47. What Maxwell Pays John Maxwell is paying the Ostrer brothers approximately $3,000,000 (£618,- 125) for their 250,000 shares of "B" or non-voting stock in Metropolis and Brad- ford Trust Company, which controls Gau- mont-British. Completion of the "second stage of the deal, acquisition of the 5,100 "A" or voting shares, is likely to wait some time, says Bruce Allan in London, because of the claim of Twentieth Century-Fox that the Ostrers may not sell their "A" shares without making it a condition that at least half the "A" shares of Twentieth Century- Fox be purchased. Further background detail of the deal is recorded on page 78. Exhibitors Meeting As the late fall and early winter season approaches, exhibitors in many territories are preparing to bring their problems of operation into the open at conventions. In- dianapolis, Little Rock, Omaha, Charlotte, Oklahoma City and Miami are making ready to receive organization members. Allied of Michigan met this week. See page 22. Not a Gag Walter O'Keefe is sponsor and Eddie Cantor and Jack Benny are advocates of a projected clearing house designed to end duplication of radio gags and the gagsters named insist the idea is not itself a gag. Story on page 41. November 7, 1936 MOTION PICTURE HERALD 9 Radio and Juveniles A potential danger to box office receipts is seen by M. A. Silver, zone manager for Warner Brothers theatres, in the increasing appeal made by radio to child audiences. Mr. Silver, in a letter to his managers, urges sustained drives to retain child patronage not so much for the increased receipts in- volved but for preservation of the "movie- going habits" upon which, he says, the the- atres are, to a great extent dependent for their steady patronage. Mr. Silver's letter is quoted in full on page 30. Bombings and Arrests Bombing of theatres in Greater New York was resumed over the weekend days when tear-gas containers were broken in eight independently operated houses at approxi- mately the same time frightening some 12,000 persons and injuring 45, several seriously. All the houses were connected with the In- dependent Theatre Owners Association, of which Harry Brandt is president, and all employ members of Allied Motion Picture Operators Union. The following night, po- lice raided the Forty-second Street head- quarters of Local 306, International Alli- ance of Theatrical and Stage Employes and Moving Picture Operators, taking 30 men and seven women into custody. All were released after questioning and denials of implication in the bombings. Further details of the situation are recorded on page 44. Donat Recovered Robert Donat, confined for several weeks to a specially air-conditioned nursing home bedroom by illness, has recovered and re- ported for work in "Knight Without Ar- mour," in which he will appear opposite Mar- lene Dietrich at the Denham studios. Produc- tion of scenes in which Mr. Donat does not appear has been carried on steadily during his indisposition. Bruce Allan's report of activities in the British studio field is published in detail on page 53. Bar, Nursery, Escalator Bar, nursery and escalators are among the features of the newest Chicago theatre, the Essaness Walton. Thus Chicago mothers may park their babies in the nursery, their husbands in the bar, and then go in and enjoy the picture, unless they join their husbands, or baby starts trying out the moving stairway. For other developments in the Chicago territory, see page 68. Paramount Profit Seen Third quarter profits will be in excess of $1,000,000 it was estimated this week with the company's report to be issued some time this month. Stanton Griffis, chairman of the executive board, declined to estimate the earnings but said that they would exceed those anticipated at the close of the quarter a month ago. The chairman also said that reports that dividend action is possible were not unfounded. First preferred stock of the company touched a new high of 125% last week. Mr. Griffis' remarks on the subject are quoted on page 29. Leserman Joins Warner Carl Leserman, formerly general sales manager for Grand National has joined Warner Brothers as assistant to Gradwell Sears. Edward J. Peskay, independent ex- hibitor, succeeds Mr. Leserman in the Grand National post and in his directorship of the new company. Harry Allan has been named Canadian representative, Sol Edwards, east- ern manager, and James Winn, western manager, for Grand National. The personnel changes are reported on page 47. RCA Expands A new plant is being constructed in In- dianapolis by the RCA Photophone division to manufacture sound equipment, including public address and stage sound reinforce- ment apparatus. Contracts have been signed for installation of RCA Photophone sound systems in 64 Loew theatres throughout the country. Zukor Jubilee Plans Paramount actors and sales managers are preparing their roles for the Adolph Zukor jubilee which is to start on January 3rd. Actors have been named honorary captains for the sales districts. Mr. Zukor, in a mes- sage to the sales force in the field last week, assured them that the product from the studio would justify everything they may say about it in the campaign. Plans for the jubilee are announced on page 22. The Champions The Box Office Champions of September, according to aggregate grosses, are "Swing Time," RKO-Radio ; "The Great Ziegfeld," MGM; "Romeo and Juliet," MGM; "An- thony Adverse," Warner ; "The Gorgeous Hussy," MGM, and "My Man Godfrey," Universal. Scenes from each picture, together with complete credits and other pertinent data, are presented on pages 42-43. Universal Simplifies "In the interests of economy and effi- ciency" Universal Corporation has adopted a program of simplification of its corporate structure, J. Cheever Cowdin, chairman, an- nounced on Wednesday. Fifteen subsidiaries are affected immediately while a number of others will be absorbed or altered later. As the initial step in this program Uni- versal Productions, Inc., has been dissolved while Universal Pictures Corporation and Motion Picture Export Corporation are scheduled to be eliminated. When the changes now being made are completed, Universal Pictures Company, Inc., control of which is vested in Universal Corporation which was organized in March, 1936 to se- cure the holdings of Carl Laemmle and associates, will carry on all operations, pro- duction and distribution, either directly or through 100 per cent owned subsidiaries. The pending dissolution of Universal Pictures Corporation will mark the passing of one of the oldest companies in the Uni- versal setup. It has been engaged in the pro- duction and distribution of motion pictures since 1912. Kent Adamant S. R. Kent, back in New York after five weeks spent in England, told the press that Twentieth Century-Fox will not approve the proposed sale of A shares in the Brad- ford & Metropolis Trust, holding company for Gaumont-British, by the Ostrers to John Maxwell and associates. Neither, said Mr. Kent, will the company sell any of its own B. & M. shares, obtained under terms giving Twentieth Century-Fox right of veto over deals in A shares of the holding company conveying voting power. See page 78. Story Purchases Sustained activity in the purchase of story material for motion picture production saw 70 manuscripts obtained by 18 producers during October, the rate maintaining that of August and September. Stories purchased arc listed on page 19. 8 For BJ.P. A production schedule which will place a new production on the stages each week dur- ing the next two months has been embarked upon by British International Pictures and Walter Mycroft, director of production, ex- pects to complete eight pictures before the end of December. Many American players are to be seen in the productions scheduled. A complete presentation of the B.I. P. pro- duction schedule is provided on page 53. 10 MOTION PICTURE HERALD November 7, 1936 This Week in Pictures VACATIONING. Richard DIx (be- low) in New York following com- pletion of a leading role in Co- umbia's "The Depths Below," co- featuring Dolores Del Rio. PRESS PARTY FOR FRENCH PLAYER. Executives of Warner Brothers and trade press at reception in New York for Fernand Gravet, French film star signed by Warner for Mervyn LeRoy's production, "The King and the Chorus Girl." Left to right: Gradwell L. Sears, Jack Alicoate, Maurice D. ("Red") Kann, J. L. Warner, M. Gravet, Harry M. Warner and Martin Quigley. ITALIAN STAR SIGNED. Isa Mi- randa (left), whom Paramount has under contract. She has played in German and French films. LEARNED COW ROPIN' ON THE RADIO. Anyhow, it's from NBC networks that Cliff Nazarro comes to the screen, via a contract with Jed Buell. He will have comedy leads in the Spectrum series, "The Singing Buckaroo," starring Fred Scott, who is shown (left) welcoming him to the "range." JOINED IN PRODUCTION. Douglas Fairbanks, Sr., and Samuel Goldwyn going over plans for the initial picture to star Gary Cooper under the Goldwyn banner. The story, dealing with the adven- tures of Marco Polo in the Orient, circa 1300 A.D., is by Fairbanks. Release will be through United Artists. November 7, 1936 MOTION PICTURE HERALD RESTING IN EAST. Margot Gra- hame arriving in New York for a vacation following completion of her RKO Radio production, "Make Way for a Lady." HEAD CAST OF ITALIAN IMPORTATION. Elisa Cegani and A. Nazzari, who have the romantic leads of "Cavalry," recently com- pleted in Italy by the Industrie Italiane Cinematographiche. It will be distributed in the United States by United Artists. Others promi- nent in the cast are Silvana Jacchino and Clara Padova. STILL CLAIMS HER PUBLIC. Mary Pickford, film company executive, demonstrated this kind of "draw" on her arrival the other day in New York. So many fans stormed the station to welcome the sometime "America's Sweetheart" that police lines were necessary. She had come for conferences with United Artists officials on corporation affairs. THE PAY-OFF. It seems James Hogan, Paramount director, and 20 years ago Adolph Zukor's property boy, has insisted through the years Mr. Zukor once was $3 short on his pay. The other day the latter decided to end Hogan's dunning. Here's the record. [2 MOTION PICTURE HERALD November 7, 1936 WE'LL HOLD IT! You see, the gag is (below) Doris Lindsay, one of First National's "Gold Diggers of 1937," has no stockings, therefore no place for the gold she's dug! Tsk, tsk. As if a gag were needed! MAKING ROMANCE! Or, reel love running smoothly according to script (ah, if the fans only sus- pected!). With Director Henry King egging them on, Tyrone Power, Jr., and Virginia Field go about the business of love in a scene for "Lloyds of London," 20th Century-Fox historical film. TO PARIS. Carol Stone, who has quit the cast of "White Horse Inn," New York stage musical, for an engagement at the Comedie Francaise. She has appeared on the screen in RKO Radio's "Freckles." FROM LONDON. (Right) Herbert Wilcox, executive producer of General Film Dis- tributors, Ltd., with two of his stars, Tulia Carmenati (left) and Anna Neagle, reach New York for conferences with Universal. November 7 , 1936 MOTION PICTURE HERALD 13 MASKING OF NAZI FILMS AS FRENCH IS CHARGED AS NEW BOYCOTT LOOMS Anti-Nazi League Invites Dis- tributors and Exhibitors to Friday Meeting to "Discuss Policies of American Industry" A sustained campaign to prevent the showing of pictures made in Nazi Germany either through cooperation of distributors in America, if possible, or by a boycott, if nec- essary, has been launched by the Non-Sec- tarian Anti-Nazi League to Champion Hu- man Rights, of which Samuel Untermyer, internationally noted lawyer, is president. A meeting to which large film distributors and representatives of exhibitor organiza- tions have been invited is set for Friday afternoon at the headquarters of the League in New York. Invitations sent out by the League said that the purpose of the meeting was to discuss "policies of the American film industry in respect to the distribution and exhibition of all German-made and pro- Nazi motion pictures." The League claims a membership of more than 10,000 with branch offices in Cleve- land, Detroit, Chicago, Hollywood, New Orleans, and Portland, Ore., and says it has direct connections, through affiliations, with 2,000,000 persons who are members of simi- lar anti-Nazi groups, churches, synagogues, community centers and civic and fraternal clubs. The largest single group said to en- dorse the policies of the League is the American Federation of Labor which on several occasions has supported boycotts against German-made products. The announcement of the meeting on Friday explained that "although in the past the League has successfully invoked the boycott against Nazi-made films, a more emphatic movement has become necessary because German film interests are releas- ing pictures through subsidiaries in other countries, often concealing the real Nazi ownership." With the announced intention of exposing such practices and of ultimately completing a boycott of all German-made and pro-Nazi films, the League called the meeting "to gain the co- operation of representatives of the American film industry in all its branches." The market for German films in this coun- try is reported to have almost disappeared ex- cept in German language theatres in sections of large cities where the population is largely of German extraction. The charge of "concealment" resulted from the billing and subsequent withdrawal of the picture "Amphitryon" at the Fifty-fifth Street Playhouse in New York last week. The film, subtitled "The Gods at Play," was advertised as a French picture, made in France. Independent investigations conducted by Motion Picture Daily, by the League and by the Joint Boycott Council of the American Jewish Congress and the Jewish Labor Committee, disclosed the fact that the film is not of French but of German origin. French Branch of UFA The credit sheet given reviewers at preview of the picture read that the film was produced "WHAT THE PICTURE DID FOR ME" NEWSREELS: The intense in- terest in the political campaign, and there is a lot of footage be- ing used up, is making for rowdy houses. They clap and boo — and, boy, will I be glad when the damn thing is settled one way or the other. Then maybe we will get some news in them again. — A. E. HANCOCK, Columbia Theatre, Columbia City, Ind. General patron- age. by LAlliance Cinematographigue Europeene in Paris. Distribution in this country is being han- dled by Globe Pictures Corporation. Martin J. Lewis, managing director of the Playhouse, said that to the best of his knowledge the pic- ture was produced by ACE, which he believed to be a wholly-owned French company, having no connection with any German company or any German financing. In support of his contention Mr. Lewis pro- duced a letter signed by Dave Brill of Globe Pictures in which the exhibitor was "assured" that the film was entirely French both "artis- tically and economically." The investigations disclosed that ACE is French branch of the German producing com- pany UFA, (Universum Film Aktiengesell- schaft) and that the picture, although starring the French player, Henri Garat, was actually made at the UFA studio in Neu Babelsburg, Germany. The company's connection with UFA was established by a cable received from Pierre Autre, representative in Paris of Quig- ley Publications, which read : "Practically a Subsidiary" "Alliance Cinematographique Europeene is the French distributing company for German UFA films. It is practically a subsidiary of UFA with W. Schmidt as manager of all French branches. The Alliance has exchanges in Paris, Brussels, all main French towns and North Africa. The main German UFA films are generally produced in Berlin studios in both French and German speaking versions. So has been Amphitryon,' starring Henri Garat, made in Berlin, French title 'Les Dieux SAmusent,' ('The Gods Amuse Themelves.')" Dr. Robert Marcus, secretary of the Joint Boycott Council, exhibited a copy of La Cine- matographic Francaise for August 10, 1935 in which a page advertisement was carried on the film under its French title. The picture was designated as "Une Production G. Stapenhorst de la UFA," which translates as "A G Sta- penhort production of UFA." The Council secretary charged that ACE is a French distributing arm of UFA in Germany and that it produces four or five pictures a year in France "as a cover." He said that the film had been offered to several American dis- tributors of foreign product by UFA last year, and that the American firms refused to take it. To add to the evidence the Non-Sectarian League produced a copy of a press book for the German version of the picture, printed in Ger- German Interests Releasing Pictures Through Subsidiaries in Other Countries to Con- ceal Ownership, Is Charge many and sent to German exhibitors, in which the production is plainly labeled a UFA picture. In a bulletin to its members urging a boycott of the picture, if and when it opens, the League explained : "The film, 'Amphitryon,' is widely adver- tised by its American distributors and ex- hibitors as having been made in France. It is true, of course, that L' Alliance Cine- matographique Europeene produced the picture, but what is not widely known is that that company is merely the French branch of UFA, which is virtually owned by the Nazi Government. Since all profits and royalties accruing from the picture will be sent to Nazi Germany, this picture, and all other productions of L'Alliance Cinemato- graphique Europeene, must be boycotted." Before the "Amphitryon" incident a question arose over "La Kermesse Heroique," a Tobis production made in France and distributed here by the newly opened American branch of the company. The Anti-Nazi Economic Bulletin, official organ of the Non-Sectarian League, in its September issue attacked Tobis as a "Ger- man company which is making another attempt to crash the American film market." Denies It's German Company Following publication of this story in the League bulletin, W. E. Van Beverin, president of Tobis-America, denied emphatically that Tobis is a "German company." He explained that the parent company is Dutch, with head- quarters in Amsterdam, Holland, and is backed by Dutch capital. The company has a produc- tion branch in Germany, he said, as it has in other European countries including Austria, Sweden and France, and the German branch is meeting the difficulties which face any other company with subsidiaries in Germany under the Nazi Government. The company must sub- mit to the same regulations governing with- drawal of money from the Reich as all other concerns and must do its best to protect its in- vestment there. Mr. Van Beverin further said that pictures made by Tobis in Germany are brought to this country strictly as German-made pictures and billed as such, but he added that the market at present for such films is very small, being con- fined to the few German language theatres in large cities. In addition, he said, any returns from exhibition of German Tobis pictures in this country go to the parent company in Hol- land and not to the German branch. "La Kermesse Heroique," the English title of which is "Carnival in Flanders," was made by the French branch of Tobis in both French and German versions at the Epinay studios near Paris in the summer of 1935. The story is by Charles Spaak, a Belgian, and the picture was directed by Jacques Feyder, a French citizen of Belgian birth. The film, which played at the Filmarte Theatre, is being taken on the road by Joseph Steiner, general sales manager of Tobis-America. League Retracts Charges The League in the October issue of its bul- letin is carrying a retraction of the charges 14 MOTION PICTURE HERALD November 7, 1936 MUSIC PUBLISHERS AGREE Masking of Nazi ONNEWCANADIANSCALE Films Is charsd Agreement with Exhibitors Sets Fee at 25 Per Cent Lower Than the Scale at Present The organized music publishing interests of the American Society of Composers, Authors and Publishers and the British Per- forming Rights Society have finally worked out with Canadian exhibitors an agreement on music reproducing royalties. The agreement was worked out in To- ronto last week by E. C. Mills, of ASCAP; Wesley J. Boosey, representing the British Performing Rights Society and most of the foreign music societies ; T. J. Bragg and Arthur Thomson, Famous Play- ers-Canadian; Matt Taylor and Colonel John A. Cooper representing- independent Canadian theatre owners. The new pact is for the year 1937 and the fees charged the theatre operators will be 25 per cent lower than heretofore. Mr. Mills, general man- ager of ASCAP, which owns half of the Canadian Performing Rights Society, ex- plained that film rentals paid by Canadian exhibitors are on the average 25 per cent less than those paid in the United States, and, therefore, it was agreed that the Canadian music tax should reflect the same differential. Canadian owners will now pay 15 cents per seat for theatres seating over 1,600; 12 cents per seat for theatres seating 801 to 1,599; 10 cents for theatres under 800 seats and a minimum of $10 a yeai . The new schedule was filed with the Government at Toronto on Monday. The new agreement, which sets a price higher than the five cents a seat annuai rate set by the Canadian government, is said to have the approval of the govern- ment, either due to realization that it could not fix prices, at least in this instance, or to a belief that the new prices were fair. However, government approval may be required before the new agreement can be placed into actual effect, according to legal opinions in Toronto. It was pointed out in Toronto that while the government undoubtedly would not at- tempt to restrain exhibitors who are parties to the agreement from paying rates in ex- cess of those prescribed by its commission, it would move to protect the interests of any exhibitor not a party to the agreement who declined to pay a higher rate than that pre- scribed by the Canadian Government. The larger theatre interests, however, were represented in the agreement and it is from these that the music licensing society derives the bulk of its Canadian revenue. Under the agreement, the Canadian Per- forming Rights Society will continue in operation, according to Mr. Mills and Mr. Boosey, whose organizations control the Canadian music licensing unit. Approximately 450 publisher, composer and author members of ASCAP attended the organization's semi-annual luncheon meet- ing at the Hotel Astor last weekend in New York. The meeting was addressed at length by Mr. Buck, who presented reports of officers on activities since the membership meeting last winter. Following the luncheon, Arthur Schwartz of Schwartz and Frohlich, attorneys for the society, left for Washington for several days of conferences with members of the At- torney General's staff in connection with agreements on stipulations of fact which are being entered in an effort to expedite ad- judication of the Government's monopoly ac- tion against ASCAP. Much work still re- mains to be done before the stipulations can be submitted to the federal court in New York. When completed, the court may de- cide the case on the basis of the stipulations or may order a resumption of the trial for additional evidence and testimony. AT&T Filesl^ief In Federal Board Fight Briefs were filed this week with the United States supreme court in Washington by the American Telephone and Telegraph Com- pany and associated companies and by the General Telephone Company group in suits to enjoin the enforcement of an order of the Federal Communications Commission pre- scribing a uniform system of accounts for telephone companies. A reply from the com- mission is expected within the next week. A ruling by the supreme court is antici- pated by both sides before the postponed date of Jan. 1, 1937, for effective operation of the new accounting system. Fox Bankruptcy Case Postponed to Nov. 1 0 Questioning of witnesses in the William Fox bankruptcy proceedings was adjourned in Atlantic City this week until November 10 by Referee Robert E. Steedle because of Election Day and other interruptions. Referee Steedle has forwarded to United States District Judge John Boyd Avis at Camden papers certifying Herbert Leitsteen in contempt for refusing to testify on All- Continent Corporation affairs. Securities Ordered Sold Judge Charles B. Davis in the United States district court in St. Louis has ordered that $110,000 in debentures and 1,100 shares of preferred stock of Paramount-Publix, re- ceived by the voting trustees of the Missouri Theatre Building Corporation in. settlement of a rent claim on the building must be sold for cash. The proceeds are to be turned over to the Boatman's National Bank as trustee under a deed of trust securing $1,917,500 in bonds issued by Missouri Building Corpora- tion. Academy Casting Directory The Academy of Motion Picture Arts and Sciences in Hollywood has completed plans to publish a casting directory with the alpha- betical listing of players photographs. Rates for the service will be extremely low, with the same space rates applying to all players. The directory will be published every two months. (Continued from preceding page) against Tobis and an explanation of the status of the company. At its meeting with distributors this week the League hoped to obtain support and per- manence for a policy, which it already has in- augurated, of investigating and classifying for- eign made pictures before they are shown in this country. The motion picture division of the boycott organization has done this at the request of several distributors. A Universal picture, "Der Verlorene Sohn" ("The Prodigal Son") was pronounced satisfactory for exhibition after the producers proved to the satisfaction of the League that Universal produced and financed the picture. It was made partly in Germany, but this was done under provisions of a contract signed before the accession of the Hitler re- gime to power. Officials of the League emphasized that not all German pictures were to be boycotted but only those made under the present Nazi rule, returns from the rentals of which will go to Germany. Pictures made in other countries, and found to be pro-Nazi in any degree are to be banned also. Organized in Other Countries The anti-Nazi boycott has been organized by groups affiliated with the League in countries other than the United States. In Canada the German film, "The Dancing Dutchess," was withdrawn as a result of protests from the anti- Nazi Boycott Committee of the Canadian Jew- ish Congress. The film was scheduled to play a circuit in Toronto following approval by the Government censor board and a showing in Winnipeg. Representations were made to Peer- less Films, Ltd., distributor, and the picture was ordered withdrawn. The League, which claims success in its cam- paign to boycott German-made goods of all kinds, includes in its list of officers, beside Mr. Untermyer, Mayor Fiorello H. LaGuardia of New York, James W. Gerard and Arthur S. Tompkins, vice-presidents; Mrs. Mark Harris, acting chairman of the executive committee; and J. David Stern, treasurer. Mr. Untermyer, president of the League, is a lawyer of international repute and has been most active in recent years in anti-Nazi cam- paigns and as a leader of several groups in- terested in the welfare of Jewish refugees from Germany. In a legal career extending from 1879 he has been connected with the motion picture industry at least twice in court actions of wide importance. In 1930 he served as coun- sel for Fox Film Company and William Fox. successfully resisting a receivership for Mr. Fox and bringing about the private sale of the Fox interests and a friendly reorganization, in- volving $200,000,000 in properties. For these services, extending over a period of three months, he was paid a fee of $1,000,000. He was also one of the arbitrators in an action between Warner Brothers and the American Telephone and Telegraph Company several years ago. Security Commission Delays Hollywood Case Indefinite postponment of proceedings on the $100,000 registration of Hollywood Fam- ous Pictures was ordered this week in Wash- ington by the Securities and Exchange Com- mission to permit the company to submit amendments to its original statement. The company filed the statement Septem- ber 8 and was asked to clear up certain ap- parent discrepancies. THE KEYSTONE OF YOUR FUTURE * * This trademark and slogan first appeared as a pledge in the trade papers of Sept. 9th, 1935. Great as the fulfillment of this pledge has been, the pictures listed on the next tk pages show how firm is the foundation of an even brighter future for 20th Century- Fox exhibitors. NOVEMBER LAWRENCE TIBBETT in UNDER YOUR SPELL with WENDY BARRIE, GREGORY RATOFF, ARTHUR TREACHER. Directed by Otto Ludwig Preminger. RALPH BELLAMY in WILD BRIAN KENT with Mae Clarke. Adapted from the novel, "The Re- Creation of Brian Kent," by HAROLD BELL WRIGHT. Directed by Howard Bretherton . Produced by Sol Lesser • JANE WITHERS in CAN THIS BE DIXIE? with Slim Summerville, Helen Wood, Thomas Beck, Sara Haden, Claude Gillingwater, Donald Cook. Directed by George Marshall. THE DIONNE QUINTUPLETS in REUNION with JEAN HERSHOLT, ROCHELLE HUDSON, HELEN VINSON, SLIM SUMMERVILLE, ROBERT KENT, Dorothy Peterson, John Qualen, Alan Dinehart, J. Edward Bromberg, and the year's most important cast. Directed by Norman Taurog. BARBARA * JOEL STANWYCK and McCREA in BANJO ON MY KNEE with Helen Westley, Buddy Ebsen, Walter Brennan, Walter Catlett, Anthony Martin, Katherine de Mille. Directed by John Cromwell. DECEMBER WARNER RAXTER and JUNE LANG in WHITE HUNTER with Gail Patrick, Alison Skipworth, Wilfrid Lawson, George Hassell. Directed by Irving Cummings. CRACK UP With PETER LORRE, BRIAN DONLEVY, Ralph Morgan, Helen Wood, Thomas Beck, Kay Linaker, J. Carroll Naish, Lester Matthews, Duncan Renaldo. Directed by Mai St. Clair. • LAUGHING AT TROUBLE with JANE DARWELL, Delma Byron, Allan Lane, Sara Haden, Lois Wilson, Margaret Hamilton, Pert Kelton, John Carradine. Directed by Frank R. Strayer. SHIRLEY TEMPLE in STOWAWAY with ROBERT YOUNG • ALICE FAYE Eugene Pallette, Helen Westley, Arthur Treacher, J. Edward Bromberg, Allan Lane, Astrid Allwyn, Helen Jerome Eddy. Directed by William A. Seiter. JANUARY ONE IN A MILLION with SONJA HENIE, ADOLPHE MENJOU, JEAN HERSHOLT, NED SPARKS, DON AMECHE, RITZ BROTHERS, Arline Judge, Borrah Minnevitch and his Gang, Dixie Dunbar, Leah Ray, Montagu Love. Directed by Sidney Lanfield. ELISABETH BERGNER in AS YOU LIKE IT William Shakespeare's immortal comedy with LAURENCE OLIVIER, Sophie Stewart, Henry Ainley. A Paul Czinner Production. PRIVATE ENEMY The dramatic surprise smash of 1937 Based on the thrilling . . . and grim . . . experiences of the first Federal under-cover man. A powerful cast . . . worthy of 20th' s most important pictures ... is being chosen. • CHARLIE CHAN 'OPERA starring WARNER OLAND and RORIS KARLOFF With Keye Luke, Charlotte Henry, Thomas Beck, Margaret Irving. Directed by H. Bruce Humberstone. • SECRET VALLEY Starring RICHARD ARLEN. A Sol Lesser Production. CAREER WOMAN With CLAIRE TREVOR, MICHAEL WHALEN, Isabel Jewell, Eric Linden, Virginia Field, Gene Lockhart. Directed by Lewis Seiler. • IRVING BERLIN'S great musical ON THE AVENUE starring DICK MADELEINE POWELL and CARROLL With ALICE FAYE, The Ritz Brothers and a sensa- tional cast. Story, music and lyrics by Irving Berlin. Directed by Roy del Ruth. November 7, 1936 MOTION PICTURE HERALD 19 HEAVY STORY BUYING CONTINUES, 18 PRODUCERS BUYING 70 AAANUSCRIPTS Companies' Extensive Activity in Acquisition of Material for New Product Keeps Pace with Two Previous Months Competition among virtually all of Holly- wood's motion picture producers to acquire the best story material from the fields of publishing and stage and to be assured of a continuous supply of manuscripts is the cause of large purchases of books and plays, October's deals for 70 properties maintain- ing the level of September and August, when 74 and 73 stories were purchased, respec- tively. Warner Brothers and Radio led the list of producers who added manuscript pur- chases to their production lists during October, with a total of 10 each. Metro- Soldwyn-Mayer followed with nine ve- hicles and Twentieth Century-Fox was next with one less. A breakdown of the pur- chases, according to the number of each company, is as follows: Warners, three originals, four books, three plays; Radio, seven originals, two books, one play; Metro - Goldwyn - Mayer, three originals, four books, three plays; Twentieth Century- Fox, seven originals, one book; Universal, three originals, four books; Paramount, four originals, one book; United States, one original, two books, one play; Grand Na- tional, three books; Columbia, three orig- inals; Gaumont British, two plays; Mono- gram, two originals; Burroughs-Tarzan, one original; Capital Films, one book; General Pictures, one original; Crescent Pictures, one original; Invincible Pictures, one original. Following months of extensive purchas- ing from the legitimate theatre field last win- ter and spring, Hollywood suddenly an- nounced there would be practically no more vehicles transported from this field to the screen and backed this up by ignoring Broadway's offerings. In September, how- ever, peace apparently was made and two plays were transposed to Hollywood. The trend is more pronounced this month, for the records show that 10 legitimate productions have been purchased, including such hits as "Tovarich" and "Idiot's Delight." "Tovarich," bought by Warners and pro- duced by Gilbert Miller, already has proved its box office appeal in the legitimate the- atre, opening in London last year and play- ing to capacity houses for months. In Man- hattan, it is bidding fair to repeat this suc- cess, with tickets still being at a premium — the surest sign of a hit — despite only a fair reception from the dramatic critics. "Idiot's Delight," acquired by MGM and presented by the Theatre Guild, is from the pen of Robert E. Sherwood, who gave the theatre and motion picture "Petrified Forest" last year. Alfred Lunt and Lynn Fontanne, perennial favorites, are starred and are also reported ready to accept MGM's offer to repeat their roles in Hollywood. It is fur- YEAR'S COMPARISON OF STORY PURCHASES Month Originals Books Plays Total September . . 34 53(a) 4 91 October .... 7 2 14 November . . 22 12(b) 5 39 December 22 12(c) 4 38 January, 1936 14 18(d) 5 37 February .... 35 38(e) 4 77 March 24 19(f) 2 45 April 107 48(g) 12 167 May 86 74(h) 10 170 June 25 21 PI 5 51 July 20 12(0 0 32 August 43 25(k) 5 73 September . . 40 32(1) 2 74 October .... 38 22(m) 10 70 TOTALS FOR 14 MONTHS 517 39l(n) 70 978 (a) Including 4 published magazine stories. (b) Including I published magazine story. (c) Including 2 published magazine stories. (d) Including 4 published magazine stories. (e) Including 12 published magazine stories. (f) Including 6 published magazine stories. (g) Including 13 published magazine stones. (h) Including 19 published magazine stories. (i) Including 21 published magazine stories, (j) Including 63 published magazine stories. (It) Including 5 published magazine stories. (I) Including 7 published magazine stories, (m) Including 7 published magazine stories, jn) Including 84 published magazine stories. ther said that the motion picture company paid in the neighborhood of $135,000 for the play, the highest figure this year. Magazine stories also played a prominent part in this month's purchases. Clarence Budington Kelland, whose serials are fea- tured in The Saturday Evening Post, dis- posed of several of his works for high fig- ures, and Fannie Hurst's still unpublished "Sister Act" went to Warners for over $100,000. The story will appear in serial form in Cosmopolitan Magazine, starting in January. The Spanish revolution is also furnishing picture material, for Darryl F. Zanuck has assigned several writers to prepare an origi- nal story, tentatively titled "The Siege of the Alcazar," which will have as its highlight the attack on the fortress of Toledo. Trem Carr is also rushing production plans on "Alcazar," which will star John Wayne for Universal release. Of the more serious musical efforts, Co- lumbia has plans for an elaborate production to be made by Frank Capra dealing with the life of Chopin. Francis Lederer will portray the famous composer under Mr. Capra's direction. MGM has purchased "The Prince of Pilsen" and also has several original stories being prepared for Nelson Eddy, Jeannette MacDonald and others. The complete list of purchases made by the production companies during: the month Warner and Radio Lead in Purchases of Stories; Ten Stage Plays Bought in Re- sumption of Broadway Search of October, with all available cast and pro- duction credits, is as follows : Alcazar, original story by John Wayne and J. Carter Herman, based on the siege of the Spanish fortress, acquired by Trem Carr for production by Universal, starring John Wayne. Algeria, operetta by Victor Herbert and the late Glen MacConaugh, long a popular favor- ite in the legitimate theatre field, bought by Metro-Goldwyn-Mayer. No cast allotments as yet. All This Confusion, magazine story by Rich- ard Macauley, bought by David L. Loew for the second of the series of Joe E. Brown pic- tures he is producing for Radio release. Amazing Dr. Clitterhouse, The, play to be produced on Broadway later in the season by Gilbert Miller, bought by Warner Brothers. Angel, original story by Melchoir Lengyel, ac- quired by Paramount to star Marlene Diet- rich. Samuel Raphaelson is doing the screen play and Ernst Lubitsch will produce. Angel Making Music, novel by Ferenc Mol- nar, bought by Samuel Goldwyn. Asia Roars, original story by Clyde E. Elliott, who will produce in conjunction with Bur- roughs-Tarzan. Ay Tank Ay Go, original story by John Grey, bought by Columbia to star El Brendel. Del Lord is directing. Bad Man's Territory, original story by Ma- rion Jackson, bought by Warners to star Dick Foran and Linda Perry. Barriers Burned Away, original story adapted from "Chicago Fire," by E. P. Roe, bought by Twentieth Century-Fox. Betting Fever, original story by Charles Led- erer and Edwin Gelsey, acquired by Para- mount. Benjamin Glazer will produce with direction by J. Theodore Reed. Boy Blue, original story by Lorlen Brent, Los Angeles school teacher, to Sol Lesser as a possible starring vehicle for Bobby Breen. The story concerns a young singing shepherd who goes into opera. Chopin, story by Sidney Buchman, to Columbia as a Frank Capra vehicle. Convention in Cuba, original story by Frank- lin Coen, bought by Radio. Edward Small will produce, starring Joe Penner and Park- yakarkas. Dancing for Love, original story from play- wright William Anthony McGuire, bought by Universal for Doris Nolan and George Mur- phy. E. M. Asher will produce and Charles Winninger of stage and radio will be as- signed a feature role. Delay in the Sun, novel by Anthony Thorne, bought by Universal for Alice Brady, Charles Winninger, Wendy Barrie, Cesar Romero and Louis Heyward. The story has a Spanish background and is being adapted by Robert Presnell to bring the scenes up to the present revolution. Doctor's Diary, original by Samuel Ornitz, acquired by Paramount and Charles Vidor will direct under the production banner of B. P. Schulberg. Dora Algar, novel by Paul Armont, bought by Metro-Goldwyn-Mayer. Drums Along the Mohawk, original story bought by Twentieth Century-Fox. Face the Facts, magazine story by Clarence {Continued on following page) 20 MOTION PICTURE HERALD November 7, 1936 SEVENTY STORIES BOUGHT FOR FILMS (Continued from preceding page) Budington Kelland, bought by Douglas Mac- Lean for Grand National release. Five Little Peppers and How They Grew, novel by Margaret Sidney, acquired by B. F. Zeidman of Zeidman Productions for release through Grand National. Folly and Farewell, original story by Richard Sherman, author of "To Mary- — With Love," bought by Samuel Goldwyn to star Merle Oberon. There are reports that Mr. Goldwyn may change the title to "The Camelia." George Lovelace, Tolpuddle Martye, novel by Peter Eben Ward, bought in London by Max Schach of Capital. Gilbert Meets Sullivan, original stage play from the pens of Marion Dix and Lesser Samuels, bought by Gaumont British. The story concerns the life stories of the famous collaborators on operettas, Gilbert and Sulli- van. Grand Bounce, short story recently published in Liberty Magazine, has been acquired by Metro-Goldwyn-Mayer. Pete Smith will pro- duce. Great Crooner, The, novel by Clarence Bud- ington Kelland which appeared in The Sat- urday Evening Past, bought by Mervyn Le- Roy for his second production for release through Warner. No cast selections have been made as yet by Mr. LeRoy. Happy Go Lucky, original story, acquired by Republic Pictures for Phil Regan. Aubrey Scotto is directing. Heidi, original story by Johanna Spyri, has been acquired by Twentieth Century-Fox as the next Shirley Temple picture following "Stowaway," now in production. Holy Terror, an original story by Lew Bres- low and John Patrick, has been taken by Twentieth Century-Fox as the next picture for Jane Withers. John Stone will be execu- tive producer and James Tinling will direct. Others in the cast include El Brendel, Leah Ray and Joe Lewis. Honeymoon Pilot, original story by Jack Cooper, Twentieth Century-Fox publicity writer, has been bought by Columbia. Idiot's Delight, Robert E. Sherwood's Pulit- zer Prize Play now running on Broadway starring Alfred Lunt and Lynn Fontanne, has been bought by Metro-Goldwyn-Mayer for a reputed price of $135,000. Joan of Arc, from an original script prepared by M. Litvak in France dealing with the story of the Maid of Orleans, bought by War- ners. Claudette Colbert will have the leading role and Anatole Litvak, who recently made a French version of the story, will direct. Joe and Asbestos, newspaper cartoon strip drawn by Ken Kling, has been bought for a series of Vitaphone shorts. Shooting is sched- uled to start shortly at the Empire City Race- track near New York. Jump for Glory, from the novel of the same name, bought by Criterion Films in London. Raoul Walsh will direct with Douglas Fair- banks, Jr., in the title role. United Artists will distribute the picture. Ladies and Gentlemen, original comedy-drama from the pen of Ernest Vajda, has been bought by Mervyn LeRoy for release through Warner. Lady of la Paz, current London stage hit, has been bought by Gaumont British to star Nova Pilbeam. Larger Than Life, stage play by Joseph Schrank and Ben Grauman Kohn, bought by Warner Brothers. Let's All Sing, based on the current com- munity singing vogue in radio, acquired by UNIONS DEMAND PART OF CHANCE GAME NET The organized stagehands of San Francisco this week shocked theatre owners when they demanded a share of the returns coming to motion picture theatres through the use of such chance games as Screeno, Bingo, Ten Win, and Bank Night, claiming that if the theatre was helped by the games they should be allowed to share in the profits. The union men have demanded that a union stagehand be employed in every house making use of chance games on the stage. General Pictures. Robert E. Welsh is in charge of production. Life of Alfred Nobel, novel by Rolf Passer, Czechoslovakian writer, acquired by Uni- versal. Live Alone and Like It, novel by Marjorie Hillis concerning the story of an unmarried woman living in New York, has been bought by Universal. The novel is now in its eighth edition. Maiden Voyage, original story by Ernest Vajda, bought by Metro-Goldwyn-Mayer. Man of the People, novel by Frank Dolan, has been acquired by Metro-Goldwyn-Mayer. The author will adapt the book for the screen, and Lucien Hubbard will be the producer. Joseph Calleia has been selected for the prin- cipal role. Master Mind, story published in The Saturday Evening Post, written by Leonard Lee, bought by Douglas McLean for Grand Na- tional. Million Dollar Amateurs, original story by George Templeton, purchased by Radio for production by Robert Sisk. The yarn is a football story dealing with problems of American collegiate life. Mr. Broadway, original story by Maxwell Shane, Warren Wilson and Bill Thomas, bought by Universal. Murder for a Wanton, mystery story by Whitman Chambers, purchased by Metro- Goldwyn-Mayer. Murder in Manhattan, original mystery story by Edwin Neily Porter, has been added to the Monogram schedule for 1937-38. New Orleans, original story by Jean Negu- lesco, bought by Universal. Pair of Sixes, A, adaptation of the well known Broadway play of 20 years ago, has been bought by Radio for Bert Wheeler and Rob- ert Woolsey. Picture will be produced under the title of "Easy Going." Perfect Harmony, original story by Edward Kaufman, bought by Radio for Ginger Rogers and Charles Boyer. Mark Sandrich will direct. Prince of Pilsen, operetta by Frank Pixley and Gustave Luders, acquired by Metro- Goldwyn-Mayer. Private Enemy, original story, bought by Twentieth Century-Fox for Don Ameche. Victor McLaglen and Sidney Blackmer have also been named for the cast. Rio Grande Ranger, original story by Jacques and Ceila Jacard, bought by Columbia to star Bob Allen. Sand Flow, novel by Cherry Wilson, bought by Buck Jones for early production. Univer- sal will release the picture. Saint in New York, novel by Leslie Charteris, has been bought by Radio for Barbara Stan- wyck. Sea of Grass, current novel appearing in The Saturday Evening Post from the pen of Con- rad Richter, now on the writing staff of Metro-Goldwyn-Mayer, has been acquired by that company. Siege of the Alcazar, The, original story by Sonya Levien, bought by Twentieth Century- Fox. The story deals with the Spanish revo- lution. Sister Act, latest and still unpublished novel by Fannie Hurst, has bee;i bought by War- ner. The story will be serialized in six in- stallments in Cosmopolitan Magazine, starting in January, and deals with the predicaments of four sisters who fall in love with the same man. Star of Empire, original story dealing with the entrance of Nevada into the Union, has been bought by Crescent Pictures. Howard Hig- gins will direct from his own screen play. Strangers in the Night, original police story by Harold Sturm, has been acquired by Mon- ogram for its 1937-38 production program. Summer Lightning, play by Alene Corliss, has been bought by Walter Wanger for release through United Artists. Joan Bennett will be starred. There Is a Santa Claus, original story by Martin Mooney, has been bought by In- vincible. Tovarich, London and New York legitimate theatre production by Jacques Deval, acquired by Warners. Untitled Original, written by Eleanor Powell, Virginia Bruce, James Stewart, Frances Langford, Buddy Ebsen, Una Merkel and Sid Silvers, acquired by Metro-Goldwyn- Mayer. Untitled Original, by Ferdinand Bruckner, bought by B. P. Schulberg to star Sylvia Sidney. Wake Up and Live, novel by Dorothea Brand, purchased by Twentieth Century-Fox. Walter Winchell and Ben Bernie will play themselves in the cast. When's Your Birthday, original story by Fred Ballard, bought by David L. Loew for Joe E. Brown. Release will be through Radio. White Banners, novel by Lloyd C. Douglas, author of "Magnificent Obsession" and "The Green Light," has been acquired by Warner. Women Are Poison, original story by George Beck, bought bv Radio. Woman Interne, Cosmopolitan Magazine story by Faith Baldwin, bought by Paramount as a vehicle for Claudette Colbert. Legion of Decency Reviews 14 Pictures Of 14 new pictures reviewed and classified luring the current week the National Legion )f Decency has approved eight for general patronage and six for adults. The new films and their classification follow: Class A-l, "Unobjectionable for General Patronage": "The Charge of the Light Brigade," "Easy to Take," "Empty Sad- dles," "Four Days' Wonder," "House of Secrets," "Ranger Courage," "Tarzan Es- capes," "Tugboat Princess." Class A-2, "Un- objectionable for Adults" : "Along Came Love," "April Romance," "Barcarole" (German), "Legion of Terror," "The Lucki- est Girl in the World," "A Woman Rebels." November 7, 1936 MOTION PICTU RE HERALD 2! ACTORS GUILD CLAIMS PART VICTORY IN EFFORTS TO UNIONIZE HOLLYWOOD Seven of 24 Proscribed by Actors Equity Join Guild, Several Overseas or on Loca- tion Indicate They Will Sign The Screen Actors Guild, moving rapid- ly after its affiliation with the American Federation of Labor and Actors Equity As- sociation, is claiming partial success in its latest move to complete the unionization of Hollywood. Concrete evidence that the Guild feels that it is now strong enough to apply direct action measures to bring actors into its ranks was demonstrated recently when its ally, Actors Equity, announced the suspension of 24 of its members working in motion pictures for failure to join the Guild. The drastic action is said by the Guild to have had the desired effect. Almost immediately seven of the proscribed num- ber joined the Hollywood organization. Several who were either in foreign coun- tries or on location announced their inten- tion to sign with the Guild upon their re- turn to Hollywood. A few have not made public their decision. One or two of the suspended members protested that they did not understand the action and did not know why they were being singled out for discipline. Those suspended by Equity for failure to join the Guild included Lionel Barrymore, Alice Brady, James Burtis, Harvey Clarke, Cecil Cunningham, Roy D'Arcy, Al Hill, De Witt Jennings, Dorothy Lee, Eric Lin- den, Lucien Littlefield, James McDonald, William Mong, Jack Oakie, Nat Pendleton, Marion Schilling, Frank Sully, Robert War- wick, Harry Worth, Elizabeth Allen, Rosa- lind Russell, Ian Keith, Arthur Aylesworth and Edwin Maxwell. 35 Others Accused The Guild is reported to have sent to Equity a supplementary list consisting of 35 players who are charged with evading the rules. It is believed that Equity will take no action on these names for at least a month, since all those mentioned will be giv- en opportunity to appear before the council or correct the violations. The Guild's chief complaint is that members of the group have appeared in at least one picture since July 1st but have not joined the Coast association as required by Equity. Actually neither Equity nor the Guild can do other than announce suspension. An Equity member who has been suspended for not joining the Guild would precipitate ac- tion by appearing in a stage play and thus laying himself open for discipline on the part of that body. Similarly a cause for action might be created by inclusion of a suspended Equity member in a picture cast. Although such an incident might bring about a Hollywood strike, for the present and unless something unforeseen takes place soon, the Guild prefers to negotiate with JOHN BULL PASSES "GREEN PASTURES" The New York Times on Tuesday reported by wireless from London that after five months' deliberation the British film censor, Baron Tyrrell, had passed the motion picture version of Marc Connolly's Pulitzer prize play "The Green Pastures." The stage ver- sion was pi'ohibited in England in 1931. Warner Brothers immediately prepared to show their film in a West End theatre in a month. The original objection to the play was based on the British lavs forbid- ding impersonations of the Deity on the stage. As the law does not affect pictures, the Times' dispatch said it ivould appear that approval of the film version hinged on a legal tech- nicality. both non-member actors and producers to prevent any situation arising which would generate a conflict. Hollywood is alive with rumors and re- ports that the Guild, sure of its own strength and confident that it can count upon the sup- port of studio union labor groups with which it is affiliated through membership in the American Federation of Labor, is ready to challenge the producers. These reports are denied emphatically by officers of the Guild. The debacle encountered by the Screen Writers Guild last spring is still fresh in the minds of all, and rather than create a rift in the membership ranks the Guild officially is still strengthening its position. Guild officials say that the Equity suspen- sions convinced actors that the Guild and Equity would not countenance any delay and that it is aiming for a unified and solid mem- bership before it aims for anything else. Deny Closed Shop Attempt Representatives of Equity denied, after publication of the suspension list, that the move was a new attempt to establish a closed shop in Hollywood. It was said that the disciplinary action was less significant in this direction than the making of the agree- ment between Equity and the Guild in 1935. Seven years ago Equity sought to extend its influence among motion picture actors, pre- viously beyond its control. The move failed temporarily when the actors quarreled among themselves over unionization de- mands and tactics and the producers held firm against recognition. After spending a reported $100,000 on the campaign, the As- sociation withdrew but shortly afterward the Screen Actors Guild was organized. Two years ago Equity and the Guild af- filiated and Equity undertook to compel its members who were also screen players to enroll in the new group. The chief point of strength growing out of the affiliation was the probability that should matters come to 35 Players Reported on Second Blacklist Subject to Equity Discipline for Failing to Join the Coast Association a strike in Hollywood the producers would find they could not replace their actors with performers from the legitimate stage. Ties between the technicians of the in- dustry, already well organized, California state labor unions and members of the Guild were strengthened recently at the convention of the State Federation of Labor at Sacra- mento when the Guild was recognized by the State Federation. At the convention Kenneth Thomson, executive secretary of the Guild, was elected one of the regional vice-presidents of the Federation. The ses- sion went on record in favor of a closed shop in the motion picture industry. Following the state convention the Guild held a conference with Frank Gillmore, president of Equity, who served notice on the 24 players that they would be suspended from Equity unless they joined the Guild. Producers have not openly protested unionization of actors and the only ap- parent attempt of the studios to protect themselves in the event of a walkout has been to place actors under long term contracts. The producers are said to feel that the threat of involved litigation might hold many of the Guild members even if the organization called a strike. The Screen Playwrights, an outgrowth of the more militant Screen Writers Guild, is declared to be against any amalgamation with organized labor and is reported to be on the point of completing an agreement with producers. The abrogation of the Academy-writer-producer pact, in favor of a new agreement to be reached between the Playwrights and the producers, seems immi- nent. Although the producers definitely will not violate the present contract, which still has a year to run, it is understood that the writers plan to make the first move by void- ing the existing agreement, thus relieving the producers of their contractual obliga- tions. The possibility of the new development was strongly in evidence at a dinner tend- ered the producers by the Screen Play- wrights at the Beverly Wilshire hotel in Hollywood last week. Among the guests were Darryl F. Zanuck, Louis B. Mayer, Edward J. Mannix, Ben B. Kahane, Adolph Zukor, Henry Herzbrun, William Koenig, Samuel J. Briskin, Harry Cohn and Joseph M. Schenck. Committees have been named to work out details. Mr. Briskin, Mr. Mannix and Mr. Kahane will act for the producers and Wal- demar Young, Paul Scofield and William Slavens McNutt will represent the writers. At the first of several meetings held at the RKO Studios it was pointed out that ap- proximately two-thirds of the Academy writer members belong to Screen Play- wrights. 22 MOTION PICTURE HERALD November 7, 1936 Paramount Actors Aid Zukor Jubilee SEVEN EXHIBITOR UNITS SET FOR CONVENTIONS Organizations in West and South Prepare to Bring Problems into the Open Organized exhibitors are approaching the late fall and early winter season determined to bring their problems of operation into the open in a series of meetings that signalize a busy season. Allied States Association of Michigan opened its convention on Wednesday. Associated Theatre Owners of Indiana meet in Indianapolis Thursday to elect officers for 1936-37 and to determine policies. Arkansas' Independent Theatre Owners meet November 8th at Little Rock. Motion Picture Theatre Owners of America's Nebraska state unit convenes November I Oth and Nth at Omaha to elect officers and determine procedure in matters affecting threatening legislation and the relations of members to dis- tributors. Theatre Owners of North and South Carolina meet on December 7th and 8th at the Charlotte hotel, in Charlotte, N. C. Oklahoma Motion Picture Theatre Own- ers gather December 14th and 15th at the Biltmore hotel, Oklahoma City. Motion Picture Theatre Owners of Texas will convene in mid-December at Dallas. Annual convention of the national MPTOA is set for March, at Miami. H. M. Richey, general manager of the Allied States Association of Michigan, opened the 17th annual convention of the organization in the Hotel Statler at Detroit with a seven point program for 1937 cover- ing the following topics : adverse legislation, horizontal motion picture unionizing, pro- tection, admission prices and zoning, theatre overbuilding, percentage contracts and pre- ferred play dates, double bills and unfair competition. Each member is to be asked to pledge himself not to buy any percentage pictures. Two state units have new presidents. L. F. Haven, of Forest City, Arkansas, has succeeded Ray Morrow, resigned, in the Arkansas Independent Theatre Owners As- sociation. W. G. Ripley, of Longview, Wash., was elected president of the North- west Motion Picture Theatre Owners, last week, at the annual convention in Seattle. Mr. Ripley succeeded Hugh Breen. Selecting Spokane as the locale for the 1937 convention, the Northwest owners elected with Mr. Ripley the following officers : First vice-president, I. O. Lukan, Seattle ; second vice-president, Milton Ken- worthy; third vice-president, Paul Aust; and secretary-treasurer, J. M. Hone, all re-elected. Also elected were the following trustees: H. T. Moore, Tacoma; John Danz, Seattle ; Al Rosenberg, Fred Mercy, John Hamrick, Cecil Gwinn, Leroy Johnson, B. F. Shearer and C. D. Miller. Probably the most aggressive action taken to date by organized exhibitors against a distributor came last weekend at a stormy session in Philadelphia of the United Motion Picture Theatre Owners of Eastern Penn- sylvania, Southern New Jersey and Dela- ware, where it was decided to picket Grand National Pictures because of allegedly high rentals asked by that new company. The meeting was held at the Hotel Broad- wood and the organization went on record with the declaration that it did not want to boycott, but was using picketing as a definite means of protest. Recalled was the picket- ing of Warner Bros, in the same town a few years ago over "Gold Diggers." The exhibitor group also set in motion a plan for action against MGM, asking ex- hibitors to refrain from giving dates to the company for 30 days at a time. The plan was referred to a committee for further development as a weapon to be used in the rental war. The organization, still in a belligerent mood, advised members not to settle indi- vidually with the bill posters' union, which has been picketing theatres. The legal aspects of the case have been investigated and it was reported that there is no pre- cedent in Pennsylvania courts for collective action in such matters. Attack on Hearst, Too Exhibitors reported announcements from the American League Against War and Fascism, asking theatres not to renew Hearst Metrotone News contracts, threaten- ing to take action if they did. Some ex- hibitors reported that the MGM exchange had cancelled issues of the news and that the Hearst name had been deleted from recent issues. Lewen Pizor, president, made a fiery plea to the assembled membership for concerted action in all these drives and told them to "forget themselves as individuals and work collectively." He said that the organization could take credit for the reduction of "Anthony Adverse" rentals from SO to 40 per cent. Mr. Pizor also announced that more than 600 exhibitors and friends had made reservations for the "harmony ban- quet" at the Bellevue Stratford hotel. Hearst Name Stays The name of Hearst will not be removed from the Hearst Metrotone News, Edgar B. Hatrick, general manager of the William Randolph Hearst motion picture enterprises, said in New York Tuesday in denying re- ports such a move was contemplated. Mr. Hatrick added that he knew of sev- eral instances where exhibitors have been substituting their own titles without the Hearst name to lead off the newsreel, but this was not general. Three Theatres To Be Built Dave Rosenzweig and Associates will con- struct three new theatres, two in Brooklyn, N. Y., and the third in Maspeth, Long Is- land. The company is now connected with Sam Cocalis Enterprises, operating theatres in Brooklyn and Long Island. Paramount's Adolph Zukor Jubilee Drive, starting January 3d, is to have honorary captains for sales districts. Their names were made known to Mr. Zukor at a studio luncheon. The districts and their leaders follow : District No. 1, Boston, Ray Milland; No. 2, New York, Lynne Overman; No. 3, Philadelphia, Marsha Hunt; No. 4, Cleve- land, Eleanore Whitney; No. 5, Chicago, William Frawley; No. 6, Kansas City, Ros- coe Karns; No. 7, Atlanta, Gail Patrick; No. 8, Denver, Martha Raye; No. 9, Los Angeles, Shirley Ross ; No. 10, Minneapolis, Mary Carlisle; No. 11, Dallas, Dorothy Lamour. The two Canadian districts will be captained by Sir Guy Standing and Rob- ert Cummings. Bob Burns will act as cap- tain-at-large and spokesman for the group. Gladys Swartout will be the official per- sonal representative for Mr. Zukor on a tour of the Paramount exchanges in Europe for a month starting January 7. The personal appearance tour is in connection with the Jubilee. Miss Swartout will be accompanied by her husband, Frank Chapman. Assurances that the production forces will back up the sales department in the four- month drive were expressed last week by Mr. Zukor in a message to the men in the field. "I am sure," Mr. Zukor said, "the product coming from the studio will justify whatever you may say about it in the field. In looking forward to Paramount's Silver Jubilee, apart from my very deep apprecia- tion of its dedication to me, I feel that it will afford a basis for the most successful campaign in the history of the organization. "With an unusually high standard of prod- uct now in preparation for the new season, the jubilee should give added impetus to both production and distribution efforts. It is indeed gratifying to be called upon to head a world-wide drive of this sort in be- half of the company. It is to be hoped that in celebrating our 25th anniversary in the motion picture business 1937 will be a year of records for Paramount. And I want you all to feel that as the drive gets started I will back you up in every possible way." Starting with January 1 the aim of the Paramount domestic sales force is to average a weekly income of $1,000,000. January 3 to 9 has been designated as "Adolph Zukor Birthday Week." Lina Sues Principal Pictures In a suit for $10,000 damages filed in the supreme court of New York by Lina Pic- tures Corporation against Principal Film Exchange the plaintiff charges that its as- signor, Principal Distributing Corporation, released prints and sound records through the defendant and that the defendant has failed to return them in accordance with an agreement to do so. Lina Pictures Corpora- tion at the same time discontinued an action for $3,000 in city court against the same de- fendant. Edward Muhl, who has been in charge of contracts in Universal's legal department in Hollywood, has been made assistant to Wil- liam Koenig. [HE BIGGEST DATE YOU'VE HAD IN YEARS national release date of Daringly New! Profitably Different! THE DRAMATIC HOME-COMING OF THE COUNTRY DOCTOR'S 3,000 GROWN-UP 'BABIES' I A story rich in every adult emotion . . . played by the year's most important cast. Laugh piles on laugh . . . thrill succeeds thrill, as the most sensationally unusual picture ever made unfolds upon your screen. in 1) REUNION wi th JEAN HERSHOLT ROCHELLE HUDSON • HELEN VINSON SLIM SUMMERVILLE • ROBERT KENT Dorothy Peterson • John Qualen Alan Dinehart • J. Edward Bromberg Sara Haden - Montagu Love Tom Moore • George Ernest Scenes of the Dionne Quintuplets photographed under the Technical Supervision of Dr. Allan R. Dafoe. Directed by Norman Taurog Associate Producers Earl Carroll & Harold Wilson Screen play by Sam Hellman, Gladys Lehman, Sonya Levien. Based on a story by Bruce Gould Darryl F. Zanuck in Charge of Production SO GROWN UP NOW! Playing the piano, dancing and entertain- ng your audiences in a dozen different ways. Copyright by 20th Century-Fox Film Corporation A GREAT PICTURE IN ITS OWN RIGHT... WITH THE PLUS VALUE OF THE QUINS! SELL IT FOR ^7 IT IS! 20* s unfailing show sense reaches its supreme peak in "Reunion"— a great new box-office idea that comes to you as a picture with a wealth of entertainment for every type of audi- ence. Romance. . . comedy. . . drama . . . suspense ... heart- tug —ALL abound. And, in addition, the Quins them- selves., .the world's greatest topic of interest today. Make your sales ap- peal broad enough to include the full sweep of this truly extraordinary show property. Get 20th's big press book. Study its myriad angles. And jam your theatre morning, noon, night . . . and extra midnight shows! THE KEYSTONE OF YOUR FUTURE :\ / November 7, 1936 MOTION PICTURE HERALD 27 Spam's Revolt Laid to Minority Despite Cams Made by Labor The Background of the Revolution That Commandeered American Film Properties by HARRY CHAPIN PLUMMER The background of the Spanish revolu- tion, in which the Anarchists have com- mandeered Americans' motion picture prop- erty and interests, presents a striking parallel to that of the every-day life of the "Industrial East" of the United States, the area comprising the New England States and all southward of the Mohawk Valley in New York State to Pittsburgh, Wheeling, Baltimore. The revolt in Spain sprang from her great industrial area, the region of Cataluha, of which Barcelona is the capital and Spain's largest city and chief seaport. It was furthered from such inten- sive labor centers as Bilbao, the steel and ship-building city; Oviedo, mining capital of Asturias ; Valencia, the manufacturing and fruit-shipping district, and Madrid, the national capital, and the republic's second largest city, one of large scale manufactur- ing operations. But it was in Catalufia that the revolt flamed into a conflagration of proportions such as no country except Russia has seen in modern history. While there is little ground, in a geo- graphical, economic or military sense, for comparison between the inception and spread of the Bolshevik outbreak following the Russian military disaster and collapse of the brief Kerensky regime, and our in- dustrial condition in this country, there are arresting points of similarity between the status of Catalufia on July 18 last and that of our Northeastern United States today. In the first place Catalufia, in extent of area, population, political influence, productive capacity and accumulated wealth, may be de- scribed as somewhat in the same proportion to the rest of Spain that the New England and Middle Atlantic States are to the remaining 37 states of the Union. Catalufia is in the extreme Northeast of Spain, and, like Maine, New Hampshire, Vermont and New York, meets the frontier of a neighboring country, France. It is the seat of Spain's basic industries — textiles, iron and steel, shoes, headgear, furniture and household goods, building materials and equip- ment, film studio and laboratory and theatre apparatus and accessories as well as finished and elaborate manufactures of every conceivable class and type. Speak Different Languages There is even a definite ethnological distinc- tion between the Catalan and the Spaniard. They differ racially and they speak widely dif- fering languages, for the Catalan tongue is a completely individual language, not a dialect, and it is generally emoloyed throughout the Region, as also in the Balearic Islands — Mal- lorca, Menorca and Ibiza — which are subsidiary to the Catalan autonomous regional govern- ment, although now under control of the mili- tary forces. It is the language of all intra - regional government administration, of trade and commerce, of newspapers and social inter- course, and it is a language which boasts a high Harry Chapin Plummer, cor- respondent at Barcelona for Quigley Publications, has just returned to New York from Spain, where the censorship of all news articles and the obstacles to mail and cable com- munications finally made accurate reporting of the news an impossi- bility. In the article herewith Mr. Plum- mer pictures the background of Spain's tragedy. degree of cultural achievement. There is a Catalan school of poetry, of literature and drama, the development of centuries past. All of the Spanish drama, classic and modern, and outstanding literary works are to be found in Catalan translated texts, and this is equally true of the poets, authors, dramatists and lyric composers of Europe beyond Spain's frontiers and of America, almost all of whose works have been translated into Catalan. Like the habitually conservative Easterner of the United States, the Catalan is inclined to be much more phlegmatic and deliberate in char- acter, speech and action than the Spaniard to the south and west — heritage of his Visigoth ancestry, as distinct from the Latin and Arabic origin of the dominant element of the Peninsula. The Catalan language, replete with Gallic, Italic and even Teuton roots, is more dependent upon consonants and is generally lacking the vocal terminations and characteristics of Span- ish. The Catalan, whether due to his ethnologi- cal origin or to his somewhat colder climate, is more industrious and enterprising and a shrewder business man than the Spaniard ; he is a natural-born trader and many students attribute this to a Semitic strain — Jewish rather than Arabic. Both the racial and the linguistic characteristic of the Catalan, however, are more easily traceable than those of the Vascos, who inhabit the Northwestern provinces of Spain and whose stock becomes the Basques, as the French frontier is crossed beyond the Pyrenees. Their origin is lost in antiquity and their tongue is wellnigh unconquerable for the Catalan, Spanish or western student. Merchants and Traders For centuries past the Catalans, as a subject race, have borne much the same relation to the true Iberians of the Peninsula that the Celts of Southern Ireland had to their Anglo-Saxon conquerors; that the majority of Quebec's population has to the dominant English, Scotch and Irish stock of the Dominion of Canada ; that the Bretons of France have to their co- nationals. In the golden age of Genoa, Venice, Florence, as an independent nation, the Catalans proved their mettie and acumen as merchants and traders, and, upon occasion, as pirates. If any consideration is to be accorded the claims that Christopher Columbus was not a Genoese by birth, but a native of the Peninsula, then the handsome and imposing monument reared to his memory at the foot of Barcelona's famed Rambla commemorates not only one who started the preparations for his epoch-making voyage in Cataluna's capital and seaport but who spent most of his time in that city and one whom his fellow townsmen called by a name as common to Catalufia as Smith or Jones to America — Colomb. Until a short time before the outbreak of July 18, labor conditions in Spanish and Catalan industry were frankly deplorable. This was due, partly, but not wholly, to economic depression the world over. Fac- tory, mine, dock and field throughout the republic felt the yoke of long hours and inadequate wage. In the great producing areas of Catalufia the status of labor corresponded to that which pre- vailed in the textile mills, machine shops and shoe factories of New England and New York, New Jersey and Pennsylvania in the final decade or two of the last century. But sanely controlled labor agitation, the power of the press, a resulting enlightenment of public opinion and arousing of public sympathy, con- structive legislation and a wise and sincere carrying out of that legislation, through three generations, have brought about greatly im- proved labor conditions. And this mighty change has been gradually effected by due pro- cess of law. Sweeping Concessions Obtained Prior to the Spanish revolt of July 19, by dint of a coalition of all labor elements and Left, or Radical, and Moderate parties, the February elections won for the workers of Spain sweeping concessions. Had the new government at Madrid, headed by Manuel Azafia, and the new autonomous regional gov- ernment of Catalufia at Barcelona, presided over by Lluis Companys, been permitted to work out their destinies, permanent substantial gains for labor would have been realized. However, a small but powerful minority, com- posed of Anarchists banded for strictly Syndi- calist purposes in the Confederacion Nacional de Trabajo (National Confederation of Labor) and known by the initials C.N.T., and banded, in another unit, as a philosophical rather than as a working entity and styled the Federacion Anarquista Iberica (Spanish Anarchist Federa- tion)— the F.A.I. — literally seized the govern- ment in Barcelona, while a Socialist Labor group known as the Union General de Trabajo (General Labor Union) — the U.G.T. — gained the ascendancy at Madrid. For the purposes of the revolution these two groups of completely opposite char- acter and objectives were represented as acting in unison, although the bloody dis- putes between the two represented one of the most demoralizing phases of the civil strife they engendered and continue to account for the conflicting measures of government which make the present regime well nigh idiotic in the eyes of the world. These "Direct Action" forces divided the balance of power throughout the industrial areas of the country — Barcelona, in Catalufia ; Bilbao in the Vasco territory ; Oviedo, the (Continued on following page) 28 MOTION PICTURE HERALD November 7 , 1936 THE BACKGROUND OF SPAIN'S REVOLT (Continued from preceding page) mining center of Asturias, and Valencia, on the eastern seaboard, Spain's third largest city. Strikes conducted by the U.G.T. in both Madrid and Barcelona, a month or more prior to the revolt, realized varying degrees of suc- cess and undoubtedly aroused the jealousy and cupidity of the "Anarcho-Syndicalist" group, the C.N.T. There were other and lesser Socialist and Communist groups, but the two — C.N.T.- F.A.I. on the one hand, and the U.G.T. on the other — composed the all-powerful minority which today corresponds to the Industrial Work- ers of the World and the International Ladies Garment Union of the United States. They must, however, by no means be confounded with the unions of structural steel workers, film operators, the typographical group, the musi- cians, or any of the labor unions of distinctively American conception and identity such as make up the American Federation of Labor. Now for a hypothetical example to illustrate just what might be the relation of a weakened federal government and a correspondingly weakened regional or local government in this country to an I.W.W. setup of this kind brought into being here. It is the Anarcho-Syndicalist and Social- ist combine which is the "rebel" force in Spain today and not the military element. The military it was who strove on July 19 to exercise their appointed police functions against the voluntary surrender of the gov- ernment to terrorism and anarchy, and in failing gained the wholly undeserved label of "rebels." Indeed, if the army now battering the ram- parts of Madrid are "rebels," then the late Calvin Coolidge, when he put a 'quick end to the Boston police strike in 1918, was an "arch- rebel" and the Massachusetts militia forces he employed for that purpose were a "rebel army." Hypothetical Analogy Suppose that at Washington, following a presidential election, we had a government with a powerful grouping of aggressive radicals within a coalition of old-line parties, such as — for purposes of crude example — Democratic, Progressive Republican, and the like. Such a grouping and balance would be akin to that which the February elections this year seated at Madrid. Presume further that the Repub- licans and a group of conservative political ele- ments had been literally voted out of existence. For better illustration, let us say that the big industrial region of the Middle Atlantic and New England States formed an autonomous division with New York or Boston as its capital — an autonomous government agreeing in complexion and character with the central, or federal, government at Washington. The president, in this hypothetical case, is a Left, or Coalition, candidate upon whom the Moder- ate Leftist majority and Anarcho-Syndicalist minority are agreed, and the governor, or executive head, of the autonomous division or region represents a like balance of power. General strikes, fomented by the Anarcho- Syndicalist group, augment its power. Not only is the influence of the many other factors entering into the "Popular Front," as the Coalition is termed, over-ridden and thrown into the discard, but the most constructive phases of legislation and administration accom- plished by the now defeated Right, or Conserva- tive, groups, are nullified and trampled down. Strike violence, killings, among them that of a Scotch mill-owner, and sabotage are benignly regarded by the new "Popular Front" govern- A NEW SERVICE FOR SHOWMEN A new service for exhibitors in the short subject pages of the Release Chart of Motion Picture Herald is a designation of the dates of issues in which appeared Showmen's Reviews of the short product. Immediately following the title appear numerals showing the month and date of the issue in which was published the re- view of that subject. ments, both federal and regional, and the dis- order and lawlessness are actively led by the dangerous minority which, being frankly self- designated "Anarcho-Syndicalist," wants not government but revolt, not law and order, but terrorism, and is heading for revolution at breakneck speed. There is widespread and in- creasing civil unrest. The country is being incited by one wing of its own government to Red Revolt. The authorities decree a perpetu- ally recurring "state of alarm," which means virtually nothing in a police sense. The Anarcho-Syndicalist C.N.T. and F.A.I, is shortly to become the governing factor over almost the entire industrial area of Spain and, so, over a great part of the republic. Violent disputes growing out of the strike condition assume dangerous proportions and — we continue to shift the scene of this hypothetic- al budding conflagration to this side of the At- lantic— the government, both at Washington and at New York or Boston, re-decrees and so prolongs the "state of alarm," but does not call for a state of siege, or martial law. Why? Because that would put the military in con- trol of the government and send the C.N.T.- F.A.I. ruffians to firing squads and, with law and order re-established, the government, as it was then conducting itself, would have short shrift. A revolt, with all its concomitant hor- rors— assassination, arson, loot and sack and the growing abridgement of civil liberties — may perpetuate the government, which the C.N.T.-F.A.I. combination are gradually, but steadily, taking over for all practical purposes. Arms the Rabble Finally, this Anarcho-Syndicalist State, un- masking itself, arms the rabble, flings open the gates of prison and jail, and, as convict and felon come forth, hand him — or her — a rifle, a pistol and a red sleeve-band bearing the initials "C.N.T.-F.A.I." This red sleeve-band, the insignia of stark Anarchy, was at one and the same time police badge and search war- rant and, alas! all too often death warrant! For the first time the red flag of Anarchy appears in the streets. Some of the flags are all-red, but lest these be confounded with the emblem of the Communist, Marxist and Social- ist groups, all maneuvering and struggling for position, the distinctive standard of the C.N.T. and F.A.I, becomes red and black, with a diagonal line separating the red above from the black below. Today the trolley-cars and autobuses of Barcelona's excellent urban transit system and all the taxicabs, formerly all painted yellow, are colored the diagonally divided red and black of the C.N.T. and F.A.I, and bear, each unit, those initials. Red Flag Goes Up On that dread Sunday, July 19, when the Red Revolt broke over a nation whose people were ill-prepared for such a cataclysmic disaster and to the rank and file of whom the thought of revolution was — and is now more than ever — as abhorrent as it is to a Connecticut town or village, the red flag sprang up apparently from nowhere. As each Roman Catholic church was pillaged and burned and its clergy shot down in cold blood, as each convent or monastery was consigned to the torch and its mother superior and sisters or abbot and friars slain, the red flags went up, each bearing the initials C.N.T.-F.A.I. Even today many of the blackened churches, still surmounted by their crosses, have a red flag pitched at a diagonal and tipsy angle, flaunting its bold crimson be- fore the eyes of a shocked and stunned civiliza- tion— or what is left of it in Spain. And the Spanish national colors? For every one emblem of the republic — the horizontal bars of red, yellow and violet — or for every one of the Catalan autonomous state — the eight narrow horizontal bands of red and yellow — that flies on buildings whole or destroyed, or that is car- ried in the great and increasing number of street parades, there fly or there are carried ten red flags or red-and-black flags of the C.N.T.- F.A.I. The flag of the republic and that flag of Catalufia are still graciously allowed to be hoisted, but in ever decreasing proportion to the unfurling of Anarchy's standard, while red shirts, red neckties, red caps, red apparel of various sorts and red in many details of cloth- ing, red lapel-buttons, red badges, red handker- chiefs and red neck scarves and particularly red sleeve-bands, proclaim to the world that Spain is today a land of Anarchy. Further evidence of the fact that the real rebels of the civil war in Spain are the C.N.T.- F.A.I. and U.G.T. combination, which has made of the national and regional governments just two "rubber stamps," may be drawn from a tragic incident vouched for by the records of the American and British Consulates General in Barcelona and by the State Department at Washington and the London Foreign Office. A First Victim One of the first victims of "Red Sunday" was an employee of our consulate general. He was not an American citizen, but a Spanish national of Vasco family and had been employed at the consulate general for seventeen years. He was the head of a family and respected by his fellows of the consular staff. When the Revolution broke, George D. Jenkins, the gen- eral manager of Ford Motor Iberica, the big Ford plant in Barcelona, was spending the weekend with his wife and child at a resort twenty miles out of the city. Our ranking consul, Lynn W. Franklin, naturally anxious to concentrate all American nationals at one point for evacuation, sent a car with Mr. Itur- ralde, the ill-fated clerk of the consulate gen- eral, to fetch Mr. Jenkins and his family. In the car accompanying him was an employee of the Ford Company, a British subject. The car bore the American and British flags. Mr. Iturralde had been provided by the con- sulate general with a letter, in Spanish, stating the nature of his mission and asking safe con- duct for him, by a second letter, in Catalan, from the Generalidad and personally signed by Lluis Companys, the president, and by a third "official" paper, a scrawled certificate of the "Comite Pro-Revolucionario." The Ford (Continued on page 30) November 7 19 3 6 MOTION PICTURE HERALD 29 Large Quarterly Net Seen Certain THIRD NATIONAL UNIT OF EXHIBITORS IS NEAR For Paramount Paramount's third quarter report, which may be released in about two weeks, will reflect earnings even better than those an- ticipated at the close of the period a month ago, Stanton Griffis, chairman of the execu- tive committee, said this week. Mr. Griffis declined to make an advance estimate of the earnings, but the estimate of third-quarter profits early this month was in excess of $1,000,000. Mr. Griffis said that the earning report for the company's British subsidiaries is completed about 30 days later than the domestic report, and a decision by Paramount not to make public any prelim- inary or incomplete report accounts for the absence of a third-quarter earning statement at this date. Asked to comment on reports that divi- dend action was a likelihood, Mr. Griffis said that they were not entirely unfounded. Indi- cations are, however, that such action would not be taken until well along toward the end of the year. The November meeting of the board may be postponed until a December date because of the probability that Barney Balaban, Paramount president, and Mr. Griffis may not be back from their present coast visit November 26, the scheduled date for the board meeting. Mr. Balaban left for Chicago last Friday and was expected to be joined Wednesday by Mr. Griffis. The two will go on to the Paramount studio for two or three weeks. Paramount's first preferred stock touched a new high for three successive days last week, reaching 125%, dropping slightly to 124}/2 to close the week. In commenting on the rise the Wall Street Journal said : "Earn- ings are understood to be piling up at an increasing rate. In view of the new tax laws, some dividends on account of accruals may be declared before the end of the year. Theatres are providing a larger part of the impetus, but films, too, are now understood to be making money." Park Avenue Gets Theatre After All The construction of motion picture the- atres in the exclusive Park and Madison Avenue areas in New York was authorized this week by the appellate division of the supreme court, where the decision of Justice Valente upholding the refusal of License Commissioner Paul Moss to issue a permit for a theatre to Robert Walton Goelet was unanimously reversed. The controversial theatre will be con- structed on Park Avenue between 53rd and 54th streets. The trial of the suit alleging plagiarism of songs brought by Georges A. Gogniat of United Music Company against Universal Pictures has been set for trial before Fed- eral Judge Woolsey in New York on De- cember 14th. Independent Association of New York To Be Nucleus; Cullman DeniesHe'sSlated as President Broadway on Wednesday was expecting momentarily the announcement of formation of a new national organization of and for independent theatre owners, thereby giving the industry a third national group, in addition to the Motion Picture Theatre Owners of America, Edward L. Kuyken- dall, president, and Allied States Exhibitors, Nathan Yamins, president. Considerable secrecy cloaks the new organization's aims and plans except that the sponsor is the Independent Theatre Owners Association, of which Harry Brandt of New York is president. The idea has been in the discussion stage for a year or more. The initial steps for the actual formation of the new organization were taken late last week. The Independent Theatre Owners Association will be the nucleus of the new association, it was learned following a meeting of the local unit and a number of representatives from other cities held then at the Hotel Astor. A group of exhibitors in Philadelphia who did not join the new United Motion Picture Theatre Owners will form a second organization in that city. An unnamed Philadelphia exhibitor spoke to the assembled theatre men at the Astor and expressed a willingness to join the new national organization. New Jersey and New England groups are also understood to be ready to align them- selves with the new plan. Resolutions for formation of the new association were put over until later in this week, it was said, when Mr. Brandt will announce at least six eastern states as affiliated in the new project. This new plan is not identified with previous discussions for establishment of a new national unit with representation in each Congressional district. Percentages Attacked Percentages were attacked on all sides with every major company included in the harangue and action on this type of selling pictures was also postponed until this week, it was revealed. Several exhibitors said that Metro-Gold- wyn-Mayer was having difficulties selling its product under its new sales policy. An exchange executive answered this by de- claring that practically all the important independent circuits already have been signed. This statement may also be applied to Paramount. Charles L. O'Reilly, president of the Theatre Owners Chamber of Commerce, for many months had meetings with Mr. Brandt on the idea of creating a new national organization along Congressional district lines. Nothing came of these conferences, but Mr. Brandt has continued to criticize both Allied and the MPTOA. saying that neither organization represents the interests of independent exhibitors. Under Mr. O'Reilly's plan, the proposed merger of the TOCC and the ITOA was to provide the first unit. Mr. O'Reilly delayed action until after the national elections this week. Whether this plan will eventuate was problematical, since the TOCC has been inactive for more than three years. Several local exhibitor organizations in key territories are said to have signified their willingness to ally themselves with the third national association and most of these alreadv are affiliated with either Allied or the MPTOA. Cullman Denies Being Asked Howard S. Cullman, trustee of the Roxy theatre, has been mentioned from time to time as scheduled to head the new group, but Mr. Cullman repeatedly has denied that he has been approached to take this post. Forces outside the industry will be the center of attack by the new group, it was said. Exhibitor protection from legislative bodies will be the primary aim of the prin- cipals heading the various districts. In some states, it was asserted, theatres are being taxed from 15 to 20 per cent of their grosses. In some instances, it was figured, exhibitors are being taxed in as many as 20 different ways. When asked for a definite statement con- cerning plans, Mr. Brandt said: "Ed Kuykendall and Abram F. Myers are just names. There is no national organiza- tion that functions for exhibitors. "The need for a national organization is greater now than ever before, and I cer- tainly would be interested in any plan that would give exhibitors over the entire country the assurance that a properly organ- ized and smoothly functioning organization would give. "Myers and Kuykendall, who have talked a lot and delivered nothing, should be sup- planted by an individual from the outside who is big enough to handle national affairs. Warns of "Outside" Enemies "The industry is menaced by far greater enemies from without than from within by unnecessary, impractical, and, in many cases, abusive legislation. "It is costing this industry millions which should be diverted into channels of useful- ness. The exhibitor today has nowhere to turn for support on matters pressing him in his own state or because of federal acts. "Who knows but that some day, and I hope soon, a messiah will come who will eventually lead theatre owners of America to that place in the sun to which thev are rightfully entitled." Bette Davis Not to Appeal Bette Davis will not appeal from the re- cent decision of the King's Bench Court in London, which held that she may not per- form in England for three years, or until the expiration of her existing contract with Warners. The actress will return to the United States and the Warner studio, plan- ning to leave England on November 24th. 30 MOTION PICTURE HERALD November 7, 1936 FEDERAL POLICE OUSTED (Continued from page 28) employee had, besides, a letter from the British consulate general similar in tenor to that of the American consulate. Patrol Can't Read On the high-road near their destination the car was stopped by a heavily armed patrol of three, each one of whom bore the red-sleeve band of Anarchy — not the national colors of Spain nor those of Cataluna. Mr. Iturralde and his companion were challenged and pro- duced their documents. The patrol withdrew to "study" the papers. A violent argument ensued. The documents were scanned in a puzzled manner and the flags inspected. Then a volley rang out. The two messengers of mercy had paid with their lives the toll of ignorance, stupidity and officiousness. Of the three men in the patrol two could not read and the protests of the third had counted for naught. When word of this outrage reached the two consulates general, despite the paralysis of au- thority and order that already had set in, Presi- dent Companys assigned a contingent of the Guardia Civil, which corresponded to the State Police in this country, to seek out Mr. Jenkins and his wife and child and escort them into Barcelona. This was done in the face of supreme difficulties, for from the moment of the revolution's outbreak the picturesque Guardia Civil of old was outlawed as a police force and was disbanded and its functions taken over by a new organization known as the Guardia National. President Companys expressed to the American and British consular representa- tions his and his "government's" profoundest regrets and there is no doubt that they were sincerely meant, even if they had to be ap- proved by the C.N.T.-F.A.I. "Comite Pro- Revolucionario." Mr. Companys, who is virtu- ally idolized by Catalans and truly respected by Spaniards, is a man of proved integrity and honesty of purpose in his private life and was likewise in his official life prior to the moment when his government was seized by the C.N.T.- F.A.I. and U.G.T. combination. The place of Mr. Iturralde in the consulate general was taken by a younger brother, who arrived from America following his brother's death. The successor had just completed a course at Wil- liam and Mary College in Virginia and is re- turning to this country this year for a post- graduate course in law at Columbia. Hoodlums Made Sentries The Comite Pro-Revolucionario, which, of course, is Pre-Revolutionary Committee in English, pretty nearly stamps the unit which staged the revolution in and around Barcelona and elsewhere in Spain as composed of "revolu- tionists," or "rebels," and it was so recognized when documents from the Generalidad, thereto- fore the seat of governmental authority in Cataluna, as well as the certifying letters from the two consulates general, had to be reinforced by the committee of "rebels," in order to safe- guard the lives of men bent upon an errand of mercy and even then failed, because of the as- signment to road-patrol inspection and sentry duty of men wholly unfitted for their task but who were loyal "rebels" of the C.N. T. -F.A.I. - U.G.T. ranks. Thus armed hoodlums became overnight patrols and sentries on the highways. But the present regime at Barcelona and Madrid are extremely touchy on the slightest reference to the term "revolutionary" as applied to their "constituted government." Having succeeded, by a clever maneuver, in stigmatizing the actually constituted police forces of the republic as "rebels," the government of na- tion and region shies at any allusion to its ac- tivities as those of "revolutionists." Not long ago one of the newspaper correspondents was telephoning a news dispatch to his paper in London. At his side sat the official censor, a C.N.T.-F.A.I. delegate thoroughly conversant with English — for nothing may be communi- cated that has not the censor's approval and visa. The correspondent, in his prepared copy, had inadvertently employed the term "revolu- tionist" as applied to the C.N.T.-F.A.I. "Mur- der Bund" and the censor immediately seized his wrist. "No se puede decir eso !" (You may not say that ! ) was his quiet command. He was re- quired to amend the phrase to read "govern- ment forces," but the sudden change in phraseology did not have to be explained to the reporter taking down the story at the other end of the line. It is not necessary here to dwell upon the outrages of murder, kidnaping, rapine, arson and pillage that took place on that fateful "Red Sunday" and on the days and particularly the nights of terror that followed. Nor upon the nightly "private executions" by firing-squads of red sleeve-banded ruffians, with the muzzles of their rifles two yards from their victims,_ as took place in the dark, coal-dusted Calle Villa- vila alongside the electric-light plant of Canadian ownership and management. Nor upon those in the nearby Calle de la Sagrada Familia (Holy Family Street). Nor upon those on the heights of Tibidabo. Nor upon those gruesome cargoes of shot, mutilated and gasoline-soaked bodies of priest, nun, friar and civilian employer, capitalist and, all too fre- auently, of workman or clerk of humbler sta- tion who "stood in the way of the revolution" that were daily "delivered" to the Hospital Clinico and other mortuary repositories and there exhibited for any and all who might care to gape at them and to gasp at the havoc and completeness wrought by close-range rifle-fire — the first fruits of the new order of Liberty and Fraternity and — International Solidarity! That story has been told — and too often under- stated— by the daily press. Manos Circuit Adds Seven Mike Manos, president of Manos Enter- prises, Latrobe, Pa., has announced the purchase of all holding's of the Indiana County Theatre Company, including the Paramount and Olympic in Latrobe, the lease on the Grand in the same city, the Richelieu, Blairsville; Casino and Arcadia, Vandergrift, and the Empire, Homer City. William Gable Made Manager William Gable has been named manager of the Dickenson theatre at Osage, Kansas, by Glen W. Dickenson, head of the circuit bearing- his name. S. Mills has been placed in charge of the Uptown, Dickenson house at Parsons, Kansas. Sparks Buys Two The Van Croix theatres of Melbourne and Eau Gallie, Fla., owned and operated for several years by A. E. Van Croix, have been leased to E. J. Sparks. Mr. Van Croix will continue to manage the two houses. Child Patronage Seen in Danger A potential danger to theatre box offices is seen by M. A. Silver, zone manager of Warner Brothers theatres in New York State, in the increasing appeal of radio to children. In a message to his managers urging campaigns designed to retain the patronage of children, Mr. Silver said in part : "An alarming condition has come up re- cently to threaten the future of our business. As you know this industry is largely de- pendent upon the fact that with a large number of its patrons, movie-going is a fixed habit. That habit has been inculcated in the average movie-goer over a long period, beginning in most cases in the for- mative years of childhood. "Showmen in the past encouraged child business with Various kinds of Kiddie Clubs, special performances, serials, added attrac- tions of interest to children, contests, prizes and giveaways. "Today I fear too many of us have be- come indifferent to child business and are thus guilty of a neglect that might easily result in a new generation growing up with- out the movie habit. Particularly is this true since the radio has now, to a disturb- ing extent, usurped the place long held by the movies in the affection of the American child. Radio now offers the child a wide variety of serials, contests and premiums. Have you ever counted the number of pro- grams directed at children? "I call upon every manager to inaugurate a drive to increase child attendance. There are few, if any, of our theatres that cannot run some form of Kiddie Club. Most of you have had experience in handling them, and know just how to go about it. Some of you have long been doing outstanding work in the field of Kiddie activities, and all I can tell you is to keep up the good work. This matter is of far greater importance than the amount of money involved in in- creased receipts, so do not take it lightly." Western Circuit Sells Houses The Western Theatre Enterprises Circuit of Nebraska, started several months ago by W. N. Youngclaus and Lloyd Thompson, is disposing of its properties. The Roxie at Shelton, Neb., has been sold to E. L. John- son of Montgomery City, Mo., and the Newman Grove house to W. C. Johnson of Friend, Neb. Color Trial Set January Sth, 1937, has been set as date of trial in tj. S. district court, Los Angeles, of a patent infringement suit brought by the Max B. DuPont Vitacolor corporation against Cinecolor, Inc. Notice has been served on film companies using the process that they may be charged with infringement unless they desist. Supply Company Formed The Co-Operative Sound Service Supply Company has been incorporated in St. Louis by Clyde Weston, Vera West, Catherine Cook and Henry Dunca. Japan Bars Film Paper Film Fun, American fan magazine, has been barred from sale in Japan on the ground that it contains photographs tending to impair the morals of Japanese youth, ac- cording to an Associated Press dispatch from Tokyo. ONE OF THE GREAT ACTRESSES OF OUR TIME IN ONE OF THE GAYEST ROMANCES OF ALL TIME! The star of "Escape Me Never" and "Catherine the Great" rises to her highest popular favor in this merry romance by the mightiest showman history has ever known! in SHAKESPEARE'S immortal comedy AS YOU JLJLlvt, 1 1 with LAURENCE OLIVIER SOPHIE STEWART HENRY AINLEY Produced and directed by Paul Czinner Distributed by 20th Century-Fox Film THE KEYSTONE OF YOUR FUTURE Printed in U.S.A. November 7, 1936 MOTION PICTURE HERALD 33 ASIDES and INTERLUDES by JAMES P. CUNNINGHAM Announcement the other afternoon of the fil- ing of a notice of intention to wed, by James Stuart Blackton and Evangeline de Rippeteau, caused hardly a flutter in the editorial sanc- tums of the society editors of Los Angeles newspapers. Publication of the notice, even though minutely, however, reminded some of the old pioneers in motion pictures that Com- modore Blackton, still young at 61, had a strong hand in putting the motion picture to work, after Thomas Alva Edison brought it out of the inventor's laboratory. It was the Commodore, founder of the Vita- graph company with Albert Smith, who was the first to snatch at the patriotic opportunity of building the war fever of a motion picture audience. Mr. Blackton and Mr. Smith were making progress in motion picture pioneering as early as 1897 when the Spanish-American War was filling America's newspapers with tales of braggadocio and gallantry. The United States was enjoying its war with Spain. Mr. Blackton caught step with the martial tune of the times and the motion picture busi - ness was sent marching on. From their little studio atop the Morse Building on Nassau Street, in New York, Blackton and Smith rushed up to the roof that April 21st, while the wires were still sizzling with the declaration of war, and made "Tearing Down the Spanish Flag." It was a tremendous success and the pair profited considerably. Cheers rocked the vaudeville houses and hats were tossed into the orchestra pits when the hand of righteous destiny reached out to tear down the Spanish banner. That hand was Blackton's. V The old school of Hollywood colossal and stupendous extravagance expressed itself in last Tuesday's Presidential election when the head of one of the major companies wagered $2,000 against $50,000 that Alfred Mossman Landon would not carry a single state of the 48, and $2,000 against $40,000 that Mr. Landon would not carry any more than two states. And he won $38,000! V "Senator" W . P. "Bernie" Bemfield, paunchy, cigar-smoking philosopher, is as much at home among the hedgerows of wisdom as amongst the cacti of humor and zvit. It was Senator Bemfield zvho first discovered that wine stains, most difficult of all to eradicate, could be re- moved from the Sunday dinner table cloth merely by using a scissors around the affected place. The latest truism from the United Art- ists exploiteer of the Kansas City plains is the following dictum: "An exploiteer {or an exhibitor, or film sales- man) must be a 3-G-Man. "Hozv so," interlocuted his interlocutor, one Kenneth Force of the same Kansas City area. "He must," brilliant -ised Bernie, "possess and dispense Glee, Glue and Guts." Think it over — but not for long. V Exhibitors may expect another Martin Johnson wild animal "thriller" almost any day now. Martin and Osa Johnson are back on Broadway from Borneo with 150,000 feet of film and an abundance of material with which Fox Film's press agents can regale city editors, with tales of oysters that grow in trees, lizards that sing like canaries and snakes that glide through the air — only nine days from Borneo to Broadway. The Associated Press reports from Moscow : Three executives who "went Hollywood" in Russia were sentenced to labor camps today. The men, former executives of the Eastern Film Trust, were convicted of frit- tering away State money for the produc- tion of movies. The manager was sentenced to serve four years, the director to two years and a book- keeper to one. They were charged with purchasing a bad scenario, countenancing excessive production expense and with wast- ing money searching for talent. During their trial it was testified that out of 40 employees of the movie company two were Trotskyists, six thieves, one a murderer and two embezzlers. Hollywood papers please copy. V Terry Ramsaye editorializes that, "Cer- tainly the worst curse of the double billing policy is the flow of marquee jokes in linked titles." Graciously, he did not mention that this department is probably the worst of- fender in these parts. Our defense is that many of our trillions of readers find the pastime to their liking, and accordingly write to use on the slightest provocation. We are literally at the mercy of these humor-atar- ians, as witness the contribution from Fred Haskell, of Portland, Oregon, who observed on the marquee of the local Orpheum the- atre, this dual-bill advertisement: GIVE ME YOUR HEART YOUR WIFE WILL NEVER KNOW The same mail brought word from H. W. Blackstone, manager of the Regent theatre, Arlington, Mass., that his marquee for three days has carried the advice: THE BRIDE WALKS OUT YOU MAY BE NEXT And on Saturday night the New Jersey State Prison advertised for the inmates: FOR HALLOWE'EN ANYTHING GOES V Son of ' Colonel M. Robert Guggenheim, whose father founded the Guggenheim founda- tion, M. Robert Guggenheim, Jr., 25-year-old heir to a $200,000,000 fortune, dropped the fam- ily and their mining business flat the other day to become an assistant to David Selznick at United Artists. V The Morning Telegraph's Leo Mishkin, movie critic, brings from Broadway's canyons the story about the six-year-old boy who accom- panied his father to visit a judge, a friend of the family's. "Tell me, my little man," cooed the big black-robed justice to the little man, "for whom did you cast your vote on Election Day !" The kid obviously was puzzled. "Say, you're a real judge, aren't you"" he asked. "Why, of course." "Then," rebuffed the kid, "you ought to know I'm not old enough to vote." V Two bestsellers are the non-fiction books, "Wake Up and Live" and "Live Alone and Like It." A sequel is in order, "Wake Up Alone and Like It." Under the Joe Breen regulations that zt'ould be eligible for filming. The progress to date in the compilation of a motion picture bibliography is so gratifying that the Federal Writers' Project of the WPA, New York, is extending its activities to include the writing of the mythology of these United States. Already they have happened across the reputation of one Mose Humphreys, a New York City character, who is reputed, among other feats, to have lifted horsecars from their tracks on the old Bowery and tossed them about in street fights. Too, they have found another mythical hero in the person of Paul Bunyan of the western lumberjack area. But he only caged an approaching cyclone, held it until the hot summer months and then let it escape bit by bit so as to keep the town cool with a con- stant moderate breeze. V Fred Ast aire's recent scary jumping s for the edification of ship news reporters on an out- going liner at a New York pier are causing a cycle of tall stories on daring escapades by normally undaring escapaders. Fred did a tap dance on a thin guard rail of a big ocean liner docked at her berth. It was a dangerous dido even by a precise and clear-headed expert. But it was topped by what struck Odd Mclntyre as the most shuddery of all doings. A ship was bucking a raging sea some few years back. An inebriated fellow, undaunted by the lists caused by the mountainous seas, was capering on deck as others watched through windows. Suddenly to climax his antics he hopped up on the rail and began walking tight rope fashion, the entire port side, from post to post. Nothing happened, as is usual with "playful" inebriates. V Strains of the old vaudevillian are heard from Allen County, Ohio, where Candidate- for-Sheriff Ralph Marshall made no cam- paign speeches, but instead hired halls and demonstrated his markmanship by shooting cigarettes out of his wife's mouth at ten paces. Mr. Marshall got the entire anti-cigarette vote. V The Spanish war cycle has finally arrived in motion pictures. Universal is doing "Alcazar," and Twentieth Century-Fox has taken on "The Siege of of the Alcazar." Either company or both can get more drama out of the daily newspaper accounts than that attempted for the scenarios by any Hollyzuood writer. For instance, buried very inconspicu- ously the other day in a bottom-of-the-column back-page position of the Daily 'Mirror ap- peared the terse dispatch from Madrid that the Red Government had shot to death 14 of their ozvn ace aviators because while in flight they accidentally dropped a couple of shells on their own Red troops at Olias de Rey, south of the city, in the belief they were attacking their rebel opponents. V A few years ago, when Jimmy Durante played the Palace theatre on Broadway, Benny Rogers was a member of his act. Benny, a Turk, born in Palestine, also played with Durante at the night clubs of the Dover Club, Silver Slipper. Cotton Club and Palais Royale. Of all these places he liked the Palais Royale best and always hoped to re- turn there. Well, he's back, finally, after many years. The Palais Royale is now the Cotton Club — and he's the attendant in the men's room. 34 MOTION PICTURE HERALD November 7 , 1936 THE CUTTING ROOM Advance outlines of produc- tions nearing completion as seen by the Hollywood staff of the Motion Picture Herald Banjo on My Knee (20th Century-Fox) Musical Comedy Drama This production looks like one of the most radical entertainment and commercial depar- tures to have come to the screen in a long time. Based on a recent best selling novel, it is a unique combination of tense drama, eruptive romance, mirth laden comedy, explosive action, haunting music and surprising twists. In story content and accompanying production details, it promises to be something to pique public in- terest. Names values potentially are sufficiently strong, particularly considered from the stand- point of how personal talent lends itself to as- signed roles. "Banjo on My Knee" is a quaint, colorful story of the peculiar people who live on boats on the Mississippi river. The yarn is fast mov- ing, very different in theme from anything being currently offered. It's about the son of a funny old river character who wants his boy married so that his line may be perpetuated. But before the wedding so much happens that is exciting, and all of it running the full gamut of entertainment in every phase, that adequate description is difficult. Sufficient to say, the picture is absolutely brand new. Adapted from Harry Hamilton's novel by Nunnally Johnson, with music and lyrics by Jimmy McHugh and Harold Adamson, the film is being directed by John Cromwell, maker of "To Mary, with Love." In the principal roles it features a group of wellknown players, Barbara Stanwyck, Joel McCrea and Walter Brennan, currently in "Come and Get it," Buddy Ebsen, Helen West- ley, Walter Catlett, Anthony Martin, Katherine DeMille, Victor Kilian and Minna Gombell. Important supporting players are Spencer Charters, George Humbert, Hilda Vaughn, Cecil Watson and Louis Mason. Atmospheric music is provided by the Hall Johnson choir. Beloved Enemy ( U nited A rtists-Goldwyn ) Dramatic Romance Unlike "The Informer," which started the series of Irish Rebellion stories, treating the subject mainly from a military and political angle, and the forthcoming "The Plough and the Stars," which is similarly atmosphered, "Be- loved Enemy" retains all the danger menaced martial activity contingent upon the 1921 Easter Uprising, but approaches its subject from the romantic love interest viewpoint. In this story, which topically follows the historical record, an English girl betrays the leader of the Cause into danger. Growing to love him, despite the efforts of her father, Black and Tan com- mander in Dublin, she reveals the plan of the British to strike with the mailed fist if Ire- land continues in its demand for independence. Two motives lead her to both actions, her love for the leader and a humane desire to see the centuries' long drama of persecution and car- nage ended with Ireland established as a sepa- rate entity within the Dominions. The production features Brian Aherne and Merle Oberon in the leading roles. Principal supports are Karen Morley, Jerome Cowan, David Niven and Henry Stephenson. Two vet- eran stars of the silent days, Jack Mulhall and Pat O'Malley, have important roles. Other familiar cast names are Granville Bates, Claude King, Theodore von Eltz, Wyndham Standing, Robert Strange, Lionel Pape and David Tor- rence. A Samuel Goldwyn production, it can be an- ticipated that the picture will be embellished by the technique for which the producer has be- come noted through a series of outstanding attractions. Smart Blonde (Warner) Dramatic Romance Drama, comedy, romance, suspense laden thrill action and melodrama are the ingredients being included in this detective-newspaper wo- man mystery thriller, which will feature Barton MacLane and Glenda Farrell. Worth of the name value of this pair as an exploitation angle, especially in a production of this character, is supplemented by that of Winifred Shaw, Craig Reynolds, Jane Wyman, Joseph Crehan, Addi- son Richards, Charlotte Winters, David Carlyle, Tom Kennedy, John Sheehan, Max Wagner and George Lloyd, who compose the supporting cast. The screen vehicle was adapted, from a novel by Frederick Nebel, by Don Ryan and Ken- neth Garnet. Frank McDonald, who has met with considerable success in handling this com- pany's secondary product, is the director. Set off by uptodate production details, which set the topical nature of the yarn, Miss Farrell and MacLane combine to solve the mystery of a sensational murder. Their adventures in ro- mance and drama, both of which have an antici- pated comedy contrast, take them into dangerous fields wherein gangsters and politicians do their utmost to prevent the pair from attaining their legal and romantic objectives. Of a style which in previous similar releases has demonstrated its popularity, particularly with mass audiences, "Smart Blonde" seems to have the name value, story content and produc- tion effects to arouse the interest of showmen and patrons. Rio Grande Ranger (Columbia) Adventure, Drama, Romance Again essaying an outdoor thrill action story, Larry Darmour has selected one that brings the Texas Ranger into conflict with cattle rustlers. Moving to that exciting quality in which man to man and mass conflicts are dominant, to- gether with wild riding and its companionate shooting, the story also contains a romantic content. Because rustlers are able to continue depre- dations in Texas by fleeing to their headquarters in a neighboring state that lacks similar police protection, Ranger Bob Allen, in disguise, joins the band, to learn their plans and concoct a way to lead them into Texas and effect their capture. Then romance interludes, and all does not go well for the hero. Revealed as a spy when seen conferring with his Ranger buddy, the pair are imprisoned as the desperadoes plan a drive on a cattle herd. In theatrical fashion the Ranger lures the outlaws away from their prey, saves the heroine and her small brother and leads the bandits into Texas, where they are captured. The cast supporting Allen includes Iris Mere- dith, John Elliott, Paul Sutton, Hal Taliaferro, Buzzy Henry and Tom Landon in the principal roles. The story is an original screenplay by Jacques and Celia Jacard, adapted by Nate Gat- zert, and Spencer Bennet is directing. House of Secrets ( Chesterfield) Mystery Melodrama Quality of story content, plus worth of the fea- tured names in the cast, seems to make this pro- duction one of more than passing interest to ex- hibitors. The motivation is terror-tinged drama and mystery. There is comparatively little com- edy contrast as well as romantic love interest. Localed in England, presently timed, the story concerns a man who, seeking to claim the in- heritance of his ancestral home, runs into amaz- ing and fearsome experiences. With all the weird twists common to a terror drama in- cluded, the man has to fight his battle alone, aided only by a girl who is more afraid for him than she is of the dangers confronting both. The climax, unique and exciting, reveals that the reason government and police aid was de- nied was due to the fact that the British govern- ment had commissioned the central mystery fig- ure in the story to develop an antidote for poison gas. Based on Sydney Horler's novel, "Hawk's Nest," the story was adapted by John Krafft and is being directed by Roland Reed. The regard which producer George R. Batcheller has for the piece is evidenced by the names he rounded up for the principal parts. Practically every one of them has been prom- inent in major pictures. Included are Leslie Fenton, Muriel Evans, Sidney Blackmer, Noel Madison; Syd Saylor and Ian MacLaren. The Old Corral (Republic) Adventure, Drama, Romance Though the featured male players in this pro- duction are established western players and most of the action takes place in the wild west, this is not a fundamental western story. Rather it is a gangster story in which the elements com- mon to both, embellished by music, are blended. In the yarn New York gangsters have a girl night club entertainer on the spot. Following a mob murder, she flees to the wide open spaces. Befriended by a cowcountry sheriff, menaced by a cattle rustling night club owner of the eastern mobsters, with an interluded presenta- tion of the recent celebration held in connection with the dedication of Boulder Dam, the girl and sheriff encounter many exciting experiences. The drama of these contrasted by music and comedy, the finale brings the hero and heroine into conflict with the combined eastern-western {Continued on page 36) 9>& UPROAR ( and 0 TIBBETT Congratulations ARTHUR SCHWARTZ & HOWARD DIETZi You've outdone your- selves with these latest hits: "UNDER YOUR SPELL" "AMIGO" "MY LITTLE MULE WAGON" —and they're sung as only Lawrence Tibbett could sing them ! wiik WENDY BARRIE GREGORY RATOFF ARTHUR TREACHER Directed by Otto Ludwig Preminger Associate Producer John Stone Screen play by Frances Hylond and Saul Elk ins Based on stories by Bernice Mason and Sy Barflett Dances staged by Sammy Lee THE KEYSTONE OF YOUR FUTURE IT WILL RAISE YOUR ROOF AND BOOST VOUR GROSSES! 36 MOTION PICTURE HERALD November 7, 1936 IN THE CUTTING ROOM AT THE STUDIO (Continued from page 34) outlaw forces, which the sheriff defeats by turn- ing a cattle stampede loose upon them. The production is based on an original by Bernard McConville, with screen play by Sher- man Lowe and Joseph Poland. Music presented by the hero and heroine was prepared by Flem- ing Allen and Oliver Drake. That sung by the Sons of the Pioneers, cowboy melodies, is original with them. Direction is credited to Joseph Kane. Gene Autry and Smiley Burnette, fixtures in Republic outdoor action dramas, are featured. The newcoming girl lead, Hope Manning, is a product of the studio's talent school. She has been seen in minor roles in previous pictures. While this trio represents the most important names values, the supporting cast includes many new but several familiar names. Listed are Cornelius Keeft, Lon Chaney, Jr., John Brad- ford, Milburn Morante, Abe Eefton, Merrill McCormack, Charles Sullivan, Buddy Roose- velt and Lynton Brent. The Sons of the Pioneers, Frankie Marvin and Oscar and Elmer, familiar to listeners of West Coast radio pro- grams, are included for specialty features _ as well as having legitimate parts in the running of the story. Roaring Lead (Republic) Adventure, Romance, Drama A typical western story has been selected for this episode in the adventures of the three mes- quiteers, Robert Livingston, Ray Corrigan and Max Terhune. This time, the romantic ad- venturers aid a girl who is having trouble with cattle rustlers and officers of the Cattleman's Protective Association who are in league with the outlaws. While doing so, they also manage to insure the successful future of an orphan home which the girl is sponsoring. Supplement- ing the production action familiar to a western film, this one adds the presentation of a benefit show in which many members of Republic's talent school are given opportunity to demon- strate their talents as potential screen person- alities. A new girl, Christine Maple, is featured with the leads. A product of the talent school, the producers have much confidence in her ability to make the grade that leads to stardom. The story used was adapted from a novel by William Colt MacDonald, adapted by Oliver Drake and Jack Natteford, both of whom, par- ticularly Natteford, have a long list of western pictures to their credit. Mack V. Wright and Sam Newfield are collaborating as directors. _ A group of popular western players, including Hooper Atchley, Yakima Canutt and George Cheseboro, are featured in support, and from the talent school come Mary Russell, Beverly Luff, Theodore and Katherine Frye and many juveniles from the Meglin Kiddies theatrical school. They Wanted to Marry ( Radio ) Comedy Romance Newspaper reporters have been glorified or ridiculed, depending upon the point of view, on the screen. Seldom has the cameraman, the fellow who has to get those newsy pictures, heen given a break. In this, he will have his ■day in court, literally and actually, as several times the cameraman, harried both by his editor and those of whom he is ordered to make pic- tures, spends quite a bit of his time in the police station. While the motivation is comedy romance, in which there are plenty of ups and downs for the hero and the girl he has chosen as his own personal private property, many of the substantiating production effects are devoted to how cameramen get their pictures and the various devices they use to get them printed. The story is an original by Darwin Teihlet and Larry Bachman. The screen play is by Paul Yawitz, onetime New York columnist and reporter, and Ethel Borden. Direction is cred- ited to Lew Landers, maker of the current 'Without Orders" and the forthcoming "Night Waitress." Gordon Jones, first starred in "Night Wait- ress" and previously seen in "Don't Turn 'Em Loose," "We Who are About to Die" and "Walking on Air," is featured with Betty Fur- ness. Other principal players are the veteran Henry Kolker and a new little girl artist, five year old Patsy Lee Parsons. The supporting cast is made up of fairly wellknown names, among them Frank M. Thomas, Anita Colby, Diana Gibson, Maxine Jennings, E. E. Clive, William Benedict, Edward Price and Alan Curtis. Penrod and Sam (Warner) Juvenile Comedy Drama Only the title, character names of the youthful players and author credit are similar in this production to the previously produced Booth Tarkington "Penrod and Sam." The story pro- vided here, based on the Tarkington idea, and adapted by Lillie Hayward and Hugh Cum- mings, has been modernized and made decidedly different. Before it takes on a juvenile and senior G-man twist, the yarn devotes itself to the trouble into which Penrod has landed be- cause of Rodney Bitts and the trouble the squab- bling has caused their respective parents. In this phase the atmosphere is typically Tarkington. Departing from this theme, Penrod and Sam become involved with gangsters who are being chased by G-men. The kids, emulating their elders, join in the case, only to be made pris- oners by the mobsters. The youngsters contrive to be in the midst of a battle between police and mobsters, and when the outlaws are rounded up, Penrod's gang, to which Rodney has been made a welcome addition because of his heroism under fire, are given full credit and the reward for the capture. The production features Billy Mauch, now in "Anthony Adverse," as Penrod, Harry Wat- son as Sam, Jackie Morrow as Rodney and Phillip Huiiic as Verman. Frank Craven and Spring Byington are Penrod's parents and Charles Halton is Rodney's father. Craig Rey- nolds is the leading gangster and Kenneth Har- lan the top G-man. Other players, both young- sters and grownups, have but little screen identity. The film is being directed by William Mc- Gann. Arizona Mahoney (Paramount) Adventure Comedy Something quite different in the western line seems to be coming up here, with a promise of unique interest creating angles. The story used is based upon Zane Grey's "Stairs of Sand." Consequently it can be expected that the production will be full of the entertaining ingredients that have made Grey popular as a novelist and provider of screen material. But as it brings a new, but by no means unknown, personality to the screen, it will do so in a markedly odd manner. Joe Cook, noted for a generation as the one man circus of numerous Broadway shows and countless vaudeville ap- pearances, is the new player. He doesn't come riding into the production on a pinto, with .45's blazing. Instead he crashes into it atop the back of an elephant to end a hijacking rustler war. Thus it can be foreseen that comedy, rather than gun play, although there is plenty of that, should prove the production's most in- teresting feature. As adapted the story is not one of those tongue-in-the-cheek affairs. It strikes a new path and is going all the way to provide some- thing new while retaining the old values that mean so much to so many. Practically all the supporting players are known qualities. There is Robert Cummings, Cook's pal, who shares the slight romantic twist with the aspiring newcomer, June Man- tell. Larry Crabbe and John Miljan are the rival rustlers. The comedy angle gets another lift in the important part of Dave Chasen, re- membered for his appearance in "Millions in the Air" as Benny Baker's stooge. Others prom- inent in the action are Marjorie Gateson, Fred Kohler, Sr., James Burtis, Richard Carle and little Billy Lee. The screen play is by Robert Yost and Stuart Anthony, and James Hogan is the di- rector. Career Woman (20th Century - Fox) Drama The story which is the substance of this pro- duction was suggested by a recently widely publicized case of a mountain girl who was alleged to have murdered her father following a merciless beating- he had administered to her. Its drama concentrates on the activities of a pair of attorneys seeking to establish a sense of justice and fair dealing in the minds of hill-billy folk whose biased prejudgments are the result of lifelong medieval concepts of right and wrong. The romantic contrast allies a tyro Portia and a theatrical New York lawyer, who knows every trick in the trade, in fighting for the girl's life. The story is a product of Gene Fowler's fertile dramatic imagination. Known for the authorship of such poignant novels as "The Great Mouthpiece" and "Shoe the Wild Mare," he also has participated in the preparation of many outstanding screen stories and plays. The adaptation is the work of Lamar Trotti, who did "Ramona." Direction is by Lewis Seiler. Claire Trevor, currently in "IS Maiden Lane," "The Holy Lie" and "To Mary, with Love," and Michael Whelan, featured in "Sing Baby Sing," "White Fang" and "Poor Little Rich Girl," have been assigned to the lead roles. Isabel Jewell, of the cast of "Valiant Is the Word For Carrie," is the girl whose life and honor the principals combine to save. Prin- cipal supporting parts are in the hands of Eric Linden, Charles Middleton, Gene Lockhart, Guinn Williams and Frank McGlynn, Sr. Comedy, which contrasts the motivating drama and romance, is mainly in the hands of El Brendel, Sterling Holloway and Virginia Fields. Other players to be seen include Kathleen Lock- hart, Edward Brophy, Charles Waldron, June Story, Lynne Berkeley and George Meeker. THIS 1$ THE CORN THAT GREW ON THE f ARM THIS is mae 5 press acent. A city slicker, WHERE SCOTT RESISTED MAE WEST'S CHARM WHO TOOK A BEATING WHEN HE TRIED TO TRICK HER T44IS IS THE CONGRESSMAN SMART AS A WHIP W440M MAE Sl/CC€tT>ED IN GIVING T-Ht SLIP GO «°SI --AN0OtPH SCOTT MICE B»J^; ?.t«Y •"..«... ^31 MAE WEST in Go West Young Man ' with WARREN WILLIAM, RANDOLPH SCOTT, ALICE BRADY, Elizabeth Patterson, Lyle Talbot, Isabel Jewell, Margaret Perry • Directed by HENRY HATHAWAY • Dialogue by Mae West • An EMANUEL COHEN Production • A Paramount Picture November 7, 1936 MOTION PICTURE HERALD 41 THE HOLLYWOOD SCENE Camera Test Utilizing the Erpi sound analyser, oper- ated by Don Loye of that company, mem- bers of the silent camera committee of the Academy Research Council met in all-night session Friday of last week at the MGM studios to test, as to frequency and relative loudness of noises, several new types of cameras. Committee members are Virgil Miller, John Arnold, John Boyle, John L. Cass, L. E. Clark, William Eglington, Bert Glen- non, Lorin Grignon, Ray June, Kenneth Lambert, Grover Laube, Lewis L. Meller, K. F. Morgan, William Mueller, Emil Oster, William Rudolph, Theodore Soderberg, Al Tondreau, Ray Wilkinson, A. G. Wise and Gordon S. Mitchell. Production Pictures came out of the production mill in avalanche style during the last week of October as fourteen films were completed. With "Camille," "Maid of Salem," "Banjo on My Knee" and "Reunion" in the grist, the group contains quite a few important pictures to take the places of the season's first show window attraction. In the same period work commenced on eight produc- tions, one of which is a restarter. With four, Columbia led the big parade of finished pictures. Leading players in "Depths Below," which Erie Kenton di- rected, are Richard Dix, Chester Morris and Dolores Del Rio. Support includes Ward Bond, Pierre Watkins, Marc Lawrence and Ron Rowan. "Countefeit Lady," original title of which was "Lady of New York," features Ralph Bellamy, Joan Perry and Douglas Dumbrille with John Gallaudet, Gene Morgan, Henry Mollison, John Pic- cori, Max Hoffman, Jr., Wade Boteler, Phillip Ahn, Richard Terry, Joe Twerp, George Pearce and Ed LeSaint. "Help Wanted, Female," which also had a previous label, "Safari In Paradise," finished. Jean Arthur and George Brent are starred. Other name players listed are Lionel Stander, Reg- inald Denny, Raymond Walburn, Charles Halton, Dorothea Kent and Ruth Donnelly. Alfred Green directed. The fourth picture, "Rio Grande Ranger," a Larry Darmour production, features Robert Allen, Iris Meredith (formerly Shunn), John Elliott, Paul Sutton and Hal Taliaferro. Spencer Bennet directed. Republic checked in three pictures. Gene Autry, Smiley Burnette and Hope Manning are featured in "The Old Corrall." Sup- port includes Cornelius Keefe, Lon Chaney, Jr., John Bradford, Milburn Morante, Abe Lefton, Merrill McCormick, Charles Sulli- van, Buddy Roosevelt and Frankie Marvin. Joseph Kane directed. The "three mesqui- MILLENIUM FOR RADIO LISTENERS Walter O'Keefe, radio comedian, is reported sponsoring establishment of a clearing house for radio gags. Eddie Cantor and Jack Benny are re- ported approving the plan, the object of which is to eliminate duplication and thus bring about a millenium for radio listeners. Nobody is reported in line for appointment as co-ordinator, but everybody is reported, on unques- tionable authority, in hearty accord with the idea. Gagster O'Keefe insists it's not a g«g- teers," Robert Livingstone, Ray Corrigan and Max Terhune, will be seen in "Roaring Lead," supported by Christine Maple, Hoop- er Atchley, Yakima Canutt, George Chese- bro, Tommy Bupp, Mary Russell, Beverly Luff and Theodore and Ted Frye. Mack Wright and Sam Newfield collaborated on direction. The cast of "Happy Go Lucky" includes Phil Regan, Evelyn Venable, Wil- liam Newell, Karl Hackett, Guy Kingsford, Carleton Young, Tony Pawley, Stanley An- drews, Claude King, Jed Prouty and How- ard Brooks. Aubrey Scotto directed. Two pictures finished at Paramount. The leading member of the duo is "Maid of Salem." An important picture, it presents a large and impressive cast. Claudette Col- bert and Fred MacMurray are the leads. Others featured are Harvey Stephens, Gale Sondergaard, Louise Dresser, Halliwell Hobbs, Edward Ellis, Beulah Bondi, Lucy Beaumont, Donald Meek, E. E. Clive, Zeffie Tilbury, Tom Ricketts, Bonita Granville, Bennie Bartlett, Virginia Weidler, Sterling Holloway, Brandon Hurst and Russell Simpson. Frank Lloyd produced and di- rected. The companion feature is "Arizona Mahoney." One-man-show Joe Cook is starred with Robert Cummings, June Mar- tell, Larry Crabbe, Marjorie Gateson, John Miljan, Fred Kohler, Sr., Dave Chasen, James Burtis, Richard Carle and Billy Lee. James Hogan directed. Both Twentieth Century-Fox films loom as unusual attractions. "Reunion" features the Dionne quintuplets. Many of the "Coun- try Doctor" cast will again be seen as the player roster lists Jean Hersholt, Rochelle Hudson. Helen Vinson, Slim Summerville, Robert Kent, Dorothy Peterson, John Qual- en, Alan Dinehart, J. Edmond Bromberg, Tom Moore, George Ernest, Katherine Al- exander, Sara Haden, Montague Love, Esther Ralston, Hattie McDaniel, Julius Tannen, George Chandler and Edward Mc- Wade. Norman Taurog directed. "Banjo on Mv Knee," which has the ear marks in storv content and cast of being a real surprise, features Barbara Stanwyck, Joel McCrea and Walter Brennan. "Penrod and Sam" was finished at War- ner. A modernized Booth Tarkington story, it will present Billy Mauch, Harry Watson, Jackie Morrow, Phillip Hurlick, Billy Wolf- stone, Jerry Maden, Frank Craven, Spring Byington, Charles Halton and others. Radio completed "Criminal Lawyer." Lee Tracy and Margot Grahame are teamed in the leads. Support includes Eduardo Cian- nelli, Betty Lawford, Erick Rhodes, Frank M. Thomas, Theodore von Eltz, Claire Mc- Dowell, Wilfred Lucas, Lita Chevret and Francis McDonald. Christy Cabanne di- rected. Last of the completed contingent and probably as important as any is "Camille." Greta Garbo and Robert Taylor are starred, with Lionel Barrymore and Lenore Ulric. New production was divided between seven studios with Universal being the only one starting two films. With Lewis R. Fos- ter and Milton Carruth collaborating on di- rection, "Blonde Dynamite" went in the work. Featured names in the cast are Tala Birell, Ceasar Romero, Walter Pidgeon, Chic Sale and Warren Hymer. Players to be seen in "Treve" are Noah Beery, Jr., Charles Winninger, Barbara Reed, Hobart Cavanaugh, Alma Kruger and Julian Rivero. Lewis D. Collins is directing. Warner started "Lords of the Land," with Jean Muir, Barton MacLane, Robert Barrat and James Robins assigned to the leading roles. Nick Grinde is listed as director. "Beware of Ladies" got under way at Republic. Under Irving Pichel's direction, it will present Donald Cook, Judith Allen, George Meeker, Russell Hopton, William Newell, Goodie Montgomery, Robert Strange, Josephine Whittell and Phil Dun- ham. At Columbia "Grand Old Woman" started. Cast names are May Robson, Mary Astor, Irene Hervey, Dean Jagger, Douglas Dum- brille, Arthur Loft, John Gallaudet, Ed Le- Saint, Russell Hicks, Gene Morgan and Charles Wilson. Lynn Shores is directing. Douglas MacLean makes his bow as a Grand National producer with James Cag- ney's first starring picture for the new com- pany, "Great Guy." A topical sports newspaper story, "Peach Edition," got the starting gun at Twentieth Century-Fox. It will feature Rochelle Hud- son, Michael Whalen, Virginia Field, Thom- as Beck, Alan. Dinehart, George Hassell and Douglas Fowley. Allan Dwan won the di- rectorship assignment. Many changes having been effected in story content, cast assignments and produc- tion detail, "Maytime" was re-started at MGM. Jeanette MacDonald, Nelson Eddy, John Barrymore and Virginia Reid are cur- rently listed in the cast. Several prominent additions are to be made. Robert Z. Leonard is directing. 42 MOTION PICTURE HERALD November 7, 1936 THE BOX OFFICE CHAMPIONS for SEPTEMBER • SWING TIME: Produced by Pandro S. Berman. Directed by George Stevens. Music by Jerome Kern. Lyrics by Dorothy Fields. Screen play by Howard Lindsay and Allan Scott. From a story by Erwin Gelsey. Musical director, Nathaniel Shilkret. Art director, Van Nest Polglase. Associate, Carroll Clark. "Silver Sandal" set and "Bojangles" costumes by John Harkrider. Photographed by David Abel. Photographic ef- fects by Vernon Walker. Set dressing by Darrell Silvera. Dance director, Hermes Pan. Gowns by Bernard Newman. Recorded by Hugh McDowell, Jr. Sound cutter, George Marsh. Edited by Henry Berman. Assistant director, Argyle Nelson. Cast: Fred Astaire, Ginger Rogers, Victor Moore, Helen Broderick, Eric Blore, Betty Furness, Georges Metaxa. Released September 4, 1936. • ANTHONY ADVERSE: Supervised by Henry Blanke. Story by Hervey Allen. Screen play by Sheridan Gibney. Directed by Mervyn LeRoy. Assistant director, Bill Cannon. Music by Erich Wolfgang Korngold. Opera in Leghorn by Monte- verde. Opera in Paris by Franchetti. Photographed by Tony Gaudio. Film editor, Ralph Dawson. Art director, Anton Grot. Gowns by Milo Anderson. Opera sequences staged by Natale Carossio. Cosmetician, Perc Westmore. Musical director, Leo F. Forbstein. Special photographic effects by Fred Jackman. Cast: Fredric March, Olivia de Havilland, Donald Woods, Anita Louise, Edmund Gwenn, Claude Rains, Louis Hayward, Gale Sondergaard, Steffi Duna, Billy Mauch, Akim Tamiroff, Ralph Morgan, Henry O'Neill, Pedro De Cor- doba, George E. Stone, Luis Alberni, Fritz Leiber, Joseph Crehan, Rafaela Ottiano. Released August 29, 1936. • ROMEO AND JULIET: Produced by Irving Thalberg. Di- rected by George Cukor. Author, William Shakespeare. Screen adaptation, Talbot Jennings. Musical score, Herbert Stothart. Art director, Cedric Gibbons. Settings by Cedric Gibbons and Oliver Messel. Associates, Frederic Hope, Edwin B. Willis. Costumes by Oliver Messel and Adrian. Dance director, Agnes de Mille. Artistic consultant, Oliver Messel. Literary consultant, Professor William Strunk, Jr., of Cornell University. Photographed by William Daniels. Film editor, Margaret Booth. Cast: Norma Shearer, Leslie Howard, John Barrymore, Edna May Oliver, Basil Rathbone, C. Aubrey Smith, Andy Devine, Ralph Forbes, Reginald Denny, Maurice Murphy, Conway Tearle, Henry Kolker, Robert Warwick, Virginia Ham- mond, Violet Kemble Cooper. Release date to be determined. THE GREAT ZIEGFELD MGM • THE GREAT ZIEGFELD: Produced by Hunt Stromberg. Di- rected by Robert Z. Leonard. Story and screen play by William Anthony McGuire. Dance numbers by Seymour Felix. Special music by Walter Donaldson. Special lyrics by Harold Adamson. Ballet music by Con Conrad. Musical di- rection by Arthur Lange. Photographed by Oliver Marsh, Ray June, George Folsey and Merritt B. Gerstad. Cast: William Powell, Myrna Loy, Luise Rainer, Frank Morgan, Fanny Brice, Virginia Bruce, Reginald Owen, Ray Bolger and Harriet Hoctor. Release date, September 4. November 7, 1936 MOTION PICTURE HERALD 43 THE GORGEOUS HUSSY M G M • THE GORGEOUS HUSSY: Produced by Joseph L. Mankie- wicz. Directed by Clarence Brown. Assistant director, Charley Dorian. Screen play by Ainsworth Morgan and Stephen More- house Avery. Book by Samuel Hopkins Adams. Film editor, Blanche Sewell. Art director, Cedric Gibbons. Photographed by George Folsey. Musical score by Herbert Stothart. Cast: Joan Crawford, Robert Taylor, Lionel Barrymore, Franchot Tone, Melvyn Douglas, James Stewart, Alison Skipworth, Beulah Bondi, Louis Calhern, Melville Cooper, Sidney Toler, Gene Lockhart, Clara Blandick. Release date, August 28. ROMEO AND JULIET M G M MY MAN GODFREY Universal • MY MAN GODFREY: Produced and directed' by Gregory LaCava. Screen play by Morrie Ryskind and Eric Hatch. Novel by Eric Hatch. Photographed by Teddy Tetzlaff. Art director, Charles D. Hall. Musical direction, Charles Previn. Edited by Ted Kent. Film supervisor, Maurice Pivar. Assistant director, Scott R. Beal. Cast: William Powell, Carole Lombard, Alice Brady, Eugene Pallette, Gail Patrick, Mischa Auer, Alan Mowbray, Jean Dixon, Robert Light, Franklin Pangborn, Grady Sutton, Ed Gargan, James Flavin, Pat Flaherty, Robert Perry. Released September 6, 1936. 44 MOTION PICTURE HERALD November 7 , I 9 3 £ 14 THEATRE BOMBINGS BRING POLICE RAIDS 37 Arrested at IATSE Local's Headquarters Questioned on Attacks on Brandt Houses Tear gas and stench bombings of motion picture theatres while in operation hit a new high last weekend when eight New York and Brooklyn houses of the independent Harry Brandt circuit were plunged into con- fusion during a mid-evening performance, causing injuries to 45 who were treated by ambulance surgeons on the scene and five who were removed to hospitals. Police immediately raided the union headquarters in New York of Local 306 of the International Alliance of Theatrical and Stage Employees and Moving Picture Operators, carting away 37 prisoners and almost filling a police van with books and documents of the projectionists' local. A grand jury inquiry loomed, as Mayor Fiorella LaGuardia, then campaigning in Chicago for President Roosevelt, wired orders to Police Commissioner Lewis J. Valentine to assign 1 50 patrolmen to guard against further outrages. A second series of bombings on Monday struck New York's Globe, Central, Times Square, Liberty, Audubon and Park theatres, seriously injuring several in the audience and causing Mayor La Guardia to take personal charge of the investigation. Local 306 denied that any of the perpetrators were members. Several Operated by Brandt At exactly nine o'clock, at the height of the evening rush, the bombs exploded simultaneous- ly in the Globe, Times, Park, Central, Liberty, Audubon, Colony, Roosevelt and Sanders the- atres, driving the patrons into the streets, legs cut by the bursting of the glass containers of tbe chemicals. The fact that the explosions came at one time convinced police that they were the work of one organization. Several of the houses bombed were operated by Harry Brandt, president of the Independent Theatre Owners' Association, which employs operators of the Allied Motion Picture Opera- tors' Union, of which Mr. Brandt is also head. Allied is not a member of the American Fed- eration of Labor, as is Local 306, and this has been one of the chief differences between the organizations. Local's Offices Raided Fourteen detectives, led by Lieutenant James Pyke, of the Bomb and Forgery Squad, the following night raided the offices of Local 306, at 251 West Forty-second street, taking 30 men and seven women to police headquarters for questioning. The women were released a few minutes later, but the 30 men were detained until after midnight for questioning, first by Commissioner Valentine and later by Assistant Chief Inspector John A. Lyons. They were per- mitted to communicate with no one and were asked, among other things, whether they were citizens, whether they were working and whether they had paid their income tax. Every article they had in their pockets, including wal- lets, jewelry and papers, was taken from them, but later everything was returned, except their papers. The police would make no statement, and even Matthew M. Levy, attorney for the union, obtained little satisfaction when he went to headquarters. The position of Local 306 in the matter was explained Monday in the following statement: "The Moving Picture Machine Operators' Union Local 306, International Alliance of The- atrical and Stage Employees, which is affiliated with the American Federation of Labor, has repeatedly made efforts to absorb the two rump 'unions' now in the field and to end labor trou- ble in the moving picture industry. But every effort has been defeated, just as peace was within sight. . . . "The two rump 'unions' together control ap- proximately 150 theatres in New York City. Of these 150, Allied controls about 100 theatres, all affiliated with the Independent Theatre Owners' Association. Local 306 men are em- ployed in the others. The membership of Local 306 is over 1,800 men. The other two 'unions' have a total membership of approximately 500. Cites Disrupted Negotiations "It cannot be a coincidence that every attempt' to achieve peace and stabilization in this indus- try has been defeated just as we were about to sign contracts that would have created a single union in this field, affiliated with the American Federation of Labor. . . . "We were on the verge of absorbing the Em- pire Union after lengthy and wearisome negotia- tions when the employers went into court and secured an injunction forbidding the two organ- izations to unite. Months of effort and time went for nothing. This injunction is declared by the employers to be still in effect. "The situation was different where Allied was concerned. We were dealing with a company union, the creature of Harry Brandt; the head of the Non-Union exhibitors. . . . ". . . Last Thursday afternoon George E. Browne, president of the International Alliance of Theatrical Stage Employees, who is also a vice-president of the American Federation of Labor, took part in the conference with Mr. Brandt, and approved of the contract we were about to sign. The executive board of Local 306 last Tuesday had already approved in advance the general outline of the proposed settlement. Even Harry Brandt appeared ready to sign. Everything pointed to permanent peace. "Then came this outrage in the eight the- atres last Thursday evening, and once again our efforts for peace and unity were ruined. An accident? Never! This was a deliberate at- tempt by those opposed to our efforts for peace to prevent success. "At the present time we are being sued by Harry Brandt and his associates for $750,000 for similar offenses alleged to have been committed in the past. These cases are now in the hands of our attorney, Mr. Levy. Is it reasonable to suppose that Local 306 would voluntarily have subjected itself to further suits of this nature by actions as are alleged against us? "Generally speaking, violence in labor dis- putes has been the weapon of the employers. If you don't believe this take a look at the testi- mony before the LaFollette Civil Liberties Com- mittee. As for this particular incident, it might have been the work of disgruntled elements in the Allied Union which thrived on trouble; it could also be the work of members of the In- dependent Theatre Owners' Association who were afraid that they would have to pay the men a decent wage scale if an agreement was signed with Local 306. "Whoever the perpetrators were they did not come from Local 306. The work of months of negotiations has been ruined and we must start all over again." McCarthy With National; Heads Statistical Unit Walter McCarthy, until recently with Fox West Coast under Charles Skouras, has been named head of a new film statistical de- partment for all the Fox- Skouras National Theatres units. He is making his headquar- ters at the company's office at Twentieth Century-Fox. Heretofore, all theatre divisions of Na- tional had been compiling their own statis- tical data. Under the new arrangement, the material is sent to New York and handled by Mr. McCarthy. Theatre Trailer Appointments Five new territorial appointments have been made by Walter Frudenberger, gen- eral sales manager of Theatre Trailer Ser- vice. Edwin Wheeler will represent the company in Baltimore and Washington, Charles E. Goodwin, Buffalo; F. M. San- ford, Dallas; F. F. Goodrow, New Orleans, and Fred Young has been named district manager in charge of Charlotte and At- lanta. New Will Rogers Memorial The Beverly Hills Post of the American Legion in Hollywood, and members of polit- ical, social and motion picture groups have banded together for the purpose of erecting a community center which will be a memori- al to Will Rogers, who made his home in Beverly Hills. Dance Planned by Salesman, Inc. Motion Picture Salesman, Inc., is planning an annual dinner and ball for Thansgiving Eve at the Hotel Astor, New York. It has been announced that the membership of the group has increased from 50 to 125 during the last six months. Exhibitors are now eligible for membership. Spanish Films Announced Francois B. de Valdes has organized Hispano Films in Hollywood for the pro- duction of three Spanish features and six one-reel shorts to be distributed by Roman Rebush of Kinotrade. Senor de Valdes will produce and direct the pictures which will be made at the International Studios, Hollywood. Producer Opens Office The Dramatic Research and Management Association, Inc., producers of films and plays, has opened headquarters in the RCA Building, Rockefeller Center, New York. D. M. Stoner is president and I. C. Frank- lin, vice-president. Logan Production Executive Joshua Logan, New York stage director, has been signed as production executive by Walter Wanger. He will begin work im- mediately on "You Only Live Once," star- ring Henry Fonda and Sylvia Sidney. Named Film Council Head Mrs. Joseph E. Friend has been elected president of the Louisiana Council for Mo- tion Pictures, succeeding Mrs. A. S. Tucker. Mrs. Tucker has been named advisory vice- president of the council and Mrs. Marie Heider has been elected to the board. When You CHARGE on with WARNER BROS. Watch the Way Warner Bros. Keep ace with the Strongest Line-up in Their History with 1 II OF THIS SEASON'S SENSATIONALLY POPULAR THE BIG T- JOE PALOOKA Faithfully followed in films by the 35,000,000 readers of Ham Fisher's famous comic strip! Daily in 250 major newspapers— on the screen in the 8000 theatres happily cashing in on the fastest fun-series today! Starring SHEMP HOWARD and ROBERT NORTON Directed for the 2-Resl 'Broadway Brevity' Series by Lloyd French KEN MURRAY AND OSWALD Building a bigger following with every coast-to- coast broadcast and ready right now to turn 40- million radio listeners into 40-million ticket buyers. The fun comes fast — and so will the fans . . . see 'CAN'T THINK OF IT!' and you'll see why! Directed for the 2-Reel 'Broadway Brevity' Series ]»y Lloyd French G0L0RT0UR ADVENTURES They travel in class when they travel in natural I COLOR with E. M. Newman's new, improved, and unequalled thrill-trips to ports unknown! Actually the fastest-selling scenic series on the market! Broadway Brevities • Merrie Melodies Colortour Adventures • Pictorial Revues PICTORIAL REVUES ■ Women in sports, women at work, women at home, I women in fashion! Produced partly in natural COLOR I — and entirely with a unique feminine appeal REIR R never before approached in a short subject series ! EVERYWHERE! Melody Masters • Big Time Vaudeville I Vitaphone Novelties • Looney Tunes November 7, 1936 MOTION PICTURE HERALD 47 ORCHESTRAS EXEMPT FROM SECURITY TAX Leserman Rejoins IVarners; Peskay At Grand National Changes in the top ranks of distribution personnel this week returned Carl Leserman to Warners, as assistant to General Man- ager Gradwell Sears, and the succession of Edward J. Peskay, independent exhibitor, to Mr. Leserman's former general sales man- agership at Grand National. Too, Grand National appointed Harry Allan its Cana- dian representative, Sol Edwards, its East- ern sales manager, and James Winn as Western sales manager. Mr. Peskay also succeeds Mr. Leserman as a member of the Grand National board of directors. The move reunites Mr. Alperson and Mr. Peskay in a business venture as the former was chief film buyer for Skouras during Mr. Peskay's association with the circuit. Mr. Peskay is expected to continue operating Edward J. Peskay Enterprises, his theatre company, which has houses in Stamford, Greenwich, Conn. ; Cornwall, N. Y., and other spots in the New York metro- politan area. Mr. Leserman resigned from his Warner post six months ago to become associated with Mr. Alperson in the organization of Grand National, which the latter heads. At the time of his departure from Warners, Mr. Lesserman was assistant to Mr. Sears, then distribution head for the South and West. He was previously with the company at its Chicago branch. The appointment of Mr. Allan as Grand National's Canadian representative will take effect immediately. Mr. Allan, who left New York recently, will first go to Toronto to set up quarters. He will then leave on a tour of Canada to set up distribution cen- ters. After getting offices furnished and ready for business the Grand National exchange in Chicago was notified to vacate headquarters in the Warner Building. No reason for the change in plans was given and Earl Silver- man of the Chicago office is now looking for a new location. He expects to announce the new address by November 1. Mr. Edwards was sales manager for Edu- cational and World Wide for seven years before coming to Grand National. He was also associated with United Artists and Uni- versal. Mr. Winn was formerly mid-west district manager for Warner Brothers prior to his Grand National appointment. Harold Hurley Promoted Harold Hurley has been named assistant managing director of Paramount production under William LeBaron. Mr. Hurley was formerly an associate producer. Appointed Costume Head Edward Lambert has been signed as chief of the costume department of Selznick In- ternational. Helen Wilson, formerly with RKO, has been appointed costume buyer. Specialty Pictures, Inc., exchange formed by Roy Heffener in Boston, will move early next month into the offices now occupied by Grand National. Exhibitors May Reduce Pay- ments by Applying Principles Set for Hotel Musicians by FRANCIS L. BURT in Washington Exhibitors employing orchestras in their theatres may reduce the amounts of tax they must pay under the payroll-tax provi- sions of the federal social security act, by ap- plying principles laid down this week by the United States Bureau of Internal Rev- enue with respect to orchestras in hotels. Under a ruling of the bureau, a hotel may be relieved of the payroll tax on its musicians if it contracts with an orchestra leader or other person to provide music, paying a lump sum weekly or monthly for the service, and the contractor is entirely responsible for the orchestra. "The M Company contracted with A for the services of the A Orchestra, com- posed of ten men who receive their pay from A," it was explained in the ruling. "He has the right to hire, control and dis- charge the individuals who work under him and receives from the M Company a weekly check in a lump sum for the services of the men and himself. "Under the circumstances stated, it is held that A is an independent contractor and neither he nor the musicians hired by him for the orchestra are employees of the M Company for the purpose of the tax im- posed by Title IX of the Social Security Act." "A," however, the ruling continued, may be an "employer" under the terms of the law if he employs eight or more persons. The bureau also has issued a ruling with respect to cases where an employer takes care of the family of a deceased employee by making payments to his widow, holding that such payments are not wages and so are not subject to tax. An amount equivalent to the salary of a deceased employee which is paid to his widow for any period after the death of the employee, over and above any amount which may have been due the employee at the time of his death, and for which the widow ren- ders no services, is held not to be remunera- tion for employment. Payments made by an employer equivalent to the difference between the normal wages of employees who are absent from work while serving in a State National Guard and the amounts received from the state for such services, constitute wages within the meaning of the act and are taxable. SEC Reports on Film Activities The acquisition on September 14th of 7,- 890 shares of Loew's common stock by J. Robert Rubin and the sale the same day of 7,800 shares was disclosed this week by the Securities and Exchange Commission in its semi-monthly report of the trading activities of corporation officers and directors. On September 25, the report showed, Mr. Rubin acquired a further 200 shares, increasing his holdings during the month by 290 shares to a total of 3,090 shares. At the close of the month Mr. Rubin's holding company was shown to have 350 shares of Loew's $6.50 cumulative preferred. Also filed with the commission was a re- port by James E. MacPherson, showing the disposition in September of 3,700 shares of Consolidated Film Industries common stock, apparently his entire holdings of that class, and the acquistion of 1,400 shares of $2 cu- mulative participating preferred. Disposition of 4,000 shares of $1 par common stock of Grand National Films was reported by Ed- ward L. Alperson, who at the close of the month still held 22,546 shares, while a re- port on International Cinema showed that Regan Day, Inc., held 240,000 shares of common. Belated reports covering several months were filed by officers and directors of Twentieth Century-Fox. An August report by Chase National Bank disclosed that it sold 5,946 shares of common under an escrow agreement and held at the close of the month 381,431 shares, and has sold, also under an escrow agreement, 11,892 shares of $1.50 cumulative preferred, of which it held 762,862 shares at the close of the month. March, 1936, reports showed that Felix A. Jenkins held one share of com- mon, and that A. R. Jenkins, his wife, ac- quired 20 shares of $1.50 preferred, while William C. Michel acquired 88 shares of common and 176 shares of the preferred. Cameo Takes Weiss-Mintz Serials Cameo Screen Attractions, Inc., of Bos- ton, has signed with Stage and Screen Pro- ductions, Inc., to handle the company's serial, "Custer's Last Stand," in New Eng- land, to be followed at 14-week intervals by "The Clutching Hand" and "The Black- Coin." Lynch in Sales Post Walter J. Lynch, formerly with Pathe Exchange, has joined Producers Laborato- ries in New York as sales and contact man. Mr. Lynch was with the Army War College in Washington as film editor, editing his- torical records of the World War. Spectrum-Atlantic Deal B. Dudenhefer, head of Atlantic Pictures, New Orleans, has acquired the distribution rights to Spectrum Pictures' new series of musical westerns for the New Orleans ter- ritory. Weinberg Purchases Exchange Midwest Exchanges in Des Moines and Omaha have been purchased by Harry Weinberg, head of Central States Theatres, and Elmer Tilton, who has resigned as head of Warners' Des Moines exchange, from Harry Schultz of Kansas City. 48 MOTION PICTURE HERALD November 7, 1936 Joseph Emmett, Capitol Theatre Manager, Is Dead Joseph K. Emmett, 70, manager of the Capitol Theatre on Broadway, New York, and former actor, died early Saturday morn- ing at Doctors Hospital. He is survived by his mother, Mrs. Eleanor Webber Emmett, his widow, Mary Ellen Ryan-Emmett, and their 10-year old son, Joseph K. Emmett, 3d. Requiem mass was sung at the Church of the Blessed Sacrament on 71st Street Mon- day and burial was in Albany, N. Y., Tues- day. Mr. Emmett appeared on the stage at the age of 18 and toured the world with his father, later being starred in "The Devil He Did," "Heartland" and "Wishland." Upon his retirement from the stage he joined Loew's theatre department and for five years was managing director of Loew's State on Broadway. Eight years ago he became man- ager of the Capitol, which position he held until his death. Hugh and John Buckler Drown in Hollywood Hugh Buckler, 64, and his son, John, British actors, were found drowned last Sat- urday in their automobile in Malibu Lake, in Hollywood. The elder Buckler made his first stage ap- pearance in 1906 in London and in 1935 he toured with Eve LaGalliene in repertory. He had been free-lancing in Hollywood. John Buckler had appeared in New York in "The Green Hat" and "The Barretts of Wimpole Street." He also had been free- lancing in Hollywood and recently finished a role in Metro-Goldwyn-Mayer's "Tarzan Escapes." Harry Graham Is Dead Harry Graham, 61, playwright and song writer, died this week in London. "State Secrets," in 1914, was Mr. Graham's first successful play, following which he wrote "Sybil," "Madame Pompadour," "Our Peg," "Head Over Heals" and "The Good Com- panions." H. D. Wharton Dies H. D. ("Hank") Wharton, well known Arkansas exhibitor and official of exhibitor organizations in that territory from their beginnings, died of pneumonia at his home in Warren, Arkansas. Mr. Wharton had attended the MPTO of Arkansas, Missis- sippi and Tennessee at Memphis last week and was apparently in the best of health. Fred C. Dickson Dead Funeral services were held in Indianapolis this week for Fred C. Dickson, president of the Indiana Trust Company and formerly associated with the Dickson & Talbott cir- cuit. Gass Killed in Auto Crash Sterling Gass, 29, assistant manager of the Paramount theatre in San Francisco, was killed in an automobile crash last week end. Republic Pictures has closed a deal with Lyra Films of Athens, Greece, for the dis- tribution of its product in Greece and Cy- prus. PASSES ARE ADVISED FOR BLIND CHILDREN Following the action of Wesley and R. R. Booth, who own the Par- amount and Booth theatres in Ne- braska City, Neb., allowing pupils at the Nebraska School for the Blind to attend at least one show a week free, letters are now being sent to the managers of 169 theatres near all the schools for the blind in the United States suggesting they follow the cus- tom of the Nebraska City managers. Cooperating with the Booths in seek- ing extension of their plan is Regina Molseed, secretary of the Omaha Film Board of Trade. The Booths have found that both the near-blind and the totally blind pupils at the school enjoy motion pic- tures. Some are able to distinguish the action by sitting in close, but others have to follow the dialogue. Colombia Prohibits Posters Posters in English have been banned in Colombia, South America, and exhibitors or distributors posting advertising other than in Spanish will be fined SO pesos, it was said at one of the large distributor headquarters in New York this week. As a result of the government order, all major companies are withdrawing advertising and accessories printed in English and substi- tuting material in the Latin tongue. Hollywood Office Opened Goldstein, Goetz and Blumenthal, Inc., have opened an agency in Hollywood. The associated three are Bob Goldstein of New York, where he maintains his own office and is the radio talent clearing bureau for Blackett, Sample and Hummert, Inc. ; Charles Goertz, formerly with Consolidated Film Industries, Inc., and Ray Blumenthal. Gibson To Make Eight Hoot Gibson is planning to produce eight pictures with headquarters at the Talisman Studios in Hollywood, although most of the shooting will be done near San Diego. The new company is Occidental Pictures, Inc., and David Thomas has been appointed busi- ness manager. Angell Joins Strode Sidney Angell, after publicity experience with Columbia, Paramount and others, has joined Ronald Strode and Helen Wagstaff in London. Garrett Klement and the Sos- kin publicity accounts are handled by the Strode office. Poe Named Schlaifer Aide Seymour Poe, former head of the United Artists sales promotion department, has been named home office assistant to Jack Schlaifer, western division manager of the company. C. J. Latta, district manager for Warner Brothers in Pittsburgh, has been appointed assistant to Harry Kalmine, zone manager. Sam Perry, U.'s Musical Director, Dies on Coast Samuel A. Perry, music director of Uni- versal Pictures since 1928, died at his home in Hollywood Sunday. He was 52 years old. Before he came to Hollywood Mr. Perry was known as a concert pianist and com- poser in New York and Europe. He was a native of Austria and held a degree from the Royal Academy of Music in Vienna. He composed musical scores for "All Quiet on the Western Front," "The Phantom of the Opera" and many other films and was active up until a short while ago when his health began to fail. Divide Frease Circuit Decentralization of the late Phil A. Frease's theatre holdings in San Francisco has been effected by Mrs. Frease, with the central office in the Golden Gate Building abandoned. The Redwood in Redwood City is managed by Robert Pearson and the Vacaville, Vacaville, by Mrs. Frease herself with W. J. Clarke. The house in Albany, Berkeley suburb, will be operated by Wil- liam J. Garon with Neil Crowley acting as resident manager. RKO Acquires New Theatre An agreement under which RKO-Radio will take over the new 4,000 seat theatre to be constructed by the Harrison Theatre Corporation, on the present site of the Grand Opera House on West 23rd Street, New York, was to have been signed on Friday. Approximately $1,000,000 will be spent on the new structure, which is sched- uled for completion by next September. Razing of the present building will start within the next few weeks. Olympic Rights Bought Pete Smith has acquired exclusive Ameri- can rights to the pictures taken at the Win- ter Olympic Games and is using the mate- rial to make two short subjects of one reel each for Metro-Goldwyn-Mayer, "Olympic Ski Champions" and "Sports on Ice." Previn Heads "U" Music Charles Previn has been named musical director at Universal studios in Hollywood in a music department revision. Herman Heller has resigned as business manager and has been succeeded by Lou Forbes, who will work under Mr. Previn's supervision. Interstate Operating 120 With the recent opening of three new houses and the reopening of seven theatres, Interstate Circuit, operating in Texas, now has 120 active units, according to Robert O'Donnell, now in New York. The new theatres are in Houston, Galveston and Austin. Guaranteed Closes Deal Guaranteed Pictures has closed with Adams Film Exchange for "Just My Luck" and "Women in White" for Texas, Oklahoma and Arkansas. Wholesome Films of Boston has taken over New England distribution of Century Pictures, formerly handled by Cameo. ALLAH BE PRAISED SELZNICK INTERNATIONAL presents MARLENE CHARLES BOY ER i n The GARDEN «itk BASIL RATHBONE • TILLY LOSCH • G. AUBREY ffrom ike looL ly Robert Hichensl IN TECH "Selznick International's 'Garden of Allah' in Technicolor, with Marlene Dietrich and Charles Boyer, was enthusiastically received at a week- end preview. It is regarded as the finest color effort thus far. Producers of previous films in color, due to preoccupation with the new medium, have neglected story, performance and sound. Here no division is neglected and the color approaches perfection." — N. Y. Times, Hollywood Notes • "Selznick's 'Allah' production of beauty, artistry, charm. Artistically the most beautiful and atmospherically compelling picture ever made. Its use of color to enhance mood and incident goes considerably beyond anything hitherto attempted . . . will win wide and hearty praise. Strong portrayals from Marlene Dietrich and Charles Boyer. It is, at last, a part worthy of her. Richard Boleslawski's direction is masterful." # — Hollywood Reporter "Superb in its production qualities and emotion- ally arresting, with the drama enhanced by the most discriminating use of Technicolor thus far, 'The Garden of Allah' comes to the screen as entertainment of highest appeal and sturdy box-office calibre . . . Boyer and Dietrich are seen at their best. Dietrich gives the most per- suasively human performance of her career." * — Daily Variety "'The Garden of Allah' is the greatest Techni- color picture ever made. This beautiful produc- tion will prove to be a sure fire box-office sensation. Marlene Dietrich and Charles Boyer give the greatest performances of their entire career. David O. Selznick has produced another mighty hit." * — Lloyd Pantages "By far the best color picture to date, 'The Garden of Allah' for sheer beauty is unsurpassed, and the greatest beauty of these is Dietrich." — Virginia Wood, Screenland Magazine "A true symphony in color . . . Selznick Interna- tional gains the record for the furthest advance in application of the varied hues . . . splendidly chosen for her beauty in the medium is Marlene Dietrich, who becomes a pace maker for sheer radiance of presence, and who has never ap- peared to such advantage in any picture. An acting triumph is won by Charles Boyer. A great accomplishment for Richard Boleslawski, as director." — Los Angeles Times • "The finest drama of the year and one of producer David O. Selznick's greatest. The most beauti- ful picture ever made, with the finest perform- ances in the careers of Marlene Dietrich and Charles Boyer. La Dietrich takes her place among the greatest beauties of history." — f . J. Smithson, Movie Classic Magazine • "'The Garden of Allah' shows how close we are to the time when all pictures will be made in color. I enjoyed 'The Garden of Allah' tremendously. Marlene Dietrich is radiantly beautiful." — Paul Harrison-N. E. A. • "It is the most superbly, subtly artistic production I have ever seen, with an added importance because it sets a new standard for color on the screen." — Reha, Screen Play Magazine • "'The Garden of Allah' is brilliantly done, the best Technicolor picture so far. It is an excep- tionally outstanding drama that will appeal to everybody." — Leo Townsend, Modern Screen Magazine • '"The Garden of Allah' tells a powerful, pene- trating story of immutable spiritual allegiance in conflict with predestined human love. It is produced on a lavish scale with expert Technicolor application making each frame a beautiful picture." — Motion Picture Daily OF ALLAH C^Pr o clu c e d by DAVID 0, SELZNICK SMITH • JOSEPH SCHILDKRAUT Directed L Richard Boleslawski JT) I J ±1 Cyv e leased thru HCOLOR UNITED ARTISTS MOTION PICTURE HERALD November 7, 1936 JAPANESE CENSORS TIGHTEN REINS; ATTENDANCE TAX IS ELIMINATED Joint Censorship System Is Established; Two American Pictures and One Japanese Film Are Turned Down by H. TOMINAGA in Tokyo The Home Office of Japan, which has gone in for rigid enforcement of national cinema control, now is operating a "joint censorship" system. The system was set up at an inter-office conference, the attendants including several high officials, among them Minister Ushio, Vice-ministers Yuzawa and Nabeshima, Councillor Kimotsuki, Director Kayaba of the Police Bureau. The purpose of this conference was to establish an airtight system of censorship of recently imported foreign pictures, which, those officials said, were likely to injure our national spirit because of their low and frivolous taste. Commissioner Tatebayashi of the Police Bureau was appointed chief censor. The -feature of the new "joint censor- ship" method is that a picture shall be censored first by all the designated cen- sors in charge before final permission is granted or a ban proclaimed. In the joint censorship they are reported to adhere rigidly to the principle that importation be barred to any pictures (I) divulging the interior of the royal palace, (2) featuring the military in comic cinematization, and (3) having too many scenes of suggestive kissing. Pictures recently rejected include two American pictures and one Japanese: War- ner's '"Sons O' Guns," Columbia's "The King Steps Out" and PCL's "Responsibility of the Kiss." Earlier, "Things to Come" was about to feel the ax but finally it was passed just a day before it was released at Taisho-Kan and Nippon Gekijo of this city. Para- mount's "Princess Comes Across" also was on the brink but the censors passed it after additional cutting. Hibiya Eiga Gekijo, which was to have presented this Para- mount picture for first-run release, had to change it for "Rosita" to cover the pro- gram, as the permit came two days after the scheduled premiere date. Warner's "Sons O' Guns," booked into Nippon Gekijo, was replaced by Columbia's "Counterfeit." For "Responsibility of the Kiss," PCL substituted "Haha Nareba Koso." Thus the unexpected bans by the censors have greatly perplexed the distributors be- cause of the setbacks in their publicity ar- rangements, not to mention the loss of money. Columbia was the greatest loser, as its "The King Steps Out" has generally been expected to become the biggest box office hit for this autumn season. "Sons O' Guns" was barred because of having scenes contrary to the military dis- FILM WORKERS NIP MEXICAN REBELLION by JAMES LOCKHART in Mexico Cinematographic ivorkers became sleuths and exposed a unique sedition plot when unionized Mexican film employees helped the government to crush slick rebellious propaganda. The plot was being furthered by the use of Bank of Mexico bank notes. On the billets were scribbled with pencil or pen or typewritten words, phrases and figures that gave a subtle idea of the plotters' work. The picture men were officially thanked for their alertness. cipline of Japan, such as a soldier acting insultingly toward his superior, although the picture is set aboard an American war- ship. As for "The King Steps Out," the ban was because the picture featured a love story in the royal household. Columbia's Japan Office tried to overcome the objec- tion with superimposed titles in place of the dialogue, but had to take it down as there was no way to alter the story itself. Times have changed in Japan. There were occasions when some pictures resem- bling in story those recently banned had passed the censorship, but the new principle is to lay stress upon the theme rather than scenes. Commissioner Tatebayashi, the newly ap- pointed chief censor, on a visit from three Japanese managers of foreign film dis- tributing companies, is quoted as having issued this warning : "The Home Office hereafter will never hesitate to eliminate pictures whose stories include themes which have bearings upon the royal family or deride the Japanese military and the nation." As things now stand, distributors, accord- ing to the censors' suggestion, should bring pictures to the censor's office at least ten days before they are supposed to be re- leased at theatres, so that the censors may make a thorough inspection, thus incurring as little inconvenience as possible. Yet while the censorship lines have been tightened, foreign pictures shown at first and second-run theatres at Tokyo have been drawing particularly well as compared with domestic pictures. Even the three months of this summer grosses stood up on foreign pictures. Throughout September American product was particularly well received, with such offerings as "Little Lord Fauntleroy," "Country Doctor," "Till We Meet Again" and "Moon's Our Home" in the first week. The first-runs of the Shochiku and Takara- zuka circuits showed as high grosses as in the good season of spring. The second week continued high, with "Things to Come," "La Bandera," "These Three," "Ex- Mrs. Bradford" and "Sylvia Scarlett." !j In the third and fourth weeks, both cirq|«its Substitution of Profit Tax for Admission Levy Cheers Exhibitors, but Local Units May Bring It Back showed as good results with such product as "Rosita," "Forgotten Faces," "Counterfeit," "Robin Hood of El Dorado" and "A Mes- sage to Garcia." American pictures are still in the ascen- dancy in this country, being released at the ratio of nine U. S. films to one European. V Admission Tax Dropped The Hirota Cabinet has approved the tax- ation increase and reform plan of Dr. E. Baba, minister of finance. The Government will create four new taxes and effect a broad increase in various existing taxes, aiming at an increase of 200,000,000 yen in annual tax receipts for the first year and 290,000,000 yen for nor- mal years. The Government will abolish several items of local taxes. Particularly as the reform includes abolition and correction of various items of local miscellaneous taxes, which include the show tax, it is generally con- sidered acceptable by our exhibitors. The minimum taxable amount of business profits shall be raised from the existing 400 to 600 yen. The business profit tax (including sur- tax) on corporations shall be raised by about 10 per cent. Rates shall be lowered for individual's net profits below 1,000 yen, but they will be in- creased where the net exceeds 3,000 yen. It was decided at first that the business profit tax which took the place of show tax might be levied only on corporations, but now it is to cover individuals. The rates of the new assessment effective April, next year, on the reformed basis, are as follows : To corporations: Y34 against Yl.000 of annual net profits; To individuals: Y26 against annual net profits above Yl ,000; To individuals: Y22 against annual net profits below Yl ,000. Despite this easing of the tax burden ex- hibitors are nervous as to whether a return to an attendance tax would come if the new taxes prove insufficient. The ministerial authorities of finance and of the interior have been reported to be disposed to allow the local governments to establish taxes on film attendance. At a conference at Toyo- Ken, Tokyo, under the auspices of the Japan Society of Theatres and the All Japan Association of Motion Picture Ex- hibitors, suggestions were sought for a counterplan whereby to avert any such tax. R. Mishima, director of the Japan Society of Theatres, gave a detailed report of the course of the show-tax abolition movement, while K. Mayeda, M. P. suggested that both ministries, interior and finance, had been inclined to allow the local governments to establish an attendance tax. November 7, 1936 MOTION PICTURE HERALD 53 IN THE BRITISH STUDIOS by BRUCE ALLAN in London Eight far BIP Working to a schedule which will entail a new picture going on to the floor at Elstree every week for the next two months, Walter Mycroft, director of productions of British International Pictures, plans to complete eight pictures before the end of December. Already on the floor are "Sensation," screen version of "Murder Gang," with John Lodge, Diana Churchill, Francis Lister and Jerry Verno, and "The Dominant Sex," which Herbert Brenon is directing with Romney Brent, Carol Goodner, Phillips Holmes and Diana Churchill, who repeats her stage role in the film. Brent has been playing opposite Elisabeth Bergner in "Dreaming Lips," and at the same time in the West End stage production, "Three Men on a Horse." Next on the floor will be "Aren't Men Beasts," a current London theatrical suc- cess. Robertson Hare will play for the film his leading part in the stage farce, but the director and supporting cast are still to be announced. Another stage buy by BIP is the London Hippodrome musical comedy, "Please Teacher," which will be filmed with Bobbie Howes, Wylie Watson, Vera Pearce and Bertha Belmore of the original cast. "Bulldog Drummond at Bay" will be an- other vehicle for John Lodge, and Gertrude Michael is expected from New York for the woman lead. Also on the BIP schedule are "The Nor- wich Victims," a mystery thriller for which Otto Kruger is expected to come over, "Glamorous Night," from an Ivor Novello play which broke even "Cavalcade" records at Drury Lane, and a spectacular musical, as yet untitled, based on a wireless revue, "The Silver Spoon," and introducing "mike" fa- vorites of America, England and the Conti- nent. Africa in London For the Gaumont-British production of "King Solomon's Mines" at Shepherd's Bush, the experts of the property department have temporarily "gone native," and pro- duced hundreds of African huts by methods exactly following black precedents in the art and craft of reed-weaving. Sound stage number four is now known as the Beehive, from the appearance of these primitive homes in a set reconstructing a jungle vil- lage. More local color, using the word in its most literal sense, is provided by various native members of the cast whose claim to celebrity is more than skindeep. E. I. Ekpenyon, for instance, is the author of a standard textbook on Eftik and has been coaching Paul Robeson in that tongue. Toto SIDNEY R. KENT, president of Twentieth Century - Fox, and Mrs. Kent arrived in Netv York Monday from London, aboard the Queen Mary. Mr. Kent had been in England on the Gaumont British negotiations, as re- ported on page 78. Ware is the grizzled Negro who made a hit in "Sanders of the River." "King Solomon's Mines" is being directed by Robert Stevenson, with Glenn MacWil- liams at the camera. Sir Cedric Hardwicke, Anne Lee and John Loder are the leading white players in the Sir Rider Haggard story. Welcomes Donat Robert Donat's first scene for "Knight without Armor" at Denham brought him op- posite Marlene Dietrich, who for several weeks has carried on without a leading man while Donat has lain in a specially air-con- GB TO STAND PAT ON 24 FOR AMERICA Gaumont British will definitely re- lease 24 productions in America as an- nounced at the beginning of the sea- son, Arthur A. Lee, vice-president and general sales manager, said in New York this week upon his return from a tour of exchanges through the mid- dle west and west coast. Seventeen of the scheduled 24 fea- tures are already completed, while plans for the remaining seven are well advanced, Mr. Lee said. ditioned nursing home bedroom. The epi- sode shows Donat as a Russian Red Army commissar, escorting the beautiful refugee aristocrat, in peasant garb, to imprisonment in Petrograd. It opens before a Denham reconstruction of one of those delightful Russian country villas since converted into Soviet creches or the like. Donat, nicknamed "Knight without Asthma" since his escape from the doctors, is living within easy reach of the studio and still finds special daily treatment necessary to keep him fit for the camera. On the conclusion of "Rembrandt," last personal direction of Alexander Korda, it is said, London Films have shipped back to Holland the several almost priceless pictures by the master which were collected by the Society of Dutch Art Dealers for use in the film. The treasures included Rembrandt's portrait of Henrickje. They were under day and night guard during their stay in Eng- land and their insurances made those of the most highly paid stars look insignificant. In another Denham stage Victor Saville has been working in a full-size replica of a German submarine for "Dark Journey." Sec- tions of a tramp steamer were also used in scenes showing the methods by which "Q Ships," or camouflaged merchant vessels, trapped the "U" boats. Used as extras were many ex-seamen who actually sailed on the mystery ships, and were able to provide much valuable information about actual war- time procedure. Vivien Leigh, who took up the lead in "Dark Journey" immediately after complet- ing her part in "Fire Over England," is on holiday in Austria previous to playing in "Storm in a Teacup," which starts at Den- ham next week. Itemized Thomas Bentley returned to direction of "Silver Blaze" at Twickenham studios, after two weeks' illness. . . . Ralph Ince is direct- ing Claude Hulbert in a detective-comedy, "The Vulture," on the new floor of Warner- First National Teddington studio. . . . Doug- las Fairbanks, Jr., invented a red and yellow striped cravat, to be known as the "Criterion tie," for his associates at Worton Hall. . . . Cecil Goodman, on completion of his job as production manager for Paramount's "Full Steam Ahead," sailed for Australia to get a shark-fishing picture. . . . Donovan Pedelty is to make "Landslide," from his own script, for Paramount. . . . Marcelle Chantal, French star of Twickenham's "Widow's Island," flew to Paris to complete scenes in a French picture. His Majesty's theatre in Montreal, oper- ated as a legitimate and roadshow house for many years, has adopted a policy of show- ing all-British pictures. 54 MOTION PICTURE HERALD November 7, 1936 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 Come and Get It (United Artists - Goldwyn) Dramatic Romance Impressive in its picturization of that quality of physical and elemental conflict so well ap- preciated by men folks, appealing in its presenta- tion of a story of dramatic and romantic con- flict, the production is of the kind generally alluring to women. "Come and Get It" is dis- tinctively an adult attraction. Its theme, follow- ing the thrill action prologue, is completely over the heads of those in and below the teen ages. It treats a delicate and intimate story with discriminate good taste. For adults the picture is both a character drama and an absorbing romance drama. Re- versing the customary production formula, it presents its spectacular mechanical thrill in the opening sequences. The details depicting lumber camp activities, the felling of huge trees, getting the timber out of the snow-buried forests, shoot- ing the logs down flumes and breaking up jams, together with the fury of a mob, take place before the actual story motivation gets under way. So placed, they are thrilling, however, and are effective in establishing the mood to appreciate the human conflict that is to follow. The story concerns an ambitious lumberjack who violates every principle of business ethics and every tenet in the moral code in a ruthless drive for power and might. Breaking the heart of his dance hall paramour, he makes a loveless business marriage. Cold, even inimical to his wife and son, tolerant only of his daughter, he builds himself up as the tyrant of a vast lumber empire during a score of years. In middle age, he meets the motherless daughter of the buddy of his old lumberjack days and falls madly in love with the child of the woman he once cast aside. Spending money lavishly on her, her father and aunt, his objective is to make the girl his kept woman. But the girl and the man's son fall into honest love. The situation becoming known to the man, he turns on his son with bitter enmity. Deprived of the only thing in life he wanted and could not have, he challenges the boy to fight. A physical lamb in the grip of a lion, his spirit is broken not by force and power, but by the pleading words of a terror- ized girl who begs the boy to pity him because he is "only an old man." The film boasts no magnetic box office names — personalities who can be counted upon to stand patrons in line regardless of the quality of story or production. But Edward Arnold, Joel McCrea, Walter Brennan, Andrea Leeds, Mady Christians, Mary Nash, Cecil Cunning- ham and especially Frances Farmer, who plays the roles of both women, contribute sincerely convincing and realistic performances. The story of a man who defied custom, convention and all the laws of ethics, a man who considered every- one who came in contact with him as pawns in the chessboard of life as he saw it, the picture places in the hands of exhibitors solid, substan- tial and intelligently treated dramatic entertain- ment that gives them legitimate right to make an honest and forceful bid for adult patronage. Previewed in Warner Hollywood Theatre, following "A 'Midsummer Night's Dream." As is usually the case when a Goldwyn picture is on the previevt) screen, there was a goodly as- semblage of Hollytvood professional and execu- tive figures. Yet the contrast between the two attractions, one whimsical fantasy, one powerful and vivid drama, had the paying customers vividly excited about "Come and Get It." — Gus McCarthy, Hollywood. Produced by Samuel Goldwyn. Distributed by United Artists. Associate producer, Merritt Hulburd. Directed by Howard Hawks and William Wyler. Novel by Edna Ferber. Screen play, Jane Murfin and Jules Furthman. Cinematographers, Gregg Toland, Rudolph Mate. Musical director, Alfred Newman. Costumes, Omar Kiam. Art director, Richard Day. Set decorator, Julia Heron. Sound technician, Frank Maher. Film editor, Edward Curtiss. Special effects photographed by Ray Binger and Paul Eagler. Log- ging sequences directed by Richard Rosson. Assistant director, Walter Mayo. P.C.A. Certificate No. 2793. Running time, when seen in Hollywood, 98 minutes. Release date, November 6, 1936. General audience classifications. CAST Barney Glasgow Edward Arnold Richard Glasgow Joel McCrea Lotta Bostrom j xr -c Lotta Morgan 1 -.Frances Farmer Swan Bostrom Walter Brennan Evvie Glasgow Andrea Leeds Tony Schwerke Frank Shields Karie Mady Christians Emma Louise Glasgow Mary Nash Sid LeMaire Edwin Maxwell .Tosie Cecil Cunningham Hewitt Charles Halton The Garden of Allah (UA-Selznick) Romantic Drama When an audience sits motionless watching a picture, breaking its silence only when it ap- plauds in appreciation of some particularly beautiful exhibition of color photography or ex- ceptionally worthy bit of acting, that picture must have something. As "The Garden of Al- lah" unfolded on the screen of Grauman's Chi- nese theatre, it was evident that its auditors were impressed by its high production quality, the accomplished performances given by the leading players and supporting cast, the intelli- gent manner in which the intimately delicate love drama had been adapted, the significance of the musical score and the sane, discriminat- ing fashion in which directorial technique had welded all together. The patronage included a large percentage of professionals, attracted by the news that the picture promised something daringly different in theme and in advanced color application, and the reaction of this con- tingent, together with that of the paying cus- tomers, indicated that in "The Garden of Allah" smart showmen have a show in which they really may become enthusiastic. Two troubled souls meet at the edge of the Sahara Desert, legendary Garden of Allah. The man, yielding to the temptations of the flesh, has broken his sacred vows as a monk and fled his cloistered Trappist monastery. The woman is seeking an ethereal happiness which only God and she know is in her heart. To- gether they come under the exotic fascination of the Orient as their mortal hearts call to each other. A stirring passion dance, vividly ex- ecuted by a desert siren, sets aflame the animal natures of both. The man who hates and fears the living and material symbols of God and the woman, victim of an unfathomable attraction, marry. The beauty of their love, portrayed in sequences that are the ultimate of good taste and dramatic propriety, tumbles into the dust of tragedy as the secret of the man's identity and past history is revealed. There is no bitterness in the heart of husband or wife as the man, confessing his sin to God and woman, cleanses his soul and is surrendered to his monastery by the woman. Both see beyond the horizon of temporal existence a greater happiness in an- other life. While different to the point of being daring, "The Garden of Allah" in story and manner of telling does not come into conflict with any, even the most austere, standards of fitness or propriety except in the Tilly Losch dance se- quence which is so far outside the bounds of decency — and Code Regulations — that sharp cutting is in order. Quite naturally, it is an attraction for adults. It behooves showmen to give the attraction close study. Undoubtedly the inititial presentations will be accompanied by an intense publicity and adver- tising campaign. It is also quite likely that criti- cal reviewers will have much to say about the film. It would seem to be advisable on the part of individual exhibitors to pay closer than usual heed to the tenor of the initial marketing drive as well as note the reception which audi- ences in the more metropolitan centers give the film. — G. M. Distribution by United Artists. Produced by David O. Selznick, Selznick International Pictures, Inc. Di- rected by Richard Boleslawski. From the book by Robert Hichens. Screen play by W. P. Lipscomb and Lynn Riggs. Photographed by W. Howard Greene. Photographic adviser, Harold Rosson. As- sociate photographers, Virgil Miller, Wilfred Cline and Robert Carney. Music written and directed by Max Steiner. Natalie Kalmus, color supervisor. P. C. A. Certificate No. 2405. Running time, when seen in Hollywood, 80 minutes. Release date, November 20, 1936. CAST Domini Enfilden Marlene Dietrich Boris Androvsky Charles Boyer Count Anteoni Basil Rathbone Father Roubier C. Aubrey Smith Irena, the dancer Tilly Losch Captain de Trevignac Alan Marshall Batouch Joseph Schildkraut Sand Diviner John Carradine Mother Josephine Lucille Watson A Nun Helen Jerome Eddy First Child in Convent Marcia Mae Jones Second Child in Convent Ann Gillis The Abbe Charles Waldron Brother Gregory John Bryan The Lectern Nigel de Brulier Hadj Harry Brandon Gardener Pedro de Cordoba Hotel Clerk Ferdinand Gottschalk Carriage Driver Adrian Rosely Bous-Bous "Corky" The Legion of Terror ( Columbia) Contemporary Melodrama The producer's descriptive catchline for this film is "as timely as today's headlines." The headlines referred to are those used atop news- paper stories of the recent trial of alleged mem- bers of a secret organization in the Middlewest on charges of murder. In common with other motion pictures predi- cated on headlines of contemporary currency, this one presents a fiction paralelling in essen- tials the facts dealt with in the stories con- cerned. In common with such others, also, it relies for box office interest upon the measure of general reader interest in the factual story as published in the news press, sacrificing, in . . . HOW MANY TIMES HAVE YOU BEEN TOLD HERE'S ANOTHER "MR. DEEDS"! HERE'S ANOTHER "IT HAPPENED ONE NIGHT"! HOW OFTEN HAVE YOU BEEN DISAPPOINTED? CAN COLUMBIA DO ANOTHER PIC- TURE COMPARABLE WITH THESE TWO GREAT SCREEN CLASSICS? IT HAS! see next page . . . 56 MOTION PICTURE HERALD November 7 , 1936 exchange for that exploitation factor, the ele- ments of surprise, unfamiliarity of material and uncertainty of plot outcome generally inherent in original story matter. All of this points clear- ly to the type of promotional enterprise ex- hibitors are expected to employ if they elect to offer a production of this kind to their patrons. For picture purposes the story told in the newspapers is varied slightly as to circum- stance and to the terrorism which is its prin- cipal factor is added a dash of romantic interest, and for the trial finish is substituted a motor pursuit of the mob leader and his death in flaming wreckage, the while state militia pre- sumably rounds up the hooded members of the organization. The scene is a middle sized American city, the organization leader the editor of a news- paper, his instruments its pages and radio com- mentator, his aids the municipal officers and executives of the city's business enterprises. The investigator who brings about the down- fall of the terrorists is a postal inspector. He divides the romantic interest with the sister of a victim of the hooded legion. Reviewed at the Globe theatre, a Broadway cinema dependent chiely upon the patronage of passersby, the film elicited no perceptible mani- festation of favor or disfavor. — William R. Weaver, New York. Produced and distributed by Columbia. Directed by C. C. Coleman, Jr. Screen play by Bert Granet. Film editor, Al Clark. Photography by George Meehan. P. C. A. certificate No. 2538. Release date Novem- ber 1. Running time, 60 minutes. General audi- ence classification. CAST Frank Marshall Bruce Cabot Nancy Foster Marguerite Churchill Slim Hewitt Crawford Weaver Don Foster Ward Bond McCullom Charles Wilson Cummings ../ John Hamilton Gardner Arthur Loft Lefty Nicholas Copeland Feeney John Tyrell Breardon Ed Le Saint The Man I Marry (Universal) Comedy Intent here is to amuse. No dramatic element is inserted in a series of incidents relating to the romance of a playwright and a stage pro- ducer's niece. Comedy ranges, as to kind, from sophisticated repartee to a Chic Sale character- ization, by Chic Sale. Somewhere in between these extremes lies a double-drunk performance by Skeets Gallagher and Cliff Edwards. The locale is New York and a small town and coun- try place in Connecticut. Doris Nolan is the girl, script reader for her uncle, a stage producer, both of them related to but not overly supplied with wealth. Michael Whalen is the boy, heir to millions, posing as a struggling playwright to prove his literary ability. They are thrown together in a vacant country place owned by her aunt and fall in love without knowing each other's identity. After that everybody's efforts to help everybody else result in numerous complications which, at pic- ture's end, are brought to abrupt conclusion in a clinch. Reviewed at the Palace theatre, where it divided the program with "Dimples," the picture was quietly received. — W. R. W. Produced and distributed by Universal. Executive producer, Charles R. Rogers. Directed by Ralph Mur- phy. Associate producer, Val Paul. Story by M. Coates Webster. Screen play by Harry Clork. Pho- tographed by Joseph Valentine. P. C. A. Certificate No. 0000. Release date, October 18. Running time, 75 minutes. General audience classification. CAST Rena Allen Doris Nolan Ken Durkin Michael Whalen Eloise Hartley Marjorie Gateson Throckton Van Cortland Gerald Oliver Smith Robert Hartley Nigel Bruce Jack Gordon Skeets Gallagher Jerry Ridgeway Cliff Edwards Organist Ferdinand Gottschalk Piano player Harry Barris Sheriff "Chic" Sale Druggist Ed McWade Minister Harry Hayden Woody Ryan Rollo Lloyd Smartest Girl in Town (RKO Radio) Romance with Music Light, gay music tinged comedy romance that bends nicely towards farce, this film, which again features the Gene Raymond-Ann Sothern combination, has the essentials that generally have done well at the box office. The story, all its action and dialogue, together with the situa- tions both precipitate, is of that frothy never-to- be-taken-seriously line of amusing entertain- ment. Well mounted, moving speedily in a modern atmosphere, the well acted show has an unusual down-to-earth character. Clever team work, on the part of actors, writers, director, producer and lyricists, combines to bring out this quality in effective fashion. In the yarn, which has been given colorful production Gwen runs a style modeling advertis- ing agency. Frances is the attractive photogra- pher's model. The pair are humorously pes- tered by Italian nobleman Torino, who, in addi- tion to being an exasperating suitor for Frances' hand, has other engaging hobbies. Needing a swank background for a special job, Gwen and Frances prevail upon Philbeam, valet to wealthy Dick Smith, to let them use his yacht. On the day set for the pictures, Frances' professional male partner forgets to show up, and Dick is a willing substitute. Complications that provoke glee interluding, Dick under Philbean's man- agement goes into the advertising business, keep- ing his identity disguised. The fun is gay and giddy, as Dick fights off the volatile Torino until he can win Frances and win over her crabby Aunt Gwen. The type of entertainment that is usually of appeal to customers above the adolescent age, there is plenty of showmanship possibility in addition to the prestige of the Raymond-Soth- ern team that should make the selling job com- paratively easy. Previewed in the RKO Hillstreet theatre. A Saturday night audience seemed to think it was quite the thing to suit the amusement appetites. — G. M. Produced and distributed by RKO Radio. Produced by Edward Kaufman. Directed by Joseph Santley. Screen play by Viola Brothers Shore. Story by Muriel Scheck and H. S. Kraft. Musical director, Nathaniel Shilkret. Song "Will You" by Gene Ray- mond. Photographed by J. Roy Hunt. Art director, Van Nest Polglase. Associate, Al Herman. Special effects by Vernon Walker. Gowns by Bernard New- man. Set dressing by Darrell Silvera. Recorded by Clem Portman. Edited by Jack Hively. Assistant director, Ivan Thomas. P.C.A. Certificate No. 2576. Running time, when seen in Hollywood, 60 minutes. Release date, November 27, 1936. General audience classification. CAST Dick Smith Gene Raymond Frances Cooke Ann Sothern Gwen Helen Broderick Philbean Eric Blore Torino Erik Rhodes Terry Harry Jans Yellow Cargo ( Grand National ) Melodrama The yellow cargo of the title is composed of Chinese aliens-. The plot has to do with meth- ods of smuggling them into the United States. The device principally employed to this end is a motion picture production company which does not produce pictures but serves as a front for the smugglers and cloaks their operations. The two whose investigations thwart the smug- glers are an agent of the immigration bureau and a representative of the department of jus- tice, the boy and girl of the love interest, re- spectively, he posing as an actor and she as a reporter. The foregoing indicates the nature of the ma- terial, hence the probable character of suitable exploitation, and it may be added that justice triumphs and that there is relatively little blood- shed although there is much brandishing of firearms toward the close of the picture. It should be made known, too, that whatever dark reflection upon the motion picture industry might be expected to result from the use of a production company for ulterior purposes is offset by a scene in which the chief conspirator makes it evident that the "producers' associa- tion" is investigating the comany and that it is futile to attempt continued deception. The story takes one O'Connor, investigator for the immigration bureau, to Hollywood in search of smugglers known to operate from there, and into the employment of the chief smuggler as an actor. The smugglers' system is to take 20 extras out on location daily, cos- tumed as Chinese, releasing and returning them by another route, and bringing in, after night- fall, 20 Chinese aliens in their relinquished cos- tumes. O'Connor meets and falls in love with Bobby Reynolds, Department of Justice agent posing as a reporter, and when the criminals have been rounded up the two are married. Reviewed in projection room. — W. R. W. Produced by George A. Hirliman. Distributed by Grand National. Directed by Crane Wilbur. Screen play by Crane Wilbur. Associate producer, Samuel Diege. Assistant director, Bobby Ray. Film editor, Tony Martinelli. Art director, Frank Sylos. Pho- tographed by Mack Stangler. P. C. A. certificate No. 2188. Release date, October 13. Running time 63 minutes. General audience classification. CAST Allan O'Conner Conrad Nagel Bobbie Reynolds Eleanor Hunt "Bulb" Callahan Vince Barnett Al Perrelli Jack LaRue Monty Brace Crane Wilbur Fay Temple Claudia Dell Joe Breeze Henry Strange Burke Darrell Vance Carroll Killer at Large ( Columbia) Melodrama The homicidal maniac, vengeful, cunning and operating alone, is the creature of the title. His immediate occupation is gem burglary, his sec- ondary engagement the wreaking of vengeance on the young couple whose romance is the love interest in the picture. The things that happen are represented as of the big city and there is some attempt to preserve plausibility. The killer burglarizes a department store by posing as a figure in a show window and learning the combination of the vault, stealing valuable gems. A clerk under suspicion and the girl detective employed by the store trace him to a wax works, narrowly escaping with their lives, and are instrumental in leading police to the cemetery where the jewels are buried with the body of a victim of the killer. Thereafter the police trail the young couple, believing the killer will seek to avenge himself upon them, which he does. The killer is killed and the young people are married. The title suggests directly the type of picture it is and, no doubt, the type of exploitation likely to attract the type of patronage likely to care for it. Reviewed at the Globe theatre on a rainy Monday morning, the picture elicited no audible response from a sparse and pre-dampened audi- ence.—W. R. W. Produced and distributed by Columbia. Directed by David Selman. Story by Carl Clausen. Screen play by Harold Shumate. Assistant director. Milton Carter. Film editor, Tames Sweeney. Photographed by Allen G. Seigler. CP. A. certificate No. 2537. Release date, October 1. Running time 58 minutes. General audi- ence classification. CAST Linda Allen Mary Brian Tommy Braddock Russell Hardie Kate Betty Compson Kelly George McKay Inspector O'Hara Thurston Hall Mr. Zero Henry Brandon Bentley Harry Hayden Whitley Boyd Irwin Crime Over London ( Criterion - United Artists) Melodrama The selling angle here is that American gang- sters, with things made too hot for them at home by "G" men and the like, are seen at- tempting to try out the old tricks in conserva- tive, but well organized, England. This gives an opportunity for some provocative publicity HO W DO WE KNOW ? BECAUSE at a sneak preview in California an audience laughed itself silly and shouted itself hoarse! BECAUSE it has all of the elements— person- alities . . . direction . . . production . . . writing — that make a great picture! BECAUSE a lot of people who should know a helluva lot about pictures are screaming about its possibilities! ANOTHER GREAT COLUMBIA PICTURE ARRIVES see next page . . . 58 MOTION PICTURE HERALD November 7, 1936 about the respective crime preventive methods of the old and the new world. Whether gang- sters could exist in Europe is a question which may be posed, with the further problem wheth- er, perhaps, America might learn how to tackle its crime problem by studying European police methods. Additional is a really ingenious story, the development of which largely turns on the fact that a wealthy store owner has a "double" in an old actor employed by a thug gang. Sherwood, old self-made owner of Sher- wood's Stores, is about to celebrate the 25th an- niversary of the opening of his great depart- ment store by a big reception at which every employee is to receive a month's pay. Too much attention to business has affected his health and, in order to keep up the tradition of personal supervision, he engages an old actor, Riley, to impersonate him in the store while he obeys the doctor's orders to pay more attention to golf. Riley is in the power of a group of American gangsters, who have come to England in search of easy money because America has become too hot for them. They conceive the idea of kidnap- ing Sherwood and having Riley impersonate him at the Jubilee celebrations, making it pos- sible for the gang to get away with the big cash accumulated for the staff bonuses. One of the gang is shot by the leader, his rival in love for the only woman member of the gang, and Sherwood's nephew is suspected, on the strength of carefully manufactured cir- cumstantial evidence. The great day of the cele- brations finds the gang's plans working ac- cording to schedule. The bogus Shewood is ac- cepted as the real article and the cash is col- lected. Police surround the store, and a battle royal ends in death for the gangsters and es- tablishment of the innocence of the millionaire's nephew. The double role of Joseph Cawthorn is the big asset of the picture. He acts admirably. The love interest interpreted by Rene Ray and Bruce Lister is subsidiary but interesting. Edit- ing will definitely improve the picture for American audiences. Press show, Pavilion. It was thought rather slow bid to have plenty of useful material in it, to be brought out by cutting. — Bruce Allan, London. Produced by Criterion Film Productions and dis- tributed by United Artists. Story by Louis de Wohl. Directed by Alfred Zeisler. Adaptation by Norman Alexander. Dialogue, Harold French. Camera, Vic- tor Armenise. Running time, 80 mins. Adult audi- ence classification. CAST Mr. Sherwood Mr. Riley Joseph Cawthorne Joker Finnigan Basil Sydney Pearl Margot Grahame Inspector Gary Paul Cavanagh Joan Rene Ray Ronald Martin Bruce Lister Sniffy David Burns Spider Edmon Ryan Jim John Darrow Klemm Danny Green Miss Dupres Googie Wit*"— Tarzan Escapes (MGM) Jungle Romantic Drama Momentum given public interest, especially the youngsters, by the previous Tarzan films, plus the continued popularity of the ape man's amazing experiences as a colored supplement newspaper feature, stand in good stead for this attraction. From the standpoint of production value, story quality, caliber of acting and excit- ing action, this production is several strides ahead of its forerunners in both potential en- tertainment and commercial quality. As all that is expected of a Tarzan show is intelligent- ly delivered, "Tarzan Escapes" is almost a certainty to interest the red-blooded youngsters greatly. At the same time, it is of such a character that adults who see it are not likely to consider the time wasted. . Naturally Tarzan's jungle stamping ground is the locale. The small screen personnel sup- porting cast, of course, are important in the picture. They provide romantic and dramatic excitement as well as comedy. But in the punch sequences it is Tarzan's jungle friends, tribes- men and animals, that are the principal objects of interest. Tarzan and his mate, Jane, are living happily in the jungle. As a sort of prelude to the actual story, production details present them under- going many dangerous experiences. Into the idyllic land comes a safari, guided by Captain Fry, animal procurer, and including Rita and Eric, relatives of Jane, who have come to in- form her that she is an heiress and must re- turn to civilization. Jane explains to Tarzan that she will return, however. Meanwhile Cap- tain Fry has sensed that Tarzan would be a seventh day wonder circus attraction in Eng- land, and captures him. Action following the pattern established, in the Edgar Rice Bur- roughs cartoons, the savage tribes rush to the rescue of their friend. Atmosphere building to a highly dramatic pitch, Tarzan makes his escape to summon a herd of stampeding ele- phants to forestall the natives from wreaking vengeance on Fry. In the climax Jane returns to Tarzan. Though the film is long in running time, there are no noticeable letdowns or pauses. Con- tradistinctly there is always something doing on the screen. A feature that lends itself read- ily to unique and colorful exploitation, the film has the elements for a showman's holiday for those exhibitors who really like to get out and do things. Previewed in the Uptown theatre, Los An- geles. The audience, made up mostly of adults, got quite a thrill out of the film. The fetv youngsters in attendance gave vent to an en- thusiasm that augurs well for Tarzan's recep- tion when it plays before a predominantly juvenile gathering. — G. M. Produced and distributed by Metro-Goldwyn-Mayer. Associate producer, Sam Zimbalist. Directed by Rich- ard Thorpe. Screen play by Cyril Hume. Based upon the characters created by Edgar Rice Burroughs. Recording director, Douglas Shearer. Art director, Elmer Sheeley. Photographed by Leonard Smith. Film editor, W. Donn Hayes. Assistant director, Art Smith. P.C.A. Certificate No. 1563. Running time, when seen in Hollywood, 90 minutes. Release date, November 6, 1936. General audience classification. CAST Tarzan Johnny Weissmuller Jane Maureen O'SuUivan Captain Fry John Buckler Rita Beni-ta Hume Eric William Henry Rawlins Herbert Mundin Masters E. E. Clive Bomba Darby Jones Cheetah By Herself Hopalong Cassidy Returns (Paramount) Comedy-Drama The longer the "Hopalongs" continue, the better they become from a production, enter- tainment and commercial standpoint. The qual- ity of the series already pretty well established in patron favor, this release retains all the values of its predecessors and adds a few others for good measure. Brimful of valor in conflict with intrigue and deceptive double dealing, this sound premise is highlighted with action, primi- tive emotions, romance, drama, comedy and more action. As the picture unfolds, familiar old friends greet the patrons. William Boyd and George Hayes again appear in their characteristic roles, and such other screen personalities as Evelyn Brent, William Janney, Irving Bacon, John Beck and Al. St. John are important in the action and delineation. With Western locale, the yarn has to do with a gang of crooks, led by the woman boss of the town, Lilli Marsh, attempting to jump a gold claim. All is presented logically and nat- urally. Prosepctor Peg Leg is murdered by minions of Lilli, who is desirous of knowing the location of his claim. The ruthless act arouses the townspeople, and crippled editor Saunders is made town marshal to bring some semblance of law and order and safety. He summons to his assistance the wandering cow- boy, Hopalong, his weakling younger brother, Buddy, and old time desert rat Windy. But furiously avaricious Lilli is determined that she shall not be beaten. The spectacularly contrived slaying of Saunders permits Hopalong to be- come marshal. Simultaneously romance springs up between him and Lilli. The film builds to its climax through an intelligently handled series of action episodes which start to work a regeneration in the life of Lilli. But the forces she has let loose are too strong for her to control. In an effort to eradicate lawlessness and to atone for misdeeds, also to protect Hopa- long, she dies in a fight that wipes out her erstwhile confederates. The picture is well prepared, acted, directed and produced. Action is applied principally to amplify the dramatic premise. Logically for this type of picture, romantic love interest has only a small but nevertheless important interest cre- ating function. And when situations become vigorously menacing, amusing comedy bits are inserted to lessen the tension. Substantial entertainment for the Hopalong admirers, the film also has a quality which properly sold should bring it to the attention of audiences not regularly going in for westerns. Reviewed in the Filmarte theatre in Los Angeles to the press and a specially invited audience. — G. M. Distributed by Paramount. Produced by Harry Sherman Productions. Directed by Nate Watt. Based on the story by Clarence E. Mulford. Screen play and dialogue by Harrison Jacobs. Associate producer, Eugene Strong. Photographed by Archie Stout. As- sistant directors, V. 0. Smith and D. M. Abrahams. Film editor, Robert Warwick. Sound, Earl Sitar. Art director, Lewis Rachmil. Effects, Mel Wolf. Ward- robe, Al Kennedy. P. C. A. Certificate No. 2547. Running time, when seen in Hollywood, 72 minutes. Release date, October 16, 1936. General audience classi- fication. CAST Hopalong Cassidy William Boyd Windy Halliday George Hayes Mary Saunders ...Gail Sheridan Lilli Marsh Evelyn Brent Blackie Stephen Morris Buddy Cassidy William Janney Peg Leg Holden Irving Bacon Bob Clairborne Grant Richards Robert Saunders John Beck Benson Ernie Adams Luke Al St. John Buck Joe Rickson Davis Ray Whitley Dugan Claude Smith Alia en el Rancho Grande (There On the Big Ranch) (Bustamante y de Fuentes, A. en P.) Mexican Drama with Music Here is something brand new and of definite American appeal in an all- Mexican picture. Not only is this production, with the theme of the famous song, "Alia en el Rancho Grande" ("There on the Big Ranch"), which is already known in the .United States and which many consider more tuneful and swingy than "La Cucharacha," a deftly directed and played drama of ranch life in Mexico as it really is, but it is brimful of exploitation angles : an appealing love story ; songs that are easily hummed ; the performance of Tito Guizar, noted Mexican tenor ; and a splendid rendition of "El Jarabe Tapatio," Mexican national dance which fea- tures the "charro" (Mexican cowboy garb) and the "china poblana" (Mexican feminine costume). The picture is head and shoulders above other Mexican made films. American tourists and residents went for it in a big way during its exhibition at the Cine-Teatro Ala- meda, Mexico City. Fernando de Fuentes has done his best di- recting in this feature. The photography is very good and the sound is satisfactory. It is a simple yet forceful tale of a comely though sickly orphan girl who attains happiness despite a double timing foster moster. Gun play is limited to one shot — of the pistol — and rough stuff to a few feet of Anglo-Saxon fistics. A kindly old soak, typical of Mexican ranches, is good comedy relief. There is high drama in the incident of the young ranch owner, who takes the heroine home unmolested when he discovers she is the sweet heart of his best friend. Two outstanding novelties are in the picture : a "song-guitar duel," a Spanish-Mexican game of a pair of gallants warbling gibes at each THEODORA GOES WILD with MELVYN DOUGLAS Thomas Milchell * Thurston Hall Rosalind Keith * Spring Byington '1936 ~~ 3 7 Screen Play by Sidney Buchman Directed by Richard Boleslawski COLUMBIA'S NEXT EXTRA-BIG ONE! 60 MOTION PICTURE HERALD November 7 , 1936 other's defects to guitar music, between Guizar and Lorenzo Barcelata, who wrote music and songs for the picture and plays the rival for the girl's hand. Another highlight is a good rendition by Olga Falcon and Emilio Fernandez of the national dance, a spirited performance of difficult steps and prodigal displays of lacy white petticoat. Guizar has a considerable radio name north of the Rio Grande. Mexico's glamour and the fact that this is an authentic cross section of a virile phase of life just south of the Rio Grande are factors for exploitation. De Fuentes' intelligent direction makes the picture further acceptable to American audiences. — James Lockhart, Mexico City. Produced by Bustamante y de Fuentes, A. en P. Directed by Fernando de Fuentes. Scenario by Luz Guzman de Arellano and Luz Aguila. Adaptation and dialogue by Fernando de Fuentes and Luz Aguila. Camera, Gabriel Figueroa. Sound, B. J. Kroger. Art director, Jorge Fernandez. Production manager. Alfonso Sanchez Tello. General audience classification. Running time, 105 minutes. CAST Jose Francisco Tito Guizar Cruz Esther Ferandez Felipe Rene Cardona Martin Lorenzo Barcelata Dona Angela Emma Roldan Florentino Carlos Lopez Two Too Y oung (MGM-Roach) Very Good This has the usual flavor of the "Our Gang" comedies. Spanky and "Alfalfa" plot to obtain some firecrackers that two other members of the gang possess. Failing to get them on the first try, Spanky and "Alfalfa" dress up as G men, and this method brings results. Before they can shoot the fireworks the bell rings for school and the gang goes to class with "Alfalfa" putting the firecrackers in his back pocket. When "Alfalfa" gets up_ to recite, another mem- ber of the gang sets off the firecrackers by using a magnifying glass. Running time, 10 minutes. Merry Mutineers ( Columbia ) Good Two boys, one of whom is Scrappy, are sail- ing their boats in a small pond in the park. The boats are manned by famous motion pic- ture characters but appear lifeless. Suddenly, in this animated cartoon, the figures come to life and a battle is staged. The animated cari- catures include W. C. Fields, the Marx Brothers. Bing Crosby, Jimmy Durante, Major Bowes, Charles Laughton, Laurel and Hardy, Wallace Beery and Joe E. Brown. Running time, 7 minutes. Whose Baby Are You? ( Educational ) Very Funny This is good entertainment with Bert Lahr in fine form, aided by comic situations and good dialogue. Lahr gets into hot water trying to help a friend, owner of a candy and ice cream store. The friend's wife is in a maternity hospital. He is trying to negotiate a loan but doesn't want the finance folk to know about the expected baby. Lahr becomes quite in- volved in the tangle, and with the girl to whom he is engaged, before everything is explained. Other players are George Haggerty, Gertrude Mudge, Sally Starr, Earl Gilbert and Eddie Lambert. Running time, 18 minutes. Star Gazers ( Columbia ) Instructive This is an instructive and interesting sub- ject on the progress of the telescope from Galileo's little spy-glass to the 200 inch "eye" that was constructed at Corning, New York, and is now being ground at Pasadena, Cat. After scenes of Galileo receiving the professor- ship of science at the University of Padua, the camera records present day activities of astron- omers and the equipment perfected for their use. Various observatories, including that on Mount Wilson, are shown. The subject ends with a flashback to Galileo, his life in danger for pro- fessing that the earth moves around the sun. Running time, 10 minutes. Kiko Foils the Fox ( Educational ) Animated This is a lively cartoon with Kiko, the happy Kangaroo, befriending the birds of the forest. Kiko is entertaining the birds with his flute when a wily Fox intrudes on the scene. The Fox harasses the birds but Kiko bombards the villain with pellets and finally drives the Fox against a hornet's nest. The hornets complete the rout of the Fox. A Terry-Toon subject. Running time, 8 minutes. Olympic Ski Champions (MGM) Excellent -> Extraordinarily effective photography con- tributes towards making this an outstanding short subject. Pete Smith has compiled the sub- ject from the Official Olympic Pictures, which were made by a crew of 50 cameramen and are particularly notable for the detail evidenced in their making. The thrills of ski jumping never have been more vividly caught than in these shots from the Bavarian Alps, scene of the Olympic winter sports. Shown, too, are the relay cross country ski race and the combined Slalom and downhill race, but the jumping con- tests hold the most thrills. Running time, 10 minutes. Krazy's Newsreel ( Columbia ) Clever A burlesque of a newsreel with "Krazy Kat" in the saddle, this is good for plenty of laughs. "Goofy-Tone" offers goofy peace conferences, goofy floods and goofy sports. "Kitty Kat" describes the latest in fashions. A wrestling bout tops the program. Running time, 7 min- utes. Hollywood Extra (MGM) Good This is an interesting camera study of the average day in the life of the typical Hollywood "extra" girl. The girl, Jane Barnes, is in the chorus of a musical production. Told there is no work for her tomorrow, Miss Barnes goes home dejected, and en route returns borrowed money, stockings and lends money to other "ex- tra" girls. A call to the Central Casting Office with a negative result is followed by a call each day in hopes of a job. Finally, after money and patience is practically exhausted, Miss Barnes gets a hurried call at night, and when the studio car calls for her she feels that at last her oppor- tunity has come. Instead of a dramatic part, however, Miss Barnes has been chosen because her underpinnings photograph well. Running time, 11 minutes. Fun in the Fire House (Universal) Good Acting as masters of ceremonies, Smith and Dale, nationally known vaudeville comics, are conducting a variety show on the floor of their fire house to raise money for new equipment. The show's routine is repeatedly interrupted by a call to a fire but so interested are the two comedians in the presentation of the talent that they refuse to answer until they finally dis- cover that Dale's home has been blazing all the time. In addition to Smith and Dale's usual brand of comedy and some clever trick photog- raphy, Ferry Corway, a dexterous bellringer, Jeanne McCully, nimble tap dancer, and Vir- ginia Verrill, songster of radio fame, assist to make this a pleasing and amusing short sub- ject. Running time, 10 minutes. Symphony In Snow (Educational) Good Scenic beauty and three Alpine climbers con- tribute to the effectiveness of this number of the Treasure Chest series. While the climbers ascend the snow covered Alps the camera rec- ords the perils and hazards they encounter. Of special note, if one looks behind the scenes, is the exceptional work of the cameraman in ob- taining the shots. Story and narration by A. L. Alexander. Running time, 9 minutes. Philippine Fantasy (20th Century - Fox) Of Interest Highlighted by excellent photography, this number of the Magic Carpet of Movietone series is an interesting excursion to the Philippines. Scenes of Manila, its building, streets and in- dustries, including the art of cigar and cigaret making, are shown. Also in the camera's itinerary is a trip to the island's prison, Fort Santiago, and a tour through the interior. Pro- duced by Truman Talley. Edited by Lew Lehr. Running time, 10 minutes. Ace Drummond (Universal) Action Serial 4 Taking the first three chapters as a basis, this gives promise of being an entertaining ac- tion serial for the juvenile trade. The produc- tion has those ingredients that sustain a serial from week to week. Based on the newspaper feature of the same name and created by Cap- tain Eddie Rickenbacker, World War ace, this has, as might be supposed, an air theme, and a timely theme, for it has to do with the estab- lishment of an international airway that will link all the nations of the world. The setting- is the Orient, in a place called Magnolia, and the force trying to halt the development of the airways is a mysterious organization headed by an equally mysterious "Dragon." John King as "Ace" is well cast in the title role. Supporting players include, in a large cast, Jean Rogers, Noah Beery, Jr., Lon Chaney, Jr., and that veteran of the legitimate stage and of the "Roses and Drums" radio feature of a year ago, Guy Bates Post. Directed by Ford Beebe and Cliff Smith. Running time, each chapter approximately 20 minutes. No Place Like Rome (MGM) Excellent A very amusing musical comedy short subject, this is a satire on the Roman edict compelling all bachelors to marry. With a setting of ancient Rome, a cast headed by Frank Albertson and Suzanne Kaaren, and dialogue that is a combi- nation of the ancient and modern variety, the production is decidedly well done. Albertson and a group of his bachelor friends parade in protest against the marrying law, soon to go into effect. One by one Albertson's friends marry, until he is the only bachelor left. On the day the law goes into effect Albertson falls in love with Miss Kaaren, a slave in his father's employ, but before he can marry her he is ac- costed by the guards and thrown to the lions. Miss Kaaren jumps into the arena with Albert- son and both are pardoned by the emperor. Run- ning time, 19 minutes. November 7, 1936 MOTION PICTURE HERALD 61 THEATRE RECEIPTS Theatres Boston Boston 3,246 Current Week Previous Week Picture Gross Picture 1/ 25c -65c "Back to Nature" (20th Cent. -Fox) 15,000 (on stage: Morton Downey and revue) Gross 16,500 The total of theatre receipts for the calendar week ended October 31, 1936, from I 10 theatres in 18 major cities of the country was $1,129,966, a decrease of $42,028 from the total for the preceding week ended October 24, 1936, when 108 theatres in 18 large cities aggregated $1,171,994. (Copyright, 1936. Reproduction of material from this department without specific written permission from Motion Picture Herald expressly forbidden) High and Low Gross (Tabulation covers period from January, 1935) (Dates are 1936 unless otherwise specified) High 9-7-35 "Hot Tip" 35,000 (plus stage show "Folies Bergere") Low 6-13 "The Harvester" and \ "Abdul the Damned" I 4,000 High 3-14 "The Story of Louis Pasteur" ) and "The Voice of Bugle Ann" i 8,000 Low 7-20-35 "Don't Bet on Blondes" 1 and "Ladies Crave Excitement" j 2,500 High 2-29 "Follow the Fleet" 37,000 Low 8-17-35 "Jalna" 5,500 High 11-16-35 "Mutiny on the Bounty".. 25,000 Low 6-27 "Sins of Man" and ) "Half Angel" J 9,000 High 11-16-35 "Mutiny on the Bounty".. 24,500 Low 7-6-35 "Sanders of the River" and } "Unknown Woman" ) 7,500 High 4-6-35 "Private Worlds" 56,000 (plus stage show) Low 7-20-35 "Men Without Names" 14,000 High 3-14 "The Story of Louis Pasteur" 1 and "The Voice of Bugle Ann" ( 15,000 Low 7-20-35 "Don't Bet on Blondes" ( and "Ladies Crave Excitement" J 4,000 Fenway 1,382 30c-50c "The Big Broadcast of 1937" (Para.) 6,000 Keith's Memorial 2,907 Loew's Orpheum 2,970 Loew's State Metropolitan Paramount . ... 3,537 ... 4,332 ... 1,793 25c-65c 25c-55c 25c -55c 25c-65c 25c -50c "The Gay Desperado" (U.A.).... "The Devil Is a Sissy" (MGM) . . (2nd week) 'The Devil Is a Sissy" (2nd week) (MGM). "Cain and Mabel" (W.B.)...... (on stage: Harriet Hoctor and revue) "The Big Broadcast of 1937" (Para.) 8,500 15,000 12,500 11,500 26,000 "The Big Game" (Radio) (on stage: Ken Maynard and Tarzan, his horse) 'Anthony Adverse" (W.B.) 5,500 (2nd week) 'Ramona" (20th Cent.-Fox) 16,500 'The Devil Is a Sissy" (MGM) and 18,000 (1st week) 'They Met in a Taxi" (Col.) 'The Devil Is a Sissy" (MGM) and 16,500 (1st week) 'They Met in a Taxi" (Col.) 'Dimples" (20th Cent.-Fox) 25,000 (on stage: Hal Kemp and Orch.) Anthony Adverse" (W.B.) 8,500 (2nd week) Buffalo Buffalo 3,489 Century 3,000 30c -50c 25c "The Big Broadcast of 1937" (Para.) 18,006 "Old Hutch" (MGM) and 10,000 "Don't Turn 'Era Loose" (Radio) Great Lakes .... 3,000 25c-40c "Libeled Lady" (MGM) 9,700 Hippodrome 2,500 25c-40c Lafayette 3,300 Chicago Apollo 1,400 - Chicago 4,000 Garrick 900 Oriental 3,490 25c 30c -60c 35c-75c 30c -60c 25c -40c "The Road to Glory" (20th Cent.- 8,300 Fox) and "Star for a Night" (20th Cent.-Fox) "The President's Mystery" (Repub- 3,800 lie) and "Sitting on the Moon" (Republic) "Stage Struck" (F.N.). ,600 t Palace 2,509 30c-60c Roosevelt 1,591 State-Lake ...... 2,776 United Artists ... 1,700 Cleveland Allen 3,330 Hippodrome 3,800 RKO Palace 3,100 State 3,400 Stillmann 1,900 Denver Aladdin 1,500 30c-60c 20c -35c 30c -60c 30c-42c 30c -42c 30c -60c 30c -42c 35c -65c "Valiant Is the Word for Carrie" . . . 28,000 (Para.) (on stage: Dave Apollon and revue) "Ladies in Love" (20th Cent.-Fox) 7,100 "China Clipper" (F.N.)..'; 17,200 (plus stage show) "The Big Game" (Radio) 25,600 (plus stage show) "Cain and Mabel" (W.B.).... 14,400 "A Son Comes Home" (Para.) 16,400 (plus stage show) "Libeled Lady" (MGM) 15,000 (3rd week) 'Libeled Lady" (MGM) 21,004 'The Bengal Tiger" (F.N.) and.... 5,900 'Border Flight" (Para.) Ramona" (20th Cent.-Fox) 8,300 (30c -50c) The Devil Is a Sissy" (MGM).. 10,290 'Craig's Wife" (Col.) and 11,000 'Shakedown" (Col.) "Craig's Wife" (Col.) 7,600 "Ladies in Love" (20th Cent.-Fox) 40,000 (on stage: Horace Heidt and Orch.) Give Me Your Heart" (W.B.) 6,400 "Hollywood Boulevard" (Para.)., (plus stage show) 16,500 "Killer at Large" (Col.) 3,000 (4 days) "Pepper" (20th Cent.-Fox) 1,800 (3 days) "My Man Godfrey" (Univ.) 15,000 "Adventure in Manhattan" (Col.) 14,000 (plus stage show) "The Devil Is a Sissy" (MGM).... 17,000 'Libeled Lady" (MGM) 9,000 (25c -35c) "The Magnificent Brute" (Univ.) 22,000 (on stage: Ann Sothern and revue) "Ramona" (20th Cent.-Fox) 10,500 (2nd week) "36 Hours to Kill" (20th Cent.-Fox) 15,200 (plus stage show) 'Libeled Lady" (MGM) 20,000 (2nd week) '15 Maiden Lane" (20th Cent.-Fox) 4,000 (4 days) 'The Bengal Tiger" (W.B.) 3,500 (3 days) "Dimples" (20th Cent.-Fox) 11,000 "The Big Game" (Radio) 15,000 (on stage: Major Bowes' Amateurs) "Libeled Lady" (MGM) 22,000 'The Big Broadcast of 1937" (Para.) 6,200 25c-50c "Dodsworth" (U.A.) 4,000 400 1,600 Broadway , , 1,500 25c-40c 1,500 15c-35c 1,500 25c-40c 2,500 25c-50c 2,600 25c -40c 2,000 25c -40c "Werewolf of London" (Univ.) (plus stage show) 3,000 (Para.) 6,000 "The Big Broadcast of 1937 (2nd week) "Dimples" (20th Cent.-Fox) 11,000 (plus stage band) "Libeled Lady" (MGM) and 8,500 "Don't Turn 'Em Loose" (Radio) (2nd week) "The Bengal Tiger" (W.B.) and.. 2,500 "Down the Stretch" (F.N.) "Ladies in Love" (20th Cent-Fox) (2 days) "Seven Sinners" (GB) (5 days) "A Midsummer Night's Dream".. 1,500 (W.B.) ''It's Love Again" (GB) and 3,500 "Guns and Guitars" (Republic) (plus stage show) "The Big Broadcast of 1937" (Para.) 9,000 (1st week) "Dodsworth" (U.A.) 7,000 (plus stage band) "Libeled Lady" (MGM) and 11,500 "Don't Turn 'Em Loose" (Radio) (1st week) "The Girl cn the Front Page" 3,000 (Univ.) and "Yellowstone" (Univ.) High 4-27-35 "Mississippi" 23,800 Low 7-27-35 "Broadway Gondolier" 6,600 High 10-17 "Pepper" and ) "King of the Royal Mounted" J 9,500 Low 8-3-35 "Mad Love" and \ "Dog of Flanders" J 3,800 High 9-5 "The Gorgeous Hussy" 23,500 Low 4-11 "Three Godfathers" and ( "Her Master's Voice" ) 4,900 High 2-9-35 "David Copperfield" 17,200 Low 4-11 "Timothy's Quest" and j "My Marriage" f 3,800 High 1-12-35 "Broadway Bill" 17,100 Low 10-31 "The President's Mystery" I and "Sitting on the Moon" J 3,800 High 9-12 "Girls' Dormitory" 11,900 Low 5-25-35 "The Devil Is a Woman".. 1,000 High 1-18 "The Bride Comes Home".... 56,600 Low 4-27-35 "Living on Velvet" 24,000 High 11-3 "Sing, Baby, Sing" 10,300 Low 5-4-35 "One New York Night" 3,000 High 11-2-35 "Woman Wanted" 25,500 (on stage: Major Bowes' Amateurs) Low 9-21-35 "Man on the Flying Trapeze" 13,400 High 9-12 "Swing Time" 35,600 (plus stage show) Low 4-11 "Love Before Breakfast" 6,000 High 1-5-35 "Forsaking All Others".... 27,000 Low 11-23-35 "O'Shaughnessy's Boy".... 7,000 High 9-12 "The Iron Man" 20,100 Low 7-20-35 "Alias Mary Dow" 8 000 High 2-29 "Modern Times" 35,500 Low 4-13-35 "Vanessa: Her Love Story".. 10|000 High 1-12-35 "Bright Eyes" 9,000 Low 6-22-35 "The Daring Young Man".. 1,300 High 9-21-35 "Top Hat" 27,500 Low 8-24-35 "Dante's Inferno" 5,250 High 4-6-35 "Transient Lady" 39 000 Low 6-8-35 "Break of Hearts" s!500 High 4-18 "Petticoat Fever" 40,500 (on stage: Jack Benny and Mary Livingston) Low 3-16-35 "Folies Bergere" 6,000 High 7-25 "San Francisco" 11,000 Low 5-9-36 "Too Many Parents" 2^000 High 3-28 "Little Lord Fauntleroy " . . . . 5,000 Low 6-22-35 "Nell Gwyn" and ) "My Heart Is Calling" } 600 High 5-16 "The Great Ziegfeld" 8 000 (50c-$1.36) ' Low 12-28-35 "Unfinished Symphony".... 300 High 2-29 "Klondike Annie" 13 000 Low 8-24-35 "Without Regret" l'750 High 11-16-35 "Mutiny on the Bounty"]! 15]000 Low' 12-28-35 "Here Comes the Band".. 1,500 High 5-18-35 "Romance in Manhattan".. 16,000 Low 12-28-35 "The Perfect Gentleman".. 2,000 High 5-11-35 "Bride of Frankenstein' Low 11-30-35 "Bad Boy" 7,000 Hepburn triumphs in 'A Woman Rebels' . . • Miss Hepburn gives a stirring performance in this handsome film adapta- tion Of 'Portrait of a Rebel'." -N. Y. Daily Mirror "Hepburn's power as actress at height in 'A Woman Rebels'." —N. Y. American "It is cunningly put together, ably acted and genuinely touching." — N. Y. Herald Tribune "Picturesque, humorous and tragic • • • one of her best • • opened yesterday at Radio City Music Hall before an au- dience which seemed to derive as much pleasure from it as we did." -N. Y. Times "Hepburn glowing and hypnotic in film at Radio City Music Hall." -N. Y. World-Telegram "Finely shaded performance given by Miss Hepburn in a drama of mother love and sacrifice." —N. Y. Journal "Will bring joy to a showman's heart and shekels to his box-office." -Film Daily Hepburn superb in 'A Woman Rebels'. ■Hollywood Reporter Katharine Hepburn's work is gripping."- Motion Picture Daily "Preponderantly a woman's picture." — Daily Variety KATHARINE HEPBURN • HERBERT MARSHALL "A WOMAN REBELS". . . with Elizabeth allan DONALD CRISP • Doris Dudley and David Maaaers 64 MOTION PICTURE HERALD November 7, 1936 [THEATRE RECEIPTS—CONT'D! Theatres Current Week Previous Week Picture Gross Picture Gross Hollywood Chinese 2,500 30c-55c Pantages 3,000 30c-65c W. B. Hollywood 3,000 30c-65c Indianapolis Apollo 1,100 25c-40c Circle 2,800 25c-40c Loew's 2,800 25c-40c Lyric 2,000 25c -40c Kansas City Mainstreet 3,100 25c-40c Midland 4,000 25c-40c Newman 1,900 25c-40c Tower 2,000 25c Uptown 2,000 25c -40c Los Angeles Carthay 1,518 50c -$1.50 Four Star 900 30c -55c Grand Intern't'l. 750 35c-40c Hillstreet 2,700 30c-65c Loew's State ... 2,500 30c-55c Paramount 3,596 30c-55c W. B. Downtown 3,400 30c-65c Minneapolis Lyric 1,239 20c-25c Minnesota 4,000 25c-55c RKO Orpheum.. 2,900 25c-40c State 2,300 25c-40c World 400 25c-35c Montreal Capitol 2,547 25c-60c His Majesty's.... 1,700 25c -50c Loew's 3,115 25c-60c Palace 2,600 23c-65c Princess 2,272 25c-65c New York Astor 1,141 55c-$2.20 Capitol 4,700 25c -85c Criterion 1,700 25c-75c Palace 2,500 25c-65c Paramount 3,700 25c-85c Rialto 594 25c-55c Rivoli 2,200 25c-99c RKO Music Hall 5,954 40c-$1.65 Roxy 6,200 25c -75c "Ladies in Love" (20th Cent.-Fox) 11,500 and "All American Chump" (MGM) "Don't Turn 'Em Loose" (Radio) 6.500 and "The Girl on the Front Page" (Univ.) 'A Midsummer Night's Dream".. 7,000 (W—-B=) — 'Dimples" (20th Cent. -Fox). 6.000 'The Big Broadcast of 1937" (Para.) 3,500 (2nd week) 'Libeled Lady" (MGM) 7,000 (2nd week) 'Here Comes Carter" (F.N.) 7,200 (plus vaudeville) "Cain and Mabel" (W.B.) 8,000 "Libeled Lady" (MGM) 21,000 "The Magnificent Brute" (Univ.).. 4,600 "They Met in a Taxi" (Col.) 6,800 (plus stage show) "Dimples" (20th Cent. -Fox) 3,400 "Romeo and Juliet" (MGM) 8,700 (4th week) "Valiant Is the Word for Carrie" . . 4,500 (Para.) (2nd week) "The Resort Flirt" (Foreign) 2,200 "Don't Turn 'Em Loose" (Radio) 8,300 and "The Girl on the Front Page" (Univ.) "Ladies in Love" (20th Cent. -Fox) 17,000 and "All American Chump" (MGM) "The Big Broadcast of 1937" (Para.) 16,380 (plus stage show) (3rd week) "A Midsummer Night's Dream".. 7,800 (W. B.) 'Don't Turn 'Em Loose" (Radio) 1,900 "Anthony Adverse" (W.B.) 14,000 "The Big Game" (Radio) 10,000 (plus stage show) "The Big Broadcast of 1937" (Para.) 8,000 (35c-55c) "My Man Godfrey" (Univ.) 1,000 (4th week) "The Big Broadcast of 1937" (Para.) 12,000 and "The Final Hour" (Col.) "East Meets West" (GB) and 6,500 "Limelight" (British) "Kelly the Second" (MGM) 11,500 (on stage: Fats Waller and Orch.) "Dodsworth" (U.A.) and 7,000 "Wives Never Know" (Para.) (2nd week) "The Last of the Mohicans" (U.A.) 8,000 and "Three Married Men" (Para.) "Romeo and Juliet" (MGM) 8,930 (11th week) "The Devil Is a Sissy" (MGM).... 22,000 (2nd week) "Follow Your Heart" (Republic).. 9,000 "Stage Struck" (F.N.) and 10,000 "Daniel Boone" (Radio) "The Big Broadcast of 1937" (Para.) 62,000 (onstage: Clyde Lucas and Orch.) "The Big Game" (Radio) 9,000 "Dodsworth" (U.A.) 23,000 (5th week) "Adventure in Manhattan" (Col.) 63,000 (plus stage show) "The Magnificent Brute" (Univ.).. 42,000 (plus stage show) "Libeled Lady" (MGM) and 11,500 "Back to Nature" (20th Cent.-Fox) (2nd week) "The Big Game" (Radio) and.... 9,000 "Two in a Crowd" (Univ.) •Dodsworth" (U.A.) and 12,250 The Case of the Velvet Claws" (F.N.) (3rd week) "Ladies in Love" (20th Cent.-Fox) 4,800 'The Big Broadcast of 1937" (Para.) 6,500 (1st week) 'Libeled Lady" (MGM) 15,000 (1st week) "The Girl on the Front Page".... 9,000 (Univ.) (plus vaudeville) "Dimples" (20th Cent-Fox) 9,900 "The Devil Is a Sissy" (MGM).. 11,900 and "All American Chump" (MGM) 'The Big Broadcast of 1937" (Para.) 9,000 The Girl on the Front Page".... 7,000 (Univ.) (plus stage show) 'East Meets West" (GB) and.... 3,800 'Three Married Men" (Para.) (9 days) 'Romeo and Juliet" (MGM) 9,500 (3rd week) 'Valiant Is the Word for Carrie".. 6,500 (Para.) (1st week) 'Waltz Time in Vienna" (Ufa) 2,100 "The Big Game" (Radio) and.... 9,700 "Two in a Crowd" (Univ.) "Libeled Lady" (MGM) and 14,700 "Back to Nature" (20th Cent.-Fox) (2nd week) "The Big Broadcast of 1937" (Para.) 30,500 (plus stage show) (2nd week) "Dodsworth" (U.A.) and 11,200 "The Case of the Velvet Claws" (F.N.) (3rd week) "Wives Never Know" (Para.) 1,200 "The Big Broadcast of 1937" (Para.) 15,000 "Stage Struck" (F.N.) 5,000 "The Devil Is a Sissy" (MGM) 5,000 "My Man Godfrey" (Univ.) 2,300 (3rd week) "Dimples" (20th Cent.-Fox) and.. 10,000 "Two in a Crowd" (Univ.) "Nine Days a Queen" (GB) and.. 4,500 "Two's Company" (Band D) (2nd week) "Follow Your Heart" (Republic).. 12,500 (plus stage show) "Dodsworth" (U.A.) and 10,500 "Wives Never Know" (Para.) (1st week) "Stage Struck" (F.N.) and 8,000 "Second Wife" (Radio) "Romeo and Juliet" (MGM) 11,900 (10th week) "The Devil Is a Sissy" (MGM).. 35,000 (1st week) "Ramona" (20th Cent.-Fox) 14,000 (2nd week) "My Man Godfrey" (Univ.) and.. 8,000 "15 Maiden Lane" (20th Cent.-Fox) "Valiant Is the Word for Carrie".. 26,000 (Para.) (plus Enric Madriquera and Orch.) (2nd week) "The Longest Night" (MGM) 7,000 "Dodsworth" (U.A.) 27,600 (4th week) "The Gay Desperado" (U.A.) 68,000 (plus stage show) (2nd week) "Dimples" (20th Cent.-Fox) 32,000 (phis stage show) (2nd week) High and Low Gross (Tabulation covers period from January, 1935) (Dates are 1936 unless otherwise specified) High 2-22 "Modern Times" 26,000 Low 5-4-35 "West Point of the Air" 4,900 High 9-12 "My Man Godfrey" and ) "Yellowstone" j 21,000 Low 4-13-35 "Mister Dynamite" and ) "Great God Gold" f 2,500 High 10-10 "Dodsworth" and ) "The Case of the Velvet Claws" j 18,200 Low 6-27 "The Big Noise" 4,000 High 9-12 "My Man Godfrey" 8,000 Low 6-27 "Sins of Man" 1,600 High 10-10 "Anthony Adverse" 10,000 (25c-55c) Low 3-16-35 "Transient Lady" 2,000 High 10-24 "Libeled Lady" 15,000 Low 4-6-35 "Casino Murder Case" 2,750 High 9-12 "Pepper" 14,000 (on stage: Major Bowes' Amateurs) Low 2-7-35 "Murder of Dr. Harrigan".. 5,700 (on stage: vaudeville) High 11-23-35 "Case of the Lucky Legs" 22,000 Low 1-12-35 "I Sell Anything" 2,000 High 8-24-35 "China Seas" 25,000 Low 9-14-35 "Bonnie Scotland" 6,000 High 5-25-35 "Goin' to Town" 14,000 Low 5-18-35 "Dinky" 3,000 High 1-18 "Magnificent Obsession" 14,500 Low 3-14 "Lady of Secrets" 5,000 (plus stage show) High 9-7-35 "Steamboat Round the Bend" 11,000 Low 7-27-35 "Black Sheep" 2,100 High 5-18-35 "Les Miserables" Low 12-17-35 "Return of Peter Grimm" High 7-25 "Ecstasy" (6 days-2nd week) Low 12-7-35 "Such a Girl You Never Forget High 9-12 "My Man Godfrey" and ) "Yellowstone" } Low 11-2-35 "Three Kids and a Queen" High 12-7-35 "Mutiny on the Bounty".. Low 10-26-35 "Way Down East" 7,800 2,400 5,000 " 900 24,000 2,800 24,500 6,200 High 8-22 "Yours for the Asking" 33,000 (on stage: Eddie Cantor and Bobby Breen) Low 6-27 "Case Against Mrs. Ames"... 9,126 (plus stage show) (5 days) High 1-11 "Captain Blood" 17,100 Low 6-27 "The Big Noise" 3,800 High 7-25 "Sons O' dins" Low 11-3 "Hollywood Boulevard" and i "I'd Give My Life" j High 1-4 "The Bride Comes Home" Low 4-4 "Klondike Annie" High 9-21-35 "Top Hat" Low 6-13 "The Golden Arrow" "Sing, Baby, Sing" "The Last of the Mohicans" Secret Agent" "The Private Life of Louis High 9-19 Low 10-17 High 9-5 Low 9-19 XIV" . High 2-9-35 "Lives of a Bengal Lancer" Low 8-3-35 "My Heart Is Calling" and ) "College Scandal" j 'Nine Days a Queen" j "Two's Company" j "All Quiet on the Western 2,100 900 31,326 8,000 18,000 3,000 8,000 4,000 6,000 1,900 High 10-17 Low 6-2-34 Front" High 9-26 "Public Enemy's' Wife" ) (John Boles on stage) ( Low 6-15-35 "Mark of Vampire" and ) "Baby Face Harrington" J High 12-7-35 "Mutiny on the Bounty". Low 7-20-35 "Drake of England" and 1 "The Nitwits" f High 2-22 "Modern Times" and \ "Guard That Girl" f Low 12-28-35 "Remember Last Night?" ) and "East of Java" ] 15,500 7,000 9,000 3,000 15,000 5,500 15,000 7,500 12,500 3,000 High 1-5-35 "Forsaking All Others" 87,400 Low 5-30 "Three Wise Guys" 7,000 High 10-5-35 "Top Hat" 15 000 Low 7-25 "The Poor Little Rich Girl" j and "Dancing Pirate' J 4,800 High 1-19-35 "Lives of a Bengal Lancer" 65,300 Low 12-21-35 "Millions in the Air" 10,000 High 2-15 "Modern Times" 65 000 Low 6-29-35 "Nell Gwyn" 8100 High 9-7-35 "Top Hat" 131,200 (plus stage show) Low 11-30-35 "Crime and Punishment".. 45,000 (plus stage show) High 1-4 "If You Could Only Cook".... 62,000 (plus stage show) Low 4-20-35 "My Heart Is Calling" 17,500 (plus stage show) AGAIN THE NEW UNIVERSAL H * S CRACKED 1 m UGH with FIRST-RATE COMEDY!! Variety SPARKLING, HUMAN COMEDY !" . . Hollywood Reporter "PILES UP THE LAUGHS!" ...Film Daily "BRIGHT AND FROTHY!" ...Motion Picture Daily CL LUCKIEST GIRL THE WORLD with JANE WYATT, LOUIS HAYWARD Nat Pendleton, Eugene Pallelle, Catharine Doucet, Phillip Reed, Viola Callahan DIRECTED by EDWARD BUZZELL From the Ladies' Home Journal story "Kitchen Privileges" by A nne Jordan. CHARLES R. ROGERS ' J S oV«T £ 1 1 66 MOTION PICTURE HERALD November 7, 1936 [THEATRE EECEITTS~CCNT»D] Theatres Oklahoma City Capitol 1,200 10c-41c Criterion 1,700 10c -55c Liberty 1,500 10c-36c Midwest 1,500 10c-55c Omaha Brandeis 1,200 25c-40c Omaha 2,200 25c-40c Orpheum 3,000 25c -40c Paramount 2,900 25c-55c Philadelphia Aldine 1,300 40c-65c Arcadia 600 25c-50c Boyd 2,400 40c-55c Earle 2,000 25c-55c L Fox 3,000 40c-65c Karlton 1,000 25c-40c Keith's 2,000 30c-50c Stanley 3,700 40c-55c Stanton 1,700 30c-50c Portland, Ore. Blue Mouse .... 1,700 30c-40c Broadway 1,912 30c-40c May fair 1,700 30c -40c Orpheum 1,700 30c -40c Paramount 3,008 30c -40c United Artists... 945 30c-40c San Francisco Clay 400 15c-35e Embassy 1,400 10c-40c Fox 5,651 15c-75c Geary 1,400 55c-$1.65 Golden Gate .... 2,800 10c-40c Orpheum 2,440 15c-40c Paramount 2,670 St. Francis 1,470 United Artists... 1,200 i ^fVarfield 2,700 Seattle Blue Mouse .... 950 Fifth Avenue Liberty Music Box Orpheum .. Palomar .. Paramount 2,500 1,800 950 2,450 1,500 3,050 15c-75c 15c-40c 15c-55c 15c-75c 25c -55c 25c-55c 20c -55c 25c -55c 25c-40c 15c-35c 20c -40c Current Week Picture Gross "Wives Never Know" (Para.) 1,900 "The Texas Rangers" (Para.) 5,200 "M'Liss" (Radio) 2,900 (plus stage show) (4 days( 10c-40c) "Parole" (Univ.) and 800 "Thank You, Jeeves" (20th Cent.- Fox) (3 days) "Cain and Mabel" (W.B.) 4,500 "Don't Turn 'Em Loose" (Radio) 3,100 and "Here Comes Carter" (F.N.) (6 days) "The Road to Glory" (20th Cent.- 5,200 Fox) and "Kelly the Second" (MGM) "Ladies in Love" (20th Cent.-Fox) 8,000 and "Forgotten Faces" (Para.) "The Great Ziegfeld" (MGM) 10,500 (on stage: Gladys George) "The Gay Desperado" (U.A.) 6,500 (2nd week) "Lady, Be Careful" (Para.) 1,100 (4 days) "Craig's Wife" (Col.) 11,500 "Magnificent Brute" (Univ.) 11,000 "Libeled Lady" (MGM) 15,000 (3rd week) "Ladies in Love" (20th Cent.-Fox) 2,600 "Dodsworth" (U.A.) 3,500 "Dimples" (20th Cent.-Fox) 14,000 "Murder with Pictures" (Para.).. 6,200 'Mr. Deeds Goes to Town" (Col.) 2.CO0 (26th week) and "It Happened One Night" (Col.) (4th week) •Libeled Lady" (MGM) and 7,000 "The Case of the Black Cat" (F.N.) 'The President's Mystery" 5,000 (Republic) and "Follow Your Heart" (Republic) "Give Me Your Heart" (W.B.) and 7,000 "Wives Never Know" (Para.) (2nd week) "The Big Broadcast of 1937" (Para.) 7,500 and "The Big Game" (Radio) (2nd week) "The Gay Desperado" (U.A.) 8,500 Previous Week Picture Gross "Hearts in Bondage" (Republic)... 1,500 "Libeled Lady" (MGM) 8.00C "High Tension" (20th Cent.-Fox).. 1,600 and "Spendthrift" (Para.) (4 days) "Postal Inspector" (Univ.) and.. 1,200 "Educating Father" (20th Cent.-Fox) (3 days) "Dimples" (20th Cent.-Fox) 3,800 "The Big Game" (Radio) and.... 4,200 "The Case of the Velvet Claws" (F.N.) "Old Hutch" (MGM) and 8,500 "Sworn Enemy" (MGM) "Dimples" (20th Cent.-Fox) and.. 9.50C "Border Flight" (Para.) "The Gay Desperado" (U.A.) (1st week) 'The Gorgeous Hussy" (MGM)... (9 days) 'Ladies in Love" (20th Cent.-Fox) 'Two in a Crowd" (Univ.) 'Libeled Lady" (MGM) (2nd week) 'Wives Never Know" (Para.). 'My Man Godfrey" (Univ.).. 'The Big Broadcast of 1937" (Para.) (2nd week) "Old Hutch" (MGM) 9,500 3,500 14,000 11,500 20,00C 2,200 3,700 14,500 6,300 "Mr. Deeds Goes to Town" (Col.) 2,000 (25th week) and "It Happened One Night" (Col.) (3rd week) "Old Hutch" (MGM) and 6,000 "The Captain's Kid" (F.N.) (2nd week) "A Midsummer Night's Dream".. 5,000 (W.B.) 'Give Me Your Heart" (W.B.) and 6,5a' 'Wives Never Know" (Para.) (1st week) 'The Big Broadcast of 1937" (Para.) 8,200 and "The Big Game" (Radio) (1st week) 'Dodsworth" (U.A.) 7,200 (2nd week) 700 "The President's Mystery" 3,500 (Republic) and "Oh, Susanna!" (Republic) "The Big Broadcast of 1937" (Para.) 19,000 and "15 Maiden Lane" (20th Cent.- Fox) (1st week) 'Walking on Air" (Radio) 13,500 (plus vaudeville) "Walpurgis Night" (Scandinavian) 1,100 "I Desire You" (Casino). 'Legong" (Du World) and 4,500 'Missing Girls" (Chesterfield) 'The Big Broadcast of 1937" (Para.) 17,500 and "15 Maiden Lane" (20th Cent.-Fox) (2nd week) "As You Like It" (20th Cent.-Fox) 6,000 (9 days) "Without Orders" (Radio) 14,000 (plus vaudeville) "Craig's Wife" (Col.) and 6,500 "Two in a Crowd" (Univ.) (2nd week) "Thank You, Jeeves" (20th Cent.- 13,000 Fox) and "Valiant Is the Word for Carrie" (Para.) "Cain and Mabel" (W.B.) and.... 5,500 "Sworn Enemy" (MGM) (2nd week) 'Dodsworth" (U.A.) 6,000 (3rd week) "Libeled Lady" (MGM) and 14,500 'Sitting on the Moon" (Republic) 'Ladies in Love" (20th Cent.-Fox) 3,800 and "Three Married Men" (Para.) "The Great Ziegfeld" (MGM) 8,500 "The Gay Desperado" (U.A.).... 5,100 (2nd week) 'The Road to Glory" 3,100 (20th Cent.-Fox) 'The Devil Is a Sissy" (MGM) and 5,600 'Wives Never Know" (Para.) 'Postal Inspector" (Univ.) 7,500 (on stage: Major Bowes' Amateurs) "Cain and Mabel" (W.B.) and 6,250 "The Big Game" (Radio) 'Craig's Wife" (Col.) and 10,500 'Two in a Crowd" (Univ.) (1st week) 'The Gorgeous Hussy" (MGM) and 13,500 'Three Married Men" (Para.) (3rd week) 'Cain and Mabel" (W.B.) and 6,800 'Sworn Enemy" (MGM) (1st week) 'Dodsworth" (U. A.) 6,500 (2nd week) 'Ladies in Love" (20th Cent.-Fox) 13,000 and "Murder with Pictures" (Para.) (8 days- 2nd week) "Swing Time" (Radio) 3,800 "The Road to Glory" . (20th Cent.-Fox) 7,200 "The Gay Desperado" (U.A.) 7,200 (8 days-lst week) "Give Me Your Heart" (W.B.) and 3,200 "Back to Nature" (20th Cent.-Fox) "Ladies in Love" (20th Cent.-Fox) 7,600 and "Three Married Men" (Para.) "The President's Mystery" (Republic) 4,500 (plus vaudeville and band) "Dimples" (20th Cent.-Fox) and.. 5,350 "East Meets West" (GB) High and Low Gross (Tabulation covers period from January, 1S35) (Dates are 1936 unless otherwise specified) High 8-29 "Girls' Dormitory" 3,900 Low 5-9 "Big Brown Eyes" 1,300 High 9-14-35 "Steamboat Round theBend" 10,000 Low 11-12-35 "The Case of the Lucky Legs" 2,500 High 1-19-35 "Gentlemen Are Born" 1 and "Crime Doctor" ] 4,200 Low 10-26-35 "Little Big Shot" and ) "I Live for Love" ) 1,500 High 11-16-35 "Mutiny on the Bounty".. 8,800 Low 8-24-35 "The Farmer Takes a Wife" 1,800 High 9-14-35 "Top Hat" 9,500 Low 6-6 "Dancing Pirate" and I "Murder on the Bridle Path" | 2,600 High 7-11 "San Francisco" and ( "The First Baby" J 11,600 Low 10-5-35 "Dante's Inferno" and \ "She Gets Her Man" ( 3,600 High 2-29 "Exclusive Story".... 21,150 (on stage: Ted Lewis) Low 12-28-35 "Mister Hobo" and ) "Three Kids and a Queen" ] 5,800 High 10-3 "Dodsworth" 19,000 Low 1-26-35 "The Runaway Queen" 2,200 High 1-25-35 "The Bride Comes Home".. 4,800 Low 9-21-35 "Bonnie Scotland" 800 High 1-4 "A Tale of Two Cities" 30,000 Low 8-17-35 "Jalna" 6,000 High 1-4 "Miss Pacific Fleet" 22,000 Low 10-5-35 "I Live for Love" 9,500 High 5-9 "Under Two Flags" 31,000 Low 9-28-35 "Redheads on Parade" 7,500 High 10-5-35 "Top Hat" 6,300 Low 6-1-35 "Dinky" 1,200 High 4-13-35 "Roberta" 5,800 Low 1-2-35 "The Right to Live" 900 High 9-12 "Swing Time" 30,500 Low 5-11-35 "Stolen Harmony" 4,000 High 1-11 "Riffraff" 10,000 Low 3-23-35 "Captain Hurricane" 1,800 High 6-17-35 "Life Begins at Forty" 2,700 Low 6-22-35 "My Heart Is Calling" 1,400 High 5-16 "The Singing Kid" 8,500 Low 7-27-35 "Calm Yourself" and 1 "Chinatown Squad" J 4,000 High 1-25 "A Midsummer Night's Dream" 12,000 Low 1-19-35 "Behold My Wife" and \ "Defense Rests' J 1,60C High 9-28-35 "She Married Her Boss"... 9,500 Low 11-23-35 "To Beat the Band" and j "Wanderer of the Wasteland" J 4,000 High 4-20-35 "Private Worlds" 11,500 Low 5-2 "The Witness Chair" and ) "Big Brown Eyes" f 5,000 High 10-17 "Dodsworth" 9,500 Low 6-8-35 "Age of Indiscretion" 4,000 High 12-28-35 "Peasants" 2,500 Low 10-24 "I Desire You" 700 High 4-11 "Penitente Murder Case" 6,500 Low 12-7-35 "Two Sinners" and ) "$1,000 a Minute" f 2,000 High 9-19 "Road to Glory" and ( "Kelly the Second" f 20,000 Low 11-30-35 "To Beat the Band" and \ "Freckles" ] 4,000 High 8-15 "The Last Outlaw" 34,000 (on stage: Eddie Cantor) Low 5-23 "Dancing Pirate" 9,000 High 9-19 "My Man Godfrey" and \ "Yellowstone" ( 17,000 Low 10-26-35 "King Solomon of Broad- ) way" and "Fighting Youth" ) 4,800 High 7-11 "San Francisco" 23,000 Low 3-2-35 "Living on Velvet" and ) "All the King's Horses" J 8,500 High 8-1 "San Francisco" 12.400 Low 6-29-35 "No More Ladies" 5,000 High 10-26-35 "Barbary Coast" 15,000 Low 12-28-35 "Mimi" 2 500 High 10-5-35 "I Live My Life" 35,000 Low 3-28 "Colleen" and ) "Too Many Parents" ( 13,000 High 11-30-35 "Mutiny on the Bounty" 6,100 Low 2-16-35 "Million Dollar Baby" and ) "Notorious Gentleman" \ 2,900 High 9-19 "Anthony Adverse" 11,300 Low 4-26 "The Trail of the Lonesome Pine" 2,600 High 9-28-35 "She Married Her Boss".... 7,900 Low 4-13-35 "White Lies" and ) "Happy Landing" f 2,700 High 2-16-35 "Roberta" 6,100 Low 1-26-35 "The Man Who Reclaimed His Head" 2,850 High 9-21-35 "Top Hat" 10,400 Low 8-31-35 "Dante's Inferno" and ) "Lady Tubbs" f 4,800 High 12-14-35 "Annie Oakley" 9,200 Low 6-6 "Till We Meet Again" and ) "Times Square Playboy" ) 3,250 POTENTIAL OF the 29,066,72 young Americans in school this year, a survey, made by FORTUNE and widely published by the U. S. cinema trade press, esti- mates that only 56.4% attend motion picture theaters once a week. Biggest potential then for the development of regular patrons is the remaining 43.6% eager to go but discouraged by the unwarranted disapproval of U. S. cinema fare by parents and teachers. MARCH OF TIME, heir to TIME's long popularity as an authoritative text- book in U. S. schools, for more than a year has experimented with school cooperation to overcome this condi- tion. In widely scattered areas pioneer- ing exhibitors have proved to their own satisfaction the box-office value of MARCH OF TIME'S school tie-up. Now for all exhibitors ... a complete manual containing a plan with samples of letters, MARCH OF TIME's own publication for schools— THE PHOTO REPORTER, published monthly with each new issue, and a TEACHER'S MANUAL, prepared by leading educational authorities, is available. Full instructions on how to use this plan, compiled from actual working ex- periences of exhibitors during the past year, are included. For your copy, ask your RKO Exchange or write direct to THE MARCH OF TIME, 460 West 54th Street, New York City. 68 MOTION PICTURE HERALD November 7, 1936 BAR AND ESCALATORS IN THIS NEW THEATRE There's Also Free Parking for Baby and Car at the Walton in Chicago by WILLIAM F. CROUCH in Chicago A bar, a nursery, escalators and free park- ing are a few of the features to be offered by the newest Chicago theatre, to be built by Essaness Theatres Corporation at 911 Rush street. The new theatre, to be called the Walton, will have 1,600 seats and will cost in the neighborhood of $250,000. Newhouse and Bernham are the architects. With a bar and nursery available, Chi- cago mothers can park the car in the lot, the baby in the nursery, the husband at the bar and enjoy the picture undisturbed — un- less they join their husbands. Patrons who wish to sit in the balcony or mezzanine at the new Walton theatre will not have to climb stairs to get to their seats. This is the first time the escalator is used in theatre construction here. The new theatre, which is to be air-con- ditioned, will be ready by June 1, 1937. The lot is "L" shaped with a 90-foot frontage on Rush street, a depth of 200 feet, and an ad- ditional 70-foot frontage on Walton street with a 45-foot depth. Essaness bought this site from Julius Strass. The deal was han- dled by Frankenstein and Company. This new theatre is in line with the ex- pansion program of Essaness, which now operates 26 theatres in the Chicago area. V Sam C. Meyers of Wilmette will build a new theatre on Chicago's Northside at Devon and Maplewood avenues. The new theatre, which will seat 1,200, is to open May 1. It will cost about $200,000. C. W. and George L. Rapp are the architects. V The Fred Anderson circuit at Morris, III., is rapidly expanding. Last week this down- state theatre group took over the manage- ment of four theatres at strategic points. The new houses to join the Anderson cir- cuit were the Lyric in Genoa, and the Fargo theatres in Sycamore and Geneva. These houses were formerly operated by C. G. Lekander. The fourth house to be taken over was the Arcada in St. Charles, which was operated by Lester Norris. This new arrangement makes the Anderson group one of the most important in the state. V The 2,000 foot reel, although approved by the operators' union and already in use in a number of Chicago theatres, is still far from having smooth going. The Chicago city of- ficials who approve motion picture equip- ment have yet to give the 14^2 inch spool their approval as it allows but three-quarters of an inch clearance on a 16 inch magazine. The Film Board of Trade is endeavoring to get a resolution through to accept these big spools, and the bill they are presenting will go before the Chicago City Council soon. In the meantime the operators and exhibi- tors are concerned over something else of seemingly more importance. That is the carbon situation. With the 2,000 foot reel it is necessary, in the larger theatres, to change carbons with each reel. The use of high intensity lamps in the projectors makes it impossible to use a carbon for more than one of the larger reels, though the many short pieces of carbon left over would be usable for shorter reels. The use of special adapters for carbon is being suggested. V In a surprise move United Artists booked "The Gay Desperado" into the RKO-Palace theatre for the coming week. Balaban and Katz had just signed a new contract for the UA product. Neither circuit would com- ment but it was reported that the recent join- ing of Jesse L. Lasky with Radio Pictures had something to do with the situation, as B & K had too many bookings set for the United Artists theatre. "Dodsworth," the current attraction at the UA, will be followed by "Come and Get It," according to the latest reports. V Double features will be general in Chicago in the next few weeks, say most exchange managers. The starting of duals in B. & K.'s "B" and "C" week theatres this coming week is expected to start the ball rolling. The independents maintain they will not start duals, and other circuits make the same statement. However, when B. & K. gets the twin bills operating in their other theatres it is expected that one by one, or in groups, the other theatres will fall in line with the dual program idea merely as a matter of protection. V The New Capitol theatre in Canton will be opened the 24th of this month. The the- atre has been entirely remodeled at a cost in excess of $50,000. V By using the General Film Laboratories Paramount News was able to release specials on Sunday for their midwestern territory on the football games between Northwestern and Minnesota and Notre Dame and Ohio State. V The Chicago Amusement Publicists Asso- ciation will have new quarters within the next few weeks. Arrangements have been made for additional space in the Sherman hotel and the new headquarters will include a bar, card room and assembly room. The dance to be held Thanksgiving eve at the grand ballroom in the Sherman, with Ina Ray Hutton and her Melodears presid- ing, is one of the many functions planned for the season. V Several weeks ago the Chicago Tribune sent a crew to Hollywood to make pictures with a special color still camera which the Tribune owns. This crew was instructed to get pictures of the reigning film celebrities for use in the color roto section of the paper. The pictures are now appearing in the Sunday Tribune. V Bill Robson, Hollywood film writer, is here directing the "Then and Now" show for Sears-Roebuck and Company, which is broadcast every Thursday night over the CBS-WBBM network. V Among the arrivals via the Santat Fe this week were Louis Milestone, Richard Dix, and Victor Jory. Frances Drake took the Chief on her trip back to Hollywood, where she is to start work on a new Paramount picture. A Chicago theatres made special efforts this week to supply their patrons with elec- tion news as it came over the wires on Tuesday evening. Late shows were held, and radio bulletins and news wire reports were flashed to the patrons at regular intervals. V The Goldblatt department stores are the latest group to be interested in Bank Night. The chain has ten stores, including the new- ly acquired loop store formerly operated by the Davis Company. If the plan is adopted there will be a prize of $1,000 weekly. If the winner is present or has made a pur- chase at any of the stores during the day he wins the award, otherewise it is carried over until the following week. V The Warner Avalon theatre is the first to have the new RCA sound equipment. All Warner theatres are being re-wired and equipped with the new RCA sound units. V Sara Phillips, cashier at Aaron Jones' Woods theatre, has just completed thirty years of continuous ticket selling for Mr. Jones, in return for which he surprised her with a check for $500 and a four week trip down south with pay. Hollywood Newsreel Planned Hollywood Newsreel, Inc., has been formed by Erman Pessis and William Klein to produce 26 one-reel subjects, all dealing with news of Hollywood, and will be re- leased every other week. Mr. Klein will have charge of production. McCoy To Make Eight Films Tim McCoy, western star, has started work on a series of four outdoor features and four G-Man productions to be distrib- uted through Imperial Distributing Cor- poration. Imperial has contracted with RCA for the use of High Fidelity sound in all future productions. Havrilla Signed as Commentator Universal has signed Alois Havrilla, radio announcer, as commentator for its "Stranger Than Fiction" series of short subjects made under the supervision of Charles Ford. Harold Winston, stage and dialogue direc- tor for Columbia, has been delegated by the studio to go to New York to organize a new talent department at the home office. nniERicn CPCDIIP " *e9v so-- «v <><> 0e fit REPUBLIC PICTURES w 11. 0* •fa® o9 t*e9 sy^A vXos*°' ^ k\\o9 KAY prop So Ad Co° op ,O0 Ao^OY V « 9* 9°5* ?tesv Rep Conceived by FRANKLIN D. ROOSEVELT and written for LIBERTY MAGAZINE by RUPERT HUGHES • SAMUEL HOPKINS ADAMS* ANTHONY ABBOT . RITA WEIMAN S.S.VANDINE JOHN ERSKINE henryWILCOXON betty FURNESS and a brilliant cast Directed by PHIL ROSEN Screen play by Lester Cole and Nathanael West • Musical Settings by Hugo Riesenfeld Produced by NAT LEVINE A REPUBLIC PICTURE 70 Kolbe Quits GN As Pathe Sells Its Holdings Pathe Exchange, Inc., has disposed of its stock holdings in Grand National Pictures, ending the interest it has had in the new motion picture company since its formation, following the resignation from the Grand National board of directors of Frank F. Kolbe, a director and former president of Pathe, according to Motion Picture Daily. The company's Grand National holdings were disposed of in the open market over an extended period of time, it was said. A large block of Grand National stock was issued to Pathe on the formation of the new picture company in return for Pathe's interest in First Division Exchanges, which was taken over by Grand National. Pathe's liquidation of its First Division and now of its Grand National holdings has been in line with its declared policy of withdrawing from production and distribution interests to con- centrate on its laboratory operations. Ar- rangements were completed recently by Pathe for the retirement, as well, of obliga- tions of the Van Beuren Corporation which it holds. Mr. Kolbe said that he would continue on the Pathe board, but would devote less time in the future to actual film work than here- tofore. He is identified with the brokerage firm of Young and Kolbe. He resigned the presidency of Pathe several months ago after occupying that position for about three years and was succeeded by O. H. Briggs. Samuel Tauber Sues Vocafilm and Hochreich A $100,000 suit alleging fraud and deceit was filed Monday in the New York supreme court by Samuel Tauber against Vocafilm Corporation of America and its president, David R. Hochreich. The complaint charges that in December, 1935, Mr. Hochreich rep- resented to Mr. Tauber that he was presi- dent of Vocafilm and that "he was working on a plan for organization of a company to be known as the Exhibitors' Franchise Corporation, which was to take in several other film companies. Mr. Tauber charges that Mr. Hochreich further represented that he was to become president of this new corporation in addition to securing for Vocafilm a settlement of the $5,500,000 suit which is pending against American Tele- phone and Telegraph, Western Electric and Electrical Research Products, Inc. He fur- ther states that he had a three-year contract calling for $500 a week compensation and that he performed services up to last June 16, but received no compensation. Companies' Officials Attend Universal Club Banquet First public social function to be con- ducted by the "new Universal" was the an- nual Universal club dinner dance held Mon- day night at the Waldorf Astoria in New York at which virtually all of Universal's executive personnel were at hand, and many officials of other motion picture companies. MOTION PICTURE HERALD IN THE NEWSREELS HEARST METROTON E NEWS— No. 212, Vol. 8.— Nation hails Jubillee of Miss Liberty .... Molhson hops for new ocean record Landon invades East in campaign finale The Sweepstakes winners are in again Metrotone Snapshots: 1— Outsider cap- tures New England Futurity classic; 2— Leather- necks display expert drilling. HEARST METROTONE NEWS— No. 213, Vol. 8.- Timely sidelights on Europe today Seamen's strike paralyzes shipping Snapshots: 1 — How mines blow up; 2 — Fordham honors Papal envoy Great Minnesota upset at last Election extra. MOVIETONE NEWS— No. 14, Vol. 19.— World Events: 1 — President Roosevelt at Statue of Liberty ceremonies; 2 — Al Smith welcomes Governor Landon; 3— Train accident in New Jersey; 4 — France unveils monument to Alsace war dead; 5— Hitler calls "class of 1914" to colors Beauty hints for dogs Molli- son takes off on Atlantic hop Sport flashes Lew Lehr interviews sweepstakes winners. MOVIETONE NEWS— No. 15, Vol. 19— Election spe- cial Fordham honors Cardinal Pacelli Earth- quake in Italy Bureau of Mines inspects mine blasts Britain launches first of 29 airliners.... Battle fought at Oviedo, Spain. Mussolini's son-in- law calls on Hitler in his mountain retreat Ford- ham-Pittsburgh tie, Northwestern beats Minnesota. PARAMOUNT NEWS— No. 25— Britain gets stronger Navy; War games on Paris says: "Paint your hair, girls" New method makes flax American crop Sir Oswald Mosley talks following riots New dictatorship hailed in Austria President Roosevelt honors "Miss Liberty" Sweepstakes winners. PARAMOUNT NEWS— No. 26— Fox hunters ride to hounds in Virginia Shipping tied up as 37,000 workers strike Rain-proof bike sensation in Eng- land... .Belgians riot as the king holds review Upsets mark exciting day on gridiron Election special. PATHE NEWS— No. 29, Vol. 8.— Statue of Liberty honored on 50th birthday Mollison on fourth ocean hop. . ..Napoleons of football Sweepstakes winners tell how it feels to win Reaping Reward wins New England Futurity. PATHE NEWS— No. 30, Vol. 8.— Highlights of win- ning candidate's public career Candid camera shots of next President in his office, at home, with f amily .... "Armed Peace" — Mussolini Fordham University honors Cardinal Pacelli Dynamite digs ditch. UNIVERSAL NEWSPAPER NEWSREEL— No. 506, Vol. 8.— Miss Liberty has birthday ... .300,000 back Austria's dictator. .. .Plays Chopin with elbows.... Midget puts punch in law Cops stunt for Musso- lini....Ten girls split sweeps win. .. .Mollison starts ocean hop. ...Peaches knock off apples. .. .Treasure hunting apparatus. .. .Pilot takes family along. UNIVERSAL NEWSPAPER NEWSREEI — No. 507', Vol. 8. — Strike paralyzes shipping Italian quake kills scores Blazing ship makes harbor Science fights mine blasts Fordham honors Papal aide National Hunt Meet in England Minnesota loses, Fordham-Pitt tie, Dartmouth wins One killed in railroad wreck Duce shows might of tanks.... Girls take over community ... .Wins fastest pianist title. Warner Stockholders To Meet December 14 Warner Brothers have set December 14 as the date for their annual stockholders' meeting in Wilmington, Del. Five direc- tors will be elected at that time. Those whose terms expire are : Samuel Carlisle, Stanleigh P. Friedman, Charles S. Guggen- heimer, Sam E. Morris and Morris Wolf. All are expected to be renamed for another three years. Ivan Culbertson, Joseph Hazen and Mr. Carlisle have been empowered to act as a committee for the representation of proxies. The annual financial report for the fiscal year ending August 29 will be completed about November 15, according to a letter to stockholders and signed by Robert W. Per- kins, secretary. Breen New York Bound Joseph I. Breen, Production Code Ad- ministrator in Hollywood, is on his way to New York by train to confer with eastern executives of the Motion Picture Producers and Distributors of America, Inc. November 7, 1936 JVilcox Production Costs at 5 Million For 14 Pictures Herbert Wilcox, executive producer of General Films Distributors of London, re- leasing agent of Universal Pictures in the British Isles, announced on his arrival in New York this week that he plans to make 14 features for his 1936-37 program at a total cost of $5,000,000. Mr. Wilcox is in New York to confer with Charles R. Rogers, executive producer of Universal, on interchanging talent and to arrange for the distribution of his pictures in this country. Mr. Wilcox will also confer with R. H. Cochrane, president of Universal and with J. Cheever Cowdin, chairman of the board. He brought over with him from England prints of "The Three Maxims," in which Anna Neagle is starred, "London Melody," "The Navy Eternal," featuring H. B. Warner and Richard Cromwell, and "This Will Make You Whistle," starring Jack Buchanan. The pictures are part of his 1936-37 program. Accompanying Mr. Wilcox was G. C. Woodham-Smith, counsel for General Film Distributors. Herschel Stuart Is Consolidated Manager Herschel Stuart has joined Consolidated Amusements, New York circuit operating a number of neighborhood houses, as general manager to relieve Laurence Bolognino, operating head, of duties in the field. For eight years, Mr. Stuart was chief aid to Harold B. Franklin at Paramount, for four and a half years general manager of Fox Poli and in 1933 he joined RKO as general manager of circuits. He made a survey for Paramount in 1934 and in the same year became publicity, advertising and exploitation head for Columbia. Within the past year he has handled a few shows for Al Rosen, Hollywood producer. NBC Holds Television Demonstration in East National Broadcasting Company is to demonstrate television in New York this Friday. The test comes right on the heels of the inauguration of daily television broadcasts in London at the Alexandra Pal- ace Television Service. The NBC engineers for several months have been experimenting and "building" pro- grams for television and they plan to reveal their technique in the Friday test, using the 10-kilowat transmitter atop the Empire State Building to flash the televised pro- grams to Radio City receiving sets. Rolsky Files Appeal In Conspiracy Action Emanuel Rolsky and seven independent exhibitors have filed an appeal in Kansas City from the verdict in their conspiracy suit against Fox Midwest and major distributors. The case was decided in favor of the de- fendants on August 5 in the federal court there. THE FIRST LINKS in A Hew CHAIN OF NATIONAL EXCHANGES IMPERIAL PICTURES 630 Ninth Avenue NEW YORK CITY 12 Piedmont Street BOSTON, MASS. 134 Meadow Street NEW HAVEN, CONN. 440 N Illinois Street INDIANAPOLIS, IND 1225 Vine Street PHILADELPHIA, PA. 831 S. Wabash Avenue CHICAGO ILL. 3317 Olive Street ST. LOUIS, MO. 6 3 7 N. Seventh Street MILWAUKEE, WIS. 130 W. 18th Street KANSAS CITY, MO. Film Exchange Building CLEVELAND, OHIO 2310 Cass Avenue DETROIT' MICH. 309 Vance Building SEATTLE, WASH. THE INDUSTRYS BLESSED-EVENT 729-7th Avenue NEW YORK CITY 30 FROM IMPERIAL 72 Argentine Group May Build Studio Near Montevideo by PAUL BODO in Montevideo A production industry for Uruguay is en- visioned as a result of a recent visit here of Jorge Mendez Delfino, owner of a large studio in Buenos Aires, and Amador Fehu, technical manager, to study local conditions with a view to building a studio and labora- tory here. Local authorities have gone more than halt way to meet Delfino's proposal in the matter of franchises, since his would be the first produc- tion studio in the country. It is claimed that weather conditions here are superior to those in Argentina, resembling the climate of south- ern California, and production costs are expect- ed to be lower than in other production centers. V Teatro Albeniz, former legitimate house, has been transformed into a second run film house, operated independently. The lease on the house has been bought by the Glucksman circuit, which plans to replace the theatre with a modern house to be called Radio City, to seat 1,000, and using American equipment. The house is only a block away from the new Cine Metro. V Juan V. Porta and Francisco Hermann, rep- resentatives for Republic, have opened a new office here. They are handicapped by the fact that all circuits virtually have completed their release schedules. The two also are agents for Screeno, and plan to introduce the box office stimulant into local houses. V Unusual success accompanied the presentation of the French picture "Lucrecia Borgia" in Cine Ariel of the Glucksman circuit. Box office re- turns reached the top; in two daily perform- ances the house was sold out. The result is due partly to the really artistic value^of the picture, and principally to the fact that "Lucre- cia Borgia" is quoted apt only for adults. The obligatory mention "pelicula no apta para me- nores"— not apt for minors— appearing only exceptionally on our programs, was exploited by Mr. Nebio Caporale Scelta, publicity man- ager of the Glucksman theatres. V In the fourth week after the opening, the new Cine Metro is operating satisfactorily. After opening with "Melodias del Broadway 1936" (Broadway Melodies of 1936), "Anna Karen- ina," "Rose Marie," "Historia en dos Ciudades" (A Tale of Two Cities), followed. To be shown are: "Motin a Bordo" (Mutiny on the Bounty) and "Dos fusileros sin balas" (Bonnie Scotland). As MGM pictures had been withheld from this market this year for the opening of their own house, stars of exceptional drawing power, not seen by our public for a year, are appearing for the first time on a Montevideo screen, backed by an unusual publicity campaign. MGM publicity covers daily papers, weeklies, broad- casting stations and even street cars. Cine Metro mails the weekly program regularly to thousands of addresses. Twentieth Century-Fox presents its produc- tions in the Cine Mogador, first run house of Delmaur Ltd. It is reported that Twentieth Century-Fox, under a recent arrangement be- tween the two companies in New York, will re- lease some pictures in Cine Metro, but accord- ing to M. Smith, manager of MGM of Uru- guay, Inc., no definite decision in this matter has been made. MOTION PICTURE HERALD A job for the cameraman. Shoot- ing a scene of "Port Arthur", Czecho- slovakian production, starring Adolf Wohlbruck and Danielle Darrieux, and most ambitions screen undertak- ing at the mountain studios in Fragile. Greatest Czech Picture in W irk by HARRY KNOPF in Prague ATOP the Barrandov mountain, to which Prague clings, the studio center of Czechoslovakian film production was erected some years ago. Here have been produced many pictures which have found their way around the world, such as "Ecstasy," "Ma- rysa," "Janosik," "Stefanik" and "Golem." And here, now in full activity, the producer trio, Emil Lustig, Pierre O' Connel and Nicholas Farkas, are working on the most ambitious picture ever attempted in this country, "Port Arthur." It is to be made in three versions, English, French and German, at a cost expected to reach $750,000. Based on the wellknown book of Pierre Frondaie, "Port Arthur" is the story of the heroic defense of the last Russian Fort, Port Arthur, known from the Russo-Japanese war in 1904. The romantic element is the great love between a Russian officer and a Japanese girl, with the conflict theme of love versus patriotism. Adolf Wohlbriick,, famous German actor, who plays the chief role, is to leave in a short time for Hollywood, where he is under contract to RKO. Danielle Darrieux is Youki, the Japanese girl. Nicholas Farkas, for years a cameraman, is directing, after such successes as "La Bataille" and "Vari- ete," with Annabella. Two versions are in work, the French and German, while preparations are under- way for reproducing the picture in England this month with a complete English cast. Otto Heller will again be behind the camera. Mr. Lustig's plan of production in England is aimed directly towards the American market. In the scenario a close parallel has been drawn between the fate of the Fort and of Boris and Youki. Interiors will have been taken in a few more days and the staff will leave for Bul- garia for the exterior shots. The Bulgarian government has assigned 16,000 soldiers for the climactic battle. November 7, 1936 Rentals Abroad Seen Higher for Native Products by J. K. RUTENBERS in Berlin Foreign productions are generally sold at smaller rental figures than are charged for domestic pictures in practically all European countries, it is indicated by a survey of dis- tribution details in 17 countries adhering to the International Association of Cinema Proprietors. The general trend throughout Continental Europe, the study indicates, is in favor of the selling of pictures on a percentage basis, the flat rental method being used for the most part only in the case of minor houses and theatres in outlying country districts. Percentages range on the average from 20 to 50 per cent. A specific average is approximately 30 per cent. In France, Ger- many and Italy there is no differentiation between domestic and foreign product as far as rental figures are concerned. In Estho- nia, Luxemburg and Yugoslavia there is virtually no domestic production, the the- atres in general showing about half Euro- pean films and half American product. Switzerland has a minimum rental, stipu- lated by the renters' association, of 100 francs, no matter what the size of the house may be. In many cases percentage figures are computed on the basis of the theatre's total income before the deduction of the en- tertainment tax, which in many cases is quite severe. In Germany, Poland and Nor- way, however, the percentages are computed after the deduction of the tax. In Finland on domestic product as high as 50 to 60 per cent goes to the distributor, owing to the Federal law which exempts domestic product from any form of taxa- tion. In France films are rented almost entirely on the basis of quality of product, which makes for a wide range of rental figures, dictated to a large extent by supply and de- mand. The range is from 25 to 50 per cent, with the average approximately 40 per cent. In the small country of Luxemburg films are rented exclusively on a flat rental basis. German product, being the most popular, brings as high as 12,000 francs per house, with other films drawing onlv half as much. Joins Philadelphia Paper Arthur B. Waters, former drama critic on the defunct Public Ledger, has taken over the drama and film critic's position on the Philadelphia Gazette-Democrat, German newspaper. Taylor with National Screen Harry Taylor, district manager and Kan- sas City exchange manager for Columbia, leaves next week for the Pacific coast, where he will manage the entire Western slope area for National Screen Service. Dissolve Eastman Branch A certificate has been filed in Albany, N. Y., dissolving the corporate existence of Verichrome Films, Inc., Rochester, East- man Kodak subsidiary. RECORD BREAKER EIGHTEEN months ago Eastman Super X Film was introduced as a special film for a special purpose. Today it stands as the world's leading all-purpose negative. Breaker of records, it is a notable contri- bution to a record-breaking era in the motion picture industry. Eastman Kodak Company, Rochester, N. Y. (J. E. Brulatour, Inc., Distributors, Fort Lee, New York, Chicago, Hollywood.) EASTMAN SUPER X PANCHROMATIC NEGATIVE PASTEUR SAYS EMANUEL PUBLICATIONS EDWARD L. ALPERSON presents ^'es^as /pv,*h the SL Skewing nft/''^' *£• b««dinJ nVS.0' Modern Mr' doS??ts' thai Slfif panSm? nave m.™° y°ui* n»#JL"r>9*femfH& *™ IAN KEITH • TALA BIRELL FERDINAND GOTTSCHALK • SUZANNE KAAREN ROLLO LLOYD • WARREN RICHMOND • ROBERT WARWICK IsfifrW^TISranE a B. F. ZEIDMAN production Story and Direction by KARL BROWN Musical Setting Conceived and Directed by HUGO RIESENFELD A GRAND NATIONAL PICTURE November 7, 1936 MOTION PICTURE HERALD 75 WHAT THE PICTURE DID FOR ME Columbia MINE WITH THE IRON DOOR, THE: Richard Arlen, Cecilia Parker— This picture pleased 90 per cent of patrons. A swell little program picture with an open atmosphere. Did fair; above average for Tues- day and Wednesday run. Running time, 66 minutes. Played September 29-30.— C. J.. Hubley, Jr., Cameo Theatre, Tallulah, La. Rural and small town pat- ronage. SECRET PATROL: Charles Starrett, Finis Barton —Very good. Our western fans think young Starrett is a comer. Business slightly above normal. Played October 10.— C. W. Mills, Arcade Theatre, Sodus, N. Y. Family patronage. THEY MET IN A TAXI: Chester Morris, Fay Wray — Just another program picture that was helped out by Stander as ''Fingers." That was the high point of the picture. — A. E. Hancock, Columbia Thea- tre, Columbia City, Ind. General patronage. 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 Rockefeller Center, New York bard, Fred MacMurray — For some unknown reason, we had light business, but this was no fault of the picture. We can recommend it without reservations. Played October 21-22.— C. W. Mills, Arcade Theatre, Sodus, N. Y. Family patronage. TIMOTHY'S QUEST: Dickie Moore, Eleaaore Whitney, Virginia Weidler — A very good family pic- ture. Running time, 73 minutes. — P. G. Held, New Strand Theatre, Griswold. Iowa. General patronage. TRAIL OF THE LONESOME PINE, THE: Henry Fonda, Sylvia Sidney — Our first Technicolor that really clicked. Wanger was sure Santa Claus when he released this one. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. 13 HOURS BY AIR: Fred MacMurray, Joan Ben- nett— This turned out to be a very fine show. Seemed to please nearly 100 per cent. Business above aver- age. Running time, 78 minutes. Played September 9-10.— P. E. Braun, Cairo Theatre, Cairo, Neb. Vil- lage and rural patronage. First National TRAILIN' WEST: Dick Foran, Paula Stone— Up to this one my patrons have not cared much for the Dick Foran Westerns. However, the star is improv- ing with each picture and there were many compli- ments on "Trailin' West." The story is excellent and there is enough action to make it a splendid feature for a double bill. Just a few more as good as this and Foran will build up a following. Running time. 56 minutes. Played October 22-24.— William Powell, Lonet Theatre, Wellington, Ohio. Small town and rural patronage. Grand National IN HIS STEPS: Eric Linden, Cecilia Parker— Leav- ing all its mediocre achievements of the past behind and selecting "In His Steps," the most widely read book in the U. S. as the base for its first motion pic- ture production released under a new banner, "Grand National," formerly First Division and subsidiaries, have announced its entrance into the category occu- pied by the foremost major producing companies. Preview audiences here have acclaimed "In His Steps" as one of the finest films exhibited in this territory during the fiscal year. Many women, as well as men, were in tears during the tender and more touching scenes while the timely injection of amusing comedy was met with hearty laughter. Cecilia Parker and Eric Linden are admirably matched as the young lovers and their individual histrionic renditions pro- claim a bright future while the acting of the finest aggregation of supporting players cannot be over- looked for the splendid parts they played in making "In His Steps" a truly fine and most successful production. Exhibitors will particularly notice the startling change that has taken place in the direc- torial as well as the technical status of the first pro- duction under the new banner. Gone is the poor direction. Gone is the poor fog-like photography. Gone are the poorly illuminated settings, while in their places we find clear and clean-cut photography upon beautiful settings; clear, even, undistorted sound, all under capable and masterful direction of Karl Brown. Compliment should be forwarded to Grand National for its grand effort to produce bigger and better pro- ductions, and sincerely hope all future releases can compare or better their first and it will not be long when exhibitors shall heed the progress of Grand National. Grand National has made a "Grand" start. Business good. Running time, 80 minutes. — William Dabb, Lyric Theatre, Shenandoah, Pa. General tat- ronage. Metro-Goldwyn-Mayer BOHEMIAN GIRL, THE: Laurel and Hardy-A good Laurel and Hardy to above average business. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. DEVIL IS A SISSY, THE: Freddie Bartholomew, Jackie Cooper, Mickey Rooney — All three boys were great in their roles, as were all the others. It is a swell picture regardless of the title. Ian Hunter, Peggy Conklin and Jonathan Hale were all good, especially the latter as the judge. Intelligent portray- als of the roles and also the directing made the pic- ture, as it does so many of them. — A. E. Hancock, Columbia Theatre. Columbia City, Ind. General pat- ronage. KELLY THE SECOND: Patsy Kelly, Pert Kelton — Good rowdy fun to average business. Running time, 7 reels.— E. C. Arehart, Princess Theatre, Ode- bolt, Iowa. General patronage. MURDER MAN, THE: Spencer Tracy, Virginia Bruce — A swell show for a regular program. Very interesting and in every way entertaining. .Good for Friday and Saturday. Running time, seven reels. Played October 23-24.— Rudolf Duba, Royal Theatre, Kimball, S. D. Small town patronage. PETTICOAT FEVER: Robert Montgomery, Myrna Loy — I would class this as a little above an average programmer. The stars both draw fairly well here. Played September 19-20.— P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. SMALL TOWN GIRL: Janet Gaynor, Robert Tay- lor— It seems that when the title contains the words "small town" or "farmer" business is good. This drew better than any picture for several weeks. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. SPEED: James Stewart, Wendy Barrie — A very in- teresting picture showing the testing of automobiles at the factory. The automobile races were very thrill- ing and interesting. Running time, 72 minutes. — P. G. Held, New Strand Theatre, Griswold, Iowa. General patronage. SPEED: Wendy Barrie, James Stewart — One of the best action pictures we have played in some time. It's worth playing and should do extra business. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. Paramount ARIZONA RAIDERS, THE: Buster Crabbe, Mar- sha Hunt — This is the finest little western we have played for some time. Quite a bit of comedy in it and a slambang ending. Even the women enjoyed this one. Played September 16-17. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. EARLY TO BED: Charles Ruggles, Mary Boland— An average comedy programmer. No entertainment. Played September 12-13.— P. E. Braun, Cairo Thea- tre, Cairo, Neb. Village and rural patronage. GENERAL DIED AT DAWN, THE: Gary Cooper, Madeleine Carroll — Different and pleased all who came in. Running time, 98 minutes. Played October 19- 20.— Wilbur V. Cole, Park Theatre, Dexter, Me. Small town patronage. MOON'S OUR HOME, THE: Margaret SuIIavan. Henry Fonda — Pretty good program picture that did poorly at the box office. Margaret Sullavan has never made money for us. Running time. 83 minutes. — P. G. Held, New Strand Theatre, Griswold, Iowa. General patronage. POPPY: W. C. Fields, Rochelle Hudson— Good pro- gram picture that kept the audience laughing all through the show. Running time, 73 minutes. — P. G. Held, New Strand Theatre, Griswold, Iowa. General patronage. PRINCESS COMES ACROSS, THE: Carole Lom- Republic HEARTS IN BONDAGE: James Dunn, Mae Clarke —As well produced as any of the majors' produc- tions. Production of historical value to school child- ren; of interest to all classes. Good action and dual romance.— C. J. Schultz, Orpheum Theatre, Tremon- ton, Utah. General patronage. OH, SUSANNA: Gene Autry, Frances Grant— The best Autry to date. Business above average. Autry building all the time. We have established a good following for the Autry pictures. — C. J. Schultz, Orpheum Theatre, Tremonton, Utah. General pat- ronage. THREE MESQUITEERS: Ray Corrigan, Kay Hughes — By far the best audience appeal of any horse opera in years. Syd Saylor is in a class by himself as a comedian. Excellent audience reaction and ex- cellent business.— C. J. Schultz, Orpheum Theatre, Tremonton, Utah. General patronage. RKO Radio BIG GAME, THE: June Travis, Philip Huston- Dandy football picture. Played midweek in special hookup with local football team to good business and audience reaction. Running time, 8 reels— E. C. Are- hart, Princess Theatre, Odebolt, Iowa. General pat- ronage. EX-MRS. BRADFORD, THE: William Powell, Tean Arthur— Terrible flop at the box office. Played Sep- tember 26-27.— P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. FARMER IN THE DELL, THE: Fred Stone, Jean Parker— A pleasing picture for any rural community. —P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. IN PERSON: Ginger Rogers, George Brent— In spite of a rainy night, we did very well in the matter of attendance. Most of the audience enjoyed the feat- ure, although some expected Ginger Rogers to do more singing and dancing. The picture really was good. Played October 17.— C. W. Mills, Arcade Theatre, Sodus, N. Y. Family patronage. LAST OUTLAW, THE: Harry Carey, Hoot Gib- son—This is my idea of what a good western should be. An interesting story, excellent cast, comedy relief and superb direction. With good crops in this section the farmers are coming back to picture shows and they are hungry for good westerns. If an exhibitor could promise his patrons splendid westerns like this one and "Powder Smoke Range." he could soon build back the oldtime Tom Mix crowds on the weekends. Running time, 70 minutes. Plaved October 1-3.— William Powell, Lonet Theatre, Wellington, Ohio. Small town and rural patronage. LET'S SING AGAIN: Bobby Breen. Henrv Armetta —Pretty good program picture. The singing by Bob- by Breen was not clear enough to be appreciated by the audience. Running time. 72 minutes.— P. G. Held. New Strand Theatre, Griswold, Iowa. General pat- ronage. MARY OF SCOTLAND: Katharine Hepburn, Fred- ric March — Seemed to satisfy everybody and pleased 76 MOTION PICTURE HERALD November 7, 1936 some. More for class audiences. Running time, 123 minutes. Played October 23. — Wilbur V. Cole, Park Theatre, Dexter, Me. Small town patronage. MUMMY'S BOYS: Wheeler and Woolsey— Here's a dandy feature for a double bill. One of the best that Wheeler and Woolsey ever made. The laughs are well spaced and even the story is fairly good. If your audience likes this pair of comedians you may rest assured that this feature will give good satisfaction. Running time, 69 minutes. Played October 18-20. — William Powell, Lonet Theatre, Wellington, Ohio. Small town and rural patronage. MURDER ON THE BRIDLE PATH: Helen Brod- erick, James Gleason — A rather mediocre murder mystery that did normal business. Should be double billed. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. SWING TIME: Fred Astaire, Ginger Rogers— Astaire and Rogers still making shows that the public will go for and come to see. Pleased everybody. Running time, 103 minutes. Played October 21-22. — Wilbur V. Cole, Park Theatre, Dexter, Me. Small town patronage. Twentieth Century-Fox CAPTAIN JANUARY: Shirley Temple, Guy Kib- bee, Slim Summerville — I think this is the best Tem- ple we have played to date. As usual, business was very good. You can depend on Shirley for that.-- P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. CHARLIE CHAN AT THE RACE TRACK: War- ner Oland, Helen Wood — With ideal set-up and con- ditions the film gave us the lowest Chan gross of any of this series of pictures. Running time, 7 reels. — E. C. Arehart, Princess Theatre, Odebolt, Iowa. General patronage. COUNTRY BEYOND, THE: Rochelle Hudson, ^aul Kelly — Very good show of the North country. Buck the dog is wonderful and the cast does well also. Good scenery, plenty of snow. Good show for the hot summer days. It makes you feel cool when you can look at the snow in hot summer. Running time, seven reels. Played October 16-17. — Rudolf Duba, Royal Theatre, Kimball, S. D. Small town patronage. EVERYBODY'S OLD MAN: Irvin S. Cobb, Ro- chelle Hudson — A good program picture. However, it did nothing at the box office. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. EVERY SATURDAY NIGHT: June Lang, Thomas Beck — If the rest of the Jones Family series are as good as this I believe they will work up a certain following in small towns. Played on a double feature to above average business. — P. E. Braun, Cairo The- atre, Cairo, Neb. Village and rural patronage. FIRST BABY, THE: Shirley Deane, Johnny Downs — Excellent comedy for the whole family that pleased the majority. A number one program picture. Run- ning time. 74 minutes. — P. G. Held, New Strand Theatre, Griswold, Iowa. General patronage. GENTLE JULIA: Jane Withers, Tom Brown- Little Jane Withers is just as good a drawing name to us as Shirley Temple and in every picture she has starred in she has turned out a swell performance. Our patrons go for her big. Running time, 63 min- utes. Played October 2-3. — Emmett Lyons, Nordland Theatre, Cincinnati, Ohio. Suburban patronage. GIRLS' DORMITORY: Herbert Marshall, Simone Simon — Publicity made it pull above average, but none of the three main leads can talk plain American and patrons go out somewhat disappointed. Running time, 7 reels. — E. C. Arehart, Princess Theatre, Ode- bolt, Iowa. General patronage. HIGH TENSION: Brian Donlevy, Glenda Farrell —Only fair program picture. Running time, 63 min- utes.— P. G. Held, New Strand Theatre, Griswold. Iowa. General patronage. LITTLE MISS NOBODY: Jane Withers, Ralph Morgan, Betty Jane Hainey — Very good show. Should please them all. It brings the house to an uproar when Jane and Mary get into a fight with a crook that wants to rob Mary's home. Running time, nine reels. Played October 18.— Rudolf Duba, Royal The- atre, Kimball, S. D. Small town patronage. LITTLE MISS NOBODY: Jane Withers, Ralph Morgan — We had them standing out on the street waiting to see this one. House was filled to capacity (900 seats) one hour after box office opened. Running time, 72 minutes. Played October 17. — Emmett Lyons, Nordland Theatre, Cincinnati, Ohio. Suburban pat- ronage. PADDY O'DAY: Jane Withers, Pinky Tomlin— A good picture with an entirely satisfactory cast. How- ever, our little friend, Jane Withers, tries singing and dancing in this. It is my opinion that there are better singers and dancers than Jane. — P. E. Braun. Cairo Theatre, Cairo, Neb. Village and rural pat- ronage. POOR LITTLE RICH GIRL, THE: Shirley Tem- ple— Shirley Temple is always good for extra business, although it was not quite as large for this attraction. Gave satisfaction. Played October 14-15. — C. W. Mills. Arcade Theatre, Sodus, N. Y. Family patronage. THREE MORE JOIN REPORTING CORPS Three contributors joining the staff of exhibitors reporting to "What the Picture Did for Me" this week come from as many states. C. J. Schultz, Orpheum Theatre, Tre- monton, Utah. James N. Saunders, Avalon Theatre, Easton, Maryland. Returning to the fold after almost a year's absence is a veteran reporter to the Department : William Daab, Lyric Theatre, Shenan- doah, Pa. Read the reports of these showmen in the columns of the Department. PROFESSIONAL SOLDIER: Victor McLaglen. Freddie Bartholomew — This picture brought diversified comments, but pleased in general and did some extra business. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. RIDE, RANGER, RIDE: Gene Autry— Our first Autry and it's a real knockout, not because we have bought them, but because it's good. Plenty of action, riding, songs and music. We have played scores of worse pictures on Sundays. Running time, six reels. — E. C. Arehart, Princess Theatre, Odebolt, Iowa. General patronage. ROAD TO GLORY, THE: Fredric March, Warner Baxter, Lionel Barrymore, June Lang — A swell war picture, fine acting and good story. Did average busi- ness considering night football games. Running time, 110 minutes. Played October 22-23.— C. J. Hub ley, Jr., Cameo 'Theatre, Tallulah, La. Rural and small town patronage. STATE FAIR (RE-ISSUE): Will Rogers, Tanet Gaynor — These reissues not what cracked up to be; although we did very good business, was still fifty per cent short of his last few. Good picture; my patrons enjoyed seeing it over. Played September 24- 25. — C. J. Hubley, Jr., Cameo Theatre, Tallulah, La. Rural and small town patronage. United Artists AMATEUR GENTLEMAN, THE: Douglas Fair banks, Jr.. Elissa Landi — We double billed this with "Speed." The combination sold us out. Each picture had its followers. Recording poor. — Harland Rankin. Plaza Theatre, Tilbury, Ontario, Can. General pat- ronage. LAST OF THE MOHICANS, THE: Randolph Scott. Binnie Barnes, Henry Wilcoxon, Heather An- gel, Bruce Cabot — This was one of the few releases from United Artists during the current year that made me some money. The story is well told, the act- ing is good and the picture has a splendid box office draw. The first night was about average but word- of- mouth advertising brought the two following nights way above expectations. Many patrons remarked on how well the picture followed the book. Running time, 90 minutes. Played October 4-6. — William Pow- ell, Lonet Theatre, Wellington, Ohio. Small town and rural patronage. ONE RAINY AFTERNOON: Francis Lederer, Ida Lupino — A musical picture that gave us a surprise the first night and sorrow the second at the box office. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. Universal INVISIBLE RAY, THE: Karloff, Bela Lugosi — A show_ that keeps you guessing all the way through and it is so different that it seems a novelty to run a show of this kind. Very exciting and thrilling. Running time, nine reels. Played October 21. — Ru- dolf Duba, Royal Theatre, Kimball, S. D. Small town patronage. MAGNIFICENT OBSESSION: Irene Dunne, Robert Taylor — Excellent ! ! Photography and sound as good as we have ever run, and this, of course, serves to bring out the superb work of the cast. Tears, laughs, pathos, comedy; this one has an ample supply of each, and neatly woven in the thirteen reels is the central theme of the Lloyd C. Douglas masterpiece; i.e., that by helping others, unknown to the rest of the world, "power" is gained to accomplish one's greatest desires. It is a tribute to the picture when an audience such as ours sits in absolute silence throughout the dramatic situations and winds up with copious tears. This will rank with Universal's best of all times. Running time, 112 minutes. Played October 24th. — J. A. Reynolds, Recreational Director, New Jersey State Prison, Trenton, N. J. Prison pat- ronage. Warner Bros. GREEN PASTURES, THE: Rex Ingram— Negroes upheld business, otherwise would have flopped com- pletely. My patrons didn't care much for it; what few saw it found it to be so much different than ex- pected. Bucked Parish Fair as opposition. Played October 6-7— C. J. Hubley, Jr., Cameo Theatre, Tal- lulah, La. Rural and small town patronage. GREEN PASTURES, THE: Rex Ingram— This pic- ture pleased the ones that came in. It did not draw as was expected. Running time, 93 minutes. Played September 29-October 1. — Emmett Lyons, Nordland Theatre, Cincinnati, Ohio. Suburban patronage. TRAILIN' WEST: Dick Foran, Paula Stone— Don't pass this one up; it's a small town natural. Play it three nights, and watch it build up. It's the best western we've played in some time. When you hear Foran sing, you'll become a Foran fan at once. He should go places. Play this by all means. You'll never regret it, and you'll make new customers. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. TREACHERY RIDES THE RANGE: Dick Foran, Paula Stone, Monte Blue — Not as good as "Trailin' West." Foran's voice makes him popular with our western fans. — Harland Rankin, Plaza Theatre, Til- bury, Ontario, Can. General patronage. Short Features Columbia PAIN IN THE PULLMAN, A: Broadway Comedies — An excellent slapstick Stooge comedy. Just as crazy as ever but they like it. — C. L. Niles, Niles Theatre, Anamosa, Iowa. Educational DAME SHY: Buster West, Tom Patricola— Pretty good comedy. Running time, 19 minutes. — P. G. Held, New Strand Theatre, Griswold, Iowa. General pat- ronage. FARMER AL FALFA AND THE RUNT: Paul Terry-Toons — Don't let this one go by. Running time, six minutes. — Emmett Lyons, Nordland Thea- tre, Cincinnati, Ohio. Suburban patronage. HILLBILLY LOVE: Song and Comedy Hit— Pret- ty good. Running time, 8 minutes. — P. G. Held, New Strand Theatre, Griswold, Iowa. General patronage. HURRAY FOR RHYTHM: Song and Comedy Hits — A good single reel musical novelty. — C. L. Niles, Niles Theatre, Anamosa, Iowa. General patronage. KIKO FOILS THE FOX: Paul Terry-Toons— Just an ordinary black and white cartoon. — C. L. Niles, Niles Theatre, Anamosa, Iowa. General patronage. 19TH HOLE CLUB, THE: Paul Terry-Toons— An average cartoon. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. RAIL BIRDS: Tom Howard, George Shel ton— This is about the best comedy that these two have turned out in many months. Is sure to draw laughs from every patron. Running time, 18 minutes. — Emmett Lyons, Nordland Theatre, Cincinnati, Ohio. Subur- ban patronage. SLEEPLESS HOLLOW: Harry Gribbon— A good comedy with plenty of laughs and excitement all the way through. Running time, two reels. — Rudolf Duba, Royal Theatre, Kimball, S. D. Small town patron- age. WHITE HOPE, THE: Joe Cook— Very funny all the way through. Joe does well in his role and the laughs come easy just as soon as he hits the screen. O. K. Running time, two reels. — Rudolf Duba, Royal Theatre, Kimball, S. D. Small town patronage. Metro-Goldwyn-Mayer ALIAS ST. NICH: Harman-Ising— One of the clev- erest Happy Harmonies we have played to date. Run- ning time, one reel. — P. E. Braun, Cairo Theatre. Cairo, Neb. Village and rural patronage. BORED OF EDUCATION: Our Gang— Good. Got enough extra kids to pay its rental. Running time. 1 reel. — E. C. Arehart, Princess Theatre, Odebolt. Iowa. General patronage. FOOL PROOF: Crime Doesn't Pay Series— Our people like all these crime reels of Metro and this is no exception. — C. L. Niles, Niles Theatre. Anamosa, Towa. General patronage. November 7, 1936 MOTION PICTURE HERALD 77 LUCKY CORNER, THE: Our Gang— Another out- standing "Our Gang" comedy. These are our most popular two-reel comedies.— P. E. Braun, Cairo Thea- tre, Cairo, Neb. Village and rural patronage. MODERN TOKYO: FitzPatrick Travel Talks— A fairly entertaining travel reel. Running time, one reel._p. E. Braun, Cairo Theatre, Cairo, Neb. Vil- lage and rural patronage. NEIGHBORHOOD HOUSE: Charley Chase— A good Chase comedy depicting Bank Nite troubles. Running time, two reels. — P. E. Braun, Cairo Thea- tre, Cairo, Neb. Village and rural patronage. PERFECT TRIBUTE, THE: Chic Sale Special— This short caused more favorable comments and made a little extra business for us. However, some people read a political significance in it. Running time, two reels. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. PERFECT TRIBUTE, THE: Charles (Chic) Sale— A wonderful reel of its kind. The rental charge was too high. Running time, 19 minutes. — P. G. Held, New Strand Theatre, Griswold, Iowa. General pat- ronage. PUP'S- PICNIC: Harman-Ising— An excellent color- ed cartoon. — C. L. Niles, Niles Theatre, Anamosa, Iowa. General patronage. RACING CANINES: M-G-M Sports Parade— A swell turnout by Metro with Peter Smith as com- mentator. Good shots of dogs in slow motion. Will please all. Running time, 10 minutes. — Emmeit Lyons, Nordland Theatre, Cincinnati, Ohio. SLIGHTLY STATIC: Todd-Kelly— Oh boy, what a good comedy. Patsy Kelly sure puts it over with a bang. Plenty of laughs. Running time, two reels. — Rudolf Duba, Royal Theatre, Kimball, S. D. Small town patronage. STARLIT DAYS AT LIDO: Musical Revues— A very good musical and dancing reel showing screen and radio stars. Color good. Running time, two reels.— P. E. Braun, Cairo Theatre, Cairo, Neb. Vil- lage and rural patronage. Paramount I-SKI LOVE-SKI YOU-SKI: Popeye the Sailor— Another Popeye that made the kids noisy. They roar when Popeye shows. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. KING OF THE MARDI GRAS: Popeye The Sailor — One of the best Popeyes we have played so far. Running time, 8 minutes. — P. G. Held, New Strand Theatre, Griswold, Iowa. General patronage. POPULAR SCIENCE, NO. 1: A very good reel in colors. Reels like this take the place of a news which we do not use. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. SPINACH OVERTURE, THE: Popeye the Sailor — Not near as good as many of his other ones. Run- ning time, 7 minutes. — P. G. Held, New Strand Thea- tre, Griswold, Iowa. General patronage. YOU'RE NOT BUILT THAT WAY: Betty Boop Cartoons — An average Betty Boop. — C. L. Niles, Niles Theatre, Anamosa, Iowa. General patronage. RKO Radio CORAL ISLE OF THE ATLANTIC: World on Parade Series — Very interesting. Worth playing. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. DUMBBELL LETTERS, NO. 6: Why the exhibitor buys these reels I cannot understand. — C. L. Niles, Niles Theatre, Anamosa, Iowa. General patronage. IN LOVE AT 40: Edgar Kennedy Comedies— Ed- gar Kennedy comedy that didn't bring as many laughs as some. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. ITS A GREEK LIFE: Rainbow Parade Cartoons- Just a fair colored cartoon. Will get by. — C. L. Niles, Niles Theatre, Anamosa, Iowa. General patronage. MARCH OF TIME, NO. 2 (1936 Issue)— Very time- ly subject but not worth more than any other two- reeler. We will be glad when the contract runs out. Running time, two reels. — Rudolf Duba, Royal Thea- tre, Kimball, S. D. Small town patronage. MOLLY MOO COW AND RIP VAN WINKLE: Rainbow Parade Cartoons — These Technicolor series are becoming more popular. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. TROLLEY AHOY: Rainbow Parade Cartoons— Very good. Running time, 8 minutes. — P. G. Held. New Strand Theatre, Griswold, Iowa. General patronage. Twentieth Century-Fox ADVENTURES OF THE NEWSREEL CAMERA- MAN SERIES: These single reels always take. — Har- land Rankin, Plaza Theatre, Tilbury, Ontario, Out. General patronage. NIGHT LIFE IN EUROPK: Adventures of the Newsreel Camera — An "Adventures of the Newsreel Cameraman" reel showing glimpses of entertainers in Europe. Some good music and dancing. Running time, noe reel. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. WEST INDIES CRUISE: Magic Carpet Series- Fair travel reel. Very good musical score. Running time, one reel. — P. E. Braun, Cairo Theatre, Cairo, Neb. Village and rural patronage. Buy United Artists COOKIE CARNIVAL, THE: Silly Symphonies- Pretty good. Running time, 7 minutes. — P. G. Held, New Strand Theatre, Griswold, Iowa. General pat- ronage. TWO GUN MICKEY: Mickey Mouse— The Mickey and Silly seem to go over well second-run. Would advise everyone to pick them up. — C. L. Niles, NTiles Theatre, Anamosa, Iowa. General patronage. Uni versal MONKEY WRETCHERS: Oswald Cartoons— Best Oswald cartoon we have had yet from Oswald. Keep up the good work, Osie. Running time, one reel. — Rudolf Ruba, Royal Theatre, Kimball, S. D. Small town patronage. PLAYING FOR FUN: Mentone Musical Comedies — Excellent vaudeville reels. — C. L. Niles, Niles Thea- tre, Anamosa, Iowa. General patronage. Vitaphone DAY'S JOURNEY, A: Our Own United States Series — A very interesting single on Benton Harbor. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. FOR THE LOVE OF PETE: Big V Comedies- Warners' comedies are not as good as the two-reel musicals. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. I'M MUCH OBLIGED: Vera Van, George Debbs— A real smart musical, with diversified fast-moving entertainment. — Harland Rankin, Plaza Theatre, Til- bury, Ontario, Can. General patronage. LITTLE JACK LITTLE AND ORCHESTRA: Melody Masters — A very fine single that pleased everyone. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Canada. General patronage. RHYTHMITIS: Hal LeRoy, Toby Wing— This boy did some very fast dancing that appealed to both young and old.— Harland Rankin, Plaza Theatre, Til- bury, Ontario, Can. General patronage. RUSH HOUR RHAPSODY: Broadway Brevities— A weak sister. Thought it might be a Major Bowes Amateur Hour until we saw the end. Will get by in your weak spots. — C. L. Niles, Niles Theatre, Ana- mosa, Iowa. General patronage. SLIDE, NELLIE SLIDE: Big V. Comedies— A two-reel Big V. Comedy of a beautiful girl soft-ball game that seemed to take. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. SLUM FUN: Johnny Berkes, Charles O'Donnell— A real slapstick comedy on building repairs that brought the house down. — Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General patronage. Miscellaneous NEWSREEL: The intense interest in the political campaign, and there is a lot of footage being used up. is making for rowdy houses. They clap and boo and boy, I will be glad when the damn thing is settled one way or the other. Then maybe we will get some news in them again. — A. E. Hancock, Columbia Thea- tre, Columbia City, Ind. General patronage. Reri in Hollywood for Films Reri, Polynesian, last seen in this country in Paramount's "Tabu," arrives in Holly- wood November 1st, from her native Tahiti, to appear in a South Seas film. Reri has spent the last four years touring in the- atricals and appearing in motion pictures in France, Italy, Spain, Holland, Poland and Belgium. American Theatres t Theatre Site Walter Reade, who recently organized American Community Theatres, has pur- chased the first plot of ground in the pro- posed plan to build 100 new theatres in small communities. The site is at Toms River, N. J. Thomas W. Lamb, associated in the new enterprise, is now preparing specifications for the theatre, which is expected to seat around 600. Construction will be started shortly after the first of the year. Patrician Pictures Dissolves Dissolution papers for Patricia Pictures have been filed with the secretary of state of Sacramento by Emil Jensen, vice-presi- dent, and Frederick H. Stokes, secretary of the company. Burroughs-Tarzan has signed Donald Novis to an exclusive contract for four pic- tures annually for two years. The first will be "Just Another Night." rFOR...^ NEWS REELS fa Anything ym have io- ship use natifrt-wide RAILWAY EXPRESS Many a producer and exhibitor basks in the warm rays of a big reputation because he's caught on to nation-wide Railway Express day and night serv- ice to the motion-picture business. By using fast, dependable Railway Ex- press with its 23,000 nation-wide offices you can screen releases at practically any point you name, and beat the town day after day— at low economical cost. Railway Express picks up and de- livers films and equipment in all cities and principal towns without extra charge, forwards at express train speed and gives and takes receipts to prove the transaction complete. Rates include insurance up to $50 on each shipment, whether collect or prepaid. C.O.D.'s are just as fast. Prompt remittance. And for extra-special speed and last -minute releases, there's always Air Express - 2500 miles overnight, at low rates too. For service and information, phone the nearest Railway Express office. Railway Express AGENCY, INC. NATION-WIDE RAIL-AIR SERVICE "3 MOTION PICTURE HERALD November 7, 1936 OSTRERS' "B" SHARES TO MAXWELL FOR 3 MILLION Believes Delay May Be Expected in the "A" Stock Sale Due to 20th Century-Fox Claim by BRUCE ALLAN in London John Maxwell of Associated British Pic- tures is paying the Ostrer brothers £618,125 (approximately $3,000,000) for their 250,- 000 "B" or non-voting shares in the Metropolis and Bradford Trust, which con- trols Gaumont-British. Transfer of the "B" shares formally will complete the "first stage" in the operation whereby Mr. Maxwell for his company plans to obtain control of Gaumont-British. The "second stage" will be the acquisi- tion of the 5,100 "A" or voting shares in Metropolis held by the Ostrers, against 4,900 shares in the hands of Twentieth Century-Fox. Its completion is unlikely for some time, due principally to the fact that Twentieth Century-Fox is claiming that the Ostrers may not sell their "A" shares without making it a condition that at least half of the "A" shares held by Twentieth Century-Fox are also bought. Formal announcement of the terms on which the "B" shares were being transferred came from G. H. Gaunt, secretary of Asso- ciated British Pictures, who said that the Ostrers were receiving £350,000 in cash and 300,000 fully paid 5s ordinary shares of A BP. The market value of these shares is 17s lOj^d each, giving the value of £268,- 125 to the 300,000 shares transferred to the Ostrers. "Bonus" Rate Plan Voided Embodied in Mr. Gaunt's statement was an intimation that the 300,000 shares were part of the 1,800,000 unissued ABP shares which, it was announced at the annual meet- ing, were to be offered to existing share- holders at "bonus" rates (less than current market value). This promise to sharehold- ers, said Mr. Gaunt, could not now be car- ried out as it was intended to use the balance of the unissued shares "in completing this and possibly further acquisitions in the same direction." The deduction was made in trade quarters that it was planned to pay at least part of the purchase price of the Ostrer "A" Metropolis shares also in ABP ordinaries, and that there might further be a desire to use some of these shares in purchase of the Twentieth Century-Fox shares, if a deal were finally concluded with the American company. It was noted that the 1,500,000 shares remain- ing, with a nominal value of £375,000, had a market value of approximately £1,340,000, if the ruling price on the Stock Exchange was maintained in face of the increased issue. No official information was available with regard to the price to be paid by Mr. Max- well for the Ostrer "A" shares, or to the offer which he had made to Twentieth Cen- tury-Fox for its holding. It was a general rumor that the former figure was £800,000 and that to Twentieth Century-Fox an offer of £1,500,000 had been made for their "B" shares. Emphasizing the fact that all arrange- ments for the transfer of control in Metrop- olis (and therefore in G-B) to Mr. Max- well were, formally at least, tentative, was a statement from Mr. Mark Ostrer once again repeating that press stories about the deal gave a misleading impression and that the control of Metropolis and of G-B re- mained exactly as before. In Maxwell quarters the attitude remains that the completion of the "second stage" of the ABP-Ostrer deal cannot be stopped by Twentieth Century-Fox. Although the American company controls 2,186,250 G-B shares against 728,750 controlled by the Ostrers, through the respective holdings of the parties in Metropolis, it is claimed that they will be unable to prevent the Ostrers from transferring the control to Mr. Max- well. A Puzzling Situation A somewhat puzzling trade situation has been created. The repeated affirmations of the Ostrer brothers that control has not passed read somewhat strangely in com- bination with various pronouncements at- tributed to Mr. Maxwell which, if they do not assume that the control has passed in all but the legal sense, at least seem to indi- cate that its passing to him is inevitable. On the one hand he has said that he joined the G-B board because "we have now a SHORT PRODUCT PLAYING BROADWAY Week of October 31 CAPITOL Olympic Ski Champion .... MGM To Spring MGM CRITERION Don't Look Now Vitaphone Camp Meetin' RKO Radio We Drivers Jim Handy Productions MUSIC HALL Alpine Climbers United Artists PARAMOUNT Lovers' Paradise Paramount Rah, Rah, Football Paramount RIALTO How To Vote MGM Air Hoppers MGM RIVOLI Alpine Climbers United Artists Philippine Fantasy Twentieth Cen- tury-Fox ROXY Vocalizing RKO Radio Brotherly Love Paramount Sport Headliners of 1936. Educational STRAND Porky's Poultry Plant Vitaphone 20TH CENTURY-FOX TO OPPOSE OSTRER SALE Twentieth Century-Fox will with- hold approval of the proposed sale by the Ostrers to John Maxwell and asso- ciates of their 5,100 shares in Me- tropolis & Bradford Trust, holding company for Gaumont-British, ac- cording to President S. R. Kent, re- turning to New York after five weeks in England. Under terms of the trust agreement made when his company acquired 4,900 A shares of M. & B., Twentieth Century-Fox has veto right over any sales transactions conveying voting power. substantial interest in its shares" but that the no-dividend policy had been settled long before and that "we are not at present in control, either voting or administrative." On the other hand, he speaks very much as an executive in power in saying in re- gard to the G-B American organization: "My own view is that its services should be at the disposal of any British producer who has a picture which the American executives of the company consider suitable for distribution in the States," and that "I have already instructed our agent in New York to make available to the G-B distributing organization there all our pic- tures in that country." Dispelling fears that may have arisen as a consequence of the original Fox-Metro- G-B plan is his further statement that "I would regard it as a calamity should it be necessary to disband" the American G-B or- ganization. Gaumont Meeting Postponed Shareholders, at the Gaumont British an- nual meeting, succeeded in passage of a resolution that the meeting be adjourned two weeks, or until the directors can present a complete consolidated balance sheet for the company and its subsidiaries. This ac- tion followed a stormy meeting. An earlier amendment to appoint a committee of in- vestigation lost by a show of hands. "Unless we are prepared to put a part of the cost of production of world films into a development account we cannot guarantee even this year to receive back the whole of our cost," Mr. Ostrer said, while if produc- tion for the world market is discontinued the shareholders must face the alternatives of a program of inexpensive films for the home market or complete abandonment of produc- tion. "Either would make dividends cer- tain," he said, "but we would do nothing to help the foreign prestige of British films or to make the British film industry an inter- national business." This was the explana- tion for the allocation of £200,000 to a spe- cial reserve. Dixey Directors Nominated Twenty nominations have been made by provincial theatre men for the four direc- torate posts reserved for exhibitors on the board of Capt. A. C. N. Dixey's Independent Exhibitors' Distributing Company. Further exhibitor meetings in aid of the plan, or- ganized independently of the Dixey offices, were to be held in Newcastle, Nottingham, Cardiff and Bristol. About everybody and read by everybody; chit-chat about the names you know as well as your own — where they go and what they do. "Purely Personal" is the "town pump" department of Motion Picture Daily and one of its most popular features because it is attuned to the lighter side of the bus- iness. Breezy, intimate and up-to-the min- ute, it tells where who is and what who does. No exhibitor should he without it MOTION PICTURE ROCKEFELLER SUBSCRIPTION RATES $6.00 ONE YEAR CENTER $10.00 TWO YEARS NEW YORK 80 MOTION PICTURE HERALD November 7, 1936 Tribute Paid Richardson For Projection Service COSMO-SILEO PHOTO A LUNCHEON given by Martin Quigley and Quigley Publications on Thursday at the Hotel Pennsylvania, New York, concluded the round of events in "Richard- son Week," a series of tributes to F. H. Richardson, technical editor of Motion Pic- ture Herald, by theatre projectionists, equipment manufacturers and his colleagues in the motion picture trade press. At fhe speakers' table at the luncheon, at which Terry Ramsaye was toastmaster, were John Chalmers, publisher of Moving Picture World before its amalgamation with the Herald; Dr. Alfred N. Goldsmith, technological engineer and former president of the Society of Motion Picture Engineers; Walter E. Green, president of National The- atre Supply Company; W. W. Byrne, president of the American Projection Society; P. A. McGuire of International Projector Corporation; Colvin Brown, vice-president and general manager of Quigley Publications; Mr. Quigley, and the guest of honor. The events, in recognition of the 30 years of service to the industry completed on Mr. Richardson's seventieth birthday, October 25th, began with a testimonial banquet Saturday night. On Tuesday a luncheon was given by National Theatre Supply Company and International Projector Corporation. At the Wednesday luncheon the hosts were the members of th,e Pioneer Projectionists Association. Fairbanks and Goldwyn Joining for One Picture The partnership arrangement announced last week in Hollywood between Douglas Fairbanks and Samuel Goldwyn will only be for one production, "Marco Polo," Mr. Fairbanks said in New York this week. He has no definite plans at this time for addi- tional production activity beyond that one picture. Questioned as to the possible effect on "Marco Polo" of an adverse court decision for Mr. Goldwyn in the latter's litigation with Paramount over Gary Cooper, who will star in the film, Mr. Fairbanks said, "That is not my worry. Cooper's contract is sup- posed to be with Goldwyn. I haven't given the matter any thought." "Marco Polo" is budgeted now at $1,500,- 000. A director has not yet been chosen but Mr. Fairbanks will supervise the picture, for which he prepared the story from Cap- tain A. Pogson's novel. Robert E. Sher- wood is doing the screen play. Mr. Fairbanks sails for Europe this week on the Queen Mary and will return to Holly- wood after the first of the year. American Seating Not With Reade in Circuit H. M. Taliaferro, president of the Ameri- can Seating Company, writes from Grand Rapids, Mich., to deny articles which ap- peared last month in motion picture trade publications inferring that this company is about to become interested in the operation of a circuit of theatres. "Such is not the case," he declared. "We have never been, are not now, and do not expect to be inter- ested directly or indirectly in the operation of theatres. Our sole interest in connection with the theatre field, is to properly manu- facture, sell and service our product" — -the- atre seats. The appearance of executives of American Seating at a luncheon given by Walter Reade to the press to announce the forma- tion of a new community theatre circuit, to- gether with informal remarks made thereat, was construed at the time as an indication that American Seating might be interested with Mr. Reade in the venture. New Artists Bureau Formed in New York Central Artists Bureau has been formed in New York by Irvin R. Gwirtz, Sam G. Harris and Harry D. Goldberg, with offices at 1619 Broadway, to handle players, models for commercial photography or fashion shows, night club floor shows, radio pro- grams and personal management of artists. Mills Publicity Reorganized The advertising and publicity department of Mills Artists, Inc., has been reorganized under the direction of Ned E. Williams. The new staff includes Helen Oakley, special fea- tures and trade press ; Irving Hyland, metro- politan press and advertising, and Lupin Fien, out-of-town press and exploitation. Invincible Schedules Nine Maury M. Cohen, producer of Invincible Pictures, plans nine features for 1936-37. "Ellis Island," the first, is now in production with Donald Cook, Peggy Shannon and Jack LaRue heading the cast. November 7 , 1936 MOTION PICTURE HERALD 81 Or MOTION Wi- t-it-' PICTURE & O HERALD jm. MANAGERS' ROUND TABLE CLUB zAn international association of showmen meeting weekly in MOTION PICTURE HERALD for mutual aid and progress op TAKERS AND RIDERS, GIVERS AND PUSHERS One of the more active and enthusiastic members some time back in referring to readers who secure workable ideas from these pages but report little in return, called them "takers" but not "givers." And now Pat Patterson, publicist of the State and Roxy Theatres, Marshall, Minn., offers the terms "riders" and "pushers" and has this to say about it: " . . The Round Table has added many years to my ex- perience in showbusiness by compiling the experiences of veterans for my use. I cannot in any way express the regard I hold for the Round Table. It is beyond mere words. Please let me thank you for corralling all this information which I find absolutely invaluable. . . . Yes, my face is a bright scarlet when I am forced to admit that I have been a very enthusi- astic 'rider' on your department without doing anything to 'push.' I shall try to do better in the future." For the umpteenth time may we be allowed to say the suc- cess of this organization is due to the obligation that mem- bers voluntarily take upon themselves to report not too in- frequently what they are doing to put over their attractions. And if it isn't too early for New Year resolutions the erring brothers might do far worse than resolve to do their share, as Pat so well puts it, by less "riding" and more "pushing." V V V MORE FERTILE FIELDS? At lunch with a prominent out-of-town department store owner the talk turned to pictures and the executive spoke highly of a manager in his city known over the territory and farther for the successful operation of a children's theatre club with which activity the storeman cooperates to stimulate the sale of merchandise for juveniles. In fact the showman made so firm an impression by his expertness in winning the confidence of the youngsters that the executive admitted he has offered the manager an im- portant job in the children's department. The opportunities for advancement are many, the future promises real security. Whether the theatreman takes the job or not is besides the point but the offer again brings up the possibilities of success in the field of merchandising for seasoned but dissatisfied theatremen who do not see anything ahead of them in the way of advancement. Much of the present day technique of merchandising pro- motion stems directly from the methods inaugurated by the- atremen who spread the gospel by their successful tieins with merchandisers. The business of retailing until a comparatively few years ago was conducted along colorless conservative lines and a lot of today's general razzle-dazzle in store advertising and promotion was taught to shrewd retailers by exploitation- conscious showmen. It is not surprising therefore that the man who by instinct and training knows how to focus boxoffice attention upon his wares is regarded as sound timber for executive training in other lines dealing with the same masses and classes. The beckoning finger of opportunity may be of little con- cern to showmen who are making actual progress and who look forward with reasonable assurance of getting somewheres. But, convinced they are making no headway, those who have the equipment and, more important, the opportunity are not to be scorned for looking upon offers to sell their savvy in more fertile fields. V V V WELL WORTH CHEWING UPON The drives for business usually inaugurated in the early Fall with Greater New Season and similar campaigns speed merrily on their way up to around Thanksgiving which signals the com- pletion one might say of the first lap in the theatre year's Box- office Futurity. At that point the manager takes a hitch in his galluses, gets his second wind and sets out on the second lap at a fast pace to get his slice of the holiday money that folks are saving for Christmas. Shopping money already earmarked by anticipatory merchants for this year's Yuletide season is expected to reach an even higher amount than the most optimistic of totals. Which of course means business for the theatre as well — but not without fighting for a fair share. The fact that folks have more to spend for gifts this Christmas can also mean they will be inclined to spend more time in shopping and less in the- atres. An old-timer once said that the more Yuletide money there was in circulation the harder and more intelligently a manager had to work to keep up his pre-holiday grosses. The state- ment may not necessarily be a truism but it certainly contains plenty of food for thought. 82 MOTION PICTURE HERALD SHOWMEN'S LOBBY LAFFS This cartoon was created by Club Cartoonist Mill Rosenfeld. Press Agent: This is Leo the Lion; we're making a good will tour. Universal News Cameraman Covers "Heart" Opening The many top-line celebrities on hand at the New York Criterion for the opening of Republic's "Follow Your Heart," singer Marion Talley's first picture, were pictured by Universal newsmen as they entered the house, the stunt crowding the Broadway block in gala premiere fashion. Also of in- terest was banner covering front of entire building. Size was 200 feet by 22 wide spotted with giant oil paintings. Shadow- boxes with color enlargements featured the front display at the theatre. 2C0-Foot Banner at the New York Criterion Windows in smart spots were also ar- ranged by publicist Arthur Jeffrey for tieins on the music in the picture. Counter dis- plays were featured by department stores. On Marion Talley's radio program, mention was made of the picture and hit tunes played by top orchestras. "Have You Contributed Lately?" Flowered Float Sells "Swing Time" for Mensing A neat tieup was engineered for "Swing Time" by Charlie Mensing, Empress The- atre, Owensboro, Ky., with local florist who got up a beautifully flowered float which toured the streets for several days. Float was arranged with a swing completely cov- ered with flowers in which a boy in top hat and tails was swinging a pretty girl a la Rogers. Three-piece colored band almost entirely hid by flowers furnished the music and truck was well bannered. Small swings were erected in each school yard and in two of the public parks, all carrying signs plugging the picture. And another highlight of Charlie's campaign was a gas-filled balloon anchored to the top of the theatre and properly spotlighted, from which was hanging a swing in which a dummy dressed like Rogers attracted con- siderable attention. While the balloon itself was safely anchored, the swing flew back and forth, in the balmy Southern breezes. November 7, 1936 Steel Mills Tied To Date on { 'Brute When "The Magnificent Brute" was booked for early showing in Pittsburgh, Managing Director George D. Tyson, Alvin Theatre cashed in on the made-to-order set- ting for the picture's "steel" angle with a nifty tieup with the steel mills and metal fabri- cating plants. Tyson prepared two different cards — one, calling the workers' attention to "The Magnificent Brute" as their picture, and the other cautioning against accidents so that they wouldn't have to miss the pic- ture. These cards were tacked up on all the bulletin boards in the plants. Also outstanding in the campaign was the local working of the national Premier-Pabst beer tieup. Pittsburgh agency tacked up five hundred posters with theatre and date im- prints, on store windows, and devoted en- tire windows in three strategic spots. Local distributor of Liberty Magazine bannered his eleven trucks, using copy tying up magazine with the story "Big," from which "The Magnificent Brute" was adapted. Sylvan Leff of the Universal Home Exploitation Department assisted. "Have You Contributed Lately}" National Air Tour Arranged To Plug "Gold Diggers of '37" Starting on Nov. 15th, and set to cover 24 cities, a transcontinental air trip has been arranged by Warner Bros with American Airlines wherein studio featured players and selected girls from the chorus of the picture will visit cities in all parts of the country in advance of "Gold Diggers." Trip will be inaugurated at El Paso and stops are set for Fort Worth, Dallas, Mem- phis, St. Louis, Chicago, Detroit, Cleveland, Pittsburgh, Washington, Philadelphia, New York, Albany, Syracuse, Rochester, Buffalo, Columbus, Cincinnati, Louisville, Kansas City, Denver, Salt Lake, San Francisco and back to Los Angeles. ONLY A FEW WEEKS TO THANKSGIVING Now that the members have just about got their football tieups to clicking, it's time to give a thought or two to Thanksgiving Day and the usual stunts that go with the Turkey. Most important at least as a prestige builder is the canned goods matinee, admission being foodstuffs to be turned over to local charities. News- papers, civic organizations and lead- ing citizens are always willing to gef in line. Show is usually set for Saturday ahead with publicity started well in advance. Contributions are piled up in front of the theatre for the tradi- tional newspaper photo and, of course, theatremen will be sure to see that the divvy is made so that the various denominations are repre- sented. November 7 , 1936 MANAGERS' ROUND TABLE £3 CHARNINSKY AND LIMERICK HONORED IN FIRST DOUBLE AWARD CEREMONY The Texas showmen who won the September Quigley Award Plaques reecive their honors from Governor Allred in the State Capitol at Austin. Pictured above from left to right are Louis Novy, Interstate City Manager for Austin, Louis Charninsky, the Governor, George Limerick and "Brownie" Akers, Griffith Circuit Division Manager. Governor Allred of Texas Lauds Winners of September Quigley Plaques in Ceremony at State Capitol; Legislators Attend by A-MIKE VOGEL Celebrating the first time in the history of the Quigley Awards that both the Silver and Bronze Plaques were won in one month by theatremen in the same state, Governor James Allred of Texas, at the State Capitol in Austin, recently presented the Silver to Louie Charninsky and the Bronze to George Limerick. The honors were conferred in the executive offices of the state's chief execu- tive officer in the presence of members of both houses of the Texas legislature and of- ficials of the Interstate and Griffith's circuits, represented by the winners. Charninsky journeyed to the Capital from Dallas, where at the Capitol Theatre he cre- ated his winning campaign on Warner Bros. "Bengal Tiger." Limerick came on from Cleburne and his entry was on Paramount's "Texas Rangers" at the Yale Theatre. In presenting the Awards, Governor All- red said : "It is a pleasure for me to make these awards in behalf of the Quigley Publica- tions to Mr. Louie Charninsky and Mr. George Limerick. I feel their achievement reflects credit upon the State of Texas in our Centennial year. I am happy to present to you, Mr. Charninsky, the Quig- ley Silver Plaque Award for your fine ex- ploitation campaign on the picture, 'Bengal Tiger' and to you, Mr. Limerick, I present the Quigley Bronze Plaque Award for your campaign of advertising on our own Texas film, 'The Texas Ranger.' "When it is considered that you gentle- men have won these awards in competition with a field of several thousands of entries from all over the world it is easy to see that you are deserving of every congratula- tion, for it brings not only recognition to you but to Texas." The September Awards are the first plaques to be taken down by either of the winners, although they have been active in the Competitions. The September voting also brings Texas into the plaque column for the first time and the signal honors ac- corded the Lone Star theatremen are ex- pected to stimulate wider Quigley activity in that sector. As previously stated, showmen voted the Silver and Bronze monthly awards in 1936 are eligible for the Grand Awards, which are to be again presented in Hollywood. En- trants selected by the judges for the top honors are to be transported to the Coast via United Air Lines as guests of Motion Picture Herald. In addition to the presen- tation ceremonies to be attended by leading Hollywood figures, the winners will be given a week's entertannment in the studios and in other California high spots of interest. Jack Heinz Places First In New York RKO Contest Top prize in the RKO Theatre metropoli- tan area Packard Swingtime contest for the best campaign on the picture was awarded to Manager Jack Heinz of the RKO Alden Theatre, Jamaica. The prize, a new Packard Six, was voted the winner from among the 28 entries submitted. Five other campaigns were recommended for Honorable Mention and were awarded checks of $50 each by Ned E. Depinet, RKO Distributing Corp. head and by Major Leslie Thompson, RKO Theatre executive. Checks went to S. Wexo, Dyker Theatre, Brooklyn ; Saul Schwartz, Albee Theatre, Brooklyn ; Bob Unger- feld, Proctor's Newark ; Joseph Di Lorenzo, Proctor's New Rochelle, and Charles M. Oelreich, Proctor's Mount Ver- non. Each of the three metropolitan divisions headed by Charles McDonald, H. R. Emdee and Louis Goldberg were repre- sented among the winning entries, with the entire New York campaign under the super- vision of John Dowd, RKO Theatres. Judges were S. Barret McCormick. A-Mike Vogel, Fred Weil and Frank Denton. The New York contest is separate from the national event, which closes on Nov. 10th, and in which three Packards are to be given for the best campaigns. Double Opening Used For "Girls' Dormitory" An effective exploitation campaign for "Girls' Dormitory" was put on by Spyros Cardas, Loew's State, and Dave Fred. Chinese Theatre, Los Angeles, with special announcements made during fall fashion show held at leading department store. Accompanying photo shows attractive win- dow display in store. Newspaper publicity was planted in eighteen community papers, special an- nouncement made over station KHT for five broadcasts. Los Angeles "Dormitory" Window Display 84 MOTION PICTURE HERALD November 7, 1936 Insurance Company Aids Lamm on "Bride Walks Out" Local insurance company tied in with Louis Lamm, Warner's Palace, Lorain, Ohio, for "The Bride Walks Out" furnish- ing him with 3,000 pamphlets on the insur- ing of wedding presents, front cover show- ing picture of bride, imprinted with copy on picture, playdates, etc. Special attractive window display was se- cured from local florist (see photo), various merchants came through with ads, copy reading "don't let your bride walk out, give her," etc., and Louie invited all couples who had become newlyweds during September to be his guests at the showing. "Have You Contributed Lately?" Air Lines Aid Lafferty On "Ace Drummond" Display Frame of a full-size, open cockpit plane, propellers, rotary motor, airplane parts and maps obtained by William Lafferty, man- ager, Warner's Allegheny Theatre, Phila., through a tieup with the Eastern Air Lines made a realistic display for the "Ace Drum- mond" serial. Display was set up one week in advance of the first chapter showing (see photo). A very interesting panel, and one that repaid the Air Line for their courtesy, was composed of a number of photographs of the "Great Silver Fleet" in flight. Laf- ferty was assisted by William Finkelstein of the Philadelphia Exchange. "Have You Contributed Lately?" Newspaper Contest Planted By Westwood for "Show Boat" A special tieup was arranged by Norman Westwood for the "Show Boat" engagement at the Metropol in Shanghai, China, with local newspaper giving one admission for everyone taking a six months' subscription to the paper. In exchange Norman received a half page for four days ahead and during engagement of picture in addition to one full page after first four days of showing. Local busses were bannered with title, star names and playdates, attractive win- dow displays secured in various stores and front was dressed with cutout title letters approximately five feet high. Westwood also ran personal endorsement ad in paper. "Have You Contributed Lately?" Various Stunts Used By Joiner for "Pastures" As a result of the campaign put on by Maynard Joiner, Capitol Theatre, Vancou- ver, B. C, for "Green Pactures," the picture chalked up one of the biggest grosses in the history of the theatre. Joiner started his campaign by arranging a tieup with the Liberty magazine distributors in the city, whereby the latter inserted 15,000 heralds, plugging the picture and theatre, in each copy of the magazine. Special editorial was run in the local News-Herald and special story with a three-column head in the Sunday magazine section of the Vancouver Sun. All book stores and book departments of department stores gave the picture numerous displays, while sixteen leading restaurants in town plugged the picture with counter displays. Leading hotels and downtown news- stands carried display frames with theatre copy, and stores plugged picture with the mounted page from Liberty magazine show- Lamm's "Bride" Floral Window O'Connor's Reactometer on "Death" Lafferty's "Ace Drummond" Lobby Display Coughlan's Attractive "Swing Time" Float ing the rave review which the film received in that magazine. A number of influential women's societies were contacted for endorsements and recom- mendations, and the film received special radio plugs prior and throughout engage- ment. A special front was built for the Granville St. main entrance of the house. Reactometer in Lobby Sells "Sudden Death" Assistant John O'Connor, Warner's Parker Theatre, Darby, Pa., for "And Sud- den Death" contacted local insurance com- pany for loan of a "reactometer," new test machine to determine time it takes each sub- ject to release accelerator and stamp on brake in emergency. Machine was planted in lobby (see photo) where it created con- siderable furore, uniformed attendant from automobile club gave the tests. Traffic towers about town were bannered, half sheets posted on telegraph poles, auto- mobile club distributed folders containing picture imprint and vest pocket programs with plugs were placed in stores and res- taurants. "Have You Contributed Lately?" Swing Waltz Contest Held By Wartha for "Swing Time" In conjunction with local ball room, Ar- thur J. Wartha, Roxy, Laporte, Ind., for "Swing Time" put on a swing waltz with prizes going to winners. Band constantly played hit tunes from picture and posters were spotted around the ballroom. Campfire girls were selected to make house to house canvass securing signatures on pledge cards promising to see the picture and have Packard dealer give demonstration of the car. Girls received passes for their efforts. Art bought a page from daily newspaper and then went out and sold merchants for co-op page, "Swing Time" stickers were pasted on stores' shopping bags and through tieup with Packard dealer, photos of Astaire were given to kiddies. "Have You Contributed Lately?" "Rangers" Booklet Sells Putting over in London a picture with as definitely an American flavor as "Texas Rangers" was quite a job and to help sell it, Paramount ad chief F. L. C. Thomas cre- ated a very attractive booklet in color with lots of smart art and copy. Front cover was etching of mounted Ranger and inside pages detailed cast, photos of stars and their his- tories, illustrated story of the picture, shots of the Governors of Texas and New Mexico on location, etc. "Have You Contributed Lately?" Special Bally Constructed By Coughlan for "Swing Time" Used regularly for advertising of coming shows is bally wagon (see photo) con- structed by Burt Coughlan, Peoples Theatre, Maynard, Mass., measuring 27y2 feet long, seven feet wide and five high, mounted on an old chassis and equipped with headlights and tail light. Entire bally was done in two shades of blue, sky and medium, trimmed with alu- minum. The box with the small black hole enclosed speaker. For "Swing Time" Burt used photos of Astaire and Rogers set back in frame about eight inches and lighted from inside, all lettering was cut out of wood as were the notes and music bars. Coughlan says at other times he has used live models, depict- ing a beach scene with bathing beauties, lawn umbrellas, etc., and it has always proved an eye-attractor. November 7 , 1936 MANAGERS' ROUND TABLE 85 Indianapolis Theatres Have Little Opposition Annual Memorial Day 500-Mile Automobile Race Is Called Sharpest Competition by WALTER F. MORSE from Indianapolis Proud of its classification as the Cross- roads of America and one of the typical American cities, Indianapolis is a town where the typical American entertainment, the motion pictures, is snugly in the driver's seat among amusement enterprises. No other form of entertainment offers severe competition, unless it would be the 200-odd beer taverns. Theatre men assert that tavern activity has hurt them little. Managers of the fifty-four houses that dot the city find that a considerable propor- tion of the population makes movie-going habitual, but the number isn't large enough to keep any theatre man sprawled out on a bed of roses. To keep in the black ink the houses must keep their wares constantly in public notice. Independent Ownership High Independent ownership predominates. How independent the area is shows graphic- ally in the size of the local staff of Ross Federal, whose checking needs require main- tenance of its fourth largest office in In- dianapolis, a town that's a good many notches below being the fourth largest city. R. R. Bair operates five theatres, the Tam- ler Theatre Company, headed by Charles and Nathan Tamler, four, and the Fountain Square Theatre Company, of which Louis B. Golden is president, three. All these are neighborhoods. The Indianapolis Theatrical Management Associates operate the Circle and Indiana, downtown first runs, with Art J. Baker manager. Manny Marcus of Fort Wayne owns three small downtown houses which Carl Niesse manages. Virtually all other operation is singleton. Neighborhood business is in the fore- ground with thirty-nine spots, at least seven of which are in the de luxe class. The de luxe houses were built within the decade, the last in 1928, and represent in themselves the last signs of any definite movement in any direction in the Indianapolis theatre business. Since 1930 little change has come in and no startling new pathways are in sight. Seating Capacities Vary Seating capacity of the large neighbor- hood spots ranges from 1,500 to 2,500. All are exceptionally well equipped. These houses, the Granada and the Fountain Square, managed by Earl Cunningham ; the Uptown and the Ritz of the Bar chain; the Zaring, operated by E. C. Zaring ; the Rivoli, operated by Joseph Cantor, and the Walker (the last a Negro house, managed by Dudley Williston) have done well from the day they opened and continue to draw good business. In 1927 a 3,200-seat down- town house was completed, the Indiana, one of the state's largest houses. Theatre mortality, despite the depression. Though the general theatre situa- tion is favorable to motion pictures, showmen in the Hoosier metropolis are kept right on their toes to keep the folks coming to the boxoffice in profitable numbers. It may be the lack of outside opposition or the pre- dominance of independent oivnership that accounts for the regularity of sound exploitation campaigns and generous newspaper advertising but whatever the reason Indianapolis theatremen are found to be doing a generally smart job of selling. This article continues the Round Table's Slwwman's Travelogue series written by Motion Picture Herald correspondents on the stahis of the theatre in the world's key cities. A-MIKE. has been low and not one of the larger houses has come crashing down. The city has one more house now than five years ago and has lost but six from the high- water year, 1925, when there were sixty. To point this out is to point out an achievement. The Great Unpleasantness that began in Manhattan in 1929 and came howling into Indianapolis in 1930 bowled over a large part o: the city's industrial life and snuffed out a glowing expansionist program. In the Twittering 'Twenties glib gentlemen spoke easily of "a million popu- lation by 1940," and real estate men bought great stretches of moorland north of town in covetous expectation. All this is over now. Today the city limits encircle about 370,000 souls and popu- lation growth is small. The big merchants draw customers from about a fifty-mile radius with a population totaling 800,000. "Have You Contributed Lately}" LOBBY CONTEST. Described in last week's issue, above is shot of Boston Metropolitan Theatres' newspaper tiein on lobby contest, explained by Al Donahue to Dick Merrill and Mary McKim. Theatres, however, pull from about a thirty- mile radius with 600,000 people. The smaller cities in the area have some pretty foxy theatres of their own and first runs have early showings there. Indianapolis has a square heart, the Mile Square, within whose limits are the five first-run houses, ten small theatres, most of the office buildings, all the public buildings, virtually all the large department stores and all but three or four of the large hotels. Three-quarters of a century ago the Mile Square held most of the town. It still is the heart of the city, although nowadays most of the industrial plants lie outside it. Manufacturing and agriculture are the bases of economic activity. In general, wages and salaries are low, with living ex- penses above what they should be in pro- portion. Rise in food costs over last year, Department of Labor statistics show, are greater here than in any other city. Utility rates are high. Indianapolis is the only city of comparable size that doesn't own its water works, and it costs to turn on one's faucets. Admissions Kept Low In consequence, theatre admission charges must be kept low. First-run houses abide by a 25-40^ scale, the top in effect after six p. m., except for the occasional ultra-ultra attraction. About a dozen of the tiny down- town and near-downtown houses charge 15 cents to all at all times. Neighborhoods sel- dom go above a 25 cent top and many have a 15 cent top plus a 20 cent top on Sundays. At least 310,000 of the residents are na- tive born whites. About 45,000 are Negroes. The colored population increases by several hundred each year, both through natural fecundity and through immigration from Kentucky and Tennessee. Four houses cater to the race, including the Walker, previously mentioned, which seats 1,600 and is equipped, ventilated and decorated on a par with the other large neighborhood houses. Of the 15,000 not native born, most are Germans and many are Irish, English and Scotch. Southern and Eastern Europeans are few and Oriental population is tiny. First-comers among the Germans and the Irish were prominent in building the city, but there is no Germantown or Irish Hill worthy the name today. Wages in unskilled labor are apt to be below the $1,000 mark and the skilled worker who reaches $2,000 per annum is doing well. Most white collar workers are moderately paid and business and profes- sional men who pocket $5,000 to $10,000 a year are doing very well indeed. Low in- comes, coupled with the inborn frugality of Hoosiers which seldom fails to impress new- comers, provide another reason for low figures on theatre tickets and long hours of work for managers. These remarks are not intended to imply (Continued on following pape) 86 MOTION PICTURE HERALD November 7, 1936 INDIANAPOLIS PAPERS COOPERATE (Continued from preceding page) that decent, dignified living is difficult to achieve in Indianapolis. The people enjoy their homes and use them. Socially inclined but without yearning for large display, the people are friendly and hospitable. Almost one person in every four owns an auto- mobile. Home dwellers far outnumber apartment dwellers and about forty-five per cent of the families own their homes. Entirely devoid of the hills or waterfront that provide a natural setting for so many cities, Indianapolis has gone a long dis- tance in creating its own charm. Beautiful homes extend over large residential areas. The city is known for its Circle in the cen- ter of the city, where the massive Indiana Soldiers' and Sailors' Monument reaches to- ward the sky in tribute to the fighting men of the Civil War and the Spanish-American War. North of the Circle lies a mighty memorial to World War heroes, providing an open space half a mile in length in the heart of the business district. Ranged around the long memorial plaza are the Pub- lic Library, the Post Office building, the American Legion national headquarters, the Scottish Rite Cathedral and the Indiana National Guard Armory, all striking ex- amples of beauty in architecture. Theatre managers do their share in the civic activities of Indianapolis. In the Christmas season special shows are given for children of the orphanages. Space is granted readily for civic and philanthropic appeals. The Variety Club does much benevolent work, most of it without fanfare. Women's organizations in general are will- ing to cooperate with exhibitors and with distributors as well, and the civic groups have spoken many a kind word for the movie men. Automobiles are the favorite way to get to the picture show. This brings a park- ing problem to many of the neighborhood houses, and probably keeps away some who live beyond walking distance. Downtown houses also face a parking problem, since finding a space for the family bus down- town before nine p. m. is something of a conjurer's trick. A brand-new police drive against parking violations now in progress raises the trick to the status of sawing a woman in half. Out of town showgoers usually surrender early and stable their vehicles in parking lots or garages, many of which are convenient to the downtown houses. The tougher local people, however, give the block a thorough circling before giving in. Excellent Transportation System Partially offsetting the automobile prob- lem is the excellence of street-car and bus service. Under a reorganized management the street railway company has installed new equipment on virtually every line, ad- vertised it effectively and cajoled many new strap-hangers. A lot of downtown matinee business comes to the theatres via the public transportation routes. With its considerable collection of new theatres and gradual abandonment of older ones Tone of the eldest was torn down last fall) Indianapolis is considered by its thea- tre managers as second to no other city of comparable size in comfort and cleanliness of houses. Sound equipment in most in- stances is improved as rapidly as possible and primitive sound facilities virtually have disappeared. Since the passing of the Golden Era squadrons of ushers looking like the vanguard of the Royal Army of Grau- stark and drilling in the lobbies with their chins up have vanished. Usher efficiency and courtesy remains, nevertheless. Feminine ushers continue to be the exception rather than the rule. Another facet of the Indianapolis movie situation isn't dimmed by anything similar elsewhere, even in some of the larger towns. This is newspaper advertising and news- paper cooperation. In 1935 the theatres poured $203,000 into the columns of the three dailv newspapers. Advertising men say that 1936 will bring at least $250,000. First Runs Heavy Advertisers The five first-run houses, Loew's, man- aged by L. Ward Farrar; the Apollo, man- aged by Kenneth Collins; the Lyric, guided by Charley Olsen and Ted Nicholas; the Indiana and Circle, take the bulk of the newspaper space, crashing with large ads on the days when shows change. Many of the neighborhood shows are represented steadily, although with smaller ads. The neighborhoods are great fellows for de- positing calendars of their attractions for the month on everybody's doorstep and for advertising in the weekly neighborhood newspapers. It should be noted that the calendars and other circulars left on door- steps invariably are well printed on good quality stock and are many leagues upward in attractiveness from the ante-bellum "dodgers." The dailies give considerable space to the shows and each of the three large news- papers comes close to running a full page a day of theatre ads, news, reviews and features. The motion picture is the first concern of the dramatic critics, since stage and concert appearances are few. Some syndicated cartoons and feature material are used and all three newspapers favor the daily chatter from Hollywood sent by the "Have You Contributed Lately?" WRECKED BALLY. To sell "And Sudden Death" at the Rivoli Theatre, Philadelphia, I. J. Segall planted wrecked car in front of his house dur- ing entire run of attraction to build attention. Associated Press and the United Press. Visits in town of motion picture stars (and even directors) are good for interviews and pictures, even on days when the news is running strong and heavy. The one Sunday newspaper devotes a section to the movies, featuring both its own critics and New York and Hollywood spe- cial writers, and is generous in the use of film star pictures in the gravure section. On all three papers movie comment is friendly in tone and it is_ rare when a re- viewer goes out of his way to make smart cracks against the shows. Occasionally a critic may say a picture "isn't strictly good for all the family," but public furore over the morals of the movies is scarce. Walter Whitworth, drama, literary and art critic of the Indianapolis News, scans the cinemas for readers of his newspaper in a daily column, "Movies 'n' Everything." Members of the staff assist him frequently. The News usually fills out the page on which movie ads appear with Associated Press and United Press items and pictures about the stars and happenings on the lots. Corbin Patrick, motion picture and music critic of the Star, also conducts a daily column, and he runs quite freely to personal mention of local movie personalities. Both Patrick and Robert G. Tucker, dean of In- dianapolis dramatic critics, contribute re- views to the daily and Sunday Star. The Sunday Star uses Hubbard Keavy's stuff from the AP and Kelly Woolpert of the UP, while both daily and Sunday carry the cartoon feature by Feg Murray, "Seein' Stars." In the Indianapolis Times John W. Thompson, youthful critic, does a daily piece, occasionally assisted by James Thrasher, music critic. The Times uses a good deal of pictures on movies and special articles from Paul Harrison and others of NEA ; Ruth McTammany of Scripps- Howard and from the United Press. Many Tie-Ups Made Tieups in many directions are of steady occurrence. Spectacular ballyhoo is seldom attempted. In general, exploitation is kept within limits that make it secure from offending public taste. Window cards — sel- dom of the giant and blatant sort — are ac- cepted by many merchants. The drug stores and even the groceries tie-up frequently and the Gloria Whoozis Sundae still is on sale in some pharmacies when Gloria plays In- dianapolis. Classified advertising sections of the daily newspapers are a steady tie-up connection, with guessing contests and other features offering Annie Oakleys being used. Broadway shows on tour make short and not-so-frequent visits to the Hoosier capital. Their following is loyal but not large and their presence means little to the movie men. Concert and lecture appearances are in the same category. Sports of the summer months cut in quite a little and the two amusement parks do their share in nibbling at the edges of summer grosses. Summer- time sizzles in Indianapolis, however, and the lads and lassies who like to step into a refrigerated theatre off the pavements (Continued on page 88) November 7, 1936 MANAGERS' ROUND TABLE 87 Hal Grady Sells "Suzy" With Cartoon Teaser Ads The folks down in Lubbock, Texas, were a bit excited during the campaign put on by Hal Grady ahead of his "Suzy" date at the Palace what with his teaser ads were of the cartoon type as illustrated to left and right below run daily for five days in all and other teaser stunts.. Picture postcards were mailed from near- by Roswell, New Mexico to local house- wives with a message from "Susy" saying that she would be in town shortly, dates in- cluded. Street stunts included tiein with Western Union messenger boys carrying "Suzy" teaser cards on bicycles and old-time Ford bally was worked the same way. Also featured was stunt wherein ushers carried giant letters which spelled out the title. Molasses kisses were distributed attached to which were cards reading "Here's a real kiss from Jean Harlow — Suzy to you," local beauty school advertised for operators to learn how to design the "Suzy" coiffure and classified ad contest was planted in the Avalanche- Journal consisting of cross-word puzzle, center of which contained cut of Tone, Harlow and Grant, with guest tickets awarded winners and publicised by the paper. For lobby display Hal used a large oil painting of Harlow, ten-foot compo board cutout title letters were planted atop mar- quee and waitresses from nearby restaurant all wore imprinted sashes. Elaborate 'Swing Time1 Setpiece Created at Keith's, Boston Above left is reproduced photo of the fine art display created under the direction of art director Cyl Champlin and Manager George E. French for the date on "Swing Time" at the RKO Keith's Memorial, in Boston. Lots of black veneered material was used to give a rich dignity with indirect illumination heightening the effect. Title was fashioned from wood material and gave a raised-letter effect. Center of display was taken up by revolv- ing panel, first showing stars in dance pose as in above and then revolving to copy on the Jerome Kern music. The setpiece made a smash display and attracted the throngs passing through the arcade of the theatre where the showing was arranged. "Have You Contributed Lately}" McWhorter's Street Bally Jerry McWhorter, assistant manager, Capitol Theatre, Chicago, for "Sons o' Guns," dressed up an usher in raccoon coat, galoshes and comic glasses and had him parade streets with back banner reading : "If you think I'm nuts, wait till you," etc., etc. From American Legion, Jerry pro- moted machine gun, shells and other para- phernalia for lobby display and had ticket taker wear German uniform with peaked helmet and medals and picture copy on his back. McBride Promotes Magicians For "Dodsworth" Bally There was a convention held recently in Syracuse of the New York State Society of Magicians during which Ed McBride was playing "Dodsworth" at Loew's State. So to give the magic-eers a bit of a newspaper break and also to build up attention for the picture, Ed arranged the bally illustrated in photo above right. Fire department was tied in with the loan of a ladder-truck with member of the society in a straight jacket hung by the feet from end of raised ladder and shaking himself loose. Jacket of course was lettered with the title and as the bally was put on in front of the house quite a lot of the folks who gath- ered around were directly contacted. "Have You Contributed Lately}" Bazooka Contest Used By Simmons for "Range" A bazooka blowing contest was staged by Thomas J. Simmons, Dunlap Theatre, Clarksville, Ark., for "Rhythm on the Range" the Saturday night before picture opened, explanation of how this unique musi- cal instrument is constructed together with picture plugs were made. Various window displays were planted in leading stores, 24-sheet stand was placed in burned out store and for his lobby dis- play Tom made up a display from stock one- sheet and personal letter from Bob Burns. GENTLEMEN I'M HERE TO TELL YOU THAT SUZY IS DESERVING OF A NICHE IN THE HALL OF FAME! AND AFTER YOU'VE SEEN SUZY YOU'LL AGREE SUZY IS DESERVING OF ALL HONORS THAT HAVE BEEN AND WILL BE HEAPED UPON HER IN APRIL OF 1775 IT WAS "THE BRITISH ARE COMING!" IN AUG. OF 1936 THE CRY IS SUZY TWO OF THE CARTOON TYPE TEASER ADS USED BY HAL GRADY TO BRING ATTENTION TO DATE ON "SUZY" 88 MOTION PICTURE HERALD November 7, 1936 e> w * o ii ci liti HERMAN WEINBERG is now managing director of the 55th Street Playhouse, New York City. V. BILL WHYTE formerly at the St. Albans Theatre, St. Albans, L. L, is now managing the Strand in Pottstown, Pa. V PETER BROADHEAD formerly manager of the Sam Harris The- atre, N. Y. C, is now at the Ritz in Lynd- hurst, N. J. V ROBERT HUFFMAN has just acquired the Tacoma Theatre, Seat- tle, Wash. V ROSS YOUTHERS has been appointed manager of John Danz' Florence and Star Theatres, Seattle, Wash. V ZACK FRIEDMAN is now affiliated with the State Theatre in Hartford, Conn. V LEE CHAMBERLAIN is the manager of the Commonwealth The- atre, Kansas City, Mo. V DON REILLY has been promoted from assistant at War- ners' Palace, Lorain, Ohio, to manager of the State, Lima, succeeding LOU MILDER, who went to Cleveland to manage the Va- riety following resignation of FRANK COST. V LEE SPROULE has taken over the Rialto, J. A. Jeffries' the- atre, at Marysville, Kan. V JIMMY CAMERON has been promoted to assistant manager of Famous Players Canadian's Imperial The- atre in Toronto, Ont, Can. V DON G. DUNGAN has been promoted from assistant at the Im- perial Theatre, Alliance, Neb., to the man- agership of the Rourke Theatre in La Junta, Colo. V JOHN FIRNKOESS is reopening the Mosque Theatre in New- ark, N. J. V H. H. MALONEY Poli manager in New Haven, has been pro- moted to manage the Poli in Worcester, Mass., replacing ROBERT E. RUSSELL. V S. L. P. PIGGETT is the new manager of the Strand in Bas- trop, Tex., succeeding L. R. RIGBY, who resigned to become affiliated with the Jef- ferson Amusement Co. at Victoria, Tex. V TED SILVER goes into the Dickinson at Lawrence, Kan., and HOWARD SEGTON has replaced GLEN W. DICKINSON, JR., as manager of the Dickinson at Junction City, Kan., with BOB PARKER managing the chief at Marceline, Mo. Birthday Greetings James E. Aaron Alec H. Hurwitz Ivan F. W. Aclcery Guy Jones J, 1. Adams Fordyce J. Kaiser Edwin Adler Eddie G. Kane William W. Ar+z James A. Knox H. Ash Murray Lafayette Donald Ayres ^V*illiam Claude Land W. R. Bartholomew Harold Leand Floyd Bell Al Lippe Howard Berg Harold Lloyd Jack Bonomo Dominick Lucente G. Brainos John R. Ludy W. Lee Byers Mac McCarthy H. Douglas Carpenter J. P. McNeil Robert W. Chambers Raymond J. Mellien Victor Cornilliac J. Lloyd Miller J. E. Courter Brewster L. Newton M. A. Cowles Julius Neyska Harry W. Crull Ray O'Connell N. J. Cruz Alexander Otto E. V. Dinerman Leslie Paine Charles P. Edwards George L. Peppier William Exton Harland Rankin H. Paul Fasshauer L. N. Robczek Irving Feinman Ben Rosenberg P. E. Fenelon Z. Schneider V. W. Fisk Donald Seasholtz William N. Glackin Arnold Stoltz Edward R. Golden Oscar F. Swanson Sydney Gottlieb Alfred George Swett Stanley Gross John G. Townsend Lionel Hansher Reinhold Wallach Will Harper August A. Wolf Frank H. Harrington Gordon Woodruff Harvey J. Hanreddy Ned Wright Russell N. Hogue F. W. Zimmerman Basketball Games Cut Down Receipts {Continued from page 86) number a good many thousands. The sharpest competition of all lasts but twenty-four or thirty hours. That's the 500-mile race at the Indianapolis Motor Speedway each Memorial day. Tens of thousands of fans pour into town and they don't give a look at a theatre door. What might otherwise be a good holiday business is knocked for a row of cocked hats. Every year in March the state high school basket- ball tournament ("when a bov is born in Indiana the parents toss a coin to decide whether he'll be an author or a basketball player" runs an old saying) cuts into cinema receipts for about three week-ends. In general, Indianapolis is a slightly above average show town. The expression "it's a poor show town," is sometimes heard, but the remark is based on comparisons with Cincinnati, Louisville and St. Louis, cities where the ingrained popular bent toward public amusements is far stronger than or- dinary. CLARENCE WILLIFORD has been named manager of the Dickinson Theatre, Ellsworth, Kansas, and CHARLES ROLAND, formerly of the Dickinson, in Osawatomie, Kan., transferred to the Dick- inson in Herrington, Kan. , V ED SMITH formerly manager of the Metropolitan, Bos- ton, is now managing the Fox West Coast Arlington in Santa Barbara, Cal. V HENRY PHANEUF manager of the Jodoin, Baltic, Conn., is can- didate for state representative on the Demo- cratic ticket. V SENN LAWLER is now managing the Orpheum Theatre in Kansas City, Mo. V RAY DAVIS formerly city manager of the Fox Inter- mountain Theatres in North Platte, Neb., has been named city manager in Cheyenne, Wyo., succeeding WALTER SMITH, who has resigned to go to the coast. MIKE ZALENSKY will go from Durango to be- come city manager in North Platte. V LAURA ELSTON has resigned as publicity manager of War- ner's in Canada to resume her previous work as a writer. V HAROLD VANCE transferred from Quebec is the new manager of the Princess in Montreal. V DOUGLAS GEORGE is now in the publicity department of War- ner's Theatres, Philadelphia, handling ex- ploitation and advertising for the out-of- town theatres under the direction of Skip Weshner and Jules Seltzer. V E. BOYLES is now managing the Bartlett in Bartlett, Neb., and RALPH HINTZ the Gem at Sterling. V JOSEPH SIRKIN formerly assistant to Erwin Gold at the Walker Theatre, Brooklyn, N. Y., is now managing the Culver. V ART SMITH is now managing the Rivoli in Newark, N. J., and his assistant, GEORGE PATTER- SON, has been promoted to manager of the State in Paterson. V RALPH McGOWAN is now mai Louis, Mo. V TAYLOR S. MYERS has been named manager of the Uptown at Parsons, Kansas. V ROBERT MADIGAN has reopened the Opera House at Lisbon, Ohio. Name has been changed to the Lincoln. November 7, 1936 MOTION PICTURE HERALD 89 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 companiesr 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 1936, unless otherwise specified. Letter in parenthesis after title denotes audience classification of production: (A) Adult, (G) General. Numerals following audience classification are pro- duction numbers. Dagger symbol indicates picture is of the 1936-37 season. AMBASSADOR-CONN-MELODY Title Star Black Gold Frankie Darro-Berton Churchill Born to Fight Frankie Darro-Jack La Rue.. ..Apr. Phantom Patrol Kermlt Maynard-Joan Barclay. .. May Racing Blood Frankie Darro-Kane Richmond. . .Aug. Song of the Trail Kermlt Maynard- Evelyn Brent... Feb. Wildcat Trooper Kermlt Maynard-H. Bosworth June Running Time Rel. Date Minutes Reviewed Jan. 20 13 3 I 24 10 Coming Dawn Rider Kernflt Maynard Dec. Robin Hood, Jr Frankie Darro-Kane Richmond. . .Nov. Swing Is the Thing Pinky Tomlin Feb. Trooper X-IS Frankie Darro-Kane Richmond. .. Dec. Valley of Terror Kermit Maynard Nov. Wild Horse Roundup Kermit Maynard Nov. With Love and Kisses Pinky Tomlin Nov. I0t.... 30t.... 20,'37t. 20t.... 20t.... I2t 20t BURROUGHS-TARZAN Running Time Title Star Rel. Date Minutes Reviewed Orag Net, The Rod LaRocque-Marian Nixon Apr. 15 (See "In the Cutting Room," Feb. 15.) Phantom ef Sante Fe, The Nina Quartaro- Norman Kerry Oct. 4t (all color) Tundra (G) Del Cambre Sept. I5t 78.... Aug. 29 Coming White Glove, The Nov. I5t Title CELEBRITY Star Running Time Rel. Date Minutes Reviewed Coming For Love ef You F. Foresta-Riscoe and Wayne... Kiss Me Goodbye M. Schneider-Riscoe and Wayne. .60. .62. CHESTERFIELD Title Star August Week-end V. Hobson-G. P. Huntley, Jr. ....Apr. Below the Deadline Cecilia Parker- Russell Hopton. . . . June Dark Hour, The Ray Walker- Irene Ware Jan. House of Secrets Leslie Fenton-Murlel Evans Oct. Little Red Schoolhouse Dickie Moore-Junior Coghlan Mar. Lady Luck Patricia Farr-Wm. Bakewell July Missing Girls (G) Roger Pryor-Sydney Blaekmer. . .Sept. Ring Around the Moen (G)....Erin O'Brlen-Moore-D. Cook Dec. Running Time Rel. Date Minutes Reviewed 25 65 I 64 15 64 26t 67 2 66 6 66 |0t 66 Oct. 10 I5,'35 64 Mar. 28 Coming Red Lights Ahead Dec. 5t. COLUMBIA ..Feb. . .June 9t. 7t- Title Star Rel Adventure in Manhattan (G) . .Jean Arthur-Joel McCrea Oct. 8t Alibi for Murder (G) M. Churehill-Wm Gargan Sept. 23t And So They Were Married (G) Mary Astor-Melvyn Douglas May Avenging Waters Ken Maynard-Beth Marlon May Blackmailer William Gargan-Florence Rice. ..July (See "In the Cutting Room," Mar. 28.) Cattle Thief, The Ken Maynard -Geneva Mitchell.. Counterfeit Chester Morrls-Margot Grahame (See "Queer Money," "In the Cutting Room," May 2.) Code of the Range Charles Starrett-Mary Blake Oct. Come Closer Folks James Dunn-Marian Marsh Nov. Craig's Wife (G) John Boles- Rosalind Russell Oct. Dangerous Intrigue Ralph Bellamy-Gloria Shea Jan. Devil's Squadron (G) Richard Dlx-Karen Morley May Don't Gamble with Love (Q).. Bruce Cabot-Ann Sothorn Feb. End of the Trail Jack Holt-Louise Henry Sept. (See "A Man Without Fear," "In the Cutting Room," Aug. I.) Final Hour, The M. Churchill-Ralph Bellamy June Fugitive Sheriff, The (G) Kei Maynard-Beth Marion June Hell Ship Morgan (G) George Bancroft-Ann Sothorn. ... Feb. Heroes of the Range (G) Ken Maynard-June Gale Mar. If You Could Only Cook Jean Arthur- Herbert Marshall. ... Dec. (Exploitation: Jan. 25, p. 64.) Killer at Large Mary Brian- Russell Hardle Oot. (See "In the Cutting Room," Aug. 22.) Running Time Date Minutes Reviewed . ..73. ...Oct. 31 ...60. ...Oct. 24 .75. .56. .66. ..Apr. 18 .57. .74. It 75. ...Sept 19 4 57 I 80 May 16 15 63. ...Mar. 14 I8t 30 58 I 58. ...Oct. 24 8 65. ...Mar. 21 28 51 Aug. 22 30,'35 72 I. 17.. 10.. 2.. 30t. 12.. I5t. Title Star Rel King Steps Out. The (G) Grace Moore-Franchot Tone May (Exploitation: July 25, p. 81.) Lady of Secrets Ruth Chatterton-Otto Kruger Jan. Lawless Riders (G) Ken Maynard-Geneva Mitchell. ... Dec. Legion of Terror Marguerite Churchill-B. Cabot... Nov. Man Who Lived Twice, The (G). Isabel Jewell-Ralph Bellamy Sept. Meet Nero Wolfe (G) Edward Arnold-Lionel Stander. . . . Aug. (Exploitation: Oct. 3. p. 81.) Mine With the Iron Door, The (G) Richard Arlen-Cecilia Parker. ... May Mr. Deeds Goes to Town (GK.Gary Cooper-Jean Arthur Apr. (Exploitation: May 30, p. 90; June 6, p. 120; June 20, pp. 118, July II, pp. 125, 128; July 18, p. 82; July 25, p. 81; Aug. 8 112, 114.) Mysterious Avenger Charles Starrett-Joan Perry Jan. Panic on the Air (G) Lew Ayres-Florence Rice Apr. Pride of the Marines Charles Bickford- Florence Rice... Apr. Ranger Courage Robert Allen-Martha Tibbets. . . . Oct. Roaming Lady Fay Wray-Ralph Ballamy Apr. (See "In the Cutting Room," April 4.) Secret Patrol (G) Charles Starrett-Finis Barton. ... May Shakedown (G) Lew Ayres-Joan Perry July Stampede Charles Starrett-Finis Barton. ... June They Met In a Taxi (G) Chester Morris-Fay Wray Sept. Trapped by Television (G) Lyle Talbot-Mary Astor June Tugboat Princess Walter C. Kelly-Edith Fellows ..Oct. Two Fisted Gentleman James Dunn-June Clayworth Aug. (See "The Fighter," "In the Cutting Room," July 4.) Unknown Ranger, The Robert Allen-Martha Tibbetts. ..Sept. You May Be Next (G) Ann Sothern-Lloyd Nolan Feb. 6 Coming Beloved Vagabond, The (G) Maurice Chevalier Dec. I4t.. Chopin Francis Lederer College Hero Charles (Buddy) Rogers Counterfeit Lady Ralph Bellamy-Joan Perry Cowboy Star, The Charles Starrett-lris Shunn Nov. 20t... (See "In the Cutting Room," Oct. 10.) Depths Below Dolores Del Rio-Richard Dix- (See "In the Cutting Room," Oct. 10.) Dodge City Trail Chas. Starrett-Marian Welden Grand Old Woman May Robson-Mary Astor Help Wanted: Female Jean Arthur-George Brent (See "Safari In Paradise," "In the Cutting Room," Oct. 17.) I Promise to Pay Leo Carrillo-Chester Morris Interlude Grace Moore -Cary Grant (See "In the Cutting Room," Oct. 24.) Lady from Nowhere Mary Astor-Charles Quigley Nov. 21 1 - - . Lost Horizon Ronald Colman-Jane Wyatt (Exploitation: Sept. 5, p. 79.) Lucky Corrigan Wm. Gargan-Molly Lamont Nightingale Flies Home, The.. Grace Moore North of Nome (G) Jack Holt-Evelyn Venable Nov. I4t... Pennies from Heaven Bing Crosby-Madge Evans Nov. 25f.. (See "In the Cutting Room," Sept. 12.) Racketeer In Exile George Bancroft Rio Grande Ranger Robert Allen-Iris Shunn Dec. lit.. Slug for Cleopatra, A Rosalind Keith-Chas. Quigley Theodora Goes Wild Irene Dunne-Melvyn Douglas Nov. I2t... (See "In the Cutting Room," Oct. 3.) Women Are Wise Dolores Del Rio Women of Glamour Melvyn Douglas-Virginia Bruce Running Time Date Minutes Reviewed 28 86 May 23 25 73 28,'35 57 May 2 It 25t 73. ...Oct. 24 1 72 July 25 6 66 Apr. 25 12 118 Apr. 25 120, 122; June 27, p. 80; p. 92; Aug. 22, pp. Ill, ..55 ..56.... May .69. 20 ..60 Aug. 22 17 57 Sept. 12 8 56 I 70 Aug. I 15 65 Aug. 8 I5t 15 ...67.... Mar. 23 .80 Sept. 26 COMMODORE Running Time Title Star Rel. Date Minutes Reviewed Aces Wild Harry Carey Jan. 2 6 rl» Ghost Town Harry Carey Feb. 15 6 rls Pecos Kid, The Fred Kohler, Jr Fob. 15 ...6 rls CRESCENT Running Time Title Star Rel. Date Minutes Reviewed Glory Trail, The Tom Keene-Joan Barclay Sept. I5t 65....Jaly IS Rebellion (G) Tom Keene-Rlta Canslno Oct. 27t 60 Oct. 17 Coming Beyond Victory Tom Keone ..Jan. Common Ground Tom Keene Dec. Drums of Destiny Torn Koene Jan. Star of Empire Tom Koene Dec. I8,'37t. 8t.... I8,'37t. 8t.... 90 MOTION PICTURE HERALD November 7, 1936 (THE RELEASE CHART--CCNT*E) DANUBIA (Hungarian Dialogue) Star Title Be Good Unto Death Laci Devenyi Sept. Car of Dreams Torzs-Percell Oct.. Don't Cry Mother Eva Rutkay Aug. Friendly Expression Raday-Szoke Nov. Hungaria (English titles) Travelogue Mar. Little Pastry Shop Kabos-Percell May March Tales Turay-Kabos July New Landlord, The Csortos-Egry Aug. Sweet Stepmother Maria Tasnadi Sept. (English titles) This Villa for Sale Verebes-Csikos June Running Time Rel. Date Minutes Reviewed I0t 80 I0t 90 25t 78 If 65 15 54 15 88 15 68 20t 98 I5t 90 .80. Running Time Tit|e star Rel. Date Minutes Reviewed God's Country and the Woman. George Brent-Bevery Roberts (See "In the Cutting Room," Sept. 26.) Gold Diggers of 1937 Dick Powell-Joan Blondell Dec. 26t Green Light Errol Flynn-Anita Louise (See "In the Cutting Room," Aug. 8.) Lords of the Land Jean Muir-Barton MacLane Mountain Justice Josephine Hutchinson-G. Brent (See "In the Cutting Room," Oct. 31.) My Husband's Secretary Marg't Lindsay-George Brent Nowhere Ross Alexander-Beverly Roberts Sing Me a Love Song (G) James Melton-Patricia Ellis "75.... Oct. 17 Slight Case of Murder, A Edward G. Robinson Smart Blonde Glenda Farrel I -Barton MacLane Three Men on a Horse 151 Frank McHugh-Joan Blondell Nov. 2lt Coming Blue Danube Romance Zita Perczel Dee. I5t. Hungarian Village Travelogue Dec. 25t. Man Under the Bridge Csortos-Lazar Nov. 1 St - One Life's Secret Kiss Ferane Dec. 31 1. Three Spinsters Emilie Markus Dec. It. Tragedy on the Lake Csortos-Medgyesl Dec. 20f . .91 . .55. .82. .80. .84. .80. DuWORLD Title Star Amok Marcel Chantel Oct. Frasquita (G) Franz Lehar Jan. Kliou, The Killer Technicolor Oct. L'Equippage Annabella Oct. Mysteries of Notre Dame Oct. Nobody's Boy Robert Lynen Sept. Opera of Paris Georges Thill Oct. Running Time Rel. Date Minutes Reviewed I5t 84 17 87.... Feb. I It 60. June l,'35 I5t 79 It 58 I5t 81 It 50 Wedding Rehearsal Roland Young-Merle Oberon Dec. I, '35. EMPIRE Title Star Running Time Rel. Date Minutes Reviewed Coming Crime Patiol Ray Walker-Geneva Mitchell Shadows of the Orient (G) Regis Toomey- Esther Ralston *65 Feb. FIRST NATIONAL Title (See also Warner Brothers) Running Time Star Rel. Date Minutes Reviewed (Exploitation: June 20, p. 117.) Bullets or Ballots (G) 961 Edw. G. Robinson-Joan Blondell. (Exploitation: June 13, p. 123; June 27, p. 86; Aug. 8, pp. Captain Bloed (G) 855 Errol Flynn-Olivia de Havilland. (Exploitation: Jan. 25, p. 69; Feb. i, p. 66; Feb. 8, pp Mar. 14, p. 89; Apr. 18, p. 82; Aug. 22, p. 117.) Case of the Velvet Claws, The (G) 965 Warren William-Claire Dodd... (Exploitation: Sept. 5, p. 80; Oct. 10, p. 92; Oct. 31, p. Down the Stretch (G) 177 Patricia Ellis-Dennis Moore Earthworm Tractors (G) 962.. Joe E. Brown-June Travis (Exploitation: Aug. I, p. 90; Aug. 8, p. 91; Aug. 15, pp. Oct. 10, pp. 92, 96.) Golden Arrow, The (G) 959 Bette Davis-George Brent (Exploitation: May 16, p. 85; July 4, p. 72.) Hearts Divided (G) 955 Marion Davies-Dick Powell Here Comes Carter 169 Ross Alexander-Anne Nagel Law in Her Hands, The (G) 973 Margaret Lindsay-Warren Hull. Love Begins at Twenty (G) 975 Warren Hull-Patricia Ellis Murder by an Aristocrat (G) 974 Marguerite Churchill-L. Talbot. Murder of Dr. Harrigan, The (Exploitation: Mar. 7, p. 94: June 6, p. (Exploitation: May 2, p. 99.) Snowed Under (G) 971 George Bront Genevieve Tobin. Song of the Saddle (G) 978.. . Dick Foran-AIma Lloyd (Exploitation: Sept. 5, p. 79.) Story of Louis Pasteur, The (Exploitation: Feb. 22, pp. 95, 96; Mar. 14, p. 87; Apr. 4 p. 92; May 9, p. 94; May 16, p. 82; May 30, p. 85; Jul* Trailin' West 979 Dick Foran-Paula Stone (See "On Secret Service," "In the Cutting Room," May 16 Two Against the World (G) 977.H. Bogart-Beverly Roberts (Exploitation: Aug. I, p. 90.) White Angel, The (G) 951 Kay Francis-Ian Hunter July (Exploitation: July II, p. 125; Aug. 8, p. 92; Sept. 19, p. 69; Oct Apr. 18.. 67. . . . Jan. 25 June 6.. 81 . . . . May 23 92, 93; Oct. 3, p. B2.) Dec. 28,'35... .119. . . .Jan. II 83, 86; Feb. 29, pp. 74, 76; 3lt. *62. ...Oct. 3 Aug. 15.. 63. ..May 23 Aug. 22, 88'/ . .Aug. 15 76.) Sept. I9t. 66. ...July 18 July 18 69. . . June 20 15, 78; Au J. 29, pp. 85, 86, 87; .May 23. .. ..68. ...May 9 June 20. 70. . . .June 13 Oct. 24t. 60. . May 16.. 58. . . Apr. 18 Aug. 22.. 58. . . . May 30 .June 13. 60. . . .Apr. 4 .Jan. II. 67. . . . Feb. 1 .Mar. 28. 62. . . . Feb. 29 ; July 4, p. 68; July II, p. 128.) II . 84. ...Mar. 21 .Apr. 4. 63. . . . Mar. 21 .Feb. 29. 56. ...Apr. II Sept. I2t 91. . . .Aug. 15 .Feb. 22 87. Nov. 30. '35 p. 87; Apr. 25, p. 96; May 2, r 4, p. 68; Aug. 1, p. 93.) .Sept. 5. 56. .) II. 57. ...May 23 pp. 81, 82, . . June 83.) Coming CaM It a Day Olivia de Havilland-I. Hunter Captain's Kid, The (G) 167. ..Guy Kibbee-Sybil Jason Nov. I4t 72 Sept. 19 Draegerman Courage (G) 168. ..Jean Muir-Barton MacLane *60....Aug. 29 Title FRANK NORTON Greek Dialogue, English Titles) Star I Running Time Crustalo Nina Afentaki Oct. Eros A. Marikos Sept. Exo Ftohea Exo Sept. Independence Phillip Alexander Feb. News from Greece Travelogue Feb. Sarka and the Eagle Olympia Deos Oct. Vnskopoula Sophea Damoglou Jan. Ht. 7t. 20t. 16.. 9.. I8t. 5. . Minutes .. ..95.. .. .110.. 96.. .. .100.. 80.. ...118.. 95.. Reviewed GB PICTURES Running Time Title Star Rel. Date Minutes Reviewed East Meets West (G) George Arliss-Lucie Mannheim. ..Oct. I5t 72. ...Sept. 12 Everything Is Thunder (A) C. Bennett-D. Montgomery Oct, First a Girl (A) 3512 Jessie Matthews-Sonnie Hale.. ..Dec It 74.... Sept. 12 31, '35 73. Nov. 30,'35 It's Love Again (G) Jessie Matthews-Robert Young ..May 30 79 May 16 (Exploitation: Sept. 19, p. 68.) Man Who Lived Again (A) 3507. Boris Karioff-Anna Lee Nov. It 65 Oct. 10 Mister Hobo (G) 3416 George Arliss-Gene Gerrard Nov. 22. '35 80. Oct. I0,'35 (Reviewed under the title, "The Guv'nor.") (Exploitation: Jan. 18, p. 83; Feb. 8, p. 84; Aug. 4, p. 83.) Nine Days a Queen (G) 3610. .Nova Pilbeam-Cedric Hardwicke. .Sept. It 80 May 18 (Reviewed under the title, "Lady Jane Gray.") (See production article, June 20, p. 10; exploitation: Oct. 3, p. 83.) Secret Agent (A) 3515 Madeleine Carroll-Peter Lorre. ..June 15 83 May 23 Seven Sinners (A) E. Lowe-C. Cummings Aug. I5t 70.... July II (Reviewed under the title, "Doomed Cargo.") Coming Everybody Dance Ernest Truex-C. Courtneidge Dec. It Great Barrier, The Richard Arlen-Lilli Palmer Head Over Heels in Love Jessie Matthews Hidden Power, The Sylvia Sidney-Jehn Loder Love in Exile (A) 3623 Clive Brook-Helen Vinson Nov. I5t 76 May 30 King Solomon's Mines 3618. ... Roland Young:Paul Robeson Land Without Music (G) Richard Tauber-Jimmy Durante 80 Oct. 24 Nelson Touch, The George Arliss-Rene Ray Soldiers Three Victor McLaglen Strangers en a Honeymoon C. Cummings-Noah Beery Dec. I5t Two of Us, The Jack Hulbert-Gina Malo GRAND NATIONAL Title Star Captain Calamity George Houston-Marian Nixon Devil on Horseback, The (G)...Lili Damita-Fred Keating Oct. In His Steps (G) Eric Linden-Cecilia Parker Sept White Legion, The (G) Tala Birell-lan Keith Oct. Yellow Cargo Conrad Nagel-Eleanor Hunt Oct. Running Time Rel. Date Minutes Reviewed Nov. 3t 66 6t 72.... Oct. 3 29 *75....Sept. 19 I3t 81.... Oct. 24 27t 65 '.. Coming Grand Canyon Jan. I,'37t. Great Guy James Cagney-Mae Clarke Dee. It Hats Off Mae Clarke-John Payne Nov. 24t Navy Spy Conrad Nagel-Eleanor Hunt Dec. 23 Song of the Gringo Tex Ritter-Joan Woodbury Nov. I Of We're in the Legion Now (G) . Reginald Denny-Esther Ralston. .. Nov. 1 7t - - . . (Reviewed under the title, "Rest Cure.") .64.... Feb. 15 GUARANTEED Running Time Title Star Rel. Date Minutes Reviewed Just My Luck Eddie Nugent-Charles Ray June 15 Luck of the Irish Richard Hayward Sept. I5t Phantom Ship Bela Lugosi-Shirley Grey Oct. I5t Women In White Molly Lamont-Lester Matthews. . .July 15 HOFFBERG Running Time Title Star Rel. Date Minutes Reviewed Girl from Maxim's Leslie Henson-Frances Day Oot. It 65. Oct. I4,'33 Old Spanish Custom, An Buster Keaton J»n. 2 60 Song of the Scarlet Flower Swedish Sept. If 80 November 7, 1936 MOTION PICTURE HERALD 9f (THE RELEASE CHACT«C€NT*E) Running Time Title Star Rel. Date Minutes Reviewed Tenderfoot Goes West, A Jack La Rue-Russell Gleason. . . .Oct. I5t 62 Wanted Men Charles Laughton-Dorothy Gish...Sept. It 62 Voice of India Hoeffer Expedition ..Nov. It 70 Coming Crime of Voodoo Fredi Washington 63 Inyaah Borneo Expedition Nov. 1 5 1 70 , . 106. 91.) ..72. . .95. HUNGARIA (Hungarian Dialogue) Running Time Title Star Rel. Date Minutes Reviewed Heart Specialist B. Somegyl Dee. 30/35 90 I Cannot Live Without Music.. Gyula Csortos Dec. 20,'35 95 One Night In Venice Gyula Csortos Jan. 1 85 IMPERIAL Title Star Broken Blossoms (A) Dolly Haas-E. Williams Nov. Forgotten Women Irene Rich-Evelyn Brent May I Demand Payment Betty Burgess-Lloyd Hughes Nov. Rich Relations .Ralph Forbes- Frances Grant Oct. She Shall Have Music Jack Hylton-June Clyde Sept. Coming High Hat Frank Lather- Dorothy Dare Dec. It With Pleasure, Madame Conrad Nagel Jan. I5,'37t. Running Time Rel. Date Minutes Reviewed June 6 71 San Francisco (G) 636 Clark Gable-J. MacDonald June 26 III. (Exploitation: Aug. I, pp. 93, 94; Aug. 8, p. 90; Aug. 22. pp. 113, 114; Aug, Sept. 5, p. 80; Sept. 12, pp. 66, 68; Oct. i, pp. 78, 83; Oct. 31, p. 79.) Small Town Girl (G) 607 Janet Gaynor-Robert Taylor Apr. 10 (Exploitation: June 13, p. 122; June 27, p. 80; July 25, p. 77: Aug. 8, p Speed 652 (G) Wendy Barrie-James Stewart May .Aug. (Exploitation: Sept. 12, p. 67; Oct. 10, p. 91; Oct. 24, pp. 70, 72; Oct. 31, pp. 76, 77.) Sylvia Scarlett (G) 614 Katharine Hepburn-Cary Grant. ..Jan. 3 94'/2..Jan. 18 Two In Revolt (G) 621 Louise Latimer-John Arledge Apr. 3 65 May 2 Walking on Air (G) 638 Gene Raymond-Ann Sothern Sept. II 69 Aug. 22 We're Only Human (G) 61 2. .. Preston Foster-Jane Wyatt Dec. 27, '35.. ..68. Dec. I4,'35 Without Orders (G) Sally Eilers-Robt. Armstrong Oct. 23t 64 Oct. 10 Witness Chair, The (G) 626... Ann Harding-Walter Abel Apr. 24 64 Apr. II Yellow Dust (G) 618 Richard Dix-Leila Hyams Mar. 13 68'/2..Mar. 28 Coming Coast Patrol Victor McLaglen-Preston Foster Criminal Lawyer Lee Tracy-Margot Grahame (See "!n the Cutting Room," Oct. 31.) Make Way for a Lady Anne Shirley-Herbert Marshall. . .Nov. I3t (Sm "Daddy and I," "In the Cutting Room," Sept. 26.) Night Waitress Margot Grahame-Gordon Jonei. . . . Dec. I8t (See "!■ the Cutting Room," Oct. 10.) Plot Thickens, The James Gleason-Zasu Pitts Dec. lit (See "Riddle of the Dangling Pearl," "In the Cutting Room," Oct. 3.) Plough and the Stars, The Barbara Stanwyck-P. Foster Jan. I5,'37t (See production article, Aug. 22, p. 16.) Quality Street Kath. Hepburn-Franchot Tone (See "In the Cutting Room," Oct. 7.) Racing Lady Ann Dvorak-Smith Ballew Jan. 29,'37t (See "All Scarlet," "In the Cutting Room," Oct. 3.) Rainbow on the River Bobby Breen-May Robson Dec. 25t Smartest Girl in Town Ann Sothern-Gene Raymond Nov. 27t (See "Million Dollar Profile," Sept. 19.) Street Girl Lily Pons-Gene Raymond Jan. 22,'37t (See "In the Cutting Room," Oct. 24.) They Wanted to Marry Gordon Jones-Betty Furness Wanted: Jane Turner Gloria Stuart-Lee Tracy Nov. 27t Dec. 4t (See "General Delivery," "In the Cutting Room," Oct. 3.) We Who Are About to Die (G). Preston Foster-Ann Dvorak Jan. 8,'37t...*80 Oct. 17 Winterset Burgess Meredith-Margo Nov. 20t (See "In the Cutting Room," Aug. 22.) Woman Rebels, A (A) Kath. Hepburn-H. Marshall ..Nov. 6t 88 Oct. 31 STATE RIGHTS Title Star Dist'r August Week-End Valerie Hobson Grand National. Below the Deadline Russell Hopton Grand National. Bridge of Sighs Onslow Stevens Grand National. Brilliant Marriage Joan Marsh Grand National. Custer's Last Stand Rex Lease Stage & Screen. Dark Hour, The Irene Ware Grand National. Drake the Pirate (G) Matheson Lang Grand National. Easy Money (G) Onslow Stevens Grand National. Feud of the West Hoot Gibson Grand National. Human Adventure, The (G). Educational W. G. Shields.. I Conquer the Sea (G) Steffi Duna Grand National. I Was a Captive of Nazi Germany (G) Isobel Steele Malvina Lady Luck Wm. Bakewell Grand National. Little Red School House. .. Junior Coghlan Grand National. Living Dead ,The Gerald Du Maurier. . Grand National. Lucky Terror, The Hoot Gibson Grand National. Old Curiosity Shop (G) Elaine Benson Grand National. Revolt of the Zombies (G). Dorothy Stone Grand National. (Reviewed under the title of "Revolt of the Zombies") Riding Avenger (G) Hoot Gibson Grand National. Ring Around the Moon (G).Erin O'Brien-Moore Grand National. Romance Rides the Range (G) Marion Shilling Spectrum She-Devil Island C. Guerrero Grand National. Southern Maid Bebe Daniels Grand National. Spy 77 (G) Greta Nissen Grand National. Swifty Hoot Gibson Grand National. Tango Marian Nixon Grand National. Three of a Kind (G) Chick Chandler Grand National. Too Much Beef Rex Bell Grand National. Trouble Ahead (G) Charles Farrell Atlantic West of Nevada Rex Bell Grand National. Running Time Rel. Date Minutes Reviewed ..Apr. 10 67 ..June 8 69 ..Mar. 5 66 ..Mar. 25 62'/2 . .Apr. 2 9 rls ..Jan. 15 70'/2 ..Apr. I 78. June l,*35 ..July 10 66'/2..July I ..Apr. 15 6l'/2 ..Oct. 16 72. ...Oct. 10 ■ Feb. 8 67.... Jan. 25 • Aug. I 73 Aug. 8 ..Aug. 15 ..Mar. 10 59 ..Feb. 22 65 ..Feb. 20 61 ..Dec. 25, '35. . .89. Feb. 2,'35 ..July 20.. .60 July 13 ..June 15 57 July 18 ..Dec. 15 69V2..Mar. 28 ..Sept. 28t 59 Sept. 26 ..June I 63 ..May I 60 ..Jan. 15 77.... Feb. 29 ..Dec. 15, '35... 60 ..Jan. 1 70 ..May 20 75 July 4 ..Apr. 20 59 ..Sept. I7t 75 Sept. 26 ..June 22 59 Coming Cavalcade of China James B. Leong 6 rls. Chinese Melody James B. Leong 6 rls. Devils on Earth James B. Leong 6 rls. SUPREME Title Star Running Time Rel. Date Minutes Reviewed Brand of the Outlaws Bob Steele Aug. Crooked Trail, The Johnny Mack Brown July Desert Phantom, The Johnny Mack Brown Mar. Everyman's Law Johnny Mack Brown June Kid Ranger, The Bob Steele Feb. Last of tho Warrens Bob Steele May Law Rides, The Bob Steele June Rogue of the Range Johnny Mack Brown Apr. Sundown Saunders Bob Steele Mar. Trail of Terror Bob Steele Dec. Valley of the Lawless Johnny Mack Brown Jan. 15.... 25 10.... 10.... 5 10.... 25.... 25... 25. .. 20, '35. 25.... TWENTIETH CENTURY-FOX Title star Ambassador Bill (G) 767 Will Rogers (re-issue) Back to Nature (G) 714 Jed Prouty-Spring Byington Border Patrolman, The*(G)650. Geo. O'Brien-Polly Ann Young . Captain January* (G) 635 Shirley Temple-Guy Kibbee.. (Exploitation: Juno 6, pp. 117, (22; June 27, p. 82; July 4, p. 68.) Champagne Charlie 629 Paul Cavanach-Helen Wood (See "In the Cutting Room," Dec. 14, '35.) Charlie Chan at the Circus* (G) 640 Warner Oland-Keyo Luke Charlie Chan at the Race Track* (G) 704 Warner Oland-Helen Wood Charlie Chan's Secret* (G) 626. Warner Oland-Rosina Lawrence. . Connecticut Yankee, A 699 Will Rogers-Myrna Loy (re-issue) Country Beyond, Tho* (G) 643 Rochello Hudson-Paul Kelly Country Doctor, The* (G) 636. Dionne Quintuplets-J. Hersholt.. (Exploitation: Mar. 21, pp. 93, 97; Mar. 28, p. 83; Apr. 4 p. 90; May 16, p. 82; May 23, pp. 87, 95; May 30, p. 86 July II, p. 127; July 25. p. 81; Aug. I, p. 93.) Running Time Rel. Date Minutes Reviewed Oct. 2St.. 70. Oct. 24, '31 Sept. I8t 56.... Aug. 22 .July 3 59. ...June 27 Apr. 17 77.... Mar. 21 p. 70; July 18, p. 82; Sept. 12. May 8. .59. Mar. 27 71 Mar. 28 Aug. 7t 70. Oct. 26, '35 Jan. 10 . .70 July 18 Apr. 24 85. Mar. 21, '31 Apr. 24 68 Apr. II Mar. 6 94. ...Mar. 21 p. 83; Apr. 25, p. 96; May 9, June 6, p. 124; July 4, p. 70; 94 MOTION PICTURE HERALD November 7, 1936 (THE RELEASE CHART— CONT'D) Kent. Title Star Crime of Dr. Forbes, The (G) 655 Gloria Stuart-Robert Dimples (G) 715 Shirley Temple-Frank Morgan.. Educating Father* (G) 645 Jed Prouty-Shlrley Deane...... Everybody's Old Man* (G) 634 Irvin S. Cobb-Rochelle Hudson Every Saturday Night* (G) 637. June Lang-Thomas Beck 15 Maiden Lane (G) 716 Claire Trevor-Cesar Romero First Baby, The* (G) 646 Shirley Deane-Johnny Downs... (Exploitation: July 25, p. 76; Aug. 8, p. 93.) Gentle Julia* (G) 641 Jane Withers-Tom Brown Girls' Dormitory (G) 702 Herbert Marshall-Simone Simon (Exploitation: Sept. 5, p. 79; Oct. 17, p. 75; Oct. 31, p Running Time Date Minutes Reviewed Title Star Running Time Rel. Date Minutes Reviewed Here Comes Trouble* (G) 633.. Paul Kelly-Arline Judge High Tension* (G) 653 Brian Donlevy-Glenda Farrell.. Human Cargo* (G) 652 Claire Trevor-Brian Donlevy... , It Had to Happen (G) 631 George Raft-Rosalind Russell... King of Burlesque, The* (G) 625 Warner Baxter-Alice Faye (Exploitation: Mar. 21, p. 36; Apr. 4, p. 87.) King of the Royal Mounted (G) 709 Robert Kent-Rosalind Keith... . Ladies in Love (G) 710 Janet Gaynor-Constance Bennett- Loretta Young-Simone Simon.. Little Miss Nobody (G) 651... Jane Withers-Ralph Morgan Littlest Rebel, The* (G) 624.. Shirley Temple-John Boles. (Exploitation: Feb. 8, p. 81; Feb. 15, p. 83: Feb. 22, p. 9i Message to Garcia, A (G) 632. Wallace Beery-B. Stanwyck (Exploitation: July II, p. 127.) My Marriage* (G) 630 Claire Trevor-Kent Taylor O'Malley of the Mounted* (G) 639 George O'Brien-Irene Ware Paddy O'Day (G) 627 Jane Withers-Pinky Tomlln Pepper (G) 708 Jane Withers-lrvin S. Cobb... . Pigskin Parade (G) 713 Stuart Erwin-Arline Judge Poor Little Rich Girl, The* (G) 657 Shirley Temple-Alice Faye (Exploitation: Aug. I, p. 90; Aug. 22, p. 110.) Prisoner of Shark Island, The (G) 638 Warner Baxter-Gloria Stuart.... (Exploitation: Mar. 21, p. 97; Apr. II, p. 97; Apr. 18, p. Private Number* (G) 645 Loretta Young-Robert Taylor.... (Exploitation: July 18, p. 85; Aug. 8, p. 93; Aug. 22, p. II Professional Soldier (G) 628... V. McLaglen-F. Bartholomew.. Ramona (G) 707 Loretta Young-Don Ameche (See production article, July 4, p. 16.) Road to Glory, The (G) 706. . . Fredric March-Warner Baxter.. Sing, Baby, Sing (G) 703 Alice Faye-Adolphe Menjou Sins of Man (G) 648 Jean Hersholt-Don Ameche... Star for a .June 26 ..76. . . . June 20 .Oet. 1 6t . ..78. . . . Oct. 17 July | Q . .57. 30 .Mar. 20 ..84. ...Mar. 14 Feb. 7 . ..62. ...Feb. 8 Oct. 30t 64. . . .Oct. 3 May 15 . .74. . . .Apr. 18 3 . ..63. . . . Feb. 29 .Aug. 14t . . .66. . . .Aug. 1 . 77.) ,66. . . . May 9 21 . . .62. . . . Feb. 15 July . ..63. . . .June 20 . May 29 . ..66. . . . Apr. 25 .Feb. 14 . . .79. ...Feb. 15 , Jan. 3 . ..88. . . . Jan. 4 .Sept. lit.... . ..58. . . . Aug. 29 .Oct. 9t.... . . .97. ...Oct. 10 12 ..72. ...Mar. 28 . Dec. 27,'35.. . ..73. Nov. 30, '35 '; Mar 7, p. 9 S; Aug. 8, p. 91.) .Apr. 10 . . .85. . . . Mar. 14 .Jan. 31 . ..68. Nov. 22,'35 Mar. 27 . ..59. . . . Mar. 28 Jan. 17 ...76. Nov. 2, 35 .Sept. lit-... . ..64. ...July 13 23t.... . ..93. ...Oct. 24 .July 24 ..79. . . June 6 Feb. 28 . ..95. . . . Feb. 22 77.) June 5 79. . . .May 30 II; Sept. 19, I . 68.) . . Jan. 24 . . .78. . .Jan. 4 25t.... ...84. . . .Sept. 19 .Sept. 4t.... . .101. . . June 6 .Aug. 2lt.... . ..87. . . .Aug. 15 .June 19 ..79. . . . May 16 13 . ..72. ...Feb. 22 28t.... . ..76. . . .Aug. 15 7t.... Feb. 4, ■33 (re-issue) Thank You, Jeeves (G) 712... Arthur Treacher- Virginia Field. ..Oct. 2t.. 36 Hours to Kill (G) 656 Brian Donlevy-Gloria Stuart July 24... To Mary — With Love (G) 701. .Warner Baxter-Myrna Loy .Aug. It.. (Exploitation: Aug. 15, p. 76; Sept. 19, p. 67.) Under Two Flags (G) 644 Ronald Colman-C. Colbert May I... (See production article, Mar. 14, p. 16; exploitation: June 6, pp. 116, I July 25, pp. 76, 81; Aug. 8, p. 93; Aug. 15, p. 78; Sept. 12, p. 68.) Under Your Spell 720 Lawrence Tibbett-Wendy Barrie..Nov. 6t.. White Fang (G) 649 Michael Whalen-Jean Mulr July 3... (Exploitation: Aug. I, p. 90; Aug. 15, p. 79.) Wild Brian Kent (G) 718 Ralph Bellamy-Mae Clarke Nov. 6t. ..57. ..65. ..92. 110. ; July .63. ...Sept. 19 ...Aug. 29 ...July 25 ...May 9 II, p. 125; 70 57. ...July 25 ...Oct. 31 Coming As You Like It (G) 711 Elis. Bergner-Laurence Olivier (See production article, June 13, p. 16.) Banjo On My Knee 726 Barbara Stanwyck-Joel McCrea. . . Nov. 27t.. Can This Be Dixie? 723 Jane Withers-Slim Summerville . . Nov. 1 3t - - Career Woman .Claire Trevor-Michael Whalen Jan. 22,'37t Charlie Chan at the Opera Warner Oland-Boris Karloff Jan. 15, '37 (See "In the Cutting Room," Oct. 17.) Crack Up 727 Peter Lorre-Brian Donlevy Dec. lit.. Holy Terror, The Jane Withers-Tony Martin Laughing at Trouble 724 Jane Darwell-Delma Byron Dec. I8t.. (See "Glory," "In the Cutting Room," Oct. 17.) Lloyds of London F. Bartholomew-M. Carroll On the Avenue Dick Powell-Madeleine Carroll .. Jan. One in a Million 722 Sonja Henie-Don Ameche Jan. (See "In the Cutting Room," Oct. 31.) Peach Edition Rochelle Hudson-Michael Whalen Private Enemy (721) Victor McLaglen-B. Stanwyck. .. Jan. Deunion 717 Dionne Quintuplets-J. Hersholt. . . Nov. (See "In the Cutting Room," Oct. 10.) Secret Valley Richard Arlen Jan. Stowaway 725 Shirley Temple-Robt. Young Dec. White Hunter 719 Warner Baxter-June Lang Dec. (See "In the Cutting Room," Oct. 3.) [Asterisk (*) denotes Fox Pictures. Others 20th Century Productions.] Jan. 8,37t 95 Sept. 19 29,'37t. I,'37t. 8,'37t. 20t... I5,'37f . 25t.... 4t.... UNITED ARTISTS Running Tims Title Star Rel. Date Minutes Reviewed Amateur Gentleman, The (G) . Douglas Fairbanks, Jr.-E. Landl . .Apr. 17 100.. ..Feb. 22 Amazing Quest, The Cary Grant-Mary Brian Sept. 26 70 Aug. 29 Come and Get It Edward Arnold- Frances Farmer. . . Nov. 6t (See "In the Cutting Room." Aug. I.) Dodsworth (G) Walter Huston-Ruth Chatterton . Sept. 23t *90 Sept. 26 (See production article, Aug. 8, p. 16; exploitation: Oct. 3, p. 78; Oct. 24, p. 77; Oct. 31, o. 77.) Gay Desperado, The (G) Nino Martini-Ida Lupino Oct. 2t *85 Oct. 10 (See production article, Sept. 5, p. 32; exploitation: Oct. 17, p. 72.) Ghost Goes West, The (G) Robert Donat-Jean Parker Feb. 7 85 Jan. 4 (Exploitation: Jan. 25, p. 63; Feb. 8. p. 83: Feb. 22, p. 96; Apr. 4, p. 89: Aug. 29, p. 84.) I Stand Condemned (A) Harry Bauer-Laurence Olivier. .. July 10 76. Nov. 30, '35 Incertidumbre (G) Hilda Moreno Sept. I8t 70 Sept. 26 Last of the Mohicans, The (G). Randolph Scott-Binnie Barnes. .. .Aug. I3t ..91... .Aug. 15 (See production article, July 18. p. 16; exploitation: June 27, p. 80; Aug. 29, p. 80: Sept. 5, p. 78; Sept. 12, p. 68; Sept. 26, p. 72; Oct. 3, pp. 82, 83; Oct. 10, pp. 92, 97; Oct. 31, p. 78.) Little Lord Fauntleroy (G) F. Bartholomew- D. Costello Barrymore Mar. 6 1 02.... Feb. 29 (Exploitation: Mar. 14, p. 84; May 16, p. 80; June 6, p. 117; June 13, p. 132: Aug. I. p. 93; Aug. 29, p. 87.) Modern Times (G) Chas. Chaplin-Paulette Goddard . . Feb. 21 87 Feb. 8 (See production article, Feb. 8, p. 18; exploitation: Feb. 15, p. 81; Feb. 22, p. 100; Mar. 7, p. 99; Mar. 14, p. 84; Mar. 28, pp. 83, 84; Apr. 4, pp. 84, 89; Apr. II, pp. 93, 96; Apr. 25, p. 92; May 2, p. 99; May 9, p. 84; May 16, p. 82; May 30, pp. 84, 86; June 6, pp. 116, 118; June 13, pp. 122. 132; June 20, p. 121; Aug. 22, p. 117; Sept. 12, p. 68.) One Rainy Afternoon (G) Francis Lederer-lda Lupino May 13 79 May 2 (Exploitation: June 13, p. 122; July 25, p. 77.) Strike Me Pink (G) Eddie Cantor-Ethel Merman Jan. 24 100 Jan. 25 (Exploitation: Feb. I, p. 63; Feb. 8, p. 83; Feb. 15, p. 81; Feb. 29, pp. 72, 75; Mar. 14. p. 85; Mar. 21, pp. 94, 97; Apr. 4, p. 87; June 6. p. 118; Oct. 17, p. 80.) These Three (G) M. Hopkins-M. Oberon-J. McCrea. .Apr. 10 93 Feb. 29 (Exploitation: May 9, pp. 90, 94; May 23, p. 94; June 6, p. 122; June 27, p. 88.) Things to Come (G) Raymond Massey Apr. 24 99 May 7 (See production article, Mar. 7, p. 16; exploitation: Apr. 18, p. 77; June 13, p. 132; July 25, p. 81; Aug. I, p. 94; Aug. 22, p. 110; Sept. 26, pp. 70, 71; Oct. 24, p. 70.) Coming Accused (A) D. Fairbanks, Jr.-D. Del Rio 70 Aug. 8 Beloved Enemy Merle Oberon-Brlan Aherne Dec. 25t Garden of Allah, The Marlene Dietrich-Charles Boyer. Nov. 20t (See production article, June 6, p. 14.) History Is Made at Night Charles Boyer-Jean Arthur Jan. I5,'37t Man Who Could Work Miracles, The (G) Roland Young-Joan Gardner 90 Aug. 22 Rembrandt Chas. Laughton-Gert. Lawrence. .. Dec. 4t (See production article, Oct. 31, p. 16.) Star Is Born, A Janet Gaynor-Fredric March Feb. I,'37t You Only Live Once Sylvia Sidney-Henry Fonda Jan. I,'37t UNIVERSAL Running Time Minutes Reviewed 3 17 II .67.. .64.. .70.. p. 75; Aug. 22, p. 112.) .. ..May 6 65.. . Feb. 8 . Feb. 29 .May 9 Title Star Rel. Date Boss Rider of Gun Creek 1042. Buck Jones-Muriel Evans Nov. It Cowboy and the Kid, The 9046. Buck Jones-Dorothy Revler May 25 Crash Donovan (G) 9031 Jack Holt-Nan Gray July 26 54 July 18 (Exploitation: Oct. 24, p. 70.) Dangerous Waters (G) 9032 Jack Holt-Robert Armstrong Feb. Don't Get Personal (G) 9025.. James Dunn-Sally Ellers Feb. Dracula's Daughter (A) 9006. ..Otto Kruger-M. Churchill May (Exploitation: June 20, p. 120; July 25, p. 77; Aug. 15, For the Service 9045 Buck Jones-Beth Marion Girl on the Front Page, The (G) 1032 Gloria Stuart-Edmund Lowe Sept. 27t 75 Sept. 2B Invisible Ray, The (G) 9015. . . Karloff-Bela Lugosi Jan. 20 75 Jan. 25 (Exploitation: Jan. 18, p. 82; Jan. 25, p. 63; Mar. 7, p. 99; Mar. 14, p. 88; July 18, p. 85.) Love Before Breakfast (G) 9007. Carole Lombard-Preston Foster. .. Mar. 9 70 Feb. 29 (Exploitation: Apr. 18, p. 81; May 23, p. 94; June 6, p. 117; June 13, p. 132.) Magnificent Brute, The(G) 1022. Victor McLaglen-BInnie Barnes. .Oct. II 77 Oct. 3 (Exploitation: Oct. 31, p. 75.) Magnificent Obsession (G) 8006. Irene Dunne-Robert Taylor Jan. 6 112... Jan. II (Exploitation: Jan. 18, p. 82; Feb. 8, pp. 81, 83, 84; Mar. 7, pp. 86, 99; Mar. 21, pp. 92, 96; Apr. 16, p. 96; May 23, pp. 87, 95; June 6, p. 118.) It... . . .76. (See "In the Cutting Room," Sept. 26.) My Man Godfrey (G) 1002... William Powell-Carole Lombard .Sept. 6t... . ..93. (Exploitation: Sept. 12, p. 66; Oct. 10, p. 91.) Next Time We Love (G) 8004. Marg't Sullavan- James Stewart. . Jan. 27.... . . .87. Nobody's Fool (G) 9033 E. E. Horton-Glenda Farrell .May 31.... . .65. Parole (G) 9036 Ann Preston-Henry Hunter... 14 65. (Exploitation: July 25, p. 79; Aug. 1, p. 93.) Ricardo Cortez-Patricia Ellis 16.... . . .59. .Aug. 22 20t 20t 17 112. ...May 9 117, 121; June 27, p. 80; (Exploitation: Oct. 3, p. 83.) Ride 'Em Cowboy 1041 Buck Jones-Luana Walters Sept. Sea Spoilers 1027 John Wayne-Nan Gray Sept. Show Boat (G) 8001 Irene Dunne-Allan Jones May (See musical analysis, May 9, p. 65; exploitation: June 20, pp. July 4. p. 69; July II, p. 124; July 18, p. 82; July 25, p. 78; Aug. I, p. 93; Aug. 8, p. 91; Aug. 15, p. 79; Aug. 22, p. 114; Aug. 29, p. 86; Sept. 5, p. 80; Sept. 12, p. 68; Sept. 19, pp. 67, 69; Sept. 26, p. 70; Oct. 3, p. 81.) Silver Spurs 9044 Buck Jones- Muriel Evans Feb. 18 Sunset of Power 9043 Buck Jones-Dorothy Dix Dec. 23,'35 Sutter's Gold (G) 8002 Edward Arnold-Binnie Barnes. .. .Apr. 13 95 Mar. 28 (See production article, Feb. 15, p. 14; exploitation: Apr. 4, p. 83; Apr. 18, p. 77; Apr. 25. pp. 91, 92; Juno 27, p. 85; Aug. 8, p. 92.) Two in a Crowd (G) 1010 Joel McCrea-Joan Bennett Sept. I3t (Exploitation: Oct. 10, p. 96.) Yellowstone (G) 9030 Henry Hunter-Judith Barrett Aug. 30. (Exploitation: Aug. 29, p. 84.) ..60. .Oct. 10 ...63 Seot. 12 November 7, 1936 MOTION PICTURE HERALD 95 (THE RELEASE CHAKT— CONT'D) 29t. 20t. 22t. 20t. 8t. Title Star Class Prophecy Louis Hayward-Wendy Barrie Conflict 1036 John Wayne-Jean Rogers Nov. tmpty Saddles (G) 1043 Buck Jones-Louise Brooks Dec. Flying Hostess 1023 Judith Barrett-Wm. Hall Nov. Four Days' Wonder 1019 Jeanne Dante-Kenneth Howell. ... Dec. Love Letters of a Star 1028. .. .Walter Coy-Polly Howies Nov. Luckiest Girl in the World (G) 1014 Jane Wyatt-Louis Hayward Nov. (See "In the Cutting Room," Oct. 3.) Murder on the Mississippi 1 025. James Duwr-Jean Rogers Dec. Night Key Boris Karloff Three Smart Girls 1029 Binnie Barnes-Ray Milland Dec. 6t Top of the Town 1007 George Murphy-Doris Nolan Dec. 27t Treve Noah Beery, Jr.-Barbara Reed Running Time Rel. Date Minutes Reviewed *65 Oct. 24 I5t.. I3t. VICTORY Title Star Running Time Minutes Reviewed Face in the Fog, A June Collyor-Lloyd Hughes Feb. Fighting Coward Ray Walker-Joan Woodbury Dec. Kelly of the Secret Service Lloyd Hughes-Sheila Mannors June Prison Shadows Eddie Nugent-Lucille Lund June Rio Grande Romance Eddie Nugent-Maxine Doyle Mar. Rip Roaring Buckaroo Tom Tyler-Beth Marlon ..Oct. Taming the Wild Rod La Rocque-Maxine Doyle.. ..Feb. Two Minutes to Play Herman Brix-Jeanne Martel Nov. Coming Cheyenne Rides Again Tom Tyler Jan. Phantom of the Range Tom Tyler-Beth Marion Nov. Silks and Saddles Herman Brix Nov. 15/35 70. 15 15.. I5t. 15.. 2t. 7,'37t. 20t.... I6t WARNER BROTHERS (See also First National) Running Time Title atar Rel. Date Minutes Reviewed Anthony Adverse (G) 801 Fredric March-O. de Havilland. . . Aug. 29 139 May 23 (See production article, Feb. I, p. 16; musical analysis, Aug. 22, p. 15; exploitation: Aug. 8, 12, p. 68; Oct. 3, p. 91; Sept. 5, pp. 78, 85; Sept. pp. 69, 72, 75; Oct. 31, p. 76.) Bengal Tiger, The (G) 118 Barton MacLane-Juno Travis Sept. 5t (Exploitation: Aug. 22, p. 16; Oct. 17, p. 75; Oct. 31, p. 82.) Big Noise, The (G) 925 Guy Kibbee-Warren Hull June 27 Boulder Dam (G) 815 Ross Alexander-Patricia Ellis. ... Mar. 7 Cain and Mabel (G) 102 Marion Davies-Clark Gable Sept. 26t (See production article, Aug. 29, p. 36.) Charge of the Light Brigade (G) 901 Errol Flynn-O. De Havilland.. ..Nov. 7 (See production article, July 25, p. 16.) Colleen (A) 903 Ruby Keeler-Dick Powell Mar. 21 (Exploitation: Mar. 14, p. 89; Apr. 25, p. 92; May 23, p. 86.) Dangerous (A) 910 Bette Davis- Franchot Tone Jan. 4 (Exploitation: Feb. I, p. 66: Feb. 8, pp. 83, 86; Apr. 20, p. 96; June Freshman Love (G) 922 Patricia Ellis-Warren Hull Jan. 18.. Give Mo Ysur Heart (G) 109 . Kay Francis-George Brent Sept. 26f. (Exploitation: Sept. 19, p. 64; Oct. 24, p. 70.) Green Pastures, The (G) 902.. Rex Ingram Aug. I.. (See production article, May 2, p. 16; exploitation: July 25, p. 77; Aug pp. 80, 84, 85, 87; Sept. 5, pp. 79, 80.) Hot Money (G) 926 Ross Alexander-Beverly Roberts . .July 18... I Married a Doctor (G) 906 Pat O'Brien-J. Hutchinson Apr. 25... (Exploitation: Juno 6, p. 118; Aug. 8, p. 93.) Isle of Fury (G) 110 Marg't Llndsay-H. Bogart Oct. 1 0t . . Jailbreak (G) 927 Craig Reynolds-June Travis Aug. 8 Man Hunt (G) 923 Marguerite Churchill-W. Gargan..Feb. 15... Midsummer Night's Dream (G).AII Star Oct. (Pictorial: Aug. 3, '35, p. 15; exploitation: Apr. II, p. 94; June Oct. 24, p. 68.) Petrified Forest, The (G) 904. Leslie Howard-Bette Davis Feb. (Exploitation: May 2, p. 92.) Public Enemy's Wife (G) 913. .Pat O'Brien-Margaret Lindsay. . .July Satan Met a Lady 912 Warren William-Bette Davis Aug. (See "Men on Her Mind," "In the Cutting Room," Jan. II.) Sons O'Guns (G) 911 Joe E. Brown-Joan Blondell May 30. 83; Oct. 17, p. 75; Oct. 24. .60. ..July II . ..58.. . .70.. . ..90. . .Apr. .Apr. .Oct. .... Feb. I .. ..78. Nov. 30,'35 3, p. 123.) 65 Feb. I 88. ...July 18 15, ..93.... May 30 p. 76; Aug. 29, ..68., ..83. . . .*60.. .. ..60. .. ..65. . . Aug. . . Apr. ..Sept. ..May . .Jan. 3 117. Oct. 5 16 II I2,'35 6, p. 118; June 27, p. 82; 8. . 25. 8. .83.... Jan. 18 . .69 June ..74 (Exploitation: July p. 128; July 25, pp. 76, 77; Aug. 8, p. 93.) 2. 14. I.. Times Square Playboy (G) 924. Warren William-June Travis May Treachery Rides the Range (G) 929 Dick Foran-Paula Stone May Walking Dead. The (G) 914. . . Karloff-Marguerlte Churchill Mar. (Exploitation: Apr. 4, p. 88; Apr. 18, p. 82.) Widow from Mont* Carlo, The (G) 921 Dolores Del Rlo-W. William Feb. Coming Another Dawn Errol Flynn-Kay Francis Bad Man's Territory Dick Foran-Linda Perry Black Legion Humphrey Dogart-Ann Sheridan (See "In the Cutting Room," Oct. 10.) California Mall 930 Dick Foran-Linda Perry Nov. 14.. Danton Charles Laughton-Spencer Tracy Desert Song Frank MoHugh Fugitive in the Sky (G) 120. .Jean Muir-Warren Hull Nov. 28t Great O'Malley, The Pat O'Brien-Sybil Jason (See "The Making of O'Malley," "In the Cutting Room," Oct. S.) Guns of Pecos Dick Foran-Anne Nagel Justice After Dark Ann Dvorak King and the Chorus Girl Fernand Gravet-Joan Blondell King of Hockey Anne Nagel-Rlchard Purcell Dec. I9t (See "In the Cutting Room," Aug. 22.) ..79 May .62.... Mar. 21 ..56. . ..76.. . Mar. .Mar. •60.... Oct. 31 Title Star Melody for Two James Melton-Patricia Ellis... (See "In the Cutting Room," Oct. 17.) Men in Exile Richard Purcell- June Travis... Merchant of Venus Carol Hugh6s-Marie Wilson... Once a Doctor Donald Woods-Jean Mulr (See "In the Cutting Room," Oct. 10.) Over the Wall Ross Alexander Penrod and Sam Billy Mauch-Harry Watson Polo Joe (G) Joe E. Brown-Carol Hughes Prince and the Pauper, The.... Billy and Bobby Mauch Ready, Willing and Able Ross Alexander-Ruby Keeler... San Quentin ; Pat O'Brien-Humphrey Bogart. Slim Pat O'Brien-Henry Fonda Stolen Holiday Kay Francis-Ian Hunter (See "In the Cutting Room," Sept. 26.) Rupning Time Rel. Date Minutes Reviewed *65.... Sept. 26 WILLIAM STEINER Coming Running Time Title Star Rel. Date Minutes Reviewed I Cover Chinatown Norman Foster Nov. I8f .7 rls Island Captives Eddie Nugent 6 rls WORLD . M illy Title Tempo Massimo Coming Aurora Sul Mare Italian Feature My Song of Love Tito Schipa Second Bureau Jean Murat-Diane Korene. Slalom Skiing Film Street Without a Name Constant Rcmy-Pola lllery. Treno Popolare Italian Feature Running Time Rel. Date Minutes Reviewed .Mar. 12 78. ...Mar. 21 OTHER PRODUCT (FOREIGN) Running Time Star Dist'r Rel. Date Minutes Voitslk Amkino July 16 95... . 100. ..65. Title Anna (G) Ac!. A Star Fell from Heaven (G) Florine McKlnney ..Assoc. British 70. Calling the Tune (G) Sam '-Ivesay Assoc. British 70. Carnival in Flanders (A) . . Francoise Rosay American Tobis. . .Sept. 22 95. (Reviewed under the title "La Kermesse Heroique.") Ciboulette (G) Sime,, Berriau Franco-American ..Sept. Cloistered (G) Best May Der Kampf (A) L. Lotbinger Amkino Sept. Dubrevsky Boris Livanov Amkino Mar. Dusty Ermine (A) Ronald Squire Twickenham 75. Everything Is Rhythm (G) Harry Roy Assoc. British 75. Greater Promise, A (G) . . . Tamarina Amkino Oct. 6 90. Gypsies (G) Alexander Granach. .. Amkino July 28 90. Gypsy Melody (A) Lupe Ve'ez Assoc. British 70. Interrupted Honeymoon, The (A) Claude Hulbert British Lion 73. Juggernaut (A) Boris Karloff Twickenham 70.. lit. 19.. 9 28 72.. Reviewed .Aug. I .Juno 27 .Aug. 8 . Oct. 3 .Sept. 26 .May 30 .Sept. 19 .Apr. II .Oct. 10 .June 27 ■ Oct. 17 .Aug. 22 .Aug. 8 ..June 27 .Oct. 17 La Fusse Femin Gemler French Aug. La Paloma (G) Charles Kullman. ... Casino Oct. Last Rose, The (G) Hanna Ralph Casino Oct. (Reviewed under the title, "Letzte Rose.") Le Bonheur (A) Gaby Morlay Franco-American. .. Mar. Llebelel (A) Paul Hoerbiger General ..83.. ..83.. .102.. .110.. ..87.. .Otto Kruger Assoc. British 80. ..80.. ..77.. .87. Living Dangerously (A). Marriage of Corbal, The (A) Nils Asther General Mllizla Territorials (G) ... Antonio Ganduslo .. Nuovo Mondo Apr. 4 My Song Goes Round the World (G) Joseph Schmidt Casino Sept. 24 (Reviewed under the title. "Ein Lied Geht Urn Die Welt.) Once in a Million (G) Buddy Rogers Assoc. British 75. Ourselves Alone (G) Antoinette Celller ..Assoc. British 70. Pension Mimosas (A) Francolso Rosay .... Franco-American. .. May 5 93. Prenez Garde a la Pelnture. Slmone Simon French Aug. I 86. Public Nuisance No. I (G). Frances Day General 79. Raggen — Det Ar Jag Det (A) N. Wahlbom Scandinavian. May 21 83. Re Burlone, II (G) Armando Falconl ...Nuevo Mondo Mar. 25 98. Robber Symphony, The(G) . George Graves Concordia 125. Romance In the House of Hapsburg, A Paul Otto Casino Oct. • 81. (Reviewed under tho title, "Ein Libesroman Im Hause Habsburg.) Royal Waltz (G) Paul Hoerbiger Ufa Apr. 9 ..81. Skargards (A) Gideon Wahlberg ...Scandinavian Apr. 7 90. Song of Freedom, Tho (G).Paul Robeson British Lion 80. Soviet News (G) Amkino Apr. 10 70. Spy of Napoleon (G) Richard Barthelmess. Twickenham 98. Tenth Man, The (G) John Lodge Assoc. British Three Maxims, The (G)...Anna Noagle General Two's Company (G) Ned Sparks B. & D. Waltz for You, A (G) Louis Gravoure Casino . (Reviewed under the title. "Ein Walzor Fuer Dleh.) We Are from Kronstadt (G) V. Zalchlkov Amkino Apr. 30 83. Wedding March, The (AK.Tullio Carmlnatl Franco-American 92. When Knights Wort Bold (G) J. Buchanan-F. Wrny. General 7$. Woman Alone, A (A) Anna Sten General 90. ..Oct. 24 .Oct. 17 ..Mar. 21 ..Mar. 14 ..Mar. 21 .June IS .Apr. 25 .Oct. Ill .Apr. 4 .May Is .May 16 .87. .Mar. 14 .May 30 .Apr. 4 .May 9 .Oct. 17 .Apr. 25 .Apr. 18 .Sept. 5 .Apr. 25 .Oct. 10 • Aug. 29 .Aug. I .Sept. 25... .94.. .May .Oct. ...May 16 ...Mar. 14 .Mar. .June 96 MOTION PICTURE HERALD November 7, 1936 (THE RELEASE CHAET—CCNT'E) SHORT El EMS [All dates are 1936 unless other- wise stated. Numbers imme- diately following title designate date reviewed; for example, (8-1) August 1, 1936.1 celebrity' Title Rel. Date Min. COMICOLOR CARTOONS All Baba (2-15) Jan. 30 9.... Tom Thumb (2-15) Mar. 30 7.... Dick Whlttington's Cat (5-16) May 30 7.... Little Boy Blue July 30 Happy Days Sept. 30 COLUMBIA Title Min. ..7.... ...6'/,.. ...6'/2.. ...2 rls. ..l8'/2.. ..18... ..18.... ..17.... 10.... .June 27. .May 15. Rel. Date BARNEY GOOGLE No. 2— "Patch Mah Brltehes" Dec. I9.'35 No. 3 — "Spark Plug" Apr. 12... Ne. 4 — Major Google (5-16) .May 24... BROADWAY COMEDIES Am I Having Fun Sept. 18... Andy Clyde Ants In the Pantry (3-7).. Feb. 6... (3 Stooges) Caught in the Act Mar. 5... Andy Clyde Champ's a Chump, The June 20... (All Star) Disorder in the Court May 30 (3 Stooges) Double Trouble Andy Clyde False Alarms (10-10) Aug. 16... (3 Stooges) Fibbing Fibbers Oct. I9t.. Walter Catlett Half Shot Shooters (6-13).. Apr. 30... (3 Stooges) Just Speeding (3-7) Jan. 23... Midnight Blunders (5-16) . . Apr. 21 . . . (All Star) Mister Smarty (8-1) July 15... Andy Clyde Movie Maniacs Feb. 20... (3 Stooges) Oh, Duchess Oct. 9t.. Polly Moran Pain In the Pullman, A.. (3 Stooges) Peppery Salt, The (6-20) Andy Clyde Share the Wealth (5-16)... .Mar. 19... Andy Clyde Unrelated Relations Jan. 9... (All Star) Whoops, I'm an Indian... . Sept. lit.. (3 Stooges) COLOR RHAPSODIES Birds in Love Oct. 28t.. Dr. Bluebird (2-8) Feb. 5... Football Bugs (5-16) Apr. 29... In My Gondola (10-17) Sept. 3t... Glee Worms June 24... Merry Mutineers Oct. 2t.. Novelty Shop, The (9-5)... .Aug. 15... Untrained Seal, The (8-1).. July 26... COLUMBIA TOURS Star Gazers Oct. 1 5t - - Wonder Spots of America.. .Sept. 4 COURT OF HUMAN RELATIONS I Love a Doctor Oct. 2t.. Mad Money (9-5) Sept." 4... KRAZY KAT CARTOONS 10. Kannlbal Kapers Dec. 27. '35 U. Bird Stuffer, The (2-8) .Feb. I... 12. "Lll Alnlll" Mar. 19... IS. Peace Conference Apr. 10 (re -Issue) 14. Highway Snobbery (8-22) Aug. 9 7... 15. Krazy's Newsreel Oct. 24t NEW WOR1D OF SPORT SERIES Disputed Decisions (8-29) . .Aug. 22 10... Football Flashos (1 0-10) . . . . Aug. 30. . . .10. .. Golfing Rhythm (6-20) May 15.... 10... Hold 'Em Cowboy Sept. 25+ lee Cut-Ups (2-8) Fob. 6 10... Little Champs (8-29) Aug. 10 10... Skiing Is Believing Oct. 26+ Speed Mad Apr. 17 10... Sport Magic June 13 9'/i. .19... .18... .17... .18... .18... .18... .18... .!7'/2. .18... . .2 rls Irl.. .7... .7... .6... .7... Title Rel. Date Min. Stop, Look and Guest Mar. 9 10... Thrills with Daredevils Mar. 19 10... Touring the Sport World (7-25) July 1 1.... 10... SCRAPPY CARTOONS Looney Balloonists Sept. 24 Playing Politics (8-1) July 8 7... Serappy's Boy Scouts Jan. 2 7... Scrappy's Camera Troubles .Juno 5 7... (6-20) Scrappy's Pony Mar. 16 7... SCREEN SNAPSHOTS No. E — Jan. 2 IO«/2 . No. 6— (2-8) Jan. 31 IO'/2 . No. 7— (3-7) Feb. 28 1 0'/2 . No. 8— Mar. 27 10... No. 9— (5-16) Apr. 24 9'/2 . No. 10— (6-13) May 29.. ..10... No. II— (8-1) June 26.. ..10... No. 12— (8-8) July 17. ... 1 0. . No. 13— (8-22) Aug. 13. ...10... SCREEN SNAPSHOTS (New Series) No. I— Sept. 11 + No. 2— Oct. 23t SPECIAL Robinson Crusoe Sept. 7f. STARS OF TOMORROW 5— (2-8) Jan. 15.. 6— (2-8) Jan. 17.. VOICE OF EXPERIENCE 8 — Jan. 2 1 1 . . . 9— (3-7) Feb. 25 IO'/2.. 10— Mar. 26... IO'/2. No. No. No. No. No. ...3 rls .11 .18.... DuWORLD Title Rel. Date Min. POPULAR SCIENCE FOREIGN (Cineeolor) No. I— Sept. 15+.... 9 . No. 2— 10.. No. 3— No. 4 — 8.. No. 5 — 9.. No. 6— 10.. EDUCATIONAL [Distributed through Twentieth Century Title Fox] Min. Rel. Date CORONET COMEDIES Brain Busters. The Jan. 10. Fresh from the Fleet Apr. 24... Mixed Policies Jan. 17... Sleepless Hellow May' 8... Where Is Wall Street Apr. 10... MUSICAL COMEDIES Home on the Range (6-20) . June 5... Perfect Thirty-Sixes Dec. 20. '35 Thanks, Mr. Cupid Jan. 24... SONG AND COMEDY HITS Alpine Rendezvous (8-29) .. .Aug. If... 1 1.. Easy Pickin's Dec. 27,'35.I0. . Gifts In Rhythm Oct. 23t 10. . Going Native Aug. 28t . . . 1 1 . . Pink Lemonade (9-24) Sept. I8+...II.. Queen's Birthday, The Aug. 1 4f . . . 10 . . Ring Goes 'Round, The Aug. 2 1 1 . . .10. . Spooks (6-20) Apr. 17 9.. STAR PERSONALITY COMEDIES .18.... .18... . .20.... .18... .19.... .21.... 18.... 18.... .18... .20.. .21... .19... .16... .19.. . ..6... Giv'im Air Feb. 14. Gold Bricks Mar. 20. Grand Slam Opera Feb. 21. Three rn a Limb Jan. 3. Triple Trouble Apr. 3. White Hope, The Mar. 27. PAUL TERRY-TOONS Alpine Yodeler Feb. 2. Barnyard Amateurs Mar. 6 6... Bully Frog, A (10-10) Sept. I8t 6... Busy Bee, The May 29 6... Farmer Al Falfa In the Health Farm Sept. 4t 6... Farmer Al Falfa In the Hot Spell July 10 6... Farmer Al Falfa and the Runt May 15 6... Farmer Al Falfa's Prize Package July 31 6... Farmer Al Falfa's Twen- tieth Anniversary Nov. 27+ I rl. Feud. The Jan. 10 6... Home Town Olympics Feb. 7 6... June Bride, A Nov. Kiko Foils the Fox Oct. Klko the Kangaroo In a Battle Royal Oct. 30t 6. Kiko nnd the Honey Bears (9-22) Aug. 2lt 6. I, '35. 2t... Title Rel. Date Min. Mayflower, The Dec. 27,'35. .6. . . 19th Hole Club, The Jan. 24 6... Off to China Mar. 20 6... Puddy the Pup and the Gypsies July 24 6... Puddy the Pup in Sunken Treasures Oct. I6t 6... Robin Hood in an Arrow Escape Nov. I3t I rl. Rolling Stones May I 6... Sailor's Home, The (6-13).. June 12 6... Tough Egg, A June 26 6... Western Trail, The Apr. 3 6... Wolf in Cheap Cloth, A. ...Apr. 17 6... TREASURE CHEST Animal Cunning May I Fast Friends (6-13) June 5... Feminine Form (8-29) Aug. 7+.. Fisherman's Luck Jan. 31... Gangsters of the Deep Nov. I ,'35 Krazi- Inventions (10-31) .. .Oct. 9t.. Legend of the Lei Nov. 20*.. Manhattan Tapestry Jan. 31... Nature's Songsters (9-23) ... Sept. 4t.. Seeing Eye, The (2-11).. .Jan. 17... Sports In the Alps (10-10) . .Sept. fit.. Symphony In Snow Oct. 16+.. TUXEDO COMEDIES Just Plain Folks Mar. 13. . . Rail Birds (6-13) May 22... TWO-REEL COMEDIES Any Old Port Nov. 6t.. Bashful Buddies Aug. 7+.. Blue Blazes Aug. 21 + . . Boy, Oh Boy (9-22) Aug. 14+.. Chemist, The (9-24) Oct. 9... Diamonds in the Rough Sept. 25+.. Gags and Gals (10-3) Sept. 11 + .. Happy Heels (8-22) Aug. 1 + .. It Happened All Right (6-13) May 15... Mixed Magic Nov. 27+. . Model Home Nov. 13+.. Parked in Paree Aug. 28+.. Peaceful Relations June 19... Rah Rah Rhythm Oct. 23+.. Spring Is Here Oct. 30+. . Wacky Family, The (9-26). Sept. 4+.. Whose Baby Are You? Oct. 2+.. YOUNG ROMANCE Beware of Blondes Feb. 7... Love In September Mar. 6... 10.... .9.... 10... .9 .8... . II.... .1 rl.. 10.... .8.... 10.... .9.... .9.... 19.... IS.... .2 rls. 17.... 19.... 19.... 19.... 19.... 20.... 18.... 19.... .2 rls. .2 rls. 10.... 18 18 21 21.... 18.... 20.... 21.... GRAND NATIONAL DISTRIBUTING CORP. Title Min. Rel. Date MUSICAL MOODS (Technicolor) Ave Maria Mar. 25 I rl Irish Melody Mar. 9 8... Italian Caprice Dec. I,'35..8... Liebestraum Apr. 20 1 rl. NEWSLAUGHS Jan. 20 1 rl. Feb. 20 1 rl. Mar. 20 1 rl. No. 4 — No. 5— No. 6— 6 THRILLING JOURNEYS Deep Sea Harvest Jan. 15... Ride Along Dude Feb. 15... Realm of Ghosts Mar. I.. .1 rl. .1 rl. HOFFBERG Beautiful Blue Danube Feb. 4 9... Carillon Makers Aug. 15+. . .12.. . Golden Harbor Mar. 16 10.. It's a Bird Jan. 20 17... Life of Theodore Roosevelt. .Feb. I.... 19... Tough Breaks Mar. I 18... Spanish Interlude, A Sept. 15+. . .26.. . Sport of Flying Sept. 12+ Symphony of the Seasons... .Jan. 27 1... Young Explorer Mar. 2 10... INTERNATIONAL VARIETIES Title Rel. Date (Win. 1— Feb. 14 8... 2— Feb. 28 8... No. No. No. 3— Mar. 8 10... No. 4 — Mar. 22 10... No. 5— Apr. 10 7... No. 6— Apr. 22 7'/2. PERSONALITIES ON PARADE No. I— Fob. 5 9... No. 2— Mar. 6 9... No. 3— Apr. II 9... No. 4 — May 4 9... WORLD EXPLORATIONS 1. Nomads of the Jungle Feb. 3 6... 2. Nomads of the South Seas. Feb. 17 6... Title Rel. Date Min. 3. Nomsds of the 3.. ...6.... 4. Nomads of the Air Mar. 17.. ...5>/i.. 5. Nomads in the Making. . .Apr. ...6.... 6. Nomads of the River. . . . Apr. 17 . ...6... 7. Nomads of the Plains. . ..May 3. . ...5'/2. 8. Nomads of the .May 17 . ...5'/2. Title IMPERIAL Rel. Date Min. COLOR CLASSICS Towers of Melody 8.. Hidden Treasurers 8.. Southern Beauties 8.. EDGAR GUEST POETIC GEMS After the Storm Boyhood 8.. Old Prospector, The 8.. Early in the Mornin' 8.. NOVELTIES Cities of the Past Nero 8.. Hobo Hero 9.. PORT 0' CALL Peacock Throne 9. . City of the Sun 9.. Last Resort 9.. Children of the Nile 9.. Seventh Wonder 9.. WORLD IN COLOR Beneath Coral Seas 8.. Inspiration of Old Love Songs 8.. Dream Harbor 8.. Maori 8.. Under the Southern Cross 8.. Title Min. MGM Rel. Date CHARLEY CHASE Count Takes the Count, The. Feb. 22 20... Life Hesitates at 40 Jan. 18 15... Neighborhood House (7-18). May 9 On the Wrong Trek (7-25). .Apr. 18 19.., Vamp 'Til Ready (2-29) . . . . Mar. 28 20.. CRIME DOESN'T PAY No. 6 — Perfect Setup Feb. I 21... No. 7— Fool Proof Mar. 7 21... No. 8 — The Public Pays Oct. 10+.. .18... FITZPATR1CK TRAVEL TALKS Japan in Cherry Blossom Time Mar. 21 9. .. Modern Tokyo Dec. 28,'35..9... Quaint Quebee Sept. 12+ 9... Rio do Janeiro, City of Splendor (7-25) Sept. 12 9.. Sacred City of the Mayan Indians (2-11) Feb. 22 7... St. Helena and Its Man of Destiny May 16 8... Victoria and Vancouver Jan. 25 9... II. ...10.. 4 8.. 2 HARMAN-ISING (Happy Harmonies) 18— Bottles (4-25) Jan. 19— Early Bird and the Worm, The (4-25) Feb. 20— Old Mill Pond. The .Mar. (6-6) 21— Two Little Pups (8-1).. Apr. 22— Old House, The May 23— Pup's Picnic May 30 8.. 24 — To Spring June 20 9.. M-G-M MINIATURES Great American Pie Com- pany Nov. 9 II.. Hollywood Extra Sept. 19+. . . 1 1 . , How to Be a Detective Oct. 17+ 9.. How to Behave (4-25) Apr. 25 10.. How to Train a Dog July 4 8.. How to Vote (9-5) Sept. 5+...I0.. Important News (2-29) Feb. 29 10.. Jonker Diamond (4-25) . . . . Mar. 28 10.. Let's Dance Jan. 4 8.. Little Boy Blue (6-6) May 23 II.. Master Will Shakespeare (8-1) June 13 10.. West Point of the South (2-1) Feb. 1 8.. M-G-M SPORTS PARADE Air Hoppers (2-29) Jan. 18 10.. Aquatio Artistry (6-6) Apr. II 9.. Dare Deviltry June 27 9.. Harnessed Rhythm (9-5) June 6.... 10.. Polo (6-6) May 9 8.. Table Tennis (4-25) Feb. 15 10.. Racing Canines (6-6) Mar. 14 10.. MUSICAL COMEDIES La Fiesta de Santa Bar- bara (4-25) Dec. 7/35.19.. No Place Like Rome Sept. 26+ November 7, 1936 MOTION PICTURE HERALD 97 (THE RELEASE CHART— CONT'D) TIM* Rel. Date Min. Pirate Party on Catalina Isle (2-1) Nov. 21, '35. 20..., Sunkist Stars at Palm Springs Jan. 1 1.... 20.... Violets in Spring (9-5) ... .Sept. 5 21 OUR GANG Arbor Day (6-6) May 2 18 Bored of Education (9-5).. .Aug. 29 10 Divot Diggers Feb. 8 15.... Lucky Corner, The (2-29).. .Mar. 14 16 Pinch Singer Jan. 4.... 18 Second Childhood (4-25) ... .Apr. 1 1.... 19.... Two Too Young Sept. 26t...l0..., PATSY KELLY COMEDIES All-American Toothache Jan. 25 20 At Sea Ashore Apr. 4 20 Hill Tillies (8-15) Apr. 4. ...18.... Pan Handlers Feb. 29 20 PETE SMITH SPECIALTIES Behind the Headlines (9-5). Sept. I it II. Killer Dog (9-5) Aug. 29 10 Olympic Ski Champions Oct. 3t . . . 10. . . . Sports on Ice Oct. I Of. ..10.... SPECIAL Audioscopiks (1-18) 8 TABLOID MUSICALS New Shoes (6-6) Sept. 5t...ll.... Swing Banditry (9-5) Sept. 1 9f ... 1 1 ... . PARAMOUNT BETTY BOOP CARTOONS Title Rel. Date Mln. Betty Boop and Little Jimmy (4-11) Mar. 27 7.... Betty Boop and the Little King Jan. 31 7.... Grampy's Indoor Outing. .. .Oct. 16 7.... Happy You and Merry Me (9-22) Aug. 2lt....7 More Pep June 19 Net Now (2-29) Feb. 28 7.... Song a Day, A May 22 7 Training Pigeons Sept. I8t 7 We Did It Apr. 24 6.... You're Not Built That Way. July 17 8.... COLOR CLASSICS Cobweb Hotel, The May 15 8... Greedy Humpty Dumpty July 10 7 Hawaiian Birds Aug. 28t 9 Little Stranger (4-18) Mar. 13 8 Musical Memories Nov. 8/35. .7.... Play Safe Oct. I6f 7 Somewhere in Dreamland. .Jan. 17 9 (Technicolor) HEADLINERS Accent on Girls Dec. 27,'35. 10 Ina Ray Hutton and Her Melodears Breezy Rhythm Apr. 10 10 Hal Kemp and Orchestra Gypsy Revels (8-22) Aug. 7t...ll Knock, Knock Sept. I Sf- ...II Who's There Vincent Lopez and Orch. Lucky Starlets May 22 10 Baby Leroy-Bennlo Bart- lett ■ David Holt - Betty Holt - Billy Lee-Virginia Weidler Midnight Melodies (4-18) ... Mar. 20,... II.... Ed Paul and Orchestra- Babs Ryan - Loretta Lee Moscow Moods (2-29) Jan. 17 II Yasha Bunchuk and Orch. Movie Melodies on Parade (2-29) Feb. 7.... II ... Kostelanetz- Eastman Musical Charmers Oct. 9t...ll Phil Spitalny and Girl Orch. Musical Fashions July 3.... 1 1.... Ina Ray Hutton and Her Melodears Music inthe Morgan Manner. June 12 II Russ Morgan and Orch. Music Over Broadway Aug. 28f ...10 George Hall and Orch. Play, Don (8-15) July 31 II Don Bester and Orch. Star Reporter, The (3-14).. Oct. 30f 9 Betty Jane Cooper - Don- ald Novis-lna Ray Hutton Star Reporter in Hollywood . Oct. 30t ...10 Ted Husing-Bennie Bart- lett- Dorothy Lamour Yankee Doodle Rhapsody. ... May I II Ferde Grofe and His Orchestra MUSICAL ROMANCE Lover's Paradise Sept. I It... 10.... (Technicolor) Newly incorporated into The Release Chart is a special service to the showman in the booking and exploitation of short product. In addition to all the other data provided for the convenience of the exhibitor is designation, immediately following the title, of the issue of Motion Picture Herald in which appeared showman's review of the subject. Month is given first, then the date. Thus: Ali Baba (2-15) informs the exhibitor the review appeared in the issue of February 1 5 . 10.... Title Rel. Date Mln. PARAGRAPHICS Lulu's Love (8-15) Aug. I4t...l8. .. Rhythm of the River Oct. 9t...l0 Sailor Shorty Oct. 23t ...10 Straight as an Arrow Oct. 9t...l0 PARAMOUNT PICTORIAL No. 5 — Manhattan Rhapsody — Animal Buddies — Man of Many Faces Dec. 6... No. 6 — The Latest from Paris — Shifting Sands — Nature's Sideshow Jan. 3 No. 7 — Mountain Moods — Camera Hounds — Song Makers of the Nation (Ralph Rainger and Lee Robin) Jan. 31 No. 8 — Frederic W. Goudy — Sails Over Sydney Har- bor — The Voice of the Animals (2-29) Feb. 28... No. 9— Trailing the Birds — Lake of Enchantment — Swanee River Goes High Hat (4-11) Mar. 27... No. 10 — Toilers of the Deep — Where Beauty Reigns — Make-up Magic .Apr. 24 No. II — Champagne — Girls Will Be Boys— Up Mont Blanc May 22. . . No. 12 — Meet the Pelican — Viola Mitchell — Steel Suits June 19 No. 13— July 17.... II... 10... . I rl. PARAMOUNT PICTORIAL (New Series) No. I — What's Afoot — Golden Acres — Don Baker (8-22) Aug. 2 1 1 - - - f 0 No. 2 — Science to the Rescue — Frozen Fog — Keys to Concentrating Sept. I8t . . . 10. . . No. 3— Oct. I6t...l0 PARAMOUNT VARIETIES Broadway Highlights No. 6 Apr. 3 9 Collie, The (2-29) Feb. 21 10 Dangerous Jobs May I 9.... Fashions in Love July 24 10 Here Comes the Zoo (3-14). Mar. 13 9 Movie Milestones (No. 2) . ..Jan. 31 10 Poodle, The May 22 IU... Rhythm Party, The June 26.. Rookie Fireman, The Apr. 24. Shorty at Coney Island.. .Jan. 10.. Shorty at the Seashore July 10.. ..10... ...10.... .!0.... ..9.... POPEYE THE SAILOR Bridge Ahoy! May 1 8... Brotherly Love (3-14) Mar. 6 7... Clean Shaven Man, A (3-7). Feb. 7 7... Hold the Wire Oct. 23t....7... I-Ski Lov-Skl You-Ski Apr. 3 6... I Wanna Be a Lifeguard June 26 7... Let's Get Movin' July 24 6... Little Swee' Pea Sept. 25t.. 7... Never Kick a Woman .Aug. 28... .7... Sinbad the Sailor Jan. 31 2 rls (Special) Spinach Overture, The Dec. 6,'35..8... Vim, Vigor and Vitallky Jan. 3 7... What, No Spinach? May 29 7... PARAMOUNT SOUND NEWS Two Editions Weekly POPULAR SCIENCE (Clnecolor) No. 3 Jan. 24.. No. 4 (4-11) Mar. 27.. No. 5 May 29... No. 6 July 17... POPULAR SCIENCE (New Series) No. I (8-22) Aug. 28t.. II.. No. 2 Oct. 30t...ll... II.... II 10.... 10.... Title Rel. Date Mln. SCREEN SONGS Hills of Old Wyomln'. The (8-22) July 24 10... The Westerners I Can't Escape from You Sept. 25t 8... Joe Reichman and Orch. I Don't Want to Make History May 22 V. Lcpez and Orchestra I Feel Like a Feather in the Breeze Mar. 27 7... Jack Penny and Orchestra It's Easy to Remember Nov. 29,'35. 10. . . Richard Himber and Or- chestra No Other One Jan. 24 8... Hal Kemp and Orchestra GRANTLAND RICE SPORTLIG (NEW SERIES) No. 20 — What's the Answer. Jan. 17. No. 21— Finer Points (2-29). Feb. 14. No. 22 — Winged Champions (4-11) Mar. 13. No. 23 — Sun Chasers Apr. No. 24 — Catching Trouble. .. May No. 25— River of Thrills. ... June No. 26 — Sporting Compari- sons July No. 27 — Neptune's Scholars (8-22) Aug. No. 28 — Lucky Spills Sept. No. 29 — Fighting Martin ... Oct. RKO RADIO Title HTS .10. .10. .10. .10.. .10., .10.. Min. Rel. Date DUMBBELL LETTERS No. 21 Jan. 3 5. . . No. 22 Feb. 31 5'/j. No. 23 Apr. 3 5... No. 24 May 29 5... No. 25 July 10 5... 10... .9... 10... 10... 21... 15... EASY ACES Debonair New Orleans (4-25) Mar. 27.. Etiquette Nov. 29t. Fool Your Friends June 9.. Job's a Job, A May 22.. Old Fashioned Movie, An.. (3-28) Feb. 28.. Winter at the Zoo Jan. 31 IO'/j HEADLINER SERIES No. 3 — Camera Cranks (1-25) Jan. 17 19.. No. A — Wedtime Story, A (3-14) '. .Mar. 20. No. 5 — Bad Medicine May 22. No. 3 — Sleepy Time July 24 (1936-37) I — Lalapaloosa Nov. 20t. . . 16. . . EDGAR KENNEDY COMEDIES Dummy Ache July 10 Gasoloons Jan. 3. ...1514. High Beer Pressure May 8.... 18... Vocalizing (10-10) Oct. 23t...20'/3. Will Power (3-14) Mar. 6 l5>/2. MAJOR BOWES' AMATEUR PARADE No. I May I 9... No. 2 June 5 10. . . No. 3 July 3 10... MARCH OF TIME No. I (1-18) Jan. 17.... 18'/}. No. 2 (2-15) Feb. 17 24... No. 3 (3-14) Mar. 13. ...21... No. 4 Apr. 17.... 21... No. 5 May 15 No. 6 June 12 No. 7 July 10 No. 8 Aug. 7 21..., Title Rel. Date Mln. (1936-37) No. I Sept. 4t. ..23 17... 7....I5'/,. .7>/j Title Rel. Date Min. No. 2 0°*- 2t No. 3 Nov. 3t PATH E NEWS Released twice a week PAT HE REVIEWS Released once a month PATHE TOPICS Released seven times a year RADIO FLASH COMEDIES Dog Blight June 12 Fight Is Right (5-2) Apr. 10. Radio Barred (2-8) Feb. Who's Looney Now? Sept. 4t- . .10. . Worm Burns, The Dec. 6,'35.I7.. RADIO MUSICAL COMEDIES Aladdin from Manhattan. ... Feb. 28... .17.. Camp Meetln' (10-3) Oct. 9t...l6.. Melody in May (2-1) May • — - 19. . Swing It J"1* 3 RAINBOW PARADE CARTOONS Bold King Cole May 29 Cupid Cets Her Men July 24 7.. Felix the Cat and the Goose That Lail the Golden Egg (2-29) Feb- 7 It's a Greek Life (8-22) ... .Aug. 2 7... Molly Moo Cow and Robin- son Crusoe Mar- 20 ' '• ■ • Neptune Nonsense (3-28) .. .Apr. 17 8... Toonerville Picnic Oct. 2t-..-7... Toonervl lie Trolley (2-15) .. .Jan. 17 7... Trolley Ahoy July 3 8... Waif's Welcome, A June 19 SMART SET All Business (2-8) Feb. I4....l8'/j. And So to Wed June 19 Framing Father (2-29) Apr. 17 16'/2 . So and Sew Sept. 1 8t — < 5 Too Many Surprises Dec. 3,*35.20'/2 . . SPECIALS Headlines for 25 Years (3-14) Mar. 27.. ..21.... SPORTS WITH BILL CORUM Gentlemen's Sports (3-28).. Dec. 1 3, '35. II.... Goals for Gold and Glory. ..Oct. 30t High, Wide and Dashing. . .Sept. 4t 9 Never Catch the Rabbit (5-2) APp- 24 II Pardon My Spray (10-10) .. .Oct. 2f...t0 Raw Mr. Row ..June 19 Tomorrow's Halfbacks (3-25). Jan. 24 9...- Winter Sport (3-28) Mar. 13. ...10... STRUGGLE TO LIVE Deadly Females Nov. I3f Living Jewels June 12 Underground Farmers Apr. 17 9 Swamp Land Sept. I8t 9.... Winged Pageantry (2-29) ... Feb. 14 10... SUPERBA COMEDIES Counselitis Nov. 22/35 Down the Ribber (2-29) . . . • Mar- 27 • U ppercutlets .Jan. 24... 18... 21... 18'/,. 15... 21... 17... Listen to Freezin' (8-ISJ . . - July 31... One Live Ghost .Nov. 6t.. Wholesailing Along May 29... WORLD ON PARADE Coral Isle of the Atlantic (4-25) Mar. 27. ...II. Heart of the Sierras Nov. 6t Morocco Jan. 10 Prominent Personalities (3-14) Feb. 21 .... 1 1 . Trinidad Sept. 1 1 1 ... 10. Venice of the North May 15 Washington in Virginia (10-3) Oct. 9t...l0. STATE RIGHTS Title Rel. Date Mln DYNAMIC Wonderland of Gaspe (6-13) II.. NORTON Alchemist's Hourglass, The (1-25) !8.. 20TH CENTURY-FOX Title Rel. Date Mln. ADVENTURES OF THE NEWSREEL CAMERAMAN Filming the Fantastic Jan. 31. ...10... Pacing the Thoroughbreds.. .Sept.25t Scouring the Skies Aug. 14 MAGIC CARPET SERIES Hong Kong Highlights Jan. 31 10... Irish Pastoral (8-22) Aug. 7 Memories of Spain (10-3).. .Sept. I8t. . .10.. . Philippine Fantasy Sept. 25| 98 MOTION PICTURE HERALD November 7, 1936 (THE RELEASE CHAET~CCNT*E) UNITED ARTISTS Title Rel. Date MICKY MOUSE 37. Mjpkey Polo Team Feb. 5 38. Orphans' Picnic Mar. 12 39. Mickey's Grand Opera (4-11) Apr. 9.... 40. Throagh the Ml'ror June 18 .9.... .9.... 101. Moving Day July 22 9 102. Mickey's Rival (8-15) Aug. 27 9 103. Alpine Climbers (8-22). Oct. 28f 9'/2.. 104. Mickey's Circus (8-15) 8 SILLY SYMPHONIES 30. Three Orphan Kittens. .. Nov. 21, '35. .9 31. Cock of the Walk Dec. 19. '35.. 8 32. Broken Toys Jan. 9 8 33. Elmer the Elephant (4-11) May 14 814.. 34. Three Little Wolves (4-11) May 27 10 35. Toby Tortoise Returns (8-22) Sept. 23t....8.... UNIVERSAL Title Rel. Date Min. GOING PLACES with LOWELL THOMAS No. 17 Jan. 20 No. 18 (3-14) Mar. 9 lO'/l- . No. 19 (3-14) Mar. 23.. ..10.... No. 20 (3-28) Apr. 20 9.... No. 21 June 8 No. 22 June 22 No. 23 (7-11) July 6 No. 24 (7-18) July 20. ...10.... No. 25 (8-15) Aug. 3. ...18.... No. 26 Aug. 17 No. 27 (10-10) Sept. I4t 9 No. 28 (10-17) Oct. I9t No. 29 Oct. 26f No. 30 Nov. 23t No. 31 Dec. 21 1 No. 32 Jan. I8,'37t No. 33 Feb. I5,'37t MENTONE MUSICAL COMEDIES Carnival Time (2-8) Jan. 22 19 Jean Sargent-Jack Fulton Fllppen's Frolics (7-11) July 15 Fun in the Fire House Oct. 28t Gus Van's Garden Party (10-10) Sept. 2t II Marine Follies Apr. 29 2 rls. Musical Airways (10-10) . . .Sept. 30f. . . 1 1 Playing for Fun (3-28) Mar. 18 15 Signing Off (2-8) Feb. 19 19 Teddy Bergman's Inter- national Broadcast (6-6).. June 3 20.... Television Highlights Dec. 23t Vaud-O-Mat. The (3-28) .. .Apr. 8 16 NOVELTIES Skits V Sketches Feb. 24 OSWALD CARTOONS Alaska Sweepstakes (2-8)... Feb. 17 8 Battle Royal (7-18) June 22 7 Barnyard Five Apr. 20 Beachcombers (10-3) Oct. 5t...9 Beauty Shoppe (3-28) Mar. 20 614.. Farming Fools May 25 Fun House, The May 4 Kiddie Revue Sept.2lt Music Hath Charms (8-8).. Sept. 7t 8 Night Life of the Bugs (10-3) Oct. 9t 8 Puppet's Show (10-13) Nov. 2t Royal Cafe Nov. 25t I rl. . Slumberland Express Mar. 9 Soft Ball Game (2-8) Jan. 27 Unpopular Mechanic, The (10-17) Nov. 6t STRANGER THAN FICTION SERIES No. 18— Novelty (3-28) Mar. 30 9'/2.. No. 19— Novelty (3-28) Apr. 13 9 No. 20 — Novelty June I No. 21 — Novelty June 15 No. 22 — Novelty June 29 No. 23— Novelty (7-11) July 13 No. 24 — Novelty (7-18) July 27 10 No. 25 — Novelty (8-1) Aug. 10 10 No. 26— Novelty (8-8) Aug. 24 9 No. 27— Novelty Sept. 28t 8 No. 28 — Novelty (9-24) Oct. I2t 8!4.. No. 29— Novelty (9-24) Nov. 9t 8 2/3 No. 30 — Novelty Dec. 7t No. 31 — Novelty Jan. 4,'37t No. 32 — Novelty Feb. I,'37t UNIVERSAL COMEDIES You Can Be Had (2-8) Jan. 8. ...15.... UNIVERSAL SPECIAL You Can't Get Away With It 2 rls. VITAPHONE Title Rel. Date Mln. BIG TIME VAUDEVILLE REEL Vltaphone Billboard Feb. 15 II Title Rel. I Jane and Katherine Lee Vitaphone Celebrities Jan. Remington Singers Vitaphone Entertainers (7-11) Sylvia Froos Nick Lucas-Four Mullen Sisters Eddie Peabody Molly Picon-Johnny Lee Vitaphone Spotlight (3-28) Conville-Dale Vitaphone Topnotches (2-1) Vitaphone Troupers (2-1)., Four Trojans- Aunt Jemima Min. II.. Title Rel. Date Dawn O'Day-Radio Rubes Romance in the Air May 16.. Wini Shaw -Phil Regan Changing of the Guard Jack Pepper Vitaphone Internationals Holt? -Leo Shemp Howard Yacht Club Boys Herman Bing- Paula Stone Bob Hope Joe Palooka in for the Love June 27. . . 1 rl June 6.. Sybil Jason DDI. I *t( JJ 1 0 une 1 3 Ual 1 .Rnu Tnhu Winn nai Leitoy- 1 oDy wing Song of a Nation, Tho . A pr. 4 . . . 10.... July 4.. Donald Woods- Ma 2 II.... Claire Dodd Whftn Vnn'ra Qannlo July 18 .Mar. 7... 1 1 Prn<;c anil rtunn VjlUSS <*IIU LI Ullll Shake Mr. Shakespeare m 3u ^ n (7-M) Aug. 22.. .Jan. 4. . . in 10.... Carolyn Marsh Aug. 29.. Fred Lawrence- .July 25. . . Rosalind MarQuis nubn nour nnapsouy im-is/ Sept. 5t. Jean Sargent .Oct. I7f Joe Palooka in "The Choke's on You' (9-19) . . .Sept. 12! . Shemp Howard- .DIES Robert Norton .Jan. 4... 20.... Backyard Broadcast, The Jan. 18... 21.... Oct. 3t. Virginia Verrill Feb. 1... 21... Oct. I0t. Georges Metaxa Can't Think of It Oct. 24t Feb. 15... 21.... Ken Murray-Oswald Sunday Round-up, The 31 1 - Dick Foran-Linda Perry Mar. 14. . . 21.... Sweethearts and Flowers... Nov. 7t. Shemp Howard- Robert Norton Calling All Tars Mar. 28 21 Bob Hope Slum Fun Apr. II. ...21.... Johnny Berkes- Charles O'Donnell Dough-Nuts Apr. 25 2 rls. Yacht Club Boys Absorbing Junior May 9. ...21.... Shemp Howard- Johnny Berkes Joe Palooka in Here's Howe. June 6. ...21.... Shemp Howard- Robert Norton Wife of the Party, The (6-22) June 20.... 22.... Ken Murray Good Old Plumbertlme, The July 1 1.... 20.... Johnny Berkes The Oily Bird July 25 20 Ken Murray Joe Palooka in Punch and Beauty Aug. 15 20.... Shemp Howard- Robert Norton Regis Toomey-Preisser Sisters COLORTOUR ADVENTURES Pearl of the Pacific (7-1 1) . .Sept. 5t... Colorful Occupations (9-19) Oct. 3t... Northern Lights Oct. 31 1- . . LOONEY TUNES No. 16— Phantom Ship, The. Feb. I 7. No. 17 — Boom! Boom! Feb. 29 7. No. 18— Blow Out, The (3-28) Apr. 4 7. No. 19— Westward Whoa ...Apr. 25 7. No. 20— Fish Tales May 23 7. No. 21 — Shanghaied Ship- mates June 20 7. No. 22— Porky's Pet (7- 1 8). July II 7. No. 23 — Porky, the Rain- maker (8-29) Aug. 1 7. No. 24 — Porky's Poultry Plant (9-19) Aug. 22 7. No. 25 — Milk and Money... Oct. 3t No. 26 — Porky's Moving Day 7. No. 27 — Little Beau Porky. .Oct. 24t BROADWAY BREVITIES Okay, Jose El Brendel Katz' Pajamas Fifl D'Orsay Broadway Ballyhoo Owen, Hunt and Parco Carnival Days Henry Armetta- Felix Knight Double or Nothing (2-8)... Phil Harris-Leah Ray Study and Understudy Between the Lines (2-1)... Bernice Claire King of the Islands Winifred Shaw- Warren Hymer Stars Can't Be Wrong, The Carolyn Marsh- Harris Twins Wash Your Step (3-28).... Hal LeRoy- Prelsser Sisters Paris In New York (3-28). Irene Bordonl Black Network, The Nina Mae McKlnney- Nicholas Bros. College Dads Leon Janney Double Crossky, The Olga Baclanova I'm Much Obliged Vera Van-George Debbs Maid for a Day Grace Hayes City's Slicker, The Dec. 7,'35 Dec. 14/35 Dee. 28. '35 Jan. II... Jan. 18.... Jan. 25... Feb. 8... Feb. 22... Feb. 29... Mar. 7.... 21. Mar. 21. Apr. 4. Apr. II. Apr. 18. May 2. May 23. May 30. .22.. .22.. .21.. .21.. .21.. .20.. . .2 rls MELODY MASTERS Red Nichols and Orchestra. .Jan. 4... B. A. Rolfe and Orchestra. . Feb. I... Jolly Coburn and Orchestra.. Feb. 22... Little Jack Little and Orchestra (3-28) Mar. 21... Ramon Ramos and Orchestra. Apr. 18... Dave Apollon and His Band. May 16... Vincent Lopez and Orches- tra June 6... Carl Hoff and Orchestra July II... Nick Lucas and His Trou- badours Aug. 15... Clyde Lucas and Orchestra (7-14) Sept. 5t.. Harry Reser and Eskimos. . Sept. 26t . . Emil Coleman and Orch. (7-11) (9-19) Leon Navara and His Orch.. Nov. 7t.. Clyde McCoy and Orch. (8-29) 10... .11... II... II... II... ,10... 10... .1 rl. 10.. II.. MERRIE MELODIES (In Color) No. 15—1 Wanna Play No. 16 — Cat Came Back, No. 18 — I'm a Big Shot No. 19— Let It Be Me No. 20 — I'd Love to Take No. 21 — Bingo Crosbyana No. 23— When I Yoo Hoo. No. 24 — I Love to Singe No. 25 — Sunday Go to Meetin' Time (9-5).. Mar. May II.. ..7.... ..7.... .May .June 27.. ..7.... July 8. . ..7.... Title Rel. Date Mln. No. 26 — At Your Service. Madame ..Aug. 29 7 No. 27— Toy Town Hall (9-19) Sept. 19 No. 28 — Boulevardier of the Bronx Oct. lOt No. 29 — Don't Look Now. ..Nov. 7t OUR OWN UNITED STATES No. 4 — Nature's Handiwork . Nov. 30, '35. 1 1 No. 5 — Odd Occupations... .Dec. 28,'35.I2 No. 6 — Steel and Stone (2-1) Jan. 25 II No. 7 — Day's Journey, A. ..Feb. 22 II No. 8— Harbor Lights Mar. 21 . . . . 1 1 . . . . No. 9— We Eat to Live. ...Apr. 18. ...10.... No. 10 — Vacation Spots May 16 H No. II — Irons In the Fire... June 13 1 rl.. No. 12 — Can You Imagine. .July II 10 No. 13 — For Sports Sake Aug. 8 10.... PEPPER POT P's and Cues Dec. 7,'35.ll (Exploitation: Mar. 28, p. 82.) Can It Be Done? Dec. 21. '35.10 Wild Wings (2-8) Jan. 1 1.... 1 1.... Some Class Feb. 8. ...10.... Charles Ahearn Timber Giants .Feb. 22 II Half Wit-ness Mar. 21 1 rl.. Radio Ramblers Beneath the Sea Apr. I8f 8 Pictorial Review June 27 1 rl. When Fish Fight July II 10 PICTORIAL. REVIEWS No. I — Oscar's Recipes — Furs (9-19) Sept. 1 2f ... 1 1 No. 2 — George Rector — Fashions Oct. lot VITAPHONE NOVELTIES Nut Guilty (6-27) Nov. 2lt- - - 10 Logging Along Sept. 26f Whale Ho (7-14) II.... Ounoe of Invention, An... Oct. 24f Ray Gross SERIALS 12 Episodes Each Unless Otherwise Specified Title Rel. Date Mln. MASCOT Fighting Marines, The Nov. 23,'35. .2 rls. Grant Withers-George Lewis (Exploitation: July 25, p. 81.) REPUBLIC Darkest Africa 3530 (2-22) Clyde Beatty (15 episodes) Robinson Crusoe of Clipper Island Nov. I4t Mala (15 episodes) Undersea Kingdom 3581 (5-16) Ray Corrigan-Lois Wilde Vigilantes Are Coming, The 3582 Robert Livingston- Kay Hughes STAGE and SCREEN (Weiss-Mintz Serials) Black Coin, The Sept. It Ralph Graves-Ruth Mix list episode, 3 rls., (15 episodes) followed by 14 two- reel episodes.) Clutching Hand, The (5-23) .Apr. 18 2 rls. Jack Mulhall- (each) Wm. Farnum (1st episode, 3 rls., (also feature version) followed by 14 two- reel episodes.) Custer's Last Stand (11-30-35) Jan. 2 Rex Lease-Lona Andre (1st episode, 5 rls.. (also feature version) followed by 14 two- reel episodes.) UNIVERSAL I9t. 13... 6... Ace Drummond Oct. John King-Jean Rogers Adventures of Frank Merrl- well Jan. Don Briggs-Jean Rogers Flash Gordon (3-14) Apr. Buster Crabbe-Jean Rogers (13 episodes) Jungle Jim Jan. I8,'37t. Grant Withers- Betty Jane Rhodes Phantom Rider (6-6) July 6 Buck Jones-Maria Shelton (15 episodes) Secret Agent X 9 Apr. 4,'37t. VICTORY Blake of Scotland Yard Jan. 30,'37t. Shadow of Chinatown Oct. I0t November 7 , 1936 MOTION PICTURE HERALD 99 TECHNOLOGICAL The Bluebook School ANSWER TO QUESTION NO. 43 Conducted by F. H. RICHARDSON Bluebook School Question No. 43 was: (A) Assuming some reasonable proof of ability should be exacted before a projection- ist is employed, set forth your views as to ten questions it would be proper for the prospective employer to ask. (B) Do or do you not believe membership in a union shoidd stop employers examining men sent by a union to be employed as projectionist? For obvious reasons names are not published this time. Here are some of the answers to Section A : "Perhaps the first question should be, where have you been employed, for how long in each place, and just why was the con- nection severed? The answers could of course be checked up on. Second, what do you think of our equipment as compared with other equip- ments with which you are familiar? (This would indicate whether or not the applicant possessed knowledge and understanding of equipments and those things in use in his pro- fession.) Third, what are your views as to the treatment of film while in your possession ? How would you treat new prints ? What various steps would you take to prevent film damage? Fourth, what steps would you take tending to prevent fire, and should one occur, what steps would you take and in just what order? Fifth, there should be a practical test of both eyesight and hearing. Sixth, what would you do in case of loss of sound. (True the prospective employer probably could not follow through on some of the answers, but the readiness and clarity of the reply would never- theless convey a definite idea as to how well the man understood his business.) Seventh, have the applicant project one reel, watching him thread up and handle the light and sound. Eighth, what character of screen surface does this theatre require, and why? Ninth, name the inspections of equipment you would make and how often would you make them. Tenth, what projection text books do you own, and what publications do you subscribe to? This being designed as an indication as to whether or not the applicant studies his business." F. H. Richardson's BLUEBOOK of PROJECTION • New sixth edition. Pro- jection, sound reproduction and trouble-shooting all in one handy volume. Also features quick-finding index system for instant refer- ence. Order today. $5.25 Postpaid QUIGLEY BOOK SHOP Rockefeller Center New York Another says, "(1) In case of a film break what would you do? (2) In case of fire what would you do? (3) In case of sound failure, what would you do? (4) Outline film inspec- tion routine tending to prevent trouble during the show. (5) Outline care of projection machinery and equipments. (6) Outline neces- sary inspections and care for sound system. (7) Describe care you" regard as necessary for lamphouse and lamp, motors and generators. (8) What is your idea as to changeover detail procedure? (9) Concerning past experience, what shut-downs have you had and what was their reasons? (10) What are your views as to liquor and as to smoking while on duty?" Still another suggests: "(1) Do you realize it your duty as a projectionist to exert every possible effort to present the screen program in such manner that eye strain will be reduced to a minimum? (2) At what minimum rate of speed should the fire shutter rise and fall? 3) Explain briefly how you would proceed to trace down cause of complete loss of sound. (4) Are you capable of making emergency repairs and replacements of ordinary nature? (5) How would you trace out the cause of noisy sound? (6) Are your eyesight and hearing normal? (7) Why is minimum tension at the projector aperture of importance? (8) How often should mirrors and lenses be cleaned? Describe your method of cleaning them. (9) Name the reasons why shutter blades of pre- cisely correct width be used. (10) What knowledge is necessary to the selection of proper screen surface for any theatre?" One "student" commented : "This is what I would call a tough question. In other words, the field of projection covers such a wide scope that to ask a man just ten questions that would prove or show his ability would be quite an undertaking. I went through the Bluebook chapter by chapter, seeking in each one to find the most important questions, but hadn't gone far before I had a list well over the ten asked for. I then showed this question No. 43 to the manager of this theatre and asked how he would treat the same. His answer was that he would go mainly by past experience and what the man being questioned knew of sound. Then in the discourse popped up the question of how many managers could give an examination or knew enough about projection to conduct an intelligent examination, and in checking over a known list of quite a number we found very few. Of course, there are the general routine questions that might be asked, such as knowl- edge of the equipment being used, types of oils and greases for lubrication, understanding of generator or whatever power source is being used, projector, light, screens, sound and trouble shooting. Other than this I must confess I am stumped and will await with interest to see how the other members of the school reply to this ouestion. Or have I misunderstood the ques- tion? (B) I have selected an answer to this section which seems eminently reasonable and fair. I very thoroughly agree with it throughout. When the time has come, as come it must, that BLUEBOOK SCHOOL QUESTION NO. 48 Assume your feed circuit from main board to projection room switchboard to be of No. 4 rubber- covered commercial copper; length, 98 feet; load under normal condi- tions, 70 amperes; circuit in use nine years but never overloaded. Tell us what is its rated capacity and what is its voltage drop at full load. If current (a.c.) costs 4 cents per Kw. hour and the hours of operation are six per day, seven days per week, what is the loss due to voltage drop? Would you advise larger wires? To join the Bluebook School merely send in answers. Place name and ques- tion number upon first sheet. Address F. H. Richardson, No. 3 Tudor Lane, Scarsdale, N. Y. men can only obtain admission to unions when thoroughly competent, as in the case of the Brotherhood of Locomotive Engineers, then an examination would be superfluous. But, as must be admitted by all men who have com- petent knowledge of affairs, that point is not yet reached. Freely granted that very many theatre managers and exhibitors are incapable of conducting a competent examination, still, they are employing a man to have charge of thousands of dollars worth of valuable ma- chinery, hence it is pure nonsense to say they may be stopped from a reasonable attempt to satisfy themselves as to the matter of com- petency. Here is the reply to Section B : "I do not believe that membership in a union should prevent employers from examining mem- bers sent to them for employment. "Although a fine theatre throughout is a decided advantage, nevertheless the presentation of the picture on the screen is the one most important factor which makes for the popularity of the theatre. Why, then, should a manager not have the right to try to make sure that projection in his theatre will be the best? "If a union is all that it stands for, it cer- tainly should not fear an examination of one of its members by the employer, as to his ability as a projectionist. If the members are all com- petent and worthy of the title Projectionist, why should they object to a bit of questioning? If any one of the members is lacking in ability, his membership in the union surely must be a mistake. Although I hold unions in high respect and esteem, I do believe that they should permit an employer to examine their members if he so desires." 100 MOTION PICTURE HERALD November 7, 1936 CLASSIflED 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 the right to reject any copy. Film and trailer service advertising not accepted. Classified advertising not subject to agency commission. Address correspondence, copy and checks to MOTION PICTURE HERALD, Classified Dept., Rockefeller Center, New York City NEW EQUIPMENT READY! SUPREX, THE MIRACLE ARC LAMP priced within your reach. Special combination from $595 for two brand new, latest S.O.S. Sup-Rex-Arc lamphouses (made by Ashcraft) and two S.O.S. stabilamp 45 amp. rectifiers, entirely complete, to flood your screen with snow white light. Every part top quality, guaranteed. Trades taken — get facts to* day. S.O.S., 1600-AN Broadway, New York. BOCKS ORDER NOW! RICHARDSON'S NEW BLUE Books of Projection — 6th edition complete in one vol- ume, 714 pages, 153 illustrations. Full text on projec- tion and sound combined with trouble-shooter, $5.25 postpaid. QUIGLEY BOOKSHOP, Rockefeller Center, New York. THEATRE ACCOUNTING BY WILLIAM F. Morris, is still the best bookkeeping system for thea- tres. It not only guides you in making the proper entries, but provides sufficient blank pages for a complete record of your operations for each day of the year. Notable for its simplicity. Order now— $3 postage prepaid. QUIGLEY BOOKSHOP, Rocke- feller Center, New York. WILL YOU TRADE 9U for 303 pages, facts, charts, technical data? Sloane's famous "Motion Picture Projection," fully illustrated, now only 980. Originally $7.50. Morocco binding. Textbook at New York School of Photography. Free list Cameron's, Richardson's Fifth Edition, special prices, mailed on request. S.O.S., 1600-AN Broadway, New York. TRAINING SCHOOL THEATRE EMPLOYEES; ADVANCE TO BET- ter theatre positions. Free booklet shows you how. THEATRE INSTITUTE, 315 Washington St., Elmira, N. Y. REPRESENTATIVES WANTED MOTION PICTURE PROTECTIONIST OR FREE lanced sound service men can make good living repre- senting several standard items needed for theatre use. Must be willing to work on commission basis and will- ing to carry samples. Good references and territory you can cover. Also bank affiliation. BOX 788A, MOTION PICTURE HERALD. POPCCPN MACHINES BURCH BOOTH MODEL LIKE NEW. BARGAIN. M. KLINKEL, Albion, Mich. SOUND EOUIPMENT WHETHER YOU HAVE 500 SEATS OR1 5,000, fill them every night, using competition -proof sound. New speaker combinations are the answer. Priced from $50.75 complete. Tone and range positively improved. Want proof? Ask S.O.S., 1600-AN Broad- way, New York. GENERAL EOUIPMENT RECONDITIONED PROJECTION EQUIPMENT. Simplex projectors, Strong, Peerless, Brenkert, Super Morelite, G. E. Mazda lamphouses. Forest rectifiers. Motor generators. Automatic ticket machines. Large quantity theatre chairs, spring seats and veneers. We buy your old equipment. Tell us your needs. AMUSEMENT SUPPLY CO., INC., 341 W. 44th Street, New York. LATEST 2,000 FT. FILM SCALE, TELLS EXACT running time, special $1.79. Reels, 590, SMPE stand- and 2,000 ft. 14%", 4" hubs, sturdy, well made. Film cabinets, ejecter type, enamelled steel, 2,000 ft., per section $1.95. Rewinders 2,000 ft. reel capacity, regu- larly $10 set, special $5.95. Hundreds of necessities at bargain prices. Lists free. Order from this ad. Satis- faction assured. S. O. S., 1600-AN Broadway, New York. WANTED TO CUY GOOD USED BELL & HOWELL AND MITCHELL motion picture cameras. State condition and lowest cash price. BOX 785A, MOTION PICTURE HERALD. RECONDITIONED MOTOR GENERATORS FOR use in foreign countries. State make and price. BOX 787A, MOTION PICTURE HERALD. SPOT CASH FOR RCA SOUND, SIMPLEX, Powers projectors, arc lamps, rectifiers, generators, lenses, stocks liquidated. No delays, no bickering. Strictly confidential. BOX 789, MOTION PICTURE HERALD. POSITIONS WANTED MANAGER, 37, SINGLE. WIDE AND I LONG experience every type operation. Good contact, ex- ploitation and publicity man. References, very best. Can go anywhere, anytime. Salary no object. Possi- bilities important. A trial will convince you that I am the man you need! BOX 790. MOTION PICTURE HERALD. THEATRE MANAGER, PROJECTIONIST, single, 8 years' experience, best of references. GEORGE BERCHER, Thompson Radio Service, Ft. Smith, Ark. PRINTING SERVICE PARTICULAR? 250 LETTERHEADS AND EN- velopes, $2.69 delivered. SOLLIDAYS, Knox, Ind. USED EOUIPMENT UNUSUAL BARGAINS IN USED OPERA chairs, sound equipment, motion picture machines, screens, spotlights, stereopticons, etc. Projection ma- chines repaired. Catalog H free. MOVIE SUPPLY COMPANY, LTD., 844 So. Wabash Ave., Chicago. CLOSEOUT! LARGE QUANTITY OPERA chairs, upholstered seat, veneer backs from $1.35. Other bargains. S.O.S., 1600-AN Broadway, New York. WAREHOUSE FULL OF USED AND RECON- ditioned theatre chairs at exceptionally low prices. Cushions (spring) $1 each newly covered; with metal bottoms, $1.15 each. ALLIED SEATING CO., 358 W. 44th St., New York. NEW BARGAIN LIST JUST OUT OFFERS Simplex soundheads — Phctotone, Largen, Syncrotone, Perfectone, Dramaphone, other standard makes, only $25. For Powers, $35 up. All complete, ready for operation. S.O.S., 1600-AN Broadway, New York. THEATRE— ROADSHOW. USED PROJECTORS and equipment. Extra mechanisms. Renewed. All makes. Guaranteed. INTERSTATE SALES CORP., 470 Eighth Ave., New York. AIR CONDITIONING AIR CONDITIONING CHARTS THAT REPRE- sent standard practice in air conditioning for motion picture theatres. Practical advice on how to attain the best atmospheric conditions for your house winter and summer. Devised to be put on the wall for con- stant reference. Available until the supply is ex- hausted at 25c each, payment direct. BETTER THEATRES, Rockefeller Center, New York. THEATRES WANTED WILL LEASE ON LONG TERM OR ARRANGE to buy theatre now operating or already equipped to open. Give complete details in first letter as to seating capacity, population, nearest competition and on what terms available. BOX 786A, MOTION PICTURE HERALD. BUY A THEATRE OF OVER 250 SEATS IN Northeastern Indiana or Southern Michigan town of over 2,500 population. State all particulars first letter. Will pay cash for right place. BOX 7, Pierce- ton, Ind. BUY OR LEASE THEATRE IN MINNESOTA or Wisconsin, write particulars. BOX 615, Hotel Duluth, Duluth, Minn. THEATRES ECR SALE DELUXE, 600 SEAT, ONLY THEATRE KANSAS town. Big payroll. Clearing $650 monthly. BOX 791, MOTION PICTURE HERALD. 6 d d ^u SE^D "EM OUT HU^MmT^ Fi/m Doily AND THIS IS BUT ONE OF FOUR HIT TUNES IN "SITTING ON THE MOON" BY SAMMY STEPT AND SIDNEY MITCHELL, WHO WROTE "ALL MY LIFE". "SING, BABY, SING" LYRICS ALSO BY MITCHELL. A BEHIND- THE -MIKE RADIO ROMANCE, MADE-TO-MEASURE FOR THE SCREENS OF THE NATION. LOST IN MY DREAMS us IV/ GIVEN A PLEASING HUMAN INTEREST STORY WITH DOWN- TO-EARTH PEOPLE DOING THINGS LIKE REGULAR FOLKS, A GOOD LOVE INTEREST WORKING UP TO A TIGHT SUSPENSE, AND ADD TO THAT THE REALLY CHARMING PERSONALITY OF GRACE BRADLEY, AND HERE IS A NUMBER THAT WILL FIT NEATLY ON ANY EXHIB- ITOR'S SCREEN CATERING TO THE AVERAGE AMERICAN AUDIENCE. —Film Daily OUR HERO GOES WEST! MAE WEST ^ Go West Young Man" with WARREN WILLIAM • RANDOLPH SCOTT ALICE BRADY, Elizabeth Patterson, Lyle Talbot, Isabel Jewell, Margaret Perry • Directed by HENRY HATHAWAY • Dialogue by Mae West An EMANUEL COHEN Production . A Paramount Picture MOTION PICTURE HERALD QP DISTRIBUTORS ACCEPTING EXHIBITORS' PROGRAM OF FAIR TRADE PRACTICES 17 ALL-COLOR PICTURES COMING THIS SEASON INDEPENDENTS APPEALING CLEARANCE DECISION VOL 1 25, NO. 7 In Two Sections — Section One NOVEMBER 1 4, I936 Entered as second-class matter, January 12, 1931, at the Post Office, at New York, N. V., under the act of March 3, 1879. Published weekly by Quigley Publishing Co., Inc., at 1270 Sixth Avenue, Rockefeller Center, New York. Subscription, $3.00 a year. Single copies, 25 cents. CLOSE-UP VIEW OI |1* ^4* IK. ^ MM M-G-M AUDIENCE! **** sc<*e% to- • -e o'^.O tff >n^e\o ;ev:>^otf^<> tx$ YOU'RE GOING TO HAVE 3 MEN AT YOUR HOUSE FOR THANKSGIVING GO GAY.. IN A BIG WAY. . FC FRANK McHUGH ■ Actually Getting More Thanksgiving Bookings Than An) . . If You re Smart! HOLIDAY.. WITH JOAN BLONDELL Picture Ever Released By 1/J a/t**^ ftftC* A paragraph of good news for 20th' s exhibitors The amazing succession of great pictures . . . which has made 20th synonymous with leadership . . . continues unabated. "PIGSKIN PARADE" is currently proving itself even bigger than "Sing, Baby, Sing" with double or triple week runs the rule! And coming right along are ..."REUNION" starring the Dionne Quins... "BANJO ON MY KNEE", a drama with music, starring Barbara Stanwyck and Joel McCrea . . . "WHITE HUNTER" starring Warner Baxter and June Lang 111 . ■ . -, . . ."ONE IN A MILLION," 20th's spectacular, big-money musical. . . "STOWAWAY" starring Shirley Temple . . . Irving Berlin's "ON THE AVENUE" starring Dick Powell and Madeleine Carroll . . AND (catch your breath) 20th's sensational road-show smash, "LLOYDS OF LONDON"! MOTION PICTURE HERALD Vol. 125, No. 6 QP November 14, 1936 TELEVISION, TODAY A FTER last week's pretentious demonstration of tele- vision to date, by the Radio Corporation of America in New York, it is entirely safe to affirm that it is just where it has been these several years — "around the corner." Television today can present in a range of about twenty- five miles of the costiy broadcasting station, through the medium of a costly receiver, a picture of about the size and quality of a small photogelatine lobby display still on a state's rights picture that the producer didn't care for very much. If there is any way to make it better, it has not occurred to the research engineers yet. They would like a new basic prin- ciple and a device for amplifying light as they can sound. That appears to be quite a distance around the corner. Last week's demonstration gave a deal of attention to various persons but none to Dr. Vladimir K. Zworykin, credited with the devising of the iconoscope, the electrical scanning device on which present television now depends, most completely. The world's greatest optimist on television to be heard from these days is Mr. David Sarnoff, who seems to think it may come along in the next ten years. There are a number of other matters probably considerably more important to the exhibitor for the interim. AAA SCREEN ADVERTISING THE coming of advertising pictures to the screens of many theatres involves the art of exhibition most def- initely in the business of publication, and with that step brings new problems and complexities. Immediate exempli- fication is afforded in a dispatch to Motion Picture Daily saying: "Spartanburg, S. 'C, Nov. 9. — The City Council has de- clined to rescind its action in passing an ordinance calling for an annual levy of $200 on each theatre for screen advertising. "One member of the council, defending its action, asserted that 'theatre patrons have to pay to see these advertisements and they have to see them whether they want to or not, unless they leave the show. Inasmuch as newspapers are taxed on their in- come, and advertising provides their greatest source of income, theatres should also be taxed for advertising' ." The newspaper press tends ever to view with alarum all that may savour of competition. In the early days of the motion picture newsreel, when it was suspected that possibly it might be or become a medium of news, the papers gave hostile expression. There was another wave, of times recurrent, and yet to be heard from, of opposition to the radio, both as a purveyor of news and a competitor for advertising dollars. The newspapers are not sure yet what their attitude is going to be about television, for the same reason, or reasons. An- other ripple of concern is now running through the press be- cause of a yet inconspicuous project among theatres to present news bulletins from the stage nightly. Probably as a result of all this, nothing much will occur to prevent the natural and well-near inevitable development of all of the media of communication and expression — including advertising. Meanwhile it is certain to become obvious that the motion picture will always have to pay its way in the newspapers as elsewhere. The fact is that the motion picture always has, in one fashion or another. It is not commonly pointed up conspicuously, but it is none- theless true, that motion pictures and their personalities are made definitely a part, and a very considerable part, of the merchandise of that amusement institution which we call the daily press. That army of correspondents in Hollywood, not less than two hundred and fifty of them, is there not for the purpose of cooperation with motion pictures as consumers of advertising but as producers of personality copy which the newspapers can sell to their readers. Our hectic contemporary Time says that "names make news." Now it happens that the motion picture, above all of the other arts and industries, makes names. That is why the newspapers cover Hollywood with quite as much diligence as they cover Washington. Screen made news is one thing — and screen made advertising space is quite another. The questions raised pertain to the individual showman and his theatre, his screen. His course will ever be determined by his audience and its acceptances. He will, however, find that the conduct of an advertising medium is not exactly parallel with the operation of an amusement institution, even if the job is all done through one machine. Also the theatre will tend to stand in a different position not alone with the press but with governmental bodies and all manner of public institutions and manifestations when it departs from its basic function of purveying entertainment. 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 Cluigley Publishing Company, Rockefeller Center, New York City, lelephone Circle 7-3 1 00 . Cable address Quigpubco, New Torn. Martin Quigley, Editor-in-Chief and Publisher; Colvin Brown, Vice-President and General Manager; Terry Ramsaye, Editor; Ernest A. Rovelstad, Managing Editor; Chicago Bureau, 624 South' Michigan Avenue, C. B. O'Neill, manager; Hollywood Bureau, Postal Union Lite Building, Boone Mancali, manager; London Bureau, 4, Golden Square, London W I, Bruce Allan, cable Quigpubco London; Berlin Bureau, Berlin-Tempelhot, Kaiserin-Augustastrasse 28, Joachim K. Rutenberg, representative; Paris Bureau, 29, Rue Marsoulan, Paris 12, France, Pierre Autre, representative, cable Autre-Lacifrai-12 Paris; Rome Bureau, Viale Gorizia, Rome, Italy, Vutorio Malpassuli, representative, Italcable, Malpassuti, Rome; Melbourne Bureau, Regent Theatre, 191 Collins St., Melbourne, Australia, Cliff Holt, representative; Mexico City Bureau, Apartado 269, Mexico City, James Lockhart, representative; Prague Bureau, Uhelny trh 2, Prague I, Czechoslovakia, Harry Knopf, representative; Budapest Bureau, 3, Kaplar-u, Budapest, Hungary, Endre Hevesi, representative; Buenos Aires Bureau, Corrientes 2495, Dep. 8, Buenos Aires, Argentina, Natalio Bruski, representative; Shanghai Bureau, 142 Museum Poad, Shanghai, China, J. P. Koehler, representative; Tokyo Bureau, 880 Sasazuka, Ichikawa-shi, Chiba-Ken, Japan, H. Tominaga, representative; Rio de Janeiro Bureau, Caixa Postal 3358, Rio de Janeiro, Brazil, A. Weissmann, representative; Barcelona Bureau, Juan Caragol, Calle Ansias March 5, Barcelona, Spain. India Bureau; K. G. Gidwanev, Post Box 147, Bunder Road, Karachi, India; Uruguay, P.O. Box 664, Montevideo, Uruguay, Paul Bodo, representative, cable Argus Montevideo- Amsterdam Bureau, Zuider Amstellaan 5, Amsterdam, Holland, Ph. de Schaap, representative; Vienna Bureau, Neustiftgasse 54, Vienna VII, Hans Lorant, representative. Member Audit Bureau of Circulations. All contents copyright 1936 by Quigley Publishing Company. Address all correspondence 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 Ouiglev Publications: Motion Picture Daily, Teatro al DIa, Spanish language quarterly in the theatre and equipment field, and International Motion Picture Almanac and the Box Office Check-up, both published annually. 8 MOTION PICTURE HERALD November 14, 1936 This Week Self-Regulation Self-regulation for the motion picture is at hand, major distributors commencing this week, starting with Universal, to accede to the MPTOA's ten-point program for estab- lishing fair trade practices, to establish har- monious relations between exchanges and theatres. This new milestone in motion picture progress is reported on page 13. Musicians' Round The first victory for musicians in their drive to restore stage shows and orchestras to motion picture theatres came this week in Pittsburgh where the Stanley theatre will resume stage presentations as soon as book- ings can be made under an agreement reach- ed with the musicians after six months of negotiation. Local 802 of American Feder- ation of Musicians, leading group in the campaign, is conducting the drive in New York with unabated enthusiasm. Endorse- ments have been received from many unions in other fields and musicians' locals in other cities are reported to be considering similar drives. Further news will be found on page 66. Hearst Name Off Reel The name of Hearst went off the screen this week with the changing of the main title of Hearst Metrotone News, distributed by Metro-Goldwyn-Mayer, to "News of the Day," effective with issue number 215. This action was taken after a year of various pro- tests and demonstrations in theatres against William Randolph Hearst, publisher. These uprisings and expressions came from Com- munists and militant leftists, beginning most conspicuously with students at Williams- town, Mass. Other activities of protest cen- tered about Loew theatres in New York, bringing home office attention. Mr. Hearst's name has been on the screen only some four years, in connection with the sound newsreel, save for an early period be- ginning with the founding of the Hearst Selig Weekly in Chicago in February, 1914. For all the years between the Hearst news- reels through various releasing channels have carried the name "International," de- rived from his International News wire ser- vice. It was at the break from silent to sound technique and from Universal Pic- tures Corporation to MGM that Edgar B. Hatrick, general manager of Hearst picture enterprises, decided on the change of name to detach the product from its silent past. Under its new name the reel as "News of the Day" proceeds in production and all other aspects precisely as before. The de- velopment of the week will appear to many observers as of special interest in that Mr. Hearst's newsreel has in fact, and conspicu- ously, never been for him a medium of per- sonal expression or concerned with purvey- ing his editorial policies. His newsreel has been marked by its neutrality and general conformity to the conventions of newsreel production, differing from its contemporar- ies mainly in the acute attention of its editor, Michael Clofine, to what newspapers call "feature and human interest" material. The protests expressed in theatre demonstrations took their origin elsewhere. Mr. Hearst is now in New York and the current change of title on his newsreel has obviously been made with his consent. That is not, however, necessarily to imply either approval or a final decision without sequels. Editorial Page 7 This Week in Pictures Page 10 The Hollywood Scene Page 43 Cutting Room Page 51 Asides and Interludes Page 29 British Studios Page 75 Showmen's Reviews Page 58 Chicago Page 100 In the Newsreels Page 100 Theatre Receipts Page 81 Managers' Round Table Page 89 The Release Chart Page 101 Technological Page 71 Easing Quota Burden A quota ruling that may prove of great significance in England has been made by the magistrate of the Old Street Police Court in London. The jurist dismissed a sum- mons against an exhibitor who in a test case had pleaded that there was not a suf- ficient number of pictures of entertainment value available to him. The jurist held that "it was not commercially practicable" for the theatreman to exhibit the full amount of British pictures required under the Act. Details on page 85. Impasse in Italy American distributors have ceased export- ing films to Italy and no pictures will be sent there until the deadlock over stringent regulations put into effect by the Italian Government is resolved. The Italian board controlling imports will not grant visas for American pictures unless the distributors agree to leave 75 per cent of the revenue from the showings in the country. This money cannot be spent without the permis- sion of the Mussolini Government and per- mission will be granted only for its expendi- ture for motion picture purposes, including production. A protest has been lodged by United States Ambassador William Phillips. The story is on page 57. June Caprice Dead June Elizabeth Millarde, actress, known on the silent screen as June Caprice, died this week in the Cedars of Lebanon hospital in Hollywood. She was born in 1899 in Arlington, Mass. In 1916, when every producer was trying to find a "second Mary Pickford," Wil- liam Fox announced "he had succeeded and presented Miss Caprice to the public in "Caprice of the Mountains." Among the other pictures in which she appeared were "A Modern Cinderella," "The Ragged Prin- cess," "A Child of the Wild," "Every Girl's Dream," "Miss U. S. A.," "Sunshine Maid," "In Walked Mary," "Rogues and Romance" and "The Sky Rangers." Miss Caprice was under contract to both the Fox and Pathe companies and made several pictures in the old Pathe studio in New York. Courts to Decide The perennial controversy between dis- tributors, circuits and independent subse- quent exhibitors stands ready for review by the United States courts, independents in the midwest taking their dispute over clear- ance in that territory to the highest tribunal. The independents advance a 29-point claim, as explained on page 23. November 14, 1936 MOTION PICTURE HERALD 9 Scalping the Scalpers Amended regulations to prevent amuse- ment tax evasion by ticket scalpers and others who deal in admission tickets in ex- cess of the ordinary cost, were issued this week in Washington by the Internal Revenue Bureau. All persons or organizations re- quired by law to pay taxes on charges in excess of established prices of admission to amusement places hereafter must keep an accurate record of their daily business avail- able for periodical inspection by the Inter- nal Revenue agents. Exhibitors Elect Activities of seven exhibitor groups last week included reelection of Fred Delodder as president of Allied Theatres of Michigan and of Roy R. Bair as president of Asso- ciated Theatre Owners of Indiana. The MPTO of Western Pennsylvania has launched a membership drive and the MPTO of Oklahoma has set December 14th and 15th for its annual gathering. News of exhibitor organizations is on page 46. Blue Laws and Taxes Blue law and tax legislation contrary to exhibitor interest was agitated in several states, acted upon in some, favorable and unfavorable decisions approximately bal- ancing. A resume of the situation is published on page 57. Star Broadcasts The Harvard Club of New York was the scene late last week of a gathering of mo- tion picture executives and representatives of both National Broadcasting Company and Columbia Broadcasting System to discuss the socalled "unfair competition" of screen stars' broadcasts. This informal gathering was the first tangible move to settle inter- related problems confronting both industries. A report on the meeting and plans of the industry to settle the problem are found on page 18. New Sales Methods A survey, aimed directly at the problems facing the exhibitor in connection with not only pictures but also star values, exploita- tion, trailers and advertising, was completed this week by Metro-Goldwyn-Mayer execu- tives. Out of this survey came a question- naire, the answers to which will determine the future advertising and exploitation policy of the company. The results of the survey are found in the story on page 44. Television Tryout What may be termed a press preview of television as an entertainment medium was given by National Broadcasting company November 6th when 200 journalists wit- nessed as guests of the organization a 40- minute program made up of addresses by executives, performances by radio personali- ties and motion picture subjects. A detailed story appears on page 19. William Fox in Contempt William Fox stands in contempt of court, under a decision of the United States su- preme court's ruling on the New York dis- trict court suit in which the Capital Com- pany, of California, obtained a judgment for some $250,000 against Mr. Fox. Failure of Mr. Fox to appear in New York brought the contempt order, from which he appealed to the Supreme Court at Washington. See page 57. NBC Ten Years Old The National Broadcasting Company and commercial radio broadcasting this week is celebrating its 10th anniversary. The cele- bration opened with a dinner at the Wal- dorf Astoria in New York, with 1,600 in at- tendance and with felicitations from Presi- dent Roosevelt from Washington. David Sarnoff, president of Radio Corporation of America, was toastmaster. Speakers in- cluded representatives from several Europ- ean countries. Details of the celebration, as well as high- lights of these 10 years of the company, are found in the story on page 68. Product Level Upward turned the index of Hollywood production in a week that saw eleven pic- tures placed before the camera while only six were being taken to the cutting room. For titles and personnel, see page 43. Issues Co to New Highs Motion picture issues are reacting with new highs to heavy increases in profits re- ported by the large companies, and Wall Street looks to further dividend payments as a result of the upward movement in in- come. This week, adding to other net in- creases already reported, Twentieth Cen- tury-Fox announced a $4,451,851 profit for 39 weeks; RCA reported a $1,083,604 for the third quarter, and Warner Brothers is expected to show a $3,000,000 net for the year when it makes its annual announce- ment of financial condition next week. The state of the motion picture financially is reported on page 37. Drop Nazi Films Two short subjects, prepared by Pete Smith from pictures taken at the winter Olympics in Germany last year and sold to Metro-Goldwyn-Mayer by American-Tobis, have been withdrawn from exhibition in the United States after a protest lodged with Nicholas M. Schenck, president of MGM and Loew's, Inc., by the Non-Sectarian An- ti-Nazi League to Champion Human Rights. The story of the League's first engagement with a major distributor and the details of the meeting are in the story on page 31. MGM Expands Checking Metro-Goldwyn-Mayer will install its own checking system in Detroit, Cincinnati, Cleveland, Pittsburgh, Buffalo and Albany, Colonel E. A. Schiller announced following a weekend meeting in Cleveland of managers of those exchanges with Jack Flynn, dis- trict manager, and Alan Cummings. The plan is already in effect in the company's offices at New York, Washington, New Ha- ven and Boston. Convicted of Coercion The Argentine Association of Film Dis- tributors in Buenos Aires, formed princi- pally of American motion picture companies, has been found guilty of "coercive meas- ures" in a suit charging extortion, illicit as- sociation and violation of the anti-trust laws, the United Press reported this week. The court suspended sentence. The association is composed of United Artists Corporation, Universal Pictures Company, Inc., Warner Brothers-First Na- tional. Metro-Goldwyn-Mayer, Paramount Pictures, Columbia Pictures, RKO, Fox Film Corporation and two Argentine dis- tributors. The suit was instituted by Hector J. Bini, whose connection therewith was not revealed. Evidence was established that the importers and distributors composing the association fixed the rental price of films, the time and form under which they could be distributed, and admission prices to theatres. It also was charged that they refused to rent films to certain theatres. WPA Radio Shows Word in Washington that the New Deal's wholesale participation in theatricals may bring a Congressional investigation this win- ter is not deterring the WPA from pro- ceeding with plans to launch a nationwide NBC vaudeville show in radio within two weeks. The Government's position today in old and new theatrical ventures is explained on page 25. 10 MOTION PICTURE HERALD November 14, 1936 This Week in Pictures ROYAL ENTERTAINMENT. (Right). The Crown Prince of Sweden, Princess Sibylla and the Princes Gustaf Adolf and Karl Johan attended the open- ing of "Mary of Scotland," RKO-Radio production, at the Palladium theatre in S+ockholm. WELCOME HOME. Mr. and Mrs. E. M. Farmer, of Seattle, meet their daughter, Frances, on her arrival home for the world premiere of her United Artists picture, "Come and Get It." BETWEEN PICTURES. (Left). Constance Cummings, following completion of her second GB production, "Strangers on a Honeymoon," returned to the United States for a visit between assignments. SEEKING CAREER. M. Robert Guggen- heim, Jr., 26, resigned from the mining company founded by his grandfather, Daniel Guggenheim, to seek a motion pic- ture career. He begins, at 26, by check- ing production supplies at the Selznick In- ternational studio. ATTENDS PREMIERE. (Left). H.G.Wells, noted British writer, attended the premiere of "The General Died at Dawn," much dis- cussed Paramount production, at the Carl- ton theatre in London. The notability at- tended the affair in full force. November 14, 1936 MOTION PICTURE HERALD NEW PERSONALITY. (Right) Dolly Haas, European star, came to America to be present at the premiere of "Broken Blos- soms," the Imperial production introducing her to the United States. NUPTIALS. (Left) Maurice Petroff was best man and Virginia Foell maid of honor at the wedding of Jane Hauptman and Boris Petroff, producer of "Hats Off" for Grand National, at the Beverly Hills Hotel on October 25th. BETWEEN DRENCHES. Margot, starred in the stage and screen versions of "Winterset," wears this terry-cloth robe between scenes shot on the artificially rain-swept stages of RKO Radio. TO LONDON. Douglas Fairbanks and Mrs. Fairbanks have returned to London where the veteran actor and producer will complete his script for "The Adventures of Marco Polo," which Samuel Goldwyn will produce, under a one-picture contract, for United Artists distribution. HOW IT'S DONE. (Right) Max Rein- hardt, June Travis, Warner player, and Cecil B. DeMille are shown as they ap- peared on a recent Lux radio broadcast conducted by the Paramount producer. Herr Reinhardt was program guest. 12 MOTION PICTURE HERALD November 14, 1936 REFRESHED. Back from a refresh- ing tour of Europe is Dudley Nichols, adaptor of "Mary of Scotland" and "The Plough and the Stars," and ready to commence upon "Robber Barons," his next for RKO-Radio. PEACE CONFERENCE. Spanky McFarland as the general of the title, Ralph Morgan as the Union general and Alfalfa Switzer as first assist- ant general call to momentary halt the not so belligerent warfare which these three and others conduct in "General Spanky," the Hal Roach feature picture marking the producer's departure from a traditional policy of short subject pro- duction. VACATION ENDS. Ricardo Cortez, War- ZUKOR JUBILEE VOLUNTEERS. Shirley Ross, Sir Guy Standing, Dorothy Lamour, Ray ner-First National player, and Mrs. Cortez Milland and Eleanore Whitney are five cf fourteen Paramount contract players who return to America after a European vaca- have volunteered to serve as honorary captains of the various sales districts during the tion during which they visited British company's Silver Jubilee in honor of Adolph Zukor's quarter century of prominence in studios and renewed acquaintanceships. the industry. November 14, 1936 MOTION PICTURE HERALD 13 DISTRIBUTORS ACCEDING TO EXHIBITORS' PLAN OF SELF-REGULATION The hour has finally arrived for establish- ment of voluntary self-regulation governing distribution and exhibition under an ac- cepted law of fair trade practice, in order thereby to create a harmonious relationship between the buyer and seller of motion pic- tures. Eight months of bargaining for a mutually satisfactory sales standard between sales heads and exhibitors are crystallizing this week into a workable instrument for elimi- nating most of the discord, and also much of the open court airing of trade disputes over product and terms, not only between dis- tributors and theatre owners, but among ex- hibitors themselves. Large distributors, with the new Univer- sal Pictures of the Cowdin-Cochrane inter- ests taking the lead, are now beginning to accede to the 10-point program of fair trade practices advanced last April in behalf of the country's exhibitors by the Motion Pic- ture Theatre Owners of America. Universal's formal and official notifica- tion of acceptance, the first, came abrupt- ly last Saturday morning. Sidney R. Kent later declared Twentieth Century - Fox is ready, and Paramount is expected to make public a statement on Friday, with notices of at least partial acceptance of the pro- gram coming later from some of the re- maining companies. The beginning of adoption by the dis- tributors of the MPTOA's program came almost within the same hour last weekend as reports from Washington that the sweep- ing approval of the New Deal on Election Day probably will bring renewed efforts by the Administration to reenact some form of NRA code legislation for operations of industries. Indications that such effort will not be confined alone to an NRA "Blue Eagle" governing hours and wages of workers came later in the week when the National Council for Industrial Progress made an unexpected The Council said Wednesday that American industries everywhere will be invited to at- tend conferences at Washington early in De- cember looking to voluntary codes of trade practice. See Conference Call The National Council is an official United States Government agency under the New Deal. While it has no formal powers, it was established at the time of the dissolution of the NRA to set out on a campaign to per- suade industries to adopt fair trade practices voluntarily. John Gregg Paine was named Exhibitor Unit at Philadelphia Threatens to Picket Exchanges The picketing of Philadelphia exchanges and theatres of their customers is threatened by the United Motion Picture Theatre Owners of Eastern Pennsylvania, Southern New Jersey and Delaware in its current bulletin as a means of combatting "unfair" sales policies by large distributors. A special meeting of the organization has been called for Friday morning at Phila- delphia's Hotel Broadwood at which high film rentals, "unfair" selling of product, national support in a fight "against MGM's policy," the advisability of date strikes on a national basis and the exchange of ideas for greater protection of the exhibitors' rights are all scheduled for discussion. In the same bulletin it was announced that Grand National would revise its sales policy to permit Philadelphia exhibitors to buy the company's pictures on a flat rental basis. This change came as a result of a meeting held last week between Grand National executives and members of the exhibitor group. chairman for the amusement business, which, like all other lines, ignored the original in- vitations of the Council a year ago to meet in their respective groups to discuss the possibilities of such voluntary regulation. Major George L. Berry again will act as administrator of the Council. Persons in the motion picture industry who have been close observers of code mat- ters, both during the NRA and subsequently, hold the opinion that the National Council now probably feels that the talk which has developed on the subject of a possibly re- vived NRA since President Roosevelt's re- election gives the Council the opportunity to attempt a pretentious Washington conference with American business, including the mo- tion picture. Others to Follow The distributors' present agreement to un- dertake voluntary self-regulation is the most significant in the motion picture's long his- tory of inter-trade disputes and countless efforts to arrive at some equitable basis for self-regulation. These were climaxed when the New Deal first foisted its "Blue Eagle" code on a mixed motion picture trade opinion. Definite assurances that other large dis- tributors will follow Universal's adoption of the program have been given to the MPTOA. Sidney R. Kent, president of Twentieth Century-Fox on Monday had de- clared that his company already had defi- nitely decided on the concessions it will grant exhibitors under the plan. Warner Brothers, however, have said that they would not participate. Word came Tuesday that Paramount is prepared to grant exhibitors an uncondi- tional privilege to cancel 10 per cent of the company's complete picture schedule and will approve the establishment of local concilia- tion boards, as part of its concessions. Indications are that the company will not agree to use of the Short Form Contract or to elimination of the score charge. It will take a stand against the forcing of shorts with features, against the granting of unfair' clearance and against knowingly aiding an exhibitor in overbuying of product. Three Points Accepted Not all of the distributors are expected to agree on all of the 10 points. Universal, for instance, refuses to accede to a uniform contract. Universal gave exhibitors its assurance of : (1) Extending a 10 per cent cancellation privilege under liberalized conditions; (2) Maintaining its policy of not endeav- oring to collect a score charge; and (3) Cooperating in establishment of local conciliation boards through which the ex- hibitors hope that most of the other trade practice reforms may be effectuated. R. H. Cochrane, president of the new Universal, on Saturday made formal reply to the proposals put forth by the board of directors and the executive committee of the MPTOA, looking towards greater coopera- (Continued on following page) 14 MOTION PICTURE H ERALD November 14, 1936 UNIVERSAL ACCEPTS, OTHERS READY (Continued from preceding page) tion between distributors and exhibitors. The reply was in the form of a letter ad- dressed by Mr. Cochrane to Edward L. Kuykendall, MPTOA president. Mr. Coch- rane's letter answers emphatically and in detail every point of the MPTOA program, as follows : Dear Mr. Kuykendall: Mr. Grainger and I have carefully considered the proposals put forth by the board of directors and the executive committee of the MPTOA as outlined in your general bulletin and are now pre- pared to state to you Universal's reaction to these proposals with the intention of giving you our utmost cooperation. I shall deal with the proposals as numbered by you in the bulletin. 1 Universal is willing to continue its policy of al- ■ lowing any exhibitor who has contracted for Universal's entire program the privilege of cancelling ten per cent of the pictures so contracted for, pro- vided that the exhibitor has performed his exhibi- tion contract up to the time that he desires io avail himself of the right to cancel. We are will- ing to waive the provision that cancellation is lim- ited to pictures renting for less than $250.00 and we are also willing to modify the provision re- quiring notice of cancellation within fourteen days of release date. However, with respect to This feature you will appreciate that some time must be fixed within which our exchanges must be noti- fied of cancellation and we would suggest That notice be given within ten days after notice of availability is mailed to the exhibitor. We wiil also have to work out a provision so that the ex- hibitor will not be permitted to exercise the right of cancellation as to too many pictures. in the early part of his contract. As to sub-division B of this proposal, we of course cannot increase the cancellation privilege to more than ten per cent as a general policy. Sit- uations where an exhibitor cannot reasonably be asked to play more than ninety per cent of our product are now adequately dealt with through the medium of selective contracts. Q We are in complete sympathy with your pro- • posal to establish conciliation boards provided that satisfactory machinery shall be set up and in this connection we suggest that provision should be made limiting the matters which may be brought before such boards so that the members of the industry who are generous enough to give of their time and energy to the administration of such boards will not find themselves in the posi- tion of devoting more time to the hearing^ of petty disputes than they have available for rhe management of their own business. O With respect to clearance, Universal has never ~ ' granted and never will grant to any exhibitor clearance which is known to us to be unreasonable. We note your suggestion that there should be es- tablished a uniform maximum clearance and we can see certain advantages in such a plan but we regretfully advise you that in our opinion the de- cisions of the federal courts in actions brought by exhibitors have made our adherence to any clan for uniform clearance improper. A With respect to your suggestions regarding • over-buying of pictures, we feel that this is a matter which can be cured not by distributors but by exhibitors. This company never knows at. the time it contracts with an exhibitor for our pro- duct whether or not the exhibitor is over-buying. We do not consult with our competitors as to how much, if any, product they may have sold any particular exhibitor. It is our policy to license our product in each situation to our customer upon terms which will result in the maximum benefit to him and to the company as a whole and we can- TEN-POINT PROGRAM FOR SELF -REGULATION On the afternoon of Thursday, April \6th, in the Rose Room of the Cinema Club adjoining the Hotel Al- gonquin, in New York, exhibitors of America, as represented by the MPTOA, presented to distributors a program for establishing self-regula- tion and creating harmonious relations between exchange and theatre through a set of fair trade practices. Edward L. Kuykendall, president of the MPTOA, made the presentation, to- gether with a committee of exhibitor leaders composed of Charles W. Wil- liams, Omaha; Fred Wehrenberg, St. Louis; Lewen Pizor, Philadelphia; Jack Miller, Chicago, and Oscar C. Lam, Georgia. Accepting the program for the dis- tributors, for consideration, were: William F. Rodgers, MGM; Neil F. Agnew, Paramount; James R. Grain- ger, Universal; Paid N. Lazarus, United Artists; Jules Levy, RKO; John D. Clark, Twentieth Century- Fox, and Abe Montague, Columbia. The program, which subsequently was the subject of many lengthy dis- cussions and controversies provided for ten basic improvements, as fol- lows : 1. Removal of all restrictions on calcella- tion privileges, and an increase in the present 10 per cent elimination to 20 per cent. 2. Establishment of local conciliation boards for adjusting trade disputes. 3. Creation of fair and reasonable uni- form clearance and zoning. 4. Elimination of unfair overbuying that reduces the product supply of a competi- tive owner. 5. Abolition of unfair "cut-rate" compe- tition in the form of premiums, giveaways, lotteries, two-for-one coupons, merchant and "advertising" tickets, pseudo-contests, double and triple featuring, unreasonably low admission prices, and such. 6. Control of unfair nontheatrical exhi- bitions. 7. Creation of a standard form of exhi- bition contract reduced to essentials in language and text. 8. Elimination of the score charge. 9. Discontinuance of arbitrarily desig- nated play-dates. 10. Elimination of the practice of forcing short subjects with features. not subscribe to any plan which would affect this policy. We note that under this heading you have included an objection to double features. Everybody knows that Universal has taken a defin- ite stand against restrictions on double features. We have no quarrel with distributors who desire to provide in their exhibition contracts that their pictures may not be double featured but Univer- sal will not adopt any such restriction as a national policy. C This deals entirely with exhibitors. Needless to say, we are in complete sympathy with any- thing you can accomplish toward eliminating the practices referred to in this paragraph, but here again we suggest that this is a matter that must be handled by exhibitors rather than by distribu- tors. /L As to non-theatrical exhibitions of motion pic- tures produced by us for amusement purposes, this company never licenses a picture to a non- theatrical account where there is any real pos- sibility of unfair competition with one of its cus- tomers. "7 With respect to your proposal in favor of a " uniform exhibition contract, we can see ad- vantages that might accrue to the industry from the use of such a form, but we believe that the decision of the United States Supreme Court and decisions of other courts have precluded us from becoming a party to the use of a uniform contract. Some years ago I spent a few of the toughest weeks of my life as a member of a committee composed of exhibitors and distributors in an ef- fort to work out a uniform contract. After a lot of argument we reached a unanimous verdict in the form of what we thought was a perfect uni- form contract. In other words, a document which was completely satisfactory to exhibitors and dis- tributors as well as to producers. Some time later the whole job was tossed out of the window by The court, and ever since then I have been gun-shy on the subject of uniform contracts. In this connection we refer to your suggestion that a short form contract be used. We are in favor of doing everything that is possible to sim- plify and shorten our exhibition contract, but we consider it vitally necessary that any contract which an exhibitor signs shall contain the entire agreement between the parties and we are not in favor of deluding an exhibitor into the belief that he is getting a short and simple contract by hand- ing him for his signature a short contract which in- corporates by reference a contract which is mucn longer than the one which he is now signing. O Referring to your proposal for the elimination of the score charges, you are, of course, aware that Universal for years has not endeavored to collect a score charge and we assure you that we will not attempt to do so in the future. Q With respect to your proposal relating to pre- ' " ferred playing time, we will welcome any feasi- ble method of dealing with this subject which will be satisfactory to exhibitors and will at rhe same time assure Universal of its fair share of ihe exhibitors preferred playing time. Regarding the forcing of shorts with fea- " tures, Universal has never indulged in +his practice and I have so stated many times in rhe past. I believe this letter will show you our desire and intention to cooperate with you to the very limit, but if I have not made myself perfectly clear, let me know and I shall be glad to clarify any mat- ter which you wish to discuss. The MPTOA program does not petition a national distributor ban on double features. While not in favor of the practice, the ex- hibitor group favors its elimination only by agreement of a majority of exhibitors in individual local situations. It is through the machinery of the local conciliation boards that the MPTOA hopes to eliminate such other practices as un- reasonable clearance, overbuying, "cut- throat" competition, designation of preferred (Continued on page 20) 10 . . . who i$ she ? She's a girl with a terrific screen personality, lots of what the beauty ads call allure. And she's just the girl to put over Paramount's thudding, thundering big-time romance of the Malay jungle . . . "THE JUNGLE PRINCESS" and make it an even bigger grosser than "King of the Jungle". . . Gentlemen . . . here's DOROTHY LAMOUR. November 14, 19 3 6 MOTION PICTURE HERALD 17 17 FEATURES ALL IN COLOR FOR '26-27 OUT OF POSSIBLE 600 RELEASES Hollywood Unconvinced as to Ultimate Relative Status of Pigmentation; Several Processes in Application The position of color in the 1936-37 fea- ture motion picture program can now defi- nitely be established as relatively unimpor- tant, in comparison to the pre-seasonal promises of widespread use of color this year. Production of features in color is still in the experimental stage, producers believe, and, although both Hollywood and the public have indicated that they are willing to be convinced of its possibilities, currently only four all-color pictures are ready for release and 13 features for which production plans have been made are tentatively listed for color treatment, out of a possible 600 fea- ture release. This total, however, compares favorably with, if it does not exceed, pre- vious seasons. Technical difficulties, inherent in the me- dium, have not been overcome entirely in any of the many processes now in use. This and the additional fact that the use of color adds greatly to the cost of produc- tion, in some cases doubling the budget for a black-and-white film, chiefly because of the many retakes necessary, have deterred most producers from venturing into the field very enthusiastically. A year ago, Walter Wanger, in the face of adverse public and professional opinion, started production of "The Trail of the Lonesome Pine" in Technicolor. The picture's commercial suc- cess made the industry and theatre patrons fur- ther color conscious to some degree. Several features, including "Dancing Pirate," "Ramona" and two by George Hirliman, "The Devil on Horseback" and "Captain Calamity" in Hirli- color followed. Currently Selznick International has "The Garden of Allah," Warner Brothers has "God's Country and the Woman" in Technicolor, and Burroughs-Tarzan has "The Phantom of Santa Fe" in Cinecolor awaiting release. Republic has just completed shooting of "The Beloved Rogue" in Magnacolor. Thirteen features on the 1936-37 programs have been listed for color treatment. Warner has one ; Republic, four ; Walter Wanger, one ; Samuel Goldwyn, one, and Selznick International, one. Mr. Hirliman will produce four features for Grand National in his color process. Columbia, Metro-Goldwyn- Mayer, Paramount, Twentieth Century-Fox, Radio and Universal have not planned to make any features in color. Hollywood Still Unconvinced Despite the success of "The Trail of the Lone- some Pine" and the favorable manner in which audiences are now receiving "Ramona," Holly- wood is still unconvinced that color can be adopted generally. For this reason "Garden of Allah" and "God's Country and the Woman" are eagerly awaited. Backgrounds of these two pictures are decidedly in contrast. In the first, the Sahara Desert is the site ; the north woods and the snow country is the locale of the sec- ond. Both are dramatic stories and in both effort has been made to apply color artistically BLACKTON'S FIRST ALL-COLOR FILM This winter marks the 14th anni- versary of the first feature color mo- tion picture to be given serious atten- tion in this market. In 1922, Com- modore J. Stuart Blackton produced in England "The Glorious Adven- ture" starring Lady Diana Manners, made in all-color by the Prizma process — first of the color-in-the-film processes. Allied Producers and Dis- tributors Corporation was first as- signed distribution, but later United Artists took over its handling. It was the first all-color picture to be given countrywide exploitation attention, Terry Ramsaye promoted the produc- tion for Commodore Blackton. It was about a year ahead of Technicolor's first color film, "Toll of the Sea," for the Metro Pictures Company of the late Marcus Loew. William Thomas Crespinel of Prizma was the cameraman of "The Glorious Adventure." Mr. Crespinel, English born, is now furthering the interests of his own Cinecolor, in Hollywood. Technical Difficulties of Practical Use Remain To Be Overcome; Cost Factor Also Continues Important but not the theatre-going public. Walter Wan- ger figuratively tossed the anointed experts overboard and had his experienced studio execu- tives produce a successful picture. These men, wise in picture making, subdued the color, de- emphasized it ; in other words, used it as spar- ingly as possible. Not a high tribute to color's professed dramatic content. It was distinctly a minor ingredient. . . . "Practical camera and laboratory men have developed studio photography to its present high standard of commercial application. Prac- tical studio men have done likewise with sound. Practical producing brains made the only com- mercially successful color film to date — the 'Pine' picture. These same practical studio- trained minds might perfect color processes to a point of general studio and theatre application if given opportunity. . . . "Reports mainly have it that current color processes have all too definite limitations in reproductive capabilities under actual production conditions, that too little now is known about the play .of light on colors, that cameras need design improvement and a wider range of per- formance, that processing is done behind barred doors, that costs are needlessly high, that the whole subject is smothered in uncalled-for pseudo theory and technicalities, and that young- blades from science academies are not necessa- rily picture producers." and dramatically as an integral factor in the motivation. Directors who have worked with color say that this integration of the medium with the story is essential, and it is this factor which causes many of the difficulties encountered in production. Studio technicians say that there appear to be many unknown qualities of color in terms of photographic negative. Colors clash and fight among themselves. Strong colors trample over weak colors. Light absorption and reflections fluctuate with composition of pig- ment, texture of surface, intensity of light fall- ing upon them and the angle from which it falls. Protests Air of Mystery The American Cinematographer in an article in its October issue took the "makers of some color processes" to task for surrounding the whole production of color pictures with an at- mosphere of mystery. The article was based on the thesis that competent cameramen and studio technicians are in possession of the basic prin- ciples of color photography and could, if given a free hand, produce as good a color picture as could the specialists who, it is claimed, are trying to create "a mystic fraternity with a language unintelligible to the lowly uninitiated." After describing the present limitations of the systems now in use the article declares : "Generally speaking, opinion is expressed that if the color enthusiasts would turn over their processes intact to practical studio production men, they might be able to iron out the kinks from a practical angle and develop color's com- mercial application. It is pointed out that bud- ding young scientists fresh from campus lecture halls may know their theory, but lack useful knowledge of picture business. "Ardent colorists were in the saddle during 'Becky Sharp' and 'Dancing Pirate.' The results apparently satisfied their color theories, Other Color Plans Despite these difficulties color is making a determined stand. Warner Brothers' Techni- color successor to "God's Country" will be "The Desert Song," a musical. No cast assignments have been made as yet. Following "The Beloved Rogue," a semi-historical drama of early Cali- fornia, Republic will produce four other fea- tures in Magnacolor. "Beloved Rogue" stars Robert Livingston and Heather Angel with Sig Rumann in the character lead. Wells Root, who wrote the original story and the screen play, makes his directorial debut in the picture. During production of the film the natural colors of the out-of-doors by night were cap- tured by the color camera for the first time, according to Jack Marta, cameraman in charge of the photography. Previously color pictures having outdoor scenes have been shot on a stage. Mr. Wanger's next Technicolor film will be "Vogues of 1937," which is tentatively sched- uled to go into production early in January. Mr. Goldwyn also will start "Goldwyn Follies" in color at approximately the same time. David Selznick started production of "A Star Is Born" early this month. The story is a mod- ern comedy of Hollywood and will feature Janet Gaynor, playing in her first color picture, Fredric March, Adolphe Menjou, May Robson and Andy Devine. William Wellman will direct and Lansing C. Holden, color expert on "The Garden of Allah," has been placed under contract as color designer. Five Hirlicolor Films George Hirliman will make a total of five Hirlicolor pictures for Grand National. One, "Grand Canyon," to be directed by Crane Wil- bur, will start during the next two months and (Continued on page 24) 18 MOTION PICTURE HERALD November 14, 1936 Canada Accepts ASCAP Seat Tax RADIO AND SCREEN MEET OVER STAR BROADCASTS Problem Is Discussed Infor- mally by Executives at Ses- sion Called by Hays The first tangible move toward a solution of the complaints of exhibitors over the con- stant appearances of motion picture stars on nationally broadcast radio programs — espe- cially during those hours at which the high- est theatre attendance is expected — was made late last week at a luncheon meeting at the Harvard Club of New York. The meeting was called by Will H. Hays, presi- dent of the Motion Picture Producers and Distributors of America, Inc., and was at- tended by representatives of both the motion picture and radio industries. The session was regarded by those in attendance as a preliminary move, to be followed by later meetings when definite recommendations will be made and agree- ments sought. It was indicated that exhib- itor leaders would be called in for the sub- sequent sessions, inasmuch as it was said, following the gathering, that all interests would be consulted before any final solu- tions were to be attempted. Attending the meeting, in addition to Merlin H. Aylesworth, chairman of the board of RKO ; Nicholas M. Schenck, presi- dent of Loew's, Inc. ; and Harry M. Warner, president of Warner Brothers, who were named by Mr. Hays last month as a com- mittee to represent the industry in a study of the problem, were Donald Cilman, vice- president of National Broadcasting Com- pany in charge of West Coast operations, and Donald Thornburgh, vice-president of Columbia Broadcasting System in charge of that company's West Coast activities. Following the session at the Harvard Club, after which Mr. Hays sailed for a four weeks' trip to Italy, France and Eng- land, it was said that he had especially re- quested the gathering because he was de- sirous of hearing why the radio broadcasters claimed their problems concerning the mo- tion picture stars were as great as those of the exhibitors. Radio's Problems Advanced Spokesmen for the radio industry pointed out that, among other things, an indififerent radio program featuring a motion picture personality or personalities could be as in- jurious to the entertainment prestige of the network as it could be to the star and the employing motion picture studio. They were emphatic, as well, in their statements that their efforts to cooperate with the motion picture industry in the past had not been recognized on many occasions. In spite of the frank exchanges of views, however, no unwillingness to work for a solution of the problems of either industry was evidenced on the part of either group. In fact, indi- cations were that at last a genuine move- ment toward working out an understanding between the two groups has finally been in- itiated. A score or more of proposals already have been submitted, representatives of the film industry said, but only a few of them are even regarded as having even slight value. One of the important revelations of the meeting was that neither group was in favor of a complete banning of motion picture fig- ures from the air, if it were possible to do so, but what regulatory measures may have been advanced were not made known. At a later date, it was said, specific suggestions will be asked and considered. Survey Underway In keeping with the general tenor of the meeting, no figures that might purport to show the effects on theatre business by the competition of radio were presented. It is known, however, that the MPPDA office has been making a survey for several weeks to determine just what effect the so-called "unfair competition" of star broadcasts has had on theatre receipts. The committee of Messrs. Aylesworth, Schenck and Warner will meet from time to time, either alone or with exhibitors, pending Mr. Hays' return. It was also thought that representatives of radio's side of the problem will be called together wi'.h the committee to explain more fully just what their own difficulties are. U. S. Permit Now Sought For Fiber Film Packing Application has been made by major com- panies to the Interstate Commerce Commis- sion for permission to ship film in fiber board boxes. The change is desired for rea- sons of efficiency and economy and would apply only to film not designed for reship- ment which is shipped now in wooden boxes. The lighter fiber board material is non- combustible and its use would effect a sav- ing in shipping charges, the application says. Trial shipments using the new container were pronounced highly satisfactory in every respect and demonstrated that eight to 10 reels could be shipped as a unit of the 6,000 feet customarily packed in wooden boxes now. The new packing material is intended only for use in film shipments from studio to exchanges. Reshipments from exchanges to the theatres would be made, as always, in metal containers. MGM Will Reissue Five Old Features Metro-Goldwyn-Mayer will re-issue five old features and the group will be sold aside from the 1936-37 program to all exhibitors with available playing time. Exhibitors can take as many as they desire. The five are "Grand Hotel," "Rasputin and the Empress," "Trader Horn," "Danc- ing Lady" and "Billy the Kid." New adver- tising material is being made up for the re- leases. Ed Morris, Warner Brothers music com- pany head, has been reelected to the board of governors of the American Society of Composers, Authors and Publishers. The Canadian Government's Music Tax Committee Tuesday in Toronto prescribed the same rates for motion picture theatres as those agreed upon last week by representa- tives of Canadian theatre interests and the Canadian Performing Rights Society, which is partly owned by the American Society of Authors, Composers and Publishers. The action fully legalizes the rates agreed upon independently by the music controlling groups and, in addition, makes them appli- cable to all theatres in Canada. Complaints against these rates may be made to the government commission dur- ing December and adjustments may be made if the complaints are found to be well grounded. The Government will make an official announcement of the rates about Jan- uary 1. It was erroneously stated previously that the maximum music tax allowed by the Gov- ernment rate commission was 12 cents a seat as compared with the 15 cents a seat tax agreed upon by the music licensing and theatre representatives earlier. It is now learned, however, that the Government com- mission's rates are the same in all respects as the others. Harold B. Franklin Leaves Columbia Post Harold B. Franklin, who has been a mem- ber of the Columbia Pictures production staff in Hollywood for the past year, this week resigned, effective November 20th. He is now on his way to New York on a vaca- tion following which he will return to Hollywood to re-enter production. Mr. Franklin is a former president of Fox West Coast Theatres and later head of Hughes Franklin Theatres. He later became an executive in an advisory capacity at RKO, then president of the KAO and RKO circuit. He resigned in 1933 to form Frank - wyn Productions with Edgar Selwyn to produce legitimate plays on Broadway, fol- lowing which he joined Columbia in 1935. Universal Is Equipping Studio with Mirrophonic Universal has closed a deal with Electrical Research Products, Inc., for a complete re- equipping of the studio with new Western Electric Mirrophonic recording apparatus, Erpi announced this week. The new equip- ment will give the studio push-pull record- ing throughout. The contract embraces the addition of a new Erpi "Q" portable channel, moderniza- tion of the present five truck channels, in- stallation of three additional Mirrophonic recording machines, modernization of the three fixed scoring and dubbing channels and new sound reproduction equipment for all four of the studio's new projection rooms. Heads Louisiana Film Council Mrs. Joseph E. Friend this week was elected president of the Louisiana Council for Motion Pictures at a meeting of the organization at the Roosevelt hotel in New Orleans. Mrs. Friend succeeds Mrs. A. S. Tucker, resigned. November 14, 1936 MOTION PICTURE HERALD 19 RCA-NBC LET PRESS LOOK "AROUND CORNER" AT TELEVISION PROGRESS Forty Minute Program Caught by 15 Receiving Sets at Company's Headquarters Studios in New York by TERRY RAMSAYE Periodically the fires of anticipation about television have to be fanned anew to keep alive the state of expectancy by the amuse- ment trade and the public which is deemed desirable by the interests engaged in this still vastly experimental and tentative art. The latest and most emphatic blowing on the coals occurred last week with a demon- stration to the press by the joint efforts of the Radio Corporation and the National Broadcasting Company with cocktails and a buffet luncheon November 6th atop the RCA Building in what is variously called Radio City or Rockefeller Center, depending on whose publicity it is. The demonstration consisted in permitting the 200 assembled guests, of the press, in- cluding everything from essayists to report- ers for Wall Street, to see what the tele- vision engineers have been looking at for a year or so. That is to say a picture about two-thirds the size of a letter sheet, limned in black and green, the highlights being the pleasant color of green Chartreuse as viewed by candle light, and with the definition qual- ity of a newspaper halftone etched under a 65-line screen. The principal remarks were made by Mr. David Sarnoff, president of the Radio cor- poration, who impinged not at all on the possible impingements of television, if, when and as, upon other arts save to say it would "supplement" the existing sound radio. The program presented subsequently was considerably dominated by excerpts from motion pictures, all the products of Pathe News, but motion picture relations to the occasion and the art were not discussed. Mr. Sarnoff, often quoted about television being "around the corner," did not commit himself to dates, but intimated that it would be somewhere in the next ten years, or perhaps inside the next ten years. The ten- tative nature of his outlook was denoted by his announcement that "our program is threefold," with the following folds: "First, we must develop suitable com- mercial equipment for television and recep- tion. "Second, we must develop a program service suitable for network syndication. "Third, we must also develop a sound eco- nomic base to support a television service." 40 Minute Program The program was 40 minutes in length and included, in addition to addresses by Mr. Sarn- off and President Lenox R. Lohr of NBC, quartet and solo numbers by radio personali- ties, a Robert Benchley short subject, a news- reel sequence showing President Roosevelt at home and, reminiscent of the pioneer cinema, a tour of a television studio. Interspersed with these were appearances of Betty Goodwin as mistress of ceremonies. The program was produced on another floor SHORT PRODUCT PLAYING BROADWAY Week of November 7 CAPITOL Quaint Quebec MGM To Spring MGM CRITERION Medium Well Done Vitaphone That's Pictures Vitaphone MUSIC HALL March of Time, No. 3 RKO Radio PARAMOUNT Lover's Paradise Paramount Rah, Rah Football Paramount RIALTO I Want to Yohoo Vitaphone The Spanish Civil War Chelsea RIVOLI Alpine Climbers United Artists Philippine Fantasy Twentieth Cen- tury-Fox ROXY One Live Ghost RKO Radio I Wanna Be a Lifeguard .. Paramount Stranger Than Fiction, No. 27 Universal STRAND Clyde Lucas and His Or- chestra Vitaphone Porky's Poultry Plant Vitaphone of the RCA building, transmitted by coaxial cable to the broadcasting station atop the Em- pire State building, approximately two miles distant, and received in the NBC studio fitted out for the occasion as a sort of experimental theatre. The pictorial matter was broadcast on 49.75 megacycles, the sound on the 52 mega- cycle channel. Four of the 15 receiving sets supplied for the demonstration were of the latest type developed. These reproduced an image measuring 7'/2 by 10 inches. Unlike the older sets, which reproduced images of lesser dimensions, these were not equipped with mirrors in which, by a method being discarded, the observer saw the televised subject as reflected from another surface. There was also noted a lesser degree of the greenish coloration which has been remarked in previous demonstrations, al- though there appeared to be a problem to be overcome in the matter of focus. All the sets provided for the demonstration were comparable in general size and makeup with the console type of radio receiver. There were as many as fourteen dial adjustments on some of the models, however, functions of these including the regulation of pictorial focus, the elimination of audible and visible distortion and control of other factors inherent in the nature of the new medium. Although the probable cost of such a receiv- ing set if produced on a commercial scale was estimated as between $400 and $500, spokes- men made it plain that no sets would be made available to the general public until many ob- stacles to practical use of television have been Sets Will Not Be Available Until Many Obstacles Are Overcome and Mechanical Standard Is Evolved overcome and a mechanical standard has been worked out which will obviate the necessity of successively exchanging outmoded equip- ment for new. The Role of NBC In his address the president of NBC said: "The role of the National Broadcasting Com- pany in television will be operating transmitters, programming, and, when it becomes available for commercial use, securing sponsors. In order that we may be prepared to do our part, our engineers are daily putting apparatus on the air under practical service conditions. Our program department is learning an entirely new technique in continuity writing, make-up, stag- ing, and a multitude of other details which this new art will demand. It is experimenting with commercial programs to determine the effective- ness of television to sell goods." In his televised address to the press repre- sentatives Mr. Sarnoff said, in part : "You will recall that our field tests in tele- vision began only on June 29 of this year. That date marked the beginning in this country of organized television experiments between a regular transmitting station and a number of homes. Since then we have advanced and are continuing to advance simultaneously along the three broad fronts of television develop- ment— research, which must point the road to effective transmission and reception ; technical progress, which must translate into practical sets for the home the achievements of our laboratories ; and field tests to determine the needs and possibilities of a public service that will ultimately enable us to see as well as to hear programs through the air. On all these fronts our work has made definite progress and has brought us nearer the desired goal. Describes Field Tests "First, and as of immediate interest, let me tell you the progress of our field tests. As you know, we have been transmitting from our television station on top of the Empire State Building in New York City which is controlled from the NBC television studios in the RCA Building. We have observed and measured these transmissions through a number of experimental receivers located in the metro- politan area and adjacent suburbs. The results thus far have been encouraging, and instruc- tive. As we anticipated, many needs that must be met by a commercial service have been made clear by these tests. "In our present field tests we are using 343 line definition. Radio Corporation of America and the radio industry have, through the Radio Manufacturers Association, recommended to the Federal Communications Commission the adop- tion of 441 line definition as a standard for commercial operation. Our New York trans- mitter will be rearranged to conform to the recommended standards. That also means building synchronized receivers to conform to the new standards of the transmitter." Laboratories Established Harry Glickman and John M. Weber, New York, have organized the Mecca Film Laboratories. Messrs. Glickman and Web- er were formerly heads of Producers' Labo- ratories. 20 MOTION PICTURE HERALD November 14, 1936 CONCESSIONS STARTED (Continued from page 14) playing time and the forcing of shorts with features. An expression of "complete satisfaction" with Universal's announcement was forth- coming immediately from the New York headquarters of the MPTOA, which said : The Motion Picture Theatre Owners of America are elated to learn that Universal has definitely and publicly accepted most of the proposals pre- sented to them by the MPTOA Executive Commit- tee to remove abuses and prevent injustices in the trade practices that have become established in this business. Mr. Cochrane and Mr. Grainger are to be highly commended for their fairness and initiative. We are confident from their sympathetic attitude towards our problems that the few re- maining details to which they refer can and . * PASSED ME BY \v,\TCH Z)> Directed by Tay Garnett SET FOR SIMULTANEOUS NATION-WIDE RE-RELEASE DECEMBER 12™ BY November 14, 1936 MOTION PICTURE H ERALD 43 THE HOLLYWOOD SCENE Product Level Upward from recent low levels curved the line indicating productions before the camera in a Hollywood work week unslowed by the business of balloting. Eleven pictures were started. Six were taken to the cutting room. Selnick International started "A Star Is Born." Fredric March and Janet Gaynor are starred. The support consists of Andy Devine, Guinn Williams, Arthur Hoyt, Adrian Rosely, Rex Evans and Franklin Pangborn. William A. Wellman is direct- ing. Wanger Productions started "History Is Made At Night." With Frank Borzage directing, Jean Arthur, Charles Boyer, Ivan Debedeff, Leo Carillo, Colin Clive, George Meeker, Lucien Provao and Adele St. Mauer are featured. These films loom as the most attractive on the schedules. Two films started at Universal. The first, a Buck Jones production titled "Sand Flow," features Mr. Jones with Lita Chevret, Bob Terry, Arthur Aylesworth, Robert Kortman, Joseph Swickhard, Tom Chatterton and Malcolm Graham. Les Selander is directing. The second feature, "Secret Agent X-9," a straight Universal number, will present Scott Kolk, Henry Hunter, Gene Rogers, Henry Brandon and Noah Beery, Jr. Ford Beebe and Cliff Smith are co-directing. Republic also started a pair. In "Missing Men" Lloyd Hughes, Eddie Nugent, Kay Hughes, William Newell, Theodore von Eltz, Christine Maple, Smiley Burnette and Ed- win Maxwell will be seen. John Auer is directing. The cast for "Riders Of The Whistling Skull" includes Robert Livingston, Ray Corrigan, Max Terhune, Mary Russell, Fern Emmett, John Ward, Yakima Canutt and Roger Williams. Mack Wright is di- recting. At MGM, a studio which has been work- ing on a reduced schedule for some weeks but which will become exceedingly active during the present month, "Sinner Take All" started. Bruce Cabot, Margaret Lindsay, Eadie Adams, Raymond Hatton and Vivi- enne Osborne are the present principals. Errol Taggart is the director. Paramount started "Trail Dust," a Harry Sherman production. William Boyd, Jimmy Ellison and George Hayes again are fea- tured in another "Hopalong Cassidy" story with Stephen Morris, Gwynne Shipman, Britt Wood, John Beach and Al St. John. Nate Watt is directing. "I Promise to Pay" was started at Co- lumbia. The cast is headed by Chester Mor- ris, Leo Carillo, Helen Mack and Patsy O'Connor. D. Ross Lederman is directing. Grand National started "Arizona Days," an Ed Finney production which Jack Eng- lish is directing. It will present Tex Ritter, Eleanor Stewart, Ethelind Terry, William Faversham, Warner Richmond, Snub Pol- lard, William Desmond, Sidy Saylor, Forrest Taylor and Charles King. QUESTION: TO BE OK NOT TO BE TYPED To be or not to be typed, that is the question long pondered, seldom satis- factorily answered, by players. Just now Paul Muni, distinguished for his Dr. Pasteur, is all for continu- ing in biographical portrayals, with Dan ton and Zola in prospect. And just now Greta Garbo, after "Anna Karenina" and "Camille," wants a modern role to bring her down to date. So goes Hollywood. At Warners "Trial Horse" started. Bar- ton MacLane, June Travis and Wayne Mor- ris are the principals. B. Reeves Eason is directing. Last of the starting group is "With Love And Kisses," Melody. Players who will be seen include Pinky Tomlin, Toby Wing, Kane Richmond, Russell Hopton, G. Pat Collins, Arthur Housman and Kenneth Thompson. Leslie Goodwins is directing. The studios that started two pictures also completed two. Universal finished "Three Smart Girls" and Murder On The Miss- issippi." The first film features Binnie Barnes, Ray Milland, Alice Brady, Charles Winninger, Nan Grey, Dianna Durbin, Bar- bara Reed, Mischa Auer, Hobart Cavanaugh, Ernest Cossart, Lucille Watson, Nella Wal- ker, Charles Coleman, Ed Gargan and Heinie Conklin. Henry Koster directed. In the second are James Dunn, Andy Devine, Hobart Cavanaugh, Russell Wade, Pat O'Malley, Jean Rogers, David Oliver, Mich- ael Loring, Herbert Rawlinson, Claude Gill- ingwater, Joyce Compton, Richard Carle and J. Farrell MacDonald. Arthur Lubin di- rected. The first of Republic's finished produc- tions is "The Mandarin Mystery." The cast consists of Eddie Quillan, Charlotte Henry, Rita LaRoy, Wade Boteler, Franklyn Pang- born, George Irving, Kay Hughes, William Newell, George Walcott, Edwin Stanley, Edgar Allen, Anthony Merrill and Monte Vandegrift. Ralph Staub directed. In "Be- ware Of Ladies," which Irving Pichel di- rected, Donald Cook, Judith Allen, George Meeker, Russell Hopton, Phil Dunham, Wil- liam Newell, Robert Strange, Robert Em- mett Keane, Dwight Frye, Goodee Mont- gomery, William Crowell and Josephine Whittell will be seen. "One Man's Bonus" moved off the stages at Paramount. It will present Edward Ever- ett Horton, Charlotte Wynters, Margaret Seddon, Margaret McWade, Irving Bacon, Porter Hall, J. M. Kerrigan, Purnell Pratt, G. Pat Collins and Eddie Acuff. Ray Mc- Carey directed. Completing the list of finished pictures, Hal Roach checked in "Way Out West." Laurel and Hardy are featured with Sharon Lynne, Rosina Lawrence, James Finlayson, Tiny San ford, James Norton and Flora Finch. James Home directed. The Briskin Plan Scoffers, habitual second guessers and those others who saw no more than a suc- cessful publicity stunt in Samuel J. Briskin's offer to lend young contract players to Little and Community theatre groups are coming around swiftly to a realization that the Radio production chief meant precisely what he said when he declared that the motion picture industry must help theatres of this type if they are to survive as a continued help to the screen. Into Mr. Briskin's office, in answer to his published announcement and direct com- munications to resident stage directors, came hunderds of requests for screen talent. The Briskin plan reveals two aspects. One, the local theatre gains the players, thus bol- stering its production with Hollywood names. Two, Radio especially, and Holly- wood generally, gains good will, and the young players who are loaned gain experi- ence in facing an audience under conditions they could garner in no other way. Players on the Radio contract list who will be available to little theatres include Lucille Ball, Anita Colby, Alan Curtis, Owen Davis, Jr., Harry Jans, Ray Mayer, Judith Blake, William Corson, Diana Gibson, Betty Gra- ble, Paul Guilfoyle, Jane Hamilton, Vinton Haworth, Philip Huston, Maxine Jennings, Gordon Jones, Louise Latimer, Thelma Leeds, Barbara Pepper, Edward Price and Patricia Wilder, in addition to others whom the studio may acquire. All who will be available have had screen experience and many also have appeared on the legitimate stage. As requests flow in from stage directors asking information as to how, when and where they may obtain player loans, the Briskin office is busy telling them. The rules are that any actor on the list may be borrowed by any legitimate Little or Com- munity Theatre for two weeks, providing the date requested does not conflict with any previously announced motion picture sched- ule. The studio will pay the player's salary, while the theatre will be asked only to meet traveling and living expenses. In each case the theatre requesting a player will submit the play script to Radio. If the actor requested is considered suitable for the role specified, he or she will be first rehearsed in the part by Mrs. Lela Rogers, director of the Radio Studio Theatre and talent school. Later the player will report to the theatre group in time for a week's re- hearsal with the local cast. 44 MOTION PICTURE HERALD November 14, 1936 MCM ACTS TO SET NEW METHODS FOR MERCHANDISING ITS PRODUCT Executives of Distribution, Ad- vertising, Exploitation Make Flying Visits to Exhibitors to Discuss Their Mutual Problems Metro-Goldwyn-Mayer has taken the initiative of sending its top-notch distribu- tion, advertising and exploitation executives from the home office in Times Square into the field on flying visits to determine at first hand from exhibitors just what might be incorporated in new standards of mer- chandising and exploitation. The company's executives met in Wash- ington, Philadelphia, Pittsburgh, Cleveland and Chicago with independent and affiliated circuit executives, managers and other mem- bers of the circuits' personnel and discussed at length the problems that confront ex- hibitors when preparing campaigns for their feature attractions. Out of these meetings has evolved a ques- tionnaire which is to be sent to every mem- ber of the large circuit staffs, the answers to which will serve as the basis for handling of MGM's advertising and exploitation ma- terial on all coming pictures. Among the questions put to the theatre operators were those covering the follow- ing: Effect of appearance of motion picture stars and feature players on nationally broadcast radio programs; Box office rating of MGM players; The value of billboard advertising; The size of paper, the size of various individual advertisements; The value of serials running in news- papers; Double feature policies; The length and nature of material to be used in trailers and the general content of pressbooks; The value of a trademark; Screen forecasts; Production of electrical transcriptions for radio advertising. Not quite one week ago, W. F. Rodgers, general sales manager ; Howard Dietz, di- rector of advertising and publicity ; William F. Ferguson, director of exploitation ; E. M. Saunders, western division sales manager, and Thomas J. Connors, southern division sales manager, left the MGM home office for Washington. There they gathered in the offices of John Payette, Warner division- al theatre chief, for the first of the sessions which later were described as having "ce- mented the friendship of the company with the important theatre circuits." Mr. Pay- ette had called in his organization, which spreads into five surrounding states, and following a full day's discussion of the ex- hibitors' problems and the explanation on the part of the MGM contingent of what their company planned, the party entrained for Philadelphia. At the Warner Brothers Earle Theatre Building headquarters, Ted Schlanger, who is in charge of that district, welcomed the visitors for his assembled workers, and the same ground gone over the day before was again covered. The third gathering, the next day, was in Pittsburgh, where Warners' Harry Kalmine presided. Cleveland was the next stop. Here the visitors talked to the Warner staff under Nat Wolf and the meeting was addressed by Harry Warner and Joseph Bernhard, head of the Warner theatre interests. The final gathering was in the Balaban and Katz headquarters in Chicago, where John Balaban presided. Besides the mem- bers of the staffs of the B & K theatres, representatives from all the houses of the Great States circuit were present. Salesmen to Aid Theatres After the meetings in each of the towns visited, the MGM executives were guests of honor at luncheons, at which, Mr. Fergu- son said, the discussions continued in a most satisfactory manner because individual problems were more thoroughly discussed. It was from these meetings, he said, that he learned the exhibitors are no longer using just "press-book stuff," but are bring- ing to the front their own ingenuity and originality to build up pictures playing their theatres. Another outcrop of the trip was an order sent out to all MGM salesmen to personally visit individual theatres, despite the fact that these theatres already are sold under circuit contracts, to discuss MGM pictures with the managers and offer them exploitation and advertising suggestions sent them by the home office after they have been tried and proved successful in other towns. Following receipt of the questionnaires at the home office, MGM plans further ex- cursions into the field for its executives. They will travel farther south and west on the next trip, taking in other large circuits and discussing their problems first hand. This however, probably will not be done until the spring. 'Chic ' Sale Dies Of Pneumonia Charles "Chic" Sale, comedian, died last weekend at his Hollywood home of lobar pneumonia. He was 51 years old. His wife and children, Charles, Jr., and Mary, were with him at the end. Mr. Sale toured vaudeville for years but it was only after he published "The Special- ist," which sold over 1,000,000 copies, that he reached Broadway. Following several legitimate productions, he went to Holly- wood where he appeared in several features and many shorts, the most notable of which was "The Perfect Tribute," based on the life of Abraham Lincoln. Funeral services were held Monday at Forest Lawn Memorial Park and were at- tended by some 250 members of the industry. Interstate to Use Postal as Checker With approximately 38 Postal Telegraph Company representatives acting as field agents, Interstate Checking Service this week announced its plans for checking theatre engagements in association with the telegraph company. As far as could be learned, however, no distributor has as yet signed for the new service, although announcement brochures had been sent to the various home offices and New York exchanges. According to the plan, orders for checking theatres are ad- dressed to local revenue accountants of the Postal Telegraph-Cable Company. These men are authorized to check grosses on per- centage runs, which are wired daily to the home offices of the distributors ordering the check. Offices of the new company have been established in the Paramount Building in Times Square with Charles Scrrwerin, for- merly an exchange man in Pittsburgh, in charge. The list of representatives follows: L. V. Enoch, Albany; B. W. Williams, Atlanta; J. F. Kennedy, Boston; R. K. Miller, Buffalo; R. H. Clendenning, Char- lotte; F. J. Brolin, Chicago; W. H. St. John, Cincinnati; P. E. Lansell, Cleveland; G. O. Koesters, Columbus ; C. T. Stewart, Dallas; Miss E. T. Haefliger, Denver; E. A. Newman, Des Moines; Mrs. H. Trom- bola, Detroit ; Mrs. C. Jordan, Indianapolis ; H. A. Carrell, Jacksonville ; A. A. Higgins, Kansas City; L. Williams, Little Rock; J. G. Atkinson, Los Angeles ; L. R. Humphries, Memphis; G. H. Dyer, Milwaukee; T. E. Moberg, Minneapolis; J. T. Gunthner, New Haven; E. J. Rice, New Orleans; C. E. Bevacco, New York ; S. S. Furse, Jr., Okla- homa City; E. H. Fitzgerald, Omaha; R. E. McDonnell, Philadelphia ; R. V. Baldino, Pittsburgh ; F. W. Anderson, Portland, Me. ; Miss R. Streiff, Portland, Ore.; M. Mc.- Grath, St. Louis ; Earl Landy, Salt Lake City; A. W. Warner, San Antonio; H. A. Saroyan, San Francisco; A. H. Johnson, Seattle ; W. E. Murphy, Sioux Falls ; W. L. House, Tampa ; J. A. Shugrue, Washington. Erpi Shatters All Its Sales Records All sales records in the history of sound equipment merchandising were shattered this week according to Electrical Research Products, Inc., the greatest previous sales peak having been reached during the week ending December 28, 1929. This week's sales bring the total number of theatres contract- ing for Mirrophonic to 315. Approximately 1,950 theatres in England are now equipped with Erpi sound, Clifford W. Smith, who has been in charge of the British office for six years, revealed this week as he arrived in New York to assume new duties in the home office. November 14, 1936 MOTION PICTURE HERALD 45 16 YEARS OF THE BROADWAY STAGE A state of healthy complexion is claimed for the stage. At the same time its form is seen as changing to a much smaller theatre than it has been at any other time during modern stage history — fewer shows, far fewer are being presented on Broadway, but those shows that are produced are, in general, advanced as "better shows." They are picked more carefully, and the restricted audiences that still cling to the living drama appraise them more carefully and more knowingly. Taking The Billboard's annual theatrical index of the status of the legitimate theatre as the source of this unexpected burst of optimism for the future of the drama, it is found that in the past season Broadway witnessed the production of 5 1 fewer plays than in previous season — a total of 1 38 produc- tions having materialized in the past year, as against 1 89 in the year before. Of these, there were 34 "hits" last season and only 26 previously, while the number of productions clos- ing within five weeks dropped from 87 in 1 934-35 to 59 in 1 935-36. The average length of runs increased from 60 per- formances in 1 934-35 to 80 in 1 935-36. Play failures dropped from 8 1 per cent of the total in 1 934-35 to 68 per cent in 1 935-36. "The legitimate season of 1 935-36," they said, "was the most significant since the depression — the stage definitely assuming a smaller field but one in which quality transcends quantity." Part of the loss in the reduced number of plays produced — from 1 89 to 1 38 — was attributed to the almost complete abscence of repertory engagements and other special stage events. There were I 1 4 dramatic productions, a drop of 44 under the previous season's 1 58, and 24 musical productions, seven less than the previous season's 3 I . Only 22 shows fell into the stock, repertory, special engagement or return engagement class, as against 49 the season before. One hundred performances are arbitrarily established by The Billboard as the lowest run for a hit show. On this basis 68 per cent of the past season's productions were failures, a percentage far lower than the previous season's 8 1 per cent. The actual number of failures (or shows running less than 1 00 performances) was 73, as against I 10 the previous season. Seventy-one of the failures were dramatic shows, the drama failures standing at 74 per cent, a low record for dramatic failures unequaled since l925-'26 and far better than the 83 per cent of the previous season. Only two of the I I commer- cial musical productions closing during the year ran under 1 00 performances, giving musicals a failure percentage of only 1 8, as against 69 per cent the previous season. Billboard reviews the stage of Broadway over a 1 6-year period, statistically, as follows: 1 920-2 1 1 92 1 -22 1 922-23 1 923-24 1924-25 1925-26 1926-27 1927-28 1928-29 1929-30 1930-31 1931-32 1932-33 1933-34 1934-35 1935-36 Number of Theatres Used 59 68 61 68 67 80 79 80 78 72 64 63 57 50 49 46 Total Seating Ca- pacity 62,291 69,237 61,685 70,331 66,679 77,937 80,783 82,681 87,022 75,314 67,647 63,949 59,930 51,255 55,838 56,257 Total Number Pro- ductions 242 261 214 249 264 288 302 302 268 286 226 225 212 154 189 138 Total Dramatic Pro- 174 207 160 199 205 226 232 233 205 224 181 179 180 130 158 1 14 Total Musical Pro- ductions 68 54 54 50 59 62 70 69 63 62 45 46 32 24 31 24 Total Commercial 148 185 164 179 210 223 228 255 214 221 163 176 138 133 131 103 Commercial Prem- ieres (Dramatic) . 99 144 124 141 163 178 180 205 169 167 135 150 1 15 120 1 14 92 Commercial Prem- ieres (Musical).. . 49 41 40 38 47 45 48 50 45 54 28 26 23 I 13 17 1 1 Percentage of Fail- ures (All Produc- 55% 71% 64% 65% 65% 67% 68% 74% 80% 83% 77% 83% 82% 80% 81% 68% Percentage of Fail- ures (Dramatic) . . 59% 76% 65% 73% 74% 74% 76% 81% 85% 87% 81% 86% 85% 84% 83% 74% Percentaqe of Fail- ures (Musical) . . . 47% 51% 63% 37% 36% 40% 40% 46% 59% 69% 54% 67% 68% 43% 69% 18% Average Length of Runs (All) 99 87 109 101 87 97 108 38 92 76 60 60 59 55 60 80 Average Length of Runs (Dramatic) . 85 76 102 85 74 79 96 77 77 63 51 57 50 46 55 71 Average Length of Runs (Musical) . .. 142 123 181 166 180 176 143 130 149 137 107 79 107 137 102 164 Closed Within Five Weeks 69 94 63 81 85 1 1 1 1 19 126 95 149 81 1 19 97 87 87 59 Total Number of Hits 67 54 59 62 73 74 73 66 60 52 38 30 30 29 26 34 Dramatic Hits 41 34 44 38 43 47 44 39 35 31 25 21 22 21 21 25 Musical Hits 26 20 15 24 30 27 29 27 25 21 13 9 8 8 5 9 46 MOTION PICTURE HERALD November 14, 1936 THREE STATE EXHIBITOR UNITS ELECT OFFICERS Allied of Michigan Reelects Delodder; Brylawski and Bair Head Their Units Exhibitor conventions this week brought reelection of Fred Delodder, as president of Allied Theatres of Michigan, reelection of R. R. Bair as president of the Associated Theatre Owners of Indiana, and reelection of A. Julian Brylawski as president of the Motion Picture Theatre Owners of the Dis- trict of Columbia. Elsewhere in organized exhibitor centers, the Motion Picture Theatre Owners of Western Pennsylvania launched a member- ship drive, Oklahoma's MPTOA set De- cember 14th and 15th for its annual conven- tion, the Independent Theatre Owners of Kansas City abandoned its headquarters, and the Pennsylvania tri-state group designated full committees for the year. Adoption of a resolution to start imme- diate collection of Michigan's quota of $10,000 toward the national Allied fund to enforce the separation of production and distribution from exhibition marked the final business session of the 17th an- nual convention of Allied of Michigan in Detroit. The resolution calls for an assess- ment of 10 cents a seat on all members. Another resolution passed at the conven- tion called for a "vigorous campaign" to urge every theatre owner in the state to stop buying percentage pictures and giving pre- ferred playing time. Abram F. Myers, W. A. Steffes, Aaron Saperstein, M. A. Rosenberg and others addressed the meeting on these subjects. All cited these two prac- tices as the chief evils of the industry and predicted that they will force the small ex- hibitor out of business if they are not remedied. An expected announcement by Mr. Myers concerning the national defense fund did not materialize, although it was announced that units throughout the' country are making regular contributions. Officers reelected with Mr. Delodder are F. A. Wetsman, vice-president, and William E. Schuttenhelm, treasurer. Edgar E. Kirchner was named secretary to succeed B. H. Kilbride. Bair Elected in Indiana New officers of the Associated Theatre Owners of Indiana, named at a meeting of the board of directors in Indianapolis, are Roy R. Bair, president; Frank Sanders, treasurer, and Mrs. Helen B. Keeler, secre- tary, all of Indianapolis. Vice-presidents chosen for the various districts are : Mannie Marcus for Fort Wayne; William Connors, Marion ; Maurice Rubin, Michigan City ; Bruce Kixmiller, Terre Haute; H. P. Von- derschmitt, Bloomington, and Harry Markun for Indianapolis. Exhibitors Join Merchants In a move to combat what is characterized as the "chain influence," the Independent Theatre Owners of Arkansas decided at a meeting in Little Rock to join forces with the Arkansas Independent Retail Merchants' Association. The resolution for joint action was passed after an address at the ITO con- vention by C. W. Lithicum, secretary of the merchants' group. The committee appointed to work with the merchants includes W. E. Malin of Augusta and J. M. Ensor and Hy Sanders of Little Rock. Tribute was paid at the meeting to the late H. D. Wharton, a former director, by Eli Whitney Collins. Sidney Wharton was elected to fill his father's post. Cecil Cupp of Arkadelphia was unani- mously elected vice-president to succeed L. F. Haven, who became president upon the resignation of Ray Morros of Malvern, now a Robb & Rowley partner. Jack Holt, attorney general of the state, addressed the guests at a dinner dance which closed the convention at the Hotel Marion. Brylawski Elected A. Julian Brylawski was elected Tues- day to serve his tenth term as president of the MPTO of the District of Columbia. Other reelections were : Sydney B. Lust, vice-president and delegate to the national convention ; Dr. William B. Herbst, treas- urer, and Nat. B. Browne, secretary. Nebraska, Connecticut Meetings Charles Williams, president of the MPTO of Nebraska and Western Iowa, opened the annual session of the organization at Omaha on Tuesday with 25 exhibitors in attend- ance. More were expected to register for the closing session on Wednesday. Allied Theatres of Connecticut, Inc., meet- ing at the Hotel Garde in New Haven on Tuesday named Dr. J. B. Fishman its repre- sentative on the Allied national board. Forty theatres were represented at the ses- sion. Membership Drive Started The MPTO of western Pennsylvania has opened a drive for new members among the independent exhibitors of the Pittsburgh area. Fred Herrington, secretary of the group, is in charge of the drive. In a state- ment addressed to members and prospective members he pointed out that the financial condition of the association is the best in its history. Oklahoma Owners To Meet M. Loewenstein, president of the Theatre Owners of Oklahoma, an affiliate of the MPTOA, announced that the association will hold its annual convention on December 14th and 15th in Oklahoma City. Elaborate plans have been made. Edward Kuykendall, national president of the MPTOA, is ex- pected to attend and other speakers of na- tional importance have been invited. ITO Offices Moved Offices of the Independent Theatre Owners of Kansas, which have been on Film Row in Kansas City, are being moved to the home of Emanuel Rolsky, president. The move will eliminate all but routine office expenditures for the association. The group opened the offices last fall to provide mem- bers with a place to hold business meetings. Social gatherings of exhibitors and film men were held for a time, but finally were abandoned. Committees Appointed Committee appointments for the year by the United Motion Picture Theatre Owners of Eastern Pennsylvania, Southern New Jersey and Delaware have been announced as follows : Grievance — Lewen Pizor, Charles Segall, Mike Lessy, Ben Amsterdam, Norman Lewis, Milton Rogasner and Abe Sablosky. Posters — -Columbus Stamper, chairman; Dave Milgram, Abe Rovner, Harry Fried, Henry Rosinsky, Ben Amsterdam, Jack H. Greenberg, Herb Elliott, John Bagley and Leo Posel. Supplies — Ray O'Rourke, chairman; I. Schwartz, Lew Berger, Geo. Naudascher, Dave Barrist, Wm. Butler and John Bagley. Public Relations — C. Elmer Dietrich, chair- man; Ted Schlanger, vice-chairman; John Monroe, A. E. Bayer, Lehighton, A. R. Boyd, Frank Gravatt, Frank C. Walker, Scranton, and Ed Connolly, Nanticoke. Legislative — Ted Schlanger, chairman; Frank C. Walker, M. H. Egnal, Dave Bar- rist, Herman Coane, Chas. Segall and Wm. Hissner. Censor — Jay Emanuel, chairman; J. Luke Gring, Earle Forte, Jos. Wodock, Geo. Nau- dascher. Jos. Hebrew and Harry Fried. Publicity — Dave Barrist, chairman; Jay Emanuel, Lou Segall, Dave Shapiro and Geo. Lessy. Membership — Ed Jeffries, chairman; Harry Waxman, A. Sablosky, Ray O'Rourke and Norman Lewis. Fire Marshal — Ed Jeffries, chairman; Al- len Benn, Ray Schwartz, Mike Lessy, Morris Handle, Jos. Schwartz and Fred Leopold. Independent Film — Ben Amsterdam, chair- man; Jos. Hebrew, John Monroe, Mike Lessy and Harry Waxman. Philadelphia Operators — A. Sablosky, .chairman; Chas. Segal, Milton Rogasner, Morris Gerson, Dave Milgram, Dave Barrist, Herbert Elliott, Mike Lessy, Wm. Butler, Norman Lewis and Lew Berger. General Labor — H. D. Cohen, chairman, Lewistown, Pa.; Martin Ellis, Camden, N. J.; P. Mortimer Lewis, Atlantic City, N. J.; Herb Effinger, Shamokin, Pa.; Oscar Stiefel, Lock Haven, Pa.; Lew Felt, Norristown, Pa.; M. Oppenheimer, Shenandoah, Pa.; J. Foreman Corbett, Chambersburg, Pa.; L. Rovner, Camden, N. J.; Ralph Sobelson. Bangor, Pa.; Wm. Hissner, Lebanon, Pa.; Ed Connolly, Nanticoke, Pa.; Wm. Heenan, Ben Shindler, Wilmington, Del., and Jack Miller, Bridgeton, N. J. Alternates — Leo Posel, Ben Fertel and Wm. Hissner, Lebanon. Advertising Reels — Dave Shapiro, chair- man; Chas. Segall, Dave Milgram, Ben Shindler, Fred Leopold, Mike Lessy, Wm. Butler, J. Blumberg and Jack H. Greenberg. Entertainment — Chas. Goodwin, chairman; Ben Fertel, vice-chairman; J. Luke Gring, Sam Hyman, Ray Schwartz, Sam Kantor, Allen Benn, Harry Fried, Geo. T. Graven- stine, Sid Stanley, Harry Waxman, M. Rogasner, Lou Segall and Chas. Goldfine. Kaufman Universal Manager Joseph Kaufman, formerly salesman in the Pittsburgh exchange, has been appointed branch manager of Universal's office in that city. He succeeds the late Al Barnett. Spectrum Set in Atlanta Fred Bellin, supervisor of distribution for Spectrum Pictures, has closed with J. U. McCormick of the Amity Exchange, At- lanta, for distribution of six westerns star- ring Fred Scott. THE PROUDEST FEATHER IN 20th's SHOWMANSHIP CAP! 20th HAS LOADED IT WITH J THE D RAM /XT I C HOME-COMING OF THE COUNTRY DOCTOR S 3,000 GROWN-UP BABIES ! THE KEYSTONE OF YOUR FUTURE EMOTIONAL SURPRISES ★ ALL THESE TANGLED LIVES IN A STORY SENSATIONALLY UNUSUAL: A pair of sweethearts whose love faces heartbreak ! *9 A husband and wife on the verge of separation ! A fading motion picture star and her girlhood flame! A statesman and his wife, lonely till an orphan brings them happiness! A young doctor, trapped by an unscrupulous woman! An editor fighting to get his youth back again ! A young nurse, whose love is nearly betrayed! and Those inseparable comedy pals, the Quins 9 father. . . and the Sheriff who or- dered SEXTUPLETS from the stork ! E QUINS ARE A SHOW IN TH EMS ELY j (They play the piano, dance, and entertain in a dozen different ways) ttut SELL THE whole SHOW. GET all IT HAS TO GIV to 4 November 14, 1936 MOTION PICTURE HERALD 51 THE CUTTING ROOM Advance outlines of produc- tions nearing completion as seen by the Hollywood staff of the Motion Picture Herald Top of the Town (Universal) Comedy-Romance with Music The locale of this story and its time are Radio Center, New York, about 25 years in the future when all the fantastic dreams now existing only in the minds of inventors have become practical. In view of that, the produc- tion detail may be easily imagined. The story is about a very wealthy though slightly balmy girl who, following a tour through a future generation Russia and Germany, constitutes herself a self designated Joan of Arc, whose sole ambition in life is to revolutionize night club entertainment technique. Of course she doesn't, but what happens to her and all who come in contact with her during the time she is attempting her noble experiment seems to be of a type of colorful and amusing entertainment. The story is an original by Lou Brock, who has had much experience in creation of colorful musical comedy screen plays. Brock, who also is producing, is working hand in hand with director Walter Lang to see that his brain child will emerge on film as he has it conceived in mind. Music and lyrics are credited to Jimmy McHugh and Harold Adamson. Sets and cos- tumes, which will be fantastic to a high degree, are the work of John Harkrider. Dances are being directed by Gene Snyder. Doris Nolan is featured as the balmy heiress with weird ideas. The man in the case, and naturally the objective of her romantic inter- est, is George Murphy, leader of a band which heretofore has played in a cellar but is elevated to the prime attraction in a roof garden, scores of stories higher than any of New York's pres- ent tall buildings. Comedy content of the story is seen in several of the principal cast assign- ments, Gregory Ratoff, Ella Logan, Hugh Herbert and Henry Armetta. The fun value is enhanced by the presence of Misca Auer, Gertrude Nieson, The Three Sailors, Jack Smart, Peggy Ryan and Ray Mayer. Coast Patrol (RKO Radio) Topical Action Drama The story used in this production is taken from an original by Frank Wead, author of many screen plays that have had naval, aviation and marine service settings. He collaborated on the screen play with John Twist, whose recent credits number "Wanted, Jane Turner" and "We Who Are About to Die." Direction is by Ben Stoloff, who specializes in dramatic action films. Victor McLaglen and Preston Foster are starred in the personal conflict drama that is the story's motivating premise. Ida Lupino, cur- rently in "The Gay Desperado" is the object of romantic interest on the part of Foster and Donald Woods, who eventually sacrifices his life to the ideals of the Coast Guard Service. Other principals are Helen Flint, Pierre Wat- kin, Alan Curtis and William Corson, whose talents are concentrated upon the fictionary and dramatic elements of the story. The Coast Guard Service lent liberal assistance in supply- ing the atmospheric production details. Its pur- pose in cooperating was to give the public an authentic and complete insight into the workings of the Coast Guard in protecting shipping and effecting rescues in maritime disasters. Essentially, however, the story, plus the man- ner in which action-packed production features have been incorporated, promises to be powerful drama, abounding with colorful incidents con- cerning the life of Coast Guardsmen at sea and ashore as they go adventuring into the dually interesting fields of romance and danger. It looks like an ideal vehicle for McLaglen and Foster. Crack-up (20th Century -Fox) urama As production on this film moves forward, it presages a picture that will be crowded with pulsating dramatic incident. In all its substance it is drama on the ground, in the air, over the Atlantic Ocean, and on the surface of the sea. Colorful stuff always, and of the type that promises to create such audience and patron interest, it brings in foreign spies who are just as busy and as daring during times of peace as they are in war days to learn American commercial and military aviation secrets. Pur- suing a desperate trend in all its phases, it is climaxed by a suspense packed episode in which four men, who have nothing to live for, partici- pate in a desperate hand-to-hand battle, out of which one emerges to protect America's in- terest as the first commercial air flight between this continent and Europe ends in tragedy. The yarn is based on a John Goodrich story that ran recently in American magazine. The screenplay is by Charles Kenyon and Sam Mitz. Direction is in the hands of Mai St. Clair, who has been inactive in directing for some years. The cast selected to play the show reflects exceptionally intelligent choosing. It is headed by Peter Lorre, European actor, seen in "M," "Crime and Punishment" and "The Man Who Knew Too Much" ; Brian Donlevy, who since his debut in "Barbary Coast" has gone on to success : Ralph Morgan and Thomas Beck. Ad- ditionally it includes Helen Wood, Kav Linaker, Lester Matthews, Theodore Von Eltz and J. Carroll Naish. As an interesting exploitation feature, the plane which is used for the transatlantic flight, and which cracks up in midocean to sink with its human cargo, is a working duplicate of Amelia Earhart's famous "Flying Laboratory." All the equipment considered necessary for safety in commercial ocean hops has been re- produced. Happy Co Lucky (Republic) Comedy-Romance Though there is an element of mystery drama about this story, inasmuch as the lead player assumes a dual role, the story potentially is comedy romance. Localed in Shanghai, the yarn follows the mistaken identity-spy formula. A girl recognizes a man whom she believes to be the lost pilot of a missing plane. In his dual role, the man is endeavoring to deliver the plane to foreign enemies. With much that is interest- ing from a romantic, comedy and dramatic point of view, the supposed victim of amnesia flier incites American sailors to riot, and leads them to a house to deliver the girl, her father and the plane from the hands of his double. The story is an original by Eric Taylor, Wellyn Totman and Endre Bohem, for which the screen play was prepared by Raymond Shrock and Olive Cooper. Music sung by Phil Regan was contributed by Ted Koehler, Ned Washington and Cliff Friend. The fact that Aubrey Scotto, director of "Ticket to Paradise" and "Hitch Hike to Heaven," is handling the story indicates that the producers consider the picture highly. Phil Regan in the dual role and Evelyn Ven- able are featured. Both have appeared recently in popular pictures. The principal supporting cast, which consists of Jed Prouty, William Newell, Jonathan Hale and Claude King, is of above average quality. Other players to be seen include Harlan Briggs, Stanley Andrews, Carleton Young, Karl Hackett, Guy Kingsford, Howard Hickman and Willie Fung. Stowaway (20th Century -Fox) Comedy This production has Shirley Temple in some- thing entirely different. It also provides the little star with one of the strongest casts she ever has had. In the story, which is an original by Sam Engel, transposed to the screen by Wil- liam Conselman, Arthur Sheekman and Nat Perrin, with music and lyrics by Mack Gordon and Harry Revel, Shirley leaves America for the first time. A little American girl, she stows away on a world cruise. The fun she creates aboard the liner and in strange foreign ports promises to make the vehicle one of the most colorful and amusing she has had. Not the least of the many unique features is the fact that she talks and sings in Chinese and they say her vocabulary in that language consists of nearly four hundred words. Though Miss Temple naturally is the most attractive element, the supporting cast cannot be overlooked. It features Alice Faye, who was with her in "Poor Little Rich Girl," and Robert Young, prominent in many MGM pic- tures, who share the grownup romantic interest. It also lists Eugene Pallette of the " My Man Godfrey" lineup, besides Helen Westley, Arthur Treacher, Allan Zane, J. Edward Bromberg, Astrid Allwyn, Robert Greig, Jayne Regan, Julius Tannen, Willie Fung, Philip Ahn, Helen Jerome Eddy, William Stack and Honora- ble Wu. Shirley has five songs, one of which is shared by Alice Faye and another with Young. These as well as story content are all pointed for comedy. As they are being blended, with pro- duction values of the expected high order, the film at this stage looms like an entertainment and commercial attraction which may top the best the little star has had heretofore. "Some are clicks and some are clucks" That is the stoty of FAME — The Box Office Check-Up An Audit of Personalities The thitd annual edition of the wotldwide tefetence authotity on star values — now in preparation QUIGLEY PUBLICATIONS ROCKEFELLER 4 GOLDEN SQUARE, LONDON 6305 YUCCA STREET, HOLLYWOOD 54 MOTION PICTURE HERALD November 14, 1936 THEATRE BUILDING IN MEXICO LOOKING UP Censorship on National Scale Applied by Board of Three Under Minister of Interior by JAMES LOCKHART in Mexico City Cinema construction in Mexico City is now on a better and bigger basis. Gone is the day of the cubby hole picture show with pitch blackness except for the glimmering screen, with uncarpeted floors, groping cus- tomers, rock hard chairs, and other bustle era discomforts. Of course, not all old-time cinemas are being scrapped, but shrewd showmen have hearkened to the swing of these times and are giving patrons what they want — comforts and even luxuries, besides higher standard film fare. The swanky Cine-Teatro Alameda, the $800,000 house that recently opened and established a precedent in film shop ap- pointments, has set the pace for all cinemas that are being built in the Mexican capital. Inauguration of this screen cathedral opened the eyes of exhibitors. Those who had whispered that the Alameda would be a grand failure because so much money had been spent on it and that such a near- Broadway standard picture-pageant house was far too advanced for the Mexico City public taste, found that their opinion got a resounding gong. Not only did the resi- dents flock to this cinema, and continue doing so, at pretty stiff admittances for these parts — 40 cents to as high as $1.40, for special occasions — but it has been dem- onstrated beyond argument that the con- gregating is more than the lure of some- thing new. The Alameda proves that the public want, and are willing to pay for, better things in cinema appointments. This demonstration is significant, for the Alameda is patronized by nearly all classes of society here. Lower middle class and even laborers mingle with the upper 10 in the box office queues. Those who have the building of cinemas in mind have paid practical attention to that jutting fact. A company that nearly had finished a large neighborhood house, at the time the Alameda made its debut,, immediately made such radical modifications in its cinema that more than half of the building had to be torn down and rebuilt. The trend is also evident in even the new second run houses. The Cine Encanto, a neighborhood which will be the 66th local cinema and is to be inaugurated this fall, has all the patron comfort facilities of a similar house in a large American city, and, to boot, has added something brand new down here to please customers, elevators to the balcony and gallery. The public's gravi- tation toward the cinemas that feature cozi- ness and luxury has prompted several ex- hibitors to plan renovations. That the cinema is sharing in the decided mending of economic times in Mexico City is made evident by the fact that business at the cinema is about 30 per cent better than it was last autumn, even though film houses were hard hit by the strike against the eight major American distributors on this market in the fall of 1935, and by plans that are being advanced by various interests, Mexi- can and Spanish, to build more theatres. These constructions are to begin in the fall and winter. There are reports in responsible circles that the Mexico City sector is being viewed with the prospect of building an entertain- ment center in the not far distant future, that will be similar to the Chinese theatre in Los Angeles. V National Censorship Censorship on a national scale has been established for the first time in Mexico. The ministry of the interior has started a board of three to work. The chairman is a lawyer. The ministry said the objects of the board are to coordinate official viewing of films and to make certain that productions which "harm public morals and attack the crite- rions of the masses" are kept off the screens. Establishment of this board is the outcome of activities that had been progressing for some time. Until the board got into action, censor- ing was rather a piecemeal matter. Almost all pictures were viewed by the Mexico City censors, who charged 5.75 pesos (about $1.61) a reel. Pictures they passed usually went over without obstacle in other parts of Mexico. But ofttimes they didn't, because of various state and municipal boards. The national board promises to correct that situ- ation. The industry is generally pleased about establishment of the national board. The important Mexico City daily, El Universal, urged the drawing up of a code of censor- ship to guide the board so as to "prevent the review of films becoming a mere bureau- cratic habit of a rubber stamp nature or leav- ing it to the judgment of persons who lack either culture or talent." V 16 Film Unions Mexico's powerful unionism has imposed 16 separate unions upon the film industry. Even assistant cameramen, makeup experts and curtain jerkers are organized. Union projectionists and staffs are necessary for the test viewing at studios. That service costs from $2 to $2.50 a showing. There is talk that there will be even more workers' unions. V New Foreign Director A new foreign director has made his bow in Mexico. He is Robert Quigley, a young Nova Scotian who filled various writing as- signments in Hollywood, his work there be- ing with such companies as Columbia, MGM, Universal and RKO. He came to Mexico about two years ago and wrote and did continuity for native producers. His first direction is "Cielito Lindo" ("Lovely Little Heaven"), a romantic drama based upon a famous old Mexican song, produced by J. Luis Bueno. Quigley is the first for- eign director to work in Mexico for a Mexi- can company since Antonio Moreno, who made this land's first talker in 1930. V Fire at New Theatre The screen of the Cine-Teatro Alameda was destroyed and curtains and props were badly singed, with a loss estimated at 60,000 pesos (about $18,000) by a fire during a performance started by an overheated elec- tric lamp off stage. The large audience demonstrated remarkable calm, although there was a slight disorder among stage per- formers. Special crews that worked all night enabled the house to maintain the tradition that the "show must go on" next day. y More Films for Tourists More pictures is the policy of the govern- ment's tourist department. It has commis- sioned Robert A. Turnbull, veteran camera- man, who has had much Hollywood and newsreel experience, to make several thou- sand feet of scenics and folklore, and nu- merous stills, in the six most picturesque Mexican states. The films, shorts with sound and music, are to be exhibited abroad with the aid of Mexican consuls, with special attention be- ing given the United States. The stills will profusely illustrate literature which the de- partment is preparing for its new tourist publicity campaign. V New Producing Company Two Mexican directors, Fernando de Fuentes and Rafael Bustamante, have or- ganized a producing company, Bustamante y de Funetes, A. en P., which has made its first picture, "Alia en el Rancho Grande" ("There on the Big Ranch"). The picture is a colorful and virile comedy drama of the Mexican cowboy. It is replete with the kind of music, dancing and action popular with Americans. Tito Guizar, famous Mexican tenor, is the star. The picture is scoring at the Cine-Teatro Alameda. V s Inspectors Fix Taxes Exhibitors in Mexico are now receiving ministry of finance inspectors who are seek- ing an average of daily admittances so as to fix tax quotas for cinemas in 1937. These inspectors are in addition to those on hand every day at Mexico City cinemas to keep check on the box office. The capital exhibi- tors have to pay the wages of the permanent inspectors, setbacks of from $1.75 to $2.75 daily, depending upon the size of the house. Van Leer Joins Dictograph Arnold Van Leer, motion picture publicist, has been named public relations head for Dictograph Products, Inc. He will have charge of sales promotion for the company's Silent Radio which is being sold to hospitals and hotels. Collier Named Film Critic Joe Collier, for ten years a reporter and feature writer on Scripps-Howard and other newspapers, is the new motion picture critic of the Indianapolis Times, his first assign- ment in the cinema field. November 14, 1936 MOTION PICTURE HERALD 57 U.S. WITHDRAWS FROM DISTRIBUTING IN ITALY JVilliam Fox Is Held in Contempt By Supreme Court The United States supreme court on Monday placed William Fox, onetime mo- tion picture mogul, in contempt of court. Losing another round in his battle with the New York district court, Mr. Fox was held by the supreme court to have no grounds for appeal from a fine of $235,082 and costs of $10,000 imposed upon him for contempt in refusing to appear in the lower New York court in connection with pro- ceedings against him by the Capital Com- pany, of California, to collect on a judg- ment of $297,412. The judgment was entered in the district court at New York by confession in July, 1935, and supplementary proceedings were initiated upon default in payment, A subpoena issued by the New York court was served on Mr. Fox on a railroad train in Pennsylvania, and was contended by him to have been served outside the court's juris- diction. Failing to appear, the New York court held him in contempt, refusing to entertain his defense of no jurisdiction and, after an appeal to the circuit court by Mr. Fox had failed, fined him the amount of the unpaid balance of the judgment and as- sessed $10,000 for costs of the Capital Com- pany's lawyers, ordering his arrest and im- prisonment until the fine and fees had been paid or he submitted to examination. Upon the filing of an appeal to the U. S. supreme court by Mr. Fox, the Capital Company contended the order of the lower court was not a final judgment and there- fore not subject to appeal, to which the court agreed. Mr. Fox gained some ground in his court troubles elsewhere. Vice Chancellor W. Frank Sooy agreed Tuesday in chancery court at Atlantic, City, N. J., to modify a temporary injunction restraining Fox's All- Continent Corporation so as to permit the corporation to carry on business. All-Continent has been the principal source of controversy between creditors and Mr. Fox in the Fox bankruptcy proceedings in New Jersey. Mr. Fox has testified dur- ing the hearings that he created the cor- poration in 1932 as a trust fund for his wife and daughters. But Hiram Steelman, trus- tee in bankruptcy, has contended that he created the company to defraud creditors. Vice Chancellor Sooy, on October 14th, ordered the corporation not to dispose of any of its assets until December 8th, the date on which a petition for a receivership and permanent injunction will be heard. Levine Schedules Eight Musicals for Republic Republic Pictures will increase its list of musical features from two to six, Nat Le- vine, production head, said in New York this week at a luncheon for newspaper men at the Waldorf Astoria hotel. The company's first color film, "The Be- loved Rogue," on which the Magnacolor process was used, has already been com- pleted, he said, and will shortly be shipped east when it is edited. American Distributors Await Modification of Demand That 75% of Revenue Stay There No American pictures have been sent to Italy in more than a month and none will be, major distributors declare, until the pres- ent deadlock over new and stringent finan- cial regulations put into effect by Premier Benito Mussolini is broken. Distributors, through the Motion Picture Producers and Distributors of America, have lodged a for- mal protest with the United States Depart- ment of Commerce which in turn has turned negotiations over to Ambassador William Phillips in Rome. Under the Italian regulations American companies cannot send films into Italy unless they sign an agreement to keep 75 per cent of their revenue in that country. This demand is not unusual, a similar arrangement being in effect in other countries, notably Germany, but the most irksome regulation to American distributors is that which specifies that the money left in Italy will have to be expended for motion picture purposes, such as production, raw stock and synchronization work. Will Hays, president of the MPPDA is en route to Europe and his plans include a visit to Rome. Officials of the organization in New York said they are unaware of what part — if any — he will take in adjusting the present controversy over financial regula- tions for American distributors. Although Ambassador Phillips has lodged a formal protest with the Italian Govern- ment it is reported that action has been de- layed by the absence of Count Luigi Ciano, appointed by Premier Mussolini to adminis- ter the motion picture regulations. Count Ciano has been in Berlin on a diplomatic mission. The regulations, never published as a written law but only as a demand of the board which controls the importation of films, went into effect immediately after Carlo Roncoroni, member of the Italian Na- tional Committee of Corporations and head of the Cines studio project, ten-stage cine- ma city near Rome, returned from the United States after failing to gain the cooperation from American producers which he ex- pected. Walter Wanger was the only pro- ducer to agree to utilize the new Italian studio. At the time of Signor Roncoroni's visit it was reported that the results of his efforts to persuade American companies to coop- erate with the Italians in production, talent and technical knowledge would have an ef- fect on financial regulations which were then being contemplated by the Italian Gov- ernment. American distributors first learned of the new situation when their foreign managers reported that the Italian board would grant no visas unless the agreement was signed. The companies unanimously decided to stop the export of films to Italy and the protest was lodged through the MPPDA. Blue Laws and Taxes Urged in Several Zones Sunday closing and taxes were subjects of local legislation confronting the motion picture in several parts of the country dur- ing a week that saw action on such matters both favorable and unfavorable to screen in- terests. Voters in Verona, St. Clair and Port Car- bon, Pa., approved the Sunday operation of cinemas. Police Judge James R. Duncan of Alexandria, Va., fined Harry A. Wasser- man and Edward Pinkerton, exhibitors, $5 and $10, respectively, for violating the State's Sunday closing law. A Howard County jury acquitted Jackson Wheat, Ellicott City exhibitor, accused of showing motion pic- tures on Sunday but convicted him of work- ing himself and employees on the Sabbath. Rockwood, Tenn., cancelled a referendum on Sunday shows when Manager W. L. How- ard of the local theatre decided to discon- tinue operating on that day in deference to church request. The city council of Spartanburg, S. C, declined to rescind its action passing an or- dinance levying a $200 tax annually on each theatre for screen advertising. Tampa, Fla., exhibitors protested to the Board of Alder- men against paying a tax of $1 on each $100 of receipts as a result of playing Bank Night and Screeno. The Texas legislature passed a bill to tax all theatre admissions over 50 cents. Deputy Comptroller Milton Solomon of New York ruled that New Jersey ex- hibitors serviced out of New York must pav the state's 2 per cent sales tax. Governor George H. Earle of Pennsylvania announced that he will attempt to bring about repeal of the so-called nuisance tax during the com- ing session of the legislature ; it is paid by the theatregoer and represents a 10 per cent levy on all admissions. The Redwood City, Cal., council was con- sidering an ordinance to prohibit theatre sale of more tickets than there are seats avail- able, while Mayor George J. Zimmerman of Buffalo vetoed a city council resolution for strict enforcement of an ordinance to the same effect. Charity Fund's Aim Is $200,000 Quota A quota of $200,000 for the amusement division in the annual drive for funds of the Federation for the Support of Jewish Phil- anthropic Societies was set this week by the division committee at the Metropolis Club in New York. The quota must be filled by December 1, it was said. The motion picture industry, the legitimate theatre and music publishers are included in the division, David Bernstein of Loew's and Albert Warner of Warners were named co-chair- men of the division. 58 MOTION PICTURE HERALD November 14, 1936 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 Mad Holiday ( Metro-Goldwyn-Mayer) Comedy-Melodrama A comedy melodrama, this film also is a hokum packed satire on all murder mystery pic- tures. Geared for mass consumption, particu- larly for those not too choosey, the show is nothing to get very excited about. Though it's funny, the entertainment caliber does not justify any extensive campaign. As for the story, audi- ences will know or can easily anticipate all that is going to happen after the first reel is out of the way. The comedy swing is given full play from the beginning. Much to the discomfort of his studio, film star Trent, solver of countless screen mysteries, decides he's tired of his job. Embarking on an ocean liner, he is trailed by publicity director Morgan, and meets Elissa Landi. Though Trent doesn't wake up to the fact for. a long time, the audience is aware that she is the writer of his screen stories, under the pen name Peter Dean. Though he hates Peter, he's attracted to the girl. Then follows the travesty in mystery pictures. Peter cooks up a fake jewel robbery, which entails plenty of killings. The sham gets mixed up with some real crime, to complicate things for star and writer, but though there's a lot of blood and thunder, comedy contrast supplied by Morgan, Mrs. Kinney, Donovan and Cokey Joe is em- phasized. Of course, Trent solves all the mys- tery, long after the audience has, meanwhile falling in love with Peter. By no stretch of the imagination could one hope that the picture might stand on its own. Previewed in the Alexander theatre, Glen- dale, to an audience which got quite a jew laughs at the action and seemed to have more fun in telling the players what to do. — Gus McCarthy, Hollywood. Produced and distributed by Metro-Goldwyn-Mayer. Produced by Harry Rapf. Directed by George B. Seitz. Screen play by Florence Ryerson and Edgar Allan Woolf. Suggested by the story "Murder in a Chinese Theatre" by Joseph Santley. Musical score by Dr. William Axt. Recording director, Douglas Shearer. Art director, Cedric Gibbons. Associates, Stan Rogers, Edwin B. Willis. Wardrobe by Dolly Tree. Photographed by Joseph Ruttenberg. Film editor, George Boemler. Assistant director, Dolph Zimmer. P. C. A. Certificate No. 2779. Running time, when seen in Hollywood, 68 minutes. Release date, November 13, 1936. General audience classification. CAST Philip Trent Edmund Lowe Peter Dean Elissa Landi Mrs. Kinney Zasu Pitts Mert Morgan Ted Healy Williams Edmund Gwenn Donovan Edgar Kennedy Li Tai Soo Yong Ben Kelvin Walter Kingsford Captain Bromley Herbert Rawlinson "Cokey Joe" Ferris Raymond Hatton Ning Rafaela Ottiano Mr. Kinney Harlan Briggs Hendrick Van Mier Gustav von Seyffertitz yet one that serves to embellish the other three, is the picturization of how modern air lines se- lect and train flying hostesses. In a less general way this quality follows the idea which was such an interesting part of "White Parade." Thematically the story is romance which car- ries an air of light conflict and comedy. From a production viewpoint it is adventure in the air. Early episodes are devoted to the semi- educational picturization of selection methods. Helen Brooks, once rejected by Cunningham, makes an unauthorized jump from a plane to prove her nerve. Romance develops almost im- mediately between her and Edwards, spectacu- lar flier. Comedy is provided by Williams and Edna, probationary hostess, and there are sug- gestions of rivalry between Cunningham and Edwards for Helen's affections. The girls are graduated and Edwards and Helen become en- gaged. He desires that she give up her ambi- tions, but the girl, determined on a career, is assigned to his plane. Then the film turns to thrill action. Criminals disable Edwards and co-pilot Williams, but the girl outwits them. The plane is lost in a fog, the passengers are panic stricken. Picking up the radio, Helen communicates with Cunning- ham. Following his instructions, the sequence building up with tense suspense, she lands the plane. Her reward is a medal and Edwards for a husband. Aimed to sate the popular appetite, the show's elements are well put together. Acting per- formances by leads and supports are consistently good and the spectacular production finale is suf- ficiently exciting to arouse anyone's enthusiasm. Previewed to a Saturday night audience in the Alexander theatre, Glendale. The reaction indicated that the picture would find favor with the type of audiences for which it was made. — G. M. Produced and distributed by Universal. Executive producer, Charles R. Rogers. Directed by Murray Roth. Associate producer, Edmund Grainger. Screen play by Harry Clork, Brown Holmes and Harvey Gates. Original story by George Sayre. Photog- rapher, James Van Trees. Art director, Jack Otter - son. Associate, John Ewing. Film editor, Otis Gar- rett. Musical director, Charles Previn. Special effects. John P. Fulton. Sound supervisor, Homer G. Tasker. Dialogue director, Donald Gallaher. P. C. A. Certificate No. 2670. Running time, when seen in Hollywood, 65 minutes. Release date, November 22, 1936. General audience classification. CAST Hal Cunningham William Gargan Helen Brooks Judith Barrett Jimmy Edwards William Hall Phyllis Crawford Astrid Allwyn Joe Williams Andy Devine Edna Mulcahy Ella Logan Marion Beatty Maria Shelton Earl Spencer.. Addison Randall Kendall Jonathan Hale The Doctor Richard Tucker "Knuckles" Boland Al Hill Flying Hostess (Universal) Comedy Drama Three customary entertainment and potential- ly commercial qualities are' included in this film. They are romance, comedy and melodramatic thrill action. A fourth and not so usual angle, Theodora Goes Wild ( Columbia ) Comedy Farce comedy really goes wild in this picture. In providing intriguingly different comedy romance, it kept a preview audience giggling and occasionally giving way to good old fashioned belly laughs during its ninety minutes running time. It offers a well produced and presented story, moving to the pace of crisply clever dialogue and engaging situations in which surprise twists follow one another in rapid fire order. At the same time, it sparkles with fresh exploitation angles. A neatly contrived kickoff opens the yarn. In Lynnfield, Conn., Editor Waterbury of the one horse town's paper announces serialization of "Sinned Against," a sexy best seller. The club women, led by Rebecca Perry, look to the straight-laced old maids Mary and Elsie for guidance on anything menacing the town's morals. Theodora lives in the rigidly moral- istic Mary-Elsie household and is just as adamant against the serial's publication as any- one else. Then the real fun begins. In New York, Theodora is revealed to the audience, but to no one else but the publisher, as the writer of the flaming tale. Into the picture butts the book's illustrator, Michael Grant, to suspect that some- thing's wrong. The episode in which the shy New England miss metamorphoses into a red- hot moderne for an evening is packed with fun. Theodora catches up with herself just in time. Back in Lynnfield, fearful that her secret will become known to aunts and neighbors, Theodora is confronted by Michael, who makes life one round of hectic excitement for the whole town. Nevertheless, Theodora falls for him and de- cides that she'll go to New York, let the world know who she is, and hope for the best. Learn- ing that her prince charming is married, Theo- dora quickens the pace wildly. Dressing and publicizing herself in the most flamboyant man- ner, she turns the tables on Michael, embar- rassing him just as much as he did her. Her antics cause Michael's wife to sue for divorce. Once again Theodora returns to the town that now knows her whole story. But another sur- prise is in store for all, including the audience. She has a baby in her arms. Even Michael, who has followed along, is amazed. Rebecca is just ready to sink her teeth into a juicy morsel of gossip when Theodora hands her the infant, announcing that it's the child of Rebecca's own married daughter. Theodora, having lived as her characters live, settles down to prosaic marriage with a chastened Michael. The humor of the piece is spontaneous. The surprise twists build expectations for something spicy ; instead the story veers to farcical non- sense. Always it's bubbling amusement that backs up a clever story idea with performance in both acting and directing. Word of mouth advertising being a valuable adjunct to any pub- licity campaign, real efforts should be exerted to get large audiences for initial presentations. Previewed in Warner Beverly Theatre on a Sunday night. — G. M. Produced and distributed by Columbia. Directed by Richard Bcleslawski. Original story, Mary McCarthy. Screen play, Sidney Buchman. Assistant director, William Mull. Photographed by Joseph Walker. Sound engineer, George Cooper. Film editor. Otto Meyer. Musical director, Mcrris Stoloff. Art director, Stephen Gcosson. Gowns by Bernard Newman. Asso- ciate producer, Everett Riskin. P. C. A. Certificate No. 2535. Running time, when seen in Hollywood, 90 minutes. Release date, November 12, 1936. General audience classification. CAST Theodora Lynn Irene Dunne Michael Grant Melvyn Douglas Jed Waterbury Thomas Mitchell Arthur Stevenson Thurston Hall Aunt Mary Elisabeth Risdon Aunt Elsie Margaret McWade Rebecca Perry Spring Byington Ethel Stevenson Nana Bryant Jonathan Grant Henry Kolker Agnes Grant Leona Maricle Uncle John Robert Greig Governor Wyatt Frederick Burton (Continued on page 60) PLEASE BE PATIENT! The opening engagements of "TARZAN ESCAPES" have been so successful that showmen are asking us for reproductions of the promotion campaigns, to use in their own cities. These campaigns are just coming in from all parts of the country (they're swell!) and within a few days we will print them in the trade press. Meanwhile we urge our showmen friends to ballyhoo "TARZAN ESCAPES" like a circus. It's fun to exploit and the results are marvelous. "TARZAN ESCAPES" in its first engagements is beating M-G'M's previous Tarzan success! America loves this unique character — and there's only one Johnnie Weiss- muller! So shoot the works! And watch the papers to see how other showmen are cleaning up with it ! 60 MOTION PICTURE HERALD November 14, 1936 Can This Be Dixie? (20th Century - Fox) Comedy, Drama, Music Showmanship that can do anything resembling a respectable job in salvaging this contribution to the year's entertainment melange should never fear anything else. So graphic and pre- ponderant is the evidence that many things went tragically wrong in the transition of what looked to be a good idea to the mechanics of the screen, that any possibilities for an inspired business building effort are absolutely nil. The unwavering Jane Withers fans may find oc- casional cause to become enthusiastic, but it is extremely unlikely that any others will. Outside a couple of fairly worthy specialty song numbers and two well produced chorus spectacle features, the film offers comparatively little to recommend it to general attention. As far as the story is concerned, in a meandering way it has to do with the little girl partner of a traveling medicine peddler who gets on a radio amateur hour, and her troupe are such a howl- ing success that other paid performances get them enough money to pay off the mortgage on the home of a testy, fire-eating old southerner. Previewed in the Ritz theatre, Los Angeles. Rather than getting any enjoyment out of the film, the audience seemed to have more fun in- dulging in the practice currently sweeping Los Angeles of giving the film "the bird." — G. M. Produced and distributed by Twentieth Century- Fox. Executive producer, Sol M. Wurtzel. Directed by George Marshall. Screen play by Lamar Trotti. Based on a story by Lamar Trotti and George Marshall. Music and lyrics by Sidney Clare and Harry Akst. Dances staged by Sammy Lee. Photographed by Bert Glennon and Ernest Palmer. Art director, Duncan Cramer. Assistant director, Sidney Bowen. Film edi- tor, Louis Loeffler. Costumes by Herschel. Sound. Arthur von Kirbach, Harry M. Leonard. Musical direction, Samuel Kaylin. P. C. A. Certificate No. 2562. Running time, when seen in Hollywood, 70 min- utes. Release date, November 13, 1936. General audience classification. CAST Peg Gurgle Jane Withers Robert E. Lee Gurgle Slim Summerville Virginia Peachtree Helen Wood Ulysses S. Sherman Thomas Beck Miss Beauregard Peachtree Sara Haden Longstreet butler Donald Cook Colonel Robert E. Lee Peachtree. .Claude Gillingwater Sheriff N. B. F. Rider James Burke Ed Grant Jed Prouty Lizzie Hattie McDaniel Jeff Qavis Brunch Troy Brown General Beauregard Peachtree Robert Warwick Mozart Beethoven von Peachtree Ferdinand Munier John P. Smith Peachtree Billy Bleutcher George Washington Peachtree William Worthington Thomas Jefferson Peachtree Otis Harlan Co West, Young Man ( Paramount - Emmanuel Cohen) Farce Comedy This Mae West picture is notable in the fact that it touches a new low mark in entertain- ment for the series. The established Mae West characterization is there and is surrounded with the usual assortment of blue gags and double- meaning lines. It is a case of motion picture entertainment gone Minsky. Based on a hilarious Broadway success, the play has been operated on, adapted and switched about until it bears only faint resemblance to the original. In place of many of the absurdly farcical lines and situations of the stage play, appear a collection of coarseness and vulgarity which promise nothing whatsoever in the way of favorable public reaction. Miss West is as usual a kind of a female Captain Flagg on the make, a marked distinc- tion, however, being that such pursuits when ministered to with the feminine touch incline toward disgust rather than hilarity. She dis- plays elephantine subtlety in the pursuit of her victim in a manner that would probably be very entertaining to a burlesque theatre audience. The release of this picture will cause many people to wonder whether Miss West, her char- acterization and her wisecracks enjoy an im- munity from the operations of the Production Code. She sings, rather pitifully, two songs and vir- tually ^Throughout the picture undulates and weaves, giving visual as well as verbal point tq the tiresome series of suggestive lines. In- cidentally the fight against obesity seems to be getting her down. Marvis Arden, glamorous picture star, whose contract contains an anti-marriage clause, embarks on an appearance tour under the guid- ance of Morgan. His job is to prevent the star from wreaking havoc on the nation's male hearts. Her ambition is to nullify the "no mar- riage" clause. Morgan terminates a menacing af- fair between Marvis and a politician, Harrigan. The travelers move into a hick town, taking residence in a little hotel inhabited by quite a few interesting folks. One look at Bud, garage mechanic, and Marvis is convinced that he's the man for her, despite the clause in the contract and the fact that Bud already is beloved by Joyce, home towner. The action and situations are as what would be anticipated under such circumstances. Frantic, Morgan has to fake a kidnaping and call upon the police force to prevent the unwilling but nevertheless dazzled Bud from falling victim to Marvis' lure. Then Morgan finally marries her himself. Distributed by Paramount. Produced by Emanuel Cohen. Directed by Henry Hathaway. Assistant di- rector, Holly Morse. Original by Lawrence Riley. Screen play and dailogue, Mae West. Art director, Wiard Ihnen. Film editor, Ray Curtis. Sound, Hugo Grenzbach. Photographed by Karl Struss. Songs sung by Mae West: "On A Typical Tropical Night" and "I Was Sayin' to the Moon." Words and music by Arthur Johnston and John Burke. Musical di- rection. George Stoll. Gowns by Irene Jones. P. C. A. Certificate No. 2788. Running time, when seen in Hollywood, 80 minutes. Release date, November 13, 1936. Adult audience classification. CAST Marvis Arden Mae West Morgan Wan en Willam Bud Randolph Scott Mrs. Struthers Alice Brady Aunt Kate Elizabeth Patterson Harrigan Lyle Talbot Gladys Isabel Jewell Joyce Margaret Perry Professor Rigby Etienne Girardot Clyde Maynard Holmes French Maid Alice Ardell Nicodemus Nicodemus Rico Jack La Rue Embassy Officer G. P. Huntley, Jr. Officer Robert Baikolf Xavier Cugat and His Orchestra Hideaway Cirl ( Paramount-Botsford ) Comedy, Romance, Drama Only of ordinary average caliber in all phases save the comedy contributions made by Martha Raye, this is a youthful farce-comedy-romance- drama aimed almost exclusively at youthful con- sumption. Whatever sound entertainment value that may have depends upon Miss Raye's bur- lesque comedy clowning and singing, plus a couple of sentimental numbers sung by Shirley Ross. In the yarn, Shirley Ross, fleeing from the police for some unrevealed reason, is picked up by Robert Cummings. She refuses to identify herself. Cummings' gay friends, headed by Miss Raye, decide she is Cummings' secret bride. The whole party moves aboard a yacht where, as Miss Ross continues her deception, romance blossoms for her and her host. Complications arise when Cummings' fiancee, Elizabeth Rus- sell, gets jealous, and just when things look romantically rosy for him and Miss Ross, some- thing happens about some stolen jewels. Cum- mings, thinking that Miss Ross is a thief, radios the police, but the message is picked up by Monroe Owsley's mob. They figure to grab the loot before the police arrive, but the cops, beat- ing them to the punch, set a trap that reveals Miss Russell as being in cahoots with the crooks. Then, although Miss Ross admits she is married to Owsley, things are fixed up so that it looks as if there will be a divorce for the hideaway girl to be followed by her mar- riage to Cummings. As the story meanders all over the locale, Miss Raye jumps in now and then to focus attention on herself and to provide plenty of laughs. From the amusement standpoint, she is the picture's saving grace. Previewed in the Paramount theatre, Los An- geles. The audience was neither impressed nor interested in much other than Miss Raye's work. — G. M. Produced and distributed by Paramount. Produced by A. M. Botsford. Supervisor, George Arthur. Di- rected by George Archainbaud. Assistant director, Hal Walker. Screen play by Joseph Moncure March. Based on a story by David Garth. Sound, Earl S. Hayman and Don Johnson. Film editor, Arthur Schmidt. Interior decorations, A. E. Freudeman. Art directors, Hans Dreier and Robert Odell. Photographed by Ted Tetzlaff. Musical direction, Boris Morros. Songs: "Beethoven, Mendelssohn and Liszt," music and lyrics by Sam Coslow, sung by Martha Raye; "Two Birdies Up a Tree," music by Burton Lane and lyrics by Ralph Freed, sung by Shirley Ross, Robert Cummings, Martha Raye, Louis DaPron and cast; "Dancing into My Heart," music by Burton Lane and lyrics by Ralph Freed, sung by Shirley Ross. P. C. A. Certificate No. 2714. Running time, when seen in Hollywood, 70 minutes. Release date, No- verber 20, 1936. General audience classification. CAST Toni Ainsworth Shirley Ross Helen Flint Martha Raye Michael Winslow Robert Cummings Count de Montaigne Monroe O-wsley Ann Martin Elizabeth Russell Tom Flint Louis DaPron Freddie MacKaye Ray Walker Muriel Courtney Wilma Francis Captain MacArthur Bob Murphy "Bugs" Edward Brophy "Birdie" James Eagles Captain Dixon Robert Middlemass Steward Kenneth Harlan Nightingale (Amkino) This is described as the first feature length film in color produced in the Soviet and pos- sesses a certain trade interest as such. The process employed is called Kromocolor and ap- pears to be of the two-component variety. Re- sults obtained compare favorably with those achieved by processes in kind. In common with producers in the United States and elsewhere, the Russians have elected to emphasize story material particularly sus- ceptible to color treatment and to dwell over- long, now and again, on shots of marked optical impressiveness. For example, the leading char- acter, having worn a blue scarf throughout the picture and arranged to signal her associates with it from a tower, is wounded in the arm, stanches the flow of blood with the scarf until it is dyed a rich crimson, then brandishes it from the tower in long and repeated closeup while her fellow workers attack the soldiers of the Tsar. Other incidents of less gruesome but equally effective color application include a fac- tory fire, a Christmas tree celebration, an orgy in the home of an aristocrat and the attack of hundreds of working women upon the con- stabulary. Unlike the majority of Russian films reaching this country, "Nightingale" is not a purposeful glorification of life in the Soviet save in that it depicts oppression of the working class by their employers under the old regime. The time is 1910-12 and the story has to do with the absentee owner of a china factory who orders it burned to the ground, at the expense of en- trapped workers' lives, to obtain insurance money with which to build a new plant. He, his manager and foreman typify the oppression. Grunia, daughter of the dead watchman, typifies the oppressed. The conclusion of the film de- picts the triumphant rebellion of the workers, although the rebellion is local and the triumph relates to the ultimate overthrow of the mon- archical system in Russia only as the waving of the blood-stained scarf relates to the ultimate general adoption of a similar symbol. The acting is of regulation Russian variety but the players, perhaps because of color con- siderations, are somewhat more personable than commonly, especially as to dental equipment. The film is rather more logically organized and {Continued on pane 64) SMASH! STANDS WITH THE VERY BEST IN A SENSATIONAL YEAR! // . HOLLYWOOD REPORTER A MASTERPIECE! BIG BOXOFFICE! ...DAILY VARIETY OF COURSE IT'S... COLUMBIA'S TRIUMPHANT PRESENTATION OF 'Headed for important boxoffice figures/" — Motion Picture Daily 'Boxoffice smash/' — George McCall, Universal Service "Prize surprise of the year/" — Leo Townsend, Modern Screen Magazine "One of the most delightful offerings of the season/" — Welford Beaton, Hollywood Spectator "Finest performance of Irene Dunne's career/" — Carl Schroeder, Screen Guide "Entertainment at its very best/" — Virginia Wood, Screenland Magazine "Splendid/ Audiences will enjoy it to the utmost/" — Mayme Ober Peake, Boston Globe "Utterly gay and delightful madcap comedy/" — Alice Tildesly, Philadelphia Public Ledger Syndicate "A hit as exuberant as its title/" — Edwin Schallert, Los Angeles Times "Knockout/ Exceptional entertainment/" ^ —Ruth Waterbury, Photoplay Magazine 'A sure thing at any man's boxoffice/ Audiences will go wild/" — Boxoffice One of season's best/ A triumph/' — Film Daily Columbia clicks again with the funniest picture of the year/" — John Schwarzkopf, Motion Picture Magazine "Irene Dunne and Melvyn Douglas the most delightful romantic team of the year/" — E. J. Smithson, Movie Classic Magazine A riotous two hours/" — Marion Rhea, Screen Play Magazine Hilarious/ Top honors for Irene Dunne/" — Florence Johnson, Screen Book Magazine "Brightest comedy since 'Mr. Deeds'/" Upholds Columbia's record of consistently turning out the best fun on the screen/ — Clark Wales, Screen and Radio Weekly "One of the most delightfully entertaining pic- tures of the year/" — Joe Blair. Showmen's Trade Review 64 MOTION PICTURE HERALD November 14, 1936 (Continued from page 60) the plot more smoothly developed than most from this source. For American purposes the picture has been equipped with subtitles, instead of the usual superimposed captions, and the ef- fect is as good or better. There is a number of musical interludes, each adequately justified by plot requirement. As to suitability for American use, save for Russian or sympathetic audiences, there is to be mentioned one of those bedroom episodes, common in early American films, with the villain chasing the heroine all over the place while rescuers rush to the scene through countless cutbacks and arrive in what's called the nick of time. A matinee audience at the Cameo, New York, many members of which indicated understand- ing of the Russian dialogue, appeared to enjoy the film thoroughly and heartily applauded the ending. — William R. Weaver. Produced by Mezhrabpomfilm, Moscow. Directed by Nikolai Ekk. Story by Nikolai Ekk and R. Yanush- kevitch. Music by Yakcv Stolliar. Photography by Fedor Provorov. Recorded on Tager equipment. No P. C. A. certifiate. Release date, November 2. Run- ning time, 96 minutes. General (Russian) audience classification. CAST Grunia Kornakova V. Ivasheva Grunia's Mother Z. Kashkarova Uncle Andrei N. Ekk N. Luznetsov (Owner of the China Factory) V. Atalov His Wife G. Egorova M. Novostianov (Manager of the China Factory) M. Doronin Foreman A. Korsakov The Loves of Toni (Metropolis) French Drama The French version of the title is "Les Amours De Toni" and the production is so billed for its New York premiere. English titles are superimposed upon the film. These inter- pret the high points of the story adequately, but do not translate bits of dialogue that a French- speaking audience appeared to consider amus- ing. The photography is dark beyond the point of socalled artistry and the continuity is un- orthodox to like extent. Advertising matter makes capital of the fact that the picture was made on the scene of the story and without benefit of studio, which is manifest. Assertion is also made that the picture is based on a factual incident, an explanation possibly satis- fying to a certain type of audience. Indepen- dently of these explanations, the film is a crude presentation of a sordid tragedy involving in- dividuals not otherwise interesting. It does not conform to the American concept of entertain- ment under Production Code standards. The scene is southern France and Toni is a laborer who arrives in search of work, forms an illicit alliance with one Marie, prefers one Josepha, who is seduced by and subsequently weds one Albert, ultimately murdering him after receiving a beating at his hands for steal- ing his money, at which point Toni attempts first to dispose of the body, second to take blame for the murder, and is killed by police while Josepha confesses her guilt. Incidentally, Marie attempts suicide but doesn't quite make it. A midweek matinee audience at the 56th Street Playhouse, New York, embarking upon a season of importations, appeared to find amusement in the uninterpreted portions of the dialogue, but manifested no other reaction. — W. R. W. Produced in Provence by Marcel Pagnol. Distributed in the United States by French Motion Picture Cor- poration and Metropolis Pictures Corporation. Directed by Jean Renoir. Screen play by Jean Renoir and Carl Enstein. No. P. C. A. certificate. Release date, November 4. Running time, about 70 minutes. Adult (French) audience classification. CAST Josepha Celia Montalvan Fernand E. Delmont Toni Blavette Albert Dalian Gabi Andrex Sebastien Kovatchevitch Guitarist Bozzi Marie Jenny Helia King of Hockey (Warner) Romantic Drama Where ice hockey is popular this picture might mean something. Where the game is unknown, its presentation in this film only makes for thrill action. The story accompanying the action is for- mula, a romantic drama with the sport con- taminated by gamblers. The romance is be- tween Dick Purcell as a swell-headed player and Anne Nagel. Believing that Purcell is having underhanded dealings with gambler George E. Stone, Wayne Morris socks his teammate so hard on the chin that Purcell's optic nerves are injured. Under a cloud and useless because a poor sighted hockey player has no business on the ice, Purcell is fired from the team. He slides rapidly towards the gut- ter while all the time Miss Nagel, who knows he is honest at heart, and her hero worship- ping little sister, Ann Gilles, are searching for him. Finding him, they arrange for a curative operation on his eyes, meanwhile pulling all angles to get the suspicioned player reinstated. Their efforts succeed and Purcell is brought back as the scintillating star of a hockey game. The only features of the film in which ex- hibitors might find any opportunity for exploi- tation are connected with the four or five hockey game sequences presented. Something perhaps could be done in that connection with tieups with schools or clubs that boast ice hockey teams and might be inclined to cooper- ate for a little educational advertising. Previewed in the Warner Forum theatre, Los Angeles. The audience was far from im- pressed.— G. M. Produced and distributed by Warner Bros. Di- tected by Noel Smith. Original screen ' play by George Bricker. Photographed by L. O'Connell. Film editor, Harold McLernon. Art director, Carl Jules Weyl. Dialogue director, Gus Shy. P. C. A. Cer- tificate No. 2449. Running time, when seen in Holly- wood, 56 minutes. Release date, December 19, 1936. General audience classification. CAST Gabby Dugan Dick Purcell Kathleen O'Rourke Anne Nagel Elsie Marie Wilson Jumbo Mullins Wayne Morris Nick Torga George E. Stone Mike Trotter Joseph Crehan Dr. Noble Gordon Hart Peggy O'Rourke Ann Gilles Mrs. O'Rourke Dora Clemant Mr. O'Rourke Guy Usher Jitters McCarthy Garry Owen Torchy Meyers Max Hoffman, Jr. Evans Andre Beranger Swede Frank Faylen J^oogan Frank Bruno Tom McKenna Harry Davenport Under Your Spell (20th Century - Fox) Comedy, Romance What would have been a very ordinary and uninspired production has been saved from ob- scurity by Lawrence Tibbett, who is far and away superior to the story that has been con- structed around his magnetic singing voice. Not only does Tibbett sing well, which is to be expected, but he handles most capably the scenes that call for comedy or romance or both. Thus the result is a pleasing combination. Tibbett's range of music in the picture ap- pears to be one selected for as wide an audi- ence appeal as possible. From Gounod's "Faust" to the popular tunes and lyrics of Arthur Schwartz and Howard Dietz is a large gap to bridge musically, but it is to Tibbett's credit that he does span it without losing sight of his perspective. The title song is especially tuneful. Supporting Tibbett in romance is Wendy Barrie, a spoiled society girl ; in comedy, Arthur Treacher, who is excellent as the valet, and Gregory Ratoff, who likewise is excellent in the role of Tibbett's manager. In the story, Tibbett's life as an overworked tenor is one of radio, testimonials, concerts, opera, in unending succession. Ratoff, the dynamic manager, sees to it that his singer reaps the financial reward, but Tibbett tires of being con- stantly on parade, of being told what to do and what not to do. With his valet he escapes to the family hacienda in New Mexico. Tibbett's disappearance causes Ratoff much dismay for the manager. Miss Barrie, for ex- ample, has paid Ratoff a large sum of money to insure Tibbett's presence at her birthday party and on the strength of that has promised to marry a suitor if Tibbett fails to appear. Miss Barrie sets out after Tibbett, finds him and the two fall in love. Reviewed at the Palace Theatre, New York. The picture was favorably received by an after- noon audience. Applause at the finish of the picture apparently was a tribute to Tibbett's voice. Paul Mooney, Jr. Produced and distributed by Twentieth Century-Fox. Associate producer, John Stone. Directed by Otto Ludwig Preminger. Based on stories by Bernice Mason and Sy Bartlett. Screen play by Frances Hyland and Saul Elkins. Music and lyrics by Arthur Schwartz and Howard Dietz. Photography, Sidney Wagner. Editor, Fred Allen. Musical director, Arthur Lange. P. C. A. Certificate No. 2,669. Running time, 63 minutes. Release date, November 6, 1936. General audience classification. CAST Anthony Allen Lawrence Tibbett Synthia Drexel Wendy Barrie Petroff Gregory Ratoff Potts Arthur Treacher Count Raul Du Rienne Gregory Gaye Judge Berton Churchill Mr. Twerp Jed Prouty Mrs. Twerp Claudia Coleman Uncle Bob Charles Richman Song of the Gringo ( Grand National) Western Melodrama The Gringo of the title is played by Tex Ritter. The song is not one but a half dozen or more, of the saddle variety, which he sings during the course of the picture. The picture is of the kind in which the hero joins the bandit gang in order to obtain evidence against them and ultimately effects their capture, suc- cessfully engineering a personal romance the while. The setting is somewhat vaguely de- fined as the Southwest and the players portray Mexican or Spanish as well as American char- acters. Major episodes are a thunderstorm during which the hero manages to get himself inducted into the gang, a mine raid in which he pretends to murder two miners, a birthday fiesta for the lady of his romantic interest and a courtroom scene in which the bandits are exposed and captured or shot or both. The ending is of the clinch type. Reviewed at New York tradeshow. — W. R. W. An Edward Finney production. Distributed by Grand National. Directed by John P. McCarthy. Supervised by Lindsley Parsons. P. C. A. Certificate No. 2791. Release date, November 10. Running time, 62 minutes. General audience classification. CAST Tex Tex Ritter Lolita Joan Woodbury Slim Fuzzy Knight Sheriff Monte Blue Evans Richard Adams Cherokee Warner Richmond Don Estaban Martin Gorralga Judge Al Jennings Court clerk William Desmond Love Letters of a Star (Universal) Murder Mystery Formal murder mystery is the entertainment and commercial quality of this picture. As far as the title is concerned, and its publicity sig- nificance in relation to a recent widely publi- cized Hollywood incident, exploitation value is absolutely in the hands of those who play the film. Actually, the letters, falling into unscrupu- lous hands, are used as a means to start the show's drama, mystery and romance. When Jenny, married to John Aldrich, is confronted with a series of letters written her by a former stage lover, she first submits to blackmail demands, but when the menace of scandal becomes too intense she commits sui- November 14, I 9 3' 6 MOTION PICTURE H ERALD 65 cide. Her husband, parents and sister try to cover up the death, but instead of having things pass off smoothly the group finds itself the cen- ter of a police investigation. When the chief blackmailer, Repellen, shows up, he is mysteri- ously killed and more hush-up activities on the part of the family involve it in a complicated situation. To get away from it all, the group flees aboard a yacht, only to be trailed and lo- cated there by the blackmail "brain," Blodgett. From then on, with police, potential victims and the family scrambling all over the boat, the film is hard-to-take mystery drama, which finally is resolved when Cavanaugh, after killing Lan- ders, is trapped. Providing nothing that is new and very little that is unusual, showmen have their work cut out for them in attempting to create audience enthusiasm for the picture. Previewed in Pantages Theatre, Hollywood. — G. M. Produced and distributed by Universal. Executive producer, Charles R. Rogers. Directed by Lewis R. Foster and Milton Carruth. Associate producer, E. M. Asher. Screen play by Lewis R. Foster, Milton Carruth and James Mulhauser. From the Hearst's International Cosmopolitan Magazine Story "The Case of the Constant God" by Rufus King. Photogra- pher, Milton Krasner. Art director, Jack Otterson. Associate, Loren Patrick. Film editor, Frank Gross. Musical director, Charles Previn. Special effects, John P. Fulton. Sound supervistor, Homer G. Tasker. P.C.A. Certificate No. 2731. Running time, when seen in Hollywood, 55 minutes. Release date, November 8, 1936. Adult audience classification. CAST John Aldrich Henry Hunter Lydia Todd Polly Rovvles Lieutenant Valcour C. Henry Gordon Charlie Warren Walter Coy Chester Blodgett Hobart Cavanaugh Meredith Landers Ralph Forbes Veronica Todd Alma Kruger Artemus Todd Samuel S. Hinds Jenny Aldrich Mary Alice Rice Hotchkiss Halliwell Hobbes Sigurd Repellen Rollo Lloyd Sergeant Stevens Olin Howland "Chuck" Warren Hymer Mabel Blodgett Virginia Brissac The Lonely Trail (Republic) Reconstruction Drama Largely unfamiliar to screen audiences, save as dimly remembered from history books, is the reconstruction period following the Civil War, a topic lightly touched by fiction camera in silent or talkative days. This is the subject of "The Lonely Trail," the place is Texas and the struggle one between carpetbaggers and impoverished residents of the plains area. It is refreshing material and supplies John Wayne and other dependables of the riding and shoot- ing division with new reason for and justifica- tion of forthright heroics. The action is swift and motivation is logical. The settings, mostly exteriors, are well chosen and photographed. Unique, extraordinary, un- usual and allied words denoting departure from pattern are exploitation adjectives warranted by the character of the film. Reviewed at the Tivoli theatre. New York, where it shared a program with "Swing Time," the picture appeared to please an appropriate audience. — W. R. W. Produced by Nat Levine. Distributed by Republic. Directed by Toseph Kane. Supervised by Paul Mal- vern. Story by Bernard McConville. Screen play by author and Jack Natteford. Film editor, Lester Orle- Ibeck. Photographed by William Nobles. P.C.A. cer- tificate No; 2213. Release date, May 25. Running time, 56 minutes. General audience classification. CAST J°>n. •; John Wayne Virginia Ann Rutherford Holden Cy Kendall Hays Bob Kortman bnowflake Snowflake Mammy Etta McDaniel Governor Sam Flint \feFry Denny Meadows Jed •• Jim Toney Worrell Yakima Canutt Tucker Lloyd Ingraham Rancher Bob Burns Mayor ■ Tames Marcus Capt. of Cavalry Rodney Hildebrand Dancer Eugene Jackson Armstrong Floyd Shackelford Troopers Jack Kirk. Jack Ingram, Bud Pope, . Tex Phelps, Tracy Layne. Clyde Kennev Blame Leon Lord Popeye the Sailor Meets Sinbad the Sailor (Paramount) Tops By far the best Popeye to date, this latest edition of the adventures of our nautical friend rates the special classification given to it. The running time has been extended to the length of two reels. Added merit is some splendid coloring which makes more real and appetizing that particular diet of spinach favored by Pop- eye. Action and humor have not been neglected, but if possible for this series have been even increased and bettered. The exhibitor may be assured that any extra exploitation he may give this subject will amply repay him in returns of enthusiastic audience response. The bully Bluto, lord and master over an island kingdom peo- pled by monsters of prehistoric and mythological size, spies the boat of Popeye with the lovely Olive Oyl and the faithful Wimpy. The sight of the fair Olive enkindles romantic sparks in the brute breast of Bluto. He accordingly ar- ranges to have Popeye's bark wrecked. Of course, the trusty and ever present can of spinach wins for Popeye. Running time, 17 minutes. Hold 'Em, Cowboy ( Columbia ) Interesting An interesting number of the "News World of Sports" series, this is a pictorial account of a cowboy's day. The round-up of buffalo herds and the leading of wild horses to the corral to be broken for saddle constitute part of the work. For recreation the cowboys and the cowgirls perform in a rodeo. Narrative by Jack Kofoed. Described by Ford Bond. Run- ning time, 10 minutes. Birds In Love ( Columbia ) Color Cartoon Fairly amusing is this color cartoon. Two lovebirds, blissfully married, find their conjugal happiness threatened by an obnoxious bird sales- man, bent on winning the wife as well as making a sale. Hubby departs for business after a tasty breakfast. Arrives the wily villain to harass the distracted bride. Hubby returns in the proverbial nick of time. Exit the salesman much the worse after a good trouncing. A happy ending fadeout has the doting pair billing and cooing to their hearts' content. Running time, eight minutes. Going Places No. 29 (Universal) Interesting An interesting number of the Going Places series, this is a pictorial study of Mount Olympus in Washington and Celilo Falls, in Oregon. The camera follows a party climbing the Mount and records the scenic beauty as well as the treacherous ascent. At the Falls are shown Indians, under their treaty rights, fish- ing for salmon. Narration by Lowell Thomas. Running time, 9 minutes. Skiing Is Believing ( Columbia ) Good Appropriately timed for the coming winter season, this short subject presents some interest- ing moments of ski jumping. In a series of diverting shots, the art of the sport is followed from the beginnings of a school of instruction wherein the novices must go through rudiment- ary exercises up to an exhibition of finished examples of ski technique. Altogether the result is an entertaining as well as exciting subject. Running time, 10 minutes. Donald and Pluto (United Artists) Very Good Pluto steals the limelight from Donald Duck in this subject. Donald is a plumber while Pluto is just hanging around, not looking for trouble but as usual causing it. Pluto is eating when a magnet draws upon the metal plate from which he is eating, and in trying to recover the bone he swallows the magnet. The magnet at- tracts all metal objects within sight, much to Pluto's regret, as knives, pans and a clock add to his misery. Then Donald and Pluto are drawn together by the magnet for some more good fun. Running time, 9 minutes. Mickey's Elephant (United Artists) Clever Mickey Mouse receives a present of a baby elephant, Bobo, a playful little fellow, who doesn't know his own strength. Mickey builds a home for Bobo. Pluto becomes jealous, for the elephant's house is much more imposing than his own. Goaded by an imp, that re- sembles him, Pluto makes a half-hearted at- tempt to engage the elephant in conflict and finally causes Bobo to sneeze by putting pepper under the elephant's trunk. And Pluto's home, as well as the elephant's, is gone with the wind. Running time, 9 minutes. Whoops, I'm An Indian ( Columbia ) Funny Those funsters, the seemingly indestructible Moe, Larry and Curly, popularly known as the Three Stooges, continue their mad antics. In a frontier setting the three run a bunco game in a saloon. Caught cheating they take to the woods with the sheriff after them. In tune with their usual style they engage in several comic situations, finally ending up with Curly, pos- ing as a squaw, marrying a trader. When that is exposed the three take refuge in the jail. Running time, 20 minutes. Screen Snapshots, No. I ( Columbia ) Stars At Play This first of a new series continues in the same interesting vein as the previous ones. At Ken Maynard's barbecue some of the Holly- wood stars and feature players gather to partake of the food and entertainment. At his (home, Frank McHugh, plays with his two children. At the West Side Tennis Club, in Hollywood, a doubles match is watched by an interested gallery. More than 40 stars and feature play- ers appear on the screen. Running time, 10 minutes. Wonder Spots of America ( Columbia) Of Interest Three of America's natural wonders are here studied by the camera in color, the Natural Bridge of Virginia, carved out of solid lime- stone by a branch of the James River by nat- ural erosion ; the caverns in the Shenandoah Valley, and Niagara Falls. Running time, 10 minutes. The Public Pays (MGM) Worthwhile Worthwhile from the standpoint of public en- lightenment, this series of "Crime Does Not Pay" is also worthwhile entertainment. This subject has to do with milk racketeering and how ultimately the consumer is required to sup- port the racketeer. 66 MOTION PICTURE HERALD November 14, 1936 MUSICIANS CLAIM FIRST VICTORY AS DRIVE FOR "LIVE MUSIC" IS EXTENDED Stanley Theatre in Pittsburgh Agrees to Restore Stage Shows and Increase Salaries of the Orchestra Members The drive begun in New York by Local 802 of the American Federation of Musi- cians seeking restoration of orchestras and stage shows to those theatres equipped for them, has been taken up in varying degrees of intensity in other cities and has received the endorsement of several unions in other fields. The campaign in New York, con- fined so far to publicity and picketing of large theatres in the downtown area, will be enlivened by a parade of members of the local through the Times Square district this Saturday. The Pittsburgh muisicians won a victory this week when the Stanley theatre agreed to resume stage shows with a salary increase for the orchestra members. The November issue of the official organ of Local 802, devoted almost entirely to news of the drive, lists the cities in which musicians' locals have initiated similar movements and unions which have voted to endorse the drive, and quotes letters from public figures expressing sympathy with the aims of the campaign. Philadelphia Local 77 which voted recent- ly to imitate the New York campaign, has established picket lines at the Earl, Stanton and Fox theatres and is planning to extend them to a number of neighborhood houses. An attempt at negotiations with theatre own- ers is reported to have failed. Petition Campaign Launched In Kingston, N. Y., Local 215 has em- barked on a petition campaign asking thea- tre owners to restore music and vaudeville to the local houses. Many signatures are said to have been obtained from the general public.1 Officials of the local are making pro- vision for an active picketing campaign in case the petitions fail to produce results. In San Francisco Local 6 is engaged in a simi- lar appeal to the general public for support. City ordinances prohibit picketing except during a strike. The executive board of the Los Angeles local have asked the New York drive headquarters for detailed information on the conduct of the campaign. A. F. of M. affiliates in New England, Baltimore and Albany have requested simi- lar information as well as buttons and liter- ature to distribute to their members. Canton- Massillon Local 111 in Ohio has instructed its members to stay out of theatres which do not employ musicians and actors and in Jacksonville, Fla., a drive has been started calling on members of all labor unions to ex- ert a similar boycott. In New York City, locals of the American Federation of Labor which endorsed the drive by actual resolution include the Cooks and Kitchen Workers' Union, Local 89; the Printing Pressmen's Union, Local 51 ; the International Association of Machinists. Lodge 1548; Novelty Mirror Workers' Union, Painters Local 905 ; the Millwright and Machinery Erectors' Union, Local 740; the American Radio Telegraphists' Associa- tion; the joint board of the Cloak, Suit, Skirt and Reefer Makers' Union ; the Feder- ation of Architects, Engineers, Chemists and Technicians, and Local 89 of the Interna- tional Ladies' Garment Workers' Union. Screen Guild Endorses Drive The Screen Actors Guild in Hollywood has expressed wholehearted support of the drive. In a telegram endorsing the drive, addressed to Ralph Whitehead, executive secretary of the American Federation of Actors, which is allied with Local 802 in the New York campaign, Kenneth Thom- son, executive secretary of the Guild, said: "Board of directors of Screen Actors' Guild instructs me to communicate to you its great interest and wholehearted accord with your campaign to return orchestras and stage entertainments to motion picture houses. The board sends best wishes for overwhelming success to which I add my personal regards and good wishes." Theatre managers and musicians in Pitts- burgh reached an agreement this week after more than two months of negotiations. Un- der the terms stage shows will be resumed at the Stanley theatre as soon as bookings can be made. The contract is for two years and calls for an immediate salary increase for musicians and another increase in the second year. Although not included in the pact there are prospects that the Harris Al- win will return to an occasion stage show policy. New York Parade Saturday In addition to the endorsements received from unions and groups not affiliated with show business, executives of the drive quote letters expressing sympathy with the move- ment from many public figures. These in- clude Deems Taylor, Mayor Fiorello H. La Guardia of New York, Leopold Stokowski, Dr. John Haynes Holmes, Harry Elmer Barnes, Elinore M. Herrick, Congressmen James L. Quinn and Henry Ellenbogen, Senator Joseph F. Guffey and Theodore L. Moritz. Plans for the New York parade on Satur- day include a marching roster of more than 1,000 members of Local 802 and their sym- pathizers. Floats and banners illustrating and explaining the aims of the campaign are being prepared. The line of march will be down Broadway and through the Times Square district. Radio Union Certified As RCA Bargainers The National Labor Relations Board has certified the United Electrical and Radio Workers Union as the representative for col- lective bargaining purposes of certain classes of employees of the Camden plant of the RCA Manufacturing Company over the ob- jections of a rival group, the Employees Committee Union and the company. The UERW was selected by a majority of the employees voting in a recent referendum although a majority of the employees eligible to vote did not participate in the election Briton 'sLoew Stock Deal an Investment Acquisition late last week of 35,000 shares of Loew's, Inc,., common stock by an undis- closed British party from the estate of the late Irving Thalberg, was described Tues- day by Wall Street brokerage and Loew's officials as being without other than invest- ment significance. Paul Cohen, a partner in Hirsch and Lilienthal and Company, which represented the purchasers, said : "Because I was only the broker I do not feel at liberty to discJose the principal's name, but if you knew it I am sure you would not be interested in the transaction. However, you are not the only one who has asked about it." David Bernstein, vice-president of Loew's said : "The sale is without significance and, certainly, can have no effect on control. It is only a drop in the bucket. The purchase was made for investment only." At current market prices, the transaction involved approximately $2,200,000. Consolidated Files Its Reply in Stock Action Consolidated Films Industries, Inc., has filed an answer to the bill of complaint in the chancery court of Wilmington, Del., on which Norman Johnson of New York, a preferred stockholder, last week obtained an order restraining the corporation from filing an amendment to its certificate of incorpora- tion, pending a hearing November 13. The corporation denied that the vote of preferred stockholders in favor of the pro- posed amendment was obtained by "fraud and deceit," claiming a letter and notice sent to stockholders prior to the meeting in re- gard to the plan was fair and honest, and claimed that the facts alleged to have been omitted could easily have been ascertained by arithmetical computation. Consolidated denied that the accumulated dividends of $1,600,000 are wiped out under the proposed plan, but that accumulated dividends on the present preferred stock would be paid and liquidated by the ex- change of each share of outstanding pre- ferred stock for one and one-quarter shares of the new preference stock and one-quarter share of the new common stock having all dividends and voting and other rights given to the present preferred stock. Reports English Are Building 1 50 Theatres English interests are constructing on the average of 150 new theatres a year and there is no sign of this figure waning, Percy Phillipson, president of General Register, said this week in commenting on the outlook in the British Isles. He arrived in New York Monday on the Queen Mary to spend six weeks in Manhattan on his usual busi- ness trip. 30X0FFIC — — "^^Hfc ri<*et.sein„g a