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A New Service in This Issue — The Film Buyer
E X H I B ITO RS
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RAL
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APRIL |
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MAY |
DENNIS KING “The Vagabond King” “YOUNG EAGLES” Buddy Rogers “BENSON MURDER CASE” William Powell GEORGE BANCROFT “Ladies Love Brutes” “THE LIGHT OF WESTERN STARS” “PARAMOUNT ON PARADE” 50 Stars
MAURICE CHEVALIER “The Big Pond”
“THE TEXAN” GARY COOPER “RETURN OF FU MANCHU”
“YOUNG MAN OF MANHATTAN” 1930's best selling novel
NANCY CARROLL “Devil’s Holiday”
CLARA BOW “True to the Navy”
JUNE
JULY
JACK OAKIE “The Social Lion
WILLIAM POWELL “Shadow of the Law”
“THE BORDER LEGION” Richard Arlen, Jack Holt and Fay Wray
BUDDY ROGERS musical “Safety in Numbers” GEORGE BANCROFT “The Caveman?’
SPECIAL EXTRA ATTRACTION!
“With Byrd at the South Pole”
HELEN KANE all-star “Dangerous Nan McGrew”
GARY COOPER “Civilian Clothes” JACK OAKIE “The Sap from Syracuse’ CLARA BOW WILLIAM POWELL
•ARAMOUNT
Like the Start of A a New Season m
ytunuit 71). 1017. at the Post Office at Cliicayo, III., under the act of March 3, 1879. Published
'M
Anril P)~0 J
WITHOUT PRE-PUSH "HELL HARBOR" LIFTS LIBERTY BUSINESS TO NEW HIGH
j
The filing time as Bhown in the date line on full-rate telegrams and day letters, and the time of receipt a| destination as shown on all messages, is STANDARD TIME.
Received at Chamber of Commerce Bldg., Cor. 7th. Ave. & Smithfield St., Pittsburgh, Pa.
1930 MAR 15 PM 11 42
WHA354 37 1 EXTRA NLWHT3894 WHEELING! WVIR 15 BERT STERN, MGR UNITED ARTISTS CORP
1014 FORBES ST PITTSBURGH PENN OPENED UP TODAY WITH HELLS HARBOR WITHOUT ANY ADVANCED ADVERTISING TO THE PUBLIC STOP BROKE ATTENDANCE REC0RD3 PRONOUNCED BY THE AUDIENCE THE HIT OF THE YEAR RECORDING PERFECT STOP HELLS HARBOR IS A BOX OFFICE ATTRACTION LIBERTY THEATRE LOUIS VELAS MANAGER
THE QUICKEST, SUREST AND SAFEST WAY TO SEND MONEY IS BY TELEGRAPH OR CABLE
HE-MAN ROMANCE RIDES FOOTLOOSE AND FREE IN THIS STIRRING KING- VELEZ SENSATION
From Detroit to Miami — New York to the West Coast, “Hell Harbor” (the people’s choice for entertainment) is dropping the coin of the realm into showmen’s pockets in huge wads. You should thank Mr. Velas for this tip.
PATRONS ARE REQUESTED TO FAVOR THE COMPANY BY CRITICISM AND SUGGESTION CONCERNING ITS SERVICE
Class of Service
This is a full-rate Telegram or Cable- gram unless its de- ferred character is in- dicated by a suitable sign above or preced- ing the address.
TERN UNION
NEWCOMB CARLTON. PRESIOEN
J. C. WILLEVER. FIRST VICE-PRESIDENT
Presented by
Inspiration Pictures,lnc.
Gorgeous, dazzling electric Lupe— Anita in "Hell Harbor". A pirate's daughter for whose love men forgot laws of life — and took it at will.
HENRY
KING
made it
LURE
VELEZ
glorifies it
JEAN
HERSHOLT
gives it the wallop
JOHN
HOLLAND
adds more wallop
St. John
contributes the humor
UNITED ARTISTS
PICTURE
April 5, 1930
EXHIBITORS HERALD-WORLD
KEEP YOUR EYES PEELER FOR THE PARAMOUNT
CHRISTIES.’ says Film Fan
<J Liberty Magazine (2,300,000 readers) breaks rule of reviewing features only and names a PARAMOUNT-CHRISTIE Talking Play high up among the best of the month ! Photoplay Magazine (650,000 readers) two months in a row ranks PARAMOUNT - CHRISTIES among the first ten films in merit, features and all ! <1 No wonder the public’s ''keeping its eyes peeled” for PARAMOUNT-CHRISTIES. No wonder exhibitors are feeling at the box office the mighty nation-wide interest in these sparkling two-reelers !
*4*1
■wiL flnA
\ Marticd
nOol'
}jeU«vC
ift
Current
Hits
Released by PARAMOUNT
4
EXHIBITORS HERALD-WORLD
April 5, 1930
ational
—and oh, what
a “KICK” at
the box-office
t
CHARLIE MURRAY • GEORGE SIDNEY
VERB GORDON ■ Kate Price WILLIAM JANIES CPAF'
presented by CARL LflEMMLE
nfiSQfli
April 5, 1930
EXHIBITORS HERALD-WORLD
5
I
Just a few of the bigger bookings-
RKO Circuit, (incl Greater N. Y.)
Griffith Circuit, Okla. City- Blank Circuit, la.
Publix'Hostettler Circuit
Grombacher Circuit, Spokane
Hamrich Circuit, Seattle, Tacoma, Portland
McNeil Circuit, San Francisco
Balaban & KatS'Publix Circuit, Chicago
Fox Circuit, Los Angeles Division
Mountain Division, Butte & Salt Lake City Midland Division, Kansas City Frasier Division, St. Louis Reed, Yenim 6? Hays Div., St. Louis “ “ Finkelstein & Rosenberg Div., Seattle, Portland
“ “ Northwest Div., Seattle, Portland
No. Calif. Div., San Francisco So. Calif. Div.
Principal Theatre Div.
Stanley Circuit, N. J.
Momand Circuit, Okla. City Dent Publix Circuit, Texas Leo Keiler Circuit, Ky.
Fox Metropolitan Theatres, N. Y. Div.
N. J. Div.
Consolidated Amuse. Co. Circuit, N. Y.
Comerford Amuse. Co., Philadelphia Dist.
Schine Circuit, Albany, Buffalo, Cincinnati, Cleveland Butterfield Circuit, Detroit E. J. Sparks, Jacksonville, Fla.
Lightman Circuit, Memphis Crescent Amusement, Atlanta Robb & Rowley Circuit, Texas, Okla.
Golden States Circuit, San Francisco St. Louis Amusement Co. Circuit Publix'Rickard'Nace Circuit, Arffi.
Walter Reed Circuit, N. J.
Seider Circuit, Long Island Rosenblatt Circuit, N. J., Staten Island Lee Ochs Circuit, N. Y. City
Harris Circuit, N. Y. City Sidney Cohen Circuit, N. Y. City Spring Cocalis Circuit, N. Y. City Harris Amus’t Co., Pittsburgh, Pa. Million Dollar Theatre, Los Angeles Casino Theatre, San Francisco Dickinson Circuit, Kansas City Publix'Astec Theatre, San Antonio Fator Theatre, Denver Woods Theatre, Chicago Alhambra Theatre, Milwaukee Newark Theatre, Newark RKO Orpheum, New Orleans Rivoli Theatre, Baltimore, Md. Keith’s Radio, Washington, D. C. Lyceum, Winnipeg, Man.
Loew’s Capitol, Atlanta K £s? C, Binghamton, N. Y.
Keith’s Temple, Rochester, N. Y. Eckel, Syracuse, N. Y.
Park, Boston, Mass.
Lafayette, Buffalo Fox'Schine, Albany, Buffalo Broadway, Springfield Virginian, Charleston, W. Va.
Palace, Hamilton, O.
Orpheum, Akron, O.
Keith’s Palace, Cleveland, O.
Strand, Canton, O.
State, Toledo, O.
Adams, Detroit, Mich.
State, Youngstown, O.
Grand, Columbus, O.
Capitol, Miami, Fla.
Warner’s, Memphis Roger Sherman, New Haven Goldstein Circuit, New Haven Regal, Hartford, Conn.
Strand, Stamford, Conn.
6
EXHIBITORS HERALD-WORLD
April 5, 1930
16 Years Behind Now!
Just about a year ago, P. L. Thomson, director of advertising for the Western Electric organization, gave his much discussed address on “Audited Circula- tions” to the members of the Association of Motion Picture Advertisers, in the course of which he said:
“You are still satisfied to spend thou- sands of your companies * dollars on your guess as to the value of the in- fluence of publications unsupported by verified figures. And, gentlemen, in this respect you are about 15 years behind the procession, when you ought to be in the forefront.**
PiOJ'E: In the motion pic-
ture fields Exhibitors Herald - World is the only member of the Audit Bureau of Circuits* tions and consequently the only business paper supplying the t* deertiser with audited circulation statements •
comes trilling
Never has an audible film been recorded as flawlessly as this feature. It is something from which a reporter bounds with glee to write about — a huge success.
...Mordaunt Hall, New York Times
Here is screen progress —thoroughly touching and effec- tive. Seems bound to achieve a justified triumph.
...Richard Watts, Jr., New York Herald Tribune
Tender tale, fine cast, splendid direction make for four- star premiere. Audience was wildly enthusiastic. The cast and the way this story is filmed make it an outstanding production of 1930. . . . Irene Thirer, New York Daily News
o lend a touch of levity there is Farrell Macdonald.
FOUR ★ ★ ★ ★ STARS HIGHEST POSSIBLE RATING FOR A MOTION PICTURE
The 44th Street Theatre received a long-term film tenant when an appreciative audience witnessed the premiere showing of "Song O' My
Heart." ...Julia Shawell, New York Graphic
Mr. McCormack's delightful voice records marvellously well on the screen and he brings a charm and ease of manner to the picture, a pleasantly sentimental romance.
...Rose Pelswick, New York Journal
"Song O' My Heart" is one of the best stories unfolded upon the screen in many a moon.
Surely if you have a grain of senti- iment in you, you are going to fall very hard for this one. This picture will bring happiness to millions.
. . . George Gerhard, New York Evening World
Tender in its sentiment and triumphant in the record- ing — it can be done, and here, indeed, it is done. You must hear John McCormack singing.
...Quinn Martin, New York Morning World
There is no doubt about it, John McCormack's initial ven- ture in the talking pictures is a decided success. Frank Bor- zage has done a fine job of the direction. See it you must.
. . . William Boehnel, New York Telegram
'Twas a grand night at the Forty-Fourth Street Theatre — applauded to the echo each of the eleven songs sung by John McCormack. ,# ... Regina Crewe, New York American
McCormack acts with ease and great charm. His voice
is beautifully recorded. .. .Bland Johaneson,NewYork Daily Mirror manner of J. m.
Kerrigan were
— - s
*Published by
RED STAR MUSIC w COMPANY
SONGS
are sung by
JOHN McCORMACK
THEN YOU'LL REMEMBER ME A FAIRY STORY BY THE FIRE JUST FOR TODAY
* I FEEL YOU NEAR ME KITTY, MY LOVE
* THE ROSE OF TRALEE LOUGHI SERENI E CARI LITTLE BOY BLUE IRELAND, MOTHER IRELAND I HEAR YOU CALLING ME
* A PAIR OF BLUE EYES
with
Maureen O'Sullivan John Garrick Alice Joyc J. M. Kerrigan Farrell Macdonald Tommy Cliffor Edwin Schneider Effie Ellsler Emily Fitzrc
A talking and singing
Story by
MOVIETONE ROMANCE
TOM BARRY
Directed by
FRANK
BORZAGE
PRESENTED BY WILLIAM FOX
Pat
an exhibitor from Missouri who wires
"YOU ARE MAKING A TERRIBLE MISTAKE”
MR. TERRY RAMSAYE PATHE EXCHANGE INC
Dear Terry As Audio Reviews Best Friend and Severest Critic
Cant Resist ^ i ri 1 1 *jr That You and
D
Phil Reisman and the Boys Are Making a Terrible Mistake in Putting Out Review in Only One Reel
stop Just Saw Number Thirteen and Believe Me Men I Could Have Stood Another Reel or So
Mr
of That Delicious Travelogue Called Quote A Night Out in Paris Unquote
~5\ ?,
Ani I Going to Give My Public When They Ask Me
> What Reason
Where Is the Rest of the Picture stop I’ll
Have to Say Thats AH There Is There Isut Any More Come Back Next Week Maybe There Will Be Cowboys
aud Indians
stop So You Can See Terry What a Fix I'm in Caut You and Phil Do Some-
thing About It Yours for the Review —
PAT HAY
Reply to Mr. Hay:
Dear Pat Youre Wrong On One Point stop Issue Number Fourteen of Pathe Audio Review Has a Subject Called Quote Heaven Will Protect the Working Girl Unquote Sorry about the Cowboys and Indians stop Yours for Bigger and Better Mistakes —
TERRY RAMSAYE
editor of PATHE Audio REVIEW
- — arrrcr
,:1J-
Obey That
Impulse
aaa Set it now for good mornings, good matinees and good evenings. It’s the sweetest box-office natural in many a moon!
with
Ace natural of the season. Packed with box-office sun- shine. With "Crying For The Carolines/' "Have A Little Faith In Me" and five other song hits blazing its popular- ity. Whirlwind exploitation
LAWRENCE GRAY, ALEXANDER . GRAY, BERNICE CLAIRE, LOUISE V FAZENDA, FORD STERLING INEZ COURTNEY, FRANK ALBERT- SON, NATALIE MOORHEAD
by Remick Music Corp. and Harms, Inc. Adapted from the Broadway musical success by Owen Davis, Lorenz Hart, lyricist. Richard Rogers, composer of the music.
a. a Directed by JOHN FRANCIS DILLON, the man who gave you "SALLY" a a a
FIRST NATIONAL
and
VITA™*? PICTURE
• VITAPHONE" IS THE REGISTERED TRADE MARK OF THE VITAPHONF CORP DESIGNATING ITS PRODUCTS
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EXHIBITORS |
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The Independent Film Trade |
HERALD |
Home Office : 407 So. Dearborn St, |
|
Paper |
WORLD |
Chicago |
IN THIS ISSUE-
PRODUCTION CODE
Adoption of Production Code Is Step Toward Screen Betterment — Adherence to Laws Ratified by Hays Group Is Made Manda- tory— New Principles Are Based on a Sound and Reasonable Scheme — New Code Is Tre- mendous Step Forward, Says Martin J. Quig- ley in Editorial.
THE FILM BUYER
Complete Information on Pictures Is Pre- sented in the Film Buyer, Section Two of This Issue, as Practicable Service to Exhibi- tors in Booking and Exploiting Productions in Long and Short Feature Fields — Length, Sound and Silent, Casts, Release Dates and Theme Are Given.
COMPLETE INDEX TO CONTENTS
NEWS
Author of Hudson measure says he would be willing to waive federal censorship proposal if Congress would agree to bar block booking.
Introduction of measure in Pennsylvania to regulate minimum length of long features is threatened by exhibitors’ association — - Charges footages are below required length.
Blind leads blind — to theatre — Proposes exhibitors admit blind person and guide for one admission— M P P D A is accused of paying retainers to prevent interference.
Universal limits production to twenty features at cost of fifty— Number of short pictures also to be reduced, says Carl Laemmle.
DEPARTMENTS
Short Features 43
Music and Talent 47
The Theatre 44
Classified Advertising 52
What the Picture Did for Me 54
Chicago Personalities, by J. F 58
FEATURES
Service on Pictures 37
The Voice of the Industry (Letters from Readers) 53
Motion Picture Finance 18
Hollywood, by Douglas Hodges 27
Broadway 14
Sound Pictures 38
Pictorial Section 19
J. C. Jenkins — His Colyum 42
ADVERTISEMENTS
FILM, SOUND AND EQUIPMENT — Paramount, United Artists, Eastman Kodak, Metro-Goldwyn-Mayer, Fox, First National, Uni- versal, Pathe, Columbia, Radiotone Pictures Corporation, A. R. Boyd Enterprises, Bell and Howell, Beaded Screen Corporation, Weber Machine Company, Racon Electric Corporation.
MUSIC AND TALENT — Leo Feist, Inc., M. Witmark and Sons, Doris Roche, Julia Dawn.
CHICAGO
407 South Dearborns St. Telephone Harrison 0036-37-38
Cable Address : Quigpubco EDWIN S. CLIFFORD, General Manager JAY M. SHRECK, Managing Editor GEORGE CLIFFORD, Business Manager ERNEST A. ROVELSTAD, News Editor
HOLLYWOOD
1605 North Cahuenga St. Telephone Gladstone 2118-2119 DOUGLAS HODGES West Coast Manager
EDITORIAL
AND
ADVERTISING
OFFICES
NEW YORK
565 Fifth Avenue Telephone Wickersham 2366-2367
PETER VISCHER, New York Manager HERBERT FECKE and RAYMOND GALLO Advertising Representatives
LONDON I
THE BIOSCOPE Faraday House
8-10 Charing Cross Rd., W. C. 2
SUBSCRIPTION RATES: United States and its possessions. Canada and all countries of the Americas— S3. 00 per year: Great Britain and its colonies £1 per year. Other foreign countries— S5.00 per year. Single copies 25 cents. Advertising rate cards and Audit Bureau of Circulations statements furnished upon application. The HERALD-WORLD assumes no responsibility for the return of unsolicited manuscripts. No manuscripts are returned unless authors so request.
Editorial
BY MARTIN J. QUIGLEY
The New Production Code
ANEW code to govern the making of motion pictures, which emphasizes and provides for the moral and ethical requirements of screen entertainment, has been evolved. Announcement of this fact is made by the Motion Picture Producers & Distributors of America.
The new code was worked out in Hollywood in confer- ences participated in by all of the leading producers or their authorized representatives, and it is enthusiastically presented by them as their notice to the world that the moral significance of motion pictures is fully recognized and that it is the determination of the producers to make only such product as will conform with sound and reason- able standards of morality.
The new code has been accepted and approved by the board of directors of the Producers & Distributors Associa- tion, which gives it the industry’s endorsement and at the same time makes it the established rule and regulation of the business. There are, of course, certain smaller, inde- pendent units in production which are not governed by the association’s procedure, but conformance by them with the new regulations, which represent a vital safeguard to the future of the business, is promised.
AAA
THIS new code is the outgrowth of a long and vigorous struggle of the industry to protect screen entertainment against various tendencies which very naturally have crept in in the competition for box office success. It is everlast- ingly to the credit of the motion picture business that this industry, more than any other factor in the whole amuse- ment world from the earliest times, has, as an industry, recognized its responsibility to the public on the point of clean entertainment. It is, of course, true that in individual cases this responsibility has been avoided and evaded but the predominant influence of the industry as a whole has been consistently on the side of wholesome entertainment.
The fact that this recognition has been present and con- tinues present is the underlying reason which has made the adoption of this new code possible— and this new code, it may confidently be declared, is a tremendous step for- ward. It is a tremendous step forward in all of those mat- ters with which churchmen and educators are particularly concerned. It is a tremendous step forward in the immedi- ate concerns of the industry because it offers excellent promise of being the means toward correcting present abuses and at the same time providing against the repeti- tion of these abuses in the future. And, it may unreservedly be declared, if the industry should fail to protect itself against these abuses there will be built up against it a wall of opposition created by leaders of public opinion which will both curtail the immediate possibilities of the industry and seriously interfere with its future develop- ment as well.
The new code supplants earlier steps in this direction. The introduction of sound brought with it certain new problems but prior to this code, together with the detailed statement of the principles involved which has been made available to all producers, the industry never had a clear- cut and definite statement of the moral principles involved
for its guidance in the preparation of screen entertainment. Because no such definite statement of principles had ever been agreed upon and accepted it was unavoidable that there should have been a wide divergence of opinion on what was and what was not permissible.
The new code, which is printed elsewhere in this issue, together with a detailed analysis of the problem which producers now have as a working guide, supplies for the first time such a definite statement of principles. The prin- ciples, we believe, will be subscribed to and endorsed by churchmen and educators generally. They provide for sound and reasonable regulation and at the same time they will in no way interfere with the possibilities of screen entertainment in its box office consideration.
AAA
THE effectiveness of the new code, in its influence upon the morality of pictures and in quieting the criticisms of the public, depends, of course, upon the degree of good faith which is exhibited toward it in Hollywood. And beyond this, also, its effectiveness will depend upon its being thoroughly understood and appreciated by the per- sons in the studios who in their daily work give to the motion picture the character in which it eventually pre- sents itself to the public. It is essential that steps be taken to accomplish this thorough understanding in Hollywood and in the New York studios.
Very wisely and at the same time indicating a high de- gree of determination and sincerity in the matter, the producers have worked out a scheme of operation under the code which strongly argues that the code is to them a matter of faith and not a matter of form. The scheme makes a committee representing all of the important pro- ducers responsible for the issuance of any subject about which there is a question. At the election of this commit- tee any picture which is held to violate the principles of the code will not be distributed.
In addition the producers’ association in Hollywood has undertaken to provide facilities for consultation with pro- ducers on all questionable themes and situations. In this way, the producer is given excellent opportunities to guard in advance against mistakes which if carried through in the finished picture may prove very costly by an action of the producers’ committee in rejecting the subject.
An added possibility of the new code is its effect upon political censorship. Many persons of importance and influence have either favored motion picture censorship or refrained from opposing it on the grounds that it was a needed safeguard until such time as the industry took further steps along the line of self-discipline. Sucb steps have been taken. Self-discipline, which in this case means the elimination of questionable material at the source, is the only thoroughly workable and effective means of pro- viding for uniformly wholesome screen entertainment.
The new code promises this result. To the end of realiz- ing the earliest and fullest possibilities of this promise the industry in all of its branches should contribute sincere and enthusiastic support.
Exhibitors HERALD-WORLD * MARTIN J. QUIGLEY, Publisher and Editor
Incorporating Exhibitors Herald, founded 1915; Moving Picture World, founded 1907; Motography, founded 1909; The Film Index, founded 1906
Published every Wednesday by Quigley Publishing Company, 407 S. Dearborn Street, Chicago; Martin J. Quigley, President; Edwin S. Clifford, Secretary; George Clifford , Assistant Treasurer. Member Audit Bureau of Circulations. All contents copyrighted 1930 by Quigley Publishing Company. All editorial and business corre- spondence should be addressed to the Chicago office. Other publications: Better Theatres, devoted to the construction, equipment and operation of theatres, pub- fished every fourth week in conjunction with Exhibitors Herald-World; The Motion Picture Almanac, Pictures and Personalities, published annually; Th* Chi- cagoan and Polo, Class publications.
EXHIBITORS HERALD-WORLD
II
April 5, 1930
Adoption of Production Code Is Step Toward Screen Betterment
Sponsor Code
WILL H. HAYS
President of Motion Picture Pro- ducers & Distributors of America.
CECIL B. DeMILLE
President of the Association of Motion Picture Producers, Inc.
Adherence to Laws Ratified by Hays Group Is Made Mandatory
New Principles Are Based on a Sound and Reasonable
Scheme of Regulation
(Special to the Herald-World)
NEW YORK, April 1.- — A code of principles to govern the production of motion pictures has been subscribed to by the predominating factors in production, the Motion Picture Producers 8C Distributors of America and the Association of Motion Picture Producers, the latter the Hollywood ally of the Hays group.
This stride toward screen betterment and self-government is considered the most progressive in the history of motion pictures.
Twenty companies have subscribed to the new standards, which were rati- fied at a meeting March 31 of the directors of the M P P D A. These com- panies are:
Art Cinema Corporation ( United Artists), Christie Company, Inc., Colum- bia Pictures Corporation, Cecil B. DeMille Productions, Inc., Educational Studios, Inc., First National Pictures, Inc., Fox Film Corporation, Gloria Productions, Inc., Samuel Goldivyn, Inc., Inspiration Pictures, Inc., Harold Lloyd Corporation, Metro-Goldwyn-Mayer Studios, Inc., Paramount Famous Lasky Corporation, Pathe Studios, Inc., R K 0 Productions, Inc., Hal Roach Studios, Inc., Mack Sennett Studio, Tiffany Productions, Inc., Universal Pic- tures Corporation and Warner Brothers Pictures, Inc.
This code, designed to govern the portrayal of crimes against the law, sex, vulgarity, obscenity, profanity, costumes, dances, religion and repellent sub- jects, was formulated after intensive study by members of the industry and, according to Will H. Hays, by church leaders, leaders in the field of child education, representatives of women’s clubs, educators, psychologists, drama- tists “and other students of our moral, social and family problems.”
An edict, adopted as supplementary to the code, makes adherence to this body of laws regulating the conduct of production mandatory.
No prints for distribution shall be made until the picture has been approved by the Association of Motion Picture Producers. Should the decision be that the picture, either in theme or treatment, violates the provisions of the code, changes ivill be indicated and ordered.
This decision, if contrary to the views of the producing company, may be appealed, first to a production committee of three and finally to the board of directors of the Motion Picture Producers 8C Distributors of America.
The full personnel of the production committee from which three are chosen to render decision in each individual case includes 17 executives of Coast studios. None of the three chosen can be associated in any way with the studio of the company whose picture is being judged.
The new code is prefaced by a resolution which provides for uniform interpretation of all its provisions. “Every step of this procedure,” Mr. Hays explained, “is an act of self-government and voluntary self-discipline within the industry. Production managers will have available the best experience and advice of the industry as a whole, as well as the constructive criticisms and suggestions which the industry draws from the socially-minded groups whose cooperation it is receiving.
“From the choice of the script to the completion of the picture, the com- plete machinery of self-guidance which the industry has built up will super- vise the interpretation of the code and its translation into picture values. The code will be enforced through the intelligent practicability derived from consultation between those who want to make pictures better and those who want to see them better.”
12
EXHIBITORS HERALD-WORLD
April 5, 1930
A CODE
Regulating Production of Motion Pictures
Formulated by the Association of Motion Picture Producers, Inc., and the Motion Picture Pro- ducers & Distributors of America, Inc.
Motion picture producers recognize the high trust and confidence which have been placed in them by the people of the world and which have made motion pic- tures a universal form of entertainment.
They recognize their responsibility to the public because of this trust and because entertainment and art are important influences in the life of a nation.
Hence, though regarding motion pictures primarily as entertainment without any explicit purpose of teach- ing or propaganda, they know that the motion picture within its own field of entertainment may be directly responsible for spiritual or moral progress, for higher types of social life, and for much correct thinking.
During the rapid transition from silent to talking pic- tures they have realized the necessity and the oppor- tunity of subscribing to a Code to govern the production of talking pictures and of reacknowledging this respon- sibility.
On their part, they ask from the public and from public leaders a sympathetic understanding of their purposes and problems and a spirit of cooperation that will allow them the freedom and opportunity necessary to bring the motion picture to a still higher level of wholesome entertainment for all the people.
GENERAL PRINCIPLES
1. No picture shall be produced which will lower the moral standards of those who see it. Hence the sympa- thy of the audience should never be thrown to the side of crime, wrong-doing, evil or sin.
Will H. Hays Re-elected
(Special to the Herald-World)
NEW YORK, April 1. — Members of the MPPDA and a number of other producers yesterday ratified Will H. Hays’ new Code of Motion Picture Morals. The MPPDA at its meeting of the board of directors, re- turned to office Hays as president ; Carl E. Milliken, secretary ; F. L. Herron, treasurer, and George Borth- wick, assistant treasurer. Among those present were Hiram S. Brown, Charles H. Christie, R. H. Cochrane, E. W. Hammons, Nicholas Schenck, Albert Warner, Harry Warner and Adolph Zukor.
2. Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented.
3. Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation.
PARTICULAR APPLICATIONS
I. — CRIMES AGAINST THE LAW. These shall
never be presented in such a way as to throw sympathy with the crime as against law and justice or to inspire others with a desire for imitation.
1. Murder
a. The technique of murder must be pre- sented in a way that will not inspire imitation.
b. Brutal killings are not to be presented in detail.
c. Revenge in modern times shall not be justified.
2. Methods of Crime should not be explicitly presented:
a. Theft, robbery, safe-cracking, and dy- namiting of trains, mines, buildings, etc., should not be detailed in method.
b. Arson must be subject to the same safeguards.
c. The use of firearms should be re- stricted to essentials.
d. Methods of smuggling should not be presented.
3. Illegal drug traffic must never be pre- sented.
4. The use of liquor in American life, when not required by the plot or for proper characterization, will not be shown.
II. — SEX. The sanctity of the institution of mar-
riage and the home shall be upheld. Pictures shall not infer that low forms of sex relation- ship are the accepted or common thing.
1. Adultery, sometimes necessary plot mate- rial, must not be explicitly treated, or justified, or presented attractively.
April 5, 1930
EXHIBITORS HERALD-WORLD
13
2. Scenes of Passion.
a. They should not be introduced when not essential to the plot.
h. Excessive and lustful kissing, lustful embraces, suggestive postures and ges- tures, are not to be shown.
c. In general passion should so be treated that these scenes do not stimulate the lower and baser element.
3. Seduction or Rape
a. They should never be more than sug- gested, and only when essential for the plot, and even then never shown by explicit method.
b. They are never the proper subject for comedy.
4. Sex perversion or any inference to it is forbidden.
5. White slavery shall not be treated.
»
6. Miscegenation (sex relationships between the white and black races) is forbidden.
7. Sex hygiene and venereal diseases are not subjects for motion pictures.
8. Scenes of actual child birth , in fact or in silhouette, are never to be presented.
9. Children s sex organs are never to be exposed.
III. — VULGARITY. The treatment of low, dis-
gusting, unpleasant, though not necessarily evil, subjects should be subject always to the dictate of good taste and a regard for the sensi- bilities of the audience.
IV. — OBSCENITY. Obscenity in word, gesture,
reference, song, joke, or by suggestion (even when likely to be understood only by part of the audience) is forbidden.
V. — PROFANITY. Pointed profanity (this in- cludes the words, God, Lord, Jesus, Christ — unless used reverently — Hell, S.O.B., damn. Gawd), or every other profane or vulgar expression however used, is forbidden.
VI .—COSTUME
1. Complete nudity is never permitted. This includes nudity in fact or in silhouette, or any lecherous or licentious notice thereof by other characters in the picture.
2. Undressing scenes should be avoided, and never used save where essential to the plot.
3. Indecent or undue exposure is forbidden.
4. Dancing costumes intended to permit un- due exposure or indecent movements in the dance are forbidden.
VII. — DANCES
1. Dances suggesting or representing sexual actions or indecent passion are forbidden.
2. Dances which emphasize indecent move- ments are to be regarded as obscene.
VIII. — RELIGION
1. No film or episode may throw ridicule on any religious faith.
2. Ministers of religion in their character as ministers of religion should not he used as comic characters or as villains.
3. Ceremonies of any definite religion should be carefully and respectfully handled.
IX. — LOCATIONS. The treatment of bedrooms must be governed by good taste and delicacy.
X.— NATIONAL FEELINGS
1. The use of the Flag shall be consistently respectful.
2. The history, institutions, prominent people and citizenry of other nations shall be represented fairly.
XI. — TITLES. Salacious, indecent, or obscene titles shall not he used.
XII. — REPELLENT SUBJECTS. The following subjects must be treated within the careful limits of good taste:
1. Actual hangings or electrocutions as legal punishments for crime.
2. Third Degree methods.
3. Brutality and possibly gruesomeness.
4. Branding of people or animals.
5. Apparent cruelty to children or animals.
6. The sale of women, or a woman selling her virtue.
7. Surgical operations.
Films Increase Exports
(Special to the Herald-World)
NEW YORK, April 1. — The increased spiral of de- mand, at home and abroad, for American manufactured products, is the real basis for future prosperity in the United States, and motion pictures are a major factor in creating that demand. Will H. Hays, president of the Motion Picture Producers & Distributors of Amer- ica, told the nation over a chain of 32 broadcasting sta- tions Saturday night. The address was on the “ New Business World ” series sponsored by “ The Nation’s Business.”
14
EXHIBITORS HERALD-WORLD
April 5, 1930
Lobby Entertainment
THE problem of what to do with the mobs that storm your box office and can’t get into the theatre has been rather deftly solved by the wise officials who run the Paramount. They have looked around the staff and found an assistant booker and an usher who know how to play the piano and sing.
Gentlemen, please meet Bernard Brooks, assistant booker for the Paramount Brooklyn exchange, who warbles a tune or two when properly encouraged. And this other chap here, this fellow at the piano, is William Kettle, who apparently would rather tease the ivories than usher a patron.
In the evenings and on Saturday and Sunday afternoons, when the crowds begin to get so big at the Paramount that they are led into the lobby and allowed to stand there behind ropes, waiting for a chance to get into the auditorium and see something, these two boys put on their act. They’re good too and the crowd likes what they do, which, obviously, con- sists of plugs for Paramount songs and the repetition of numbers played on the organ by J esse Crawford.
This leads to an idea.
I should say that exhibitors and theatre managers all over the country, particularly those thousands who are bothered by too many customers, ought to give their staffs a good going over. How do you know but that the two boys who take care of the furnace aren’t an- other Amos an’ Andy in dis- guise? How about that fellow with the whiskbroom, he might be another Will Rogers!
Why, the gal in the cage might turn out to be Pert Kelton, or Fanny Brice, or Marie Dressier!
And there’s the quartet!
What usher staff doesn’t have its “barber shop four”? And if they’re good, what better setting for them to plead with “Adeline” than in the lobby?
There is this one objection to the plan. It seems very silly to be giving something for nothing. Perhaps the motion picture cathedral of the future will be an edifice consisting of a number of lobbies, into which you pass progressively, at a price, until you finally succeed in reaching the theatre proper.
Barrymore, Comedian
MAN’S memory is notoriously short, but I must say I was considerably surprised to find the Metropolitan critics doing handsprings because they just discovered that John Barrymore could do comedy! The reason for this comment is, of course, the amazingly funny performance given by Barrymore in “The Man from Blankley’s” just brought to Broadway by the brothers Warner.
That was rather a curious event anyway. Hardly a word of publicity or exploitation preceded the picture, which may have been caused somewhat by the fact that during the days just before the picture went into the Central theatre Sam Morris and Abe Waxman, Warner chiefs in these matters,
were on a train back from the Coast.
However, it is possible that the Warners didn’t want to make too much of a fuss over Barrymore’s career, either on they had gone to such expense and trouble in building him up as the great lover. Or perhaps they were so proud of the pic- ture, and of Barrymore’s per- formance, that they felt “The Man from Blankley’s” could come in cold and knock them dead.
Far be it from me to launch into a description of John Barrymore’s career, either on the stage or on the screen. Certainly enough is known about him to make an expres- sion of surprise unnecessary when it develops that he can do comedy. Why, one might take it for granted that he can do anything!
However, anyone who knows anything about pictures at all cannot have forgotten the gor- geous comedies made by Barry- more when he was first break- ing into pictures, to say nothing of such stage produc- tions as “The Fortune Hunter,” “A Slice of Life,” “The Affairs of Anatol.” How about that grand comedy called “The Man from Mexico” and how about “Raffles” and “Here Comes the Bride”?
I see no reason why exhibi- tors shouldn’t take “The Man from Blankley’s” and hop to it with both feet. Here is as funny a show as you’ve ever shown and Barrymore is better than ever.
— PETER VI SC HER.
~ The Sound ^ox' -
Credit Joe Cowan with the gag of the week. It seems one of the largest film companies hired a famous author, at a tremendous salary, to adapt a certain story. The famous author secluded himself for six weeks in his hotel and labored day and night on his script. He claimed hei had never put as much energy into his own books. On the seventh week, with the job almost done, his telephone rang. It was the president of the company himself. “Sorry, old man,” said the president, “you’ll have to stop that assignment, I just found out we don’t own the story.”
AAA
Lou Weinberg claims authorship of this gag: The reason Amos and Andy can’t appear in motion pictures is because Pepsodent removes film.
AAA
There was trouble in the Barge Office yesterday. John Barrymore was having his picture taken for a passport and refused to pose for anything but a profile shot.
AAA
There’s a fellow in Hoboken who’s been seeing every per- formance of a certain Mack Sennett comedy since the bill opened last week. The manager asked him the reason for his constant attendance. “It’s this way,” said the genius, “in that comedy there’s a scene where twenty bathing beauties are undressing, and just before they actually get interesting a train comes along and shuts off the view. Some day that train’s going to be late, and here’s where I’ll be when it happens.”
AAA
I know the dumbest girl in the whole world. She’s been reading in the papers how all the movie actresses are taking voice culture lessons to better equip themselves for talkies. The ones that started these voice lessons first, of course, are in most demand. Knowing this, she came upon an item in the paper that said the wide screen is sure to supplant the screen now used. And what did this dope do? She began to eat fattening foods !
AAA
I had an argument with a publicity man yesterday. “You dirty so and big,” he swore, “just for that last crack I won’t send you another line of publicity.”
AAA
One of the scenes reported cut from “Be Yourself.” Harry Green, who has the part of the shyster lawyer, is trying to get a stick of gum from a slot machine after having deposited a penny. For five minutes he shakes and wrestles the machine. “Ah,” he finally says, “an anti-Semite.”
AAA
Dear Editor:
I know this is short but I got a date. In exactly two hours and fifteen minutes I’m going to meet Marilyn Miller at Grand Central station. We’re both going to Hollywood, and on the same train, and I know I’m lucky. We’ll drop in on you in Chicago. NORMAN KRASNA
April 5, 1930
EXHIBITORS HERALD-WORLD
15
Hudson Might Drop Censor Plea To Assure Ban on Block Booking
Adding Federal Censorship to State Means Muddle, Foe W ams
Representative Bloom Points Out That One City Rejects What Another Board Approves
By FRANCIS M. BURT
WASHINGTON, April 1. — Censorship phases of the Hudson motion picture bill might be abandoned by the wayside if by so doing Congress could be per- suaded to enact the remainder of the measure, dealing with block and blind booking, it was indicated last week by Representative Grant M. Hudson of Michigan.
“I am not concerned with the censorship of this matter but I am concerned with this unfair federal trade practice of block booking and blind booking,” Hudson declared. “I want that done away with and that is the main intent of the bill.”
Borrow Fleet for Film ? 100 Millions !
(Special to the Herald-World)
LONDON , April 1. — Bruce Woolf e, director for an English Film Com- pany here, asked for the loan of three British battleships and seven de- stroyers for a war picture he is directing. It was agreed to let him use the ships providing he gave in- surance of $100,000,000, the value of the ships.
Woolfe inquired of the Lloyds In- surance Company and found that premiums on the insurance would be around $500,000 for ten days’ use. Yes, the idea was abandoned.
Two More Sound Stages to Grace Fox Movietone City In $20,000,000 Program
1930-31 Calls for 52 Productions; Grandeur and Fox Color Important
(Special to the Herald-World)
HOLLYWOOD, April 1. — Two additional sound stages are to be started immediately at Fox Movietone City, as a result of the in- creased program, in which 52 productions at an estimated cost of $20,000,000 are sched- uled for 1930-31. Grandeur and Fox color will form an important part of the program.
The new stages will be 212x140 feet, and when they are completed, there will be four- teen active sound stages at Fox Movietone City. Production details have been speeded up by a conference between Sol M. Wurtzol, general superintendent of Fox West Coast studios and James R. Grainger, general sales manager of the company, who is now in Hollywood, and while there, he hopes to de- cide on the city where the annual sales con- vention will be held. Hollywood, New York and Atlantic City are under consideration for the convention to be held May 25.
Shelve Bill to Prohibit Lobby Standing in Ohio
(Special to the Herald-World)
TOLEDO, OHIO, April 1. — The city coun- cil recently sought to put through an ordinance prohibiting standing room in local houses dur- ing waits for seats. Due to diplomatic han- dling of the situation by Jack O’Connell, man- ager of the Vita-Temple, the council shelved the proposition for the present. Report is that city dads were peeved because certain man- agers were tightening up on free ducats, and the proposed ordinance was an effort to retaliate.
Gets $150 for Injuries Received in T roy House
(Special to the Herald-World) ALBANY,- April 1. — A $3,000 damage action brought against the Troy theatre in Troy by a woman residing in that city who claimed that she was severely injured last December when she fell in the theatre, was tried last week with the jury bringing a verdict of $150 damages. This is the first suit of its kind in this section of the state during the past two or three years.
Hudson’s statement came after 20 min- utes of attack; upon the industry and an exposition of what would be accomplished by his measure, in the course of which he referred to pictures which exhibitors declared they either had to show or close down, since they had to take the films in order to get others.
Bloom Sees Further Muddle
Discussing these undesirable pictures, Representative Bloom of New York pointed out that a decided muddle would result if a federal censorship board were superim- posed upon the state boards now operat- ing. “New York state allows a certain thing to be shown,” Bloom said, “and we take that picture and show it. Then we go out to Illinois and they say cut that out. New York City puts in what Chicago cuts out and Chicago puts in what New York cuts out.”
“If this movie proprietor knew he had a bad film,” he asked, “does not the gentle- man think it would have been better busi- ness for him to close his theatre than to show the picture and have his clientele protest against it?
“The gentleman may think a film is a bad film but 999 people in the theatre may think it is a very good film. There is where your censorship comes in, and you can not get everyone to think the same as you and I think.”
Claims Industry Is “Nervous”
Charging that the slogan “boost the best, ignore the rest” is excellent for the box office but ineffective as a means of cleaning up the industry, Hudson asserted that “the moving picture industry shows signs of nervousness and agitation now that a ‘big stick’ in the form of a bill to control dic- tatorial trade practices and ‘movie educa- tion’ of the public intelligence threatens to fall. The bill introduced by Congressman Hudson of Michigan is a direct result of the cleverness of the industry — Fox, Para- mount, Warner Brothers and Radio-Keith-
Orpheum— at evasion and defeat of the Federal Trade Commission in its endeavor to eliminate the objectional practices of alleged monoplistic chain theatres, block booking and blind booking.
“The motion picture industry has shown either inability to manage their own house with the business ethics we demand and insist on on the part of our other big in- dustries or a disinclination to do so.
Charges Evasion
“Since 1921 Will Hays and his aids in ‘pronostication,’ Messrs. Colonel Joy and Carl E. Milliken, have solemnly avowed as official spokesman for the nation’s fourth largest industry to purify and elevate that industry along definite and commendable lines, but in the intervening nine years there has been nothing but evasion in a cloud of legal technicalities, and it is my desire to turn the machinery of govern- ment and make them do exactly what has been promised for the past nine years.
“The critics of the bill claim that section 14, dealing with the subject matter going into films, puts up a censorship. It is, however, a bit of byplay aimed to defeat the measure, as is proven by the fact that this section is but the incorporation into the bill of the producers’ own code or standard of quality for films adopted in 1921 and reaffirmed in each subsequent year up to the present time, but which the ‘czar’ of Hollywood seems unable to en- force among his four ‘subjects.’ ”
Sues for $10,000 After Arrest for Sunday Show
(Special to the Herald-World)
HILLSBORO, OHIO, April 1.— Don Evans, manager of the Bell theatre, recently arrested for Sunday operation, has brought suit for $10,000 damages against local ministers and W. C. T. U. Evans was acquitted on evi- dence that he was not owner of the house.
Musicians, Dropped, Start Broadcasts
At Vancouver in Fight on Sound Films
( Special to the Herald-World)
VANCOUVER, April 1. — The Capitol theatre posted unexpected notices on 17 musicians headed by Teddy Jameson, who will return to the Orpheum theatre. The theatre used 100 musicians last year. The musicians in retaliation organized a 40- piece band and are broadcasting weekly concerts to explain and request support against the talkies.
16
EXHIBITORS HERALD-WORLD
April 5, 1930
Ad Helps Save Town from Blue Law Doldrums
ELDORADO PATT Y JOHtN’AI.. ELDORADO, TM.1X0I5, MONDAY, MARCH 21. 1930.
That We May Not Be Misunderstood
THIS ADVERTISEMENT is not printed so much with the thought of influencing the minds of the voters as it is to present our side of the question as to whether we shall or shall not be permitted to operate our theatre seven days instead of six days each week. That we are vitally interested in the continued growth and prosperity of Eldorado, is best evidenced by the fact that we have invested a great amount of money here In fact, we have had money invested in Eldorado real estate for the past twenty years. And as you know we have recently invested several thousand dollars in remodeling our theatre to bring it up to the present day standard 4)f modern talking picture theatres.
B<‘ Sure You Mark Your Ballot Bight
Mark your ballot “No”. You arc not voting on the direct question of Sunday, show's, but on an ordinance which would prohibit Sunday shows. If you vote “Yes” you are voting to pass this ordinance which would stop the shows at the theatre on
Sunday, but if you vote “No" you are voting against the ordinance and voting to continue Sunday shows as they are now being operated.
Read your ballot and if you are in favor of the Sunday shows vote “No”
SAMPLE BALLOT
Shall the Ordinance prohibiting THE OPERATION of moving pic- ture shows and theatres in the City of Eldorado, on Sunday, be adopt- ed?
|
Yes |
|
|
No |
X |
The wording of this proposition is such that to vote in favor of Sunday shows you vote No. So if in favor of Sunday talkies mark your ballot like this one.
A Question for You to Deride Tomorrow
Shall we or shall we not be permitted to operate our theatres seven days a week?
That is for you to decide. There are many arguments “pro” and "con” but our story is very simple.
Almost every town around Eldorado is permitted to run which makes it very difficult for us.
Close the theatres all over the country on Sunday and our story will be a different
"one, but to try and compete with others operating seven -days a week makes it a very difficult problem.
All we ask is that you. weigh the issue carefully and then cast your vote accord- ing to your own personal, belief in the matter." If you can support" the issue we thank you for your vote. If you are opposed we thank you just the same and assure you of our good will.
Eldorado Amusement Company
Orpheum Theatre
OWNERS AND OPERATORS
ELDORADO
ILLINOIS
Three factors stand uppermost in the effectiveness of this full page advertisement which helped defeat a Sunday closing ordinance at Eldorado, III. Steve M. Farrar , managing di- rector of the Orpheum theatres at Eldorado and Harrisburg, III., both owned by the Colonial Amusement Company, employed as a headline the phrase, “That We May Not Be Misun- derstood” a familiar catch-line in Sunday campaigns of readers of the Herald-World. Sec- ondly there is the impelling use of quotations from leaders in town, the paragraphs being attractively boxed. Finally, there is the careful giving of prominence to correct under- standing of the proposed ordinance, which was worded in such a way that many easily could have voted against Sunday programs while thinking they were favoring them. All credit to
Steve Farrar.
1300 Votes Cast In Town of 2500 Despite Blizzard
Sunday shows are assured the town of El- dorado, 111., following a whirlwind campaign that won such widespread interest that 1,300 votes were cast out of a total population of only 2,500, and at that “on the worst day of the year, a howling blizzard all day,” writes Steve M. Farrar, managing director of the Colonial Amusement Company, owning and operating theatres in Harrisburg and Eldorado.
The vote stood 753 in favor of Sunday shows, and 547 against, the winning margin being 206 ballots.
Attention is called to the full page advertise- ment used by Farrar, headed “That We May Not Be Misunderstood,” a phrase familiar to readers who have used material supplied by the Herald- World in their campaigns. Other points to be noted are the use of quotations from citizens and the emphasis placed upon the wording of the issue, so that friends of Sun- day shows would not find on the day after the election that they had opposed them.
Bell & Howell Expand in Europe ; Forming of Filmo Co. in Holland Announced
The formation of the Filmo company of Holland, located in Amsterdam, has been announced by J. H. McNabb, president of the Bell & Howell company, Chicago, manufacturers of motion picture cameras and other motion picture equipment. This company, together with the Filmo company of Central Europe, with headquarters in Zurich, will serve European dealers of Bell & Howell products, the latter for Germany, Switzerland, Austria and Belgium.
For some years, this company has oper- ated a London office, and it is planned to expand the activities of this also.
Cooper Re-elected Head Of Exhibitors and Film Organization of Canada
(Special to the Herald-World) TORONTO, April 1. — The annual election of officers of the Motion Picture Distributors and Exhibitors of Canada at Toronto resulted in the re-election of Col. John A. Cooper as president. Directors are:
Claire Hague, Canadian Universal; James Travis, Educational; J. P. O’Loghlin, Fox; B. F. Lyon, Warner Bros. ; M. A. Milligan, Famous Lasky; P. J. Taylor, Radio; H. M. Masters, United Artists ; W. F. Haynes, Regal Films, and R. S. Bell, First National, all of Toronto.
Warner Brothers Starts Eight Exchange Buildings
( Special to the Herald-World)
NEW YORK, April 1. — Work has started on eight new buildings to house Warner Brothers, First National and Vitaphone ex- changes. All buildings are under supervision of Herman L. Maier, chief engineer of the construction of Warner enterprises.
The new exchanges will be in Dallas, New Orleans, Kansas City, Chicago, Minneapolis, Cleveland, Buffalo and Philadelphia. All exchanges will be constructed in the highest standard and will contain up-to-date vaults for the storage for film and records.
Denies Rumor That Revues Will Stop During Summer
(Special to the Herald-World) BALTIMORE, April 1. — Nat Keene, man- ager of the Hippodrome here, has denied the rumor that the Bert Smith Revues which he presents with first run pictures will be dis- continued during the summer.
Evanston House Wired
The New Evanston theatre will open soon as a De Luxe motion picture house, according to Clyde Elliott. It is now being wired with Western Electric Vitaphone and Movietone equipment, and a “giant screen” is being in- stalled. Engineers have pronounced the acoustics perfect.
Calcutta Houses Being Rapidly Converted for Talking Picture Films
(Special to the Herald-World) CALCUTTA, April 1.— The Globe Grand Opera House, the largest theatre in India, owned by the Globe Theatres, Inc., is the last house to be wired so far for talking pictures. Western Electric equipment was used. “Broadway Melody,” the opening film, broke all records, and the first show- ing was attended by Her Excellency Lady Jackson.
Other houses to be wired for sound are the Elphinstone and the old Empire thea- tre, which up to November had been legitimate houses.
April 5, 1930
EXHIBITORS HERALD-WORLD
17
Threaten Bill to Set Minimum Length of All Long Features
Eastern Pennsylvania Exhibitors Charge Many Subjects Are Being Delivered Far Below Required Footage, Requiring Addition of Product to Fill Two Hours
(Special to the Herald-World)
PHILADELPHIA, April 1. — A state bill to regulate the length of long fea- tures will be sponsored by the Motion Picture Theatre Owners of Eastern Pennsylvania, Southern New Jersey and Delaware for introduction in the Pennsylvania legislature unless remedial measures are taken by the producers.
The bill would become operative under the Bureau of Standards, thus stand- ardizing the length of a feature picture much as other materials and products are standardized by the Bureau.
MP PDA Accused of Paying Churchmen To Keep Hands Off
( Special to the Herald-World)
NEW YORK, April 1. — Open warfare be- tween. the Hays office and certain religious organizations broke out again on Sunday when Rev. George Reid Andrews, executive secretary of the Church and Drama League, charged Will Hays and Carl E. Milliken with retaining men and women in educational and religious institutions to prevent interference with the activities of the M P P D A.
Andrews declared he had received two offers from the Hays office, the first from Hays in 1925 and the second from Milliken in 1928. For speeches and advice (this when he was the head of the Drama department of the Federal Council of Churches) he was to have received $10,000, he said. Swift in retaliation was Milliken, secretary of the M P P D A. He frankly stated that the mo- tion picture industry has received fine cooper- ation from certain educational and religious groups, but he added that “It has also had to contend with a certain amount of definite racketeering from individuals who do not want such cooperation unless they can profit by it.” Milliken named Andrews as one of these and branded his charges as false.
Dr. Charles S. MacFarland has resigned as general secretary of the Federal Council of Churches of Christ in America to relieve the council’s policy committee of “embarrassment” over his sendees to the film industry.
Paramount Net '29 Profit $15,544,544 After Deductions
(Special to the Herald-World)
NEW YORK, April 1. — Paramount reports its net profit for 1929, including earnings of subsidiary companies, as $15,544,544, after de- ducting all charges and reserves. Profit for the last three months of 1929, ending Decem- ber 28, were $5,812,661. These figures com- pare with $8,713,000 for 1928 and $2,737,000 for the 1928 quarter. The net equals $6.36 a share.
Two-Day Blizzard Costs Chicago Theatres Huge Sum in Lost Patronage
Whatever the poets say about spring, it’s all a lot of hooey to Chicago exhibitors, who last week saw hundreds of thousands of dollars in potential receipts get buried in 18 inches of snow, as March prepared for a leonine departure. The measurements of the weather bureau, taken following a blizzard on Tuesday and a somewhat lesser snowfall on Wednesday, were also a lot of hooey to the theatre men, for in pooh-poohing the record-breaking 18-inch precipitation officially recorded, exhibitors could point contemptu- ously to from five to ten feet of icy flakes around their theatres.
Though thousands of workers could not get home Tuesday and Wednesday nights, the loop houses suffered along with the outlying the- atres, although on Wednesday night the down- town theatres did realize a slight trend toward normal business.
What might be called a “freak of the storm,” was a standout crowd at B & K’s Oriental theatre in the loop on Wednesday •night. Transportation was still in a state of approximate paralysis, but downtown workers who were jamming the hotels in lieu of their "homes, were attracted by the unusual bill at the Oriental, where five of B & K’s outstand- ing masters of ceremony were on display.
The exhibitor organization, through its board of managers, has determined upon the following scald as the best minimum lengths for motion pictures to make up a two-hour program:
Single reels — 900 feet minimum.
Two reels — 1,900 feet minimum.
Features — 6,000 feet minimum.
In announcing the action of the exhibi- tors’ organization, George P. Aarons, secre- tary, pointed out that “many subjects now being delivered are much below required footage,” so that the exhibitor is compelled to add more subjects to the bill despite the problem he already has with increased costs of operation.
Double Feature — Must Add 21 Minutes
“Instances were cited,” Aarons said, “in which an exhibitor played a double fea- ture, one 45 minutes in length and another 54 minutes, making a total of 99 minutes. This necessitated the buying of 21 minutes of short product, to complete the regular two-hour bill, the standard show length in all parts of the country.”
A plan also was evolved at the meeting whereby all independent theatres would group 'their advertising in newspapers un- der one cooperative heading as “Members of the M P T O E Pa S N J & Del.”
Official protest was made against the practice of exchanges charging for scores when pictures were played on percentage. “This was deemed manifestly unfair and immediate steps will be taken to attempt to correct this injustice,” Aarons reported.
Feel Agreement Includes Score Charge
“The exhibitors felt that the agreement between producers and exhibitors playing pictures on percentage naturally included score charge and any extra charge for the score was merely a holdup in view of con- ditions existing.
“This feature will be forced to an im- mediate decision, as it affects almost 85 per cent of the exhibitors in this territory.”
Interest in the affairs of the organization is rising steadily with constantly increasing attendance at meetings.
Allied Takes Part In 2-2-2 Conference ; MP T O Board Meets
( Special to the Herald-World)
NEW YORK, April 1. — The Allied States Association, meeting at the Hotel Warwick to discuss a standard arbitration contract and to consider the efficacy of the Sentry Safety Control device, will be a party to the 2-2-2 conference here. Today Allied members have gone to Philadelphia to inspect the Sentry plant. Yesterday the association voted to incorporate, leaving the details to its presi- dent, Abram F. Myers. Others at the 2-2-2 conference will be representatives of M P T O A and the distributors, these headed by Sidney R. Kent of Paramount.
At its spring meeting yesterday the M P T O A directors discussed arbitration and contract, labor problems, music tax, theatre servicing and protection, and endorsed the campaign of the N V A to provide funds for its work at Saranac Lake. President M. A. Lightman, Chairman E. M. Fay, Secretary J. M. O’Toole, and Treasurer Jay Emanuel presented reports of activities. The contract and arbitration committee will continue its work today prior to submitting proposals at the 2-2-2 conference tomorrow.
Here to Stay Unless Vm Fired, Says Hiram Brown
(Special to the Herald-World)
NEW YORK, April 1. — “I’m here to stay unless they fire me !” said Hiram K. Brown here today, denying a report emanating from the Coast that he had resigned from R K O.
Construction Started on Eight New
Warner Theatres in Expansion Program
(Special to the Herald-World)
NEW YORK, April 1. — Construction has been started on eight more Warner Brother theatres under the supervising of Herman L. Maier, chief engineer of the construction department of the Warner Enterprises. The new theatres will be situated in Youngstown, Ohio; Erie, Pa.; Wilkinsburg, Pa.; West Chester, Pa.; Milwaukee, Wis.; Torrington, Conn.; Ridgewood, N. J.; and Morgantown, West Va.
Alfred E. Gottesman, executive assistant to Major Albert Warner, returned to New York last week after a trip to Pittsburgh and Ohio, where he completed negotiations for several theatre sites.
Thomas Lamb was named architect for the theatres in Torrington, Conn., and Ridgewood, N. J. John Eberson was named architect for thd Wilkinsburg house and The O’Day Construction Company received the construction contract for the West Chester theatre.
In addition to the erection of eight new houses, Warners announce that 54 refrigerators will be installed in 54 of their houses throughout the country.
18
EXHIBITORS HERALD-WORLD
April 5, 1 9 JO
W
MOTION PICTURE FINANCE
Films Pointing Way to Other Issues In Emphatic Upward Trend
By LAURENCE STERN
NEW YORK, April 1. — The motion picture issues at present occupy less of the speculative limelight in Wall Street, but this is merely because other groups have emphatically joined the upward procession. There has been no actual let-up of demand for the film shares, and the leaders once more have climbed to record-breaking quotations.
THE general market recovery, however gratifying, has reached a point which raises a serious question whether the ad- vance has not run too far ahead of actual business progress. Taking its cue from the tape, the speculative community is in no mood to heed such a doubt at the moment but further fast advance cannot fail to make it of more urgent concern.
So far as film stocks are concerned, con- siderable reassurance is available. It is the prevailing view that they have not yet over- discounted tangible earnings prospects. Even the most favored in the group still sell at less than ten times probable 1930 earnings and at prices on which the divi- dend yield is well above current open market money rates.
Almost all members of the group have again bettered their past marks during the last week, with attention focused chiefly upon Paramount and Warner Brothers. The former advanced 3]A and the latter 5 54 points, both reaching considerably higher prices than prevailed at the peak of the 1929 bull market.
Aside from the market, developments in the Fox Film situation continue to domi- nate the interest of the financial district in the picture industry. Federal Judge Coleman’s disqualification of himself in the receivership litigation, following a charge of bias, is of far less significance than the open fight launched against Mr. Fox by Winfield Sheehan.
This confirms the forecast, made in these columns some time ago, that the Fox com- pany could emerge from its difficulties only
with a thorough change of management. Wall Street is undecided whether Mr. Fox or Mr. Sheehan would be the greater loss to it.
Motion Picture Club Increases Membership ; Initiation Fee Is $220
(Special to the Herald-World)
NEW YORK, April 1. — The Motion Picture Club of New York is increasing its member- ship and has widened its enrollment scope toward that end. The constitution now reads, “Only those engaged in the production, dis- tribution or exhibition of motion pictures, or those whose occupation brings them in fre- quent contact and affiliation with the foregoing shall be eligible for active membership. The initiation fee is now $220.
A . R. Boyd Enterprises Buys One Theatre, Leases Another in Pennsylvania
(Special to the Herald-World)
PHILADELPHIA, April 1.— Alexander R. Boyd, president of the A. R. Boyd Enter- prises here has announced the purchase of the Embassy theatre, Allentown, and the lease on a long term of the Globe theatre, Bethle- hem. The Boyd Enterprises are also contem- plating the erection of a new house in Easton, Pennsylvania.
New Firm Controlled by Bondholders Acquires National Playhouse Group
The ten theatres of National Playhouses, Inc., Chicago, last week were transferred from receivership, to the Bird Theatres Corporation, the stock of which is expected to be held by the Federal Theatre Corporation, a holding company. The Federal company, an Illinois corporation formed a month ago for the pur- pose, paid $100,000 for the interest in addition to assuming a mortgage of $2,500,000. The theatres, all of them on Chicago’s South Side and including several of the most pretentious in the city, have been operated by the Chicago Title & Trust Company, receivers, for the past two years.
The majority of the stock in the new com- pany, according to officials, is held by the bondholders, the main block of bonds being held by Frederick Peirce & Company of Phila- delphia. It is expected that Frederick Peirce will be elected president of the Federal com- pany when organization is completed. James Coston, who was managing the theatres under the receivership, is vice-president and general manager. Others stockholders are Coston and principal employes of the theatres.
The Bird company appeared in federal court several months ago and acquired the equity in the theatres for a reported price of $100,000.
In announcing that the policy of the circuit would continue as heretofore, Coston denied that any move was now in view to dispose of the houses to a large national chain.
Film Engineers Society Now Totals 611; 313 New Members Signed in 1929
( Special to the Herald-World)
NEW YORK, April 1. — 313 new members have been added to the Society of Motion Pic- ture Engineers in the past year. Latest figures show that the Society now has a total of 611 members, and 25 applications are now pending action.
The total society membership as distributed over the United States and foreign countries is as follows: New York and East, 303; Chi- cago and midwest, 82; Pacific Coast, 74; British Isles, 90; Canada, 15; France, 14; Ger- many, 15; India, 6; Italy, 3; Russia, 2; Au- stralia, 2 ; Japan, 2 ; Switzerland, 1 ; Sweden, 1; Holland, 1; total, 611.
Frank Price Heads Golf Committee
BALTIMORE — Erank Price, jr., manager of the Rivoli theatre here, has been appointed chairman of the golf committee of the Advertising Club and has announced the golf tournament schedule of that organization.
SECURITIES PRICE RANGE
Week Ending March 29
NEW YORK STOCK MARKET
|
American Seating |
Sales 500 |
High 21 |
Low 20 |
Close 20% |
|
Brunswiek-Balke-Collenaer |
3,000 |
3014 |
20% |
29% |
|
Consolidated Film |
8,000 |
241/4 |
23% |
24 |
|
Do. rts Do. pfd |
44,100 10,200 |
% 251/4 |
23% |
% 24% |
|
Eastman Kodak |
38,600 |
244% |
233% |
238% |
|
Do. pfd |
260 |
127 |
126% |
127 |
|
Fox Film "A” |
192.100 |
341/4 |
29% |
33% |
|
Do. rts |
162,100 |
5% |
4% |
4% |
|
Do. deb. rts |
53,900 |
% |
% |
% |
|
General Theatre Equipment |
90,800 |
46 |
421/4 |
441/4 |
|
Keith Albee Orpheum |
100 |
115 |
115 |
115 |
|
Loew's, Inc Do. pfd. ww |
28,500 |
76% |
73% |
75% |
|
700 |
103% |
102% |
103% |
|
|
Do. pfd. xw |
800 |
921/4 |
911/4 |
92 |
|
Metro-Goldwyn-Mayer, pfd |
500 |
25% |
25% |
25% |
|
Paramount |
237.900 |
76% |
72% |
76% |
|
Pathe Exchange |
18,600 |
5% |
4% |
41/8 |
|
Do. “A" |
4,900 |
11% |
10% |
10% |
|
Radio Corporation |
540,800 |
54% |
46% |
53% |
|
Do. pfd. "A" |
1,200 |
55% |
55 |
55 |
|
Do. pfd. “B” _ |
Sales 4,600 |
High 77% |
Low 74% |
Close 76% |
|
|
Radio Keith Orpheum... |
158,200 |
37 |
34% |
36% |
|
|
Shubert Theatres |
2,700 |
18 |
14% |
16% |
|
|
Stanley Company |
40 |
64 |
59% |
60% |
|
|
Warner Brothers |
372,200 |
80% |
74% |
79% |
|
|
Do. pfd. — |
7,800 |
70% |
66% |
69% |
|
|
Balaban & Katz — |
CHICAGO |
STOCK MARKET 350 84 |
75 |
84 |
|
|
Gen. Thea. Inc |
8,050 |
45% |
42% |
43% |
|
|
Marks Brothers cvt. p.. |
500 |
14 |
14 |
14 |
|
|
Morgan Litho |
14,450 |
21% |
18% |
20% |
|
|
Columbia Pictures |
NEW |
YORK CURB 4,200 |
39% |
35% |
39% |
|
Fox Theatres A |
9,200 |
7% |
6% |
7% |
|
|
Loew’s rts |
900 |
39 |
35 |
39 |
|
|
Do. war |
11,600 |
12% |
10 |
10 |
|
|
National Screen |
42,800 |
30% |
27% |
28 |
|
|
Sentry Safety |
39,500 |
9% |
6% |
9% |
|
|
Technicolor |
7,200 |
73% |
70% |
70% |
|
|
Trans-Lux |
1,800 |
10 |
6% |
7% |
April 5, 1930
EXHIBITORS HERALD-WORLD
19
XSZ PICTORIAL SECTION
Buster Keaton as Hamlet which he hopes someday to portray. Up to his latest film, M G M’s “Free and Easy,” it’s yet only an ambition.
We hope it’s grape juice! Though doubtless it should have been champagne, since this ceremony, officiated in by Sally O’Neil, popular screen star, initiated the RCA Photophone equipment on the Matson liner, Malolo, said to be the first Pacific liner to have talkers for the entertainment of its passengers.
Sally herself. Marilyn Miller, who, following her success in First National’s version of her stage hit, “Sally,” is to star again for FN.
[PHOTO BY HAL PHYFE]
Making a cinematic contract. Not written but recorded in action and sound, the agreement making Mary Lewis, grand opera singer (center), a Pathe star, was consummated as pictured above. Shown representing Pathe is E. B. Derr, executive vice president. Laura Hope, studio executive, is shown as the official witness.
Princes, real and — reel. That’s a pun, and we’re sorry, but we couldn’t help referring to Ramon Novarro’s “Student Prince,” see- ing him thus with Prince Leopold of Germany, nephew of the ex- Kaiser, who is visiting studioland. Novarro is here costumed for his new M G M picture, “The Singer of Seville.”
20
EXHIBITORS HERALD-WORLD
April 5, 1930
Recognize him? We doubt it, for this is none other than Andy Clyde, Educational’s bewhiskered comedian — with the whiskers off, which is a distinct innovation for : Andy, since he has worn the beard in 18 tl Sennett comedies
Sweet congratulations. Sid Grauman, noted Hollywood exhibitor, with a big birthday cake presented by Albertina Rasch, leader of the dancing group bearing her name, and several of her dancing troupe. Pictured are Olga Chal- mers, Mabel Berry, Grauman, Portia Grafton and Marion Wellman.
A lot of sleeves, shoes, a meagre amount of hat and muff, and — but perhaps that’s as far as we can go with certainty. In brief, you see what the well dressed woman wore in and around 1895, as exhibited by Marion Davies in M G M’s “The Gay ’90’s.”
Something especially charming in the way of boudoir decoration, achieved by the Warner Brothers artist with the eminent aid of Loretta Young. Specifically, this is a scene from Warner Brothers’ new production, “The Second Floor Mys- tery,” in which picture (which, in spite of the title, is not a bedtime story) Miss Young appears opposite her husband, Grant Withers.
April 5, 1930
EXHIBITORS HERALD-WORLD
21
Scenes from two First National productions. At right, an episode involving parents and heirs, show- ing Edna Murphy, Eddie Phillips, Grant Withers and Sue Carol in “Three Flights Up.” Above, a scene from “Sin Flood,” with Dorothy Revier and Douglas Fairbanks, Jr.
Three lusty dears of a modern story of love and combat. Thus grouped in a fetching pyramid of feminine loveliness are those who play the parts of the three French girls in Universal’s picturization of Erich Remarque’s “All Quiet on the Western Front,” which is now scheduled for an early premiere. The girls are Renee Damonde, Yola d’Avril and Poupee Andriot.
And over on this page is the well dressed woman of 1930, and you can get as homesick for the past as you want to but we prefer this costume displayed by Marion Nixon, well known player now being featured by Warner Brothers.
22
EXHIBITORS HERALD-WORLD
April 5, I93Q
Censorship Is Exposed as Ridiculous Tyranny
Will Bookful of Data Gathered by Ernst and Lorentz Play Big Role in Emancipation of Film Industry ?
CENSORED: THE PRIVATE LIFE OF THE MOVIE. By Morris L. Ernst and Pare Lorentz. Published by Jonathan Cape and Harrison Smith.
A LAWYER and a motion picture critic have combined to write a book about those strange and mysteri- ous folk who censor our pictures. From time to time stories have cropped out exposing some of the highlights of this little known craft, but never before has an entire bookful of data been collected treating with the censors themselves; specifically, by name, by history, and by character.
It marks a highlight in what may be the emancipation of films from a tyranny that would be doubly ridiculous were it not so close to home to be serious.
The volume has been collected pains- takingly', some of the facts seem to have been arrived at by clairvoyance, and the entire treatment smacks of a detailed and loving care bestowed by two authors, Mor- ris L. Ernst and Pare Lorentz, who have a bountiful and genuine hatred of censor- ship.
Takes Up Case of “Rain”
There is no more graphic way to bring to you the gist of the book than to relate some of the incidents compiled in it. The first is the story behind the changing of the name of the play “Rain” to the picture title of “Sadie Thompson.” The villain in the play was a minister, in the films he was altered into a “professional reformer.” Somerset Maugham, a writer and physician with a circle of admirers in three conti- nents, wrote the story, a moving treatise on sex inhibition. The story was of a pros- titute “saved” by a lonely evangelist who later violated her and then cut his throat to erase his sin. The topic was not new, being contained in such esteemed works as “The^ Scarlet Letter,” “An American Tragedy,” “Hell Bent for Heaven,” which was written by a Columbia professor and won the Pulitzer Prize as the best Amer- ican play of the year, and various other plays and novels accepted by the country for years. “Rain” had to change its title and the profession of the villain but audi- ences could go to any corner bookstore and buy the original story and play.
The Chameleon Censors
“Censored” points out that in three pic- tures, “Old San Francisco,” “The Prodi- gal” and “The Ten Commandments,” white slavery, orgies, nudity, drinking and de- bauchery were successively passed by the chameleon censor merely because they showed — in one short reel — the reward of the sinner; usually a hurried death so that much of the footage should not be taken from the “hot” parts — by cloaking the sa- lacious story with a sanctimonious air of expounding a moral anything can get by. Mary Pickford’s “Coquette,” taken from a beautiful play by George Abbot, was utterly ruined by the refusal of the censor board to permit the heroine to be pregnant, which was the situation upon which the entire play revolved.
In “Variety,” the now famous German film, every censor board except New York’s cut out almost two reels, destroying the plot completely. Eighth Avenue laborers could see “Variety” as it was made by its
By NORMAN KRASNA
EVAN CHESTERMAN, invalid who spends much of his time in a wheelchair, is the head of the Virginia censorship board, which ordered more than 6.000 deletions in pictures in a year, and then reported to the governor that “business steadily increases!”
directors but the faculty of Lawrence, Kan- sas, could not!
Philadelphia, home of the Curtis School of Music, the Academy of Art, the city of Joseph Pennell, Josef Hoffman, Leopold Stokowski, made “Anna Karenina,” heroine of Tolstoy’s masterpiece, marry her lover; overruling the story of a philosopher that had lived through two generations.
Six State Censor Boards; But —
“Censored” explains that only six states have film censor boards: New York, Penn- sylvania, Maryland, Kansas, Virginia and Ohio. This does not mean that uncensored films are shown in 42 states. A state license may be approved by a neighbor state, as West Virginia usually gets films cut by the Pennsylvania board; Missouri, those cut passed by Kansas, etc. To make a film costs from $35,000 to $1,500,000 (or more), consequently companies cannot afford to lose sales in six big states by having even one picture rejected or cut to pieces. The six censor boards have the power to ruin the big companies.
“Although they (the censors) are merely petty politicians, it is extraordinary how well the censors have kept their activities and their personalities secret,” the authors write. “They refuse to admit their work. They will not submit to interviews. Go to any movie executive and ask him about the state censors. Those who have met the censors refuse to talk about them. They are afraid, actually afraid, of these people. Each movie company has a corps of diplo- mats, delegated to work and soothe these state censors. These men would not dis- cuss the work of the censors. ‘We might get in trouble.’ A $2,500 a year politician has the power to humiliate and cow a $100,- 000 executive. It’s a good show.”
One chapter is devoted to Will Hays, titled “The Bishop of Hollywood.” Quot-
ing entirely from that chapter on those por- tions applying directly to him:
“To begin his work, Hays had to become a super-press agent. Before him the little men had cried ‘sin, sin’ and the public had pushed its nickels across the counter. But they had told their story too well, and it was up to Hays to cry ‘for shame — all is pure.’ And he did a good job. Whatever else he may be, he is probably America’s greatest press agent. Since 1922 Hays has grown in power and influence as his clients have developed. . . .
“With his knowledge of politics, his in- fluence, his skill, why doesn’t Hays fight the censors? He does, and he doesn’t. He fights new censorship bills, but his general policy has been to let well enough alone. His writers send reams of literature to the press praising the innocence of the modern movie. He seeks to eliminate censorship in this manner. As you will recall, Hays has not been noted in the past for putting his cards on the table. Again, if he defied the censors it would cause trouble. The poli- ticians would object, and Hays has a tender, forgiving spirit for the politician.
“Caution Is Password”
“The independent theatre owners might object to the dominance of the big pro- ducers, and Senator Norris or some other fiery liberal might bring up the old suits the Federal Trade Commission has brought against Paramount, et al., and cause further unpleasantness. No, Hays will not start a street fight with Pennsylvania or Maryland censors. Rather he will caution his clients to take it easy.
“Hays is the biggest priest of them all. He not only has a huge corporate body to sell to the public, but he has a product that at any time may blow up, kick back, and hurt the owners. He has to be careful and virtuous. And he does a good job. All movie producers are not fools. They un- derestimate the assimilating power of the American middle class, but they have no illusions as to why Hays is worth $150,000’ and more a year. Hays has taken the club woman, the church, and the censor and humored them enough to get their support.
“A man used to the ways of political subterfuge, with no especial literary or sci- entific background, Will Hays peculiarly eptomizes the class conscious, fearful yet aggressive spirit that has made the Ameri- can movie an industry, and little else. Search hard and find a man more fitted to handle petty politicians, middle aged med- dling prudes, and aggressive financiers. The controllers, the movie barons, are sat- isfied with his work. The dividends are coming in. We can expect no fight for freedom, taste or mature thought in their product so long as the Bishop of Holly- wood chants his platitudes and swings his pot of purity.”
The foregoing summary of Will Hays has all been culled from the book, and while only a small portion of the total accusa- tions, is sufficient to give the reader an idea of what the book is like. As much as has been quoted, there still remains chapter upon chapter of startling information that should make every one in the industry feel it a personal obligation to eat a censor a day until the supply gives out. Pare Lor- entz is the capable critic of “Judge” and he and his co-worker, Morris L. Ernst, are hereby voted a hearty bouquet of thanks for their efforts in clearing a grave and need- less ally of what may yet be America’s contribution to art.
April 5, 1930
EXHIBITORS HERALD-WORLD
23
Fox Legal Tangle Waits April Session As Knox Takes Case
(Special to the Herald-World)
NEW YORK, April 1. — The Fox situation reached an involved legal tangle in the past week from which the trend of the outcome is doubtful until the annual meeting of stock- holders April 15.
Knox Succeeds Coleman
The most important development was the replacement by Federal Judge Knox of Judge Coleman, who retired at the request of Hal- sey-Stuart lawyers. Judge Knox announced he would do everything in his power to adjust the Fox difficulties in open court but declined a suggestion that he act as a negotiator in any other way.
In an open letter to stockholders of the Fox enterprises last week, Halsey-Stuart charged that “inaccurate statements have emanated from Mr. Fox made for the pur- pose of shifting responsibility from where it properly lies.”
Denies Market Crash Was Cause
Halsey-Stuart reviewed the history of its dealings with the Fox companies, listed $15,- 750,000 in unsecured loans “for which no bonus was charged,” and asserted that “the claim that the stock market panic which oc- curred the latter part of October, 1929, pre- vented the financing of these companies and is responsible for their present situation is likewise unsupported by fact.”
The letter states that “the responsibility, therefore, for receivership, if that disastrous course must follow, rests on the shoulders of Mr. Fox,” and finally that the trustees desire to “properly protect your interests by bring- ing about an honest and effective plan of refinancing.”
“ Clancy in Wall Street” Aristocrat Film , Doing Record Business in N.E.
(Special to the Herald-World)
NEW YORK, April 1. — Reports from Provi- dence, R. I., and Portland, Me., the first two cities in which “Clancy in Wall Street,” Aristo- crat all-talking comedy, has played, indicates that it will be one of the popular independent productions of the season. The R K O Albee theatre in Providence announce one of the big- gest box office receipts of the season, and the Empire theatre in Portland has been playing to capacity.
Runs are being booked in key cities through- out the United States.
General Adoption of Color In Newsreels Called Near
(Special to the Herald-World)
NEW YORK, April 1. — With Pathe using color in some of its sound news and Para- mount contemplating a similar plan, general adoption of color in newsreels is seen in the near future. This may be hastened with the completion of the plant of the Colorcraft Corporation in Astoria. Colorcraft officials say that they will be able to deliver color prints almost as fast as black and white prints are delivered today.
Maryland M P T O Elects
(Special to the Herald-World) BALTIMORE, April 1.— Officers for the ensuing year for the Motion Picture Theatre Owners of Maryland, affiliated with the Allied States Association, were elected at the an- nual meeting March 20. They are Charles E. Nolte, president; Lauritz C. Garman, vicepresident; Frank A. Hornig, treasurer; William E. Stumpf, secretary.
Better Sound Reproduction
Left to right: R. M. Harper, Dan Dahlen, Mayor C. F. Carpentier, E. J. Carpentier , Jean A. Pope.
Evident pleasure reigns in the heart of Charles F. Carpentier, managing direc- tor of the Strand and Majestic theatres of East Moline, 111., at having had one of his theatres chosen for the award of the Herald-World plaque, and in the follow- ing reprint of part of his letter, he tells us of the happy occasion of the presenta- tion of the emblem of good sound. But before we quote Mr. Carpentier, may we just give a brief paragraph to the gentlemen in the picture, who took a prominent part on this auspicious occasion. This will act as a supplement to the picture caption.
R. M. Harper is editor of the Moline Herald, past commander of the East Moline Post of the American Legion and now president of the East Moline Library board; Mr. Dan Dahlen, druggist by profession, and president of the local Association of Commerce; Mr. E. J. Carpentier is a brother of the managing director; the manag- ing director, who is also his honor the Mayor and Mr. Jean A. Pope, president of the East Moline Rotary Club, an inveterate sportsman and maker of the presen- tation address.
And now, after this brief, but important paragraph, we shall continue in Mr. Carpentier' s own words.
The presentation took place on Friday evening, March 21st. My brother and I were indeed happy and proud on this occasion and as the clippings will show you so expressed ourselves.
I would like to say that your offering of this award for perfection in sound is a great inducement to progressive theatre owners and managers to strive for that perfection that will be a great aid not only to themselves but the industry as a whole.
We know that the selection of our theatre for this award will help us materially. We can tell already by the increase in our business and results.
It does this too. It will force us to keep our sound and other facilities of the theatre up to the highest point of perfection because we now have a reputation to maintain. This short experience of ours has definitely shown us that with sound perfection it is possible for theatres in the smaller communities to compete on an equal basis with the DeLuxe houses in neighboring larger cities. Providing, of course, that the small theatre owners will use good judgment and sometimes a lot of guts to achieve that perfection that makes actual competition possible.
24
EXHIBITORS HERALD-WORLD
April 5, 1930
Blind Leads Blind — To Theatre
Leader of Better Opportunities Movement Appeals to Exhibitors to Permit Blind Person and Guide to Attend Show for One Admission — Complete Co-operation of E. J. Sparks in South and of Publix Managers Already Obtained, Says Charles M. Anderson, Chairman of Civic Clubs Committee of Jacksonville, Fla.
By CHARLES M. ANDERSON
uTT 7 AIT a minute,” said the young doorkeeper of the motion picture the- VV atre. “I will get fifty cents back for you. One ticket will be enough, for you cannot see the picture.”
These were the words which planted in my consciousness the desire for others to enjoy the same privilege.
It is the little incidents that come up in our daily life that often plant the seed that ma- tures into something worth-while. About six months ago, while at St. Augustine visiting the school there for the blind children, I found we had three hours to wait before train time. I suggested we take in a movie. Al- though blind, I get considerable pleasure out of the sound pictures, especially so when the scenes are occasionally described to me in a whisper.
Sparks Indorses Plan
Thinking over the above incident I came to the conclusion that all of the picture houses would be glad to grant such a privilege, if the opportunity were brought to their notice. As to how well it was received by Mr. E. J. Sparks, president of Consolidated Theatres, Inc., will be seen from the following letter which was an answer to a request to allow the blind to enter their picture houses with a guide for the price of one admission.
“I am in complete sympathy with the very fine movement whereby any blind person will be admitted to any theatre that we operate upon the conditions set forth in the communi- cation left with me by you yesterday. It is a real pleasure to cooperate in this — one of the finest progressive steps that has come to my attention.
“We operate 47 theatres, a complete list of which will be sent to you from Lakeland.
“I hope that the blind will come into our theatres as frequently as they can find time to do so and we will endeavor to make them happy and enjoy themselves.”
Helps Blind to Become Fans
All of the managers of the theatres of this company have been notified and the blind are now enjoying the privilege extended to them. This will be of mutual advantage as is shown from the following fact : I know of one blind person who has already spent three dollars and twenty-five cents under this two-for-one privilege, whereas he would not have gone to any of the shows, he says, if he had to pay for himself and guide.
The district managers of Florida of the Publix Theatres Corporation are both in hearty accord with the movement and the matter has been referred to the home office in the hope and belief that they will grant this privilege in all of their houses throughout the country.
It is my aim as chairman of the Civic Clubs Committee to bring this about as soon as pos- sible in all of the theatres in this country. Through the cooperation of the readers of the Herald-World, also the Lions Clubs and The American Foundation for the blind, I feel that this aim will be accomplished within a short time. Fostering opportunities for the blind is the slogan of our committee.
Vocational Training Needs
At the beginning of 1928 it was brought to my attention that the school for the blind children at St. Augustine was the only educa- tional institution in the state where vocational training was given the blind, but only to chil-
dren. As statistics show that 65 per cent of blindness occurs after maturity has been reached, it is obvious that there should be opportunities along these lines for the adult blind of the state.
There is one blind to every thousand to twelve hundred persons in the United States. About 58 per cent of those thus handicapped are over fifty years old, according to figures gathered by the American Foundation for the Blind.
It was to bring about opportunities for the adult blind of Florida that I started my work of investigation and publicity in February, 1928. To raise funds to carry on the work, I published a booklet of original poems entitled “The Garden of Eden and Other Poems.” This was sold for one dollar, all the proceeds from the sale being contributed to the work of investigation and publicity.
347 Blind in Florida
It was discovered that no survey had ever been made of the blind in the state. The fed- eral census of 1920 showed that there were 548 blind in the state of that time. In the spring of 1928 the American Legion under- took the making of a survey of the crippled children. At the request of the Civic Clubs Committee they included the blind. This was done in 36 counties out of the 67 in the state,, and showed that there were 190 blind adults and 157 blind children.
On June 8, 1928 I spoke before the Lions State Convention at Daytona Beach and they passed a resolution to foster the work I had begun. I also had resolutions passed by the local post of the American Legion, the Civ- itans, Exchange, Kiwanis, Lions and Masonic clubs, to the end that one member from each of the clubs be selected to form the Civic Clubs Committee.
Commission Is Authorized
We caused to be drawn up a bill in the 1929 legislature, which passed unanimously without amendment and has been signed by Governor Doyle E. Carlton, providing for the creation of a commission for the adult blind, with an annual appropriation of $15,000. This will provide home teachers, also maintain a shop where certain trades can be taught.
With this movement for admittance of the blind person and guide for one ticket at theatres, I believe that an important step is being taken in the same direction as with the other activities mentioned, and that is the pro- viding of opportunities for the sightless.
Paula Gould Opens Own Publicity Bureau in N. Y.
(Special to the Herald-World)
NEW YORK, April 1. — Paula Gould, popu- lar New York newspaper and theatrical figure, has opened her own publicity bureau, which will be both commercial and theatrical and local, national and international in scope. The company’s prospectus admits of a “guarantee to make anyone or anything world famous in three months.”
BRUCE GALLUP is making his first trip to the Coast this week. United Artists’ director of advertising and publicity was to arrive in Hollywood Thursday, April 3, with Al Lichtman, general manager of distribution, having left New York Monday.
Extra , No Speeches Made At John Boles Luncheon, And That’s a Real Story
Paul Gulick Introduces Star as Guests Eat, Drink and Shout
BY HARRY TUGEND
NEW YORK, April 1. — The luncheon given John Boles by Universal on his arrival here for the opening of “Captain of the Guard,” proved to be a startling innovation. There wasn’t a single bouquet slinging speech. In fact there just wasn’t any speech. We arrived, were greeted, seated and fed. And well fed. Then with unbated breath and unbuttoned vest, we settled back for the usual “unaccustomed as-I-am t. p. s.”
Up spake Mr. Paul Gulick. “Friends. If you haven’t met John Boles, come up and meet him. There will be Tio speeches unless Mr. Boles wants to make one.” Well we rose to a man. To a woman, too, I think. Pandemon- ium broke loose. We shouted stamped and whistled. Strong men wept and embraced each other. Then above the commotion came the calm, resonant voice of John Boles.
“Friends.”
A hush settled over us. A very strained hush. You could hear a ceiling drop. It must have been the one right under us.
“Friends,” said John Boles, “I am not a talker, I’m a singer,” and sat down.
After that John Boles can have my right arm. In fact, I offered it to him but he only shook my hand and asked me to autograph his starched cuffs. Weakly emulating; his own modesty I replied, “I am not a writer, I’m a dancer,” and made my getaway.
Maybe after I left, Graham McNamee, who was there delivered a stirring, course by course appreciation of a luncheon without speeches.
Film Banned in Budapest
Budapest has banned the showing of a film entitled “Haitang,” starring the Chinese- American actress Anna May Wong, because of its anti-monarchist theme.
April 5, 1930
EXHIBITORS HERALD-WORLD
25
Complete Text of M G M’s New Contract
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THE NEW METRO-GOLDWYN-MAYER CONTRACT , which contains both arbitration and deposit clauses. Each party would appoint ttvo arbitrators, these four to select a fifth outside the industry if they fail to agree, and in the event they cannot decide upon the fifth he is to be named by the presiding court of the highest court of the state in which the exchange is located.
Composers Featured on Paramount-Publix Radio Hour; Varied Program
NEW YORK, April 1.- — Benny Davis and J. Fred Coots, composers of many popular song hits, and the Wynn Quartette, composed of Evelyn MacGregor, Elsa Borg and Madeliene Southworth, were featured in the Paramount-Publix radio hour over station WABC last Saturday. The complete pro- gram was as follows :
Overture “Swanee River Fantasy,” Paramount or- chestra, conducted by David Mendoza; Organ solo, Jesse Crawford; stage show under the direction of Paul Ash, featuring “Dream Avenue,” Harriet Lee, “Flappers on' Parade,” orchestral novelty, “Congrat- ulations,” orchestra, “Do. You Play, Madame?” Har- riet Lee and Paul Small, medley from the screen play “Honey,” the foursome, “Sweeping the Clouds Away,” orchestra, medley from “Sons of Guns,” Wynn Quartette, “Sharing,” Benny Davis and J. Fred Coots, “You Oughta Know,” Davis, Coots and Wynn Quartette, “You Can’t Stop Me from Falling in Love,” Davis and Coots, medley from “The Love Parade,” orchestra.
Skouras Plans 37 -Story
Structure in St. Louis
(Special to the Herald-World)
ST. LOUIS, April 1. — The erection of a 37-story $3,000,000 office building, which would be St. Louis’ tallest structure, is contemplated for the northwest corner of Ninth and Locust streets by Skouras Brothers Enterprises.
This became known on March 27 when the Board of Education, owner of the present 7-story building and site, received a tentative offer for a 99-year lease on the property.
Cincinnati Exhibitors
Pick Ackerman Again
(Special to the Herald-World)
CINCINNATI, April 1. — J. A. Ackerman, manager Glenway theatre, was again elected president of Greater Cincinnati Motion Picture Exhibitors Co. at a recent meeting. He has held the office twelve times.
Filming of uAll Quiet” Attacked in Reichstag;
Is Declared Unfavorable
According to newspaper dispatches from Berlin, the filming of “All Quiet on the West- ern Front” has been attacked in a speech by Geheimrat Sievers before the Reichstag com- mittee on education.
Sievers declares that undue emphasis is be- ing placed upon the brutal treatment of the recruits by the non-commissioned officer Him- melstoss. He also stated that foreign picture directors not only frequently make anti-Ger- man films for allied consumption, but also sell them to Germany after cutting out the offen- sive parts.
A dispatch from Dublin says a new talking picture based on Liam O’Flaherty’s novel, “The Informer,” has been banned by the censor, and an appeal is to be made against the decision.
26
EXHIBITORS HERALD-WORLD
April 5, 1930
T ea, Life Savers, Bagpipe — Play Part In Defeating Lenten Slowdown
Kansas City Managers Launch Special Efforts to Keep Up Attendance — Charninsky Follows Peacock Parade with Wild West [By Special Correspondent to the Herald-World]
KANSAS CITY, April 1. — Managers of theatres are using widely varied methods of rallying business as the depression of the lenten season begins to be felt. All seemed to be agreed upon one point, at least, and are booking a high quality of pictures for this period, planning a schedule of “shows-they-can’t-stay-away-from.” The Newman tried a novel plan last week of serving tea on the mezzanine every afternoon and evening to patrons. A tea cup reader was present at these gatherings to tell the fortunes of the par- takers. Large crowds were reported and the house did above average business during a bad week.
THE Royal passed out “life-savers” dur- ing the show all week, besides launch- ing an extra campaign of advertising in the form of heralds, window displays, and ads. The Royal’s Boys and Girls club, in- augurated at this time, is a move which will continue after the lenten season. School boys and girls join the club and are admitted to Saturday morning shows for five cents. Membership in the club is expected to reach seven thousand.
Even the larger and more conservative houses are using special means of attracting crowds. At the Mainstreet a week ago, during the run of “The Cohens and Kelleys in Scotland,” a man in Scottish attire played a bagpipe in front of the theatre. The Mainstreet lobby is unusually well decorated.
The Midland, which is not given to flashy advertising, is this week sending out thou- sands of circulars and heralds advertising “The Rogue Song.” Many extra window displays have been made and the lobby is more showy than usual.
The laurels as far as picturesquesness is concerned must go to Louis Charninsky, manager of the Pantages. Following up his flair for the colorful, he is launching a series of stunts which are aimed to startle the Kansas Citian into going to the Pan- tages. Not content with leading peacocks about town for “Peacock Alley,” he rode through the streets this week on a horse, outfitted as a wild-west, two-gun man, to advertise “The Lone Star Ranger.” The stunt must have had its effect, because the picture headed the list for the week.
Corporation of America. Net income of Radio Corporation for the year ended Dec. 31, 1929, was $182,137,739 and total gross income $182,- 137,739. Current assets totalled $90,809,150 and liabilities $38,137,585.
Even Greater Progress Seen
Even greater progress will be made this year in synchronizing, the report stated.
“The Photophone Company is entering on a wider program of research and development work,” it said. “During the coming year, through its association with the RCA Victor Company, it will make available sound records to motion picture exhibitors, including over- ture and exit music. During the year the Photophone Company has developed portable apparatus of outstanding merit which has been made available to the industrial and educa- tional fields.
13 Trucks to News Services
Thirteen sound recording trucks have been provided for news services, and recorder- licensee contacts entered into with eight film companies and apparatus installed in their studios.
“Additional stock in Radio-Keith-Orpheum Corporation was acquired by RCA Photo- phone, Inc., and the Radio Corporation of America when rights to subscribe for such additional stock were offered to R K O stock- holders.”
Substantial progress in talking pictures was made through Radio Pictures, subsidiary, the report added.
New RKO Theatre to
RCA Photophone in 926 Theatres, 565 In U. S.9 Says Harhord
RCA Photophone sound equipment now has been installed or is being installed in 926 theatres throughout the world, 565 in the United States and 361 in the foreign field, says the annual report of James G. Harbord, chair- man, and David Sarnoff, president of Radio
Take Place of Old Columbia Burlesque
( Special to the Herald-World)
NEW YORK, April 1. — The Columbia the- atre, at the corner of Broadway and 47th street, will be demolished to make room for a new RKO theatre, as the metropolitan headquarters of first run Radio Pictures. Its interior will be modernistic throughout, with glass and bronze instead of the usual orna- mental plaster decorations. The seating ca- pacity will be 2,500.
J.E.D. Meador Named Business Manager of Technicolor in N. Y.
(Special to the Herald-World)
NEW YORK, April 1.— J. E. D. Meador, for a number of years director of publicity and advertising for the old Metro Picture Corporation, has been named business man- ager for the New York office of Tech- nicolor, according to announcement by Dr. Herbert T. Kalmus, president.
Meador will con- tact with the New York offices of pro- ducers using Techni- color and with studios of the New York district where a number of Techni- color features are to go into production in
the future.
The business division of Technicolor in Hollywood will remain as heretofore under the direction of Andrew J. Callaghan, and in Boston under the direction of Frank R. Oates. Meador will cooperate with them in serving: the needs of producing and distribut- ing offices in New York.
Universal to Make 20 Pictures a Year But at Cost of 50
(Special to the Herald-World)
NEW YORK, April 1. — Universal is going for the big money. In line with its new policy the company hereafter will make only 20 pictures a year at an expenditure formerly spread over 50 pictures, Carl Laemmle an- nounced today.
Universal will likewise concentrate on a proportionately smaller number of shorts to be produced in an elaborate manner and will eliminate all brands and brand names. Indi- vidual units will be individually handled. Only pictures for the best of first run houses will be considered for production.
Three or Four Outdoor Epics
Among them will be three or four outdoor pictures of epic proportions. Film indicative of the new type are “Captain of the Guard,” “King of Jazz,” “The Storm,” “What Men Want,” “The Czar of Broadway,” and “All Quiet on the Western Front.”
“The first fruits of this new policy,” Carl Laemmle said “are already being shown in the increasing production care and money that are going into such pictures as ‘The Storm,’ the addition of Lupe Velez to the cast and in the signing of this brilliant young star to a five year contract. Likewise, the new trend can be seen in the big production plans for ‘What Men Want’ with Pauline Starke.
Sees Ace in John Boles
“In John Boles, Universal feels that it has one of the biggest drawing cards.
“In its young stars the company is remark- ably fortunate. It will, develop the talent of Lewis Ayres, launched as the hero of ‘All Quiet On the Western Front,’ of Jeanette Loff to be seen in ‘The King of Jazz,’ of John Wray who will also be seen in ‘All Quiet’ and in ‘The Czar of Broadway.’ ”
Among the books and plays already bought are “Little Accident,” “Sincerity,” “East Is West,” “For Husbands Only” and “Outside the Law.” The company also intends to re- make “The Hunchback of Notre Dame.”
MGM Granted Permanent Writ to Bar
Firm from Printing or Selling Songs
(Special to the Herald-World)
NEW ORLEANS, April 1. — United States Judge Wayne G. Borah, made permanent the injunction which he recently granted to the M etro-Goldwyn-M ayer Corporation, New York, et al, restraining the Penn Printing Company, Inc., 427 Penn street, from publishing or selling a number of songs copyrighted by the MGM corporation, and several song writers and publishers who joined the plaintiff in the suit. The Penn Company, of which William J. Sullwood is New Orleans manager, Philip Marrly and Dan Foiguei, Chicago, also are officials, did not contest.
April 5, 1930
EXHIBITORS HERALD-WORLD
27
Production Begun on “The Yankee Don*9 New T almadge Outdoor Film
(Special to the Herald-World.)
HOLLYWOOD, April L— Richard Tal- madge has started production on “The Yankee Don” as the first of a series of outdoor talk- ing pictures to be produced by him. The picture has been in preparation for the past six months under Talmadge’s supervision. He intends to make it the outstanding film of his career. A two months’ stay in Mexico City gathering historical facts and becoming ac- quainted with the Spanish language was necessary on the part of Talmadge and his studio staff.
Other stories that have been carefully selected and put into picture condition are “The Road to Monterey,” by George Ogden, “Stranded in Russia” and “Shackles.” These will follow “The Yankee Don.” “Shackles” will be a special production with Talmadge demonstrating more than the usual amount of stunts and fast moving action.
Other stories that will shortly go into preparation for early filming are “Forgotten Men,” “Isle of Lost Hope,” “Daring to Do,” “Devil’s Isle,” “Siberian Love,” “South of the Volga,” “Across the Volga,” “Down the Volga” and others.
Wampas Will Not Elect Baby Stars This Year; First Time in 7 Years
(Special to the Herald-World)
HOLLYWOOD, April L— Wampas will elect no baby stars this year for the first time in seven years. The decision was made late Monday night at a meeting of the board of directors. The reason fdr the radical change in plans was not forthcoming from officers of the organization.
New officers of the organization will be in- stalled Sunday April 6 at Caliente, Mexico, where elaborate ceremonies will take place.
Paramount Dickering For Theatre Site on Hollywood Boulevard
(Special to the Herald-World)
HOLLYWOOD, April 1.— Paramount will built a theatre in Hollywood, it was decided by Adolph Zukor before leaving here a few days ago. Paramount people are attempting to find a suitable site for the house on the boulevard.
Fourth Academy Sound
Meet Oversubscribed
(Special to the Herald-World)
HOLLYWOOD, April 1.— The fourth meet- ing of the Academy of Motion Picture Arts and Sciences Sound School was held this week. Architectural and theatre acoustics was the subject. The school is heavily over- subscribed.
The Academy will hold its annual banquet for the announcements and presentation of the merit award at the Ambassador Hotel this week. Seven gold-bronze statuettes will be bestowed for the outstanding achievements in the respective fields of motion picture art.
Roach Directs Drama; Writer Signed for Garnett Picture
Crosland Makes Jolson’s Next — Crawford, Page, Sebastian in “Blushing Brides” — Inspiration Casting for “Eyes Of World” — Beaudine Directs Dove
(Special to the Herald-lVorld)
HOLLYWOOD, April 1. — With five complete casts enacting scenes in suc- cession in different languages, Hal Roach started direction of M G M’s “five-in- one” film, “Monsieur Le Fox,” this week. Barbara Leonard, heroine, appears in all versions. Gilbert Roland plays opposite her in two languages, English and Spanish.
Tom Buckingham signed a contract with Pathe this week to do the story for the next Tay Garnett Production.
Buckingham expects to put in three or four more weeks on the story before it is completed. In the meantime Garnett is tentatively casting the picture.
Pathe plans to get the picture started with Garnett at the megaphone shortly after the middle of April. It will be a more elaborate story than Garnett has ever directed and ac- cording to present plans it will have an ex- pensive cast.
Alan Crosland will direct “Big Boy” for Warners. It will be the last film that Jolson will appear in for that company.
CLIPPINGS
“CHICAGO, March 28. (Exclusive). — Mae Murray, flaxen curls, carmine mouth, white teeth and all, was in Chicago for an hour this morning before leaving for New York and an eight week tour. “You know how a little bird nest is, with a papa bird and a mama bird and maybe one or two little birdies? Well,” she said, “that’s the way we are at home.”
“Miss Murray who in private life is Princess M'Divani, admitted that she has been married to the self-same husband for the last five years. In fact, she asserts, he is the only husband she has had in her long career from cabaret dancer up to cinema stardom. Mae did a song and dance for the crowd in the station.” — L. A. Times.
which proves my contention that
Robert Z. Leonard is after all only a myth.
But it also proves what a lot of things can be done for a crowd in a station.
When I’m in a station and there’s a crowd around I like to stand on my head or do cartwheels.
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AN ADO’ABLE SPECIALIST
Bebe Daniels has engaged a fan writer who hails from Memphis, Tenn., to help her with the part In her next picture at RKO. The f. w. gets well paid for teaching the Daniels to speak like a gal from Memphis.
It wonld be only fair if Bebe wonld teach the fan writer to speak like a girl from Hollywood.
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Just before leaving the employ of his company a rather famous director popped his superior (an as- sociate producer) in the eye.
The director went straightway to the Warner lot and went to work for Darryl Zanuck this week. And a word to the wise is sufficient.
Bnt than Zannck has long learned that it’a smart to agree with rather famous dire® tors.
And so have I.
DOUGLAS HODGES
The three girls of “Our Dancing Daugh- ters” are reunited again in Harry Beau- mont’s “Our Blushing Brides” for M G M. They are Joan Crawford, Anita Page and Dorothy Sebastian who have gone their separate ways since the original jazz-girl film.
It consumed prac- tically four months to select cast for “Eyes of the World,” which Henry King will direct for Inspi- ration. Production begins next week with the company on location.
William Beaudine began “The Devil’s Playground,” starring ay arneU
Billie Dove, at First National this week. Sid- ney Blackmer plays opposite. Although Beau- dine’s contract expired recently, he will con- tinue the agreement for the duration of the Dove film.
James Cruze has signed Lola Lane for five years. She is now enacting a featured role in “The Big Fight,” which Walter Lang is directing for Cruze.
Clara Bow will do a number called “Sweetheart of the Fleet” as a finale in Paramount’s “Paramount on Parade.”
A sunburned delegation of 200 players and technicians, the “Arizona Kid” unit, has returned to the Fox plant.
Hugh Herbert is preparing to direct his first picture, “He Knew Women,” at RKO. Lowell Sherman and Alice Joyce are featured.
One of the first films to go into produc- tion on Universal’s new schedule will be “The Little Accident.” Glenn Tryon will be starred.
Mildred Harris is playing the lead in “Ranch House Blues,” a two-reel comedy for Pathe. Opposite her is Don Douglas, a new, young leading man. Pathe is shoot- ing about two of these shorts at a time.
RKO has signed Sue Carol for a part in “Tommy.” Arthur Lake is the featured male player. Mel Brown has the mega- phone. Fox is loaning Carol for the first time since her contract began.
Another new picture underway on the RKO lot has the ga-ga title, “Half Shot at Sunrise.” But Bert Wheeler and Robert Woolsey are in it.
28
EXHIBITORS HERALD-WORLD
April 5, 1930
Radio- Victor Gramercy Studio To Aid Eastern Output in June
Three Sound Stages Will Be Available — Audio-Cinema Completes “I Pagliacci” as First Screen Opera Made in East — New Music for “Queen High”
By DOUGLAS FOX
Production in the East is expected to take a step forward in June when recon struction of the Radio-Victor Gramercy studio will be completed. Three fullv equipped sound stages will be available for rental, and the central location of the plant, as well as its record for pretty good acoustics, should keep all three stages busy.
Bell & Howell sees it through
Some of the machines which are making history in the moving picture industry— general view of the toolroom, milling department, in the new Bell & Howell Engineering Development Building.
A new piece of Bell & Howell cine- machinery is never put into production until the conditions under which it might operate are carefully surveyed; not a wheel is turned until the whole function of that instrument is visualized and prepared for in advance.
From this care in design, and the pre- cision of their manufacture come the constant dependability of Bell & Howell Standard Film Perforators, Printers, Splicers, and Studio Cameras.
Wherever movies are made, printed,
or projected, the name Bell & Howell has rightfully become synonymous with known high quality.
The foresight of its engineers is but a part of the contribution of the Bell & Howell Engineering Development Lab- oratories to the progress of the industry. Clear thinking and rare skill in applica- tion of theory to practice are daily solv- ing the problems of the moment in these Laboratories. Penetrating vision and mechanical ingenuity are constantly at work in anticipation of the future.
Audio Cinema, Western Electric’s studio child, has completed the first screen opera to be made in the East. It’s “I Pagliacci,” sung entirely in Italian by Fernando Bertini and Alba Novella.
Paramount, ahead of its production schedule, is swinging along smoothly with “Queen High,” Schwab and Mandel musical comedy that was popular on Broadway some time ago. All music for this produc- tion will be new, the idea of popularizing an old legitimate production because it con- tained song hits since forgotten having died a natural death.
“Queen High” Ready April 15
The idea worked with “Rio Rita” and a few other musicals I could name but, with new material constantly flooding the pic- ture mart, it is obvious that it could not last for very long.
“Queen Hwh” should be in the can by April 15 when Maurice Chevalier, now tied up in a two week theatre engagement, will start work on “Too Much Luck.” At about the same time Edward Sutherland will start directing Jack Oakie in “The Sap from Syracuse.” This will be Oakie’s first starring vehicle.
There’s been variety in the Vitaphone Varieties turned out in the Flatbush plant these past few days. They’ve been occu- pied with a melodrama, a musical comedy, a farce, a sketch and Mr. Robert L. Ripley, the cartoonist.
“Meller” in Death House
In step with the fashion in prison plays, the two-reel melodrama, “Strong Arm,” takes place entirely in the death house and press room of a pententiary. The script stars Henry O’Neill as the chaplain. As you probably know, O’Neill is playing a similar role in the legitimate hit, “The Last Mile.” Others in “Strong Arm” are John Harrington, E. L. Fernandez, Paul Harvey and Norvale Keedwell.
“The Collegiate Model” is the title of the musical comedy which features Ona Murtsen, Harry Rosenthal and Roger Pryor, all prominent in current Broadway offerings.
“The Fight,” a burlesque of the prize ring by Ring Lardner and John Hobble, stars Norman Brokenshire, Hazel Forbes, Charles Lawrence and the inimitable Harry McNaughton of “Three Live Ghosts.”
Ripley talked, sketched and exhibited some of his curiosities for the camera. He is. not a handsome man and speaks best with the pencil.
Other productions recently completed in Flatbush include “Song Painting” with Ann Seymour of “A Night in Venice,” and “Fish,” a sketch by Homer Mason.
Galsworthy Play, With English Cast, For Radio Pictures
( Special to the Herald-World)
NEW YORK, April 1. — “Escape,” famous play by John Galsworthy, is now going into production in Great Britain, under the direc- tion of Basil Dean, and as an Associated Radio Picture, will be one of the attractions in the forthcoming program of Radio Pic- tures for 1930-31.
The cast for the talking version will be made up of noted English actors, and the pic- ture will be one of the first to be made under the Radio Pictures banner, and known as an Associated Radio Picture.
Lytell Weds Grace Menken
( Special to the Herald-World)
HOLLYWOOD, April 1. — Bert Lytell, for- mer husband of Claire Windsor, married Grace Menken, his leading lady, in Philadel- phia. Only the immediate family was present.
BELL & HOWELL
BELL & HOWELL COMPANY, DEPT. P, 1851 LARCHMONT AVE., CHICAGO, ILL. NEW YORK. 11 W. 42nd ST.. HOLLYWOOD. 6324 SANTA MONICA BLVD.
LONDON (B. & H. CO., LTD.) 320 REGENT STREET . . . Estahlirhed 1907
April
it will pay /ou to play Columbia Pictures.
Columbia Pictures will cele- brate its Tenth Anniversary with the greatest advertising and pu blicity campaign ever formulated by any major distributing organiza- tion.
Its purpose will be to help you sell Columbia Pictures to your patrons.
Stage Sensation by MILTON HERBERT CROPPER
featuring the greatest east of the year
Barbara Stanwyck Lowell Sherman Ralph Graves Marie Prevost
George Fawcett Nance O’Neil Juliette Compton Johnny Walker
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CAPRA
Production
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Backing up the road show, “Ladies of leisure” will be a wonderful variety of box-office pictures,
George Sidney and Charlie Murray
i: Around the Corner"
wi II be a sure enough laugh riot. The story was made to order for them, and besides they were given Joan Peers to take care of the romantic angle for your patrons. A bushel of laughs in this one, directed by Bert Glennon.
"Call of the West"
A thrilling, all talking Western romance with Dorothy
i i j
Revier and Matt Moore is another one that can’t miss. Directed by Al Ray.
William Collier Jr. and Pauline Starke in
"A Royal Romance"
is about as sweet a romantic-comedy box-office picture as you have seen in years. Plenty of laughs too. Directed by Erie C. Kenton.
For an out and out thriller, take
f| "Prince of Diamonds"
a story of an international diamond smuggling gang, stretching their activities all over the world. They will love this one, featuring Aileen Pringle and Ian Keith. Great direction by Karl Brown and A. H. Van Buren.
It will pay you to play Columbia Hits in April
i
April 5, 1930
EXHIBITORS HERALD-WORLD
33
JACK COHN
JACK COHN met Joe Brandt in 1902 while working at the next desk to him in the Hampton Adver- tising Agency. Six years later he left Hampton to join Carl Laemmle’s old IMP company, working in laboratory. In 1911 he brought Joe Brandt over to Uni- versal. Became editor and producer of Universal Weekly, the first inde- pendent newsreel, and conceived the idea of having staff photogra- phers located in key cities, an inno- vation then. For six years he was in charge of the IMP studio. In 1919 he conceived the idea of pro- ducing a fan magazine on the screen. Interested Harry Cohn and Joe Brandt and induced them to leave Universal to form C. B. C.
JOSEPH BRANDT
BORN in Troy, forty-eight years ago. Was grad- uated from New York University Law School and admitted to bar but practiced only a short while. Was reporter on Evening World, New York representative of Billboard, and Advertising Man- ager of the Dramatic Mirror. Became secretary to Carl Laemmle, then president of the IMP Film Company. Promoted to head of publicity depart- ment of Universal, 1912. Originated and arranged for distribution of Universal serials. Established London, Paris and Berlin offices of Universal. Made assistant treasurer of Universal in 1919. Left in 1920 to join with Cohns in incorporating C. B. C.
HARRY COHN
'T''HE chance - taker of the Cohn family is Harry. As a boy he was attracted to the stage and did re- markably well. An excellent voice earned him the now obsolete posi- tion of audience-singer for Watter- son, Berlin & Snyder, song publish- ers, where he met and cultivated the friendship of Irving Berlin. He toured in vaudeville. Next he blos- somed out as a singer of illustrated songs and conceived the idea of using motion pictures with them instead of slides. Has made films of all of Berlin’s songs. Left stage to join the cavalry, but turned up in Universal City under Carl Laemmle’s supervision in 1918. In 1920 he left Universal to join Joe Brandt and Jack Cohn in C. B. C.
Columbia Celebrates Its Tenth Birthday
Only a decade ago the company, now Columbia, was born. But what a decade ! Super- theatres— Sound — Color — Wide Film! AndColumbia itself has supplied achievements ivorthy of the period. In this recital of them is also told a story typical of the history
of the entire motion picture industry.
THIS month Columbia celebrates the tenth anniversary of existence as a film corporation. Ten checkered years, sad ones and good, a recital of which re- flects the very growth of the film industry itself.
To the old-timers in the trade, this story of Columbia’s history will be a flashback to the most romantic and aimless years of their experience, years poignant in the memories of pioneers in the fallowest of fields, heartbreaking once to many who now are millionaires many times over.
To those who entered the industry when its momentum was already carrying it along to certain success, this record should prove just as interesting, for as the history of a country shapes its future, so do past events point out the destiny of an industry.
How many of these names do you re- member? How many of these personalities influenced you in days gone past, and how many are still identified with the show business?
In 1920 Joe Brandt and Jack and Harry
By DOUGLAS FOX
Cohn left Universal to form the C. B. C. Film Sales Company — the letters represent- ing the surnames of each. Their first prod- uct was “Screen Snapshots,” a short fea- ture they are still finding profitable, and about the same time they had “The Hall- room Boys,” two-reel comedies.
“The Hallroom Boys” was one of the most popular two-reelers of its time. In November, 1920, C. B. C. handled the dis- tribution of “A Good Bad Man,” a Western released under the title of “Dangerous Love.” (Notice throughout the progress of the company the change in the type of titles — a characteristic of the entire indus- try.)
First Notable Financial Deal
In 1921 the Federated Film Exchange contracted for the distribution of “Screen Snapshots.” This was C. B. C.’s first not- able financial arrangement. “Heart of the North,” a super-special directed by Harry Revier and released as a Harry Revier Pro- duction, had its premiere at the famous Tivoli in San Francisco and it made an in-
stantaneous hit, being booked over the Loew circuit and state-righted with great success. It was produced by Joe Brandt and George H. Davis. They also put out, in the same year, “Life’s Greatest Ques- tion”— a title for the ages — featuring the then popular Roy Stewart, Louise Lovely and Dorothy Valegra.
Even in 1921 Columbia had sales drives, for the records show that one commenced December 17. Next came its first serial, “The Blue Fox,” distributed by Arrow in fifteen episodes and starring Ann Little.
In December of the same year, the Art Brand Productions was organized, with Joe Brandt as president and Bert Adler as treasurer. The company handled the reissue — an old trick even then — of the Charles Ray two-reelers, distributed through C. B. C. The first four Ray pictures were “Af- rican Love,” “Saved from the Depths,” “After the Storm” and “The Mystery of the Mission.”
D. W. Griffith figured next in the com- pany’s history, producing “Fatal Marriage”
34
EXHIBITORS HERALD-WORLD
April 5, 1930
Yes , You Thrilled and Laughed at These Columbia ’s!
AN example of old Columbia dramat- ics, with villains (Heh, heh, me proud beauty!) and heroes and lovely ladies, all plainly identified by the clothes the prop- erty man did not give them — because there were no property men. No names were found on the backs of these pictures, an “old movie custom” which persists to this day, so guess ’em at your own risk.
Title? Anyuiay, ’twas a thriller (Mex.)
Picking up the male at high speed.
Takin’ a shine to the sheriff.
Anonymous but bloodthirsty.
And this was called “Pal o' Mine”!
A touching scene from “Forgive and Forget.
As Bill got serious in “Fighting the Flames’
April 5, 1930
EXHIBITORS HERALD-WORLD
35
Those Who Sell ’Em and Those Who Play In ’Em
JOE GOLDBERG
General Sales Manager
RUBE JAKTER Assistant Sales Manager
in 1922. This picture starred Lillian Gish and Wallace Reid, two of the most popu- lar stars of the day. It was distributed through the Robertson Cole exchanges.
Polly Moran enters Columbia history in the same year, teaming with “Smiling” Bill Jones in Carnival Comedies, the first two being “Nell’s Busted Romance” and “Why Wives Worry.”
Expansion Begins
In May, 1922, expansion first began. New studios were leased to produce more of the increasingly popular “Hallroom” comedies and a new series, Sunrise Com- edies. In the same year Pathe took over the distribution of “Screen Snapshots.” “Heart of the North,” a super-special, is said to have received the distinction of be- ing the first production to enter the foreign field, the rights going to Australasia. So far, C. B. C. stressed short subjects and adopted the slogan, “Short Subject Kings.”
May of 1922 found C. B. C. with six melodramas, which were released as “The Six Box Office Winners.” They were di- rected by Edward Le Saint, who produced many of the Fox super-attractions, and starred Rosemary Theby, Gladys Lake and Philo McCullough. Their titles were no less dramatic than “Only a Shop Girl,” “Sidewalks of New York,” “Pal o'Mine,” “The Lure of Broadway,” “Forgive and Forget” and “Temptation.” The first New York premiere of these “supers” occurred at the old Broadway theatre the last week in September, 1922. The picture was “More to Be Pitied Than Scorned” and was a tre- mendous hit. “Only a Shop Girl” contained players who were destined to remain in pictures for quite a while. The cast was composed of Mae Busch, James Morrison, Willard Louis, Wallace Beery, Estelle Tay- lor, Tully Marshall, Claire Dubrey, William Scott and Joseph Adair. “More to Be Pitied Than Scorned” was booked over the Lynch circuit, which included the awe-in- spiring number of 29 theatres. Loew’s Warfield theatre booked “Only a Shop Girl” as its first anniversary feature on May 14, 1923.
Edward Belasco Joins
In March, 1923, Edward Belasco, younger brother of David Belasco, entered the mo- tion picture field with “Her Accidental Husband,” followed by “Dancing Feet” and “Baldy of Nome.” They were directed by Dallas Fitzgerald and featured Miriam Cooper, Mitchell Lewis, Maud Wayne, For- rest Stanley, Richard Tucker and Kate Lester. “Her Accidental Husband” was
premiered at the Granada theatre in San Francisco.
During the same month, C. B. C. adopted the policy of securing the approval of its buyers on story titles. Synopses as well
as titles were submitted to franchise hold- ers for suggestions. That is said to be the first time any company had consulted its buyers in the matter of production, and the resulting pictures, the first coopera- tively approved productions. Question- naires were sent to all exchanges and ex- hibitors. In addition, Hal Hodes made personal visits to all territories in an effort to learn public sentiment in reference to feature productions.
During the season of 1923-24, the name Columbia first appeared on the original C. B. C. product. Six productions, entitled “Mind Your Own Business,” “Innocent,” “Discontented Husbands,” “The Marriage Market,” “What About Children?” and Buyer of Souls,” were distributed through C. B. C. under the name of Columbia.
In June, 1923, the prerelease showing of “Temptation” was given on the Sunday night program at the George M. Cohan theatre in New York. At the same time it was given its premiere at the Broadway theatre.
During 1924 C. B. C. produced and dis- tributed the “Perfection” series under the brand name of Perfection Pictures. These included “Women First,” “Fight for Hon- or,“Beautiful Sinner,” “Fatal Mistake,” “Tainted Money” and “Fearless Lover.” By the end of 1924 the name Columbia was firmly established in the public’s mind and the company was really underway.
18 Pictures in 1925-26
For 1925-26, the company announced 18 pictures, six to be known as Columbias, six to be called Waldorfs, and six to be released as Perfections. The Columbias were “The Danger Signal,” “SOS Perils of the Sea,” “Ladies of Leisure” (incidentally, the title of their latest special), “The Un- written Law,” “The Lure of Broadway” and “Midnight Flames.”
The Waldorfs were “The Thrill Hunter,” “Sealed Lips,” “The Fate of a Flirt,” “The Price of Success,” “The Penalty of Jazz” and “An Enemy of Men.” The Perfec- tions were “Fighting Youth,” “The Speed Demon,” “A Fight to a Finish,” “The Great Sensation,” “The New Champion” and “The Handsome Brute.”
Columbia’s roster of stars included Elaine Hammerstein, Lou Tellegen, Jane Novak, William Haines, Dorothy Devore and Madsre Bellamy, and its directors were Erie C. Kenton, Edward J. LeSaint, Frank Strayer, Reeves Eason, Jay Marchant and Tony Gaudio.
By 1926 Columbia had arranged, through extensive franchises, for national distribu-
Dorothy Revier
Sally O’Neil
Molly O’Day
w
M. Livingston
Wm. Collier, Jr.
Evelyn Brent
dt- 1
i
Jack Holt
Pauline Starke
36
EXHIBITORS HERALD-WORLD
April 5, 1930
SAMUEL J. BRISKIN
Assistant General Production Manager
tion. In March of that year Columbia commenced concentration on a field force, and the first man appointed to the staff of sales service was Rube Jackter.
February, 1926, Columbia purchased the largest independent studios on the West Coast and spent $250,000 in stages and added equipment. This is on the present site at Sunset and Gower Streets. The studio staff was enlarged, Dorothy Howell, former secretary to Harry Cohn, being ap- pointed assistant production manager.
For 1926-27, twenty-four pictures were announced: “Pleasure Before Business,”
“Poor Girls,” “The Sidewalks of New York,” “The Girl Who Smiles,” “Sweet Rosie O’Grady,” “When the Wife’s Away,” “Remember,” “Paying the Price,” “Obey the Law,” “The Lost House,” “Stolen Pleasures,” “Adele,” “The Price of Honor,” “The Romantic Age,” “The Wreck,” “The Better Way,” “The Clown,” “For Ladies Only,” “Meet the Wife,” “My Wandering Girl,” “Truthful Sex,” “Lightning Express,” “Birds of Prey” and “False Alarm.”
Makes Deal with F B O
The new studio had three stages, sep- arate administration buildings and new pro- ducing equipment, all on eight acres of land. Columbia productions were formerly housed in the old Clune Studios in Holly- wood under the name of Waldorf Produc- tions. With the acquisition of the new studio, the last of Waldorf’s assets were merged into Columbia.
In May, 1926, Columbia made an impor- tant foreign deal with Film Booking Office to distribute the company’s product in Great Britain and Ireland. The deal was consummated by F. A. Enders, then man- aging director of F B O, on a trip to New York. By May, too, Columbia’s national- ization plans were completed and franchise holders were registered in all the key cities. This marked the end of the glamorous state-righters.
In June of 1926 Columbia added a $50,000 carpenter shop to its studio for the im- provement of its property department. In the same month the company opened its own office in Detroit, with A. W. Bowman in charge as branch manager, and J. Grubb Alexander was added to the scenario de- partment. In July the Stanley circuit bought Columbia’s entire 1926-27 product. In August Independent Films of Canada closed a deal to distribute Columbia Pic- tures, which resulted in Columbia’s taking over the company in November of the same year and changing its name to Columbia Pictures Corporation of Canada. In Sep- tember Columbia opened its own exchange
in Pittsburgh. In November additional ones were opened in Des Moines and Omaha.
For the season of 1927-28, thirty produc- tions were announced. In Inly, 1927, “The Blood Ship” played the Roxy in New York and was named as one of the best ten pro- ductions of the year. In the same month exchanges were opened in Los Angeles, San Francisco, Butte, Portland and Seattle. In November additional exchanges were opened in Minneapolis and Omaha, while a profit-sharing arrangement with the North- west MPTO was arranged, wherein 1,000 theatres participated in Columbia’s profits. In March, 1928, Columbia launched its “victory drive” to celebrate its seventh an- niversary, the drive lasting seven weeks. In Mav, 1928, a new schedule of 36 pic- tures was announced.
Three Conventions Held
Also in May, 1928, three regional sales conventions were carried through, in Los Angeles, Chicago and New York. In June new exchanges were opened in St. Louis. Milwaukee, Denver, Salt Lake City, Albany and Buffalo. Plans to spend $4,000,000 on the new schedule were then announced.
In August “The Scarlet Lady,” Colum- bia’s first $2 top Broadway show, opened at the Embassy in New York. In October Western Electric was awarded synchron- ization contract and “Submarine,” Colum- bia’s first sound picture, was soon there- after released.
In January, 1929, Columbia acquired six Liberty-Specialty exchanges in Atlanta, Charlotte, Memphis, New Orleans. Dallas and Oklahoma City, at a price of $450,000. On February 2, Columbia and the Victor Talking Machine Company entered into an agreement to produce 24 shorts which were to be. singing-dancing-talking single reel novelties and released as Columbia-Victor Gems. In March construction of new sound stages began on the Coast. In Feb- ruary Columbia moved from 1600 Broad- way, where the home office had been lo- cated since the inception of the company, to enlarged quarters on the entire eleventh floor at 729 Seventh Avenue. In April Nathan Burkan and S. S. Goodard were added to the Columbia directorate and Goodard was assigned to float additional stock.
Forms British Subsidiary
In June, Joe Brandt left for Europe to arrange for a British subsidiary, and the Barney Rosenthal exchange was acquired. In July Columbia held its national sales convention in Hollywood, announcing the acquisition of remaining franchises, and be- coming recognized as a national distribut- ing organization with the announcement of branches in 33 key cities. During this month announcement was made that $6,- 000,000 had been set aside for the com- ing year’s schedule, and the Disney Silly Symphonies and Krazy Kat Kartoons were acquired.
The July, 1929, financial statement showed a profit of $450,000 for that year, compared with a profit of $59,000 for 1926. The 1929 stock was listed on the curb market and the earnings for 1929 were re- ported to be $18 per share on preferred, and $3.75 on common.
Foreign Office Expanded
In September the Horsley Laboratories, with a capacity of 250,000 feet of film daily, was acquired. In October the $2,000,000 “Goldberg testimonial sales drive” was launched. In December the company ac- quired the remaining strip of the old Gower Ranch which adjoined the studio, in order to. expand, and new sound stages and ad- ministration buildings were arranged for immediately.
On January 13, 1930, Columbia launched a 13-week testimonial and exhibitor coop- erative drive in celebration of its tenth anniversary.
Keeping pace with the company’s ex-
FRANK CAPRA
Director
tensive domestic development, Columbia’s foreign department is rapidly expanding to encircle the entire globe with representa- tives in nearly every civilized country.
Following closely upon the important additions to its foreign forces, which in- clude the appointment of Milton J. Schwartz, as European sales manager with offices in Paris and London, and Emanuel Zama as his assistant, comes the appoint- ment of Hannah Kass as manager of the New York foreign department. Negotia- tions are also in progress to secure a Mexi- can and South American representative.
The appointment of Hannah Kass is a further example of Columbia’s policy of rewarding competant employes with pro- motion for demonstrated ability. Starting as to the executive secretary to Jack Cohn and Joe Brandt, she assumed the responsi- bility of handling the details of the com- pany’s foreign negotiations during its growth and expansion. Among these duties were the handling of a number of the important foreign deals, which gave her an intimate knowledge of the world market and the handling of foreign dis- tribution. It also paved the way to the present post, which requires an executive skilled in the details of export trade and the requirements of the various countries, a knowledge that can be acquired only through years of actual experience.
Barbara Stanwyck Signed
It has also just been announced that fol- lowing her outstanding work in “Ladies of Leisure,” Columbia’s roadshow attraction, Barbara Stanwyck has been signed to make four more pictures on the Columbia lot.
Miss Stanwyck first came into promi- nence as a dancer in a cabaret and later in a musical show. Her initial efforts as an actress were a bit in “The Noose,” but so well did she acquit herself that her work came to the attention of theatrical managers and she was immediately selected for a principal role in “Burlesque.” She made her screen debut in a featured role of the LTnited Artist production, “The Locked Door.” Her next featured role was in Columbia’s “Mexicali Rose,” and then came her assignment to the leading feminine role in “Ladies of Leisure.”
And now, to give the name “Columbia” a kind of added (though probably super- fluous) glory, a search is being made for a “Miss Columbia” to replace the lay fig- ure used as a leader to all Columbia pro- ductions. Entries for the contest are com- ing into the Columbia home office in every mail. The winner is to receiver a trip to Hollywood, a week’s contract at $250.
April 5, 1930
EXHIBITORS HERALD-WORLD
37
w
SERVICE ON PICTURES
TROUPERS THREE
ACTORS AS SOLDIERS! Produced and dis- tributed by Tiffany. Directed by Norman Taurog. Story by Arthur Guy Empey. With Rex Lease , Dorothy Gulliver , Slim Summerville , Roscoe Karns, Joseph Girard and others.
Seen by TOM J. HACKER in Hollywood
^^S^ORMAN TAUROG directed “Troupers Three” for Tiffany and succeeded in turning out a smooth, breezy type wise-cracking com- edy packed with giggles. The fun honors go to Slim Summerville.
Rex Lease is in a Bill Haines role, a smart cracking, ham actor getting his goose cooked as he tries to “gag” his way through a cavalry post. He is heard in several song numbers which reveal a crooning ballad voice that’s not bad. (Not so good, either.)
Lease, Summerville and Roscoe Karns join the cavalry after unsuccessful attempts, as act- ors, to crash a small time try-out vaudeville house. They plan on rehearsing a new act and only staying a month. I, ease, as the wise- cracker of the offensive kind, meets Dorothy Gulliver, the captain’s daughter. Their experi- ences in learning to become first class cavalry men with Lease in love form the story.
ONE ROMANTIC NIGHT
Seen by PETER VISCHER in New York
i(rP
1 HE SWAN” was, not so many years ago, one of the most charming plays on the New York stage. In being made over into “One Romantic Night,” by United Artists, much of the flavor of Molnar’s stage play has been re- tained, but, as one might suspect from the vapid change in title, something has been sacrificed.
The picture brings Lillian Gish to the talking screen and I found her performance quite captivating. She is much the same Gish, fragile, delicate, lovely, and she was beautifully pho- tographed. Her voice is good, and adds ex- pression to her sensitive features. I liked her immensely.
On the stage, the story was a grand tale of Continental royalty. For the sake of her fam- ily’s fortunes, a young princess had to be mar- ried off to a rich and powerful young prince. Secretly, her young brothers’ tutor was madly in love with her and one gala evening, on the occasion of the prince’s visit, he felt the un- accustomed flush of wine and rebelled at a fate that made one man a commoner and an- other a prince. Most amusing were the frantic efforts of the girl's mother to get her married off, and most philosophic were the commen- taries of her uncle, a padre of benevolent mien.
The story remains much the same, but a slightly different manner of handling has, to some extent, affected the result. Conrad Nagel could hardly be described as an inspired choice for the part of the earnest young tutor. Rod La Rocque, as the prince, makes him some- thing of a cad, with a trace of a Bowery accent. Marie Dressier is, of course, superb as the mother of the princess. But the part of Father Benedict, which cast a mellow glow over the entire stage production, has been cut to prac- tically nothing and that bit is so flatly played by 0. P. Heggie, usually so competent a per- former, that it seems a waste of footage.
“One Romantic Night” is, I must say, a pleas- ant picture, but “The Swan” could have been so lovely!
By T. O. Service
DAMES AHOY
THE NAVY WITH LIMITATIONS. Produced and distributed by Universal. Directed by W il- liam James Craft. Story by Sherman Lowe. Adapted by Matt Taylor. Dialogue by Albert DeMond. Sound footage 5,773 feet. Silent footage 5,270 feet. Release date February 9. With Glenn Tryon, Otis Harlan, Eddie Gribbon , Helen W'right and Gertrude Astor.
Seen by HARRY TUGEND in New York
HANDFUL of laughs, thinly spread, fail to make this a first class picture. The plot contains possibilities, but indifferent dialog and direction keep them in the background.
Otis Harlan, a gob with thirty years service, has been shanghaied into matrimony by a dame with blonde hair and a strawberry birthmark above her starboard knee. These are the only marks of identification he can recall to his bud- dies, Glenn Tryon and Eddie Gribbon.
In an eventful search for her he strays into a dancehall where he wins a contest. The money is used to release Otis from his blonde, who is finally found. The cast does all that can be expected.
MAMMY
Seen by PETER VISCHER in New York
T
HE newest Warner picture starring Al Jolson is, in some respects, superior as a box office attraction to all those that preceded it. “Mammy?’ has songs by Irving Berlin, and how Jolson sings them! It has some light-hearted minstrelsy, some fine scenes in color, some views for Magnascope. Taken all in all, the picture is box office and no questions asked.
Personally, candor compels me to say that I don't think the picture began to make use of Jolson. I bow to no one, not even Abe Wax- man, in my admiration for Jolson as an enter- tainer, and I think it’s about time the boy was given a chance.
Jolson means an evening of fun and enter- tainment in the theatre. In the old days, when he “used to sing his brains out at the Winter Garden,” as he himself puts it, you went to see Jolson because you could bet your life you’d get laughs, swell songs sung as nobody else can sing them, and an armful of light- hearted entertainment. Jolson meant comedy, and believe me that’s a compliment.
Well, somebody’s gone and done a Fanny Brice on Jolson! He can’t be light-hearted any more, for there comes a time in every one of his pictures when he has to go without a shave, look like a bum, and go off with the coppers for some crime he’s committed by mis- take. It’s all very sad, too sad, if you ask me.
In this latest picture, Jolson shoots his buddy by mistake during a minstrel show when some dastardly villain puts real cartridges in the gun in place of the blanks that are sup- posed to be there. What a perfectly silly and unnecessary hit of invention to give the star a chance to show bathos, which, if you ask me, is a decidedly unwelcome addition to any pic- ture, never an asset.
Maybe I’m finicky, too finicky. I'll go to see Al Jolson anyway, and so, I suppose, will a lot of other people.
PLAYING AROUND
THE WHITE HAIRED GIRL ! Produced and distributed by First National. Directed by Mer- vyn LeRoy from the story by Vina Delmar. Adapted by Adele Commandini. Dialog by Humphrey Pearson. Photography, Sol Polito. With Alice White , Chester Morris, William Bake- well, Richard Carlyle, Marion Byron, Maurice Black, Lionel Belmore, Shep Camp, Ann Brody and Nellie V. Nichols.
Seen by NORMAN KRASNA in New York
THOROUGHLY enjoyable and clever pro- gram picture with box-office angles that plead for being capitalized on. Capricious Alice White winds her way in and out of a plot studded with an impromptu knees beauty con- test, a love affair with gangster Chester Morris, a robbery, a musical revue in a night cluh, and sundry other entertaining ingredients.
Alice White and Chester Morris are as allur- ing names as can be placed on one theatre marquise and in a vehicle of this type are shown to best advantage. The story involves a fun-loving girl accepting attentions front a gentleman who represents the money and flash that is sadly lacking in her soda-jerker fiance. Fun she has aplenty, but just before complica- tions complicate themselves to Alice’s detriment Chester Morris is unmasked as the holdup man he is, and in nothing less than getting caught robbing Alice’s father.
Of course the soda-jerker fiance with the heart of gold does the trick and this fixes every- thing as everyone knew it would be. The story is the barest bit transparent but it’s done so well that you’d never know it without me tell- ing you.
HONEY
THEY’LL SW IRM TO SEE IT. Produced and distributed by Paramount . From the stage play by Alice Duerr Miller and A. E. Thomas. Adapted by Herman J. Mankiewicz. Directed by Wesley Ruggles. Photographed by Henry Gerard. Footage 6,701 feet. Released March 29. With Nancy Carroll, Stanley Smith, Skeets Gallagher, Lillian Roth , Harry Green, Mitzi Green, ZaSu Pitts, Jobyna Howland and Charles Sellon.
Soon by HARRY TUGEND in New York
rp
_L HIS old farce, “Hon^v,” brought into the Paramount, has been given new and better life. A splendid cast, and inteligent direction of good, clean dialog and situations, have made a funny play practically hilarious. I heartily recommend it to anvone, anywhere.
Nancy Carroll and Skeets Gallagher, son and daughter of newly poor parents who are abroad, decide to rent the old homestead to Jobyna Howland and her daughter, Lillian Roth. When the new tenants arrive, accompanied by Lillian’s fiance, Stanley Smith, Nancy and Skeets have taken over the duties of cook and butler without disclosing their real identities. Stanley falls in love with Nancy, and Skeets with Lillian. Also vice versa. The resultant intimacies are most carefully observed by little Mitzi Green, who always happens to be sitting in a nearby tree. For a price, which rises with the importance of her disclosures, she tattles to Jobyna and finally reveals the real identity of Nancy and Skeets. The. clinches are unanimous and everybody’s happy.
A group of Negroes in a revival meeting are stuck in for apparently no other reason than to give Lillian Roth an excuse for singing “Sing You Sinners.” But that’s reason aplenty. If you haven't already heard this song, you will.
38
EXHIBITORS HERALD-WORLD
April 5, 1930
W
SOUND PICTURES
BLUEBOOK SCHOOL . . . IMAGE VERSUS SOUND
By F. II. RICHARDSON
BLUEBOOK SCHOOL QUESTION NO. 47 — What troubles may we expect to encounter with amplifier tubes? On what basis is the life of amplifier tubes reckoned and what is it chiefly which lowers their length of efficient service? From what is current for heating the amplifier tubes derived? What is the voltage with which the amplifier tubes are heated?
VISUAL PROJECTION LOSING GROUND?
SOME complaint has reached me to the effect that visual projection, meaning the screen image, is dropping backward by reason of the fact that all attention, or nearly all of it, is being centered on sound. Our old and valued friend, P. A. McGuire of the International Projector Corporation, is one of
Methods of wrapping and folding paper condensers. ( Solid lines indicate plates. Dotted lines indicate insulation.) These drawings were sent in by Karl Friedrich with his answer to Question No. 36.
those who put up a vigorous kick to your editor.
And I am by no manner of means sure the complaint is not well founded in fact. I have myself visited a number of theatres lately wherein, while the sound was excellent (and I would not go to the length of saying the visual projection was poor) the picture- projection itself did not seem to be quite as snappy as it once was.
In some very high class theatres I have
seen a bit of travel ghost, which of course injures both definition and picture contrast. I have seen other minor faults not present before sound came. In almost every case, however, the sound itself was very good.
Now, gentlemen, that is entirely wrong. Sound should of course be just as good as it is possible to make it, but that by no means offers any excuse for slighting or becoming careless with visual projection. Perfection in sound and mediocrity in visual projection would be unthinkable. One big interest must not be permitted to transgress upon the rights of another big interest, and perfection in sound is in no degree more important than perfection in visual projection.
Sound engineers who sacrifice visual pro- jection merely to improve sound, are most emphatically not benefiting the business. Some concession can be made, it is true, to get better sound, but not too much.
Now, gentlemen, don’t get the idea that I am saying that visual projection has sunk to the point of being poor. It has not! It has, however, fallen off a bit. Of that I am pretty certain and this is a warning that per- fection in sound cannot possibly be accepted as an excuse for any deterioration in the screen image. The point has been reached where ample knowledge is available on visual pro- jection, and most projectionists have it stored in their minds. The point has been passed where the average exhibitor considers a “pic- ture a picture” and is satisfied regardless of how poorly it is sent forward to the screen.
We have advanced with the years and by hard work to a distinctly higher plane of visual projection. Let there be no depres- sions, holes or ruts in that plane. We have set up a high standard. We have reached that standard. Let us have no backward step. That high standard means better prices and more patronage for the exhibitor. It means
better wages for the projectionists. It means that every one has a higher respect for him. Think all that over, men, and put and keep your very best foot forward in visual pro- jection as well as in sound. I want to look the next man who complains, in the eye and tell him he is dreaming.
High voltage brass and mica condensers. (Solid lines indicate plates. Dotted lines indicate insulation.) This also wus sent in by Karl Friedrich with Ins answer to Question No. 36.
INTERNATIONAL USES A FINANCIAL SHOEHORN
NTERNATIONAL Projector Corporation has just used a “financial shoehorn” and expanded its factory almost doubly.
It has purchased the adjoining six-story-and- basement building, opened up doors and pass- ageways between the two buildings and thus has added about 400,000 square feet of floor space to its factory. Gosh ! One more such stunt as that and a trolley will have to be added so the superintendent won’t get tired out walking around the building.
The purchased property is a substantial stone and brick structure, erected a few years
ago to house some big leather dealers. It is practically a new building, and already the International has machinery installed on some of its floors, though the actual occupancy only passed to it a very short while ago.
My compliments to the International and to those able gentlemen who have steered its course to success through sometimes rather troubled waters. Vice Presidents W. C. Mitchel and S. E. Burns are entitled to swell out their chests. Theirs has been a hard job, but their “chairs” have been filled chockful of them. They have worked hard, and that the hard
work was good work, is amply proven.
They have, however, had able assistants. There is Factory Superintendent L. Frappier, General Sales Manager Herbert Griffin, Gen- eral Advertising Manager P. A. McGuire and Export Manager A. E. Myer, and others, all of whom have done their duty faithfully and efficiently.
I am not telling the tale of President Har- ley L. Clarke. However, I can say, with absolute certainty that Mr. Clarke has per- formed some financial wonders for the cor- poration.
April 5, 1930
EXHIBITORS HERALD-WORLD
39
REPRODUCTION IN THE THEATRE
The addition of sound to motion pictures more than doubled the amount of projec- tion equipment necessary in the theatre. The images on the film are after all just translucent miniatures of what is to be shown on the screen. The sound source on the other hand is either a tiny scratch on a wax disc or an odd looking border along the film. In both cases a delicately elaborate arrangement of electrical machin- ery must intervene before the sound locked in the film or disc by the recording process can be brought to new life.
Three essential elements make up a re- producing system. They are:
(1) A pick up or reproducer.
(2) An amplifier.
(3) A loud speaker or receiver.
The function of the reproducer is to transform the sound record into electrical energy. The function of the amplifier is to magnify the infinitesimal electrical energy to the desired value. The function of the loud speaker is to transform this amplified electrical energy into acoustic energy and to distribute the acoustic energy or sound throughout _ the theatre or auditorium wherein it is being produced.
At the present time there are two types of sound recording used commercially. These are known as the film and the disc methods. The only essential difference be- tween the systems used for reproducing film and disc records is in the pickup apparatus.
Fig. / is a schematic diagram showing
*Theatre Acoustics Engineer, Electrical Research Products, Inc.
S. K. Wolf*
FIGURE 1
the general layout of a sound reproducing system. You will note that provisions are made for reproducing both film and disc records, also that two machines are equipped, making in all four pickup devices. Obviously two machines are necessary to the continuity of the picture and sound reproduction. Provision is also made for selecting either the film or the disc pickup in Machine No. 1 or Machine No. 2. The next piece of apparatus in the circuit is the fader, the function of which is to con- trol the volume or sound energy of this system. Following the fader is a switch- ing panel which permits use of non-syn- chronous reproduction as well as synchron- uus reproduction. After the switching panel are the amplifiers, a more detailed discussion of which will follow. The next element in the circuit is an output control panel, the function of which is to join the amplifying units with the loud speaker or
receiver units. The receivers, as has been stated, serve to transform the amplified electric energy into acoustic or sound en- ergy.
DISC REPRODUCER
In elaborating on the above description, let us discuss first the method known as disc reproduction. In disc reproduction a magnetic type of reproducer is used almost exclusively. This type of reproducer con- sists of a stylus connected to an armature of high permeability which is located within a small coil. In operation the stylus at- tached to the armature vibrates as a needle follows the grooves on the sound record. The movement of the armature between the poles of the magnet which surrounds the armature causes a variation in magnetic lines of flux and a voltage with correspond- ing variations is induced in the coil. This induced voltage is an electrical image of the sound record.
A section of this type of reproducer is shown in Fig. 2. This is a simple schematic diagram which will serve to illustrate the fundamental electric principle involved in the transformation of the sound record into an electric image of the record. This de- vice makes use of a fundamental principle of electricity. It is the basic principle of operation of electro-dynamic apparatus. This principle may be stated briefly as fol- lows:
When magnetic lines of force are per- mitted to cut a conductor or coil of wire, a voltage is induced in the conductor or coil of wire. This voltage is proportional to the rate at which the magnetic flux
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40
April 5, 1930
EXHIBITORS HERALD-WORLD
within the coil varies and the direction of this force will depend upon the direction in which the lines are cut.
FILM REPRODUCER
With the optical or film record a differ- ent type of pickup apparatus is required. Any sound, as you know, may be defined by pitch and loudness. These characteris- tics, pitch and loudness in a film record (Western Electric System) may be identi- fied respectively by the number of parallel bands per unit length and the density of each band. In other words, the relation of these lines is an index of the pitch of the sound and the density of these lines represents the sound intensity.
There is another type of film record which involves a somewhat different princi- ple and is known as a variable area film record. The details of this method of sound recording will be discussed in other papers. However, this record is reproduced in identically the same way as the constant width variable density record first dis- cussed.
In transforming the film record into elec- tric energy the essential elements required for this transformation consist of an excit- ing lamp, a lens system and a photoelec- tric cell.
Fig. 3 is a schematic diagram of the sound head, parts of which will be de- scribed later in detail. It is evident from the relative location of apparatus as shown in Fig. 3 that it is not feasible to print the film sound record directly beside the pic- ture to which it applies. The sound track is printed 14% inches or 19 frames in ad- vance. This allows some slack between the sprocket which carries the picture with an intermittent motion before the picture projection lens and the sprocket which must carry the sound record with a uni- form motion in front of the photoelectric cell. Special precautions are necessary to prevent vibrations and speed fluctuations, due to either a varying supply voltage or a varying load, from affecting the uniformity of rotation of the sound sprocket. The speed of the driving motor is automatically
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FIGURE 2
controlled as described in this paper under the heading Maintaining Synchronism. A mechanical device is also interposed be- tween the sound sprocket and the rest of the moving equipment of the projector so that no abrupt change of speed will be transmitted to the sound sprocket.
Fig. 4 shows the exciting lamp and the lens relative to the film plane. The light from the exciting lamp is focused onto the film in a very narrow beam, one mill in width. The reason for the very narrow beam of light is that the reproduced fre- quency is a function of the speed of the film and the width of the light beam falling on the film. In order to meet the require- ments for high frequency reproduction, it is necessary that this beam be so small that it may project independently each of the narrow bands into the window of the photoelectric cell which is located beyond the film. The photoelectric cell on which the light falls after passing through the sound record is shown in Fig. 5.
Film reproduction is made possible through the use of this photoelectric cell or one having similar characteristics, that is, a cell capable of emitting elecrons at a rate proportional to the incident light
FIGURE 5
within certain predetermined limits. This cell consists of two electrodes, one a photo- active metal and the other the sole func- tion of which is that of an electric con- ductor. The photoactive metal most used for the purpose of sound reproduction is potassium. However, other alkali me:als have been used. A polarizing voltage is placed across the terminals of the photo- electric cell through such a high resistance that in operation there is obtained from the cell a voltage across this resistance which is proportional to the incident light. This cell may be though of simply as a re-
EXCITING LAMP FILM PLANE
SLIT WIDE * 3/16' LG
-APPROX. 4 1/4
LIGHT BEAM .001“ *;SSo, WIDE < 1/8- LONG AT riLM PLANE
LENS TUBE DIAGRAM
FIGURE 4
sistance which varies directly with the quantity of light falling on the cell.
If the emulsion on the sound track be dense naturally not a great deal of light will pass through it. But if the emulsion is less opaque more light- will go through and the sound will be greater. The princi- ple is similar when variable area sound track is used. When the serrations have a wide swing extending well across the sound track the volume will be high; a small swing indicates low volume.
The photoelectric cell circuit is shown in Fig. 6. In a high impedance circuit such as this, local interference, sometimes termed static, is readily picked up and it not guarded against will produce serious distortion in reproduction.
Since the energy level is so small, in- duced current may be appreciable in com- parison to the sound currents themselves. In addition, there are other electrical effects which may create some distortion. Be- cause of the low level of this energy, it would be dangerous to transmit it any great distance before it has been amplified. Therefore, an amplifier (called a PEC am- plifier) is placed immediately adjacent to the photoelectric cell circuit to amplify the energy to a level at which it can be safely transmitted.
This amplifier increases the photoelectric cell output approximately 50 decibels or an energy ratio of 1 to 100,000. The photo- electric cell and amplifier are encased in a heavy metal box which is fastened to the frame of the projector and the frame is carefully grounded. Further precautions are taken to insure against mechanical shock bv carefully suspending the tubes of the amplifiers. The output of this amplifier is approximately the same as that of the magnetic reproducer used in disc repro- duction. This will permit the remainder of the reproducing system to be used inter- changeably between film and disc pickup. As shown in Fig. / this change is facilitated by means of a transfer switch.
The photoelectric cell amplifier is not considered necessary when cells of lower impedance and higher energy output are used.
REPRODUCTION IN THE THEATRE, by S. K. Wolf. Paper based upon lecture-demonstration be- fore School in Fundamentals of Sound Recording and Reproduction conducted by the Academy of Motion Picture Arts and Sciences, Hollywood, 1929. (P-2-
Wo.) This is the ninth paper in the scries.
Addendum PORTABLE SOUND PROJECTOR prepared for Academy Tcchanical Digest by R. A. Grist of Electrical Research Products, Inc., staff.
[To Be Concluded Next Week]
April 5, 1930
EXHIBITORS HERALD-WORLD
41
When the news broke Saturday in Chi- cago papers that William Cosgrave had resigned as president oj the Irish Free State, Gene Coeur of Pathe Sound Neivs- reel hotfooted it over to the hotel where Eamon de Valera was staying, and record- ed De Valera’s hopes of stepping into Cosgrove’s shoes.
Pittagula in Italy Adopts Photophone; Plans 1 0 Sound Films
Pittagula at Turin, Italy, is installing RCA Photophone equipment in its studios and also is buying several Photophone sound recording trucks, for use on location. Societa Anonima Pittagula will make ten sound pictures at its studios in Rome and Turin the coming year.
Music and Speech
Inserted in Three
Adventure Pictures
“The Break-Up,” a talker of Alaskan adven- ture, will be the first released of three new features for which synchronized music and speech and insert sequences have been com- pleted by Talking Picture Epics at the Caravel Studios at Long Island City. Captain Jack Robertson, maker of the pictures, does the speaking and his dog friend, Skooter, is with him.
Next comes “Wild Men of Kalihari,” with Dr. Ernest Cadle, who led the Denver African Expedition and the Cadle Cameron Expedi- tion into the land of the bushmen.
The third picture, “Lost Gods,” features Count Khun De Prorok, associate director of archaeological excavation at Carthage and Utica and author of several articles on the findings.
German Star Coming to
U. S. to Make P F L Films
(Special to the Herald-World)
NEW YORK, April 1. — Marlene Dietrich, German screen and stage star, is coming to America to play in Paramount pictures. The noted star was signed by Paramount and is the discovery of Josef von Sternberg, Para- mount director. She is scheduled to arrive in New York, April 7.
Warner Club Festivities To Be Shot
NEW YORK — Pictures will be taken of the out- standing events of the WaVner Club’s Second An- nual Banquet and Ball, April 5.
RCA Photoplione Used at
National Polo Tournament
Amplified sound is being used with the RCA Photophone system during the national indoor polo championships at Squadron A Armory in New York. This follows similar installations at the Riding Club and the Boulder Brook Riding Club near Mamaroneck in Westchester County.
Spanish Version Planned
For Cruze’ s “Big Fight ’
A Spanish version is to be made of “The Big Fight,” which now is being completed under the personal supervision of James Cruze. Ralph Ince will direct the Spanish film while Andres de Segurola, opera singer, screen player and author, will adapt the story.
Campbell Markets New Medium-Priced Disc Type Apparatus
The Campbell Engineering Company of Kansas City, Mo., now is marketing an im- proved medium-priced synchronous disc equip- ment for motion picture theatres.
E. W. Campbell, president of the company, is an expert electrician and is well versed in sound projection.
Seth Barnes, member of Local 414, Wichita, Kan., who has made a thorough study of sound reproduction and installations, is associated with the company and is supervising instal- lation of the apparatus in theatres. He was associated with the Midwest Film Company, distributors of Biophone equipment, in similar capacity.
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42
EXHIBITORS HERALD-WORLD
April 5, 1930
DEAR HERALD-WORLD:
Boone, la.
On Iowa’s road maps she prints this slogan: “Iowa Has Stepped Out of the Mud.” Yeah, we are pleased to note this, but she still has some of this Iowa mud clinging to her feet. It is something like 20 miles from here to Ames where we can get pavement clear into Chicago, but, hoy, those 20 miles is what gives us the nightmare. There is said to be mudholes in those 20 miles that a caterpillar tractor can't negotiate and that doesn't sound good to April Shower. Maybe she can make it and maybe she can’t.
We have just come from lunch and a four-hour visit with Mr. and Mrs. Weaver. You might never suspect it if you knew Bill Weaver as we do, but it is a fact that these delightful people are his parents, and what’s more, they don’t seem to be ashamed of it. In fact, his mother especially seems to he rather proud of him. Bill, you know, is the guy who has, in no small degree, been responsible for pushing the HERALD-WORLD up onto the front seat next to the bass drum, where it occupies the most prominent position of any motion picture trade publication — and that’s why it covers the field like an April shower.
A year ago now we were stuck in this town for a whole week on account of mud, and a year from now we hope to be driving some other state and give the mudhens and turtles a chance to wallow in these mudholes unmolested. Iowa has two slogans: “Out Where the Tall Corn Grows” and “Iowa Has Stepped Out of the Mud.” The first one is a dandy, but the last one isn’t worthadam. From March 1, to June 1, Iowa ought to come over to Nebraska to do her driving. But she is improving every day, so let’s pray for her.
* * *
You have no doubt surmised, from what has heretofore appeared on this page, that we are unable to work ourself in to a frenzy of ecstasy over jazz music. If that has been your conclusion, you are right about it. We have long hoped and prayed that somebody would make a picture dealing with this subject, and last night in the Empress theatre here we found our prayers had been answered. Columbia will have our everlasting gratitude for making “THE MELODY MAN.”
William Collier, Jr., was the director of a jazz orchestra. John St. Polis was the director of an orchestra that played only classical music. Collier’s buzzsaw organization rehearsed its agony in a room adjoin- ing the studio of St. Polis. Alice Day was the daughter of St. Polis and her father sent her over to Collier’s room to try and persuade him to shoot the members of the saxophone section and to poison the trombonist and otherwise put the kibosh on the bunch so as to give bis orchestra a chance to play a few selections from Beethoven, Mozart and a few more Democrats.
As soon as Collier saw Alice, the stuff was all off with the jazz orchestra, for he fell for her like a brick chimney. He’d have been a sucker if he hadn’t, and we would have had it in for him the balance of our life.
Then Collier goes back with Alice and she introduces him to her papa, and when papa finds out he is the director of the jazz orchestra he blows up and orders him out of the house, which makes it rather tough on Alice as well as Collier. But William wasn’t the kind of a boy to be pushed off of a warm trail, so the next day he goes back and slips into the room and hears papa playing a classical selection from Anheuser-Busch, or some other Missourian, and that settles it.
for it is the first strain of real music he has ever heard, so he apolo- gizes to papa and they make up and everybody is happy, including Alice. Now, if you have a notion that papa can’t tickle the ivory, you just listen to him when he sits down to that baby grand.
“THE MELODY MAN” isn’t the biggest picture in the world, but when we saw it we felt like the old man did when he bought a Ford car and he and his wife went out riding and he had printed across the back, “IT SUITS US.”
* * *
A few days ago we read an article in one of the Omaha papers giving an account of Estelle Taylor’s visit to Atlantic, la. It seems that Estelle was going into vaudeville and she went out to Atlantic to try her act out “on the dog” and see what effect it might have. According to the account, Stella didn’t seem to like Atlantic. She wanted four rooms with baths in the hotel and couldn’t get ’em. She wanted an orchestra and the manager finally got one by taking a saxophone player from the garage, a cornetist from the barber shop, a trombonist from a filling station, a violinist from a ten cent store and a trap drummer from a saw mill, and when they went to move the piano into the orchestra pit it fell to pieces like a Volstead beer keg with the hoops all gone. Betcha Atlantic won’t like that report very well, and we’ll betcha that manager won’t play any more vaude- ville acts very soon, and we will wager also that should Jack Dempsey stage a pug fight in Atantic he wouldn’t get a corporal’s guard. We have been in Atlantic and it’s a nice town and they have a nice hotel and a swell theatre and the manager is an all-right guy, and the Atlantic folks are about as nice as we care to know and we are sorry that Stella didn’t like the town, but of course we will admit that main street isn’t quite like Hollywood Boulevard or Broadway, for it doesn’t have as many hot dog stands and screen actors out of a job, but the Atlantic women are usually pretty busy getting the children ready for school and the corned beef and cabbage ready for dinner, both of which places them ace high with us.
* * *
There’s a notion that is pretty prevalent among the boys higher up that only the de luxe theatres of the country can have good sound. We hope that this opinion doesn’t become chronic, for there never was a bigger fallacy in the world. We have heard talking pictures in theatres of 300 capacity and less that were as good as any we have heard in the largest theatres of the country. While it will likely not be admitted by many, yet the facts are that the acoustics of the smaller houses are universally better than in the larger ones. We recently heard a talking picture in a town of 600 that was as clear and distinct as any we ever heard, and we have heard quite consid- erably many.
* * *
Down in Carroll yesterday we saw Richard Barthelmess in “A SON OF THE GODS,” a Chinese picture wherein Dick played the part of the son of a wealthy Chink. We can’t say whether the picture was good, bad or indifferent, for we only saw it for a couple or three minutes. The picture struck us as rather peculiar, in that Dick was playing the part of a Chink’s son when he was dressed in the height of fashion and resembled a 1930 Broadway sheik, while he looked about as much like a Chinaman as a bullfrog looks like a snapping turtle.
If they keep on making ’em that way, maybe some day we can get in pictures and be cast in an Old Mother Hubbard part and make love to Bull Montana. Gosh, wouldn’t it be a wow?
We are headed for old Michigan. Girls, you better get the washing in off the line. And don’t call us up unless you are darn sure he’s away from home.
J. C. Jenkins,
The HERALD-WORLD man.
P. S.— The HERALD-WORLD COVERS THE FIELD like an April shower.
April 5, 1930
EXHIBITORS HERALD-WORLD
43
w
THE SHORT FEATURE
NEWSPICTURES
HEARST METROTONE NEWS NO. 252.— England vs. France in Rugby classic — New German liner sets ocean record — Show Easter fashions direct from Paris — Planes hop across United States to halt “Enemy”— Far East crews open boat race season.
PATHE AUDIO REVIEW NO. 14.— A lazy picture showing the camera along the shores of Massa- chusetts— Designing mermaids — -Scenes of making hay while the sun shines — Pathe Audio present the Barber Shop song.
UNIVERSAL NEWSPAPER NEWSREEL NO. 25. — Mehlhorn wins $15,000 open golf classic in close finish — 200 old automobiles “taken for a ride” in huge bonfire — Woman champion defeats man rival in bowling clash at Chicago.
M G M INTERNATIONAL NEWSREEL NO. 65.— $2,000,000 waterfront blaze in New York Harbor threatens wide area — Sir Hubert Wilkin’s own thrilling camera record of his amazing antarctic discoveries — American horse wins British steeple- chase amid startling spills.
KINOGRAM NO. 5590. — Horton Smith loses open golf classic to Bill Mehlhorn — 200 automobiles go up in smoke at Long Beach, California — Blazing piers at Hoboken, N. J., give firemen hard battle — Drop 3,500 feet in risky tail spin.
Educational Putting Two Western Comedies Into April Releases
Two western comedies are included in Educational’s releases for April, entitled “Western Knights,” featuring Eddie Lambert, A1 St. John and Addie McPhail, and “Indian Pudding,” a Terry-Toon cartoon, which has redskins instead of cowpunchers for char- acters.
“Western Knights,” directed by Stephen Roberts, will be released April 20, while “Indian Pudding” is scheduled for April 6.
56 Newspapers Now Join Universal in Backing Newsreel
Four more newspapers have signed with the Universal Newsreel Syndicate, including the Durham IN. C.) Herald, Asheville (N. C.) Citizen, Knoxville (Tenn.) Journal, and Chattanooga (Tenn.) News. Thus there now are 56 newspapers allied with Universal in sponsoring the newsreel.
Following his tour through the south, Fred J. McConnell, short subjects manager of Uni- versal, is to cover the central western states and then Canada.
Homer Mason Is Writer
Of Vitaphone Varieties
Homer Mason ha*' joined the writing staff of Warner Brothers Eastern Vitaphone studios. Mason is a musical comedy and vaudeville star, but also has written a number of play- lets including “Money, Money, Money” and “At Your Service,” Vitaphone Varieties comedies.
Pathe Shorts Get Head Start
With Six Two-Reelers Finished
Six talking comedies have been completed on Pathe’s new and expanded pro- gram, and have been delivered to E. B. Derr, vice-president in charge of produc- tion, by Bill Woolfenden, supervising the new comedy production department of the company.
Completion of these pictures in the short product field is further verification of the fact that Pathe is going through with the big schedule in which the “no program pictures” policy is being supported by an equally decisive determination to make no “filler” short.
The six two-reel pictures, directed by Wallace Fox, Monte Carter, Robert DeLacy, Fred Guiol and Frank Davis, are as follows:
“Hearts and Hoofs,” directed by Wallace
scrip books save money
Fox, with a cast including Mona Rico, Cor- nelius Keefe, Fred Warren, George Rigas, Hector Sarno and Ziela Conan.
“Ranch House Blues,” directed by Robert DeLacy, with Mildred Harris, Harry Woods, Don Douglas, Nick Cogley, Billie Burt, the Empire Comedy Four and Tom Mahoney.
“Pick ’Em Young,” made by Monte Carter, the cast being headed by Robert Agnew, Mary Hutchinson, Mona Ray, Carmelita Geraghty, Fanchon Frankel, Vera Marsh and Charles Hall.
“Live and Learn,” directed by Fred Guiol, with Ed Derring. Addie McPhail, Maurice Black, Gertrude Astor, George Towne Hall and David Durand.
“The Red Heads,” under the direction of Frank Davis, with Nat Carr, Charles Kaley, Joan Gaylord, Katherine Wallace, Mona Ray, Bessie Hill and Ethel Davis.
“Carnival Revue,” directed by Wallace Fox, with T. Roy Barnes, Ruth Hiatt, Ray Hughes, Frank Sabini and Eddie Clark.
First Sound-on-Film Universal Newsreel Shows at First-Runs
Universal Newsreel’s first sound-on-film issue is being shown this week in first-run houses, the initial offering having started last Saturday, March 29. The disc version con- tinues to be available.
The recording includes both the descriptive talks by Graham McNamee, ace at the micro- phone for National Broadcasting Company, as the Talking Reporter, and the orchestration.
Western Electric Film
Booked Over Loew Circuit
“Business in Great Waters,” a two-reel film with talking and sound effects, produced by Western Electric Company, has been booked over the entire Loew Circuit. The picture shows the laying of the fastest tele- graph cable ever made between Newfoundland and the Azores Islands.
Comic characters in the theatre ads? Why not? The idea is to get folk to read them. Bob Harvey, publicity direc- tor for Fox theatres in northern and cen- tral California, knows it’s worth while be- cause of the complaints that came in when he dropped them. This was for the San Francisco Fox theatres before the ad had been completed.
Loew Books Aesop Fable
For 158-Day Run in N. Y.
“Dear Old School Days,” the latest Aesop Sound Fable, playing the Globe theatre in New York, has been booked by the Loew Cir- cuit for 158 days subsequent runs reports Bob Wolffe of the Pathe exchange, New York.
44
EXHIBITORS HERALD-WORLD
April 5, 1930
w
THE THEATRE
What Luck Do You Have with Composition of Newspaper Ads? Here’s Good Idea!
^ CATTERED throughout the country are newspaper situations which pro- hibit the composition of a clean ad. Such papers run amusement pages which are either black and unsightly, or so light and unvaried in set-up that there seems to be no difference in the ad layouts from day to day. This condition exists for the most part where composition and typesetting of the paper is lacking in punch, and can be eliminated very easily by the theatre advertising man who can spare a few dollars additional expense on his newspaper account weekly, through very little extra effort on his part.
Study of any amusement page will re- veal that one or two type faces predomi- nate in the composition of all ads on that page. The advertising man can make his ads stand out forcibly from the rest on the page through the simple medium of the theatre printer.
Must Understand Type First
While only the larger theatres use origi- nal cuts or art ads, an ad set by a printer is not necessarily an art ad, as it usually comprises border, illustration, and selected type< copy; so that theatres whose policy is strictly against art ads can also profit through this medium.
The method is simple. First, a good un- derstanding of type, or a type book of the local printer’s selection of faces is neces-
From Rags And A 1 1 a I I Bedroom To Ermine And A Suite At The Ritz . . . Only Fo Abandon Fame And Fortune... For. . . . !
Another-
Sensational Performance From " Madame X" and " The I. nu tj hi nil Lady”
Ruth
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IX PJRJMOIIST'S Taurhino .III -Talking Drama
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FREDRIC MARCH
RESERVED SEATS
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PREMIER
THURSDAY
EVENING
8
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P.M.
Paramount’s Romantic All Color Triumph
■ i ouuuuum » iwmamn. mi coiui iiiuiupii ^
AGABOND KING
DENNIS KING— JEANETTE MACDONALD
RESERVED SEAT TICKETS NOW ON SALE AT THE METROROLITAN-LEVY OROS.-R I C E HOTEL.
RICES BALCONY SI 00 LOWER FLOOR SI 50
REGULAR rRIHl Y
ENGAGEMENT T AlDil 1
MARCH 7-11 A.M.
ENGAGEMENT
BEGINS
PRICES
L. Floor $1.00 Balcony 7 Sc Children 2Sc
SEATS NOT RESERVED
sary. After these elements are considered, the work of laying out the copy is started.
Never work in a space over twice the ac- tual size in which the ad is to appear in the paper, as the printer, when setting in type, may in some instances want to force in type of less than 12 point, which when
f\aAc
vtf-
NOW PLAYING!
Seats Not Reserved
Paramount s Triumphant
ALL COLOR
BOADSUOW
ACHIEVEMENT
WITH
DENNIS KING
GOLD EX VOICEO HfKO O* TmC ORIGINAL RROCXJCTION
JEANETTE MCDONALD
LILLIAN BOTH WaBNEB OLAND
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CHORUS Of
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brought down to six point in the one-half reduction by the engraver, will become muddied.
Lay Out in Actual Size
The best idea is to lay out the ad actual size, and instruct the printer not to use any type under eight point, for quick read- ing and legibility.
When the sketch of the ad is completed, paste or draw in the illustrations, either line drawings or halftones, as would be done in laying out an art ad. Then, with pencil, write in as you want it to appear, the copy for the ad. Specify at the mar- gin of the ad just what faces of types you desire, and, as nearly as possible the case or size.
After you have completed this much, give the copy and layout to the printer, with in- structions to compose his type to fit the spaces you have laid out, with several good clean proofs to you on white enameled paper. When you have received the proofs, paste them in your ad layout, covering the penciled-in copy. Send this to the en- graver, and the result will be a finished cut of your ad, without the necessity of added composition by the local newspaper.
Ads Stand Out on Page
In the illustrations on this page the true copy was set by the printer and proofs were pasted in the layout before the cut for the newspaper was made.
This type of ad has proved to be highly successful in Houston, Texas, where the majority of the Metropolitan (Publix) ads are treated in this manner. The result is an ad which stands out on the page through its very different type construc- tion, and an ad which insures relief from bad composition by the papers.
^ Again«x f FRIDAY
The screen’s Creatcst Dra- H regular matic Artist gives you a pow- S prices II erful rple far su r p ass i n g ^ *
“M a d a m e. X" and “The Laughing Lady”.
RUTH
CHATTEHTON
in Paramount*
April 5, 1930
EXHIBITORS HERALD-WORLD
45
Sunday. One col.
Monday. One col.
Tuesday. One col.
Wednesday. Two cols.
Thursday. 21/ cols.
Here’s Suggestion To Stop Confusion In Theatre Aisles
Gabe Hausmann, a prominent New Orleans jeweler, and a lover of the theatre has an idea, which he desires given widespread pub- licity for the benefit of theatres and their patrons.
Hausmann says: “I have just been giv-. ing consideration to a matter which might possibly be favorable to the moving picture houses and public, and would like to know what the moving picture and vaudeville houses think of my idea: As the people enter the show, wouldn’t it be a good idea for them to have the patrons take seats from the side entrances and let them exit from the center entrances? In this way, there would not be so much disturbance in passing in front of one another, and all would be benefited. It wouldn’t be long before the public would be agreeable to this new innovation. I think the patrons would be agreeable to move closer to the center of the house as seats are vacated, which are preferable.”
Teaser Campaign Teases Only
If You Have a Slambang Finale
An effective piece of teaser advertising was worked out recently by the adver- tising staff of Fox Wisconsin Theatres, which is headed by James Keefe, for the purpose of exploiting Fox’s “The Sky Hawk,” which appeared at the circuit’s Wisconsin theatre in Milwaukee.
The teaser campaign started in the Sunday papers the same week in which the picture was scheduled to open. The first advertise- ments, one column by 2 inches deep, merely carried the cut of a hawk with the word “coming.” Six of these ads were run in each of the Sunday papers on various pages and sections.
The second advertisement, the same size and style as the first, appeared in the Mon- day papers and carried the additional wordage, “ ‘The Sky Hawk’ is coming.” These small ads were again scattered on various pages throughout the paper. On Tuesday the same sized ad and style ad was used, but the word- ing was changed to “ ‘The Sky Hawk’ is com- ing Friday.”
On Wednesday evening the story was told in a two-column, inch ad, with the cut of a hawk again displayed prominently. Thurs- day morning’s advertisement, three columns by nine inches, carried more descriptive copy concerning the picture together with the stage show program and added features. As in all other advertisements, a cut of a hawk again was featured.
“Keep the Good Work Going”
Attention of members of the HOE Club! Sharpen a pencil and add these names to the personnel:
Henry M. Rogers, manager.
Harry E. Phelps, assistant manager. R & R Palace The- atre, Sweetwater, Texas.
“We have been meaning to do this for some time and there we are,” write Rogers and Phelps. “We ap- preciate the exploitation ideas in the HERALD-WORLD and want to do our share in helping out. Enclosed you will find a slip with our names and under separate cover we are sending you a picture of our front and ushers on ‘The Song of the West.’
“We will try to send you pictures and ideas regularly on some of the stuff we are doing down here in the land of sunshine and longhorn steers.
“Keep the good work going and if the rest of the exhibitors get as much out of the HOE as we do, there will be plenty doing to keep the patrons anxiously awaiting the next stunt.”
In addition to the teaser advertising cam- paign, an airplane was piloted over the city on Friday night carrying the words, “The Sky Hawk,” in lighted letters. The plane attracted a great deal of attention as it was at an hour when many persons were on their way to the theatre and otherwise out on the streets.
The Home Show was in session at the Mil- waukee Auditorium and the flier made it his business to circle the Auditorium several times. The plane also made a tour of the residential district.
“The Sky Hawk” received a very fine re- view in Milwaukee papers and enjoyed a good business. Members of the advertising staff of Fox Theatres who cooperated in the cam- paign were Benny Katz and Howard Herzog.
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